Wetland at Dusk

I am humbled, thrilled, and still in a state of shock to learn that Wetland at Dusk has received this year’s  Faber Birren National Color Award for original and creative expression of color!

As with much of my recent work, I started this piece with watercolors on a gessoed panel and then built layers of encaustics and oils with beeswax. My original intent was to do a painting inspired by Yellowstone’s colorful geothermal Artists Paintpots.

While I was pleased with the early layers, they didn’t quite capture the Paintpots as I recalled them. The piece evolved in a very different direction, and I followed, willingly.

A Cloud of Seeds

I am mesmerized by the clouds of seeds that hover over fields in late summer as grasses and wildflowers go to seed while touches of summer greens remain visible.

This painting started with watercolors on a cradled, gessoed panel followed by multiple layers of encaustics. The cloudy sky area was heated to a smooth surface while other areas were more lightly fused allowing deep and rich textures. Using blades and knives, I cut and carved into the field and tree areas adding even more vegetative texture. Finally, I applied transparent oils mixed with R & F Paints’ Blending Medium (beeswax with linseed oil) and lightly fused to the encaustic surface.

Dawn

Encaustics and oils with beeswax over watercolor

Unexpected things happen when you are painting.

I anticipated a cooler tone when I picked up an oil pigment stick and ran it across the lower left hand corner, but there were surprising (even alarming) traces of Indian Yellow and Green Gold.

I stood back as the music of this piece at once resolved on a high note.

Spring Snow

April fields began to green and tree buds swell, yet the almost daily spring snowstorms continued to blanket these Northern Catskill Mountains as if sensing the pandemic mood.

I created this 12 by 16 painting using encaustics and oils with beeswax over watercolor on a cradled panel. It is on display at the Rhode Island Watercolor Society’s online exhibit: It’s All About Color. Visit my Art Process page to see the evolution of this piece from watercolor to encaustic to oil to finished work.

Fading Crocus

This year, crocuses endured several April snows before fading away into the fresh spring grasses.

Fading Crocus, an 8 x 8 x 1.5 encaustic with oils and beeswax over watercolor painting will be on display this summer in the Bloom and Grow exhibit at Annmarie Sculpture Garden and Art Center in Solomons, MD.

Reservoir

Inspired by Alcove Reservoir in Westerlo, NY, this semi-abstracted piece started with watercolors on Ampersand Encausticbord followed by layers of encaustics and oils with beeswax. The other name I have for this piece is Ambiguity as the sources of shadows and lights don’t literally add up, but, perhaps convey a sense of passage of time and remembrance.

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.