"The true heart of my work is in the language of colour, texture and surface. Whether smooth and translucent or thickly textural, the wax makes a compelling and emotionally charged surface."
"Although abstract I work with ideas and images loosely based in architecture and landscape - I am looking at imagery from my travels and childhood using technology both old and new.
In my earlier career I was a film set decorator so painting pictures of a different kind.
Currently, my work is in both encaustic and cold wax mediums – with additional mediums of graphite, digital print transfers, metallic foils and collage. They are both well suited to layering techniques and both processes can make changes both intuitively and quickly.
Encaustic painting is done with clear or heavily pigmented hot filtered beeswax. It is an ancient media that has been revived thanks to a serious update in technology - things like hot plates, heat guns and heat pens which have made it a reasonable way to work. It is well suited to layering techniques and is the perfect media for my range of interests.
Cold Wax painting is applied usually with a squeegee and stays fluid long enough for the cold wax to be manipulated. It is a contrast to the encaustic as the depth is more of an illusion – perhaps more painterly due to its easy application.
The true heart of my work is in the language of colour, texture and surface. Whether smooth and translucent or thickly textural, both processes make a compelling and emotionally charged surface.
I am looking for the integration of imagery and process through the alchemy of wax"
VERITY ROBERTS BIO
Verity Roberts is an acclaimed encaustic artist keeping the ancient art form and technique of wax painting alive while evolving to today’s digital world.
As a method initially developed in Ancient Egypt, American artists Jasper Johns and Robert Rauschenberg are among the most well known revivalists of this ancient technique. Verity champions the resurgence of this unique style across Australia, having participated in numerous workshops and encaustic conferences in the US. With a career transitioning from a successful film set decorator, Verity brings her artistry to this practice of manipulating hot wax, further adapting the process with the addition of wax pencils, crayons, digital print transfers and inks. This allows Verity to explore both the opaque and translucent qualities of the wax through layers - a particular feature of the encaustic process. Whether smooth and translucent or thickly textural, she forms an emotionally charged surface, where the eerie, soft look of the art form and its techniques inspire intrigue and mystery.
Drawing inspiration from her travelscapes to exotic locations across the globe, travelling from Mexico to the Mediterranean and throughout Australia, Verity’s works are simultaneously vivid and impressionist, with each painting a complex layered surface. Her works have been exhibited internationally with exhibitions in San Miguel de Allende, Mexico and in Sydney, Australia where her pieces are collected all across the globe.
Encaustic is a wax-based paint composed of beeswax, resin and pigment. It is applied to a porous surface and then fused by heat. The word ‘Encaustic’ comes from the Greek word, which means “to burn in” – referring to the process of fusing the paint. I do it with an open flame, some do it with a heat gun.
Encaustic is perhaps the most beautiful of all artists’ paints and it is as versatile as any 21st century medium. It can be polished to a high gloss, carved, scraped, layered, collaged, dipped, cast, modelled, sculpted, textured and combined with oil. It cools immediately – so there is no drying time yet can always be reworked.
Encaustic is also the most durable of artist’s paints. This is due to the fact that beeswax is impervious to moisture and is a preservative. Because of this, it will not deteriorate, it will not yellow and it will not darken. Encaustic paintings do not have to be varnished or protected by glass but when transported, should first be covered by wax paper before wrapping in bubble.
Encaustic is a beeswax-based painting medium with a small amount of dammar resin – this acts as a hardener. It can be used as a luminous traditional painting medium, but it also has the potential to obscure the boundaries between mediums like no other art material; resulting in works that are just as much about painting or sculpture as they are about photography, drawing, printmaking or installation. The cooled paint can be buffed to bring up the lustre of the wax and resin.
September 2017 Art2Muse, Double Bay
September 2017 Breathing Colours, Balmain
Dec 2016 Art2Muse, Double Bay
June 2014 Art2Muse Gallery, Double Bay
October 2016 The Other Art Fair, Sydney
June 2013 Art2Muse Gallery, Double Bay
November 2009 Breathing Colours, Balmain
September 2009 Breathing Colours, Balmain
August 2008 National Grid, Dee Why
July 2008 Washhouse Gallery, Rozelle
August 2006 Primrose Park Cremorne
ART EDUCATION & EXPERIENCE
2017 Lorraine Glassner, Gestural Intensive, Castle Hill, Truro, Massachusetts USA
2017 11th International Encaustic Conference, Provincetown, Massachusetts USA
2017 Rebecca Crowell & Jerry McLaughlin, Cold Wax Medium Masterclass, New Zealand
2016 The Other Art Fair, Sydney
2016 Susan Lasch Krevitt, Encaustic & Cyanotypes
2016 Corina Alvarezdelugo, Texture & 3D Encaustic
2016 Lorraine Glassner, Intensive Layering
2016 10th Int’l Encaustic Conference, Provincetown, Massachusetts
2006 – 2014 Annette Pringle, Mixed Media Courses
2014 Shawna Moore, National Art School Sydney
2013 Paula Roland, Encaustic Monotypes & Carbon Lab, Santa Fe New Mexico
2013 EncaustiCon Santa Fe, New Mexico
2013 WaxWorksWest, Intensive Advanced, Santa Cruz, California USA
2012 Raé Miller, Encaustic on Paper, San Miguel de Allende, Mexico
2012 San Antonio School of Art, Texas USA
EncaustiCon San Antonio, Texas USA
2011 Eschwan Winding, San Miguel de Allende, Mexico
2010 Daniella Woolf, Encaustic Workshop
Chapman & Bailey, Brisbane