The Studio The Relationship between Artist and Medium

I am an encaustic painter. The ancient process of encaustic predates frescos and goes back to 100AD. This laborious medium captures less than 5% of artist's worldwide—this is one of its attractions for me. While I've been painting for over 12 years, I have used the encaustic medium exclusively for eight years.

I work traditionally, using beeswax from a local bee farmer, tree sap from the Singapore pine tree, and dry pigment, which I have collected from my travels around the world. I prefer using the traditional medium versus the petroleum microcrystalline wax and the  manufactured paint colours; simply because of its natural properties and historical reference.

Most of my supports are birch panels that I then cover with a mixture of rabbit skin glue, dry marble, and pigment. Recently, I have discovered thick raw linen that is dense and sturdy enough to accommodate some of my smaller pieces. This makes the work lighter and easier to ship and store.

Encaustic painting has been a journey of no return for me. I tell everyone "Once you've truly gone Encaustic there's no going back to squeezing a tube!"


"Once you've gone Encaustic there's no going back to squeezing a tube!"