Showing posts with label encaustic. Show all posts
Showing posts with label encaustic. Show all posts

Monday, March 16, 2009

Bodhisattvas and Reliquaries at Busboys and Poets



Busboys and Poets will be hosting an Artist's Reception for me on Thursday, March 26th, from 5 to 7 pm, at their U St Corridor location, 14th and V St NW. Both the Bodhisattva and Street Reliquary series, along with individual works in oil and mosaic will be on display.

Thursday, March 5, 2009

Wheel of the Year Series

“Mabon”
Encaustic on Panel
24 x 24 in.
2008
Mabon is the Celtic holiday that celebrates the harvest. This begins a series of seasonal personifications of the neo-pagan Wheel of the Year, which represents sacred time as an endless cycle outside of linear time.



“Samhain”
Encaustic on Panel
9 x 20 in.
2008
Samhain is a time of endings and beginnings, as the harvest ends and the dead are celebrated in our memory. It corresponds with our idea of Halloween as a time when the “veil between worlds” grows thinner.











“Yule”
Encaustic on Panel
24 x 24 in.
2008
Yule marks the season of quiet and dark, and celebrates the presence of lights in the darkness. Holidays at this time celebrate the human yearning for hope and renewal.



“Imbolc”
Encaustic on Panel
9 x 20 in.
2008
Imbolc welcomes the first signs of spring, and celebrates the fire that represents purification. Our belief in or need for meaning is reaffirmed with the return of the sun.













“Ostara”
Encaustic on Panel
24 x 24 in.
2008
Ostara marks the return of strength to the land, paving the way for the fertility and bounty of the coming year. The cycle continues, with each part of sacred time giving an opportunity to touch the beyond through ritual and remembrance.

Anna Sophia




Anna Sophia Logos
Mosaic, Encaustic and Plaster on Panel
31 x 31 in.
2008
Anna Sophia, or Wisdom, was sculpted in the likeness of my younger sister, and placed in a sacred space with adornments and protections for the logos, or word, that she holds enclosed in her arms.

Tuesday, October 28, 2008

Creating Primitive Beeswax Ornaments

You will need:

Clay and modeling tools
A shallow box or Tupperware container
Mold Release Spray
2 Part rubber-mold mix
A crock pot
Pure beeswax
A soft brush
Powdered pigment in an iridescent hue
Thin wire
Pliers and wire-cutters

(I linked to where I got some of the less-common supplies)

First, sculpt away. Keep in mind that your designs can be as complex or as simple as you like, as long as you avoid any areas where the piece is not solid. If you try to cast something with a loop or a hole, it will not come out of the mold without breaking. You need one continuous piece without overhangs or tunnels, etc.

Once your designs are set, make sure they are securely set into the container or box top into which you plan to pour your mold. If they are not, they will come loose and float to the top during the mold casting process.


Next, spray your clay and container with mold release, like greasing a cupcake tin with pam. Mix your two-part mold rubber of choice very thoroughly, and pour it in slowly, starting at the lowest point and filling upwards.

Make sure that you have more mold making material that you think you need. There is nothing worse than having to do everything again because you underestimated.



When the mold has set (depending on the instructions) peel it out and clean out any residual clay. Instead of using the spray release, I used a powdered pigment to give the ornaments a subtle sheen. Brush it into the mold lightly, coating the edges and details carefully.








Meanwhile, melt your beeswax down in a standard crockpot. If you'd like, you can add any powdered pigment of your choice in this stage- just take care to mix thoroughly.







Pour the wax carefully into the mold. starting again at the lowest point. Don't worry too much about spilling over your edges- you can easily melt it back down again to use later.







The wax becomes opaque as it dries. There can be some trial and error in term of knowing when to take it out of the mold. Wait until you feel slight warmth coming from fully opaque wax, and gently pop it out of the mold. It should still be flexible enough that you can trim any over -spill or mistakes with a butter-knife or wood sculpting tool easily and save it for later.

While your wax is reaching that stage, make some simple wire loops, and when the ornaments are cooling off, work the wire in to the wax before it hardens.

... and voila!

Thursday, October 16, 2008

Transference





Transference
Tara Sasiadek
Encaustic on Panel
24” x 24”

Living in the city, I now crave time spent outside in spaces with as little evidence of humanity in them as possible. This is a reflection on those times I insert myself in the calm and lush outdoors, and attempt to internalize the serenity I find there. Of course, in doing so, I am inserting my own humanity into the space- an Observer’s paradox.

Tuesday, October 7, 2008

Encaustic Work Area


Coming soon: my learning curve in the beeswax medium: encaustic painting.