Wax Fusion - Fall, Issue IX: 2023 by International Encaustic Artists

Wax Fusion Christine Kyle Kim Cardoso Ursi Lysser Melanie Williams Carol Lelivelt Karen Buttwinick Kathy Bradshaw

A digital publication of International-Encaustic-Artists.org Fall Issue IX:2023 Uncharted

Board of Directors Regina B Quinn President Social Media Director

Mary Jo Reutter

Lyn Belisle

Treasurer

Vice President

Rhonda Raulston Secretary Tech Director

Michelle Robinson

Melissa Lackman

Exhibitions Director

Grants Director

Melissa Stephens Membership & Chapters Director

S. Kay Burnett

Paul Kline

Executive Editor Wax Fusion

Member-at-large

Philip Johnston Member-at-large

Front cover, Close up of Mannequin Rust, Encaustic over paper by Ursi Lysser

From the Editors This year we’ve invited our members to step outside their comfort zone, push boundaries, and explore uncharted terrains. In San Antonio, TX, we asked members to put a new spin on a famous 1927 exhibition about wild owers. In Mulranny, Ireland, we asked artists to submit Ephemeral art that could be sent in a 9 x 12 envelope. We also invited Celtic ConVergence attendees to tuck a small piece of art in their suitcase for a members art exchange. In all three cases, most artists had to explore new ideas and think creatively about the materials they used. And the results were surprising, exquisite, thought provoking, cutting edge, and inspirational. In this issue we’ve included some of the jurors (and our) favorites from each, and we asked some of the artists to talk about what inspired the piece, the tools and materials they used, and what they learned in the process. And we’ve captured some of the memorable moments at Celtic ConVergence. We’ve also invited a few artists using “Uncharted” techniques to share their unexplored or unconventional techniques and styles within the medium. It involves con dently pushing the work o the edges of the at paper map and out into the fringes, to the areas of “what if” and “why not” by experimenting with new materials, textures, and approaches to create unique and innovative artworks. We hope you enjoy reading this Uncharted issue of Wax Fusion. And, as always, we appreciate your feedback. Please contact us at WaxFusion@International-EncausticArtists.org with comments, questions, ideas, and suggestions. While this journal exists to serve the needs of IEA members, it is also free and available to the public. You are welcome to share this journal with anyone interested or working in the visual arts, looking for information on encaustics, or beginning to explore the world of encaustics. S. Kay Burnett Lyn Belisle Paul Kline

Fairy Glen Betws y Coed in the Autumn by Melanie Williams Encaustic, 500 x 400 cm

Content New Perspectives

Christine Kyle

Thirty-Year Field Trip

Kim Cardoso

Looking Over the Edge

Ursi Lysser

An Unconventional Path

Melanie Williams

Celtic ConVergence

Wax Across the Water Carol Lelivelt Karen Buttwinick Kathy Bradshaw

Ephemeral/Ephemera

IEA Juried Exhibition 2023 Mulranny, Ireland

Wax and Wildflowers

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IEA Juried Exhibition 2023 San Antonio Art League and Museum

Back Cover, Mulranny Loop Photo by Karen Buttwinick

Making It Good, Ceramic, beeswax, resin, paint, hardware, 11 x 15 x 2 in

To challenge assumptions, push boundaries, and honor the messiness of nuance is the focus of my work. Things are not what they seem to be. I explore the play of movement and tension between image, form, line, and space. To blur these distinctions is to challenge the viewers’ assumptions about the drawn line and the sculptural edge, the 2D, and the 3D image. 6

New Perspectives Christine Kyle I don’t think I’m very di erent from most beings in that I regularly try to make sense of and categorize my experiences. This is necessary to learn and prevent constantly starting from the beginning; for example, burning my hand over and over again. But over-classi cation can get rigid and turn into prejudice. I believe in doubt. I think about the liminal space between order and chaos. The box and the grid represent a system of making order. By distorting the structure and taking it to the edges of its’ usefulness, Making It Good {side view) and beyond, I create peculiar, mixed media wall sculptures that evoke a sense of familiarity while resisting categorization. I play with perception and try to surprise myself.

Blackboard, Ceramic, beeswax, resin, graphite, clay dust, 13 x 9 x 3 in 9

In high school, I was introduced to pottery. After graduate school, I took an encaustic workshop at R&F. Through the years, I have taken many art and craft classes and feel I have a very wide (but not too deep) set of skills. I’m lucky enough to have an art studio next to my husband’s woodworking shop. I rob his trash cans, procure his overstocked materials, and get him to help me with fasteners and building with wood and metals. I have a couple of favorite ceramic studios in the Boston area where I go to make many of my ceramic bases, and I have an encaustic setup in my studio. Clay and wax are the media that keep me interested because of their responsive, natural qualities, and vast array of applications, often with unanticipated results. 10

Container Wood, beeswax, resin, pigment 20 x 20 x 2 in Bee Line Ceramic, beeswax, damar resin, pigment, string, paper, gold leaf 13 x 16 x 16 in 11

Found Lists Wood, paper, beeswax, damar resin 10 x 7 x 3 in

My studio is filled with potential parts and tools to manipulate them. I make batches of encaustic with beeswax (seven parts) and damar resin (one part) in crockpots and gather possible bases. Before I apply wax, I glue the parts together with epoxy (West System). How to hang the piece on the wall (if and when I figure out what side is up) is something I need to keep in mind. Almost all of my work goes through an ugly adolescence. At that point, I have a problem to solve. Strategies that help me proceed are to move to another piece (I always have a few pieces going at the same time), to take a picture and make sketches of possible ideas (PhotoShop), to look at the piece in a mirror and with different orientations, to try to clear my mind of where I thought I was going with the piece, and/or to deconstruct. Some pieces bloom into works I can be proud of. Other work is put on the shelf to be worked through later, thought about, saved for parts, or thrown away. Creating takes me outside of myself. 12

I have this quote on my studio wall;

When you start working, everybody is in your studio — the past, your friends, enemies, the art world, and above all, your own ideas — all are there. But as you continue painting, they start leaving, one by one, and you are left completely alone. Then, if you are lucky, even you leave. John Cage I’m not sure how to explain what happens during the time I “leave,” but it goes by and when it’s time to stop, I take pictures of my work. I look at the images to hunt for new perspectives. I work at letting my pieces speak for themselves while bringing my skills with the materials to emphasize polished imperfection. Naming a piece is tricky. I like to give my art character and an obscure narrative, and I don’t want to tell the viewer what to think. Posture, Ceramic, beeswax, resin, wool, graphite, 23 x 16 x 2 in

Tablet With Circles (side view)

Tablet With Circles Ceramic, beeswax, damar resin, pigment, paper, wood, paint, 20 x 13 x 8 in 15

