Regina B Quinn President Social Media Director Grants Director
Lyn Belisle Vice President
Isabelle Gaborit Membership Director Europe
S. Kay Burnett Executive Editor Wax Fusion
Michele Randall Secretary
Rhonda Raulston Tech Director Treasurer
Mary Jo Reutter Membership & Chapters Director
Melissa Stephens Exhibitions Director
Paul Kline Member-at-large
Front cover, Cleopatra, Encaustic on paper, 16 x 20 in by Lora Murphy Private Collection
Many contemporary artists are interpreting ancient art techniques in fresh and fascinating ways. Fayum portraiture, fresco combined with encaustic, archaic scientific texts as collage elements, and iconic natural objects (feathers, stones, and twigs) combined with beeswax are just a few ways that artists draw from our collective ancient roots to create a dialogue between the past and the present.
Michelle Belto's artistic focus on the interplay of time and memory is evident in her use of wax, creating complex surfaces that evoke formative eras and remembered experiences. Lora Murphy adapts the essence of Fayum painting to modern practices, focusing on encaustic wax and egg tempera techniques fused with contemporary materials and methods. Amanda Pierce, a CreeMétis encaustic painter and sculptor, seeks out items that represent her roots and culture for integration into her encaustic paintings and sculptures. Rhonda Raulston frequently incorporates the hand-drawn diagrams and notations from great scientific minds of the past in her work, connecting to their quest to understand the natural world and our relationship to it. Bettina Egli Sennhauser combines encaustic with Renaissance fresco methods to create her innovative surfaces that speak visually in an abstract language about what is around her and how she relates to it.
We hope you enjoy reading this Ancient Roots issue of Wax Fusion and perhaps feel a pull toward forgotten traditions and practices, reflected in the shapes, textures, or symbols that emerge in your art. And, as always, we appreciate your feedback. Please contact us at WaxFusion@International-Encaustic-Artists.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
Elliptical Orbits by Rhonda Raulston
Encaustic and alcohol ink on panel, 8 x 10 in
Michelle Belto
In her most recent body of work, Michelle Belto reveals the subtle power of reflection and the patient beauty of the intuitive, integrated path she chose years ago.
Diana Lyn Roberts Independent Curator, Writer, Art Historian Ordinary Prayers Exhibition Catalog, 2024
One fall morning in 1989, I was awakened by words from a dream: “You need to paint, big.” Although I had no formal background in the visual arts, I did have a personal history with moments like this. Paths often open for me through dreams, synchronistic events, and intuitive knowing. Over the years, I learned to honor what I heard, so I did.
I bought a "big" roll of heavy art paper, a basket full of interesting and unexplored materials, and a 4’ x 8' plywood board as an easel, all of which I brought home to wait for direction. It came a week or so later. “Paint an old woman's head in the very center of the paper.” I found a reference image from a magazine and set about the task. Step-by-step over a couple of months, I was directed through dreams, insights, or intuitive moments to complete the painting. When it was done, I knew this first painting would become a series of five, 4’ x 6’ paintings on paper. Wisdom Woman would be the last in the series. “And if you are faithful, you will one day become this woman.”
Schooled by Ordinary Mystics
Encaustic, pigment, and oil on panel, 12 x 12 x 1.5 in
Crossing the Bridge to Empathy
Encaustic, pigment, cold wax, and oil on panel, 24 x 24 x 2 in
Some 35 years later in a Nave Museum solo exhibition, Ordinary Prayers, I have lived, I believe, faithfully into the story of those five paintings, where I now recognize my own face.
The exhibition was conceived in 2021 at the IEA Retreat in Morro Bay, encouraged by my longtime friend and mentor, Floride (Flo) Bartell. It would revisit my formative years in the convent in Victoria, TX, where the scafolding of an inner life began. I intended to paint art inspired by my awareness of a deeper reality and the evidence of that presence in my life.
Realizing that for the work to be authentic, I needed an unconventional studio practice that could evolve organically, allow for more experimentation, and liberate my ability to control the work. I wanted to approach the canvas with curiosity and intention, but without a clear idea of direction.
The initial stages of this work were unplanned and seemingly random, with each layer of paint responding to its prior layer, sometimes working with as many as 15 layers of pigmented wax or oil. Once cured, I applied a final layer of opaque encaustic over the whole or partial surface and then stored the work so that time would erase even the memory of the original painting. Using various sharp-edged tools, I scraped selectively, working blindly to find my way into meaning. Through the natural ability of wax to layer and conceal, I was able to come close to my original experience of bypassing my conscious mind to tap into a larger intelligence.
Despite the original artworks falling apart due to my inexperience with materials and processes, the images and the memories of that morning in 1989 have stayed with me. Over several decades, I dedicated myself to learning my craft and creating a lot of work.
Like Don Quixote, I continued to search for access to that original state of intuitive grace of my first paintings. With this new body of work, my windmill has become a window that opens to life's ordinariness and the unexpected beauty of my backyard.
Between No Longer and Not Yet
Oil, cold wax, and encaustic on panel 11 x 14 x 1.5 in
Also featured on the back cover
Note: The work of this show falls into three categories: cold wax, encaustic, and a blend of the two. The steps I used to create the work are the same. I often have at least three cold wax paintings in development at a time, along with a couple of encaustic paintings to keep the workflow moving. Working on several paintings simultaneously allows me to approach the work with a fresh perspective. I am also less likely to return to work before I have had time to see the next logical step. The Heavens Declare is a cold wax painting.
A year into the work for the exhibition, I began to use the same general intention for each painting, often writing the words directly on the cradle board or carving the intention into the base layer of wax for encaustic work. Taken from a quote from Hildegard of Bingen, I wanted to be “that feather on the breath of God” as I painted, taking the stance of a witness. This painting, like the other cold wax paintings, began with intuitive mark making using a variety of graphite and ink materials along with R&F pigment sticks. I applied a layer of cold wax and, using a squeegee, blended and smeared the marks and oil into the wood. This layer was allowed to dry completely.
