Encaustic medium is not on the radar of many art enthusiasts and collectors. Once I answer the "what is it?" question (a combination of beeswax and damar resin) the question is "why?".

As a fine art photographer I have sought for years the perfect addition to my photography images. Over the years I've experimented with several types of varnishes, painting it over images that I had printed on thin Asian papers. I liked the look but couldn't get the quality of print that I wanted. Next I tried epoxy resin pours. I was introduced to using a heat gun and the need for ventilation. I happily experimented with several different kinds of substrates, wood panels and tiles among them. But it was just too shiny for my liking.

A few years ago I happened upon a photographic print under encaustics in a local gallery. And that was just the look I wanted. I was intrigued but it was another year or two before I took my first class. I have to admit my first exposure to working with wax was not an inspiring experience. I shelved the thought for several months until I decided to try another class. I learned the basics and it was enough to set me on my way.

I worked on it for months before I thought I was getting a look I liked. My first pieces featured black and white images printed on thin paper. I left the wood panel ungessoed so the wood became the background as the paper became transparent. I worked this way for about a year but became frustrated using just black and white. 

I started working with color, again using Asian papers, mostly kozo. Panels were painted in white encaustic gesso. I enjoyed the muted colors caused by the papers. When working on large pieces I cut the image into squares and created a "tiled" look. That allowed me to work on pieces bigger than my printer could accommodate. 

During all this experimentation, I was also working hard to establish a look and feel for my wax coating. I didn't like the look of brushed wax, too bumpy, not enough control. Eventually I moved to mostly using a variety of  sparkling and putty knives to create the look I wanted: toward the smoother end of the spectrum but with some interesting texture. I have become adept at using the heat gun and blow torch.

Recently I have gained access to a large-format printer and, once again, I have changed my methods. Now I can print full-sized pieces on beautiful fine art photo paper. Beautiful colors and crisp edges. And the wax seems to love this kind of paper. 

Creating art is truly a journey. I'm already thinking about what to do next.