As a painter, my concerns have always been directed towards
process, surface and materials. In 1999 I began using encaustic
paint exclusively. As this material is comprised of wax,
pigment and damar resin, it must be heated and fused. Using
hot wax, which is difficult to control, challenges me in
the creation of a wide spectrum of surfaces from flat and
transparent, to dense and scarred. There is a very destructive
aspect to my work, as it is only through the process of destruction
and creation that I am able to build the layered surfaces
I am so attracted to.
These current encaustic pieces are in part about discovering
something new in my process. After an extensive remodel of
my home, during which time I had difficulty working in my
studio. I began using paper as my substrate and also my central
material with the encaustic. The multiple layers of paper
and wax embedded in the paper creates amazing transparencies.
It’s also the opposite approach to the work I was doing
previously. Looking into the layers as opposed to building
from the bottom out.
Although I work intuitively, I have certain criteria that
I consider in the work. My encaustic paintings reflect my
interest in Jungian psychology, duality and the unconscious
mind. I seek difference –
opposites, whether through color, texture or darks and lights.
As I work on many pieces at once, I watch as the paintings
begin to attract one another like magnets. The division of
space and use of the grid is a metaphor for my belief that
our psyches are divided into many parts seeking wholeness.
It’s also a means of organizing chaos.