WELCOME TO ECLIPSE ENCAUSTIC
Thank you for spending time here to learn a little about the ancient art of encaustic painting and all the exciting things that are taking place with this luminous medium. I invite you to meet the artist, Josephine Faulk, and to view her portfolio for insight into the mesmerizing glassiness of this beautiful and vibrant form of expression. I hope you enjoy your journey.
Encaustic Painting
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8 x10 on Encaustibord
THE ORIGIN OF ENCAUSTIC
ENCAUSTIC: From the Ancient Greek ‘Enkaustikos’ Meaning−To Heat or Burn In
Encaustics as an art medium was developed by the Greeks nearly 2,000 years ago. Originally the Greeks used the encaustic medium to caulk their ships. When pigment was added this medium expanded in use to include embellishing their warships artistically. Due to Alexander the Great’s battles in Egypt many Greeks settled there and the medium of encaustic was introduced to their culture for the purpose of funerary portraits. These portraits were affixed to the face of the mummy and portrayed the subject in their prime.
To date, nearly 1,000 encaustic funerary portraits, referred to as the Fayum Portraits, have been discovered−intact. The refractive qualities of the multiple layers of wax still lend an eerily lifelike quality to these beautifully luminous portraits painted during the Greco-Egyptian period. These encaustic paintings are the only ancient Greek paintings to have survived. So, no lifetime guarantees necessary for encaustic paintings.
BEESWAX−THE FOUNDATION OF ALL ENCAUSTIC WORKS
Beeswax has been utilized since pre-written history and no one knows for certain when encaustics began. Even Pliny the Elder and Homer in The Iliad mention encaustic work. Although it has changed dramatically stylistically over the ages the basics of it remain consistent. The base medium is beeswax−luminous, reflective and refractive, smooth or textured depending on how it is applied. Damar resin is added to the beeswax to promote hardness, increase the refractive element which increases the optical experience of depth and adds an element of glassiness not experienced with most other mediums.
Layers of the encaustic medium must be fused with heat, either with a heat gun or an actual flame, typically in the form of a torch with an adjustable flame. With the rather recent surge in interest in encaustic new elements are being experimented with such as shellac, India ink, encaustic sticks of a mixture of oil paint and wax, pan pastels, collage and other mixed media. The list grows daily and makes this an exciting art form to follow, create and collect
DAMAR RESIN-KEY INGREDIENT OF ENCAUSTIC MEDIUM
In the Malaysian language dammar means light. It is a reference to the beautiful light-giving properties of this resin. In the use of encaustic its profound ability to refract light draws the eye of the viewer deep into the layers of the wax. Although its refractive abilities alone are reason enough to love this brilliant resin it also provides a much-needed hardening effect and thus preservative benefit to encaustic work.
Damar resin originates from trees in Southeast Asia and erupts from the tree much the same way that maple sap oozes from maple trees. On the Refractive Index (a scale to rate how light propagates through a material) a diamond has a brilliance rating of 2.4. Damar crystals hold a rating of 1.5, rating similarly to glass. Therein lies the wonder and magic as you stand before an encaustic work mesmerized by its play of light.
Like many artists I feel a sense of euphoria when creating art. So, it isn’t surprising to discover that the spiritual use of burning this resin is said to lift the spirit and alleviate sadness. In other words-it brings light to the soul. May my art do that for you as well. Meet the Artist