Art and Climate

Posted on by
16

For the last five years, The Encaustic Art Institute, based in Santa Fe, has been hosting a juried national exhibition called Global Warming is Real.

Here is this year’s overview. Artists were invited to interpret the theme in their encaustic work.:

THEME: Global Warming is REAL. As nations and economies shut down due to the COVID-19 pandemic, pollution levels and human patterns change in ways that were detectable by satellites. As all types of social, economic, industrial and urban activity suddenly shut off, nature took advantage and showed improvement in the quality of air, rivers, less noise pollution, and undisturbed and calm wildlife. COVID-19 may have temporarily lessened our carbon footprint, giving us a view in to what our individual affect on Global Warming constitutes. At the same time, Climate Change is becoming more visible and tangible through increased fires, glacier melting, and warming oceans.

I found out this morning that my entry, below, was accepted. Yay! This encaustic/mixed media work called River of No Return.

Lyn Belisle, River of No Return 2021

This was my accompanying statement:

This work, called River of No Return, suggests extreme negative impacts – droughts, floods,  famine – on populations whose vulnerability to Global Warming put them at extreme risk. The looming climate change is catastrophic for third-world countries that rely more directly on rivers, rain, and oceans for their agriculture and survival. The colors of ash, bone and rust in the work serve as metaphors for the decline and corrosion that will affect every lifeform on our planet,not just people in industrialized countries.

I am really curious to see how the theme will be interpreted by the others in the exhibition, which opens virtually on July 10.

In the meantime, here’s a link to a thoughtful, sometimes disturbing, online exhibition called Resilience in the Age of Climate Change.

https://artsandculture.google.com/exhibit/resilience-in-the-age-of-climate-change

In this exhibit by Art Works for Change, thirteen visionary artists and architects consider the consequences of climate change, including excess heat, drought, flooding, extreme weather events, food insecurity, displacement, and the loss of biodiversity. Through their work, we can visualize the challenges of a warming planet, and discover opportunities to overcome them through innovation and resilience.

__________________

We’ll have plenty of time to ponder resilience during the days of heat and drought – hope all of you are well and finding time to create safe space for yourselves.

Celebrating the Circle

Posted on by
3

It seems like just yesterday that Michelle Belto and I welcomed our first Artists in Residence to our online community called The Enso Circle. And today, twelve weeks later, we are celebrating the publication of our first Enso Circle Exhibition Catalog.

This catalog is tangible proof that a “what if” can become a reality. Each of the Resident artists whose authentic, eclectic work graces these pages answered a call for concept that had not been tried before – a virtual Art Residency based on a written application and specific goals.

The Enso Circle is not an art workshop or social media group, although it has components of each of those. It is an invitational art residency, a dedicated three-month time period in which artists join a community of creators for a specific self-chosen goal that is unique to them. The online residency provides the comprehensive artistic support that they need to focus and strengthen their work. Artists who apply are ready to focus on a conceptual goal in their studio practice. It could be a social theme, an exploration of media, a series of work that analyzes personal struggles or celebrates overcoming difficulty.

Linda Rael, Texas, Enso Circle Resident Artist

When Michelle and I opened up this idea online to the arts community in February of 2021, we had no idea how that community would respond. We just knew that The Enso Circle was something we would want at this stage in our creative careers. Much to our delight, we had over twice as many applicants as we cold accommodate. We chose the twelve you see here based on a combination of factors, but any one of the applicants would have been a great choice.

Joanne Desmond, Maine, Enso Circle Resident Artist

Since the first day, the Residents have shown respect, support, humor, and encouragement to others in the Circle. We’ve borrowed ideas from each other and made virtual visits to each other’s studios. I am incredibly grateful to these twelve First Residents who made The Enso Circle a reality.

The catalog contains much more that wonderful photos of artwork. Each Resident Artist has shared personal thoughts about art practice, doubts and triumphs, personal and professional goals, and the how and why of their studio work. Please read about them, enjoy their work, and share it with friends – and to know more about the Enso Circle, visit our website.

Click on the image below to access the complete Exhibition Catalog.

 

 

Busted.

Posted on by
8

Busted. I got caught doing the very thing I warn everyone not to do. Copyright violation.