Working with opposites of cool/warm, transparent/opaque, textured/smooth, dark/light, I built up layers of paint without too much thought until the paint became too wet to continue without losing some of the history. After a couple of days of drying, I returned to the work, shifting and turning the canvas as I looked for a hint of an organizational structure as a starting point. I blocked out areas and added contrasting shapes, lines, and marks. I am attentive to underlying areas of complexity that are revealed.
The reductive work begins at this stage. Layers of transparent paint allow the prior history to be visible yet unified. Layers of opaque neutral paint allow for selective scraping. The surface must be partially dry to use solvent reductive techniques and incised marks on cold wax. If a thin layer of encaustic is used in the painting, the work would be completely dry and cured for a few months.
To get rid of the busyness of the marks in the lower section, I ended up adding an Indigo layer and reversed the painting on my easel. A slip of the squeegee at the top right of the painting suggested a blurred moon, reminding me of a recent total eclipse experience. The power of that moment and the awe it inspired directed me through the final tweaks as I moved the painting to a satisfying conclusion.
The Heavens Declare Oil, cold wax, and 23K gold leaf on panel, 24 x 24 x 2 in
Passages
Encaustic, pigment, cold wax, oil on panel, 12 x 12 x 1.5 in
Embarking on the path of creating your own solo exhibition is a profoundly transformative journey for any artist. It is marked by exhilarating highs and daunting challenges, but it is a process that goes beyond just displaying your work. It is about storytelling, introspection, and connecting with an audience on a deeper level. It is a chance to delve into personal themes, explore new techniques, and push artistic boundaries. A solo exhibition can be a turning point in your work and your career. If these motivations stir your blood and you are ready to say "yes" to your next step, here are some questions to explore.
How do I know I am truly ready for a solo exhibition?
Part of the answer is inside the question. You might need a solo exhibition if you need many paintings to tell your story, develop your content, or explore a theme. A short story makes its point briefly in a few pages. Developing characters, themes, and a plotline takes a novel with many chapters. When finished, your viewer should see more than a repetition of the same idea in diferent colors. If the show is well-hung, viewers will hear both the chorus and the verses as they see your work, understanding the depth and complexity of your artistic journey.
Part of the answer also comes from outside the question. Is your work consistent in style, medium, and subject matter? Does it feel congruent? Does your work look like it has been created by the same artist? Consistency may not matter if you submit a work to a juried show, but it will matter when many pieces of your work fill a gallery.
If this is your first solo exhibition, look at smaller, easier-toaccess places to show your work. Look for places that can partner with you, meaning you bring customers or new visitors to the establishment, and they allow you to hang work. Local cofee shops, libraries, boutique hotels, or wine bars are often open to an artist show. If the trade-of is not monetary, you must provide marketing and handle sales.
Once you choose a venue and set a date, request a floor plan for the space in which you will hang the work, or if this is a retail space, go after hours to measure the wall space you will be allotted. If there has been prior art on the walls, use that as a guide for the number and size of the work you need. Inventory the number of works in your studio, subtracting from the art you will need to fill the space. If, for example, you determine you will need fifteen artworks for the show and you have eight completed then you will need to create at least seven new works by the deadline. Add 25% to your number to have options when the show is ready to hang.
A budget is essential. Not only will you need your artist canvases and materials, but you might also need framing and hanging hardware. Be sure to check with the venue before finishing the work for hanging. Even if the venue does some marketing, you will need business and show cards and postage for mailing and reception. If the work you create in the studio is held for the exhibit's duration, your average income from sales during that time will not be available.
• Remember, the more you know about your venue, the more confident and in control you'll feel. So, visit your venue several times before you propose a show to understand the flow of trafc and the interaction with work on the walls.
• Adhere to written guidelines for writing a proposal. This structured approach will guide you through the process and instill confidence in your creative decisions.
• Solo exhibitions often mean you do everything. Bring along partners and supporters to your project.
• Remember to document your process, including stages of work in development. Your insights and choices are seeds for future work. Document the work with the best photography you can aford. Document the opening event and the exhibition. You will need those images for future marketing.
• Don't forget, you're not alone in this. Find another artist creating work for an exhibition and collaborate as accountability partners. Whether in person or over an online communication platform, this collaboration will make the often lonely experience more fun and less isolating.
Mindfulness
Encaustic and mixed media on panel 52 x 8 x 2 in (grid of 6 panels of 8 x 8 in)
Harbor Oil, cold wax, and pigment on panel 18 x 24 x 2 in
Amen, Encaustic and mixed media on panel, 24 x 24 x 1.5 in
An artist and teacher for over 40 years, Michelle Belto has exhibited internationally and founded community arts initiatives including The Gaslight Theater in Shiner, TX, Rebarn Center for Spirituality and Art in San Antonio, and The Enso Circle, an international artist residency which she co-founded and directs with Lyn Belisle.
Her artistic focus on the interplay of time and memory is evident in her use of wax, creating complex surfaces that evoke eras of time and remembered experiences. Before stepping back to focus on her visual art practice, Belto held a 13-year position as an adjunct faculty member at Southwest School of Art, creating a complete national and international teaching schedule. Today, she works and teaches from her studio in San Antonio.
You can view Michelle’s work at www.michellebelto.com michelle@michellebelto.com www.instagram.com/michelle.michellebelto www.facebook.com/michelle.michellebelto
You can view the Exhibition Catalog on Michelle’s website. www.michellebelto.com
All works photographs are by Seale Studios sealestudios.com
This article explores how you can adapt the essence of Fayum painting to modern practices, focusing on encaustic wax and egg tempera techniques and using contemporary materials and methods.
I have always felt a deep emotional and spiritual connection to Egypt, and for many years I brought artists there for retreats, specializing in encaustic, oil, cold wax, and egg tempera portraiture. Faces have captivated my creative focus for as long as I can remember. Although I originally trained as an oil painter, discovering encaustic painting completely transformed my artistic journey. For the past 20 years, I have been dedicated to this ancient medium, constantly exploring new ways to work with it.