As a child, Christine Kyle was often absorbed in creative reveries. Fortunately, the Waldorf High School she attended encouraged and nurtured her artistic talents. As a sociology major in college, Kyle continued to be drawn to art, taking enough art classes to enable her to add art as a second major. After teaching art and life studies at an alternative high school for ve years, Kyle enrolled in a graphic design program and worked in the eld for fteen years. All the while, she maintained a dedicated studio practice, steadily creating work, and experimenting with a wide array of media. Getting There, Ceramic, beeswax, damar resin, graphite, 15 x 9 x 3 in

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About the Author

Weighed, Wood, ceramic, beeswax, damar resin, wire, old shoelace, 9 x 22 x 5 in

In 2006, Kyle earned an M.F.A. from Lesley University College of Art and Design and has since focused on her artistic pursuits. Her work has been exhibited widely at venues throughout Massachusetts, including Brom eld Gallery in Boston, the Lunder Arts Center, and the Cambridge Art Association, both in Cambridge; the Kobalt Gallery and Rice Polak Gallery, both in Provincetown; the Holzwasser Gallery at the New Art Center in Newton; Concord Art Association; and the Cultural Arts Alliance in Hopkinton. She was a member of the Brom eld Gallery in Boston for six years. Kyle works out of her studio in Waltham and lives in Cambridge with her husband and dog. You can view Christine’s work at www.christinekyle.com www.instagram.com/christine.l.kyle

Thirty-Year Field Trip Kim Cardoso Waking in the one room cabin, I am reminded of the only time I lived alone. It was in an old house in north Baltimore. My bottom oor unit had a screen door that opened to the garden. The woman who lived upstairs had changed her name to a color, and I had a studio in the carriage house out back. My workbench was sturdy and had everything exactly where I needed it because my grandfather built it from my design. I collected loose cobblestones, railroad nails, tobacco pallets, and beach glass. I had a place for everything and time in my life to listen to their direction. I was a 23-year-old metalsmith embedded in a thriving art scene and considering an M.F.A. in sculpture, when I instead heeded the calling to become a midwife. After a cross-country move and two decades of living, in 2013, I got reacquainted with myself at a weekend encaustic workshop with Sue Stover. Today, I live with three people and six animals and paint when I’m not seeing patients as a midwife and nurse practitioner at a community health clinic. It is possible to create art one paint stroke at a time, chopping onions, or calling a patient with a diagnosis in between yellow and blue, but it requires determination. Needing time to focus, I applied for a 2021 Project Grant from International Encaustic Artists. My goals were to be alone and paint big. I knew the support would remove a barrier and, more importantly, keep me accountable.

One lane bridge

Comfy chairs

Supplies

Gesso panel

Paper on window

Indoor work table

Kim on deck

Kim sketching

Accountability kicked in, and I chose a miner’s cabin centered in the rolling, granite and oak studded hills I have loved since I moved to California. My packing list grew as the date approached. I would travel on my birthday, the timely gift of self care not unnoticed. In October 2022, when I put the wood panels in my car, I forced myself to put a lot of the small ones back. I said out loud, “Go big. Go big in time and ideas.” I grabbed a bag of frozen soup and some veggie burgers about to meet their expiration date, left, and then had to turn around for my extension cord. When I was only two hours away from this experience that I had imagined for so long, I felt fear, not freedom. Was I going to be authentic? Was I going to focus on play and not production? Did I prepare enough encaustic medium? I had never watched a 4 x 3 foot panel absorb it. I should have asked someone how much it takes. Planning for this residency a year earlier, with a bank of cataloged feelings, I imagined creating or completing a body of work with my SUV stu ed with paintings on the drive home. It unfolded in another way.

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I had no map on navigating ve days of painting, so my residency started like most uncharted journeys - with delays. As my Airbnb favorites list grew, the search for the perfect place and date - and the unfamiliar feeling of putting myself rst - held me back. Like a blank page, it took extreme e ort to begin despite hearing my own patient recommendations, “Schedule time for yourself, no matter how small.”

On the rst quiet morning in Jamestown, CA, the sun rolling over the hills and touching my feet on the wood oor, I remembered the generous feeling of creative focus I had in my carriage house studio 30 years ago. I began in my journal. “Abstract art is hard.” I can draw a person or a pear. To procrastinate, I often do just that, but I make art to step back from the places where I feel overstimulated and deeply moved. My work does not call out the pain and con ict I witness at work and in the world; it seeks a remedy. I need to capture the awe of watching time change the colors of the hills, the joy of discovering a patch of moss, and the comfort of getting into bed at night knowing I’ve done my best. These moments are my impetus for abstraction because they are hard to capture.

Lyra graphite

Contour

Donuts, Encaustic and pencil on paper, 12 x 12 in One of the first of a new series I started on my field trip. It's from drone photography taken by my teenage son.

On the second day, I sat with a large rock. I took in the view of the long valley of mature oak and wondered what animals take shelter there. I sketched and photographed the valley, then I took a rubbing with graphite on newsprint. I wrote, “This rubbing is beautiful! It is art all by itself!” I waxed over it. I transferred the rubbing onto wax. Later, I covered a stone with encaustic medium. I was listening to the rocks. On the third day, I decided, “Today I will tackle the big panel. I've been struggling with committing to a subject.” Over the days, I took myself out to lunch, put my feet in an icy river, and explored the mouth of a gold mine. And I painted, oh, did I paint! Each day had no map, but the journey always led back to me. On the last day, I wrote about the big paintings, “Now that I've done the rst, the rest are not so scary.” In the year since my time in the Sierra Foothills, a time I now call my Field Trip, I continued making and also exhibiting the 1,000 Series which takes its roots in that physical and inner landscape. No longer afraid to go big or schedule time to create, I rented a studio outside my home, where I nd my focus three days a week or more. Now, instead of chopping onions while I heat up the paints, I look around at my beach rocks, potted succulents, and works in progress, and I wait for their direction.

Sitting on a Gold Mine 1, Oil stick on paper, 7 x 7 in From a series of sketches done on site. It was literally on top of a gold mine!

How Not to Forget, Encaustic, oil, graphite on wood, 36 x 36 in From the 1,000 Series that inspired the residency location… which inspired the work!

My Rental Criteria • Good ventilation and deck or patio • Good light • A workspace • An inspiring view and location • A simple design aesthetic • Not too many stairs • A safe feeling • In my price range • Less than 4-hour drive from home • Privacy (I didn’t want the owner or others stopping by to talk) Packing List • Tarps • Craft paper, cardboard, old newspapers, aluminum catering lids to protect surfaces, picnic table clips, and blue tape • Fire extinguisher (if not supplied) • Fan • Bag for trash to take home • Extension cords • Folding side table • Box of gloves • Apron • Paper towels • Medium, encaustic pigments, oil sticks, butane, torch, brushes, carving tools, empty mixing tins • Wood panels • Heavy watercolor paper • Sketchbooks • Low tack purple tape • Gesso • Collage materials • Inspiring art book journal • Bluetooth speaker • Camera 28

• Tripod • Chargers • Baggies/containers for objects and samples • A cleared schedule • A goal • A curious and exible mind • A loving heart Prep Work • Tape and gesso the wood panels • Make medium • Get fresh supplies • Research the area • Print stu • Plan food. Bring all to heat up and plan on a meal out every day or so.

