It’s nice to see that the ancient technique of encaustic painting is being utilized by a growing number of artists. Today we look at Lynette Haggard and Dora Ficher, two artists who are taking this technique into the third dimension.
Lynette Haggard
I find myself drawn to Haggard’s Rhythmo Boxes (seen above), constructed with beeswax, resin and pigments on foam, but I also like this blossom. . .
Blossom, beeswax, resin, pigment, found materials
“My work is a pursuit of balance between sensory perception and the process of creating a history with marks and color. What interests me is the play between the unpredictable and the structured, tactile yet intangible, resulting in surface and imagery that is evocative to the viewer.
As I work, I may be guided by a combination of a thought, a sensory cue, memory or emotional response. My process is both additive and subtractive. I apply layers of paint, perhaps adding paper, marks, or found objects. In between layers, I fuse with a torch, heat gun or hot tool. Sometimes I score and mark the surface to reveal the colors, marks and history beneath.” Lynette Haggard
Lynette Haggard’s website, where you will find more 3D encaustics like the ones pictured above, and many encaustic paintings on wood panels.
Dora Ficher
Philadelphia artist Dora Ficher began experimenting with her encaustic paintings by building up the painting with wood for a more 3D effect instead of the usual flat panel. This piece is what drew me in and it is what I kept coming back to over and over again while looking at her portfolio.
Ficher is also working on a series of old doors (see below). I hope she continues with the experiment and we see more three dimensional encaustics from her.
Door 1/Door2, mixed media, encaustic collage, found objects, oil sticks.
Doors are 9 feet tall!
“Every painting starts with a grid. The vertical and horizontal lines calm my active brain and provide a structure on which to work.
I often paint within the cells of the grid before tying everything together. Because I use encaustic, I work slowly and deliberately. Building up sticky, fragrant layers of wax forces me to be present. This meditative process is as important as the end result.” Dora Ficher
