Tuesday, August 31, 2010

Mary Farmer: Artist Interview— Asheville: North Carolina

Meet Me in Midtown
30 x 22",  2010
Lynette (LH): Mary, where do you live now and where do you make your art?
Mary: Happily residing in Asheville, North Carolina where we managed to save our arts funding. Talk about forward thinking! My studio is right here, at our house in North Asheville. Quiet area with great physical beauty, the gorgeous mountains and our ever changing garden. I'm having my first organic growing experience. Worm wrangling is an interesting activity.

LH: Did you receive any formal art training? If yes where and what did you major in?
Mary: Oh yes, I've had so much formal training I could share credits and we could all have one degree or the other. Feel free to edit this list: I am an RN and an Ob/Gyn Nurse Practitioner, my practice was in the area of family planning and sex education for the masses. If you'd listen, I'd give the facts of life and how to prevent unplanned pregnancy speeches at the least provocation. I have a BS in Biology from Auburn and BFA-Painting from Georgia State University.

Sprigs and Bossoms
12 x 36" 2010
 
LH: Was there a certain point when you decided you were primarily an artist? At what point in your life did you become interested in making art?
Mary: Some of the turning points were quite acute; I'm not completely ready to share those in the public domain. Most importantly, my father was a very creative guy. He could design and build anything; I had the coolest play house on the block! We had an outdoor kitchen before it was "the" thing. As a young woman, I made things all the time, Barbie doll clothing, gift cards, small treasures and symbolic altars. About 20 years ago I started drawing and drawing and drawing, then I sought to learn how use oil paint and then I could not stop. The art making inside of me woke up one day and insisted on being heard and expressed.

LH: What is your media?
Mary: Most of my paintings are mixed media. I'm generally described as working in encaustic and it is my primary love. I manage to us oil stick, graphite, watercolor, raw pigment and paper in my work.

LH: Can you describe bit about your work in general.
Mary: The great bulk of my work is abstracted landscape. I love the outdoors, the light and the feel of air on my face. All these elements are expressed in my work. I dabble in other areas of abstraction, to me abstraction is one of the most interesting ways to express a thought.

LH: Do you ever get stuck with your work and how do you remedy this?
Mary: Wow, I consider myself very, very lucky here. I don't have stuck periods. I however get restive from time to time because I have too many ideas and can't settle on one or two. It's hard to produce a piece of art if you can't keep the thoughts to a manageable billion or so. Sometimes, just to entertain myself, I make hats from paper bags.
Mary at work...

LH: Do you have particular habits that you think support your art practice?
Mary: Why yes, I do. I am quite disciplined about my work. I get up do the usual morning stuff and go to work, I have lunch, I continue and end the day when I feel the work is at a stopping point. I guard my studio time; others tend to think we are playing in the studio and don't regard making art as work. Asheville has been a very positive change as art and its creation is considered valuable and important part of the community.

LH: What is your current work about? 
Mary: There's always something new going on in my studio, I have 6 new pieces awaiting their trip to the photographer and I'm presenting an "Advanced Techniques" demonstration later this year and I need some examples to share. So, I'm working away on non Mary Farmer work to make these presentation pieces. It's been fun and I think the exercise may stimulate some new things in my work.

LH: Can you share with my readers a little about yourself? Where did you grow up and what (if any) were there any early influences on your work?
Mary: I grew up in San Diego Calif. My Southern mother wanted to return to Alabama which we did the year they integrated public schools. That was very confusing for me as I had never experienced any type of segregation. I simply did not understand the complexity and deep seated fear. Later, I moved to Atlanta as I needed more of what city life has to offer. In 2003, we moved to San Rafael, Calif and then in 2008 to Asheville. My husband and I both love to travel, good thing we two gypsy-souls met and married each other.
Mary Farmer's studio

LH: What is your workspace like? 
Mary: My studio is our two car garage outfitted with windows and an exhaust system. This winter we added insulated doors as we had 39" of snow and remarkably long stretches of cold weather. Prior to moving to Asheville, -6 º was not in my vocabulary. Each day I tiptoe through the laundry room and end up in my studio.
Mary and her "bag" hats

LH: Describe how you work in your studio. How do you get "in a groove" and what inspires you?
Mary: The hardest part of finding my groove is when I first move into a studio, it takes me a good two weeks to be able to work successfully. I can't find things, the tables are set up differently, there are new ghosts to deal with; it's quite disorienting. As I push ahead all this stuff falls away and I am able to get on with my work. I think about my work all the time, the contemplative component is a very important part of my art making. I have to frequently riffle through my mental Rolodex to find the images I need for a particular piece.