Specializing in portraiture, I aim to merge the rich textures and luminous qualities of encaustic with a deeply emotional and modern sensibility. By drawing on techniques rooted in the classical art of the Fayum mummy portraits, I strive to create contemporary works layered with meaning and material. Each face I capture in wax evokes a powerful sense of presence and intimacy, with every portrait telling its own unique story.
My study of the Fayum portrait artists first revealed the profound cultural significance of encaustic painting. These ancient artists didn’t merely represent their subjects; they used encaustic’s malleability and translucency to convey the subtleties of human emotion and experience.
Their mastery continues to inspire me as I explore the interplay of light, color, and texture, keeping this timeless tradition alive in the modern world.
The Fayum mummy portraits, celebrated for their vivid realism and vibrant colors, were created from the late 1st century BCE to the 3rd century AD. These extraordinary works blend Roman portrait realism with Egyptian burial traditions and are among the finest examples of ancient art. The portraits originate from the Fayum district in Roman Egypt, where diverse cultural groups—Greeks, Egyptians, Romans, Syrians, Libyans, Nubians, and Jews—lived and worked together.
As part of the funerary process, the bodies of the deceased were embalmed in traditional Egyptian style, but a painted portrait was placed over the mummy’s face. Over 1,000 such portraits of men, women, and children have been discovered. These lifelike portraits were created using hot encaustic wax, cold punic wax, and/or egg tempera techniques.
Today, modern artists can draw inspiration from these ancient methods while adapting them to contemporary materials. The techniques of the Fayum painters remain incredibly relevant, and by using modern tools and materials, we can bring the timeless beauty of the Fayum portraits into our own work, whether through encaustic painting or egg tempera.
The allure of these ancient methods lies not only in their historical significance, but also in the tactile, versatile qualities of the materials. Whether you choose to work with traditional beeswax and pigments or explore modern cold wax mediums and acrylic egg tempera, there are endless possibilities for recreating the luminosity, texture, and lifelike detail that make the Fayum portraits so remarkable.
By blending these ancient techniques with contemporary approaches, we can preserve a rich artistic heritage while opening new avenues for creativity. The realism, texture, and symbolism of the Fayum painters ofer powerful inspiration to contemporary artists seeking to connect with the past, while forging their own unique artistic path.
The Fayum portraits, discovered in the Fayum basin of Egypt, played a crucial role in ancient funerary rites. These lifelike portraits were afxed to mummified bodies, serving as representations of the deceased in the afterlife. Interestingly, some portraits were created during the individual's lifetime rather than after the person’s death.
For instance, the young man whose portrait we are examining lived to an old age, as confirmed by the dating of his mummy. This suggests that his portrait may have accompanied him for many years before his burial. Moreover, scuf marks on many mummy casings indicate that these mummies were not immediately buried, but were often kept indoors, becoming part of daily life as the floors were swept around them.
Once the emotional connection between the living and the deceased faded, typically after a couple of generations, the mummies were buried in the desert, often headfirst. This practice inadvertently preserved the portraits with remarkable precision, allowing us to witness their enduring beauty and legacy today.
The Fayum portraits were primarily executed using two techniques: encaustic painting and egg tempera.
• Encaustic painting involves using heated beeswax mixed with colored pigments. This method is notable for its durability and the depth of color it achieves. The encaustic technique allows for luminous, glossy surfaces and the ability to create layers and textures.
• Egg tempera involves mixing finely ground pigments with egg yolk, creating a durable matte surface ideal for fine detail and subtle color transitions. It was a widespread method before oil painting became prominent in the Renaissance.
We can replicate the essence of these ancient methods using modern, accessible materials, while retaining the timeless qualities that made the Fayum portraits so distinctive.
1. Modern Encaustic Painting: Using Beeswax and Alternatives
• Encaustic painting involves using heated beeswax mixed with colored pigments. This method is notable for its durability and the depth of color it achieves. The encaustic technique allows for luminous, glossy surfaces and the ability to create layers and textures.
• Materials: Traditional beeswax, damar resin for added durability, a heat source (such as a heat gun or hot plate), and modern pigments.
• Preparation: Start with a gesso-prepared wooden panel, such as birch plywood or medium density fiberboard (MDF). Seal the surface with a layer of chalk gesso for smoothness and absorbency.
• Method: Melt beeswax with damar resin, mix with pigments, and apply the wax using brushes or heated tools. Use a heat gun to fuse layers together and add texture.
2. Egg Tempera: Still an Accessible Medium
• Materials: Fresh egg yolk mixed with water and pigments, or ready-made egg tempera paints, applied on a gessoprepared wooden panel.
• Method: Mix the egg yolk medium with pigments to create smooth, creamy paint. Apply in thin, translucent layers, gradually building depth and adding fine details..
3. Combining Techniques: Encaustic and Egg Tempera
• Approach: Begin with an underpainting in egg tempera for detailed work, then finish with layers of encaustic to add texture and depth. This hybrid method allows for the fine detail of egg tempera combined with the richness of encaustic wax.
Conclusion: Bringing Fayum Techniques into the Modern World
The techniques used by Fayum painters over 2,000 years ago remain highly relevant today. By adapting these methods with modern materials, you can bring the timeless beauty of Fayum portraits into your own work, whether through encaustic painting or egg tempera.
These ancient methods ofer not only historical significance, but also incredible versatility, allowing artists to explore endless possibilities in recreating the luminosity, texture, and lifelike detail that define Fayum portraiture. By blending traditional techniques with modern innovations, you can preserve a rich artistic heritage and open new pathways for creative expression.
Here is a step-by-step tutorial on recreating the portrait of this exquisite young man.
1. Safety First: Always work in a well-ventilated area when melting wax and using pigments. Wear a mask to avoid inhaling fumes and dust.
2. Experiment with Textures: Encaustic painting allows for a variety of textures. Experiment with diferent tools and techniques to create unique efects.
3. Layering: Both encaustic and egg tempera techniques benefit from layering. Build up your painting gradually, allowing each layer to dry before adding the next.
4. Color Mixing: Modern pigments ofer a wider range of colors than those available to the Fayum painters. Experiment with mixing colors to achieve the desired hues and tones.
