I’ve managed to find time and space in the current carpetting chaos to prepare a few more encaustic/Plaster of Paris surfaces to work on.
And in the process realised that in both cases, I’m preparing ground.
You can’t build anything substantial on poorly prepared ground.
I find that’s not an original thought: (Matthew 7: 24-27)
Funny how art echoes life, sometimes.
I love the textures and patterns that arise from this process. I’ve described the process (which involves Plaster of Paris and encaustic) in some previous blogs. On top of this layer I’ve added a layer of Titanium White oil colour, which tones down the pattern, softens the colour.
Is your art echoing life at present? I’d like to know.
Poetic Mapping: Walking Into Art 
This technique is just beautiful! And you are so right about not building an artistic house on sand. I’m wondering if you would be willing to share your process for the plaster, and how you get the texture; are you waiting till the plaster is part-way set up before working with it? And do you have trouble with it chipping off when you use it on board books?
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The process is from the book ‘Encaustic Revelation’ in which a group of encaustic artists reveal their/one of their encaustic techniques. This particular technique is by encaustic artist Bridgette Guerzon Mills. I don’t want to plagiarise the book and the instructions are several pages long, anyway. I can say that the technique involves the use of Plaster of Paris bandages (ModRoc, etc). Perhaps Bridgette will be happy to tell you more if you write to her. I love her work. Her web site is: http://guerzonmills.com
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It looks like an old scroll or manuscript. Is this the end product?
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I’ve just sent you an email. 🙂 No, it’s not finished. It’s the base. I’ll be adding a layer of Titanium White oil colour to this, to knock it back a bit. I like its aged look, like it has a history.
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