Unveiling Inner Truth

Ancient Techniques in Contemporary Expression

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

The Secret of Immortality

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

Elliptical Orbits

Encaustic and alcohol ink on panel

8 x10 in

Also featured on the Content Page

About the Author

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