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Lotus Books by Jessica Bowman, Mt. Shasta, CA. And while some may be working in isolation, there is a sense of community through a shared process.

As a life-long artist and teacher, this time of isolation has been a gift of sorts, giving me more studio time and more opportunities to develop small projects like the Lotus Book that, when shared, give back a thousandfold.

She taught art in public schools after graduation and was a finalist for Texas Teacher of the Year in for her work with at-risk students. In , she joined the faculty at the Computer Science Department at Trinity, teaching computer applications and design. She also teaches nationally, recently in Santa Fe, Provincetown, and Washington State, and also opened a suite of online mixed-media workshops at Lyn Belisle Studio on Teachable.

Her signature media are earthenware, paper, encaustic, and fiber. Lyn has had six one-person gallery exhibits since , and recently retired from the faculty at the Computer Science Department at Trinity University to work full time in her studio. Our artist profile for this edition is about a passionate Spanish artist who has embarked on a personal journey of discover and growth in Saudi Arabia.

Hello everyone! I have always loved to paint, explore, learn, and create new things. I am currently in a stage of progression and evolution.

It has been extremely difficult, but I am enjoying the journey. My heart tells me that this effort will be worth it. After many years of exploring various painting techniques, I am now focusing on encaustic. My paintings are for those who love bright and vibrant colors. I love to play with organic images of nature that relate to my own feelings and experiences with almost baroque contrasts and movements. Composition V, Encaustic on plywood panel 61 x 61 x 4 cm 24 x 24 x 1. I am currently working on a Ph.

First, the use of encaustic is primarily concentrated in the US, where almost 90 percent of encaustic artists reside. The main reasons are easy access to the materials and the many workshops available to teach and learn various techniques. Second, there is still a disparity of opinions regarding the term encaustics due to the wide variety of ways of using beeswax and the many names that are used almost interchangeably: wax painting, encaustic painting, cold wax, hot wax, encaustic sculpture, ceroplastic ….

Some I believe are quite similar, although there are artists who feel there is a clear distinction in terminology. Pliny the Elder, a first century CE author and philosopher, wrote The Natural History, in which we find the first writings about the use of beeswax and encaustics. From this period until the revival of encaustics in the 20th century, terminology for this medium continues to grow exponentially. I also like to represent the human figure trying to mix it with nature as if it were a unique entity.

These sensations are in the base of my work. I look for a synthesis between emotion and forms, or what I consider a species of synthesis of the vision. I feel the passion to watch, to love, to live, and to retain emotionally the observed and the loved thing. It is a memory of the nature done, not of arguments, but of dramatic jargon, an expressive memory. I have great respect for drawing because it is a space builder, and its gesture can distinguish the work of each artist. My painting is a cross between the representation of the reality and the pure construction of volumes: the heavy, round, rough, and smooth stones almost with tactile qualities.

The seas and skies at rare times are clean and blue, and when they are, it seems to be facets of an impossible color. They always have something of sadness and threat. The anxious and brave sea, yet sometimes at rest. Everything can happen in this immense contained force. I paint out of necessity, an eagerness of communication. My greater expressive need is looking for the deepest communication.

When I discover something interesting, I love to share it. It would be a crime for me to keep it to myself. Perhaps this is one of the reasons why I like teaching. I rediscovered encaustic three years ago and fell in love with this amazing medium. I am passionate about the idea of a sustainable world, and one of my dreams would be to design and create a totally independent and sustainable artist studio Edge of Our Time Anne Curran These are the times we live in, the places we inhabit, the news we hear, the lives we lead.

Everything seems quite out of place; its not the same, we wait for news, hoping for better news. We are balanced on the edge, looking and observing our world.

A lot of my work involves using mapping, both archival images, abstracted markmaking, drawing, and collage. Here I am with my own language and trying to make sense of it all. It is all happening at the same time and to many of us. The feeling is what is next for me in Ireland and for people all over our planet. From these thoughts I emerged into my lockdown artworks. Initially, I had very limited parameters with my materials and no access to my studio. Ah, but these limitations I found powerful.

I embraced a serene approach to my work, starting with a pared-back color palette. These are circular-collaged pieces using printing papers and Asian papers.

I embedded some in white encaustic-painted wooden panels, and others I just left in their circular space. Some of the works are scorched and others not. The composition of the works was based on the deconstruction of the circle, and yet the unity of it, a conflict for me. What evolved was the circular, round-globe shape. A meditative journey, conducted in silence. The influence of the circular shape extended into more colored monotype pieces, drawing mapping shapes with graphite which were printed on my palette.

Others were painted onto papers and collaged. Here, I found a great dynamic by displaying them on the window of my porch at home to support all our healthcare workers.

There is an expanded plan in my work using mapped spaces. I have made a series of 3D-sculptural installations of different places here in Ireland.

