Thursday, May 14, 2015

MAPPING: Finding A Way


 Consciously or not, we each set our own direction, choose our own path.  Artists express forward momentum in visual terms.  Works below range from literal map references to artists' metaphorical, internal compasses.   
In this show, art represents some of the members of ProWax. Each artist's name links to a website.  At the end of this show, you'll find a link to ProWax Journal.

             Boundless Series #1, Dorothy Cochran, 2015
Relief embossing, 14" x 11"
"This series is a metaphor for mapping a firestorm of inspiration, overlapping thoughts and the push/pull of moving outside of limits and confinements.  The heavily embossed paper undulates visibly with the energy and strain of the search for focus."

Bark Blue, Pamela W. Wallace, 2014
Encaustic, collagraph collage, 12" x 12"
"This piece is from a series mapping transitions in life - moving through places/spaces, and creating a new existence built on remnants of the past. Fibonacci rectangles created with fragments of old work beckon entry or exit."

Remnant Transits 1, Elise Wagner, 2015
Encaustic and oil
"Painting for me is navigation; abstraction is navigation. Mapping has come to be a universal theme in my work, manifest through a series of decisions about color, scale, line, composition and content."

The Singing Tree XI, Debra Claffey, 2015
Oil monotype/graphite/pigment stick,  22" x 30"
"In navigating my known world and the unseen, verticals and horizontals in my work become longitude and latitude. Contours denote edges that are illusory and, in fact, serve only 
to locate oneself (one’s self) in time."

Hidden Ghosts, Patricia Dusman, 2015
Encaustic, 24" x 24"
"This piece is visually topographical, akin to an aerial view, as seen through a thin veil of clouds.
The imagined land mass in the middle of an ocean represents journey through time."

You Are Here, Peggy Epner, 2014
Ink, wax, wood, and thread, 21" x 19"
"An X on a map.  The desire to hold or be held in a fixed point, if only briefly, in order to get one's bearings - an origination point, a destination."

Looking Out, Sandra Quinn, 2014
Encaustic, 16" x 18"
"Following my inner road map, I wish to create an atmosphere of space that reflects my history and experiences. The journey connects past to present, present to future."

Mapping a Place 13, Lisa Pressman, 2015
Oil and cold wax, 12" x 12"
"Mapping  for me is about location, time, travel and a metaphor for finding a new place."

Watershed Moment #4, Leslie Sobel, 2012
Encaustic monotype, 48" x 24"
"This series was inspired by chaperoning a high school service trip to New Orleans post Hurricane Katrina, which made the power and the significance of the Mississippi River painfully, viscerally real. After the trip I discovered a series of beautiful survey maps of the river by Harold Fisk 1940s and  used them to help make work with motion and physicality echoing my emotion about the power of the river’s ever changing channels." 

16,000 Keys, Joan Stuart Ross, 2012
Inlaid encaustic, collage, and keys, 18" x 21"
"These embedded keys locked and unlocked my living and work spaces and are an iconic part of the intricate grid of where I live and create my art."

Pangaea 20-12, Corina S. Alvarezdelugo, 2012
Recycled atlas, thread, encaustic and gold leaf, 9.5" x 9" x 8.5"
"It is believed that 300 million years ago, all the continents we know today were once together as a 'supercontinent' before they split up, and this massive land was called a “Pangaea.” Today, thanks to the Internet and social media, it seems as if we are moving back together into one big cyber-land, hence the name of this piece."

Gangway, Nancy Natale, 2014
Found and invented materials with encaustic and tacks, 24" x 24"
"'Gangway' is more about finding the way than mapping. It took me several tries and quite a few false starts to make that orange line work and end up at a place that made visual sense to me."

Inland Steel L3, Jeffrey Hirst, 2015
  encaustic, silkscreen on shaped panel, 45" x 25"
"I use visual information to navigate my interest in architectonic structure, examining how architecture defines social space in an urban environment.  My work travels a very process-oriented path that leads to play, discovery and transformations that refer to the juxtaposition of both decay and beauty in the same piece."

You will find these artist and more in issues of ProWax Journal.

Thursday, November 21, 2013



Measuring quantities, counting qualities, focusing on more versus less versus just enough: more than a tool, these are the substance of the following paintings.
In some cases the artist has provided one sentence about the work.  Links are live to each website.

Now More Than EverShirley A. McElhaney, 2013
16" x 14"
"Some times in life things are now or never."

Drifting in SilenceSandra Quinn, 2013
encaustic, 13.5" x 11.5"
"There is a relationship between the circles, pairing as they move together and drift apart, creating a space of solitude to recount memories."

Grapheme 1Tracey Adams, 2013
encaustic and oil on panel, 48" x 48"
"Graphemes are the smallest unit in a language; they can include numerical digits, Chinese characters and symbols of any of the world's writing systems."

TimerBeverly Rippel, 2010/13
oil, 6" x 8"
" The flesh toned paint ticks incrementally away...marking Time."

Lucky 7sElena De La Ville, 2012
encaustic, 22" x 22"
"Lucky seven refers to the seventh day when I found out the good news."