LH: Do you have any web links/site/blog etc. you'd like to share that show your work? Any gallery representation/links where readers can see your work in person?
Mary: www.maryfarmer.com and my galleries are listed on the contact page

LH: What are you reading right now?
Mary: I read all the time. I've just finished "The Informers" by Juan Gabriel Vasquez, "Two Serious Women" by Jane Bowles and for mental relaxation I read Lee Child books.

Do you have other jobs other than making art?
Mary: No, I consider myself very fortunate to be able to concentrate on my art career. It's not a stable income type of profession and it can be quite uncertain and then, lo and behold you sell some work. Your hope is restored and you are ready to face the challenge all over again.
An unusual part of my job is working to ensure arts receive their full due. Forgive me, this is my soap box and I consider it very important that every artist know how important their contributions are to their community. The creative economy in North Carolina is $41 billion (not a typo, Billion) and we provide almost 300,000 jobs here. Now, that's impressive and the numbers don't lie. So artists, take up your banner and fight for your place at the economic table; without us, much is lost.
All the Way to Kingdom Come
48 x 40 2009
LH: Where would you like to be in 5 years as far as your art making?
Mary: In 5 years I'd like to still be creating art, selling art and enjoying the process. If the genie appeared and offered me 3 wishes they'd be: personal economic security, world peace and freedom for the genie.

LH: Do you have any upcoming shows that you'd like to mention?
Mary: Yes, thanks for asking. I have a show in Birmingham AL, opens Sept 3, 2010 at Clay Scot Artworks. Sales from this show will benefit Triumph Services, an organization that provides community based support to individuals with developmental disabilities who are trying to live independently. I'll be showing at the Andrews Art Museum, in Andrews, NC. The date for that show has not been set but, it will probably be early next year. And I'm represented by two galleries that don't do "featured artist" shows so the work is always up at Artizen Fine Arts, http://www.artizenfinearts.com/, in Dallas, TX and Gallery Minerva, here in Asheville, NC.

Thank-you, Mary!

Mary Farmer
828.712.3786
www.maryfarmer.com


Tuesday, August 24, 2010

Jeffrey Hirst: Minneapolis Artist Interview

Lynette Haggard's Art Blog Weekly Interview

Minor
10 x 30, encaustic, oil on panel

Lynette (LH): Where do you live now and where do you make your art?
Jeffrey: I currently live and work in Minneapolis, MN.

LH: Did you receive any formal art training? If yes where and what did you major in?
Jeffrey: Yes. I have a BFA in printmaking from the University of Minnesota and an MFA in printmaking/ painting from Louisiana State University in Baton Rouge.  My printmaking experience was important as it taught me to think forwards/backwards-inside/out and I was able to experiment and combine multiple print media.  I still take a combined approach attitude in my artmaking.

LH: Was there a certain point when you decided you were primarily an artist? At what point in your life did you become interested in making art?
Jeffrey: I’ve made art and “things” since I was a child, but I reignited the bug when I took a ceramics class when I first went to college.  Soon after that I decided I would study art and I’ve been making work since.


Jeffrey Hirst in his studio


Landfield
28.5 x 26, encaustic, oil on panel
LH: What is your media?
Jeffrey: Currently I work primarily with encaustic paint, although I also work with mixed-media prints and drawings.  My encaustic paintings often contain elements of “mixed-media”.  For the last several years, I’ve screen printed onto/ into my encaustic work.


