Working with Encaustic wax paintings: I See What I Believe.

Working with Encaustic wax paintings: I See What I Believe.

By Natalie Dekel. The following paintings were created using coloured-wax applied with heated iron onto glossy cards. This technique is called encaustic wax. The technique involves the application of coloured wax onto a heated iron, which causes the wax to melt. When it starts running on the surface of the iron it is applied to the card to create patterns. Working with this particular method...

Read More

Finding a Voice.

Finding a Voice.

Short interview with academic and painter Barbara Howey. Natalie Dekel: I know from reading your PhD thesis that your mother’s passing led you to start painting. Do you still feel that painful moments from the past lead you to create your current works? [1] Barbara Howey: The death of my mother did act as a catalyst for going to art school initially. The work I did based on old...

Read More

Extra Light in the Mind.

Extra Light in the Mind.

Installation artist David Johnson interviewed by Gil Dekel. Gil Dekel: Your work has undergone an interesting evolution over the years. [1] David Johnson: When I was young I used to paint and draw and make mono-prints. I studied architecture originally, but gave that up to go to art school. As soon as I got there I started to do works about the idea of the invisible. The invisible was just...

Read More

The Beauty in Temporality.

The Beauty in Temporality.

Watercolour painter Melanie Chan interviewed by Gil Dekel. Gil Dekel: You specialise in watercolour paintings of flowers. What do you see in the flower? [1] Melanie Chan: I see the beauty of nature in flowers, and I am amazed by their perfection and their symmetry. Once I start painting my mind starts to become calmer, as if the flower is encouraging me to be in the moment. I pay...

Read More

Unfoldment.

Unfoldment.

Mandala painter, Barry Stevens, interviewed by Gil Dekel. Gil Dekel: Mandalas are usually round, or I should say circular around a centre. As such they do not seem to have an up or down, left or right. How do you then ‘plan’ the painting? [1] Barry Stevens: The reference point is the centre. First thing is to find the centre of the paper and then to place the point of the compass ...

Read More