Willow Bader Enkaustikos
Harriette Tsosie Kathleen Waterloo
Patricia Baldwin Seggebruch + All About Encaustic
Winter 2012 For More Information about the Encaustic Art Institute: Website: http://www.eainm.com Blog: http://www.eainm.blogspot.com Facebook:https://www.facebook.com/pages/ Encaustic-Art-Institute/332917031347 Founder: Douglas Mehrens, email@example.com
The Encaustic Art Institute
Encaustic Art Institute Administration: * Douglas Mehrens, Founder/CEO Board of Directors: * Glenn Fellows * Michael Allison * Perry Lovelace * Douglas Mehrens Artist Board: * Russell Thurston, Program Director * Kari Gorden, Membership Director * Linda Fillhardt, Blog Coordinator * Teena Robinson, Graphics & Computer Support * Michael Phillip Pearce, Carbon Vudu LLC, Magazine Art Director. Cover art by Harriette Tsosie, The Memoirs of Benvenuto Cellini #1. The Encaustic Art Magazine is published by The Encaustic Art Institute, 18 General Goodwin Road, Cerrillos, NM 87010-9779
Greek word meaning “to heat or burn in” (enkaustikos).
©2012 OWNERSHIP OF DESIGN this information prepared by Encaustic Art Institute shall remain the property thereto, and shall retain all common law, statutory and other reserved rights, including the copyright thereto.
From the Institute
All About Encaustics
Patricia Baldwin Seggebruch
Dear Readers: Welcome to the fourth edition of the Encaustic Arts Magazine, the semiannual free on-line publication from the Encaustic Art Institute.
On December 29th the Encaustic Art Institute will be seven years old. It has been a wonderful journey, full of surprises and challenges. I was amazed by how many artists were in full stride with encaustics in 2005, and I had no idea how fast the encaustic movement would expand.
This issues cover art is by Harriette Tsosie, a long-time artist who is dedicated and adventurous within the medium. Harriette’s article along with other featured artists are inspiring and informative. My hope is that you too will be excited about what is assembled here. Encaustic Art Institute’s goal is to enhance, grow and make not only artists, but the public aware of this beautiful art form. Share the excitement and keep passing the word. Douglas Mehrens Founder and CEO The Encaustic Art Institute non-profit 501 C3
From the Institute
As part of the Encaustic Art Institute, we continue to look for ways to enhance the experience of encaustic wax. In this magazines issue, we are adding a new feature called “All About Encaustics”. It will highlight interesting articles featuring everything from the history to the execution of the medium and everything in between. These articles are selected from dozens of emails that are sent to me. If you have something you have run across and would like to share, please forward it.
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W il low Bade r Winter
Come Be My Guest, Encaustic on wood panel, 32”X40” 2012
When I am a presenter at a conference, I begin by showing images of my work - without speaking. It’s my way of saying that the art must do the talking. When I demonstrate encaustic technique in a workshop, I begin by working in silence on a painting for awhile. I would rather do art than talk about it. I would rather show than tell.
of trying to be useful to those who, like me, see art as an ongoing adventure and a way of addressing other people. I want this to be informal - what I would say if you and I were standing in front of the painting and talking. Enough – lets look at the first painting.
I’m an artist, not a public speaker. I’m a painter, not a writer.
COME BE MY GUEST This is a portrait of Valter Nassi, master chef and owner of Valter’s, an Italian restaurant in Salt Lake City. As you can see, he’s a man who oozes vitality. And oh, can he cook! I’m not a portrait painter. And I only paint portraits of people with whom I have a strong personal connection. After eating his fabulous food and enjoying his hospitality again and again, I wanted to give something back to Valter to express my gratitude. Portraits are risky – the image you paint and the person’s self-image are often in conflict. But this painting passed the test. He loves it. And so do I. And if you’re ever in Salt Lake and want to have an unforgettable experience, go to Valter’s. Tell him Willow sent you.
With that in mind, I’ll ask you to first go to my website, http://www.willowbader.com, look at New Work, Work on Paper, and take the brief Studio Tour. (All the images are thumbnails for you to click on and see the full painting.) This survey will give you a clearer idea of what I’ve done and where and how I do it. And you will have a background for the content of the rest of this article. The images I will share and talk about now represent the directions I have pushed encaustic painting beyond the mainstream boundaries. This is about where I’m going with my art. It is my way
Torque De Oracian, Before Sunset, Encaustic triptych on wood panel, 80”X94” 2011.
Torque De Oracian, Before Sunset. This is one of my best efforts to paint large – three full-size door panels. A daunting task when working with hot wax. I was a little intimidated to work this large, and worried that it was too ambitious. But – here’s the good news – it sold right away and is hanging on a wall in Atlanta! Now I’m working on a two-panel painting 3 feet by 10 feet. What’s the size limit to my paintings? I don’t know. Yet.
W il low Bade r
Rioja Encaustic on wood panel, 36”X80” 2012.
Rioja This is painted on a full size hollow-core door with a fine-grained Finnish birch-wood skin. A great solution to working large. A door manufacturer in Seattle constructs doors to my specifications. Here I am experimenting with selective color for the purpose of story-telling. Red is only on the woman’s dress and in a tiny reflection in the mirror on the wall. Everything else is painted in sepia. This choice draws the eye to her. And then you look around and see the wine and glasses on the table, and a two other dancers sitting alone – perhaps wishing they could be sharing the wine and dancing like the woman in the red dress. It’s a painting about longing.
W il low Bade r
Quebrada, Amague, Abraso This is an experiment with hinging three different size paintings together to make a more of a three dimensional presentation. It also has sequence – dance moves in progression. Now I want to paint something like it – only much, much bigger. Perhaps as a standing screen.
Parejas- Partners In Tango, Encaustic on wood panel, 16”X53” 2010.
Parejas—Partners In Tango Tango friends posed for this painting. She was nude from the waist up, but you can’t tell. Oh, well, nevermind nude tango. It is a sequence of images telling a story about an intense relationship. I also tried for the first time to paint a “frame” around each of the images.
Quebrada, Amague, Abraso, Encaustic hinged triptych on wood panel, 20”X41” 2009.
Blues In The Night, Encaustic and mixed media on paper, 26”X20” 2011.
