Catherine's current body of work created for the show Silence Without Echo is resplendent in it’s meditation on silence. The silence of the pond at sunrise, the silence of a bird sitting on a branch and the silence of just being, in the shadow or the light.
Using her travel photos for the initial base layer of the paintings, Catherine continues to add additional layer of pigmented bees wax to the surface, layering up the image until the process reveals the painting.
In this collection of paintings, the artist helps us to observe how light affects quiet. How light affects the shadows. And how light is ever changing in our realm of space, wind, water and earth.
About the Medium:
As an artist, I communicate best not with words but with visuals, the medium only a beginning, and a tool to be used for the exploration. I define and redefine images, spiraling past points where I have been. An encounter with an old image may touch a new awareness, a new thought out of which develops new images to pursue.
The figures may be here, there, or somewhere in between, lost, or just lost in thought, alone or together in ways we may not see. Landscapes of the soul bound to landscapes of the earth, the air, the light.
Painting with encaustic was like returning home for me. The last two years of painting and drawing, I have been intrigued with transparent layers, wax melted onto monotypes, and working on frosted films that overlap. Years of batik, painting with color in the wax, made it an easy transition to encaustic. This beeswax-based paint is applied molten to an under painted surface of linen that has been stretched on a wood panel and sized with hot rabbit skin glue. Layers of colored wax are built up, and then fused with a hot air gun. Different colors will melt at different rates because of the varying chemical compositions of the pigments and the greater absorption of heat by darker colors. The layers can be used transparent or very opaque, scraped, incised and impregnated with objects, papers or other materials.
The durability of encaustic is due to the fact that beeswax is impervious to moisture, does not yellow and darken with age and with the inclusion of dammar resin in the formula increases the hardening of the wax over time. As with all works of art the paintings should not be hung in the sun or kept at very cold temperatures. A simple buffing with a soft cloth and a spritz of water will remove any haze that may appear, especially in the first few months when the surface is hardening and curing.
Video: Catherine talking about her work at Pratt Fine Art Center, Auction, May 2016
View Artwork by Catherine Eaton Skinner in Person
Come see these pieces first hand. We are just a short walk from the ferry and an excellent destination for your visit to San Juan Island.