Encaustic Arts Magazine WINTER 2017 - Page 95

Even as a young child, I was always captivated by art. I had little interest in Barbies. Pottery wheels and weaving looms filled my Christmas lists every year and my first choice for camps in the summer were always art related. (followed closely by horses – doesn’t every girl love a horse?) My parents, encouraged my love of art when they presented me with my very own camera and then took the whole family on month long vacations for many summers in a row. Seeing the world through the camera lens began my life-long love for travel, nature and learning about other cultures: their art, traditions, and architecture. Always aware of color, pattern, and texture, and these experiences were inspiration for my art. I usually get the inspiration for a piece long before it’s started. I think about it, sketch it and play with the idea. Seldom does the finished piece resemble these ideas/sketches exactly but somehow it prepares me to work. Work begins with a time of centering and spiritual connection. I’ve found if I skip this step the piece will pay for it in the end. Once begun, I let the piece dictate the direction it will take. Working and looking and deciding what is needed next. It’s a strange phenomenon that while working on a piece I am often also thinking about the next piece. It’s like my brain has to process the thoughts for awhile before they can be brought into reality then once the work is started, it is completed by the subconscious working intuitively, organically, and the conscious brain moves on to thinking about the next project. I incorporate a process that I developed, of meticulously applying small “droplets” of wax, one-by-one to the surface of the painting and exploring the relationship of these drips to the spaces in between them. The overall effect produces a tactile pattern that invites the viewer to touch. This process is, at the same time effortless and meditative, challenging and slow, but I’m always excited by it.