Olive Trees

Olive Trees
8" x 8"

This piece was inspired by a recent trip to Italy during harvest time.
There were so many beautiful fields of Olive Trees everywhere. They look, "oh so delicious", ripe and juicy, ready to be eaten. But don't eat one off the tree, they are not delicious at all. They are very bitter. Ha, ha ha,we learned the hard way.
The technique I used on this painting is called incising and each of those thin lines are made with a sharp needle tool, another clay tool, that works well in wax.
To make the line black, an oil stick in pushed into the recesses, let dry and buffed away.  Tube oil paint can also be used, but must be exposed to the air for several hours to thicken, then used.
This painting was donated to Arrowmont School of Art, in Gatlinburg for Auction. It's a beautiful campus here offering a wide variety of classes in all mediums.

Working with a hot palette

Working on an encaustic collage

The image of the bird in this painting is an image transfer on wax. Transfers on wax are so

simple to do. A copy of the image is made on a toner copy machine. The image appears in the reverse, so if there is any text it will have to be reversed before copied. The image is then turned face down and pressed to the surface. A wooden spoon or burnishing tool is now used to press the image into the wax. The back of the image is dampened with water and let rest for 3-4 minutes.  Begin rubbing gently with fingertips in a circular motion until all the paper pulp is removed. The toner ink image is left. See below for the finished painting.

Urban Landscape
22" x 22"

Sunflowers
6" x 6"

Carolina Wetlands
18" x 18"

Plumage 8" x  8" 

Achieving a smooth encaustic surface

A Bird In This World
10" x 10"

This piece has the luminous, smooth surface that is typical of encaustic medium. Many layers are built up in the same way as a textured surface, so this painting still has approximately 8-10 separate layers. In order to get a smooth flat look, the surface must be hand scraped after each addition of paint. The paint should be slightly warm to the touch. If it is too warm, or if you scrape too deep, all the color from that layer will be removed. It's a judgement thing and takes a little practice to avoid making ridges.
For years I used single edge razor blades or long handled razor blade scrapers that house painters use.
These become dull quickly and are awkward to keep level.
I have found the perfect thing for the job, and it is used by potters for sculpting clay. It is a loop clay tool and comes in many sizes and, can be purchased where pottery supplies are sold.

I have utilized my hand dyed papers for collage and stenciling to create the crisp, bold images.

New work, a new beginning and a commitment to share...

The last year has been devoted to encaustic wax. With construction finished on my new studio with it's custom ventilation system, designed by husband, I have been spending hours and hours working with beeswax, oil paint, oil paint sticks and oil pastels.

My  Encaustic show in January at the Emporium Gallery in Knoxville was great and I'd like to share images from the exhibit.



This piece, Shoreline, is the largest one in the show, and the largest I have done to date. It really used a lot of wax and as the size goes up so does the material costs. I can see why most work that is seen in this medium is usually in the 12" x 12" format. The surface is highly textured and embedded with shell fragments, sand from the beach, feathers, and cheesecloth. Other texture is created by letting the wax cool slightly before applying, and adding layer after layer. The finished piece has 8-10 layers of medium.You can almost smell the salty sea air after taking a closer look at this piece.

Shoreline
24" x 28"

detail of surface