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 find identification. 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 artificially create rust, and I found my answer among painters – rust finish that can be applied to any paintable surface.

Closeup, Mannequin Rust

Also featured on the front cover

The result has been the creation of beautiful artworks that have challenged me and sparked new ideas.

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.

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.

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

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

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?

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

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.

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.

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, influenced by her training in CAS visual and sculptural design, both in

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

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 first 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