Creating Dimensional Encaustic Paintings

"Ravaged", Triptych, Encaustic, mixed media on wood panels, 22 x 30 x 3 in

Flo Bartell

For my first five years working in encaustic, I took pleasure in making the surface of my paintings smooth and bubble free. I loved the process and the seductive feel of my finished pieces. Eventually though, I needed texture and sculptural elements to tell my story. I had begun a series of paintings showing evidence of time passing and the complexity of accumulated years: walls peeling, layers revealed, rough textures. I experimented by embedding canvas and papers in wax. That worked fairly well in small paintings, but I couldn’t achieve the dimension and sculptural efects I needed to make larger statements in my work.

Just at the right time, I discovered that Michelle Belto would be teaching a workshop in encaustic sculpture following the 2013 International Encaustic Artists retreat in Santa Fe, NM. I suspected that if I learned how to build sculpture, I could adapt the process to create dimensional elements in my paintings.

Learning to use wire mesh with plaster gauze and encaustic was key. I excitedly returned to my studio to experiment with a hybrid sculpture/painting style. Since 2013, I have used that process in my art.

In my first painting after Michelle’s workshop, I formed a dimensional element with wire mesh, stapled that to a wood panel, and covered the mesh with plaster gauze.

I then painted the panel, including the dimensional area. I was pleased to be able to get the effect I wanted. After my first few dimensional paintings, I began to include fiber, paper, wire, and many found objects. After working to further develop my process, I was able to use what I learned to complete my collection, Bloodlines.

Many paintings and sculptures later, I have found that for small dimensional elements I can shape and attach wire mesh and apply paper towel pieces or other pliable paper directly to the mesh with encaustic medium. My result is a less sturdy but adequately sound area of dimension. My options now seem endless.

To use this process in your own work you will need: • Basic encaustic supplies (medium, paint, heat equipment, brushes, and your favorite tools) • 1/8" Amaco Wireform Modelling Mesh (Be sure to purchase diamond shaped mesh.) • Rigid Wrap or similar plaster gauze • Heavy duty stapler • Garden/work gloves • Wood panel (with no wax) • Viva® paper towels • Low container of water • Burlap fabric • Heavy, textured mulberry paper (from EncaustiCanvas Etsy store) • Sturdy scissors • Needle-nose pliers • Clothespins or clips

You may also want to have these optional supplies: • Wire • Wire snippers • R&F Pigment sticks • Pan Pastels • Inks or stains • 3/8” foam board to fit panel back • Drill with small and medium bits • Clothesline or twine • Fishing line • Small pottery or dental tools

For my sample painting, I will demonstrate how I use mesh and plaster gauze with wax.

My Process

1. I begin by developing a concept. I decide what I want my dimensional element and the painting to say. Will it reference an old, peeling wall? A wave? The remnant of an ancient tapestry?

2. When I know what I want to show, I cut a piece of wire mesh with scissors. The shape doesn’t need to be precise at this point.

3. Wearing my garden gloves, I pull the mesh into the shape I want. I can fold back corners and pull the pliable mesh to create an effect.

4. As I work, I staple the mesh to my wood panel. I can later trim the mesh or add more mesh if I wish. I might want to make the shape longer or wider or create multiple layers.

5. When I am satisfied with the shape, I turn the panel to the back. With pliers I curl all staple tips toward the back of the panel. This will prevent later injury.

6. Next, I cut plaster gauze into pieces, usually no larger than 4 x 4 in.

7. I then begin applying plaster gauze to the wire mesh. I dip a piece of gauze into water for a few seconds, let excess water drip into the bowl, and then cover a small area of wire mesh. I am careful not to soak the gauze or leave wet pieces to harden on my table.

8. I continue applying the gauze, overlapping previously applied gauze and smoothing as I go, until the mesh is completely covered. I extend the gauze onto the wood so that I have a smooth transition. I check all the small wrinkles and creases to be sure they are covered. Small pottery tools help with this step.

If gravity is working against me, I use clothespins to secure the gauze. I like to be sure that any visible area of the dimensional element is covered. Will a viewer be able to see uncovered mesh if one peeks?

9. I let the piece dry completely, usually overnight.

10. Next, I inspect to be sure that no mesh is uncovered. If I find areas in which the gauze is not secure or the mesh is not covered, I apply pieces of paper towel over those areas and brush generously with encaustic medium. I fuse lightly with a heat gun.…no torch with flammable materials until several coats of wax have been applied.

11. At this point I check my construction for stability. If I am worried that my dimensional element is not securely attached, I use more staples or drill holes for fishing line or wire that I can use to ensure that my construction is sound.

12. I then paint on and fuse two layers of encaustic medium, covering my wood panel and dimensional area.

13. I continue to develop my concept by adding mulberry paper, other papers, and burlap to create texture. I situate the paper or fiber, brush on medium, and fuse lightly.

14. Then I paint with pigmented wax, adding color and more texture. I continue to layer more paper or fiber with wax as needed. I fuse after every addition.

15. I often add wire, collage elements, rope, text, and found objects. My drill comes in handy to drill holes in the mesh/plaster elements.

16. I can make impressions in the wax, apply a sheer layer of pigment stick, use stencils, and enhance with pan pastels. I often use metallic pigment sticks, inks, and pan pastels to develop my composition and help create a glow.

17. For a professional appearance, I add a backing of foam board to cover staples.

"All That’s Left", Encaustic, mixed media on wood 24 x 18 x 2 in

In my sample piece, All That's Left, I decided to suggest the remnants of an old, patched curtain as a metaphor for aging. I used, in addition to basic supplies, R&F Neutral White and Ivory Black encaustic paint, mulberry paper to begin an accretion process, burlap fibers, walnut stain, several neutral and metallic colors of Pan Pastels, Iridescent Gold and Copper R&F Pigment Sticks®, and 20 gauge braided copper wire. My challenge in creating this piece was to make a strong statement in a relatively small dimensional painting.

Though I usually apply this process to abstract, conceptual paintings, you can certainly use these techniques to create representational elements in your work. You can form rocks, waves, hills, or flowers. You may find that you can combine this process with other techniques and add other sculptural elements created with paper or fabric and encaustic medium. You may want to use wire, branches, hardware, sand, and other found materials to create texture and tell your story.

If you have questions or are willing to share images of your dimensional paintings, please contact me through my website, flobartell.com.

About the Author

I grew up in a home of musicians and artisans in a small South Carolina town, where I studied dance, music, and art. I loved to draw and paint, sew, and make things.

While my passion for art continued, I pursued a career in education and mental health. After many years working in those disciplines, I opened a needlework business, taught needle arts, and designed children's clothing, quilts, embroidery, and needlepoint.

I also began to study art again and continued after my move to California in 2003. Soon I discovered encaustic and since then have found ways to combine my drive to "make" with my desire to paint. I now divide my time between my family, music, making art, and teaching encaustic painting and sculpture.

My art has appeared in numerous group and solo exhibits, on magazine covers, and some have been adapted for needlepoint. I am a member of San Luis Obispo Museum of Art, Morro Bay Art Association, The Painters Group, Central Coast Sculptors Group, and International Encaustic Artists. I am represented by Art Central Art Gallery in San Luis Obispo, California.

You can view Flo’s work at www.flobartell.com

"Portal 2", Encaustic, mixed media on wood 48 x 36 x 2 in