Page 3 - Wax Fusion Spring 2022 Issue 6 WIP v19
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From the Editors




             Avant-garde art pushes the boundaries of ideas and creativity and is often

             used to describe art that is radical. But it also applies to art that reflects an
             originality of vision that is innovative or explores new forms or subject

             matter. We invited artists to explore “What is avant-garde in the 21st
             Century?” and share their most avant-garde art, techniques, and materials.
             We also invited Curator Catherine Walworth to share her views.


             Our feature artists definitely push boundaries. Diane Kleiss looks for
             unique approaches and materials for exploring large world-wide questions,

             women’s issues, the environment, and the weight of our discarded trash.
             Michele Randall uses a camera-less photograph process developed in the
             1800s to use the sun to print and then enhance the prints with encaustic.

             Barb Cone has a unique way to deconstruct perfection and builds
             reconstructed sculptures with the transformed material. Rebecca Stevenson
             uses wax to generate both attraction and repulsion. She's inspired by the

             Italian anatomical wax modelers of the 17th century, and her work often
             references the Dutch painters, who juxtaposed dead animals with fruit and
             flowers.


             This exciting, even edgy, diversity in encaustic art and theory was also a

             major theme at our recent ConVergence retreat in Morro Bay. Intensive and
             joyous, this gathering brought together teachers and artists who help
             define the future directions of wax-based art, as you will see in this issue’s

             featured report.

             We hope you enjoy reading this issue of Wax Fusion. And we would love to

             get your feedback. Please contact us at WaxFusion@International-Encaustic-
             Artists.org with comments, questions, ideas, and suggestions.


             While this journal exists to serve the needs of IEA members, it is also free
             and available to the public. You are welcome to share this journal with

             anyone interested or working in the visual arts, looking for information on
             encaustics, or beginning to explore the world of encaustics.


                                                               Lyn Belisle  

                                                               S. Kay Burnett    


                                                               Paul Kline
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