5. Prepare the panel: Traditionally, Fayum painters used wooden panels covered with a base layer of hide glue gesso. This can be replicated by applying a chalk paint or encaustic gesso to a wood panel.
Materials list
• I used a raw birch circular panel;
• Zecchis egg tempera paints from Florence;
• My own brand of hake brushes;
• DecoArt chalk gesso applied thinly;
• Stabilo all pencil for the drawing;
• Working on multiple panels loosens up your engagement with the wax; and
• Working on a small scale is helpful in the exploratory phase of new work.
I used egg tempera paints for the underpainting and detail work, then finished with layers of encaustic to add texture and depth.
This hybrid method allows for the fine detail of egg tempera combined with the richness of encaustic wax.
This is the final piece with encaustic wax around and over the face. I’ve also included additional paintings that use diferent materials and substrates.
Saskia, Encaustic on panel, 12 x 12 in Private Collection
Cleopatra, Encaustic on paper, 16 x 20 in Private Collection
Also featured on the front cover
This is a collection of photos from the Egyptian museum in Cairo. It is very difficult to photograph the paintings as they are protected by glass.
These are some of the painting tools used at the time.
Lora Murphy was born in Ireland and educated in Ireland, the United States, and Italy. Lora earned honours degrees in both History of European Painting and Archaeology before going on to train as an oil painter in a traditional atelier in Florence, Italy. The discovery of encaustic changed her life, and she now works primarily in encaustic and mixed media.
As she says, "Once I tried encaustic, I was totally hooked, and I have been fortunate to be able to apply my traditional knowledge of painting to the encaustic medium.
And I found along the way that I just love teaching.
I am so inspired by watching all of my students gain so much confidence and reach new levels with their work. Even those with no experience of either encaustic or portraiture can do amazing work.”
After living and painting all over the world, Lora moved back to her Irish roots in 2018, and created a vibrant and hugely popular art school in the West of Ireland, Essence of Mulranny (EOM) Studios at Mulranny Co Mayo, where she welcomes visiting teachers and students from many countries. Lora teaches workshops in Contemporary Portraiture in Encaustic at EOM Studios and online, as well as ofering twice-yearly painting trips to Egypt and Nepal.
In 2021, Lora created the hugely popular Painting with Fire encaustic masterclass series, now in it’s fourth year.
In 2022, Lora was honored to receive the La Vendéenne Award which was established in 2012 by International Encaustic Artists to recognize artists or groups who have made outstanding contributions to the advancement and practice of encaustic art.
Lora sold her first paintings at 12-years old and has shown her work since 1985. She has exhibited widely in Ireland, Denmark, Germany, Italy, and the United States, and counts collectors from Europe, North America, Asia, and Africa.
You can view Lora’s work at www.loramurphyartist.com www.instagram.com/lora_murphy_paintings/ www.facebook.com/people/Lora-Murphy-Artist/100031771462605/ www.essenceofmulranny.com/painting-with-fire-2023-teachers/ lora-murphy
Before exploring how and why I choose items that represent my roots and culture and integrate them into my encaustic paintings, I want to share a bit about my background. My art feels like a continuum from my childhood, with each piece connecting naturally to the next.
My name is Amanda Pierce, and I am a Cree Métis encaustic painter and sculptor. Growing up in the 1970s, my days were spent outdoors—climbing trees, swinging from rope swings, and building forts and rafts. I cherished collecting rocks, feathers, and shiny objects. My favorite place was a park-like forest, where I discovered secret spots to immerse myself in nature. I felt safe and embraced in a hidden sanctuary I believed was made just for me. I would spend hours talking to the trees, grass, and birds, collecting sticks, rocks, and leaves to create small bundles and totems. Leaving these as gifts for the forest was my way of saying “thank you,” and I always felt a quiet response from nature.
I have always been intrigued by the details of nature—the iridescent hues on certain feathers, the shine from sunlight on wet stones in the creek. I could get lost in these details, and I am constantly trying to bring this magic into my art.
Reflecting on my parents, my mother embodied home, love, joy, acceptance, and kindness. She has an incredible ability to make anything beautiful and everyone feel welcome. My father and I could explore silently for hours, hiking and listening to the crunch of leaves beneath our feet. We would sit in longforgotten teepee rings, eyes closed, listening to the wind. My dad often asked, “How does it make you feel? What is it saying to you?” From a young age, I was encouraged to tune into these feelings, which sometimes felt ancient, sad, or peaceful.
Grouard AB
Encaustic and mixed media 18 x 11 x 2 in
I attended an Open School, a unique system with grades ranging from 1 to 6, reminiscent of Little House on the Prairie. We were encouraged to learn at our own pace, with outdoor play and experimentation as central components. The environment was very family-oriented, with parents, including scientists, biologists, and artists, volunteering in our classes. Art classes, taught by three dedicated artists, were among my favorites. In grade 2, I vividly remember an exercise where we pretended to be seeds sprouting through damp soil, eventually growing into majestic oak trees. Our teacher would ask how it felt to be that tree and what it would whisper if it could speak. This immersive approach left a lasting impression on me.
Today, I continue to create bundles and totems in my work, evolving a continuous story with layers of meaning between each encaustic layer. My work is about our spiritual connection to the natural world and a deeper reflection of life’s impermanence. I explore the concept of balance and spirituality by holding each piece nature has gifted me. Being in tune with it, drawing from its source is essential to me and my greatest source of inspiration. For that reason, I favor the use of materials that are from the earth, such as raw pigments and beeswax, feathers, shells, stones, and twigs. Everything carries a vibrational frequency. The words you speak, the thoughts you're harboring, and the art we create are all interconnected. This intuitive process is essential to my creative practice; I cannot create art any other way. I don’t see these pieces as mere objects; I connect with them like they are my friends. They take on personal significance, often evoking memories that feel like déjà vu.
Layers of Legacy
Encaustic and mix media, 24 x 12 x 2 in
It often helps me to turn on music that resonates with me. There’s something about the repetitive nature of a particular piece that speaks to me deeply, though I can’t always explain why. I find myself playing it over and over, and it seems to aid my creative process in some way. Additionally, turning down the lights creates a stillness that helps me focus, and burning sweetgrass or sage brings a grounding, spiritual element to the space, fostering a deeper connection to my work and the energies around me.
