As a contemporary painter, it seems ironic that I do not use the latest, newest mediums or technologies. Instead I use the very oldest painting medium, encaustic.
In this molten mixture of wax, resin and pigment, I find a very personal means of expression, an intimate visual language and my own abstracted version of landscape and mindscape.
My work is very much about the painting process itself. Working with hot molten wax has strict safety rules, and for me there is an intimate relationship with this specific medium I’ve not experienced before. I’ve also discovered there is a wide range of physical and mental challenges as I work with a medium that changes from a liquid to a solid so quickly.
Life and these paintings are more similar than different. In life, a person may edit or censor layers of memories to create their view of past and present. Likewise, I scrape away portions of paint layers thus editing in order to reveal or conceal what is beneath.
On some level, I think none of this comes from me, only through me. I’ve learned how to get out of my own way. Every day the work teaches me. I do not try to conform to preconceived ideas. Sometimes the image is slow to emerge and has a fragility that requires gentle cultivation.
I believe beauty is subjective and can be found in the creative perception of the artist and the eye of the beholder. An artist contributes only one half of the art experience. The viewer brings the other half. Each viewer will see exactly what relates to him or her based on life experiences up to that moment. So no matter what the artist’s intent, many interpretations will occur.
Within my paintings are colors of comfort, fragments of memories, hints of what is yet to come, and evidence of intuition. It is a place of spiritual well being. It is where I find beauty.
All this and the beautiful scent of beeswax gently wafting in the air.