Usually, prints are presented behind glass, with a matt surrounding the image and a frame enclosing the whole lot. Why struggle to achieve a beautiful surface, then put it behind glass, with its hardness and reflectivity?
I remember discovering encaustic at an exhibition in the Ivan Dougherty Gallery, Sydney, some years ago. There was a beautiful Kim Westcott drypoint embedded in a glowing sensuous red wax. It was large, and unframed. I could see that potentially I could free myself from frame and glass if I explored encaustic. Encaustic is a medium entirely on its own , but it can also be used to collage prints or works on paper together, and to seal them from dust so that they don’t have to be presented behind glass. To work the wax, you can use techniques which are familiar to printmakers. Moreover, the wax can make even quite thick paper translucent, so there is an opportunity to explore the use of light. And, like in printmaking, there are lots of happy accidents. For the last few years, I have been learning as much as I can about encaustic, and have used it together with my printmaking, and alone, as a separate discipline.
I can see that I have plenty of new directions to take, places to stop on my journey, before I move on again.
Only one more part to this talk to come, folks!