Blues In The Night
It’s so freeing for me to work on paper, somehow
there is so much less pressure or expectation.
I often get more spontaneous images. And I like
to draw, even though I don’t draw on the wood
panels in preparation for painting. The problem with
combining charcoal and encaustic on paper is that
the work must be framed under glass – in an art
prison – creating a distance between the art and
the viewer.
Blues In The Night, Encaustic and mixed
media on paper, 26”X20” 2011.
Willow Bader
Full Cry
I enjoy the challenge of paintings lots of figures
in a painting. This is the Seattle Repertory Jazz
Orchestra playing Benny Goodman’s great work,
“Sing, Sing, Sing.” I took lots of photographs of the
orchestra in action, and then combined images to
make this painting. This really pushed my boundaries
of what I could accomplish with encaustic.
So. There you have it. A glimpse of the road I’m
going down now with my art. Pushing encaustic
to find its limits. Working ever larger. Painting in
multiple sequences. Seeking images of people
in motion – dancing, playing, connecting – telling
stories. And always looking for
vitality in how and what I paint.
Full Cry, Encaustic on wood panel, 28”X60” 2011.
For additional information please visit:
http://www.willowbader.com
For a video demo:
http://www.youtube.com/watch?v=FLm4_iWV7QE
9
Winter
Portfolio
www.EAINM.com