Photo by Markus Winkler on Unsplash

THE STORY

Last month I received and completely unexpected email regarding an image that I used on this very blog in 2017:

Unauthorized Use of Boxist.com’ Images Cease and Desist / Settlement Agreement – Case #150421B

It has come to our attention that you are using an image (or images) owned by Boxist.com (Stock Photography) for online promotional purposes without our authorization or a valid license which is copyrighted work in accordance with the copyright law, We own the image(s) exclusively and have filings with the U.S. Copyright Office for said image(s) under: Registration Number: VA0002000962.

We have searched our records and have not been able to locate a valid license for the use of the image(s) under your name, Attached for your reference is a copy of the image(s) in question and the usage found on your website, Also attached is a payment demand representing a settlement that Boxist.com would expect to receive for the unauthorized use of the image(s) should no license exist.

Although this use might have been unintentional, the use of our imagery without proper licensing is considered “copyright infringement” and entitles Boxist Stock Photography to pursue compensation for infringing uses, the consequences of copyright infringement can lead to substantial penalties, and If you continue to engage in copyright infringement after receiving this letter, your actions will be evidence of “willful infringement”.

List of the infringement materials on your website:

(Digital cached data and printed proofs of this infringement have been preserved for our use as evidence in any lawsuit or litigation proceedings).

________________________________________________________________________

YIKES!! At first, I did what any computer-savvy person would do – I googled the sender, hoping it was a scam. Long story short, it turns out that they were right. This company does provide images but they require a license. They also do a thriving business in searching for people who are using these images without a license, and they found me, four years later.

The image was something I had found through a Google search. Here’s what it looked like in the 2017 blog post:

In my own defense, when I choose something from Google images, I do a cursory search for copyright, but in this case (and in every case) you need to look more thoroughly.

Boxist.com asked for $150 to use their photo – it didn’t matter that I had already taken it down. I had used it without permission. I also found through searches that this company catches a lot of people this way – but they are absolutely within their rights.

In the end, I went to their site and paid $50 for a license to use the small version of the photo which I wasn’t even using any more on a four-year-old blog post. But the law is the law.

I quickly heard back from Boxist.com – here’s the email:

Dear Lyn,

I appreciate your attempt in resolving this matter, the purchase of a new license subsequent to notification of the unauthorized use does not address the copyright violation, but since you have already purchased the image from us, and such action make me believe that you had no intention to harm our business and this is all just an innocent mistake, so in good faith I will consider this issue resolved and the case is closed, also you have been granted a perpetual, non- exclusive, non-transferable license “meaning the rights are non-sublicensable, meaning that you cannot transfer or sublicense the image to anyone else” to use the Photograph for your online and social media uses under our standard license.
This is to confirm: Boxist.com (Stock Photography) is ending all legal claims and does hereby release and discharge you from any and all claims for copyright infringement regarding this case, this settlement is effective and the payment for the copyrighted image(s) is completed, our invoice and confirmation for the payment has been sent with the order email.
____________________________________________________________
Apparently, I escaped by the hairs on my chinny-chin-chin! Or at least with only a small financial penalty — and a big fat lesson! If you want to read more about this, check out this link (and be sure to read the responses).
Your Friend,
The Reformed Copyright Violator

 

 

 

 

 

The early bird trickles like sand through the hourglass —

Posted on by
Reply

I just finished filming my first lesson for the extraordinary “everything you never knew you wanted to learn about encaustic” course called Painting With Fire:Essence of Mulranny. I am one of 26 international teachers invited to teach at Painting With Fire. The scope and content of the lessons is amazing – yes, even if you are a beginner.

Conceived by Ireland-based artist Lora Murphy, the year-long program’s early bird cost of $199 is the bargain of the century for anyone who wants to learn more about painting with wax or using it as a stellar component in mixed media work. Seriously. The sands are trickling through the hourglass, though – early bird tuition ends on Thursday. After that, the price goes to $249 (which is still a bargain, but $50 can buy a lot of encaustic supplies).

So this is a preview of what I am doing for my first Painting With Fire lesson – it will be released really soon, on Wednesday, May 26th. It’s called Surface Sampler, and it’s super-fun, if I do say so myself. Just click on the image or the link below:

Link to Preview

Here are some FAQs about Painting With Fire

  • Class starts on Friday, April 30th
  • Every class after this is on Wednesday (from May 5th onwards).
  • There are 52 weeks of lessons, often several in one week. All you need is an internet connection to view them. You can go back to previous lessons during the year.
  • All classes are prerecorded (with one exception) and will be available from approximately 12 noon EST each Wednesday.
  • Lifetime access to the videos.
  • There is a Facebook group which is private for PWF students.