Pictures of my grandfather, Melvin Hildebrand, and I from 1998, not too long after I shipped the bench he built for me from Maryland to California. These are from a trip the two of us took to Alaska, when I nished my midwifery training.

About the Author Kim Cardoso is a visual artist interested in longing and communication. Originally from Baltimore, MD, she received her degree in art and psychology, then worked as a job coach for adults with mental illness and as a metalsmith, showing wearable sculpture in galleries along the Eastern seaboard. In the mid 1990s, she heeded an inexplicable calling and moved west to become a midwife. Taken by the landscape and people in the San Francisco Bay Area, she made California her new home. At an art retreat in 2013, Kim found encaustic medium. Her paintings have been exhibited across the U.S. and are collected internationally. In 2021, the International Encaustic Artists awarded her a grant to further her 1,000 Series about California's volcanic landscape. She lives with her family on an urban farm in Oakland, CA, paints at the Norton Factory Studios, and continues to work part time in community health. You can view Kim’s work at kimcardosoart.com www.instagram.com/kimcardosoart/ www.facebook.com/ThreeStoryRanch

Spend a Whole Day Listening, Encaustic, tempera, graphite on wood, 46 x 36 in From the 1,000 Series that inspired the residency location… which inspired the work! 31

Looking Over the Edge Ursi Lysser In today's throwaway society, I intentionally create new works using old, unloved, discarded materials and give them a fresh voice. I want to encourage viewers to look at my paintings and infuse them with their own stories. I want them to immerse themselves in my works and nd identi cation. Childhood memories resurface; yes, my grandmother was a seamstress, I remember—Fond memories!!! I love to create busts using a variety of materials such as plaster bandages, clay, old mannequins, palm bark, burlap, wall plaster, and antik paper. All of these materials pair well with encaustic materials and techniques.

Mannequin Rust, Encaustic over paper on substrate, 100 x 70 cm Manikin, Encaustic, paper, accretion, PanPastels on substrate, 100 x 70 cm

Working with rust is one of my favorite materials. Rust forms due to moisture, which, when left on a surface for an extended period, slowly deteriorates and transforms into rust. I've long searched for materials that expedite and arti cially create rust, and I found my answer among painters – rust nish that can be applied to any paintable surface. The result has been the creation of beautiful artworks that have challenged me and sparked new ideas.

Closeup, Mannequin Rust Also featured on the front cover

For Mannequin Rust, I glued old newspapers to a wooden base. After it dried I applied several layers of encaustic medium. To create the rust, I laid a bunch of iron wool, submerged in a vinegar/water solution, on the surface. Once dry I generously brushed on iron primer and let it set overnight. The next day I treated it with the oxidizing agent.

After a few days, the medium was drawn onto the surface using a hot air gun to incorporate the rust. At the very end random marks were applied with NeoPastels. The overall look of the old material with the new formed rust is just beautiful.

Closeup, Mannequin Rust, antik paper

You can also use wall plaster instead of newspapers and, another alternative, fresco, which was employed by da Vinci for church paintings. Wall plaster adheres to almost any surface, and with the help of stencils, I have the freedom to bring any vision to life.

Mystique, closeup of transfer

Mystique, closeup

After the base is dry, I always apply multiple layers of encaustic medium. As I progress, I build upon the work without a specific plan in mind. All I know is that I want to create a mannequin.

Mystique, Encaustic, wall plaster, transfer on substrate, 70 x 100 cm 36

Part of my earlier work also involved experimenting and exploring unconventional materials, pushing the boundaries of what I could do with the various materials. My grandmother was a significant inspiration to me; she's the reason I learned to be a dressmaker. During the years I lived in England, I had the privilege of dressing large wedding parties. There were parties, events, and of course Ascot. On all these occasions, dressing appropriately was a must.

This bust has been with me for decades, patiently waiting for me to figure out how to dress it anew. After applying several layers of encaustic medium, white encaustic paint was spread and worked using the dry brush technique. The soft pigment sticks were the perfect medium for adding black accents. I contemplated the dress for a while. I had some scraps of palm bark that could be molded when wet. I wrapped them around the bust, secured them with clear plastic wrap, and waited for them to dry. Finally, I fixed them in place with encaustic medium in some areas. But what did I want for a skirt? 38

I tried a burlap sack. Then, I digitally added a short paper dress using the Procreate app. But so far, I haven't found the perfect fit. I enjoy continually trying something new, and I knew that over time, the right dress will reveal itself.

She is waiting for her dress, 168 x 44 cm

Lady, digital new dress 39

However, my journey didn't end there. In the last eight months, I've been experimenting with various art mediums and styles, while incorporating my mannequins. So, who knows where this path will take me in the future.

Donna, Encaustic, clay, metal, 44 x 33 cm

I'm eagerly anticipating it, and I'd like to express my heartfelt gratitude to all the incredible artists from whom I've gained invaluable knowledge and who have brought me to where I am today.

Lilith, Palm bark, burlap, eco print on silk over clay bust in old frame, 64 x 54 cm

About the Author Ursi Lysser, an artist based in Switzerland, specializes in encaustic and mixed media. With a background in dressmaking, she considers the mannequin an indispensable tool in her artistic journey. Over time, she has incorporated unconventional materials into her creations, in uenced by her training in CAS visual and sculptural design, both in Switzerland and abroad.

Mannequin, Digital work on paper on substrate covered with encaustic, 60 x 30 cm

Her passion for repurposing unused and aged materials has always been a prominent aspect of her work.

Antik Iron, Encaustic, paper, 15 x 10 cm

Dedicated to preserving and sharing her craft, Ursi teaches and exhibits her unique skills, which are relatively uncommon in Europe, in her studio and in Germany. She also serves as one of the administrators for Transatlantic Fusion, a collective of 56 artists from the U.S. and Europe, collaborating and showcasing their work in Provincetown in 2022 and Stade, Germany in 2024. Recognizing the growing interest among fellow artists, Ursi took the initiative to independently publish the rst Germanlanguage workbook, titled Enkaustik - Malen mit Feuer & Wachs in 2022. Her active involvement extends to memberships in International Encaustic Artists, IEA European Chapter, and the Swiss Society of Female Artists. You can view Ursi’s work at www.ursilysser.com www.instagram.com/ursi_lysser www.facebook.com/malenmitfeuer

An Unconventional Path Melanie Williams I am captivated by Wales, a land of legends, language, culture, and spectacular scenery. You can experience some of that magic at Visit Wales. I'm inspired by the breathtaking natural beauty, and I use the alchemy of wax and re to meticulously layer and weave the wax to depict the ruggedness and texture of my local ancient landscape. I use many forms of hot and cold wax tools and unusual markmaking materials to create texture and depth in my paintings. My process has developed over many years of practice and experimentation, which now allows me to create a landscape that captures the rugged and varied elements of our environment. I tend to use some unconventional techniques and styles within the medium, having developed my techniques through experimentation. Some produced great results and others are never to be repeated! I’ll guide you through my process, which is also shown on an accompanying free video full of tips and ideas. Melanie Williams Wax Fusion Magazine Instructional Video Uncharted

