The Demo will include

~ Collage

~ Monotype print

~ Ink

~ Pastels

~ Paper

~ Wood

~ Touching panels

~Texture

                     ~February 2018 Show Demonstration~

           

​Artist:  Arlene Piacquadio                     Medium:  Encaustic Painting  

​​​​​ARTISTS' COOPERATIVE GALLERY OF WESTERLY

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Beeswax encaustic painting dates back over 2000 years.  The ancient Greeks adorned their battle ships, statues and buildings with this combination of damar resin, beeswax and pigment. The Fayum tomb portraits, from the Roman Egyptian period, testify to the archival durability of this material. Beeswax, resin and pigment were the materials used to create the murals of Pompeii. This technique remained popular throughout the 6th and 7th centuries, but was replaced by tempera and fresco due to the intensity of time, labour and heat involved. Beeswax painting was virtually lost by the middle ages.

 The term encaustic literally means to burn in. Any true beeswax and resin painting involves heat and the process to fuse the layers.  Heat acts as the invisible solvent much as turpentine acts as an evaporating solvent for oil painting. The natural dammar resin gives the wax strength and durability. Beeswax and resin are organically pure and biological materials. From the labour of the honey bees to the natural Malaysian dammar resin, no chemicals are involved in this technique. The quality of the material is very much alive, like an organic skin, and can hold colour in a pure, luminous tone.

 As a painting material, beeswax and resin reveals a subtlety rarely found in artificially manufactured materials. The delicate beauty of nature is inherent in my works. The use of beeswax draws focus to the ancient history of this medium as well as and the fragility of our environment.

 My artwork is mostly “Lyrical Abstraction” that began in the 1960s and 70s, following the challenge of Minimalism and Conceptual art. Many artists began moving away from geometric, hard-edge, and minimal styles, toward more lyrical, sensuous, romantic abstractions worked in a loose gestural style. I began with abstract painting, but began to  use the primacy of line and color  in my work that incorporated principles of design rather than a visual representation.