 Code and Table #5
10 x10, encaustic, oil on panel

Marsh
38 x 28,  encaustic, oil on panel

LH: Can you describe a bit about your work in general?
Jeffrey: I create abstract work that is based on an urban landscape that explore how man made objects and the natural environment can co-exist.
My interests include how land formations (sometimes unrelated ones) coexist and how it's possible to read vast landscapes in one glimpse. The correlation between urban decay and natural beauty (both at the micro and macro level) influences my work. Near my Minneapolis studio is a large metal salvage yard that rests on the banks of the Mississippi River. The metal yard grinds metal in a jarring, noisy procedure and I find the contrast between the natural beauty of the river and the metal plant of interest. Specifically, I am exploring the “buzz” or energy that develops when such opposing forces parallel each other.
Building, disassembling and reconstructing are also important elements of my work, as I reference ideas concerning excavation, synthesis of materials and the depiction of fragments that will ultimately reflect a whole.
I always work in a series format, and I am currently working on a series of sixty shaped panels that will be shown in an asymmetrical installation.  The installation of the shaped panels will represent an image within an image.  Like all of my encaustic work from the last several years, I am using a traditional hide-skin glue gesso that I tint to give a “prepared under-painting” to the work before any encaustic hits the surface.  I’ve been dyeing, staining, and burning the surfaces of my work since my early printmaking days when I would make and dye the paper prior to printing.  The shaped panel installation piece also has screen printed elements floating from panel to panel.


Pairs and Opposites
28.5 x 26, encaustic, oil on panel

LH: Do you ever get stuck with your work and how do you remedy this?
Jeffrey: I often get stuck with my work but, in fact, think that’s just part of the process.  The way I work is to get a painting to a certain point where it’s working pretty well and then push it over the edge and “wreck” it.  Then I start to re-build/ re-discover the work and this is where exciting things can happen and the work comes alive.  I am interested in having a sense of history in my work and by disassembling/ re-building the work I develop or realize that history.  I always tell people I scrape as much wax off the paintings as I put onto the work.  There are boxes of discarded wax balls around my studio that sometimes end up as darker colors. Sometimes I work on something and it just clicks very fast, but those times are rare.  I guess I’d be concerned if I didn’t get stuck as it might mean I’m not be pushing the work far enough.


Subshell
28.5 x 26, encaustic, oil on pane


LH: Do you have particular habits that you think support your art practice?
Jeffrey: I just work on a regular basis and try to stick to a certain work schedule.  I might have some coffee or tea and then get down to business.  I almost always listen to NPR and drift in and out of conversations/ programs while working.  Getting in a “groove” is not difficult-I just start working and usually I arrive there.  That’s not to say it’s always easy once I’m in that mind frame.


Water and Stones #5
19.5 x 15, encaustic, oil on panel
LH: Can you share with my readers a little about yourself? Where did you grow up and what (if any) were there any early influences on your work?
Jeffrey: I grew up in different areas of Illinois and Wisconsin and later moved to Minneapolis to attend the University of Minnesota. I lived in Baton Rouge while going to graduate school at LSU.
My dad was an engineer and he took a freewheeling approach towards making things-sometimes without hard-set plans-and I watched and learned about using tools when I was very young. I was always building things from wood that I scavengered and was good at piecing contraptions together. This role as builder is still fundamental to my art making.  I like the idea of using a circular saw and a router as a drawing tool and have made many woodcuts and collagraphs using these tools. There’s a bit of a lack of control where your hand is at a distance that I like when drawing with a circular saw.


LH: What is your workspace like? 
Jeffrey: I work in an old brewery building that was restored by the city of Minneapolis for artists/art related businesses during the mid-1990s and I’ve been in my studio since 1996.  It’s very nice-13 feet ceilings and two large windows overlooking the Mississippi River which is about 300 feet from the building.  


Hirst's studio


Water and Stones #18
19.5 x 15, encaustic, oil on panel


LH: What are you reading right now?
Jeffrey: What Painting Is and Pictures & Tears by James Elkins,  Art and Physics by Leonard Shlain and a novel by Adam Langer.

LH: Do you have other jobs other than making art?
Jeffrey: Yes, I work at an ad agency where I have a flexible schedule.  I also teach encaustic workshops at my studio and other locations.  I just taught a three-day class in northern Minnesota at Grand Marais Art Colony on Lake Superior.

LH: Where would you like to be in 5 years as far as your art making?
Jeffrey: Most importantly, I want my work to continue to evolve.  I have been selling work through consultants and want to continue on that path, but I also want to have multiple galleries representing and selling my work. I want to have a solo exhibition at a museum such as the Minneapolis Institute of Art; where there is a program designed for Minnesota artists exhibitions.  I have shown there in group shows, but not yet as a solo exhibition.

LH: Do you have any upcoming shows that you'd like to mention?
Jeffrey: Yes.  I have two solo exhibitions coming up, one in Minnesota in October and another in February in Wisconsin that I am currently working on. See details below:



Upcoming solo shows for Jeff Hirst
Oct 2010
Water & Stones
Myles Reif Performing Arts Center 

Grand Rapids, MN

Feb 2011
The Phipps Center for the Arts
Hudson, WI

LH: Do you have any web links/site/blog etc. you'd like to share that show your work?
My website is www.jeffreyhirst.com

Thanks Jeff!