Pathway to Tryfan Encaustic 500 x 400 mm (20 x 16 in)

I have chosen an ancient Roman Bridge - Pont Rhufeinig in Wales - as my inspiration for the “Uncharted” article. I always begin my work on high-quality birch-faced ply, sourced from my local builders merchant. I buy it in 2.4m x 1.2m sheets, and then cut it down to the size I wish to work on. I nd this works out much cheaper than buying pre-cut panels. The rst step on the panel is to lay down a few coats of clear encaustic medium before layering the di erent hues to create a sense of depth and colour. I always tend to begin with the sky and slowly work down the painting. Some parts are painted with colours mixed directly on the hot tray or from oddments from previous paintings. I continue adding layers sometimes rubbing R&F oil stick, Sennelier oil pastel, or oil paint into the surface. Each layer is fused using the torch to create more mellow e ects or happy accidents.

(Video 05:00) Next, I begin laying down the background colours further down the image using various techniques, such as heating the panel to accept a smooth layer of colour, dry brushing or mark making with brushes, or palette knives. This then allows me to add pastel and rub it into the texture created previously. When I fuse I use di erent ames or heat guns to create the e ects of grass and hillside in the background. Di erent heat sources allow di erent melting points which help you to either retain the texture or make the surface smooth.

To develop the outline of the bridge, I used a hot stylus and laid down pure encaustic medium to which I added dry brush strokes. I then added more pastel into the nooks and crannies and fused. I worked slowly across the bridge creating each rock individually. Its good to keep the photograph where you can constantly refer to it as you paint the rocks in the scene. The clear encaustic medium was similar in colour to the rocks and was useful as highlights. (Video 23:00) Tip: Keep your brushes on your hot tray so they are ready to paint, and they will also retain their heat for longer.

(Video 28:00) The foreground rocks were created in a similar fashion using a stylus to mark out the outline and then lling in with dry brush strokes in slightly di erent hues. l will use palette knives, brush strokes, and sometimes tin foil to create indents into the wax. Once the rocks are drawn, the sense of depth is created by outlining the rocks in darker tones and adding the shadows. Tip: If you push a ball of tinfoil into warm wax you can create some lovely texture.

Tip: Keep your shadows constant throughout your painting to create that realistic feel. Tip: Use a craft heat gun for ne detail as the power and heat setting is lower, enabling you to just fuse without over melting the wax. I used a small amount of shellac just to create the look of tangled foliage or grasses. I applied the shellac with a rigger brush and worked on small areas at a time before rapidly fusing with a chef’s blow torch, creating a wet shellac burn. (Video 31.22) Tip: A chef’s torch is great for fusing the ne detail as the ame can be turned down low. If used carefully in a sweeping motion you can retain the texture you’ve created.

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I will always study the light in a photograph or scene, making sure I know where the shadows should fall. In this picture the light is directly overhead so the shadows are all below and slightly to the left. Sometimes I will recreate a painting from the same photograph but put in long shadows for evening, etc.

I often don't wish to create an exact copy of a photograph or scene. I try to create a “sense of place” and a feel for the landscape. Our Welsh weather is notoriously moody with brooding skies one minute and fabulous light the next. To add drama to the sky, I painted in more clouds with wax and followed on with oil pastel, which was then fused creating a moody heavy feel. (Video 32:33) (Video 35:35) I used a ne sharp tool to scrape back into the wax to create grasses on the horizon line. Tip: Use a needle or pin for ne detail.

(Video 37:10) Later, I added more grasses using a bristle brush in rapid upward movements. I then fused with the chef’s torch so that I didn't over melt the wax. The shadows were added under the rocks with a brush, and a hint of the colour of the hillside was added to the water. Tip: Paint your foliage in the way it grows to create those ne tips on the ends of your grasses, leaves, or twigs. I nd that it is very useful to transfer each painting to my easel and step back to really look at the work on a regular basis. Through doing this you are able to notice those small changes needed to correct the horizon line or shadows. Tip: Always step back from your work and view from a distance.

The painting of the Pont Rhufeinig took over 10 hours to complete. It is 500 mm x 200 mm in size. I enjoy seeing the wiggly edges created by the dripped wax, and consequently, I have the frames professionally made for each individual piece of work.

Wintery Tryfan Encaustic 500 x 400 mm Next Page Clogwyn Du’r Arddu Encaustic 500 x 400 mm 57

About the Author Melanie Williams is a talented artist based in North Wales in the U.K. She is known for her captivating works of art created in encaustic. Inspired by the breathtaking natural beauty of the Eryri National Park, Melanie's artistic journey began with a love for creativity and experimentation with various media. However, it was the alchemy of wax and re that truly captured Melanie's imagination. Using pure beeswax and damar resin, she meticulously layers and weaves the wax to depict the ruggedness and texture of her local ancient landscape. With a conscious selection of colours, tools, and innovative techniques, Melanie portrays her emotions and impressions through vivid hues, creating artworks that resonate with depth and emotion. Mel lives with a rare bone condition called Hypophosphatasia or HPP. Despite constant muscle and bone pain, painting with encaustic provides relief through the heat emanating from the tools. On di cult days, Mel nds solace in simply playing and learning without any pressure to create a masterpiece. This connection to her art brings about a sense of profound peace within her. “Over the past few years, I have had the incredible opportunity to showcase my artwork in two books and be featured on three television programs. My passion for art has allowed me to exhibit my creations in various galleries, and I am thrilled to see that my artwork is selling across the globe.” You can view Melanie’s work at www.melaniewilliams.net www.instagram.com/melanie.williams1 www.facebook.com/melaniewilliams.encaustic Uncharted Instructional Video

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Celtic ConVergence — Wax Across the Water was co-hosted by International Encaustic Artists (IEA), Mulranny Arts in Mulranny, Ireland, and IEA's European Encaustic Chapter.

Celtic ConVergence Wax Across the Water October 12 - 17, 2023 Pre-Retreat Workshops: Wednesday and Thursday, October 11-12 Post-Retreat Workshops: Tuesday and Wednesday, October 17-18 Our rst IEA ConVergence retreat in the spring of 2022 on the coast of California was a remarkable event for those who attended. We experienced deep community, explored revolutionary ideas in our art form, and generally rejoiced in being together in person at the end of the land and the edge of the water. At the end of the retreat, Lora Murphy suggested we gather again in 2023, but this time on another coast – the wild, remote coast of Western Ireland. It was our rst international encaustic retreat, and it featured demos, presentations, and workshops by instructors from all over the world. Regina B. Quinn, President of International Encaustic Artists, was asked to sum up the experience in three words. She chose community, celebration, and magical. We also asked our three scholarship recipients to share their favorite moments, the top tips and tricks they learned, and what impact attending the retreat had or will have on their art practices.