And here’s my invitational link to join – please make sure that if you want to take part, join today or tomorrow before the Early Bird tuition goes away.

You’ll be joining a wonderful community of talented teachers and students!

 

 

 

 

Three Lessons learned (so far) from The Enso Circle

Posted on by
2

enso circle logo

The Enso Circle, developed by Michelle Belto and me,  is a new concept in creative communities. It’s a virtual artists’ residency program, joined through application, and limited to twelve participants.

The Circle has definitely exceeded our hopes, both as a successful model for group dynamics and as a platform for encouraging individual artistic achievement.

Part of the appeal of The Enso Circle is that each individual artist sets an individual goal. It could be something specific, like creating twelve pieces of fiber art for an upcoming exhibition, or it could be something general such as learning more about encaustics and producing three exploratory works. Journaling is encouraged, but not required, and there is lots of lively 24/7 conversation in our Slack space.

A huge hunk of icing on the cake for me is what I’m learning as an artist as I work right alongside the Enso Residents on my own project, a series of encaustic collage works with historic photographs of child laborers from the early 20th century.

Here are three huge takeaways I’ve gleaned at this point in the term – they are not new ideas, but the “learning part” is how effective and important they are to getting art accomplished.

ONE: SET A GOAL – IT’S THE SETTING, NOT THE SPECIFIC GOAL

Just do it – write down a goal based on something you are already doing, something you have always wanted to do, something based on another artist’s intriguing techniques that you want to explore in your own style (yes, that’s OK). Two of our Residents have changed their goals since the started – they knew what felt right, so they adjusted. That’s OK, too.

My own goal was pretty specific: Working from dark to light in mixed media and encaustic photocollage pulling images from the dark of the past to the light of the present. In 1904, the National Child Labor Committee formed in the hopes of ending the horrors of child labor. One of these investigators was the photographer Lewis Hine, who traveled across the country meeting and photographing children working in a variety of industries.

I’ve never been a write-down-your-goal person before, but, boy does it help!!

Here’s one of my first experiments toward my goal:

This led to my panel idea (below).

TWO: MAKE A TIMELINE – REVIEW IT OFTEN AND HAVE A MIDPOINT

I wanted to be halfway this week. I had decided to make five panels, each with photographs of the children on black backgrounds. If that timeline didn’t exist, I probably would have thought “too busy” and just let the project lapse, but I felt a self-imposed obligation, thanks to the others in the Enso Circle who were all reporting on their own progress.

Here’s the halfway point – the screen panels have been finished and connected. I had to figure out the best way to connect the waxed panels, and ended up using strips of hand-dyed canvas. It worked great.

Next will come finishing the back with handwritten stories of each of the children pictured  on the front . I’m still not sure what that will look like, but I’ll ask my fellow Residents what they think.

THREE: SHARE YOUR WORK – WARTS AND ALL

Even if you don’t belong to a structured community such as The Enso Circle, you can still do a “show and tell” with like-minded friends. Do it on a regular basis. Right now, it will probably be virtual through images shared on Instagram, email, or Facebook, but it won’t be long before we can gather again in small groups.

I have learned about the importance of talking about work in progress – it’s an authentic way to expose yourself to feedback. In the Circle, we use Slack, uploading pictures, asking questions, and making comments. So far, the sharing seems to be keeping us all on track.

Here’s how Katherine, one of our Resident Artists, put it:

It is unbelievably helpful to see other artists in action. To truly see the individual style, prep and steps along the way of each artist and their projects. To see successes and failures and the opportunities in the those too.

I will be putting together a mid-term catalog of Works in Progress from our Residents – stay tuned for that in the next week or so.

______________________________________________________________________

I hope my three takeaways from The Enso Circle help. You can do this for yourself, particularly if you are stuck and feeling kind of directionless.

And while I’m not formally recruiting for The Enso Circle, we are taking applications for the Second Term, which begins on June 14. It you are interested, here’s the link to the application.

Thanks for reading, and take good care.

“The trouble with not having a goal is that you can spend your life running up and down the field and never score.” —Bill Copeland

Serenity through bamboo – for you?

Posted on by
2

My latest online class for everyone is called, “Sumi-e Painting: Serenity and Simplicity.” It’s absolutely free, and it’s designed to de-stress your mind and to celebrate the coming of spring – yay!

In this class, you’ll learn to paint a variation of the ancient Asian art form called Sumi-e in a simple way that anyone can do. It’s fun and relaxing, even if your bamboo leaves end up looking like bananas. 🙂

Here’s the class link.

