Spring at the Vineyard, 2008 by Fanne Fernow

Fanne Fernow Explains the Fine Art of Encaustic
Though created using centuries-old techniques, encaustic painting is a largely unfamiliar art form that combines the skills of colorist, painter, and sculptor within a single work of art. Here, encaustic painter and International Encaustic Artists officer Fanne Fernow responds to our inquires about this unique art form.

How are encaustic works made?
Encaustic painting is a process of painting with molten wax and fusing the layers together with either a propane or butane torch or electric heat from an iron of a heat gun, which is like an industrial-strength hair dryer. Damar resin (a straw-colored resin gathered from trees) is melted into beeswax resulting in a harder, more luminous wax. Fusing layer to layer to layer further strengthens these paintings. In the end, encaustic works are stronger than one might image.

Encaustic is not a new medium—there are examples of encaustic paintings dating back to the sixth century. The word "encaustic" comes from the Greek word encaustikos, which means "to burn in." The fusing of the layers of paint is as important to the creation of an encaustic work as the actual painting.

Are there new materials being used in encaustic work?
In its truest form, encaustic materials are beeswax, damar resin (not varnish), and pigment painted on a wooden support. Today, however, encaustic can go as far as the human mind can take it. There are many artists, myself included, who make wax-based mixed-media pieces. There are others out there doing fabulous monoprints on paper, painting on Plexiglas, and dunking or painting on anything they can think of. Heather Hutchinson works with Plexiglas. Wnedy Aikin and Judy Stabile have recently "encausticated" household items including tea cups, sugar cubes, glasses, books, keys, cell phones, and a chair. Paper loves wax, so many book artists, collagists, and assemblage artists use wax as well.


It seems that working with wax must be very difficult. What is it that makes encaustic work so appealing?
Encaustic painting is very organic. Beeswax comes from bees, damar resin is stuff that drips out of pine trees, most pigments are organic, and it is best to use natural wood substrates. I like it that we use things that come from the earth. It smells good, though it is best to work in a well-ventilated room.

With encaustic paint, I find that it is very easy to make my own paint from scratch, which is very empowering and fun. I make my own medium, which is a misture of the wax and the damar, and then I introduce dry pigment. I can customize my paints and colors in ways I never thought possible. I find it very satisfying that in the end, I have "made" all the paint.

Do you find that there are certain types of artists who are drawn to encaustic work?
Encaustic is perfect for the artist who loves processes and figuring things out. It is great fun to say, "Oh, look at this wood burner. What can I do with this?" A quick exploration says that you can’t really work the wax with a wood-burning tool because it burns too hot, and just leaves the wax in a puddle. But try turning down the heat and putting some absorbent paper on the wax, and then using the wood burner. Fusing the wax to the paper gives the wax a whole new dimension. Continuing to layer the wax over the paper layer will continue to enhance it. Encaustic is for the artist who wants to expore, who is brave enough to say "What will happen if I try this?"

Of course, there is also a whole school of artists out there who do very traditional work. I have seen amazing representational landscapes painted with hot wax using tiny brushes. I find those works to be mind-bogglingly perfect.

Why are encaustics a good option for commissions?
It is hard to talk about encaustics in general terms because there are so many different paths an artist can take. One of the universal truths about encaustic is that there is an intrinsic luminosity of the wax.

I find many encaustic paintings to be very meditative, and in a way, some two-dimensional works can almost seem three dimensional because of the textures. Often decorators and architects are looking for great surfaces, and with encaustic, the possibilities are limitless. Encaustic also lends itself well to giclée prints.

What’s the role of International Encaustic Artists?
About four years ago, some "waxers" from the Bay Area gathered in an informal way to see if they could promote encaustic art in San Francisco. The response was immediate, and artists from all over wanted to join in. Ultimately, they formed International Encaustic Artists as a formalized way to promote encaustic painting and encaustic artists. The official objective is to seek "to raise the level of excellence in fine art encaustic work by providing global information exchange and raising interest about encaustics in the art world and with the general public."

In addition, IEA has a fabulous sense of community. People love sharing their methods and techniques. Because encaustic painting is growing in popularity right now, IEA is a great place to learn new things and get answers to questions. There is a lot of mentoring and empowerment in IEA. We also sponsor shows, and our members are asked frequently to curate or help curate encaustic shows.

Brian Kershsnik

By the age of 18, Brian Kershisnik had lived in four different countries. His father, a petroleum geologist, relocated the family from Oklahoma to Angola; from Angola to Thailand; from Thailand to Texas; and from Texas to Pakistan.

“I’ve always felt somewhat out of place, but I think that being a stranger may be more of a universal experience than belonging,” says Kershisnik, who ultimately settled in the small Mormon town of Kanosh, Utah. “I believe that humanity is largely motivated by a sense of belonging to something we haven’t quite seen yet but can almost remember. Being awkward is a part of life.”

Reading a Very Small Book

And, he realizes, a part of art. The people in his paintings—drawn in bold, charcoal outlines, but often left with unfinished features— are often out of place themselves. In Father and Son Dancing, a man holds his infant son on his shoulder. It could have been painted as a pure expression of joy, but this father is clumsy, heavy-footed. In Flight Practice with Instructions, a man tries to fly, but is tethered to the ground like a kite on a string. He is not flying as much as practicing flight, a crucial theme for the artist.

“Several summers ago, I saw a man in his front yard practicing his cast with a new fly rod. My comment to my wife was quite accidental. ‘Look. That man is practicing flying.’ She is quite used to my making such mistakes and rather than correcting me suggested it was a good idea for a painting. As I began sketching, I realized how vital the issue of ‘practice’ has been in my work, though I had never before named it. How splendidly human it is to practice. Everything we do can be seen as practice, as long as we believe that the failure of our current task will sooner or later—and probably gradually—give way to something lovely, even beautiful.”

Peaceful Morning by Jane Hunt

Several years ago I was at a friend’s house and was struck by a large, colorful print they had on display. I voiced my admiration, and they explained that it was an original, not a print. They had met the artist and bought this original directly from his studio. Much as I loved the piece, it started me thinking – how do I create paintings that are obviously “the real thing” and not a reproduction?

This is one reason I started using my unique texturing process. Sure, it has its drawbacks – for one, my pieces are quite difficult to photograph. Another is that after lugging these substantial pieces to several art shows I start wishing I created on paper instead!

But they have one enormous advantage – there is never any doubt that they are original paintings.

I love to create in texture, I feel like it’s a wonderful marriage of sculpture and painting. I feel like it’s harder to get tired of a textured painting – after all, their depth allows them to change with every shifting of light.