Carol Lelivelt Pacific Northwest, USA Celtic ConVergence was a thrilling experience. Here are a few of my favorite moments. Getting to know the instructors and participants during mealtime. Hats o to the organizers at the Essence of Mulranny Studio and Mulranny Arts for feeding us so well! Between morning and afternoon demos, we enjoyed a healthy homemade lunch prepared by Lora Murphy’s husband, Lars. Friday night we were treated to a 4-star dinner at the Mulranny Hotel, and Sunday night many of us gathered at Nevins Pub, where local Irish musicians entertained us as we dined. Every place was the perfect environment to share stories and laughter, exchange contacts, and make friends.

The days were jam packed with learning. The uber-talented instructors shared a plethora of techniques including using encaustic with unusual substrates like egg cartons and molded paper (Janise Yntema), and fresco (Bettina Egli Sennhauser). But bookending all the activity, I appreciated the quiet moments like watching the sunrise over Clew Bay from “The Nest,” where I was lodging and strolling the Causeway with my walking buddy, Jennifer K., to watch the sunset. I toured Achill Island where The Banshees of Inisherin was lmed. The scenery was jaw dropping - jagged rock formations rising out of turquoise water, bordered by lush, brilliant green elds, dotted with sheep, quaint cottages, and stone ruins – a nature lover’s dream!

The cemetery on Achill Island

We stopped at Kildownet Cemetary and walked among the 100-year-old headstones, including one marking the site of a distant relative to our retreat’s videographer, Sean O’Grady. It was impressive watching border collies herding sheep in the eld, following the whistle commands from their owner. On the tour bus, Colum, our expert guide, was both hilarious and informative. He would close his eyes on the steep hairpin turns down the mountain, while teaching us the history of the Great Potato Famine. After a few days of rainy, blustery weather in the village, the sunny day we had on Achill was a spectacular joy! Tie-dyed sheep with the black face and legs

The wealth of information presented at Celtic ConVergence was extensive. Here are just a few great encaustic skills I learned. For a cleaner pigment stick application, Joanna Kidney advises rubbing it on when your encaustic panel is cool. Then, before wiping o the excess, gently scrape it away with a razor blade. Both of these tips prevent the pigment from becoming embedded where you don’t want it and leaving a lm or haze that can be di cult to completely remove. To achieve a crisp shape using stencils, Linda Robertson recommends burnishing your stencil onto warm wax. Paint encaustic medium from the center of the opening toward the edges so any wax that leaks under the stencil will be clear, making it easier to remove. Next, add a thin layer of encaustic paint. Now you can fuse both layers with the stencil in place for a crisp raised edge. Click here for more great stencil tips from Linda! www.lindarobertsonarts.com/retreat-tips

Sunset on the Causeway in Mulranny

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To make beautiful waves in her seascapes, Isabelle Gaborit demonstrates this easy process. First, using a at brush technique, apply a light colored, opaque paint like Celadon over a darker blue like Cerulean or Indigo. Position your blow torch straight down and do a hard melt of the wax in a horizontal line. Then reposition your torch so the ame is parallel to your panel and push the light opaque paint upwards, creating cool striations that mimic owing water and light contouring around waves. Celtic ConVergence has inspired me in so many ways. I’m excited to try some new techniques like pyrography that Lorraine Glessner demonstrated or using pigment sticks as Regina Quinn does to achieve a heightened luminosity and glowing quality. Apart from the techniques though, I’m especially inspired by the instructors’ energy while they paint. Mel Williams is positively endearing as she “cracks on about the wobbly bits” in her painting – she’s carefree and having so much fun! Colum worn out from transporting 50 women!

And Isabelle Gaborit teaches the importance of plein air sketching, not for the sake of producing a study for a later painting, but to build muscle memory in your body for the impending brush strokes and to absorb the energy of the landscape that is released as you’re creating art in the studio. I’m hoping Isabelle’s process will help me loosen up, as my work can feel somewhat tight and exacting. I may even sneak a bit of texture into my typically smooth surfaces! Lora and Cheryl at the helm of Mulranny Arts and Essence of Mulranny have created a magical space that fosters positive energy. Both women excel at putting everyone at ease, and likewise, I found everyone involved with the retreat to be incredibly kind and helpful. I sincerely thank IEA for the scholarship, the opportunity to take part in the magic, and the memories I will forever treasure.

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About the Author Living in the Paci c Northwest, where nature is both lush and muted, I create encaustic work exploring the beauty of aging and renewal, represented with botanical forms. I build luminous depth by layering encaustic and digitallymanipulated photos printed onto translucent papers, inviting the viewer to discover obscured imagery and to suggest the passage of time. By connecting with my artwork, I hope others can appreciate the fragility of Earth in our short time upon it.

You can view Carol’s work at www.carollelivelt.com www.instagram.com/carollelivelt

Isabelle Gaborit with me and my painting

Karen Buttwinick California, USA There were so many magical moments at the Ireland IEA Wax Across the Water Celtic ConVergence Retreat, but what I’ll remember most were the lively conversations I had with other artists from around the world and learning from instructors, who were so incredibly generous sharing their knowledge, tips, and tricks. Inspirational speeches given by Regina, Lora, and Cheryl were unforgettable as they set a welcoming tone and captivated everyone with their warmth, enthusiasm, and encouragement.

On the first evening of our retreat, we were greeted by beaming faces, glasses of champagne, and lovely flowers at the historic Mulranny Park. 70

IEA President Regina Quinn and past President Kay Burnett set a warm tone for our upcoming week together.

On daily walks to the Old Convent Studio from my B & B, I enjoyed seeing sheep grazing on the lawn of the Mulranny Park Hotel. For local avor, highlights included playing billiards during the Rugby nal with my NorCal Wax IEA Chapter cofounder (and partner in crime), Melissa Stevens and listening to live music at Nevin’s Pub. Being greeted by “Bella the Robot,” while Cónan Kilcoyne passionately bellowed out Irish ditties and a Tina Turner hit, while Tomás Mannion strummed the Irish bouzouki (mandolin) was a sight to see. Witnessing Colum wildly jamming on the Irish spoons capped o the ideal evening.

