Category: encaustic

Below the Surface : Recent Encaustics

My current exhibition at the Pagus Gallery in Norristown PA, Below the Surface, represents my exploration of and transition to the medium of encaustic throughout this past year.

Works on View: April 1st through April 30th 2012

Opening Reception Sunday April 15th 1:00pm to 4:00pm

Pagus Gallery
619 W. Washington Street
Norristown, PA 19401

Three, encaustic and oil on panel, 8 x 10.5"

Three, encaustic and oil on panel, 8 x 10.5"

Falar do Tempo by Bebo Best And The Super Lounge Orchestra on Grooveshark

Local Wax

I recently decided to start making my own encaustic medium. After almost a year of paying a fortune for the ready-made stuff, I thought I’d save some money and make it myself. It was definitely a good decision but then I started thinking that I could perhaps save even more money if I bought the wax from a local bee keeper. I knew it wouldn’t be the refined white wax but I’d been wanting to try the natural yellow version anyway so I contacted Walt’s Swarmbustin’ Honey to see if I could come over and get about 10 lbs of wax directly from him. The answer was yes and it was going to cost $5/lb versus the $10-15/lb for plain wax that I was currently paying online (not counting the shipping costs). The added bonus was that I could pick it up the next day and not have to wait forever for a shipment to arrive.

It was a lovely drive into the farm country of Chester County. All the trees were in bloom and the hills were a glowing green.

Chester County Scenery

Spotted this magical landscape on the way to the farm.

We turned onto a long driveway/road and knew we were in the right place when we started seeing these colorful beehives along the way.

Walt's Swarmbustin' Hives

Walt’s Swarmbustin’ Hives

I met Walt at his house and got my box of treasures. 10 lbs of wax, raw honey and some bee pollen. The wax smells absolutely divine.

10 lbs. of wax, some honey and bee pollen.

10 lbs. of wax, raw honey and bee pollen.


Walt (on the left)

I began making a new batch of encaustic medium as soon as I got home. It turned out very well and I have been using it for a couple weeks now. My paintings never smelled so delicious.

Finished encaustic medium.

Finished encaustic medium.

Golden by My Morning Jacket on Grooveshark

My Panel Maker

I thought I should share an important piece of my paintings — the beautifully constructed cradled panels.

When I started to learn encaustic I used any old piece of wood that I found in Lowe’s scrap bin. Soon it became obvious that what I painted on really affected the painting itself. The cheap plywood had a deep grain that was hard to overcome and the pieces were heavy. I started to look at the different substrates that were available and found that the cradled artist panels available for purchase were pretty costly and that I would also be limited to the sizes that the manufacturers had available.

Well, lucky me, I happened to be living with a person who was familiar with woodworking and was more than willing to help me out. She did a little research, bought some new gadgets and tools (probably her favorite part), took over the garage and started to crank out some fabulous cradled panels.

Thank you Marcy, without you my paintings wouldn’t be what they are and couldn’t be what they will become.

Life Is Wonderful by Jason Mraz on Grooveshark

You Never Get to Nirvana

“Something like art is a little bit like the donkey and the cart — and the artist never reaches the carrot — you never get to Nirvana, it’s not possible — because your concept, your ambition is always greater than what you’re able to achieve. You’re trying to, in a sense, imitate God, because you’re trying to be creative…”

~Sean Scully
Sean Scully Nirvana video link

Sean Scully Nirvana video link

I really have a problem with never feeling satisfied with what I’ve created and I appreciate hearing an accomplished artist such as Sean Scully essentially saying that I’m trying to do something that isn’t possible. I need to stop being so disappointed in what I didn’t achieve and see the virtue or merit in what I did create.

I’ve often wished I could see my paintings through someone else’s eyes. What does it really look like? What does another person see without knowing what I was shooting/hoping for and without my list of “that line isn’t straight, that color isn’t dark enough, why didn’t I think of x, y or z, oh there’s a scratch—damn, etc.” running through their head.

Obviously, I’ll never know, but my goal now is to start to show some kindness to the things I make and stop seeing them as something that fell short of the mark. If I don’t, I’ll never go anywhere with this because it will become so disappointing the joy will be sucked out of it. It would be like telling your child they’re a worthless waste of oxygen their whole life and then wondering why they never amounted to anything as an adult.

Torch It!

When I began working in encaustic seven months ago my first task was to figure out what I would need in my studio in order to start painting. I knew it was going to be more complex than a regular studio, so I began reading books, blogs and tutorials to help me assemble the necessary equipment ASAP. Next to the obviously important item of encaustic medium it was clear that a hot plate and some sort of instrument for fusing (after applying the pigmented wax it must be fused to the surface with heat) were the most important items to acquire first.

The hot plate was no problem, I just hopped over to Sears and bought the biggest electric griddle they had on the shelf. Then came time to decide what to use to fuse the wax. Everyone essentially said the same thing, it’s a matter of preference. There are propane, butane, Crème brûlée and MAPP gas torches, heat guns, tacking irons and regular household irons. In her book Encaustic Art: The Complete Guide to Creating Fine Art with Wax, Lissa Rankin did a decent job of outlining how she uses these different heat sources, but never having made an encaustic painting before it really didn’t mean that much to me. I already owned a heat gun and this venture was getting very expensive, so I decided the heat gun would be my method of fusing.

Now, I wish I had stumbled upon someone during my research phase who had written what I’m about to write. Working with encaustic can be physically demanding. If you’re like me, you could be standing there for eight hours at a whack bent over at a 45 degree angle with your head cocked half of the time trying to see what you’re doing via raking light. Add holding a heat gun in the air while slowly moving across your piece for what seems to be a painful century and you have a recipe for at least one trip to the chiropractor a week. My lower back and neck are always in pain and my right shoulder (the heat gun arm) is often exhausted. I just took it as an unfortunate consequence of doing what I love.

Last weekend I decided I wanted a new toy to experiment with for the hell of it. So I went over to Lowes and bought myself the Bernzomatic BZ8250HT Trigger-Start Hose Torch. I chose it because it came with a five foot hose, a belt holder for the fuel, an adjustable flame control knob and it could use MAPP & propane tanks.

Let me just say Oh my God! Why didn’t anyone state, in no uncertain terms, that you’d be a fool not to use a torch for encaustic!!! Let me say that again for anyone beginning encaustic painting, you’d be a fool not to use a torch.

For the initial fusing of the wax to the panel it can’t be beat. I just fused two separate base layers of a 24 x 15″ panel in about five minutes. It’s smooth as glass, very few bubbles and best of all I am in no pain whatsoever. That would have taken me so much longer with the heat gun, there would have been tons of bubbles and it would have required a decent amount of scraping once it cooled to get it level.

Holding this light torch handle was such a relief from that heat gun I can’t even describe it. I don’t wear the holster with the fuel in it, I’ve attached it to the table next to me further reducing the amount of weight I have to carry.blowtorch

I have only been using this blowtorch for a few days so I can’t go on and on about all it’s fabulous attributes regarding encaustic. However, with the experimentation that I have done so far, I know that the adjustable flame is very useful. At the low setting it is gentle and small, I’m pretty sure I could fuse smaller, delicate areas with this setting and not obliterate them. Cranked up high is pretty useless. I could melt the wax completely off a panel from over a foot away in the blink of an eye. I found a nice middle ground for the initial fusing I did today and I’ll be joyously continuing to experiment with it as soon as I publish this post.


My Studio

encaustic studio

Page 4 of 512345
July 2018
« Jun