Keeping Time, Kathryn Dettwiller, 2012
encaustic monotype on Asian paper 25"x 37"
Keeping Time is informed by the rhythms of my daily life: counting breaths in the mornings, the ticking of the clock as time elapses, entries in my journal before retiring at night.

Prime, Patricia Dusman, 2013
15" x 5" x 2"
"This piece is about a series of prime numbers, giving the viewer the ability to interact and solve for the missing number."

Spherical Harmonics # 10Michele Thrane, 2013
encaustic monotypes, digital images, staples, paper, 19" diameter
"The numbers in the equations come from my son's published physics papers, and they quantify the relationships of the variables that describe gravitational waves."

Ruche 0352.20, Karen Freedman, 2013
encaustic on panel, 12" x 12" x1.5"
"As I design each painting, I count the symmetrical rotations of the elements as well as the size and quantity of the elements in that design; while painting I count the ratios of the colors I custom mix."

Twin Primes IElizabeth Harris, 2013
18" x 24"
"Twin primes are one of the oldest unsolved problems in math; seeming to occur in twos, like 3 & 5, 17&19, and even as you go to higher numbers, as primes become very infrequent, they still will come with two together like that, even with numbers in the billions and higher."

Inventory ControlElaine Brady Smith, 2013
16" x 16"
"In the dusty ledgers of our mind, we keep inventory; one of accomplishments where there is expansion and stars for positive actions taken and one of remembrance that marks us from future misjudgments."

How Many?, Deborah Martin, 2013
encaustic on arches paper, 18" x 24"
"Numbers represent how many elephants have been killed last year, last month."

And So It Was Written, and So It Was Prescribed, Pamela Wallace, 2010
wax, oil graphite on panel, 20" x 16" x 2"
"This work that protests the over use of psychotropic medications."

SOH CAH TOA, Karen Nielsen-Fried2013
encaustic and oil on panel 24" x 46"

Thursday, September 6, 2012


Pulsating rhythm dominates these paintings, some in the natural ripples of water, air, or emotions, some as syncopations in open space.  The energy vibrations emanating from these works inspire toe-tapping, dancing, and sometimes a quiet,  static gathering of thoughts.


                                    Step By Step 5,   Sandra Quinn  2010
                            encaustic  22" x 24"

                      Embryo Three,  Pat Spainhour  2011
                           encaustic,  16" x 16"

The Night Swim,  Neverne Covington  2010
oil,  9" x 12"

Ruche 0391,  Karen Freedman 2011
encaustic  12" x 12"

Sanctuary 3,  Marci Borland 2012
encaustic, 14" x 14"

Kyoto Moon Series: Akatombo: Red Dragonflies, Lin Golden   2011
encaustic  10" x 8"

The Return of the Native, Senna 2,  Debra Claffey  2011
encaustic, oil  18" x 12"

Invisible Family, Helga Winter 2012
encaustic,  7" x 10"

For All We Know,  Karen Nielsen-Fried  2012
encaustic, oil, pastel  30" x 28"

Tendency of Thought,  Alicia Forestall-Boehm  2012
encaustic  18" x 18"

Years,  Michelle Beaulieu  2012
encaustic  7.5" x 6"

Co-exist,  NJ Weaver   2011
encaustic  12" x 12"

Thickly Veiled,  Helen Dannelly  2012
encaustic,  18" x 12"

Hanky 1,  Joan Stuart Ross  2012
encaustic, 12" x 12"

Home Woven Wax,  Christine Rooney  2012
encaustic,  5" x 7"

Trinity - Variation 1,  Cat Crotchett 2011
encaustic,  12" x 12"

Paring Away,  Leslie Ford  2011
lightfast dyes,  20" x 14"

Green Gig,  Carol Brody 2012
encaustic,  12" x 12"

Onion Domes,  Lorna Strotz  2011
watercolor,  11" x 12"

Taiko IV,  Paula Roland  2011
encaustic,  40" x 26"

Radix 4,  Tracey Adams  2012
mixed media, 40" x 40"

Finding Moses 2,  Susanne Arnold  2012
encaustic, beeswax  8" x 8"

Ostinato,  Reni Gower  2012
encaustic,  15" x 18.5"

True Grid,  Daniella Woolf   2011
encaustic,  8" x 8"

Paint On Canvas X (Red Family),  Beverly Rippel  2011
oil,  12" x 12"

RedPinkCB (Somebody),  Louise P. Sloane  2012
acrylic/polymer,  50" x 46"

Cells 3,  Kay Hartung  2012
encaustic,  6" x 6"

Interweave,  Lynda Ray  2012
encaustic,  18" x 24"

Prayers for the Earth: Agave/Agape,  Fanne Fernow  2011
encaustic,  22" x 48"

Very many terrific paintings were submitted and some of them will show up on this blog in the future.  Thanks go to the fine artists who work hard and are generous to send me a glimpse of what're they're doing.  Fabulous work is happening out there in the real world!  - Hylla Evans