Page 8 - Wax Fusion Spring 2022 Issue 6 WIP v19

I started combining all my previous techniques of oil/acrylic
paint, clay, and wood sculpting and applying them to

encaustic, which would be incorporated in all of my later work.

Some of the workshop participants soon formed a group; we

wanted to share our trial and error learning process. Our once a
month meetings, each in a different member’s studio, expanded
our knowledge of this medium.

Miles suggested we start a wax group and join IEA. We formed
SAZWAX, Southern Arizona Wax. I eventually was part of the IEA
board for three years and also went to the yearly conferences held

around the U.S., which was another incredible learning and sharing
experience.

Storm Watcher

I first started applying the wax to flat surfaces, pouring and

painting layers, and then carving into the surface, building up the
texture, depth, and detail that I loved. I used some of my finely
chiseled tools from my wood carving days and also added some of
the smaller metal wax scrappers. The trick with carving wax is the
control of the heat gun in fusing. I use quick up and down motions,

at low temps, and never hold the gun on one spot. I have always
used an 8:1 ratio for my wax medium (eight cups wax to one cup
damar resin).

I did a series with ravens as a central theme, which I considered the
harbingers of what was happening to our endangered habitat. This

wax medium, found and formed in nature, added to my
environmental themes.

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