Wednesday, August 18, 2010

Deborah Bohnert: Artist Interview

The Skin Series
latex and acrylic paint; various sizes, in process


Deborah Bohnert in her studio (above)

and as one of her works, (below)—Public opinion no longer worries me


Lynette (LH): Can you share with my readers a little about yourself?
Deborah: As a child, I lived with my American parents for many years in Japan. I was raised there also by Yoshiko, a kind Japanese woman who impressed upon me the culture of Japan and the importance of being mindful of the environment.When my family moved back to America, we lived in many different places like Pennsylvania, New Jersey, and Georgia.
Now, I live on the coast of New England with my husband and two cats and we also have a camp in Ripton,Vermont in the Green Mountains. In connection to my art: my art has been shown in numerous museums and galleries and has won many awards.


"We Are All Flowers"
Installation, Art Performance at Mobius 2010
Art For Free AKA Art/Life project, (The Blue tutu turns continuously)


Detail: "We Are All Flowers"  Installation 2010 at Mobius
LH: Can you describe a bit about your work in general. What is your media?
Deborah: I am a multi-disciplinary artist whose work takes the form of sculpture, installation, painting, photography, and public intervention performance art. I explore the possibilities of performance art as a way to continue my desire to create a connection between people, objects, my art and nature.
My work is process driven. I don’t have any preconceived idea of what I am going to do when I am making art. Play and enjoyment are a huge part of the experience. I find joy in seeing what occurs. I work in many different mediums photography, painting, sculpture, installation and art performance.

piece submitted to Off the Wall, Danforth Museum 2010


Detail of piece from above

LH: What is your current work about?
Deborah: My current work is installation and art performance. I bring together my painting, sculpture, drawing, artifacts, and objects that I collect and engage the audience or observer in my work by inviting them to become part of the art.




Deborah: I have quotes by two curators that I think explain well what I do…
The found object becomes a talisman for (Deborah) the artist.
In the transformation of the studio, it takes on autobiographic or psychological meaning…Deborah creates a dialogue in the pairing of an object and a painting, the spark, the charged space, between the object and the painting is experienced by the viewer.The tradition of the objet trouvé and Pop Art meet in ahead-on collision with both an aesthetic and a psychological point of impact.The history of women and surrealism is invoked. Deb is a collector, a gleaner, an artist.”
         — Barbara O’Brien, Curator                  
Deborah Bohnert's art comes from the inside.... Depending on the viewpoint, one also seems to recognize a part of oneself - as if the artist would hold a mirror to look into. Deborah Bohnert plays with colors, forms, and materials, placing everyday artifacts into a new, artistic context.... Her pictures and objects tell stories everyone may detect individually for him/ herself. In the presence of her art, everyday life sometimes appears a little less dreary!"
— Dr. Ulrich Haegele, Curator             

 Untitled #8
Canvas 52" x 36"
Box 14 x 10"
Mixed Media
2008

LH: What is your workspace like?
Deborah: A very messy muddle and sometimes chaotic. My working studios are filled with objects, paint, photographs, material, anything that I can find that I feel a strong connection to and that I wish to transform. It is a process in mindfulness to walk around my studios because they are so cluttered. But, this is what excites me, holding, seeing, thinking about these materials and seeing connections between them. Recently, I rented a clean space where I can look at my finished work without clutter around it and breathe.

a glimpse into Bohnert's studio



LH: Did you receive any formal art training?
Deborah: Yes, I graduated from Boston University painting program in 1976. I also studied for many years with Bernd Haussmann, an outstanding abstract American/ German painter who greatly reinforced my devotion to nature.



In Plain Sight 
12/2009
21" x 16" 
High gloss digital image on aluminum

LH: Do you ever get stuck with your work and how do you remedy this?
Deborah: I never get stuck with my work. My problem is feeling too overwhelmed with so much that I want to do but not enough time, space or money to create it.

LH: Do you have particular habits that you think support your art practice?
Deborah: Yes, I think that art is in everything I do. So I am doing it all the time. It is an ongoing process.

LH: Do you have other jobs other than making art?
Deborah: Yes, my husband Robert Merrigan and I are in both psychotherapists in a successful private practice for 30 years.