Another high point was our Monday morning excursion. I awoke after our late pub night to a breathtaking sunrise, which reminded me of one of Regina’s glowing luminescent paintings. With no rain or gray clouds in sight, I knew the shamrock’s luck was shining on us as we had a full-day tour of Achill Island ahead with postcard perfect weather. The views of the dramatic rugged cli s and sparkling North Atlantic waters were stunning as Colum shared his deep knowledge of County Mayo’s history, while entertaining us with his lighthearted stories and witty jokes. It was the ideal end to a memorable retreat on the Emerald Isle. Two Sheep overlook stunning views of Keem Bay

Taking Lora Murphy’s workshop was a genuine privilege as she shared her straightforward approach to portraiture by accurately measuring facial features from a center point on a photograph and transferring that information to a panel. This approach, coupled with the trick to apply speci c colors for shadows, midtones, and highlights in a painterly fashion, like a sculptor carves a gure, gave me the con dence to paint portraits, something that had felt daunting up until now. Linda Robertson’s demo was lled with useful tips ranging from new materials to tools such as an angled Niji tool found in linoleum carving sets. In the past, I have bought premade stencils and made my own, but often have been frustrated trying to cut certain shapes out of Duralar, a heat resistant acetate alternative, with an X-Acto knife or scissors. Linda showed us that 90 lb. card stock was a good alternative to Duralar as it’s easier to cut organic shapes, especially if you use a Fiskars ngertip detail knife or swiveled X-Acto knife. Even more importantly and surprisingly, the card stock won’t catch on re when using a torch (I’m still pondering that one). Isabelle Gaborit’s demo was eye opening and mesmerizing, not only because her method of laying down strokes using one’s full body, with arm extended, was the rst time I had seen encaustic applied so freely and with such physicality, but her delivery was executed with pure joy and great humor. As she wrapped up, the packed room erupted in laughter when Isabelle proclaimed that “Indigo is the gateway drug to encaustic,” and we all nodded with agreement knowing we had found our tribe. fi

Getting the crowd going for her demo, Dietlind Vander Schaaf does her Uma Thurman impersonation from Pulp Fiction.

Janise Yntema lights up the room with her bright smile and alluring organic forms.

I often feel like I get too “tight” when working in encaustic (my left and right brain have a “love/hate” relationship), and I forget how forgiving the medium is and how it lends itself so beautifully to experimentation. Demo after demo encouraged a curious and playful approach to our art practice and reminded us to have fun with the tools and materials and not to get too “precious” or preoccupied with the end product. Joanna Kidney was loose with her mark making, and I appreciated her mantra of “What’s possible,” which encouraged artists to take risks and be open to anything that can happen. 74

Inspired by Hawaii where she is from, Linda Robertson uses vibrant tropical colors in her luscious work.

The demo “Gods” were on Kelly Williams’ side when she created one of her mysterious sultry women.

Similarly, Kelly Williams' use of a tin Altoid box for her favorite R&F Pigment sticks was brilliant as it allowed for quick spontaneity and a painterly application. This focus on being more adventurous and intuitive will clearly impact my work. Finally, watching both Janise Yntema and Bettina Egli Sennhauser’s demos whetted my appetite to try my hand at working three dimensionally and rethink what might constitute a substrate. The materials and techniques they introduced were novel to me and incredibly seductive. I’m excited to experiment with frescoes as a base layer for encaustic and also think more deeply about the conversation that happens between “the wax and the underlying structure,” a concept Janise explored. 75

About the Author I am a native Californian artist, who is captivated by the jewel-like luminous quality of encaustic and its endless creative possibilities. I’ve begun to experiment with cold wax and oils, and my focus is on mark making and color relationships. I integrate my own photographic imagery into my work as the starting point for a narrative, and my goal is to create layered meanings and a sense of history. I explore themes relating to the natural, built, and political environment, but also investigate social issues. The interrelationship and tension between humanity and nature always impact my creative process. Karen’s photo of breathtaking Mulranny Loop is featured on the back cover You can view Karen’s work at www.karenbfineart.com Saudade, 2023 Encaustic mixed media on watercolor paper, 24 x 18 in Selected for inclusion in Ephemeral/Ephemera IEA and Mulranny Arts Juried Exhibition 2023. 77

Kathy Bradshaw Canada First, I am immensely GRATEFUL to have received this retreat scholarship and for the opportunity to learn about new encaustic materials, techniques, and processes in such a gorgeous setting! The entire retreat was absolutely perfect. And although I could itemize numerous speci c tricks and tips, the broader takeaway for me was watching the presenters in the act of painting and listening to them explain the deeper content of their work. First o , I was struck by Linda Robertson’s skill and advice with fusing and was lled with stenciling tips that could be incorporated into any working style. I will always remember Melanie Williams for her fearlessness and zest for mixing an array of media. She also introduced us to a new encaustic vocabulary while she “whopped on” her wax to create “lumpy bits,” “drippy bits,” “holy bits,” and “ icky bits.”

Watching Lorraine Glessner’s signature branding technique was meditative and mesmerizing and seeing her examples was an added bonus. Isabelle Gaborit’s passionate discussion about her mind/body approach to the land was very moving, as was watching her translate this physicality into one of her signature landscapes. Joanna Kidney’s impressive array of mark-making tools and verbal prompts was a reminder to step out of my comfort zone and explore a truly endless array of mark-making possibilities. Dietlind Vander Schaaf’s discussion on the luminosity of di erent pigments and the use of multiple transparent layers to create optical depth was enlightening… as was the thickness of her paintings.

Watching Joanna Kidney layer medium on with the largest hake brush I have ever seen.

Dietlind Vander Schaaf’s discussion on colour and transparency

Janise Yntema’s practice re ects her yearning for a kinder, gentler more environmentally-conscious world, and she showed me the importance of painting with more intention and understanding happy accidents in order to be the master of one’s work. Lora Murphy’s willingness to use unusual colours and the iron in her portraits in order to convey a sense of play and something less predictable was a standout for me. So, too, was her humble nature. Bettina Egli Sennhauser’s innovative approach of combining two ancient media was truly inspiring, as the rst thing I did when I arrived home was order the materials for creating fresco-based works….something I plan to explore during an upcoming artist residency in February.

Old Irish Goat at the Old Irish Goat Centre!

The lovely Lora Murphy's demo

Regina Quinn’s painterly approach with R&F pigment sticks and inks and ability to create great luminosity in her work was also a standout, and this learning will de nitely nd a place in my future work. Though this is just a brief overview of the various presentations, the learning has gone much deeper and will forever impact my painting practice. Thanks again for the opportunity to attend Celtic ConVergence, “Wax Across the Water,” and to share my thoughts with you!

View of Keem Beachon Achill Island Voted one of the most beautiful beaches in Europe.

It’s All an Illusion, 2023 Encaustic mixed media on paper, 9 x 12 in Selected for inclusion in Ephemeral/Ephemera IEA and Mulranny Arts Juried Exhibition 2023.

