Convergence

Essence of Woman Encaustic, oil, ink, cold wax, stenciling, transfers 20 x 16 in

Convergence – Two or more things coming together, joining together, or evolving into one.

Ezshwan Winding

I see my art as converging two diferent genres, subject matters, and styles that are points of convergence. I move from figurative to abstract painting and back again, whichever vision aligns with my inspiration, message, and values. After more than 60 years as a working artist, I know I would be uninspired continuously making the same type of art. Each painting must have something to say, but not the same message as an earlier work; I am not the same person as last year. I strive to make art that touches people's hearts, either abstract or figurative, and has spiritual meaning. Through my art, I hope to connect with others with beauty, harmony, color, form, and energy. I believe that a successful career in art is a strong desire to create, keeping a clear picture of what you want to produce and share from the heart and soul. When it comes to studio work, my art is a personal expression of my intuition, excitement, and interest in pushing techniques and my materials.

I feel fortunate that I received a classical art education that emphasized the importance of accurate drawing.

"It Don't Mean a Thing, If It Ain't Got That Swing", Encaustic, cold wax stencils, oil, inks, watercolor, ink transfers 40 x 60 in

During my art school years I learned anatomy, abstraction, composition, and color, and of course many diferent techniques and media. My major was painting and my minor was advertising design, both of which continue to be of value to this day.

The first 10 years I worked mostly figuratively with oil and acrylic. I then began to study and explore sculpture. My favorite technique was welded steel. When I missed color, I went back to my love of paint, mainly using oil and acrylics. Then, the magic of my first experience of seeing encaustic paintings in galleries in Portland, OR, took over and I have been hooked ever since.

"Here, There and Everywhere", Cold wax, oil, inks, watercolor, ink transfers 60 x 40 in

"The Depth of Beauty", Encaustic, oil, ink, cold wax, stenciling, transfers 21 x 17 in

I have worked in encaustic for over 20 years, and I try to push the boundaries of this medium to take me on creative journeys. I have been teaching encaustic for more than 16 years in San Miguel de Allende. It all started when I had my first art show in this lovely city in central Mexico. I had recently moved from Oregon and was anxious to become a part of this important art community. My first exhibition was called, Please Touch the Paintings. I love to stroke the surface of my encaustic paintings and encourage my collectors to do the same.

The suggestion to touch the paintings surprised and startled the audience, but they soon happily participated.

One of the visitors told me she was studying encaustic at a local school. I asked her about the formula the class was using and was shocked to hear what they were doing. She was getting headaches during the class. The formula contained turpentine, stand oil, and other ingredients that do not belong in encaustic and are toxic when heated. I said, “This could kill you!” (Probably a bit extreme, but certainly not something any human should be breathing.)

An art student asked me, “Why don’t you teach?” And that is how my years of teaching began. And what a joy it has become. I have met and connected with hundreds of people that I would never have met without the workshops.

The Lightness of Being Series

I started this series in August 2018, when I was helping out an artist friend by taking charge of his gallery for three months. I had half the gallery for my art, and I was able to work in the space. It did not have enough ventilation to work in encaustic, so I chose to work in cold wax and oil, inks, watercolor, and ink transfers. This led to my original, new technique that I used in The Lightness of Being. While creating some smaller pieces, I listened to music, especially Yo-Yo Ma. I experienced the flow of the music into the paintings, and I discovered a freedom of movement while painting. The series progressed in my home studio, where I could incorporate encaustic.

I started with a couple of layers of white milk paint on a cradled plywood board. After the milk paint dried, I added abstract designs using watercolor and diluted inks. I built a soft pattern of abstract forms against the white negative space. I sometimes worked on this underpainting for several days. The watercolor softened when it dried. I worked on a wall and continually moved the board in every direction to make sure the composition was perfect. Then came the application of clear encaustic medium. It pushes back the colors even more.

Separately, I painted thin rice paper with watercolor, sometimes using stencil patterns. When the encaustic is still a bit warm, I started temporarily placing the dried torn rice paper shapes. Nothing is permanent until I am satisfied with the placement. Then another layer of clear encaustic goes on top of the rice paper. The process continues also incorporating wax pencil mark making, ink transfers, and some colored encaustic paint to emphasize areas.

"Ode to Joy Cold", wax, oil, inks, watercolor, ink transfers 40 x 32 in

"Hidden Messages", Encaustic, oil, ink, cold wax, stenciling, transfers 15 x 12 in

After a day or two, I move on if I am satisfied. If not, I heat and scrape and add more encaustic layers. It is an intuitive process. Adding rhythmic, moving lines and textures gives the work a kinetic movement, both meditative and musical. Each painting was influenced by a diferent tune.

Altered Faces Series

As much as I enjoy painting portraits of beautiful people, I wanted to add more interest and variance to the faces. I usually just start painting in oil without drawing to keep the work loose. Then I cover the surface with encaustic medium and begin adding ink and cold wax, stenciling, oil glazes, and transfers, thus building layers and textures to achieve another convergence of styles.

When I receive visitors, I am happy to explain the encaustic process and give a short demonstration. The encaustic technique encourages me to explore continually and expand my adventures in art.

About the Author

Ezshwan Winding, whose art career spans more than 60 years, is based in San Miguel de Allende, Mexico. She is known for her exuberant encaustic abstract and figurative paintings that focus on the inner meaning of life and the power of introspection.

Ezshwan has shown her work internationally in France, Spain, Italy, Mexico, and the United States. Besides her studio work, Ezshwan teaches encaustic painting, both in her studio and online. She has been described as one of the world’s best encaustic instructors by the Essence of Mulranny EOM studios, an art school in Ireland, where she is one of the online teachers.

Ezshwan studied at the American Academy of Art, Chicago; Barett College, Lake Forest, IL; Contemporary Art Workshop, Chicago; U.C. L.A.; and the University of Illinois, where she received a FAA degree in painting and advertising design for corporations and museums. Skilled in the business of art as well as its practice, Ezshwan owned and directed an art gallery in Scottsdale, AZ, where she developed an art marketing program for her gallery artists. Later, she founded the Gallery Living Colours in Ashland, OR, and taught portrait painting at Southern Oregon University. She continues to teach portraiture privately in her studio. About her encaustic work, Ezshwan says, “The fluidity of the encaustic medium is challenging, exhilarating, inspiring, and exciting, making a painting that can be looked into as well as looked at. I strive for layered luminosity that is appealingly tactile, encouraging viewers to stroke and caress the surface, discovering the sensual experience of encaustic.” You can view Ezshwan’s work, videos, and online classes at www.ezshwan.com www.facebook.com/ezshwan4art www.instagram.com/eschwanwinding www.youtube.com/user/ezshwan www.ezshwan.com/online-classes.html

Ezshwan Winding

"Reflections of Love", Cold wax, oil, inks, watercolor, ink transfers 40 x 32 in

All rights for the artwork in this article are reserved by the artist.