While the personal is granted high status within her encaustic paintings , June ’ s work is not created in an isolated , meditative vacuum of influence that evades the viewer - June does not paint for herself alone . Opposing the insular philosophy of “ l ' art pour l ' art ”, this artist delights in and works towards the specific visual enjoyment of her audience . With a dainty smile , June recalled the afternoon wherein a young man had stood in front of her painting Faces of Eve for a markedly long time . “ When I asked him why he had been looking at it for so long ,” June recounted , “ he told me that he had grown up in Italy and that he had viewed countless historically revered paintings throughout his life , and yet this painting , my painting , was the first picture that had truly moved him . That was very meaningful to me .”
This intended dialogue between June ’ s encaustic paintings and their viewers serves as an acknowledgement of the symbiosis between her own pivotal relationships and her practice . This artist is fortified by her loving daughters Barbara Bishop and Debbie Herrera , long-time students , active church congregants and the memory of her husband Fritz . In the tradition of the old guild , June ’ s students have turned to her as a rare , authentic high priestess of fine art – some for over forty years . Since 1963 , painting classes at the Lampe Gallery have been loyally frequented by doctors , religious , teachers and professional artists alike ; among them are Dr . Don Guzzetta , artists Linda Lester and Juanita Smith , and Brother Carl Bouchereau , S . C ., one of the Brothers of the Sacred Heart and June ’ s student of several decades . While June ’ s experienced eye for detail and clear communication style is consistently praised , intimacy and the ‘ family ’ environment is key to most students . Many of them testify to the comfort they feel in the Lampe Gallery of Fine Art with particular emphasis on the love shared between June and Fritz Lampe prior to his passing . Frank Giovingo , the owner of an information technology support company and June ’ s student of ten years , refers to her painting classes as a true ‘ space for love ’ in which the mutual support shared between June and Fritz remains , diffused into the classroom itself . “ Like a good painting , June is about as rich and well balanced as they come ,” Giovingo mused , “ She is always , always here for us , and we are always there for her . I can ’ t think of anyone in this city who can teach the way she can .”