W il low Bade r
Blues In The Night It’s so freeing for me to work on paper, somehow there is so much less pressure or expectation. I often get more spontaneous images. And I like to draw, even though I don’t draw on the wood panels in preparation for painting. The problem with combining charcoal and encaustic on paper is that the work must be framed under glass – in an art prison – creating a distance between the art and the viewer.
For a video demo: http://www.youtube.com/watch?v=FLm4_iWV7QE
So. There you have it. A glimpse of the road I’m going down now with my art. Pushing encaustic to find its limits. Working ever larger. Painting in multiple sequences. Seeking images of people in motion – dancing, playing, connecting – telling stories. And always looking for vitality in how and what I paint.
For additional information please visit: http://www.willowbader.com
Full Cry I enjoy the challenge of paintings lots of figures in a painting. This is the Seattle Repertory Jazz Orchestra playing Benny Goodman’s great work, “Sing, Sing, Sing.” I took lots of photographs of the orchestra in action, and then combined images to make this painting. This really pushed my boundaries of what I could accomplish with encaustic.
Full Cry, Encaustic on wood panel, 28”X60” 2011.
One formula available in several sizes and shapes.
E n ka u s t i k o s
Enkaustikos was founded on the premise of bringing the highest quality—and safest—materials to artists worldwide Michael Lesczinski, President
Portfolio Enkaustikos pen points are just one of several handmade wax pen attachments.
Investment in Technology In 1996 Ann retired and we purchased her company and moved its operation from Oregon to upstate New York. Today, Ann continues to work with Enkaustikos, researching and developing new products. Our goal from the very beginning is to make the finest paint available and Ann’s formulations offered us the ideal starting point. To make professional quality paint requires milling, the process of shearing pigment particles. Pigments are sheered to produce paint with a cleaner, brighter chroma. Sheering also eliminates agglomerates (pigment clumping). Making pigment particles smaller allows us to increase the pigment load producing a heavily pigmented paint that can be used for encaustic print making and directly with a brush for painting. Our heavily pigmented paint also allows artists to extend our paints with wax medium to produce thin, translucent veils of color or simply to make paint more economical.
Hot Cakes in ready-to-heat tins.
Ann next invented a line of heated wax pen point attachments, wax writers, heated brass filament brushes and specialty tools designed to free up the creative spirit of the artist. Today, Lisa Lesczinski continues this tradition of excellence in craftsmanship by producing every hot brush, pen point attachment and wax writer by hand, one at a time. Every brush is unique and a “work of art” in its own right.
E n ka u s t i k o s
Our Formulation Our original formulations were developed by Ann Huffman, the 2012 recipient of the International Encaustic Association’s LaVendeene Award. Ann began her formula with pharmaceutical grade beeswax which is intended for cosmetics and medicines. Consequently, it is often considered too expensive for paint making. Ann selected it regardless of cost because it is mechanically filtered, not purified using harsh chemicals or bleach. Pharmaceutical grade beeswax is still the main ingredient in Enkaustikos’ paint today. Ann then experimented with various proportions of beeswax to damar until determining that a 6 to 1 ratio was perfect, for one simple reason: she was able to work with wax paint in the lower temperature ranges of 150 to 175 degrees Fahrenheit. Lower temperatures create less fumes and smoke providing a healthier studio environment. Working at lower temperatures also enabled her to pour her paint into tins to heat and reheat over and over again without damaging the paint’s integrity.
E n ka u s t i k o s
We use only the highest quality, artist grade pigments.
The finest ingredients along with the proper milling equipment alone will not produce professional paint. Care must be taken not to over mill paint. Sheering pigments too small will actually change its chroma. Bluish red pigments will turn yellowish, yellowish reds will become bluish, oranges will become more reddish. Our paint maker, Daniel Sywalski has been milling our paint since 1996. His experience and demanding attention-to-detail is a key element in the quality of our paint. Daniel takes a great deal of pride in his work and our colors will attest to that. Itâ€™s all about Color! Enkaustikos is passionate about color. We enjoy a worldwide reputation for offering a unique palette that includes many historical colors like Pompeii Red, Prussian Blue, beautiful Cadmiums and Cobalts, as well as modern organic pigments like Bismuth Yellow, Quincridone Gold and Pyrrole Red. We constantly experiment with the newest pigments that technology offers to produce the highest quality professional paints. We go to great lengths to offer the finest colors regardless of cost. For instance, our cerulean blue is by far the most beautiful, cleanest and brightest available. Last year, our supplier was acquired by a larger company and our Cerulean was discontinued. Their replacement along with samples from seven other pigment suppliers could not come close to our original cerulean. We held out and continued to search until we located a perfect match in Germany.
Dan Sywalski evaluating Indian Yellow.
Single Pigment Colors We offer 88 colors of which 74 are single pigment colors. Many artists prefer to mix their own colors if given the best single pigment colors to begin with. Single pigment colors allow artists the greatest opportunity to create the most intense, clean and luminous color mixes. A good rule to follow when it comes to color mixing is to use the least number of pigments to create your custom mix. The more pigments you use the more likely you will create a grayed down, muddy or dull color. Using single pigment colors in your mixes are the key to producing successful mixes. Composite Colors On the flip side, we offer 14 composite colors which are paints mixed with multiple pigments. These paints are often considered convenience colors. Not all pigments meet the encaustic toxicity criteria. For instance, genuine Naples Yellow is made with lead, we certainly would not want to be heating up lead in a studio. We offer a Naples Yellow hue and a Naples Yellow Reddish produced with non toxic pigments as a safe alternative to these classic colors that artist desire.
Sourcing the world for the finest Cerulean Blue pigment.
Thoughts from Kathryn Bevier, our Colorist… Kathryn holds an art degree from the Lyme Academy, one of the top Fine Arts colleges in the country. Kathryn oversees our paint production, communicates with our retailers, manages our educational and instructor programs and even stars in our YouTube videos for consumers. Kathryn is a true colorist at heart and is constantly testing and evaluating new pigments.
E n ka u s t i k o s
“I’m especially drawn to the clean shades of olive greens produced when Anthraquinone Orange is mixed with our Phthalo Greens. When mixed with the Phthalo Blues, I am immediately reminded of colors you would see on the New England coast, but the mix that was most beguiling to me was when I mixed Anthraquinone Orange with Dioxazine Purple, and might I add, with lots of medium to make a complex, translucent purplish brown.”
