Encaustic, 8"x 10"
Encaustic, 8"x 10"
Encaustic, 8"x 10"
Encaustic, 8"x 10"
This series investigates the discipline of repetition and the tactile intensity of working in encaustic, with the goal of becoming fully immersed in the medium while embracing more physical, assertive brushstrokes. Rather than pursuing narrative or symbolism, I set aside content to focus on gesture, surface, and process. To anchor this exploration, each painting centers on the same skull—chosen for its compelling form and austere beauty—rendered on an identical 8” x 10” board, completed within a strict three-hour time limit. All works are created in the dim, natural light of my basement window, a subdued environment that softens detail and heightens atmosphere. Together, these self-imposed constraints create a structured framework that encourages experimentation, immediacy, and a deeper engagement with material and touch.
11-20
21-30
31-40
41-50
1-10
I am enjoying the discipline and ritual of the project. I want the skulls to seem more archeological than Halloween-like I recall how much I liked the temple of skulls at a Mayan Ruin and the human skull collection at the Mutter Museum.
After making twelve skulls I have made the decision to do one hundred. It is interesting to see how many variations of the same plastic skull I can create. I am finding it harder to experiment freely because I have a need to make the skulls a unified whole. They are becoming bigger than individual parts.
The background seems more important as I am getting tired of the skull. I need to be more inventive with the viewpoint of the skull. My uncle suffers a severe head injury in a bike accident.
I hear a nagging question coming from my head, “what is this about?” It seems to be growing beyond just the formal intentions.
Dental work has become way to help maintain my interest and gives each skull some personality. Should I stop at fifty. Fifty is a good number. No. Fifty always seems like half.
51-60
61-70
71-80
81-90
91-100
The paintings are getting tighter and less painterly. I'm getting pickier. I really like all the scratchy marks.
I keep trying to introduce more colors but they always get muted by the greenish black oil bar glaze applied as a final coat. This glaze gives the work an appealing Renaissance-like quality in light and tone. It also brings out the brushstrokes.
I am letting go of using only natural light. I will add a single light from the same direction.
These are going really fast...The light is at the end of the tunnel. Adding the light source has given new life to the work. Charlton Heston announces he has Alzheimer's.
I am kind of sad that the project is coming to an end, but it is going so slowly. Now I have too many ideas for the number of panels left, but they mostly seem too different (more humorous) from the way I started out.