For Métis Nation Ontario, I created a body of work honoring Indigenous children from residential schools discovered in mass graves across Canada. Each bundle, twig, bead, etch mark, nail, and rusted piece symbolized a child who never made it home.
As I worked on this series, I felt a profound connection with each piece, drawn to its color and texture. I gathered items that nature gifted me—broken twigs, torn papers, and rusted nails—embracing their imperfections and arranging them in a vignette-like display. Each item represents a child, and the process itself felt ceremonial. Creating this series was deeply healing for me; I was able to cry for so many.
Guardian 1
Encaustic and mixed media
27 x 9 x 5 in
Unearthed Imprints, Clay and encaustic, 18 x 9 x 1 in
Innocence, Hide, wood, and encaustic, 7 x 7 x 3 in
Ancient Scroll, Encaustic and mix media, 24 x 14 x 3 in
In my latest series Layers of Meaning - Ancient Echoes, made possible by the IEA grant, my art bridges the past and present, conveying stories beyond words. This grant allowed me to build upon the themes from my Un-Earthed series, transforming loss into symbols of strength, beauty, and resilience. Through my work, I aim to evoke deep connections and emotions, inviting viewers to engage with the stories and experiences embedded in each piece.
In some of my paintings, I incorporate scrolls to bridge historical and contemporary narratives. Inspired by the birchbark scrolls traditionally used by Indigenous peoples for writing and recordkeeping, these elements carry cultural significance and ofer insights into the spiritual and historical aspects of these communities.
In other paintings, I write in Cree to defy the restrictions once imposed on Indigenous languages. Writing "I love you" in Cree is a message to my ancestors and future generations, asserting the enduring presence and resilience of my culture. The bundles and twigs remain the story of the Indigenous children who never made it home, and the bundles are the gift I would leave the forest as my way to say thanks to them.
In this painting in Cree hieroglyphic, I write the words "I love you" over and over again.
Ancient Script
Encaustic and mix media 24 x 12 x 2 in
Ancient Scroll, Encaustic and mix media, 24 x 14 x 3 in
I am continually inspired by nature and the way it mirrors our own existence. I see a striking similarity between a tree stump and a human fingerprint. This resemblance is a profound reminder of our deep connection to the natural world. In my art, I embed my thumbprints onto papers and incorporate them into my encaustic paintings. This practice allows me to infuse each piece with my personal energy and signature, honoring and reflecting my roots in nature. Each print is not just a mark, but a tribute to the intertwined relationship between humanity and the earth.
One of my favorite mark-making tools is a feather. I am drawn to the spontaneous, unpredictable lines that emerge when I let the feather guide my hand. Often, I close my eyes and move with the feather, allowing the marks to unfold naturally.
I also enjoy attaching feathers to sticks, using this combination to create unique patterns. This intuitive process not only connects me deeply with the materials, but also channels the energy and essence of nature into my work.
Warrior Song
Encaustic and mix
media, 24 x 18 x 2 in
Repeatedly, I find myself compelled to gather certain materials, though I’m not always sure why. Recently, I spent weeks foraging for sticks and twigs, without knowing exactly how I’ll use them. The process felt like home and is deeply relaxing and integral to my intuitive practice. These twigs, along with feathers and other natural elements, may sit in my studio for months, waiting for the right moment to come together. Living with these materials connects me to an unconscious narrative and deepens my connection to my roots. This process is a natural extension of who I am, and through this relationship with the materials, my art takes shape.
In these paintings and sculptures, I aim to make a powerful statement: By embracing and honoring the natural elements gifted to me by nature, I breathe new life into them. Through this artwork, I transform these gifts into a profound expression of love and connection, reflecting how nature’s beauty and essence can be reimagined and celebrated. My way of saying thank you to the forest.
Amanda Pierce is a Cree-Métis encaustic painter and sculptor and a citizen of Métis Nation Ontario. Her work is deeply rooted in storytelling through abstract art, drawing on themes of spirituality, impermanence, and the natural world. With a practice enriched by her childhood experiences of collecting natural objects and immersing herself in nature, Amanda uses materials such as beeswax, feathers, stones, and twigs, each chosen for their vibrational significance.
Amanda’s art evolves through layers of encaustic medium, where she carves and gouges to reveal underlying narratives of experience, love, and resilience. Her work reflects a profound connection to her cultural heritage and the earth. She is a resident artist and encaustic instructor at La Fab Cultural Center in Chelsea, Quebec, Canada, and her art has been featured in juried exhibitions across Canada and the U.S.
Her recent series, Layers of Meaning - Ancient Echoes, supported by the IEA grant, bridges past and present, transforming loss into symbols of strength and beauty. Amanda also incorporates birch-bark scrolls and Cree script into her paintings to honor Indigenous narratives and assert cultural resilience. Through her intuitive process, Amanda’s art invites viewers to engage deeply with the stories and experiences embedded in each piece.
You can view Amanda’s work at www.amandapierceart.com www.instagram.com/amanda.pierce.art www.facebook.com/AmandaPierceArt
You can view info about Amanda’s in-person or private Zoom workshops at www.amandapierceart.com
Rhonda Raulston
As artists, we often intertwine past and present, drawing upon ancient knowledge to create new works. This fusion allows us to honor traditions while forging paths for modern artistic interpretations. My journey with encaustic began at the British Museum in the 1970s, where I first encountered the breathtaking Fayum portraits. The depth and luminosity of this ancient medium captivated me.
Years later, rediscovering these portraits at the Getty Villa in Malibu, my interest was reignited. I immediately enrolled in an encaustic workshop at R&F Paints, starting the beginning of my ongoing exploration of this versatile medium. The Seven Gates, an homage to that first encounter with the Fayum portraits, exemplifies how ancient techniques can inspire contemporary artistic expression.
The intersection of science and art has long intrigued me. I frequently incorporate the observations and notations from great scientific minds of the past who sought to understand the natural world – our relationship to it and our place in it. These elements serve as a foundation for my work, particularly in the Cosmos series.