Napthol Red has amazing mixing and tinting qualities.
We added Naphthol Red and Bismuth Yellow to our line because of their versatility. They offer a translucency and color world that their Cadmium counterparts don’t have. Many artists enjoy working with a primary palette for color mixing and Enkaustikos provides multiple options for this.
Some of our unique single pigment colors.
40ml Wax Snaps- Use a little or a lot, it’s a snap!
For additional information please visit http://encausticpaints.com Anthraquinone Orange with Dioxazine Purple offers incredible color options.
Photography by David Hoffend, email@example.com
While color mixing is a natural part of painting, many artists often use our paint unmixed and so colors like Bohemian Orange, Vagone Green or Cobalt Aqua, to name just a few are perfect just as they are. We really are passionate about color.
“It is hard not to get excited when experimenting with color mixing. Quinacridone Gold enhances just about anything it mixes with. Using Indian Yellow in mixes with any of our blues will give you a wide range of exotic greens, Anthraquinone Blue and Quinacridone Magenta makes an exquisite purple, and I could go on.”
Ha r r ie t te T s o s ie
Harriette Tsosie: Creative Journey The Mentor and the Medium Like most artists who work with wax, I was already working in another medium when I discovered encaustic. I had studied acrylic painting with Jules Kirschenbaum, a New York artist who was “in-residence” at Drake University (Des Moines, IA) when my then- spouse accepted a faculty position there. As a faculty wife I was able to take classes without paying tuition. I enrolled in Jules’ courses repeatedly, fully embracing the master/ apprentice relationship. We not only painted, we read and discussed books he assigned. (Mine was Celine’s existential Journey to the End of the Night). More than how to paint, Jules showed us how to live as artists. He encouraged our intellectual curiosity. I think most artists have had a mentor like Jules sometime during their creative journey. Without one, the journey is lonely and difficult. Moving to the Land of Enchantment I moved to New Mexico in 1995 and soon bought a small house in a rural area. After Iowa’s gloomy interior light, New Mexico made my eyes happy. I was surrounded by beautiful landscapes and fascinating cultures. For the first time, I had dedicated studio space--a small concrete block building on the property -- and time to paint on the weekends. (I worked full time until 2003). I continued painting with layers of acrylic washes, as Jules had taught me. The layers gave both physical and psychological depth to the work. I liked that. I didn’t want to do work devoid of meaning. I saw painting as wordless communication, believing that recognizable images communicated more powerfully than abstract ones. By working in a series, I explored my subjects from multiple perspectives. “Migration” was the first series of acrylic paintings I completed after coming to New Mexico. It was based on a piece of music by Carlos Nakai and Peter Kater. It included twelve 12” x 12” canvases, referencing the movements of their work.
“Migration”, Detail (Movement #1: Wandering), 12”X12”, 2002, Acrylic on canvas.
Encountering Encaustic A young artist --Shawna Moore-- moved in next door and befriended me. She took an encaustic workshop from Santa Fe painter Ellen Koment (Encaustic Arts Magazine, Summer 2012 issue). I had never heard of encaustic, but I loved the paintings Shawna made with it. They had layers. There could be series. I took the workshop.
Phosphene Glyph #5, 30”X15”, 2007, Acrylic on paper on panel.
wax, pushing pigmented encaustic into the grooves to create the tree trunks, cross hatching
Aspen Glow, 5”X5”, 2006, Encaustic on panel.
been trained to paint representationally (set up the still life, draw it, then scale it up on the canvas), that is what I tried to do. Even though landscape had never been my subject matter, I now lived in a landscape I couldn’t ignore. Aspens became the subject of my first encaustic series. I carved into the
for the bark. Tedious. Creating images with encaustic proved difficult. Once I lit the torch, my images moved, melted, sometimes even disappeared! I was no longer in control.
Techniques I practiced with acrylic served me well as I began working more with encaustic. Layering the wax felt natural. I loved the immediacy of the torch, the very idea of playing with fire. Since I had
Ha r r ie t te T s o s ie
In 2004 I married a Native American man I had been dating and moved to his pueblo. He built me an incredible studio, looking out on the mountains. For a while I continued painting with acrylic, completing a series on baskets, then one on petroglyphs. The baskets referenced aspects of my life and psyche such as the Native ceremonies. I felt they were alive. The petroglyph series inspired a pilgrimage to California’s Little Petroglyph Canyon for a firsthand look at the ancient images pecked in rock. I dreamed they came to life at night, left the rocks and moved around. My husband’s culture continues to influence me profoundly.
Ha r r ie t te T s o s ie
Coming Full Circle In 2009 I moved to Albuquerque and got involved with its rich arts community. I collaborated with other artists to produce “Mining the U n c o n s c i o u s , ” ( h t t p : / / w w w. miningtheunconscious.org)a series of three exhibitions and 20 public programs unleashed in Santa Fe in 2011. The project was responsive to the long-awaited publication of Carl Jung’s Red Book journals. It created an on-going dialog between the participating artists and the larger community.
Pollen Men, 30”X30”, 2010, Encaustic on panel.
Embracing Abstraction That proved to be a good thing, a freeing thing. The longer I worked with encaustic, the more abstract my work became. My subject matter changed dramatically: alternative realities (i.e. premonitions), archetypes, symbols (particularly alchemical symbols), myth, and language now captured my interest. I read Joseph Campbell and explored alchemy: embedded pieces of older work into the wax, a technique I learned from Laura Moriarity (see “Attraction”).Today this same subject matter still attracts me and I add work in these categories. Continuing to explore encaustic, I enrolled in an R & F workshop in Texas (Gina Adams) and took a five-day monotype workshop from encaustic master Paula Roland in Santa Fe, adding to my skill set. Encaustic is seductive. For me, the challenge has been to remain focused on content and not become distracted by the many techniques, tools, gimmicks and special effects an artist can achieve with it.
Alchemy #3, 13”X13”, 2011,Encaustic, paper and ink on pane.
Attraction, 12”X12”, 2011, Encaustic on panel.
