Even the hastiest survey of June ’ s artwork would affirm that this is a woman who adores the grace , privilege and beauty inherent in classic femininity . Leah at the Well depicts the statuesque divinity of its biblical namesake ; the subject is draped in an intertwined lattice of glowing fabric and background texture , and her torso is subtly elongated as though sketched out by Mannerist sculptor Benvenuto Cellini . The viewer can sense June ’ s disregard of heavy aesthetic theory in favor of simply celebrating womanhood and , inevitably , her own understanding of what it means to be a woman . The figurative and personally specific nature of June ’ s work separates her from artists whose encaustic paintings are abstract and overtly political , such as Jasper Johns ’ ‘ Flag ’ series . June ’ s innocent , unabashed involvement of Greek , Egyptian and biblical iconography places her paintings alongside the work of artists who utilized ancient symbolism to impart the timeless quality of emotionality unto their work , such as Austrian Art Nouveau painter , Gustave Klimt , and contemporary encaustic painter Francisco Benitez . The incorporation of ancient motifs tends to render artwork highly autobiographical and , while these legends are universally known , an artist ’ s act of choosing one character or narrative to concentrate upon is deeply personal . In these choices , one can see the passage between the universal and the personal . For example , in his Stoclet Frieze mosaic series created for the Palais Stoclet ( 1905 – 1911 ), Klimt ’ s heavy engagement with Egyptian motifs lend the work a “ richer , more complex eclecticism ” that tells a “ mythological tale of discord , death , and rebirth that was timely both for Klimt personally and for the Klimt group ” ( Warlick 115 ). Likewise , June ’ s works are personal and painstakingly ‘ raised ’ as creative offspring ; many of her mythological subjects undergo a reverberating process of death and rebirth before they truly come to life . One of June ’ s most haunting paintings , Faces of Eve , is a burnished metallic film punctuated with emerging female forms , their features obscured as though they are pressing out from behind the curtain that divides the mortal world and the heavens . What started as a plaster sculpture was drizzled with bright swathes of encaustic . June then spent hours carefully rubbing costly German silver , copper and gold powders onto the heated wax piece until those spectral faces began to reveal themselves . Simultaneously old and new , Faces of Eve hovers , unplaceable , between decades and stylistic movements .