The Seven Gates Encaustic, oil, gold leaf, and photo transfer on panel, 11 x 14 in
Georg von Peurbach, Theoricae Novae Planetarum
Hand-colored diagram of Mercury’s epicycle. c.1474
Strolling Through Galaxies, 10 x 8 in Encaustic, photo transfer, alcohol ink, and oil stick on panel
In Congruence of the Spheres, I used a 15th-century treatise image as a starting point, layering color, texture, and incised notations to create a dialogue between past and present. This piece, like others in the series, is built up layer by layer, mirroring how scientific ideas evolve as new information becomes available.
Left, Congruence of the Spheres, 10 x 8 in Encaustic, photo transfer, alcohol ink, and oil stick on panel
Claudius Ptolemy, Manuscript of Almagest on vellum c.1279
Robert Lawlor
Sacred Geometry: Philosophy and Practice
Example of Renaissance architectural design showing the use of the Pythagorean triangles
Ptolemy Rising and Galileo's Playground further exemplify this approach. By incorporating elements from historical manuscripts and diagrams, these works pay tribute to the relentless pursuit of knowledge that characterizes both scientific and artistic endeavors. The process of creating these pieces – experimenting, accepting, discarding, and modifying –mirrors the scientific method itself.
Ptolemy Rising, 10 x 8 in, Encaustic, photo transfer, alcohol ink, and oil stick on panel
Plate from Almagestum Novum, Fr. Giovanni Riccioli, 1651. Comparative chart of world systems hypothesized by Ptolemy, Plato, the Egyptians, Copernicus, and Tycho Brahe.
Galileo’s Playground, 10 x 8 in Encaustic, alcohol ink, photo transfer, and oil stick on panel
All Things in the Universe
Encaustic, photo transfer,
History of the World, Chapter 2
Encaustic, photo transfer, collage, waxed crayon, and shellac on panel cord, and gold leaf on panel 8 x 8 in 8 x 8 in
To illustrate the ebb and flow of creativity, I sometimes substantially modify original imagery. In works like All Things in the Universe and the History of the World series, I layer obscuring elements such as wax crayon, shellac, melted encaustic, and cord. This technique reflects how ideas can be hidden, rediscovered, and reinterpreted over time.
History of the World, Chapter 4
Encaustic, photo transfer, collage, and cord on panel 8 x 8 in
Darkness Into Light began as an experiment – a diptych meant to be hung in a corner, playfully referencing "a corner of space." Though the original concept didn't quite work, the piece evolved into a linear painting that embodies the process of uncovering hidden truths.
Darkness Into Light, Encaustic on panel, Diptych 24 x 36 in
Multiple layers of encaustic color fields were overlaid with "stalagmites" of vibrant reds and oranges, then covered with numerous layers of blue black. Scraping back the surface revealed hidden galaxies and star fields, echoing how knowledge is gained, expanded, obscured, and ultimately uncovered.
My Meditation Series draws heavily on ancient roots, focusing on my daily practice of Kundalini yoga, meditation, and tea drinking. These pieces incorporate elements from ancient cultures, nature, and symbolism – some obvious, others arcane. Unenhanced dried tea bags feature prominently, inviting viewers to find personal meaning in the combinations of these elements.
Elements of “sacred geometry” and ancient texts are used through this series: the snail shell, an example of the Golden Spiral described by Fibonacci formulas; ancient Sanskrit text (c. 500 BCE); rudrashka meditation beads; and Babylonian text from the Code of Hammurabi (c. 1754 BCE).
In my Kundalini yoga community, we honor the Golden Chain – the energetic wisdom of all our teachers, past, present, and future. I carry this tradition into my encaustic workshops, recognizing how this ancient medium lends itself to both historical mysteries and contemporary explorations. I encourage my students to experiment with the versatility of encaustic, layering not only materials, but also ideas and emotions.
These artistic, meditative, and scientific explorations serve as perfect metaphors for the personal journey of uncovering one's inner truth. It's a lifelong pursuit, often seemingly fraught with risk. Knowledge and insight build upon earlier discoveries, with many truths becoming evident only after years of study, life lessons, and introspection.
The medium of encaustic, with its rich history and adaptability to modern techniques, provides an ideal vehicle for this exploration. Encaustic techniques of the past inspire a dialogue between history and the present, resulting in vibrant contemporary expressions.
The Golden Spiral Encaustic, tea bags, snail shells, and sari thread on panel, 12 x 12 in
Encaustic, tea bags, reeds, mace seed, and rudrashka beads on panel, 12 x 12 in
The Seven Sisters Encaustic, tea bags, reeds, and rudrashka beads on panel, 12 x 12 in
Encaustic and alcohol ink on panel
8 x10 in
Also featured on the Content Page
Rhonda Raulston is a Los Angeles-based mixed media artist who creates in encaustic, cold wax, oil, printmaking, and photography.
She travels extensively and teaches private hands-on encaustic media workshops.
She is an artist and Board member of the International Encaustic Artists, and an artist member of Pasadena Society of Artists and the Chafey Community Museum of Art.
You can view Rhonda’s work at www.RhondaRaulston.com www.instagram.com/raulstonart
The Dark Side of the Moon, 10 x 8 in Encaustic and oil stick on panel
The diferences between encaustic and fresco techniques are striking: fresco is wet, takes one or two days to dry, is rough and opaque, while the encaustic medium and color is waterrepellent, melts, is immediate, smooth, and translucent. These diferences might lead one to believe these techniques are incompatible, and you might wonder:
Why combine these two seemingly disparate techniques?
As an artist, I am looking for new ways to push the boundaries of my materials and explore uncharted territory. The smooth, glossy surface of the encaustic and the rough, matte texture of the fresco create visual and tactile tension. Juxtaposing the translucency of encaustic with the opacity of a fresco surface is like the diference between a polished stone and a raw, uncut gem—each has its unique beauty and character.
Combining the two allows me to create my narratives and vocabulary through innovative surfaces that abstract from what and who is around me and how I relate to it. These natural materials serve intimate and personal poetry and were instrumental in creating one of my most recent, deeply personal bodies of work: the Enso Series.
