October Morning

Octover_Morning

Just the subtlest touches of encaustics and oils with beeswax over a watercolor base seem to bring out the best in each media and result in work that is truest to my experience of the beauty of the northern mountains.

Nocturne 2

Nocturne 2_RQuinn

Preparing this painting done in encaustics with oils and beeswax over watercolor for an upcoming exhibit at the Annmarie Sculpture Garden and Art Center in Solomons, Maryland: When Darkenss Falls.

Winter Light

February

Exploring the theme of creating a sense of vastness through very small paintings. Starting with a wash of watercolors on a cradled wood panel, I build layers of encaustics, create the turbulent sky by intensifying the heat with a heat gun and then adding touches of oil paints mixed with beeswax.

February Dusk

Quinn_Regina_1

There’s a special kind of light in the northern mountains at dusk in the late winter. Continuing my attempts at capturing large spaces in tiny paintings, this 6″ by 6″ mixed media piece started with a watercolor wash coated with encaustic medium. Then layers of encaustic paints and just a touch of oils with beeswax.

Morning Light

silhouette

I’ve been working on very small paintings lately. The little 5 by 7 winter landscape features a watercolor layer coated with layers of encaustic medium and then oil paints mixed with beeswax and linseed oil.

January Dawn

January_Dawn_R.Quinn

Why do I paint with encaustics? The glow, the texture, the layers.

Autumn Field

Autumn_Field

R and F paints make an Indian Yellow linseed oil and beeswax pigment stick. There’s something about the color and creamy texture that I keep returning to as I attempt to infuse paintings with the late day light of the Northern Catskills.