Captivated by beeswax!

fullsizeoutput_31d6Saturday, February 25 from 12-2 pm, I’ll be demonstrating how to use cold wax and oil paints (on both paper and board) at Artist and Craftsman Supply in North Portland – 2906 N. Lombard Street. Drop by, check out the store (it is artists’ heaven) and learn about this way-cool medium. Additionally, I’ll be answering questions about the 2017 Portland Open Studios Tour – the Call to Artists is open now with an entry the deadline of March 3rd.

fullsizeoutput_3214Beeswax! It’s amazing. When combined with Demar resin and heated you end up with encaustic medium, which is used hot. When encaustic medium is combined with Gamsolheated and then cooled you end up with cold wax medium, a paste-like substance which is used cold.

fullsizeoutput_2983Until recently, I focused on creating encaustic artworks, having taken several excellent classes from Portland artist Linda Robertson. I love utilizing iPhone photos, pan pastels and colored encaustic oil pigments, using a heat gun and pancake griddle to heat things up. After spending two days working with the talented artist and teacher, Serena Bartonlearning about cold wax, oil paint, Venetian plaster and more, I am totally smitten with this method of using beeswax.

fullsizeoutput_308fThis encaustic piece combines three iPhone photos (the clouds, the house/field and the crow). All three images are inkjet printed on archival card stock and collaged the cradled birch panel with PVA glue. Warm encaustic medium (both clear and tinted) is applied via a natural bristle brush and then heated with an embossing gun between layers, pan pastels and encaustic pigments are used as embellishments. Again, every time something is laid onto the surface, heat is used to melt the layer into the one below. Having the chance to use my photographs, create imaginary landscapes AND the added bonus of warm beeswax scenting my studio is divine! These pieces do require a certain amount of planning and preparation – what layers go down first, what photos need to be cut, what paper should I print on? How much more wax should be added? My graphic design background comes in quite handy.

lake1Encaustic medium cools so fast – brushing hot wax from one side of a board to the other – it’s cool. Working with cold wax is TOTALLY different and I’m in uncharted territory. Never having used oil paints before (yes, they are used in a diluted form in encaustic), I was unprepared for the ‘drying’ time issue.

fullsizeoutput_313dfullsizeoutput_326ffullsizeoutput_31e2Layers of cold wax and oil paint (mixed at a 50/50 ratio) can take several days to dry, especially in our rather damp Oregon climate. These three abstract works are all painted on cradled birch panels with a base layer of acrylic gesso and a thin coat of Venetian plaster.

Needless-to-say, they are QUITE different from the encaustic medium works! Layering and scraping away, incising the paint with various tools – bamboo skewers, Starbucks® cardboard jackets, forks, paper-towels, a palette knife – whatever I can grab that makes a mark. Even with the element of waiting for stuff to dry, the process is very spontaneous. Inspired by “true life” images and then creating abstract compositions with depth and movement is both challenging and rewarding and so much fun!

A BIG SHOUT OUT to the bees for making such a wonderful product that, whether used hot or cold, allows me not only to expand my knowledge but also adds to the joy of my continuing artistic practice!

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Sharing what I love to do

img_0595Portland Open Studios (PDXOS) features 106 artists who open their studios, showing their art and work spaces to visitors. This past weekend over 100 guests learned a bit about encaustic collage, hand embroidery and my art practice. Additionally, everyone was given the opportunity to create their own small piece – working with beeswax, demar resin, oil pastels and encaustic colors. They had a blast and so did I! img_0582img_0583Monday evening I visited 8 of the studios in my artist community  (Community #2). Betsy Levine #11, (her meticulous oil paintings of flowers are delightful) organized this private tour – since we’re all booked during the two weekends of the event. The studios and artworks I saw were amazing and getting to know these artists was a treat. David Friedman’s, #17 paper cutting must be seen in person – photos just can’t capture it’s depth and beauty. Kamala Dolphin-Kingsley’s #20, watercolors and acrylics are wonderful – scientific and whimsical at the same time. Dan Pillers #16, heart-felt mixed media/reclaimed wood sculptures tell stories and share his visions. Mona Cordell’s #19, bi-level studio was full of her powerful figure paintings, sumi brush drawings and more. Would so love to see her body painting on the NW Dance Project performers this weekend! Mandy Stigant’s #18, sturdy wood-fired stoneware would be a great to use. Scott Conary’s #13, masterful oil paintings tell stories of places, people and more. Hilary Pfeiffer’s #12, works embrace several mediums: wood, metal and book publishing. Her painted wood birds and animals are truly delightful. Three hours later I came home visually sated, feeling very honored to be included with this talented group of working artists. pdxoscardfront       I’m gearing up for this weekend’s tour (October 15/16, 10am – 5pm), creating some small encaustic pieces (3.5 x 3.5) on the left-over pine blocks that my sweet husband so graciously cut and sanded for me. Sharing what I love to do, having people appreciate my work and also enjoy trying their hand at making is the best! Here are some the Little Art Works (L.A.W.) that will be available this weekend – $25 each and ready to hang. img_0593img_0591Today’s lovely sun is giving way to a weekend of rain, rain, rain. So please do drop by, have some tea and chocolate, play with wax and see my work – I look forward to sharing it with you. Portland Open Studios guides are available at New Seasons, Collage, Dick Blick, Artist and Craftsman Supply as well as other local businesses and there’s a free app, too!img_0589img_0590img_0594img_0588