As I explore the answers to these questions , I am able to rein in my wandering focus . No short cuts here . If I disregard any piece of this I ’ m probably going to fail . This means I ’ ll be scraping off layer after layer of wax because I would not fully engage , or sometimes I just feel smarter than the process . Again , it ain ’ t so .
It ’ s so liberating to reject indecision and press on with the luxurious indulgence of moving the paint into a piece of work that makes you feel like , “ I ’ ve done it .”
Readers of Encaustic Arts magazine seek “ how to ” answers from these articles and I feel I can best serve this query by sharing the core elements of my studio practice . We are artists ; it ’ s up to each of us to find the How ? And , this How ? is different for each of us ; it ’ s the most exciting part of working as an artist . Each moment of discovery and experimentation is a big , shiny gift .
The timing of this article is interesting as I am experiencing a shift in my work . For me , change is afoot and I am deep into the discovery mode . Most important , I am allowing myself the opportunity to experiment , to fail and to try again . While I have mostly worked to paint beautiful , thoughtful environments — pleasant places where you can let your gaze and mind hang out — I am now thinking of limitations and density in that space .
As you may gather , here I am , an established working artist seeking challenge and change in her work . Is it scary ? You bet it is . But , so much more than scary , it ’ s invigorating . It brings heart and hope into play . Where do you find heart and hope ? Am I retreating , healing or burgeoning ? I can hardly wait to figure this out .
Should I fool myself into thinking that I have solved all the problems in painting , I know the work will become stagnant . I won ’ t have explored anything new , I won ’ t have challenged myself and I won ’ t have grown .
I gather many good lessons from my failed attempts , believe me , I ’ ve had my share of disastrous paintings . I keep some of them around to remind me where things can go and also to see how good the good ones are . And , who else will know ? If the painting doesn ’ t work , if it truly fails , it never leaves my studio , so who cares ? It is OK to fail .
My best suggestion to any painter , any creative person really , is to take whatever time you need to look at and assess your work . My answer to , “ How did you do it ?” is this : “ I did it carefully , thoughtfully , and deliberately . I keep creating problems to solve ; I do this in every single piece that I paint .”