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Habitat series (HS)

The luscious complexities of my surrounding ecosystems

I spend many weekends in the Appalachian mountain range of Linville NC USA, where Grandfather Mountain rises 5,946 feet above sea level, which is about 4000 feet higher than where my studio is located in Asheville NC. Because of this considerable elevation, the mountain boasts sixteen ecological communities. The following Habitat series titles infer their inspiration

Pollination was my interpretation of particulates magnified of the powdered-pollen-veil on all surfaces as I traversed the different elevations. Formations relate to the distinct characteristics of the rock facades as I traveled up the Blue Ridge Parkway; sights like Table Rock, Mount Mitchell, and later Grandfather Mountain. Cavernous and Rare Earth Mineral represents the splendor of what lies beneath in the wonders of the subterranean caverns of Linville Falls and the dripping minerals that can be seen on the surface of exposed rock. Topographia and Landscapes explore the glorious unfolding autumnal shift of colorful foliage submits to the exquisite topography, winters crispness and snowfall blankets and brightens, while springs emergence of new growth gives way to summers enveloping greenery and bursting blooms. Geode-Nebula is the patterning of sliced crystals and what I see as celestial mimicking. Freshwater-Lichen and Dive-In portrays the watersheds, ponds and ecological community of Linville Gorge that is the Catawba-Wateree River basin and the watershed around it. The water system stretches approximately 5,000 miles and provides some of the best drinking water on the east coast and recreation to roughly two million people and two states.


The sole use of alcohol ink

Distillation series (DS) was created for a solo show in 2016. It was the debut for the sole use of alcohol ink on aluminum panels instead of painting alcohol ink on encaustic paintings on wood panels. I extracted and refined elements from my ten years of encaustic painting, which further propelled them into glorious color fields, creating edges full of interest and depth, and yet flattening the surface compared to my encaustic painting. Also, it demonstrated my drive to originate with mediums and substrates.


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transition (EI)

The fusion of encaustic and alcohol ink

 I was able to exploit the practice of using a blowtorch for over ten years with my encaustic painting to full benefit as I transitioned to using alcohol ink; the use of a blowtorch to fuse and manipulated my encaustic paint has the same feel as using compressed air to blends and maneuvers my alcohol ink into my signature curvilinear patterning.

I used encaustic; a beeswax, tree resin and pigment paint medium, as a gesso of sorts; a primer for the wood to become a non-porous surface and to add texture for the alcohol ink, which I applied over the encaustic paint.


selected Sold works from 2006-2016

The tactile luscious surface quality of encaustic paint; a medium made up of beeswax, tree resin, and pigment, which needs to be heated to work with it, took over my studio for ten years before I transitioned to using alcohol ink. I came to painting with this medium after experimenting with waxes as a post-fired medium on my clay sculptures in 2005-6. In 2006, I began painting with encaustic, employing a multitude of electric skillets to melt and blend the medium into a fluid state and applying it with brushes and trowels on to a cradled wood board, I then used a blowtorch to fuse between each additive layer and while the surface was still warm manipulating with my sculpting tools.