For addition information please visit: http://harriettetsosieart.com
Ha r r ie t te T s o s ie
From the experience, I developed a close relationship with three artists working in other media. We’re currently exploring identity issues through another series of exhibitions and public programs, “Creation/Migration: Stories of the Journey” We’ve all had our DNA analyzed through National Geographic’s “Genographic” project. We now know the migration routes our distant ancestors took out of Africa and are further researching our respective genealogies. We’re interested in the places myth and science intersect: do our DNA results contradict what we have believed about who we are? My work for this project is based on my paternal grandparents’ diaries and love letters, which are more than 100 years old. They are a fascinating window to life in Baltimore and New York City in the early 1900s. The work will include encaustic, collage, acrylic and giclée. The journey continues.
Someone Else’s Reality Triptych, 2010, Encaustic on panel.
We’re currently exploring identity issues through another series of exhibitions and public programs, “Creation/Migration: Stories of the Journey” http://creationmigrationstories.blogspot.com
Tips on packaging, shipping, framing and hanging encaustic art – Douglas Mehrens
After 6 years of receiving, hanging, storing and returning artwork - shipping over 500 pieces of encaustic art from the Institute, I would like to share a few things I have learned. These are of course my own opinions, and most of this you might already know and follow.
All About Encaustic
SHIPPING 1. If you are not on a dead line, save your money and ship it 3 day ground, Fed-x or UPS. It’s basically handled the same way except it is transported at a lower altitude and arrives without a weekend interruption. If you ship often, then consider an account which will lower the cost. 2. Insurance is expensive and if your artwork is package right, labeled properly, (put fragile, art, handle with care, on all sides of the box, larger the better – (NEVER SHIP WITHOUT THESE LABELS), then you should feel secure to take out the standard amount that is covered with the shipping bill. However if you want to be fully covered, FedEx covers up to $1000 only, where UPS will cover as high as you want to go. I find that Fed-X and UPS very seldom loose a package. I have never had an experience of a lost package, but have had 2 experiences of damaged artwork. In both cases, the artwork was not packaged properly so the insurance would not have covered them. 3. If at all possible do not ship on a Thursday or Friday. If you can, ship on a Monday or Tuesday. This makes sure your beautiful art is not stuck in a truck somewhere over the weekend. This can be especially hazardous in extreme heat or extreme cold. PACKAGING If you love your art, treat it lovingly. Packaging is the #1 priority. When you hand-deliver your art anywhere, wrap it and put it in a box just like you were shipping it. BUT when you are shipping it, if you want to avoid problems - double box it and follow these steps. 1. Wrap the art in wax paper using colored tape, not clear so the person unwrapping it can gently undo the paper. 2. Wrap the piece with large bubble wrap preferably, not small ones. Tape the same way, at least 2 inches on all sides.
3. Choose a box that your artwork will fit in snug if you can, if not put the wonderful static, messy peanuts all around it. Or, build your own structure out of foam core, etc that it will fit snugly in. 4. Close the box, tape it and label the box with your name, address, email phone, etc. on the out side. Also, what painting fits inside, as you may be shipping more than one. Also helpful is directions as to how to repack your artwork, like arrows, etc. Especially if your piece has a 3 dimensional quality to it. Don’t assume that someone will remember how they unpacked your piece when there sometimes are over 50 paintings to unpack within a week for a show. 5. THE OUTER BOX should not be a box that is from the grocery store, or some other flimsy box. Use a double thick coriaged box; choose one that is larger than your first box at least 8’ all around. Pour in 8” of peanuts in the bottom, place your box in the middle and pour all around it, to the top, then tap it a few times to get them settled and fill the voids. (large bubble wrap works well too) Then seal the box completely with strong tape, label with all the proper labels - fragile, handle with care, and use the store-bought ones that are large and bright. They work much better than using a felt tip and printing it on the box. Be sure to put them on all sides. 6. Last but not least, be sure to label your artwork. You may have put a piece of paper in the packing that is the label to your piece and you may have sent label information to the gallery…..but things float away like socks from a dryer and you need to have label information somewhere on the painting.
FRAMING This is for the artists that understand a framed piece quite often is worth more than an unframed one. Also, a framed artwork usually sells easier than unframed ones (at least in my experience). However, there is something to be said for allowing the buyer to purchase your piece at a lower price and have it framed to suit their needs. Again, my experience is most buyers wouldn’t know what to pick out or just don’t want to bother with having to take it to a framer.
ALWAYS sign your art. Collectors look for signatures and often decline a sale for lack of signature. A signature can be on the side as well as the back, if you are not inclined to sign on the front. A date when the artwork was finished is also appreciated. Included should always be a label on the back with your name, title, size, date painted, price and description of the piece. Also a phone or email address is always appreciated. This label can be taken off by the buyer if they want, but the label also needs to be secured well enough that it doesn’t come off when transporting.
HANGING The best looking piece of art on a wall is one that is level, and parallel with the wall not on an angle. With most constructed encaustic art panels, the piece can be hung by its frame. It takes two level nails, and when hung – the artwork is level and does not move. If you use an eye hook and wire ALWAYS put the eye hooks inside the frame not on the outside. This way it will hang flush on the wall. The saw tooth hanging clips are really hard to deal with, again because of the way the painting cannot hang flat on the wall.
If you do frame your piece, it is better to set the art back from the front of the frame at least 1/8 of an inch. If it is even with the frame, then there is possibility that it may get damaged. For those of you who beautifully paint on all of the sides, a good option is to float your art inside the frame 2 – 3 inches within a border around the art, so the sides can be seen. If you have never done this, take one of your small pieces to a framer and have them show you what it would look like. You might be happily surprised.
All About Encaustic
Many encaustic artists finish the sides of their paintings in wax, allowing the creativity to flow out all sides. It is contemporary in look and some of these are good as stand-alone art. You have to be the one to judge that for yourselves. However there is one problem in this style for galleries who store your artwork. Even thought most storage spaces are covered with carpet or soft surfaces, there still is a big risk that when theses pieces are set on their sides, there is potential for chipping.