I am fascinated with archival images of maps, as they represent the past. I love the oldness of the marks. I puncture these spaces with repeated acts of burning and create layers of simple ones and more dense ones. I find cartography impossible to ignore: it is a part of my visual vocabulary.

My approach is always changing around it, but yet, I am drawn to it. I love the simple fragility that is created with the layers, and I find this very fulfilling. My practice also involves other areas of works influenced by climate change, where I am working with white paint and collage.

I am always continuing to expand my practice with encaustic, a medium I fell in love with and will always be learning about its powerful outcomes. Anne working with her globes. She uses incense along with pyrography-burning tools to make the small marks on the paper.

Anne was born and grew up in Dublin and was greatly influenced by her father, who imported textiles and fabrics from around the world. From this influence is where her love of creativity began.

Anne graduated from The National College of Art and Design with Visual Arts Practice, where she was awarded The Grand Prize for her installation in her final year of sculpture in the graduate exhibition.

Her other studies have embraced sculpture, drawing, and most noteworthy encaustic painting. Currently, her practice is focused around paper sculpture, painting, monotype printing, and each of her disciplines involves encaustic. Anne is working on a number of collaborations, where her practice is expanding and evolving with new projects to be exhibited in My dark times started before the pandemic and cultural turmoil of Symptoms such as anxiety, apathy, and the weakening of my body are my worst enemies and constant companions.

As time passes, I see more doctors, take more medications, and lose more and more of who I am. But I once heard happiness defined as the ability to find joy in the midst of sadness. And while most days, it is hard to find hope, when it comes in the form of a painting, I rejoice. I started painting in encaustics almost by accident. The local art store in our small town of Ashland, OR, stopped selling oil bars.

Since these were one of my favorite media and my seasonal work in Stage Operations at the Oregon Shakespeare Festival would not start for several months, I decided that I would try making my own oil bars or develop a workable substitute. Serendipitously, my wife had just found out that a coworker was a beekeeper.

He sold his highest-quality waxes to candle makers, but at the end of each season he always had a quantity of wax that was unsellable because it contained too much dirt and other organic debris. Since some of the earliest-known portraits were made with wax, I decided to develop my own encaustic paint. After a lot of heating, straining, and color experimentation, I succeeded in creating my own palette of colors.

But further experimentation with the encaustic paint in its liquid state produced exciting textures and effects that would have been difficult to achieve with slower-drying media. I was subsequently thrilled with the results when I applied oil bar over the encaustic paint, which allowed me to build layers of color and experiment with additional textural effects.

An unexpected bonus was that the heated beeswax paint filled my studio and home with a succulent aroma akin to vanilla bean Moppet Encaustic 24 x 24 in. Their vocation is our entertainment. Portia Encaustic, oil bar 48 x 48 in. And I was drawn to the roles and performers that facilitated escape to the fantastical, where fairy godmothers, fools, hermits, and witches lived.

When my illness overwhelms me, I return to this series for the color, flamboyance, and illumination so bright you forget that the theater you sit in is enveloped in darkness.

And I emerge brighter. About the Author I am a contemporary, narrative, figurative painter. My work explores the human condition through the series of work entitled — Virtues, Characters, Enlightenments, Spirituals, and Mother and Child.

Drawing is an important part of my work. Much of the work is done with large oil bars with very little brushwork. Each layer dries before the next layer is applied, allowing the color underneath to show. I also strive for the colors to look distressed or aged, which I became attracted to through my work in restoration, as well as with antiques and naturally-aged materials.

Visual Anthropology Narratives Alison Fullerton My work is built around visual anthropology narratives through portraiture. Each narrative is a study of a culture or a group of people and is meant to stimulate reflection. My interest in anthropology began while working in consumer marketing. Consumer research began taking an anthropological approach around I worked for Mars Petcare, maker of Pedigree and Whiskas, and ethnographic studies gave us insight on consumer relationships with their pets.

By I married, moved abroad, and as soon as I could, I hopped a train to Denmark to study encaustic portraiture with Lora Murphy. While living overseas, I became fascinated with the diversity of cultures and how well they remain preserved, country to country. Hop a border, and people are suddenly different.

I joined a group of urban sketchers and I sketched people in cafes and museums when I traveled. Chinese, Ayurveda, and spiritual healing have all played a role in my life alongside traditional western medicine. Upon moving back to the US in , I researched indigenous Americans and discovered the untold stories of women warriors.

Native Women Warriors, and their stories of resilience, was my first American anthropology. My newest narratives are my Civil Rights protest singers from the 60s and 70s, in response to the current Black Lives Matter movement.