Blue: 24 x 26"
Pink # 1: 60 x 16"
Mixed Media
2008-2009

LH: Where would you like to be in 5 years as far as your art making?
Deborah: Loving what I am creating and showing it to the public.


Little fruits


LH: What are you reading right now?
Deborah: Lifting the Lid- An ecological Approach to toilet systems by Peter Harper and Louise Halestrap, Ways of Seeing by John Berger
 
You can see more of Deborah Bohnert's work at:




Thank you Deborah!

Wednesday, August 11, 2010

Pam Farrell: Artist Interview

All Things Flow (yellow)
2010
oil on canvas
36 x 36
Lynette (LH): Pam, can you share with my readers a little about yourself?
Pam: I’m curious, restless, compassionate, and a little crazy.

LH: Where did you grow up and what (if any) were there any early influences on your work?
Pam: I grew up in Central Jersey…non-descript little town, one square mile; more bars than churches, we used to say. It wasn’t a bad place to grow up, but there wasn’t much happening.

LH: Where do you live now? 
Pam: Hunterdon County NJ…I’m equidistant between NYC and Philadelphia.

Suspension 3855 and 3848
Pigment prints on Arches paper
approximately 30 x 40"
installation shot at LGTripp Gallery, Philadelphia
RSVP summer group show up through August 20, 2010


LH: Did you receive any formal art training? 
Pam: Though I started out at a community college, I earned my BFA from Mason Gross School of the Arts at Rutgers University. My concentration was in printmaking and sculpture with a minor in cultural anthropology.

LH: At what point in your life did you become interested in making art? 
Pam: Best I can remember, third grade, Mrs. Olivia’s class. I drew an apple tree with red apples all over it. In my memory of the picture, the tree probably looked more like a mature maple, but it made me happy to be able to put many, many red apples in the picture.

LH: Was there a certain point when you decided you were primarily an artist?
Pam:  I made a serious commitment to making, showing, and selling my work about ten years ago.

LH: Can you describe a bit about your work in general. 

False Walls
2009
Encaustic, 36 x 36"

Pam: If I had to sum it up, I’d say it’s my way of attempting to make sense of my little world and larger, more impossible concepts like time, memory, identity, loss.

LH: What is your media? 
Pam: Painting and digital photo-based work. Recently I’ve shifted from wax to oil, and I’m also immersed in using photography to make pigment prints. Sometimes there’s a little mixed media stuff, and I’m about to resurrect some older sculpture (found object/mixed media) for inclusion in a show for next year.

LH: What is your current work about? 
Pam: For some time I’ve been preoccupied with time passing.  Even back in my undergraduate days, I was aware of a certain existential anxiety about the sense of time passing…. I am also interested in what’s hidden, obscured, veiled, and in a liminal place.


This is the exterior of Pam's workspace, 
photo and more info by Lisa Pressman and on her blog, (she did a studio visit with Pam)

LH: What is your workspace like?
Pam: A few years ago I was working in a 7 x 9 ft space on the second floor of my Cape Cod style house. The room has a pitched roof/ceiling that meets the walls at about four feet. We used to call it the “nun’s room”. Now I work in a 16 x 20 ft. outbuilding about 50 ft. from my house. It is comfortably cluttered, but I could easily use another 320 sq. feet. It’s well lit, and semi-organized, and has all the amenities except running water.

LH: Describe how you work in your studio. How do you get "in a groove" and what inspires you? Pam: Primarily, I work through the day, and into the early evening. Music is what helps me focus, although I do listen to various talk programs on NPR while I work. Anything that keeps me from thinking, that keeps me out of my head. I tend to think too much. For me, finding flow usually happens when I stop thinking and it’s just me and the paint. When I find myself thinking too much, I stop painting for a bit, take a step back, maybe make some notes, clean up a little. 


From l to r, two paintings in progress from the All Things Flow series, 5 x 5 ft and 4 x 6 ft, both untitled, and potentially to be included in my solo show at Morpeth Contemporary next spring.
  On the right, Soft Parade (with ochre), 38 x 42".
In the foreground, Soft Parade will hang in the Morpeth Contemporary and
The Open Space Gallery show: "Four Notable New Jersey Artists"
 Illia Barger, Pamela Farrell, James Jansma and Micheal Madigan, 
July 24 thru Aug 31, 2010

LH: Do you ever get stuck with your work and how do you remedy this? 
Pam: Not much in life is certain. For me, this applies to art-making especially. Once I can embrace uncertainty rather than fight it, I can usually get to a place where I can make the kind of decisions that get me unstuck. Sometimes I ignore the block and challenge myself to push through, do something different or opposite. Other times I will go out to the studio, sit in my blue chair and just look, which can allow me to get a better sense of what is bothering me. Often, with a little time, I can identify what the issue is, and then work toward a potential solution. I guess I get stuck a lot. And then unstuck.