About the Author Kathy Bradshaw is an award-winning Canadian encaustic and oil artist known for her dramatic prairie skies, light- lled forests, and soulful animal portraits. Through the use of expressive mark making, colour, texture, and light, Kathy’s luminous landscapes convey a sense of escape and exhilaration, while her portraits focus on her subjects’ “inner landscapes” using gaze and gesture. Bradshaw’s work is represented by galleries across Canada and is collected internationally. You can view Kathy’s work at www.kathybradshawart.com/ www.facebook.com/kathybradshawart www.instagram.com/kathybradshawart

Next page, Photos by Melissa Stephens

Juror Michele Randall discussing Lorraine Glessner’s body of work Photo by Melissa Stephens

Ephemeral/Ephemera 2023 IEA Juried Exhibition in Mulranny, Ireland In conjunction with Celtic ConVergence, International Encaustic Artists (IEA) and Mulranny Arts co-hosted Ephemeral/Ephemera, an exhibition of small encaustic and cold wax works on paper. Each piece t within the dimensions of a standard shipping envelope. As stated by juror, Michele Randall, “These parameters suggest objects that may be fragile and temporary. However, the artists have produced works that are weighted with the universal emotions of pleasure, longing, and grief. The properties of wax, historically used as a preservative or balm, infuse the paper with strength, while obscuring images with a hazy bloom.”

Sixty-three pieces were chosen by juror Michele Randall from the 168 international submissions. The artworks were displayed in the Chapel Room at the Mulranny Arts Center. In her own work, Randall Hanging Garden by Shary Bartlett explores the lasting impact Photo by Carol Lelivelt of cultural narratives written for women during the past century using encaustic, cyanotype printmaking, and collage. You can view the Ephemeral/Ephemera exhibition at ephemeralieajuriedexhibition2023.artcall.org/pages/webgallery Juror Michele Randall discussing Susan Salter’s diptych Factree Photo by Melissa Stephens

Wound, Encaustic, cold wax, mixed media on scorched paper, 14 x 17 in

Snow, Encaustic, mixed media on scorched paper, 20 x 10 in

House, Encaustic, mixed media on scorched paper, 18.5 x 13 in 88

Body of Work Lorraine Glessner Jurors Award I was fortunate to have been invited by R&F Paints to delve into their new Brown Pink Residency for two weeks in February-March, 2022. I saw bitter cold, snowstorms, colliding ice chunks on the Hudson, plus a surprise few days of sunny, spring-like temperatures. Using landscape as inspiration, connection, and metaphor, my interest is in the exploration of human interaction and psyche. This work is the continuation of pieces created during the residency. You can view Lorraine’s work at www.instagram.com/lorraineglessner1 www.facebook.com/lorraine.glessner.3

Factree Susan Salter Jurors Award

Factree (Left), 9 x 8 in

Factree (Right), 9 x 8 in

This work is created on the inside cover of an old book I have kept in my stash of ephemera for several years. I held onto these items really not knowing how I would use them, but knew that someday it would be revealed. This encaustic diptych includes encaustic, image transfer, rust, and powdered pigment. The image in black and white is a concrete and steel beam holding up the roof of a factory.

Since books and their pages are made from tree pulp, I chose to add the image of redwood trees in encaustic over the image of the factory. Our redwood forests are being threatened by industries such as residential development and conversion to vineyards. Other threats include climate change and humans’ lack of concern for nature. I hope to call attention to this tragedy with my work. The de nition we were given of ephemerality as one that is deeply integral to the human experience that is called forth in this work. Walking among the redwoods, these beings that are alive and vital to our environment have given me moments of life and wonder. Hopefully, their existence will continue to be ephemeral and deeply necessary. You can view Susan’s work at www.susansalterarts.com www.instagram.com/slsalter96 www.facebook.com/slsalter96

Top left, Try to Catch Her, Encaustic collage, 12 x 9 in Top right, Wednesday Child, Encaustic collage, 12 x 9 in

Cage of Memories, Encaustic collage, 12 x 9 in

Body of Work Lyn Belisle Mulranny Arts Award My work has always been strongly in uenced by the idea of “shards” as a metaphor for human communication across time. A shard can be a found fragment of clay, a rusty nail, a scrap of handwriting – any little clue that becomes a “secret handshake” between the maker and the discoverer. I am perpetually drawn to visible traces from the passage of time that suggest lost story fragments. The translucent qualities of encaustic medium enhance the ephemeral qualities of these story metaphors and encourage the viewer to imagine what might be behind the veiled fragments of the works that speak to them.

You can view Lyn’s work at www.lynbelisle.com www.instagram.com/lynbelislestudio www.pinterest.com/lynbelisle

Body of Work Cheryl Lyon Mulranny Arts Award Wild open spaces of the landscape are the driving force behind my work. I am inspired by nature’s vast array of color complexity, as well as the simplicity of its shapes and textures. These are the primary elements that guide me when I paint. They allow me to remain open and explore under big billowing clouds, to be in awe of the intense light of a sunset and the dramatic darks of a storm. I am always searching for the essentials… for what will carry me through to my next painting. I paint to evoke a sense of contemplation, to invite the viewer to engage in a sense of meandering. You can view Cheryl’s work at www.cheryllyon.com www.instagram.com/cheryllyonart www.facebook.com/cheryllyonfineartsstudio/

Top left, Ro-Le-Jo, Oil, cold wax on d’Arches oil paper, 5 x 5 in Top right, Packaged Deal, Oil, cold wax on d’Arches oil paper, 5 x 5 in

New Appreciation, Oil, cold wax on d’Arches oil paper, 5 x 5 in

Aurora (mobile) Encaustic, photo printed on tissue paper 28 x 26 x 20 in

Aurora Shary Bartlett IEA Board Award Aurora is an encaustic installation inspired by the aurora borealis’ dazzling dance of light that oats, then disappears through the sky. For me, this magical light display symbolizes a connection between the physical and spiritual realms. Aurora’s colourful tendrils, made of Lutradur and encaustic, spin and move in the air casting mobile shadowed swirls upon the surrounding wall. When lit by the viewer's cell phone ashlight, the work becomes an interactive light show of tendrilled silhouettes upon the wall. You can view Shary’s work at www.sharybartlett.com www.instagram.com/sharybartlett (See Aurora video) www.facebook.com/sharybartlettartist www.pinterest.com/sharybartlett

The Last Bloom Anne Feller IEA Board Award Through layered self-portraits a moment of temporary existence is captured and encased in wax as a means of stillness and preservation. A shadowed form of a blooming agave is situated in the background. The blooming marks the nal stages of the plant's lifecycle. As the agave sits adjacent to the selfportrait, the plant mirrors my own concerns of time, while acknowledging the sense of beauty in the face of mortality. You can view Anne’s work at www.annefellerart.com www.instagram.com/anne.feller

The Last Bloom (And the First and Last Time I'll Look Like This), Encaustic, pen and paper, 11 x 11 in

Spring by Dawson Dawson-Watson, Oil on canvas, 30 x 40 in, 1927

Wax and Wildflowers 2023 IEA Juried Exhibition in San Antonio, TX In 1927, an international call went out to artists everywhere from the San Antonio Art League, challenging them to celebrate Texas wild owers. It was a competition for the history books, sponsored by oilman Edgar B. Davis, who o ered prize money that was unheard of in that era. The winner was English artist Dawson Dawson-Watson, who had studied with Monet.