All About Encaustic
The Ancha Icon of the Savior, known in Georgia as Anchiskhati, is a medieval Georgian encaustic icon, traditionally considered to be the Keramidion, a “holy tile” imprinted with the face of Jesus Christ miraculously transferred by contact with the Image of Edessa (Mandylion). Dated to the 6th-7th century, it was covered with silver chasing and amended in the following centuries. The icon derives its name from the Georgian monastery of Ancha in what is now Turkey, whence it was brought to Tbilisi in 1664. The icon is now kept at the National Art Museum of Georgia in Tbilisi. History The medieval Georgian sources identify the Ancha icon with the Keramidion, a “holy tile” imprinted with the face of Christ miraculously transferred by contact with the Mandylion. According to the Georgian hymnist Ioann, bishop of Ancha (fl. 1195), the icon was brought in Georgia by Apostle Andrew from Hierapolis. An 18th-century inscription on the icon covering associates the Anchiskhati with the Image of Edessa, an “icon not made by hand”, brought to the cathedral of Ancha in the Georgian princedom of Klarjeti to preserve it from the iconoclastic campaign by the Byzantine emperor Leo III the Isaurian. After the Ottoman conquest of the Georgian Principality of Samtskhe, of which Klarjeti was part, in the 16th century, Christianity went in decline in the area. In 1664, the merchant Amirjan Ievangulishvili brought the icon of Ancha to Tbilisi, where it was acquired by the Georgian catholicos Domenti II for 2,000 silver coins for the newly refurbished church of the Nativity of the Theotokos in Tbilisi, henceforth known as the Anchiskhati church. The icon remained one of the most venerated relics of Georgian Christianity until after the Soviet takeover of Georgia it was moved to the National Art Museum of Georgia in the 1920s. The Anchiskhati church was closed down and would only be reopened in the last years of the Soviet Union in the 1980s. Since then, there have been repeated calls from the Orthodox Christians to return the icon to the church’s property.
Ancha Icon of the Savior (Art Museum of Georgia, Tbilisi).
of the Jaqeli princes of Samtskhe. The chasing was amended several times and embellished with various inscriptions that date to the 12th, 14th, 16th, and 18th centuries. The 14th and 17th-century chasing of the lateral leaves depicts 12 scenes from the New Testament, from the Annunciation to the Ascension of Jesus. The icon (105X71X4.6 cm without a kiot, an icon box) is enclosed into the middle panel of the triptych so that only the face of the Savior remains visible. The silver chasing, remodeled in 1825, presents Christ Pantocrator, while the original encaustic painting shows the bust of Jesus. The frame of the central panel is adorned with Beka Opizari’s work, a high point of the medieval Georgian art. The two symmetrically located standing figures of John the Baptist and Mary, combined with the icon of Jesus, creates the scene of deesis. The archangels Michael and Gabriel and the apostles Peter and John can be seen in the corners of the frame. v
From Wikipedia: http://en.wikipedia.org/wiki/Ancha_icon
Description Ancha Icon of the Savior is an encaustic icon dated to the 6th-7th century as it was identified by the detailed analysis by art historian Shalva Amiranashvili in the 1920s. By the end of the 12th century the icon was covered with gilded chasing by the Georgian master Beka Opizari at the behest of the bishop of Ancha, Ioann Rkinaeli, and the queen Tamar of Georgia. In the early 14th century, the icon was converted into the triptych at the expense
Pushing the Boundaries of Encaustic Art Painting in Wax
Painting in Wax 30 Year Retrospective Douglas Mehrens Order now and get your own signed edition and weâ€™ll ship it to you for free! (Books will ship January 2013)
30 Year Retrospective
Hard Cover Coffee Table Book 12" x 9.5" 112 pages with 96 high-fidelity color plates
To order now or for more information click www.artguildpress.com/books/painting-in-wax
Characterization of the binding medium used in Roman encaustic paintings on wall and wood.
All About Encaustic
This is an excerpt from a professional journal found on RSC Publishing’s website, http://pubs.rsc.org. We are just presenting the last two pages of this article written by Jorge Cunı, Pedro Cunı, Brielle Eisen, Ruben Savizkyc and John Bove.
Experimental studies of wax paint media. Due to the small amount of organic compounds and their degree of deterioration, the characterization of the organic binding media in ancient paintings is a difficult task that often shows unreliable results. This is especially evident when trying to carry out a replica of an ancient painting by using the painting technique suggested at the conclusion of the chemical studies. It is not uncommon to observe that the physical characteristics of the original painting cannot be reproduced. In order to determine the capability of the beeswax-and-soap painting technique identified in this study to reproduce the characteristics of the ancient encaustic paintings, replicas of Roman wall paintings and Roman-Egyptian mummy portraits were executed with wax and- soap encaustic paint. Wax-and-soap wall paintings allowed the reproduction of complex large-scale murals without the need for giornate joints, as the painting was carried out on dry lime mortar, a feature consistent with the generalized absence of this type of joint in Roman wall paintings. Paint was easily applied, allowing the artist to reproduce both transparent and thick brush strokes present in the original paintings. Unlike the fresco technique, wax-and-soap paint was able to reproduce the high color intensity of the Roman paintings. Pigments that degrade with lime – such as white and red lead, azurite, malachite, orpiment and red lake – were used without problems, calcium carbonate whites could be used as white pigment and impastos showed a smooth and greasy surface similar to Roman originals. Besides, the soap content in the medium allowed the artist to reproduce the crater formations occasionally seen in Roman thick brush strokes Table 5 Identification of key components of beeswax and linseed oil potassium soap. Carboxylic acids were detected as methyl esters of the compounds listed Peak label Compound identification Retention time/ min Mass detected (m/z) Relative counta 1 Henicosane 7.750 269.6 0.19 2 Hexadecanoic acid 7.752 270.1 0.23 3 9,15-Octadecadienoic acid 9.612 294.0 0.53 4 9,12,15-Octadecatrienoic acid 9.654 292.2 0.67 5 6,11-Eicosadienoic acid 9.711 297.0 1 6 9,12-Octadecadienoic acid 10.247 294.0 0.03 7 9,15-Octadecadienoic acid 10.446 294.0 0.04 8 Tricosane 12.065 324.6 0.14 9 Pentacosane 14.690 352.6 0.47 10 Heptacosane 15.966 380.3 1 11 Tetracosanoic acid 16.152 382.1 0.72 12 Nonacosane 17.732 408.7 0.81 13 Hexacosanoic acid 17.901 410.2 0.40 14 Hentriacontane 19.367 436.8 0.80 15 Octacosanoic acid 19.549 438.2 0.37 16 Tritriacontane 20.705 464.9 0.72 17 Triacontanoic acid 20.901 466.3 0.22
