The Process of Encaustic Art

I took my first painting class nearly 3 decades ago.  An oil painting class at the VA Museum Studio School, where I was already taking photography classes and mildly obsessed with developing film and prints.  

I took in a gorgeous black and white print on fiber paper of my daughter, who at the time was 2, and wanted to recreate it in a sepia style, but in painting form.  

Instead of a canvas, I chose a flat canvas board (which I now realize is my preference to paint on birch boards) and I found the brushes restrictive and I kept dipping my fingers into the oil paint in almost a childlike finger painting style.  This, of course, is a big "no no" due to the solvents in oil paint and my wonderful teacher gently encouraged me to use my brushes and stay within the acceptable techniques of oil painting.  After one class, I disbanded the idea and went back to my photography, where I felt I had more control over the creative process in the darkroom processing my own prints. 

However, all of these decades that urging to paint has remained inside of me and I've envisioned painting layers with tools, not brushes, creating texture and form on hard surfaces.  I was familiar with encaustic painting, but hesitated to explore this method due to the concerns for proper ventilation and possible toxic fumes.  Instead, I started dabbling with cold wax and oil sticks.  Immediately I realized this was what I had been wanting to do all these years.   Using metal tools to scrap up the glorious colors and paint the birch boards in almost a part art/part pastry chef style.   But, when I found that heating my pieces with a hair dryer (outside with a fan) was the only way to achieve the results I was hoping for, I realized that heating solvents in cold wax put me back in the "no no" category. 

I took some time to explore encaustic painting.  It's history goes back to the ancient egyptians, but some of the most fascinating work is by Frida's husband who did large murals.   All of these artists had their own problem solving issues with how to "manage" this medium with the heating issue, but what drew me to the process was that fact these pieces have a longevity not enjoyed by many forms of art.  

As one of the only art forms that doesn't use a man made solvent, the natural process of only beeswax, damar (from tree resin) and natural dry pigments mainly from the earth were the perfect marriage for me of a safe and sustainable process that would also have archival qualities and stand up over time. 

The basics of encaustic are simple.  The process of creating the art is not.  

It starts with ventilation.   I paint outside as much as I can, mainly because it's a chance to be out of the studio, but also because the natural light is always so wonderful.  In the studio, I have a combination of a window exhaust unit, fans blowing behind me to that unit and wear a NIOSH mask when mixing pigments or using my heatgun.   I personally do not use a blow torch because for my style, it melts and moves the paint too much.  I prefer using a combination of placed pigments with heated tools, ironing, and a heatgun set at medium temp. 

Dry pigments. 

Boards. 

Inspiration. 

Encaustic isn't without it's issue.   The pieces need to be displayed in a room without huge variations in temperature.   Extreme cold and they can crack.  Extreme heat and they can melt.  

For me, I like the fact a commitment to this style is a commitment to the natural process.  Similar to having a plant, you can't leave it out for the winter and expect it to survive.  Knowing the art is a natural, organic, "living" piece of art requires a level of appreciation and care to ensure it's survival.