The creative act is profoundly spiritual, and the unpredictability of encaustic reminds me to let the painting be the master. My best work is when I let my painting speak to me. As I grow, my work is becoming more expressive, more distorted, and less objective. Lozen was an Apache who learned the ways of the warriors and joined forces with Geronimo. These true stories embody the resilience of indigenous American women.

Lozen Encaustic on wood panel 20 x 16 x 1 in Running Eagle Encaustic on wood panel 20 x 16 x 1 in. The Black Lives Matter movement has many of us listening to the soundtracks of the 60s and 70s and realizing that too little has changed. Willing to be controversial and take a stand, she refused to water down her music, knowing that would cost her professionally.

Angered by racism, she left the United States in Simone died in while living in France. You can view her work at www. Spiritual Alchemy Angela Hansen It is easy to find oneself mired in negative and anxious thoughts. But then I walk into my studio, turn on the lights, turn on the crock pot and hot palette, put on my apron, and turn up the tunes. Those negative, anxious thoughts fall away with the wonderful smell of beeswax permeating the air.

It is my oasis and my peace. As children artmaking is fun, exploratory, spontaneous, and non-judgmental. For me, as a gawky and unpopular kid, it was something I clung to as my identity, the thing that made me different, and maybe even seen by my peers as something I was good at.

My sketchbook was the place I could lay down all my hopes, fears, and tortured teenage emotions as I navigated the landmine-laced environment known as adolescence. When I was 6 years old, to my vast amazement, I discovered there was such a thing as art school; my attending became Plan A, B, and C. Thank goodness I got in! From the moment I tried encaustic paint nearly 20 years ago, I was hooked.

My creative voice was finally found during explorations with this incredibly diverse medium. From early on, my approach was of creative play and explorations of the medium itself as there was limited literature and information about encaustic back then. This immersion in process brought me back to that creative, childhood state of wonder, escapism, discovery, and a feeling of freedom as it was all so new. Even now, especially the last 5 or 6 years, as I have delved further into the world of encaustic sculpture, I am constantly playing and exploring, often in a process of trial and error pushing further into my imagination and innovation.

Gaia Fungi Encaustic, paper, twine, cotton 15 x 7 x 3. I cannot live without it, and I mean this literally. And often too, these negative emotions are replaced with an inner calm, forgiveness, and happiness.

I turn to artmaking as a way to express the unexpressible, to convey, to purge, to unload, to unleash, to void, to celebrate, to explore…for catharsis. Organimorph 17 Encaustic, paper, twine 12 x 9 x 9 in It involves the repeated dipping of paper or twine into the encaustic medium and manipulating it while it is still warm.

The coloring and texturizing happen last. Then all the components are composed on a wooden substrate, and the addition of more color or texture is applied to the overall piece. The primary materials I use are handmade tissue paper, natural twines of varying sizes, cotton, dried natural materials such as leaves and seed pods, burlap, and cheesecloth. She is inspired by forms found in the natural world, the human psyche, memory formation, and, more recently, a growing interest in ecological and environmental art practices as a factor in cultural transformations.

Having grown up on a farm, she feels very drawn to nature and all the microprocesses happening around us and is keen to eventually use her art as a form of environmental education. When we lose our tolerance for discomfort, we lose joy.

Mike Tyson On January 1, , I booked a flight from Minneapolis to Amsterdam having just registered for a three-day-encaustic workshop for October in the Netherlands. My goals reflected a deep desire that would be my year to connect more with fellow artists, advance my artistic skill and techniques, and get my art in front of collectors.

Between January and March, I set up gallery representation, signed up for encaustic courses, and agreed to teach what would be my first encaustic workshop. Plans and more plans. Like the rest of the country, I tried to beat back fear while compulsively watching the news and living with uncertainty about what each new day would bring. My best laid plans melted away. Classes were canceled, some retreats were rescheduled, while others not at all, travel to Europe was untenable, and my paintings hung in a gallery closed to the public for the unforeseeable future.

Initially, I felt too stunned to create. Making art seemed frivolous — buying art supplies absurd. It was hard to feel that my art had meaning in the midst of a global health, economic, and social crisis. So many were struggling with so much. I realized that while I might not be making art for the moment; I wanted to help other artists. Having a full-time job outside of my artistic practice allowed me to donate percent of the sale of my paintings to an artist relief fund impacted by COVID Every painting I sold over a three-month period brought me hope that art — my art — did make a difference.

Hope became inspiration, and eventually, I was back in my studio creating. I am grateful to be an artist and this, in turn, creates joy. Background Citations. Methods Citations. Figures, Tables, and Topics from this paper. Citation Type. Has PDF. Publication Type. More Filters. Highly Influenced. View 4 excerpts, cites methods and background.

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A cross-dataset deep learning-based classifier for people fall detection and identification. View 1 excerpt, cites background. Accelerometer-based fall detection using optimized ZigBee data streaming. View 1 excerpt, references methods.

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