The relative counts were determined by dividing the ion current for a given peak by the ion current for the largest peak in that spectrum. Fig. 4 Crater formations in the paint surface of a Roman wall painting from Villa dei Vetti, Pompeii, 62–69 AD (a), mummy portrait of a youth with a surgical cut in one eye, Egypt, 190–210 AD, encaustic on wood, The Metropolitan Museum of Art, New York (b), and wax-and soap encaustic on wood by Jose Cunı (c). Craters are often found in wax-and-soap encaustics due to the soap content in the binding medium. This journal is The Royal Society of Chemistry 2012 Anal. Methods Downloaded by Columbia University on 21 February 2012 Published on 21 February 2012 on http://pubs. rsc.org | doi:10.1039/C2AY05635F. Finally, wax-and-soap
wall paintings carried out during the last fifty years in open porches and interior rooms showed high durability and lack of decay. Beeswax-and-soap paint applied at room temperature with a spatula allowed the artist to reproduce the thick strokes executed with a hard instrument shown in the faces of many mummy portraits, and application with a brush could accurately reproduce the long, thin, transparent or thick brush strokes shown in eyes, jewels and garments of these portraits. As in Roman wall paintings, encaustic mummy portraits show crater formations that are typical of wax-andsoap paint due to its soap content. As mentioned above, paint made of beeswax saponified with an alkali does not allow the reproduction of neither mummy portraits nor Roman wall paintings due to its lack of cohesion. Conclusion. The eight binding media extracts of Roman wall painting samples submitted showed strong evidence of the presence of beeswax and fatty acid soap through analysis by ATR FT-IR. Some absorption bands present in these extracts were not identified. In five of these samples the analysis by GC-MS detected all of the hydrocarbons and fatty acids determined from characterization of beeswax, and also detected a significant amount of unsaturated fatty acids, confirming the presence of beeswax detected by ATR FT-IR and suggesting that the paint medium also contained soap that could have been produced with drying oil. The results of testing the three remaining samples by GC-MS were inconclusive due to the very small size of the peaks, possibly caused by the low yield of the binding medium obtained by the aqueous extraction method used. The ATR FT-IR analysis
Further studies are necessary in order to broaden our knowledge on the composition of the wax-andsoap encaustic painting technique in antiquity, its variations according to local artists’ schools, its geographical and temporal boundaries, its aging and degradation processes which would allow the development of conservation treatments for ancient paintings executed with this. Current state of the first encaustic wall painting on lime mortar executed in modern times (Jose Cunı, 1962), showing no signs of decay in the painting. House in San Lorenzo del Escorial, Madrid. With the exception of the article by J. Cunı and J. Cunı, Archivo Espa~nol de Arqueologıa, 1993. Anal. Methods—This journal is The Royal Society of Chemistry 2012. Downloaded by Columbia University on 21 February 2012 Published on 21 February 2012 on http://pubs.rsc.org | doi:10.1039/ C2AY05635F View Online technique, and its possibilities as a new painting technique for contemporary artists.
All About Encaustic
had a generalized use in Classical Antiquity. This widespread use strongly suggests that the watersoluble wax-and-soap encaustic paint identified in this study is a lost cold encaustic painting technique used by the Greco-Roman artists and whose reconstruction has been objective of artists and researchers during the last five centuries. As wax-and-soap encaustic is a painting technique unknown before the publication of this article, the identification of beeswax and soap in the binding medium of ancient paintings or polychrome objects suspected of being forgeries provides a strong argument in favor of their authenticity. The results obtained from the chemical and experimental studies on Roman wall painting techniques performed in this study strongly suggest that the theory of the generalized use of the fresco painting technique in Roman wall paintings should be revised.
of a sample of an encaustic mummy portrait also showed strong evidence of the presence of beeswax and soap, together with some absorption bands that could not be identified. This is the first study that finds evidence through chemical analysis of the use of a common painting technique in Roman wall paintings and Egyptian mummy portraits. This unknown painting technique, unreported so far in the scientific literature,‡ would be based on beeswax and soap. Egyptian mummy portraits are the best known examples of the ancient encaustic painting technique, whose composition remains subject to debate, as the two main theories about its composition – wax paint applied in molten state and wax saponified with an alkali – have not been confirmed by chemical studies and do not allow an accurate reproduction of paint strokes shown in some encaustic mummy portraits. The strong evidence of the use in an Egyptian mummy portrait of an encaustic paint made of beeswax and soap provides an alternative theory on the composition of an ancient water soluble encaustic paint. The support of this theory is not limited to the results obtained by chemical analyses; it also relies on experimental studies showing that wax-and-soap paint allows the artist to reproduce characteristic paint strokes in encaustic mummy portraits with great accuracy. The alignment of the peaks characteristic of beeswax and soap shown by ATR FT-IR spectra of the eight Roman wall paintings and the mummy portrait analyzed strongly suggests that the Roman wall paintings analyzed were also executed with a water soluble encaustic made of beeswax and soap. These results agree with other studies of Roman wall paintings in Pompeii, Herculaneum, Marsala (Italy), Merida and Complutum (Spain) which also identified the presence of beeswax and soap. The use in Roman times of wax-andsoap encaustic in wall and easel paintings that are geographically and temporally distant (From Egypt to Spain from the 1st century BC to the 2nd century AD) suggests that this type of encaustic
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K at hle e n Wate rloo Portfolio 26 Winter
How Do You Know, [detail], 2012, Encaustic on panel, 30” x 30”.
Kathleen Waterloo, Artist Expressing myself feeds my soul. I never studied or made art until after my children were born. One night in my kitchen, the “ghost” of Georgia O’Keefe entered my body and said this is what you’re going to do. Although I was in Interior Architecture, I felt this urge to do something more creative; it’s a trend in my life. At college I studied accounting and found it was all about rules; it just left me dry, so I went back to school for Interior Design. After having kids, my work schedule didn’t coincide with raising a family; I’d always wanted to try watercolors so at age 40 I went to the School of the Art Institute.
liability or fire hazard. In 1999, I took a workshop with Christy Dietz at Oxbow in Saugatuck, and ever since I have done nothing but encaustic. I love the fluidity, the liquid aspect. I started my art life with watercolor and encaustic seemed to mirror what I loved about that medium. Moving the paint with the blowtorch, the translucency, the layers…I bonded right away. My children were small, I was working in oils and the clean up was frustrating, so with encaustic I could merely pull the plug, walk away and the next day, just plug it in.
