In the triptych titled Light, I delve into the profound and universal theme of truth illuminated through vibrant colors and symbolic geometry. Each piece—Essence, Truth, & Awareness—is crafted in complementary RGB colors that, when harmonized, reveal a six-pointed star. This visual dialogue reflects my ongoing journey through the art of OnlyOneWayToExit, where every composition serves as a pathway to deeper understanding.
Through the fusion of colors, the works channel the idea of an absolute light that permeates all existence, much like truth itself. This light appears in the form of a radiant, four-pointed star, piercing through the layers of our perception, suggesting an essence that lies beyond sensory experience. The contrast between the complementary colors embodies a balance found in multiversal energies, a balance that influences all beings and connects us to a higher, unifying force. The technique I use—rooted in ancient methodologies yet deeply personal—aligns with my commitment to exploring encaustic paintings as a medium that bridges past and present.
This series aspires to remind us that, while we experience the world primarily through our senses, a deeper exploration inward reveals many more dimensions of truth—a result of the Logos, the divine principle that underpins existence and transcends individual perception. Light serves as both a metaphor and a meditation on the multifaceted nature of reality and the fundamental truth that persists beyond illusions. Each painting in this triptych aims to evoke a state of inner recognition, allowing viewers to glimpse a universal essence, one that remains untouched and eternal, like light breaking through darkness.
In the triptych titled Seed, I explore the theme of inner potential shaped by the essence embedded within us. Through vibrant colors and layered forms, I convey the idea that each of us carries a seed that determines both who we are and who we may become. This internal seed, much like a blueprint of identity, represents the primal drive within us—a latent essence, waiting to blossom throughout life’s journey.
The act of flowering, depicted across the figures, reveals the various ways in which our inherent nature emerges and categorizes us. Some might attempt to obscure or modify these qualities, yet the fundamental drive of the seed remains steadfast. This impulse accompanies us throughout life, standing resilient against life’s altering events, which may cast shadows on our perceptions of self. However, like a piercing truth, the essence within breaks through these illusions, revealing our most authentic selves.
With Seed, I seek to illuminate the universal journey of self-discovery, underscoring that, despite external influences, our inner nature cannot be fully concealed or suppressed. The work suggests that our true self, much like a seed, will eventually push through the barriers that obscure it, unearthing a deeper, unchanging identity. These artworks serve as a reminder that, regardless of life’s transient shadows, our core truth will pierce through, embracing the fullness of what we were always meant to be.
*For additional details and a closer view of the artwork, click on the three dots to read a statement for the essence and deeper meaning of the piece.
In creating these encaustic paintings, I used various heat sources, UV lamps, and heat guns to melt and apply wax to the canvas. My approach involved experimenting with beeswax, damar resin, sandarac resin, and different types of paraffin, microcrystalline wax, and ceresin. I exclusively used cobalt, cadmium, and other pigments to intensify the colors.
For Contemplation, I combined beeswax with damar resin and microcrystalline wax to create contrasting surfaces—one highlighting the figure and the other capturing the background’s energy waves. This technique enhances the depth of the encaustic painting.
In Sprouting I explored carnauba wax’s translucency, blending it with modified beeswax and paraffin to reveal the painting’s base layers. This effect, unique to encaustic painting, adds depth and complexity.
Encaustic painting is distinguished by its rapid execution, allowing artists to manipulate hot wax to create vibrant textures and dynamic compositions. This technique ensures encaustic images maintain their intensity and visual impact. The fluidity of molten wax provides artists with unparalleled freedom to express themselves spontaneously and intuitively.
Cold wax medium is a painting medium that consists of beeswax mixed with a solvent, such as turpentine, to create a paste-like consistency. Unlike traditional encaustic painting, which requires heat to manipulate the wax, cold wax medium allows artists to work with wax in a more flexible and approachable way. It is commonly used to create rich textures, enhance transparency, and add depth to encaustic paintings.
Cold wax medium is believed to have been used for the polychromy of ancient marble sculptures. Although not definitively confirmed by experts, it is widely considered one of the most prevalent mediums in antiquity. Today, this is seen as a modern interpretation, where the fundamental base consists of saponified wax with potash or potassium carbonate.
Various additives can enhance the properties of cold wax medium. Resins can increase the melting point, gums improve elasticity, and gluten-based adhesives enhance adhesion. In Byzantine painting, casein was also used. To make it suitable for encaustic painting, turpentine is added to dissolve the wax and prevent clumping, allowing for a smoother application.
Cold wax medium offers remarkable versatility in encaustic art, from thick impasto textures to delicate, transparent layers. It gives encaustic paintings a distinctive aesthetic and depth. In my works, such as Ordeal, Inertia, and Contraction, I explored different formulations of cold wax medium, continuously adjusting the ratios and quantities of ingredients to achieve the desired effect.
Cera Colla is a wax-based medium created by saponifying wax with ammonium carbonate. This technique is also referred to as saponified wax, wax emulsion, Cera Saponificata, or Sapone di Cera. As a permanent water-based paint, it becomes non-hygroscopic once dry, ensuring long-lasting stability in encaustic paintings.
According to legend, ammonium was first discovered in ancient Egypt in the Siwa Oasis, where ammonium chloride salts were found near the Temple of Amun. When heated, ammonium chloride forms carbonate, making it widely known even in antiquity. This ancient knowledge contributed to the early use of Cera Colla in various artistic applications.
Cera Colla is highly valued in encaustic painting for its ability to create thick, sculptural layers using a palette knife. The medium dries quickly while maintaining an even color intensity across the surface. When mixed with oil paints, the saponification process ensures a faster drying time, resulting in a water-resistant finish.
Another key advantage of Cera Colla in encaustic art is its stability over time. Unlike some traditional mediums, it does not yellow, darken, or lose color vibrancy, making it a reliable choice for contemporary artists.
In my encaustic works, I have utilized Cera Colla to achieve dynamic textural effects. The medium’s unique consistency allows for both bold impasto and delicate detailing. Notable pieces where I have explored this technique include the triptych Svetlost, Inception, and other encaustic paintings.
My master's project was a comprehensive exploration that logically organized my works, focusing on the investigation of different types of wax. This research played a pivotal role in enhancing my future projects, helping me understand the unique qualities of various waxes and how they contribute to both visual and symbolic meaning in art.
In my studies, I researched both ancient and modern methods of wax application, understanding how these techniques have evolved over time. I worked not only on paintings but also on sculptures such as Reflection, Abyss, and the triptych Seed. For these works, I created my own modeling wax by combining oils, paraffins, and microcrystalline waxes, which I then used as both a medium for modeling and a symbolic material in my art.
For my encaustic paintings and sculptures, I primarily used beeswax, which I processed myself to ensure it was 100% natural and bleached using UV lights and other methods. The wax was essential for achieving the desired aesthetic, and I used a mix of paraffin, microcrystalline, and ceresin waxes to create specific effects. These blends allowed for flexibility in texture and finish.
Throughout my research, I experimented with various gums, solvents, and other additives, which altered the texture, flow, and transparency of the wax. These additives allowed for different working methods, enhancing the versatility of encaustic art and sculptural techniques. The combinations of different waxes and additives helped me achieve more intricate effects and deeper layers of meaning in my works.
This is only the beginning of my journey with encaustic art. As I continue to explore new types of wax and innovative techniques, I am excited to create new works that will expand on the foundations I have laid down so far. The ongoing exploration of encaustic painting and sculpture continues to inform and inspire my artistic practice.