Enso, Encaustic on Fresco, ? x ? in
Both techniques have been around for ages, playing important roles in art, architecture, and mysticism. Fresco dates to the Minoan civilization of Crete in the Bronze Age (2,000-1,500 BCE) and peaked during the Italian Renaissance with Michelangelo's amazing work in the Sistine Chapel in Rome.
The most compelling reason to combine encaustic and fresco is that it connects us to the ancient roots of painting and to new explorations of the future. By pushing boundaries and combining the two, we tap into a rich history of art-making that stretches back thousands of years, learning from the artists before us and adding our voices. The lasting appeal of both methods lies in their beauty, durability, and the deep connection they create with our past.
Both encaustic and fresco are made from building materials. Beeswax, used by bees to build their hives, is solid and flexible. Similarly, fresco is more than just surface decoration; it's part of the architecture. All materials allow for unique textures and three-dimensional efects, making the artwork engaging and tactile. Both techniques use sustainable, natural materials that were around long before synthetic options from the modern era. Encaustic uses renewable beeswax, while fresco uses lime, sand, and pigments—all natural and plentiful. This focus on eco-friendly materials fits well with today's concerns about environmental sustainability and is important to me.
Both encaustic and fresco allow for a wide range of mark making and expression. With encaustic, we can use various tools and techniques to create diferent textures and efects— from smooth, glossy surfaces to rough, scratchy marks. With fresco, we can use the texture of the plaster itself to create patterns and designs or incise lines and shapes into the surface.
Fresco in a nutshell
Buon Fresco is a fresco technique in which alkaline-resistant pigments are applied to wet lime plaster without an additional binding agent. When the plaster absorbs the pigment, it is fixed and protected from fading. Famous examples are the Sistine Chapel in Rome, painted by Michelangelo, and the ceiling fresco in the staircase hall of the Würzburg Residence painted in 1750 to 1753 by Giovanni Battista Tiepolo. This fresco is part of the Unesco World Heritage and, with 7,287 square feet, the largest contiguous fresco in the world.
Fresco Secco, on the other hand, is the application of paint onto a dry plaster surface. The most prominent example is The Last Supper, completed by Leonardo Da Vinci in Milan in 1498.
Both types of fresco require a rough underlay called the arriccio. It's a coarse layer of plaster applied to the wall, typically made of lime and sand. This layer is intentionally left rough to provide a good grip for the next layer, known as the intonaco or fine coat.
The intonaco is the smooth, thin layer of lime plaster mixed with marble dust on which the painting is done. The roughness of the arriccio helps the intonaco bond to the wall, preventing peeling or flaking over time. It also allows for better moisture control, crucial in the fresco process as the pigments are applied while the plaster is still wet.
Intonaco on Coffee Grounds
In the following tutorial, I will guide you step-by-step through one of my processes.
1. Substrate: Work on a wooden substrate that is at least a quarter-inch thick. The materials we use are heavy, so a thin substrate might warp.
2. Prepare your intonaco: Add pit lime to a plastic bowl and mix it with marble dust in a ratio of 50/50. Mix and knead the mixture until you have a creamy, frosting-like consistency. If the intonaco is too crumbly, add water from the lime putty until the texture is right. Cover with clear plastic wrap. Start mixing your intonaco before preparing the arriccio, as the latter sets up quicker.
3. Prepare your arriccio: Mix sand with marble dust (ratio 50/50) and a heavily diluted acrylic dispersion (1 part acrylic/ 3 to 5 parts water), depending on the brand and its adhesive strength. I usually work with K9 from Kremer Pigments). Alternatively, with sand bought from a store, you can start collecting diferent colored sands during your walks and travels or use marble grids, travertine, or brewed cofee grounds.
4. Arriccio layer: Apply your arriccio to a height of approximately 2-3 mm with a spatula on your substrate. Applying the material is part of your painterly process and vital in building the painting.
5. Intonaco layer: Apply 2-3 mm of intonaco with a spatula onto the damp arriccio (ensures a more stable bonding of the layers). Try to avoid mixing the layers, and do not aim for perfection. Play with the textures, and believe it or not, your energy will afect how crackly it dries. A thicker layer of intonaco results in coarser cracks.
6. Collage elements: Incorporate collage elements while the intonaco is still wet. I use stained cheesecloth or collage paper. Feel free to remove collage elements and reattach them in diferent positions or orientations, even if it partially destroys your work. This flexibility teaches you to embrace the process rather than focusing on a result.
7. Drying time: The next day, when you return to your studio, it is the best day in the process. The intonaco has worked its magic overnight. During the drying process, the intonaco produced a variety of cracks that still adhere to the arriccio. Drying time depends on the layers' ambient temperature, humidity, and thickness. It can easily take two days. The fresco is fully dry when the surface no longer feels cool, but hand-warm to the touch.
8. Encaustic layers: On a dry fresco surface, you can start building up additional layers with encaustic medium/color and work with all the encaustic techniques you are familiar with.
Patience is crucial in this process. I often let a piece sit overnight and return to it with fresh eyes. Don't pressure yourself to finish paintings in one session; instead, focus on the next immediate step rather than the result.
This process requires experimentation and a willingness to embrace an unpredictable creative process. The joy is in the journey.
Happy creating!
Finished piece
Sakura, Mixed media on canvas, 80 x 100 cm
I work with formal, natural, sustainable materials and themes to express intimate, personal poetry. I develop my narratives and vocabulary through innovative surfaces, abstracting from the people and things around me and reflecting on how I interact with them.
Bettina is a visual artist, author, and R&F Artist Instructor living in Switzerland, near Basel. She teaches workshops in encaustic, cold wax, and fresco internationally at Art Academies in Switzerland, Germany, Austria, the U.S., Ireland, as well as online. She is a member of the 120year-old Swiss Society of Women Artists (SGBK) and serves as Co-Chair of the European Chapter of the International Encaustic Artists. Her work has been exhibited in galleries and shows across Switzerland, Italy, and the U.S. She is represented by the Jeff Soderbergh Gallery in Wellfleet, MA.
