I've just been to the Jasper Johns exhibition and was interested in the paintings where he had used encaustic wax on the surface. He was influenced by the Romans who used it on their mummy portraits of Faiyum.
The process is described as 'hot when you apply it but dry's to an oily sheen'.
I have used it on several of my paintings, where I wanted to give the impression that the image was trapped in time.
I used a thin membrane of encaustic wax between two images in my painting 'Tea for 222' because I wanted to show what had happened in the past while simultaneously displaying the present.
Two great aunts had led exciting lives during the 2nd world war - one we believed had worked at Bletchley Park while the other had poised naked in the Windmill Theatre.
Whilst I used numbers (to represent code breaking machines and telephones) in the bottom layer, the top surface was painted with a typical English afternoon tea to symbolise the Aunt's respectable old age.
The wax helps to show both images at the same time.
The process is described as 'hot when you apply it but dry's to an oily sheen'.
I have used it on several of my paintings, where I wanted to give the impression that the image was trapped in time.
I used a thin membrane of encaustic wax between two images in my painting 'Tea for 222' because I wanted to show what had happened in the past while simultaneously displaying the present.
Two great aunts had led exciting lives during the 2nd world war - one we believed had worked at Bletchley Park while the other had poised naked in the Windmill Theatre.
Whilst I used numbers (to represent code breaking machines and telephones) in the bottom layer, the top surface was painted with a typical English afternoon tea to symbolise the Aunt's respectable old age.
The wax helps to show both images at the same time.
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