LH: Do you have particular habits that you think support your art practice? 
Pam: I may have developed more of a healthy work ethic as I’ve gotten older. At least I feel like I work harder now, more than ever.
Pam and her beloved cat, Sophie

LH: What are you reading right now? 
Pam: I just finished Winter’s Bone, a novel by Daniel Woodrell, set in the Arkansas Ozarks. It’s about family and survival. I’m still picking my way through a handful of this month’s art periodicals: AIA, ArtForum, Modern Painters. There is a pile of books next to my bed that include Gerhardt Richter’s The Daily Practice of Painting, and Methland, by Nick Reding. Another recent read was Dan Falk’s In Search of Time. I also read a lot of psychology, social science, and related materials for my other career.

LH: Do you have other jobs other than making art?
Pam:  I am a licensed clinical social worker, and I’m in private practice as a psychotherapist. Primarily, I work with adults and a variety of issues, early childhood trauma, depression, anxiety, OCD, body image/eating disorders, as well as identity, relational, or other interpersonal issues. I’m fortunate to have a flexible schedule, to be able to learn from my clients, to work with talented and compassionate therapists, and to be able to help others. I’d say that the therapy informs the art and the art informs the therapy.

LH: Where would you like to be in 5 years as far as your art making? 
Pam: Oh…maybe to have more focus, or to have further honed my skills. To have more time to make art. But really, just to be making art that I’m happy with, and have that art being seen by a wider audience.

LH: Do you have any upcoming shows that you'd like to mention?

Pam: At LGTripp Gallery in Philadelphia, I’m excited to be showing some pigment prints in her summer group show, RSVP. Also, Morpeth Contemporary, where I’m represented, will be showing some of my work in a satellite space in Frenchtown, NJ. Looking ahead to next spring, I have a solo show at http://www.ruthmorpeth.com/Morpeth Contemporary, and Fall ’11, I will be showing some mixed media sculpture at one of the galleries at U Mass Amherst, in a group show.

You can see more of Pam's work here:

LGTripp Gallery
http://www.lgtrippgallery.com/
47-49 N. 2nd Street
Philadelphia, PA 19106
Tel: 215.923.3110

Morpeth Contemporary
http://www.ruthmorpeth.com/
43 W Broad St.
Hopewell, NJ 08525
Tel: 609.333.9393 

Friday, August 6, 2010

How to Make Encaustic Medium

Encaustic medium takes a few hours to make a batch, and you save a lot of money if you make your own. I usually set it up to melt while I plan to be in the studio for several hours. 


The basic tools and ingredients you need are:
5lbs. beeswax, (filtered and/or bleached) Available at RF Encaustic
1 lb. dammar resin crystals (this serves as a hardener)




Equipment:
Large deep fryer (available at places like Walmart or similar stores)
kitchen scale
Candy thermometer
Large stainless steel colander
16”x16” piece of silkscreen, 230-270 mesh 
Clothespins (to clip silkscreen to stainless colander)
Large stainless steel bowl to pour strained medium into
Loaf tins Tuna cans or silicone muffin tins (you can use loaf pans too)
Wooden spoon or rice paddle
Stainless steel ladle

Kitchen scale, and then the scale with Dammar crystals being weighed
Directions:
Heat deep fryer to 200-220 degrees (Do NOT heat above 230 degrees!)

Put the 1 lb dammar into the deep fryer (takes about 2-3 hours to completely dissolve)
At the same time, add approximately ½ of 5 lbs of beeswax



Dammar and Beeswax in the deep fryer with candy thermometer

Stir every 30 min, so it doesn’t stay stuck to the bottom
(also note you may hear the crystals crackling as they melt, this is ok)







When dammar is completely dissolved, pour the mixture through colander with silkscreen liner (to filter out the extra sediments in dammar) —




Wipe deep fryer with an old tee shirt


Pour filtered mix back into deep fryer
Add remaining beeswaxd
Allow to melt
Ladle into tuna cans or silicone muffin tins— and there you go!


And here's your encaustic medium!