You can view Bettina’s work at bettinaegli.com www.instagram.com/kunstfreiraum www.facebook.com/eglibasel
You can view a video about Bettina and her work at https://www.youtube.com/watch?v=nLf6xeW-0O4
This summer, I was blessed and lucky to travel to Europe with my husband and two sons. We visited seven countries and 22 cities in 40 days. We met interesting people, ate new foods, learned foreign customs, and greeted people in their native tongue. Our journey is the inspiration for the IEA’s 2024 Juried Exhibition theme, When in Rome: The Art of Travel.
Traveling has endless possibilities and renders a myriad of emotions. It might be humbling, cathartic, or transformational. The world is wide, which reminds us just how small we are. The openness that comes with travel is similar to artmaking - a process that enables us to make new connections and form new ideas.
Artists working in hot or cold wax will interpret their varied wanderings by plane, train, car, bike, on foot, or through the use of their imagination. Selected artwork will be featured in an online exhibition on the IEA website followed by a more detailed release in a special digital art magazine.
Arizona by Melissa Stephens
Encaustic, oil stick, copper pigment, oil pastel, pan pastel, and shellac on cradle board, 20 x 26 x 2 in
Three Juror Awards will also be given. These recipients will have the opportunity to write an article in the Spring IEA Wax Fusion magazine.
The Award of Excellence celebrates artwork that strongly relates to the theme, and is an example of great technical skill and emotive representation.
The Inspiration Award celebrates artwork that inspires, educates, and promotes introspection.
The Travel Award recognizes artwork that best depicts a sense of place through imagery, color, and content.
Artists do not need to be members to apply, but membership has its perks! Nonmembers will pay $30 for three entries, while IEA members in good standing will pay nothing.
We are fortunate to have the IEA’s former Exhibitions Director, Michelle Robinson, as our juror. Michelle received her Bachelor of Environmental Design in 1991 from Texas A&M University and continued with graduate studies at Texas A&M’s program in Visualization. She has been an artist and supervisor for Walt Disney Animation Studios for 31 years, and is currently cocurating an exhibition about the Los Angeles River for summer of 2025 at Shatto Gallery. Michelle volunteers with several organizations and advisory boards and is a member of the curatorial collective Monte Vista Projects in downtown Los Angeles.
Adventure can happen anywhere, from across the globe to right outside your door. We are excited to see your adventures in art featuring anything from Texas to Timbuktu. Remember, travel requires little else but our imagination.
Regina B. Quinn, President
As artists working in encaustics or cold wax, we may be somewhat isolated geographically; yet, even if we are the only encaustic artist within a day’s journey, we find inventive ways to build community with others who share our passion.
Many of us are part of online communities such as Essence of Mulranny’s Painting with Fire or connect via social media groups. We take and teach classes, and we join International Encaustic Artists (IEA) to connect with other wax-media artists around the world.
As a member organization, IEA strives to support community among encaustic artists by ofering grants, publishing the free and informative Wax Fusion journal, fostering mentorships, sharing members’ work on social media, holding virtual and in-person juried art exhibitions, supporting local IEA chapters and, every few years, hosting small-scale retreats (and making videos of retreat presentations available online to all members.)
I’m thrilled to let you know that, having had such a magical and successful 2023 Celtic Convergence retreat, IEA will reconvene in Mulranny, Ireland, once again for Celtic Convergence 2026! This intimate retreat is set to take place October 5 - 15, 2026. We are already busy planning with our colleagues at Mulranny Arts and focusing on ways we can build community and lasting connections among all attendees. Stay tuned as we share details about the event in coming months.
While we are most eager to welcome you to our international retreat in 2026, we realize that not all our members will be able to attend. With an eye towards finding ways to provide additional local opportunities for groups of artists to come together for shared learning and community building, the IEA Board of Directors has established a brand new grant opportunity to support Small-Scale Regional Encaustic Events in 2025.
The call for applications will go live in early January 2025, and allocation decisions will be announced by midFebruary so that awardees have time to organize, plan, and hold their regional events some time in the spring, summer, or fall of next year. We’ll announce the opening of the call on our website, through social media, and via direct email to all IEA members.
Meanwhile, I’d like to let you know what this grant is all about so that you can start having conversations and envisioning how you and your regional colleagues might use one of our six $500 grants! So I’ll answer a few basic questions.
What is the purpose of this grant program?
The purpose is to support regional groups of IEA members— chapters, informal groups, or new groups—in convening to strengthen their local encaustic community and connections among artists, to provide regional opportunities for continued learning, or to educate the public about encaustic painting.
What are some examples of the kinds of activities this grant could fund?
We are seeking to support events such as one-day retreats featuring local presenters, gatherings in which members and other regional artists share and discuss their work, and public encaustic demonstrations and displays. If you are not already a chapter, maybe this grant will give you a chance to explore the possibility of becoming one. If you are already part of an IEA chapter, we ask that you think about holding an event that extends the scope or reach of what you currently ofer.
How can groups use their funding?
Perhaps you will incur venue or promotional costs. Maybe you will need materials, supplies, or equipment. You might want to ofer small stipends to presenters.
Remember, the key to success is that you host a small-scale event in 2025 that brings together wax-media artists or members of the public to learn and to connect. The hope is that this funding provides a modest amount of “seed money” to support you in building a more robust encaustic community in your region.
So, start talking to colleagues and get busy dreaming about gatherings you could host next year to strengthen your local encaustic community!
I look forward to your proposals and I welcome your questions and comments via email at president@international-encaustic-artists.org
Ancient crafting techniques and materials often influence contemporary creative processes. Artists who explore these roots may experiment with ancient tools, natural dyes and pigments, or traditional methods of construction, bringing an authentic, tactile quality to their work.
Creativity that draws from ancient roots often reflects a feeling of continuity, where past, present, and future are interwoven.
Artists can feel like part of an ongoing cultural conversation, contributing their own voice to a long lineage of creative thought. In this way, ancient roots nurture creativity by providing a deep sense of purpose, identity, and connection to the universal human story.
