Encaustic monotype is very much a process that suits me. For all three paintings the fluid quality of encaustic paint is very much at the heart of my inspiration. I liked the process of the paint moving about, dispersing onto and into the paper. I followed it. Where it spread and dispersed, I created expansive spaces, horizons, just like the landscapes that inspired me.
Morning Sea Ripple - Encaustic Monotype
In the case of Morning sea ripple and Afternoon sea splash, the fluid quality of encaustic was very much the ideal material to embody and convey how the sea gently made its way towards the shore in the morning and bursted with energy as it crashed on the the beach in the afternoon. I also like the fact I can play a bit, explore and try color effects, textures and combine different approaches.
Afternoon sea splash -Encaustic Monotype
Encaustic paint lends itself well to blending colors like in Afternoon Sea splash. Colors were brushed on side by side and ran into each other once in contact with the paper. I take that ability to disperse further by reworking each monotype afterwards. I can rub part or all the of the medium, while still warm, into the paper, creating softness, lighter shades of color, for clouds and sky. I can add pencil marks while the paper is still on the hot plate to add definition, create contours, add details.
I very much appreciate and enjoy the fact I can work as heavy or light as I want with this technique. In the seascapes, I created additional layers and textured surfaces by reapplying the monotype to some of the encaustic medium left on the plate and thus getting splashes, ripples.
I am enough - Encaustic Monotype
I can also work very minimally as in I am Enough, living the initial monotype where it landed on the paper, rubbing very lightly the encaustic paint and only adding a little sketch and a thin coat of cream paint at the bottom.
It was yet another moment of curiosity that led me to showing my encaustic creations for the first time. I knew about the TEXASWAX/Dallas group through Deanna Wood at whose studio have been working for the past year. One day this winter, I went to look at their website: http://texaswaxdallas.blogspot.com/ There I saw a post about the Bedford Gallery, in Walnut Creek, CA. They had a call for entry for their national show. I decided to give it a try, out of curiosity. I just wanted to give it a try, get the experience to submit to a show… Well, little did I know! When I received an email from them saying that they accepted all 3 of my entries, I was pretty shocked, speechless. Then there was a moment of reckoning: I had gotten into my first show! !
And what a show! http://www.bedfordgallery.org/default.htm
Bedford Gallery - Working in Wax
Here is a picture with my monotypes in the middle (white frames)
From the album: “Bedford Gallery Opening 5.6.09” by Allyson Sanburn Malek
And here is an other view from a distance. I find it interesting because the pieces in the foreground (and fish on the wall) definitely reference my work, wich is inspired by standing before the sea in Mexico. A coincidence? Probably not.
I never know where to start but always end up somewhere!
So how does it happen for me, how do I find myself on creative journeys I wasn’t even looking for but that somehow found me???? Well, I just go with and follow my curiosity. Like that one class about creativity I took one day in Montreal a few year back. Little did I know then that by simply signing up out of curiosity it would change my life, that I would go from enthusiastic art fan to actual art-maker!!! Talk about crossing the road!!!!
More recently, I gave encaustic another try. I am glad I did!!! It openened an entire new realm of creative possibilites for me. Although I must say initially I was a bit put off by the process of building layers. I did end up with images nice enough but the layering bothered me. It ran against the grain for me. Luckily, I was shown how to do encaustic monotype and I took to that like fish to water!!!! That started a brand new creative journey for me.
Here is my very first monotype to illustrate why/how I got into making encaustic monotype and in it found a creative voice:
The very first thing I took note of was that this was a process of dispersion and that I was going to have to let go of controling exactly where the medium went (blue areas in the picture). Surrender became essential. While going with the flow is the way to go, there is more than one way to bring some definition, by using pastel for example (white marks), or pencil, adding fiber (silk piece collaged near the bottom), adding layers of encaustic medium or paint with a brush (black marks on the right). I find the possibilities endless and love the fact I can put the painting aside come back to it and add to it if I want. It allows me to remain open to creative possibilities of what I am playing with. And I never loose the fluid quality of my work because I can just put the image back on the plate and make it move by melting. It is a process that works so well for me. It allows me to remain entirely open and playfull.