At school, instructors talked about encaustic, but didn’t know much about it. They can’t teach it because the rooms aren’t set up for exhaust,
Though my work may look the same after 13 years, every time I pick up a brush I learn something new. My framer notices the nuances of change. I used to carve into wax or apply metal forms; I’ve gone through eras and keep a piece from each era around. I experiment but go back to pure wax without collage, etc. I use wax in a painterly way and consider myself a painter.
I’m Not Worried at All, 2012, Encaustic on panel, 48” x 36”.
I’m too busy to write ideas down; I internalize them in my mind and I can progress or succeed without heavy journaling. I do a lot of thinking and resolving while driving or running errands. I collect things that are plan-related and architecturally organized— usually from a magazine— and put them in binders. Before I start a body of work, I thumb through the binders and something talks to me and I start seeing a pattern, shape, color or idea. I pull the pages out and start a notebook for the new series.
If I have free time between shows, I’ll pick up a panel, lay down color in stripes and do experimentations. These are exercises, and I have the freedom in my mind to experiment with color and techniques. When I’m on deadline for a show and pressure builds, I don’t do much experimenting. But by producing 10-12 paintings for a show, I see some evolution in the direction of that body of work.
From past exhibitions there might be a specific idea I want to pursue. I worked a show around aviation and international airport floor plans (my son is a pilot). I also used as inspiration the cobalt blue route line on Mapquest. I routed locations from my studio to art museums around the country and this became a catalyst for experimenting with neon, maps, etc. Don’t Let It Break Your Heart, [detail], 2012, Encaustic on panel, 48” x 36”.
Sometimes it’s tough to stay energized and inspired. It takes self-discipline. Persistence. When I’m on deadline and working late, I call up something inside me that says, “relax, you’re a professional you know what you have to do, let your intuition and psyche take over.” That works every time. I find that somehow I achieve little victories that keep me propelled.
K at hle e n Wate rloo
Starting a new body of work is daunting. About a third of a way to completion I reach a plateau where I need to maintain consistency across pieces, so I work on several concurrently to keep the same spirit and emotion. The final third is the hard part. I might like something and I’m afraid to make changes and ruin it. But when I stick with it and that final birth occurs when I have the finished piece, it’s thrilling. While my photographer is shooting the work, I stand back and think, “Wow that looks good.”
K at hle e n Wate rloo
For recent solo shows, I was attracted to charts and graphs (popularity polls, etc.), so these became the impetus for new work. When titling the pieces, I used the song playing on my ipod when I knew that piece was done. The show was called off the charts, referencing both the charts and music charts. Someone in the music industry purchased a piece at my exhibition so I felt there was a synchronicity and things came full circle. Recently I moved into a larger studio within the same community of artists. Each time I open the front door it is a blessing: I’m thrilled to be in such a creative work environment. My own space is a calming haven, a shelter, a creative room. Even though the spaces have no doors and walls only go up 8’, people respect individual studio time and there is a sense of camaraderie and a professional work ethic— even a critique or a bottle of wine when you need it! Silent Running I, 2012, Encaustic on panel, 36” x 36”.
Opportunity has knocked on my door and I’ve answered it. In art school I entered a Midwest student exhibition; Ed Paschke was a juror and selected my work. There were only 5 abstracts out of 60 pieces in the exhibit and I felt honored; it was a validation to keep doing art. From my BFA show, I got a call from a non-profit Chicago gallery that wanted to carry my work. That same summer I got into an exhibition juried by a prominent Chicago art curator. Also, two of my egg tempera paintings were chosen for an exhibition in Santa Fe and I won a cash prize. I started showing work at Chicago’s Woman Made Gallery, and from their slide registry, Melanee Cooper contacted me and started representing my work in Chicago until she closed her gallery. A gallerist in Minneapolis saw my work and I started showing there. My advice to emerging artists is to stay with it if you believe in it. Take little steps; these and little victories will get you somewhere. It takes persistence, patience and talent every day.
Land II, 2011, Encaustic on panel. 24” x 24”.
What’s on the horizon for me? I have ideas for works on paper; I need free time to experiment and play with that.
As for marketing, I let the galleries do their promoting: it’s their job. Even in this digital age I religiously send out a postcard. Some people show up at the exhibition card in hand. It’s something physical and just one more personal poke. A curator at MCA said she gets my postcards and puts them in her Waterloo file. She doesn’t do anything with digital announcements. I have a website; I’m on Facebook and Twitter specifically to promote my blog. I feel artists should do community giving: sit on boards, donate, and conduct workshops, demos, studio tours—it’s marketing but I do it because I want to.
Quiddity I, 2011, Encaustic on panel, 12” x 12”.
When people experience my work, I want the color to talk to them. I want them to feel excited, to look beneath the surface and see the mark making and have some sort of psychological revelation. I put it in the viewers’ court to ponder, to ask their own questions.
K at hle e n Wate rloo
I’ve started a blog featuring interviews of prominent women in art and architecture, and I’m enjoying this as an addendum to my art making. Meeting these women is an inspiration.
Kathleen Waterloo email@example.com www.kathleenwaterloo.com www.kwaterlooart.com 312-919-1789
Cataclysm, 2011, Encaustic on panel, 24” x 24”.
Interview and article by artist, Julia Ris. juliaris.com
Pat r ic ia Bald w i n S eg g e b ruc h Portfolio 30 Winter
I believe in the freedom of experimentation: In the beauty of experimentation. In 2007 I found myself with a need to get a ‘real job’. Sitting across from a recruiter, being asked ‘what do you do’ for the first time in over 20 years I spilled out all that came to mind; ‘I am
an artist’. To my delight, and I admit horror, the Home Depot hiring manager for the brand new store being built said she had the perfect job for me. Imagine: Artist+Home Depot. Yeah, took me awhile to digest as well… And so you’d find me, 4am M-F walking the dimly lit pre-customer aisles taking stock of missing
Light and Wax, 2012, 10”X10” each encaustic on distress papers, textile, transfers.
signs, new prices and opportunities for attention as the fulltime, with benefits, sign artist for Home Depot Snohomish station. Yeah. I was on fire. The beauty of it is that they allowed for my life to work into the job; I was able to manage the three boys still at home, on the phone at 6:40 every morning ‘walking’ Patrick
Pat r ic ia Bald w i n S eg g e b ruc h
Light and wax detail. www.EAINM.com
to the bus stop in the dark, home by 2:00, with cookies and a smile in hand as they arrived home: Able to travel to three already scheduled teaching opportunities in the coming months. A strong nod to Home Depot for this.