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In 2023, an international call went out to artists everywhere from IEA and the San Antonio Art League, once again challenging them to celebrate wild owers in any way they chose as long as their work was wax-based. Forty pieces were chosen by the Jurors, Drs. William and Linda Reaves, gallerists, and experts on the Davis Collection. You can view the Exhibition Catalog at issuu.com/ internationalencausticartists/docs/ waxwildflowerscatalogfin. The San Antonio Art League & Museum is a lovely Victorian building in the King William Historic Arts District. Among the 100 guests for the Exhibition opening were IEA Board Members S. Kay Burnett, Rhonda Raulston, and Lyn Belisle. At the Preview Party, the jurors spoke about the magni cent surface e ect and the imaginative interpretations of the theme, noting that choosing award winners was incredibly di cult.

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Hazel and Cress Michele Randall Jurors Award My artwork is a record of ordinary moments. I’ve always been curious about which memories we hold onto and those that get lost. I use cyanotype prints to capture literally a piece of the past through the use of photographs, drawings, and owers that connect me to an important event. Encaustic seals the memories like a time capsule. Preserving a feeling that may otherwise diminish over time.

You can view Michele’s work at www.michelerandallart.com/ www.instagram.com/michelerandallart www.facebook.com/michelerandallartstudio

Hazel and Cress Encaustic, cyanotype print 20 x 30 x 1.5 in 103

Melissa Stephens Jurors Award My paintings are heartfelt abstractions inspired by reallife stories and experiences. Compassion, hope, gratitude, and soul-searching guide my work, fostering re ection and introspection. I infuse layers of color, asemic writing, and hand-written text to express my deepest feelings. Dried owers symbolize memories and moments in time. I’m passionate about making art accessible and teaching viewers about encaustic painting. When shared, my goal to connect with others through art is complete.

You can view Melissa’s work at www.mascreations.com www.instagram.com/melissa_stephens1016 www.facebook.com/melissastephens1016

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Dear Della

Dear Della Beeswax, damar resin, dried daffodils and pressed flower petals, embedded papers, graphite on cradle board 10 x 10 x 2.25 in

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Mary Jo Reutter Jurors Award As a visual artist, I’ve never before felt a kinship to a medium. When I discovered encaustics I had nally found “the one.” I fell in love with the creamy, ethereal look of smooth wax and delight at the ipside potential of the medium to create extreme texture and subtle, complex color. It’s a constant discovery. I've never felt con dent in showing my work, but now I feel like the viewer and I are discovering together.

You can view Mary Jo’s work at www.instagram.com/mj_reutter/

After the Bloom Encaustic, monoprints, wax crayon, varnish, bark, seeds 20 x 20 x 1.5 in

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After the Bloom

France Benoit IEA Board Awards of Excellence Encaustic swept me o my feet ve years ago, and since then I have felt like I've been on a journey of endless discovery. I'm still in awe of how well encaustic can be combined with other materials. My creative process is based upon my values: respect for the environment and exploration of human emotions. These ideals lead me in the selection of objects to add to my works, such as recycled jewelry, rusted pieces and such, whatever helps best to represent my vision in the moment. You can view France’s work at francebenoit.imprimo.ca www.instagram.com/ france_benoit_encaustique www.facebook.com/ francebenoitencaustique Croquer le ciel (Bite the sky) Tryptic on wood panel, Encaustic, oil stick, oil pastel 36 x 19 x 1.5 in 108 ff

Croquer le ciel (Bite the sky)

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Marymoor Park Queen Anne's Lace Carol Lelivelt IEA Board Awards of Excellence I live in the Paci c Northwest, where nature is both lush and muted. My encaustic and mixed media work explores the beauty in aging and renewal, represented with botanical forms. I build luminous depth by layering encaustic and photos printed onto tissue, inviting the viewer to discover obscured imagery and suggesting the passage of time.

You can view Carol’s work at www.carollelivelt.com www.instagram.com/carollelivelt

Marymoor Park Queen Anne's Lace Encaustic, photo printed on tissue paper 14 x 11 x 1 in

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Fields of Spring Lonnie Zarem IEA Board Awards of Excellence Lonnie Zarem is a painter, printer, and encaustic monotype artist. She has spent the last 16 years exploring and pushing the encaustic monotype process, resulting in large scale, highly expressive works based on personal connection, experiences, and memories. Inspired by the natural world, she is an award winning artist who shows her work internationally. As an instructor for the last eight years, “I encourage my students to see and experience the beauty around them, to reach and explore ways to express themselves through materials, innovative processes, ongoing education, and the inspiration and camaraderie of others.” You can view Lonnie’s work at lonniezarem.com www.instagram.com/lonniezarem www.facebook.com/Lonniezarem pacificartleague.org Fields of Spring Encaustic monotype 48 x 44 in 112

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Bountiful Blossoms Encaustic with mixed media on wood panel 24 x 24 x 1.5 in

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Joan Stolpen SAALM President’s Award I have always been drawn to art that emphasizes the e ects of color and light. Encaustic painting adds depth to color. The wax layers can be transparent or translucent, textural or smooth. The building up of layers gives a tactile and luminous quality to the paintings. The technique allows for spontaneity and a multitude of e ects. I nd inspiration in both abstract and observed subject matter. Representations of owers are uniquely suited to encaustic painting. Color, contrast and luminosity, and depth are all enhanced through the encaustic process.

You can view Joan’s work at joanstolpen.com www.instagram.com/Joanstolpen_encausticpainting

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Bountiful Blossoms

Vanishing I Susan Kirchman IEA President’s Award Nature provides many of us with a mental and spiritual retreat, a source of artistic and intellectual inspiration, and a setting for personal re ection. I nd great comfort and emotional sustenance in working with my own photographic images/ memories of natural botanical elements. By combining them with bee's wax, pigments, and oils, I transform them into my own vision. Immersing myself in every aspect of this process feeds my soul and I am thankful for that.

You can view Susan’s work at kirchmangallery.com www.instagram.com/@kirchman_gallery www.facebook.com/kirchmangallery

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Vanishing I Mixed media, wax 20 x 16 x 2 in

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Lend your ears to music, open your eyes to painting, and... stop thinking! Just ask yourself whether the work has enabled you to “walk about” into a hitherto unknown world. If the answer is yes, what more do you want? Wassily Kandinsky

A digital publication of International-Encaustic-Artists.org 118

Wax Fusion Fall, Issue IX:2023 Uncharted

Wax Fusion - Fall, Issue IX: 2023

Articles inside

Vanishing I

Bountiful Blossoms

Fields of Spring

Croquer le ciel (Bite the sky)

After the Bloom

Dear Della Melissa Stephens Jurors Award

The Last Bloom

Body of Work

Body of Work

Factree Susan Salter

Ephemeral/Ephemera

Karen Buttwinick

Celtic ConVergence Wax Across the Water

About the Author

An Unconventional Path

Looking Over the Edge

About the Author

Thirty-Year Field Trip

New Perspectives

From the Editors