Encuastic Painting
Artist
Lucy Nicholls
2025
Encaustic paint makes use of heated beeswax and damar resin combined with color pigment. This painting technique and medium was derived by Ancient Greeks. My first interactions with encaustic were at the Woodstock School of Art under the guidance of artist Leslie Giuliani and Richard Frumess, artist and paint-maker, and founder of R&F paints. I have a love of this medium as it allows one to experiment with layering and material chemistry in a way that goes beyond painting mediums that are more two-dimensional in nature.
The element of heat adds a level of excitement and commands a technical skill that goes beyond other paint forms. Furthermore, encaustic can be integrated into three dimensional art forms such as sculpture which allows one to play with time, light, shadow and space in complex and interesting visual expressions.
DRIFTING
This is a mother-daughter series. My daughter used pastels to color pieces of wood and stones that she found in her nursery school playground. Inspired by her freestyle handicraft, and aspiring to preserve it, I used encaustic painting as a medium to do so. I completed these three pieces during May of 2025 at the Woodstock School of Art in a workshop entitled: Encaustic Unleashed, Sculpture and Assemblage led by artist Joan Ffolliott. The pieces are intended to evoke a sense of resilience, timelessness, weathering, and unconditional love of mother nature.
Mediums: Mediums: Encaustic, discarded wood, encaustic boards, pastel, playground rocks, wood and pine cone, pom poms, and glue. Wood and stones painted by Verena. Composition and background by Lucy. Pine cone by both. .
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IN FLUX
This was my first ever encaustic creation completed at the Woodstock School of Art in March of 2025 under a workshop entitled Encaustic and Collage led by artist Leslie Giuliani. I bonded layers of R&F encaustic paint starting with vibrant blue and yellow. I engrained textures using broken paint brush heads and pieces of metal. I continued to layer colors adding ancient gold and to balance the piece I selected a neutral as the final layer. I scraped off the neutral layer to reveal areas of the material that had formed interesting and vibrant patterns because of my earlier interactions with the tools applied. The creation of this piece was navigated through intuition and intends to evoke a sense of experimentation, seeing, unfolding of time, discovery, chaos and balance all at once.
2025










EXPERIMENTAL
Completed in the same workshop at the Woodstock School of Art as “In Flux” above, this piece applied R&F encaustic paints and was navigated through experimentation and intuition. I applied various tools to layers of vibrant encaustic paint balanced back by neutral and a royal blue. In my view, the piece did not result in as balanced of a composition as the former one and lacks a focal point. It reflects a landscape. I discovered the finesse of scraping back encaustic paint—where too much pressure is applied the amount of material removed can create a tension in the piece. That said, this work produced some beautiful chemical reactions and effects. It was a pleasure to create.
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