Tag Archives: ellen cathcart Trezevant painter in Bruges Belgium

A Piece of Me #18, encaustic over pastiglia on panel. 21 x 13.3 cm or 5 1/4 x 8 1/4 in.

A Piece of Me #18, encaustic

Finally I am able to return to finish off the encaustic series. I had to stop for two intertwined reasons. First and foremost, I realized the the N95 mask I had been using may be good against covid-19 but it was not protecting me from the encaustic fumes. So I stopped and ordered a 3M certified vapour mask. Also, at that time it was the end of July and the studio was pretty hot even though I had a fan running and a door open to the garden. It seemed best to set it all aside until I got the right equipment and the temperature was a little kinder.

A Piece of Me #18, underdrawing

A Piece of Me #18, underdrawing

A Piece of Me #18, encaustic over pastiglia on panel. 21 x 13.3 cm or 5 1/4 x 8 1/4 in.

A Piece of Me #18, encaustic over pastiglia on panel. 21 x 13.3 cm or 5 1/4 x 8 1/4 in.

The panel composition for this one was mostly green sweater, with a bit of a hand, leg, wall and floor tile  thrown in for grounding spice. The preparation of the substrate included pastiglia, so the shapes were in light relief. I had laid in the design with india ink but before I began working with the melted wax I realized I had neglected to specify that the sweater shape also included the man’s forearm. So I added that to my drawing (not illustrated here) and set to work.

The delight in this panel consisted mostly in using the strokes of the melted wax to define the form. I had recently done another sweater panel in acrylics which had been quite successful in using the strokes to follow the flow of the form. Here I added some shadow chiaroscuro and the belly began to bulge.

Me in my new 3M vapour mask.

Me in my new 3M vapour mask.

Then came the man’s pant’s leg in the middle ground with its shadows, plus the hand, wall and floor tiles. That proceeded fairly quickly. In fact, I had already done those areas first before approaching the sweater (because it’s always best to work from background to foreground) but during the process of working on the sweater I had gotten a little too enthusiastic with the iron-cheesecloth method and had accidentally melted everything back off. Oops. Start over. So I did and this is the result.

Oh yes, and here to the right is a selfie of me in my new mask. An alien invader crashing the studio? Perhaps.

Description of the overall project here.

A Piece of Me #14, acrylic over acrylic sculpted gel on panel. 21 x 13.3 cm or 5 1/4 x 8 1/4 in.

A Piece of Me #14, acrylic

A Piece of Me #14, underdrawing.

A Piece of Me #14, underdrawing in india ink.

A Piece of Me #14, acrylic over acrylic sculpted gel on panel. 21 x 13.3 cm or 5 1/4 x 8 1/4 in.

A Piece of Me #14, acrylic over acrylic sculpted gel on panel. 21 x 13.3 cm or 5 1/4 x 8 1/4 in.

Whew! one of the most challenging panels yet! Why so?

To begin with the composition was very complicated – in the middle distance. There were three explicit figures plus a number of other shadows, all jumbled up together in the original photograph. I had to disentangle and determine the significant shapes and forms. Deciding what to keep and what to toss.

Secondly, the values in the middle distance in the original photograph were darker than I preferred so I had to figure out t how to to modulate them appropriately. For me personally, the values are still too dark but I’ve found a compromise that works for an individual panel and should still work out in the final assemblage.

Thirdly, the set-up for this particular panel called for acrylic sculpting gel as part of the work-up for the substrate. The painting was executed upon this relief. This posed an additional challenge due to the undulations in the painting surface of the painting knifeused for creating the relief. It made the surface coarser and more textured than I prefer. But since that’s part of the self-imposed rules for this particular game, off I went.

Ninety percent of the work on this panel focussed on the middle ground figure groupings. The hues and values, the play of light and shadow. Also there’s a lot of detail there. Luckily I was working in acrylics which is far more forgiving to pentimento than oil is. After the middle ground was established, the foreground went quite quickly. The two shoulders, the plaster wall and green railing.  I’m ready to set this one aside and stop dreaming in fifty shades of gray.