I’ve created an advanced class for encaustigraphics that carries the medium into moveable and three dimensional forms. One of my favorite new ways to play with e*graphics is Super Simple Sculpture, where the light weight of e*graphics allows you to use almost anything as a base. Here, driftwood and a small stone, or even an acorn cap, with light wire support, allow free improvisation to experiment with ideas and make a small village of playful artworks.
I’ve been intrigued with the possibilities of remesh (the steel grid material used to reinforce concrete forms), so I purchased some to play with. After cutting the large piece into various frame shapes, I found creating the digital files to fit was its own challenge, but I was pleased with this first try. Each square opening is 6″ and the “hug” is a retention ring (found on the inside of hubcaps). Found materials are always a fun way to stretch the imagination.
Ever experimenting… these tiny trees have braised copper trunks and branches with small e*graphic leaves attached by very fine copper wire. Definitely an exercise in control and patience, but very satisfying results.
I’m honored to have my work included in the Permanent Collection of Museum of Encaustic Arts, part of the Encaustic Art Institute of New Mexico, located in Santa Fe. Titled VLA (for “very luminous array,” a nod to the Very Large Array in Socorro, New Mexico), it was thrilling to see them installed for others to enjoy. The pieces are made from shaped and sewn encaustigraphs, copper or steel wire, and finials of translucent polymer clay in braised copper circles. Lengths vary from 66 to 72″.
A little picture of e*graphics out in the natural world, just for fun. I do love the colors against the snow. It’s wonderful to be able to add color to the surroundings when in the midst of grey and cold.
Hearts are universally understood and so fun to make, as well as give. These are part of the latest group I made for Folio Salon’s beautiful small boutique in downtown Kalamazoo.
Thanks to my friend Jean who took this photo before the BIG snows fell in Michigan. It’s been quite fun to see how e*graphics can be used in very large works, as well as in the smaller, more intimate forms of jewelry, books and window sculpture.
Creating ever taller suspensions— I love the way previous work can be used with recently created pieces and reconfigured in infinite new combinations.
The tallest e*graphics grouping to date! Catching the glow of the afternoon sun, these suspensions measure over 6′. {Note: these were the first of the creations that eventually evolved into VLA (Very Luminous Array) installation I created for the Permanent Collection of the Encaustic Art Institute in Santa Fe, New Mexico. See how the final piece turned out here.}
Photographing e*graphics can be tricky… they come alive when the light shines through them, but that same illumination can take over the light meter on a camera. Early and late light (along with using the camera’s manual settings) offer moments to capture a creation at its best and this morning’s sun cooperated beautifully.