Pat r ic ia Bald w i n S eg g e b ruc h Portfolio 32 Winter
Fields, 2011, 8”X8”, encaustic with ink, charcoal and tar paint.
But more than this; the true purpose of my time there was in the aisles. Anyone with a pulse could’ve walked in there, taken stinky thick marker in hand and created the necessary signs for the day. But not everyone could’ve taken those trips down the aisles and come away with the same rekindled passion, reignited desire, re-purposed sense of direction that I did.
Becker 1, 2011, 24”X24” encaustic with burned encaustic board and panpastel.
into the world of ‘why not’ ‘how come’ and ‘what if’ and there was no return…. I experiment. I am an experimental encaustic artist. And I love it. For me, there is no other way. And I want to free others to explore to their hearts
These trips down the lumber, paint, light bulb aisles ignited a debunk passion to paint. And not just any paint; encaustic paint. This same year Encaustic Workshop hit the store shelves to blazing applause. It was about time-I think we can all agree! I was just the blessed individual portioned out to be the author; thank you God! The beauty came in its creation of course, but also in its existence-of which I was only a player. This fact was not lost on me as I also faced dramatic personal life changes to match this professional one. Which finds me at Home Depot, walking the aisles at 4 am….its amazing what an artist can discover in the rows of home improvement supplies! Plaster, tar, spray foam, nails, washers, interesting trowels and roofing materials…I was a kid in a candy store! After the ‘all the rules and proper techniques’ of Encaustic Workshop I felt released to explore and experiment to my heart content! And explore I did. Encaustic Mixed Media was the birth child of my 10 months at Home Depot. A second book; one I swore I wouldn’t write and I was sure would put me under. As in 6 feet under. But, I had crossed over; over the divide of don’t, shouldn’t, mustn’t and no
Btk Gifting, 2011, 8”X8”, encaustic with panpastel.
content as well. Whether within the bounds of archival, ancient proprietary techniques, or stretching into the arena of melding the new with the old, the undiscovered with the foundational, the proper with the potential. To each their own has never had more value and worth than in this medium. To each their own is the value added benefit of encaustic and I hope to be the force behind making this so; to bringing the timid, the unsure, the experts, the learned alike to the dynamic, all-inclusive wonder that is encaustic alone. It is there. Now let it in.
Patricia is the creator of EncaustiKits, a business bringing the art of encaustic to crafters worldwide through individualized, all-inclusive kits-all you need is the heat!
She has also created the popular all-encaustic art retreat held annually in the northwest, EncaustiCamp.
Pat r ic ia Bald w i n S eg g e b ruc h
Number the stars, 2011, 8”X8” encaustic with tar paint and charcoal.
Rkgd, 2011, 8”X8” encaustic with panpastel, charcoal, Yupo paper.
For additional information visit: www.pbsartist.com firstname.lastname@example.org
Piles of Burn, 2010, 3”X4”, assorted encaustic with Waxed Burn, 2010. 4”X4”, assorted encaustic with burn, plaster, transfer. burned woven watercolor.v www.EAINM.com
In_A_Whisper, 2012, 24”X24” encaustic with tar paint, silk imagery, ink, charcoal.
Edge of Wonder (detail); 2012, encaustic on sysil with burn.
FUSION Santa Fe Cultural Cohesion Through Wax
October 31 - November 3, 2013 w w w. e n c a u s t i c o n . c o m
IEA encaustiCon® 2013
International Encaustic Artists will excitingly be held in Santa Fe, New Mexico. USA at The Eldorado Hotel from Oct. 31st ~ Nov. 3rd, 2013. Founded in 2005, IEA remains the oldest and largest professional membership organization for encaustic art, with over 450 member artists in thirty-four states in the U.S., five provinces in Canada, and artists in Mexico, Australia, Europe and Asia.
Toward our mission of “raising the level of excellence in fine art encaustic work by providing a global information exchange,” IEA encaustiCon 2013 will be four packed days of workshops, demonstrations, presentations, speakers and networking events. To this end, we will have a lineup of outstanding internationally acclaimed artists who will share their encaustic process introducing you to innovative techniques and materials. Professionals will offer insights into managing your business and information about applying for residencies, opening an art school or building on your own entrepreneurial spirit. With hands-on opportunities to work alongside papermakers, fiber artists, painters, sculptors, mixed media artists and printmakers who use wax in their work, IEA encaustiCon 2013 also offers networking with artists from around the world, shopping extravaganzas for the latest and the greatest encaustic supplies, and memory-making events full of fun and learning. Join us for a rich exploration of Cultural Cohesion through Wax. Registration opens soon for IEA encaustiCon 2013. REGISTRATION will start early 2013 For additional information please visit: www.encausticon.com
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The honey bee is our best friend and we do not want to see it end they travel so far and wide to keep our veggies and flowers alive they teach how to work as a team they ask for nothing in return but we owe them our love and care let us give to them our support and guard the environment for them well so they can continue their work so well by Gresilda McDermott Of all the wonders that I see, nothing can beat the honey bee. with wings too small and body too big, when it lands it can bend my twig. From flower to flower it darts and swerves, gathering pollen to stock up its preserves. Honey it makes without energy to conserve, its sweetness is too good for my toast to deserve. The honeycomb is a marvel to see, its perfection so exact you just want to let it be. Once stung the bee ends its life, so stay out of its way and cause it no strife. by Lauraine Andren
We bow down to you, Busy, pretty bee if you died out, So soon would we. by Paul Rance
For additional information on the authors and other poetry, visit http://www.helium.com/items/1797382-honey-bee-poem
Published on Dec 21, 2012