View allAll Photos Tagged encaustic
accordian book
encaustic and mixed media
Please visit my blog to read about an encaustic workshop I will be teaching in OR this summer involving wax + artist books! bgmartjournal.blogspot.com/2011/01/encausticamp-2011.html
"Gathered and Pieced Together"
encaustic mixed media
20x16 inches
www.guerzonmills.com/encaustics/gathered-and-pieced-toget...
The Hospital of St Cross and Almshouse of Noble Poverty is a medieval almshouse in Winchester, Hampshire, England, founded between 1133 and 1136. It is the oldest charitable institution in the United Kingdom.Not only is it the oldest but is also the largest medieval almshouse in Britain; it is built on the scale of an Oxford or Cambridge college, but is older than any of the colleges at the universities. It has been described as "England's oldest and most perfect almshouse"The building is constructed of stone and surrounds two quadrangles. The smaller Outer Quadrangle to the north consists of: the outer gate (16th century); brewhouse (14th century); from the 15th century, the guest wing, kitchen (which had to produce food for the Master, 25 Brethren, 100 poor men and the servants);
the porter's lodge and the three-storey Beaufort Tower of c. 1450. This has three niches above the arch, one of which still contains the weathered statue of Cardinal Beaufort who was Bishop of Winchester, and the tower and spaces above the porter's lodge used to be the Master of the almshouse lodging.
Passing beneath the tower the Inner Quadrangle is reached. The north range includes the 14th-century Brethren's Hall (which had to be large enough for the Brethren & 100 poor men), entered via a flight of steps in a stone porch. There is a timber screen with gallery above, within which is also a splendid timber roof, arch braced; a central hearth and a dais where the Master would have dined with the Brethren in the main part of the hall; and a wooden staircase leading to the Master's rooms in the south-east corner. The main set of two-storied lodgings are on the north-west and west sides of the quadrangle; these house the 25 inmates and are notable for the tall, regularly spaced chimneys and doorways, each leading to four sets of apartments. There used to be a corresponding range on the south side joined to the church, but this was demolished in the 1760s. The east range of timber framing and brick with stone windows, is a 16th-century long gallery for the use of the Master raised on a cloister open to the quadrangle, which leads to an entrance to the church.
The 12th- and 13th-century church in the south-east corner is more like a miniature cathedral than a typical almshouse chapel. The building is stone-vaulted throughout, with transepts and a central tower. The walls are over a metre thick, made from stone from Caen, Dorset the Isle of Wight and local flint. The roof is lead. The building is in transitional Norman/Gothic style. Started in 1135, the chancel was the first part, built two bays deep with aisles. This is typically Norman, with round-headed windows and much chevron ornament. But the main arches in the arcade and beneath the central tower are slightly pointed in the Gothic manner. The three-bay aisled nave and transepts continue the style. Between 1383 and 1385 a large tracery window was inserted in the west front, and the clerestory windows in the nave were enlarged and a north porch added. Several medieval encaustic tiles survive on the floor. There are also traces of medieval wall paintings. The stained glass is mainly 19th century. The font came from the nearby St Faith's Church, which was demolished in 1507.
A friend showed me a wonderful picture of the Atacama Desert which gave me the inspiration for this ACEO
original encaustic collage
6" by 6"
This piece of encaustic art is part of a series called listening to the music. Photographs from the 1940s caught a moment in time where these travelers through life took time to enjoy, to marvel, to laugh... to listen to the music of life.
As someone who has struggled with depression, I have at times felt cut off from the music of life; unable to hear, feel, think, act. It is my hope that in sharing a glimpse of my journey through art, someone will know that they are not alone and will once again hear the music of the spheres.
Dibujo monotipo en encaústica sobre papel enhebrado
Monotype Drawing on encaustic / thread paper
140x120 cms
2010
9"x24", encaustic (hot wax), transfer, ribbon, lace, and key on wood panel.
made for my best friend as a wedding gift. the transfer is a picture from her wedding ceremony.
"Weight of Memory"
mixed media and encaustic
8x8 inches
Painting created for my encaustic and mixed media article in the Nov/Dec issue of Somerset Studio
Panxon is a lovely fishing village where I spent a lot of time and I have very fond memories.When the moon shines on a winter day, the fairies come out for a walk
Gathering Fragments
encaustic mixed media
14x11 inches
currently at Lark and Key Gallery in Charlotte, NC www.larkandkey.com/artists/bridgette-guerzon-mills/
Background is a piece of encaustic art by my mum, who is 94 yrs old and still writing stories and making art and organizing people. Model is the amazing Morag Greer.
original encaustic collage
6" by 6"
This piece of encaustic art is part of a series called "listening to the music". Photographs from the 1940s caught a moment in time where these travelers through life took time to enjoy, to marvel, to laugh... to listen to the music of life.
As someone who has struggled with depression, I have at times felt cut off from the music of life; unable to hear, feel, think, act. It is my hope that in sharing a glimpse of my journey through art, someone will know that they are not alone and will once again hear the music of the spheres.
Jasper Johns (b. 1930) encaustic and paper on hardboard at the Art Institute of Chicago. Written near the painting: While Jasper Johns has worked with stencils of alphabet letters since the 1950s, this is his only paining that shows a single sequence from A to Z. The artist made Alphabet the same year in which he introduced riots of primary colors–augmented by touches of green, pink, orange, pale blue, gray, brown, black, and white–into his work. We might try to read this painting in order, letter by letter, from top left to bottom right. But the jumble of strokes, daubs, smudges, and collaged fragments of painted paper scatters our eyes across the animated surface, challenging our eyes across the animated surface, challenging any sense of sequential progress. In this way, two different stylistic approaches–orderly grids of stenciled forms versus brushy gestures–are set against each other.
✰ This photo was featured on The Epic Global Showcase here: bit.ly/2fld9Es
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Encaustic Art by masha_bennett
My first attempt at encaustic art