Abstract Views at the Nan Miller Gallery

Studio245's Blog

It has been a very successful show at the Nan Miller Gallery in Rochester, NY.  A major work “Yellow Barn Seneca” seen below sold the opening night to well known collectors of contemporary art  in the New York area.  The following encaustic work is a featured piece and is nmg2NMGgalleryimagenew in a series of crossover works combining encaustic with oil painting on linen.  If you are in the area check out the exhibit.  The invitation card is shown below and the show has been extended to November 3, 2015.

Yellow_Barn_Seneca_2015_Bigness Yellow Barn Seneca, oil on linen, 54 X 64″  Read more about the creation of Yellow Barn Seneca and other works at the “All About Paint Blog”

Crossover_oil_encaustic_36x48_Bigness2015

Cross over Series: Encaustic and oil on panel and linen. 37 X 49″ at the Nan Miller Gallery

Exhibit extended through November 2, 2015 Exhibit extended through November 2, 2015

New work on view at the Nan Miller Gallery October…

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Abstract Views at the Nan Miller Gallery

It has been a very successful show at the Nan Miller Gallery in Rochester, NY.  A major work “Yellow Barn Seneca” seen below sold the opening night to well known collectors of contemporary art  in the New York area.  The following encaustic work is a featured piece and is nmg2NMGgalleryimagenew in a series of crossover works combining encaustic with oil painting on linen.  If you are in the area check out the exhibit.  The invitation card is shown below and the show has been extended to November 3, 2015.

Yellow_Barn_Seneca_2015_Bigness Yellow Barn Seneca, oil on linen, 54 X 64″  Read more about the creation of Yellow Barn Seneca and other works at the “All About Paint Blog”

Crossover_oil_encaustic_36x48_Bigness2015

Cross over Series: Encaustic and oil on panel and linen. 37 X 49″ at the Nan Miller Gallery

Exhibit extended through November 2, 2015
Exhibit extended through November 2, 2015

New work on view at the Nan Miller Gallery October 2015

Blue Moon Rising oil on linen 48 X 36" 2015
Blue Moon Rising oil on linen 48 X 36″ 2015

Path to Ambrosia

 

Path to Ambrosia – Encaustic – Fiber – Oil on braced Birch panel 48 X 60 X 2.5″
Path_To_Ambrosia_Encaustic_Collage_48X60_2014
Path to Ambrosia – Encaustic-Fiber-Oil on braced Birch panel – 48 X 60 X 2.5″ by L.Bigness

 

My path to encaustic art has taken many detours by reaching into the depths of being to create relevant and profound works of art with hidden meaning that could be experienced by the viewer.  The latest work, a large scale mixed media encaustic, was such a journey.  In accomplishing this work I was able to tap into all of my inner resources and experience the medium with an approach that allowed a spiritual path to emerge within the work.  This body of work is becoming my vessel of experiences with exploration and discoveries through emergent forms and their rhythms.  As I continue on this course of discovery, a surprising element has taken shape, with the process becoming my mentor.  The mentor, my inner being, has become the process guiding my work into uncharted journeys of the soul and its’ art.

Linda Bigness

Path to Ambrosia – Encaustic – fiber – oil on braced Birch panel – unique                             48 X 60 X 2.5″ (2014)  Sold to private collector

Currently exhibiting at the Edgewood Gallery, 216  Tecumseh, Syracuse, NY through January 2015

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ProWax Journal 7: Featured Artworks

Wonderful article

ProWax Journal

The Pull of Paper

by Deborah Winiarski

Artists have been pulled to work with paper since the time of its invention centuries ago. In addition to using paper to sketch or capture a moment quickly, they have been pulled to paper as their primary vehicle of creative expression. Working with paper is tactile, intimate, immediate. To work with paper is to be close – one can only be as far away as the length of an arm with scissor, brush, pencil in hand.

Art that combines paper and the medium of encaustic is a fairly new concept that began with Jasper Johns in the 1950s. Johns collaged papers into his paintings using pigmented wax both as paint and adhesive. But it was not until the middle 1970s when Dorothy Furlong-Gardner pulled the first encaustic monotype off a heated plate that paper became viable as a primary support for encaustic work.

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