The class opened on Monday, and right now there are 90 people signed up, painting graceful bamboo stalks and wild orchid grass. I’m getting lots of favorable responses!

There is a joy in providing a no-cost chance to be creative that money can’t begin to buy – honest!

One of my favorite responses came from a participant who wrote:

“My friend was asking me about some painting tutorials and where to get started.  I told her about (your) lotus book tutorial and how much fun it was. Your free painting video arrived today in my email has been a great way to show her what you are doing.

We had great progress and successfully completed the tutorial this afternoon.”

bamboo

“The first photo shows (my friend’s) work from start to finish and you can see the progression after we practiced and how quickly we got some good results with your excellent instruction.” – – – (Wow, thanks!!)

I told her how much I loved their work – and how nice (especially these days) to get to paint together with a friend.

She wrote back:

“I did two little cards on some scrap watercolor paper. We were using the same watercolor paper as you demonstrated with.  I even found a little stamp that we dipped in red watercolor for chop mark.

I actually had a stone chop made when I was in Taiwan in 1978 but I really couldn’t put my hands on it this afternoon. It has my name in Chinese carved into it with an ox figure on top. I am year of the ox!

Before we went I had pored over a book my Dad had brought back from his travels of Chinese watercolor painting . I was fortunate enough to get the watercolors and brushes ( the brushes  we used today) and paint and paper while I was in Taiwan. . . Funny how things come full circle!”

(Special thanks to Marti Bledsoe for sharing this painting adventure.)

So, try this project if you haven’t – you don’t’ need any fancy materials – just some inexpensive watercolors and some paper. And maybe some nice wind chime music in the background. You, too, can bamboo!

If you like this technique, I also have a new in-depth workshop called Sunsets and Serapes which, strangely enough,uses this Sumi-e technique to make Southwestern striped paintings for mixed media artists!

Serape Mother and Child

This particular painting workshop is not free (a mere $39) but it has four hours of videos on painting with strong East/West influences. Here’s that link.

Finally, here’s a challenge/idea – how about making Lotus Books (another free workshop) and doing the covers with Sumi-e paintings? That would be beautiful!!

Wishing you a serene and stress-free day! ~~~ Lyn

Wendy’s Nature Spirits

Posted on by
4

A weather note : I started this post on Monday morning. The post (and normal life) has been interrupted by two days of power outages and snow here in South Texas, and there may be more to come! Yikes!

So, before the power goes out again, I want to warm your heart (and mine) by telling you about Wendy Larsen of Nevada.

Normally, I’m shy about writing my buyers to ask how they are using the faces the purchase from my Etsy shop, Earthshards, but Wendy had ordered quite a few of the Celtic Forge faces and I was curious. I emailed her, and she graciously told me about her Nature Spirits.

Celtic Forge faces from my Etsy Shop, Earthshards

Wendy wrote:

“I use all natural materials, and your faces are beautiful addition to my art. I was going to create my own Etsy shop one but the works weigh a lot as I use petrified wood and agate rose quartz . So that makes them quite heavy to ship, but I do have some in a crystal shop in Lehi Utah that carries my art, and I’ve done quite well there over the past few months. I’m currently doing a few commissioned pieces.

It started when I was at a cactus nursery and saw some Choya wood and decided to use it to create a beautiful piece of art. Little did I know they would be such a success! They are inspired by nature. Everything used on them is natural except for what I used to keep them in place. They they all have an energy that lives within each piece. I use a lot of raw crystals, pine cones, living moss, and natural stones as well as the Choya wood and your beautiful clay faces. I’m typically inspired to do a piece by what the face tells me.

Here is a picture of the first piece I ever did — and it’s history from there – LOL.”

Wendy’s Nature Spirits are packed with intricate detail and precious objects – tiny silver lizards, clusters of crystal. Here are some others. You can see the care and love that she adds to each one.

Thanks so much, Wendy, for sharing your wonderful Nature Spirits with us!

Before I close (and before the power goes off again!), I want to remind you that the Early Bird pricing for Painting with Fire is still open if you want to explore a year of Encaustic techniques and processes by 26 teachers (including me!) for less than $10 a workshop — pretty cool. Or hot.

Click here to visit Essence of Mulranny .

Please stay safe and warm – and take good care,

Lyn

Painting with Fire

Posted on by
Reply

The title sounds like something my mother would have warned me against, but it’s actually one of the best things that could happened to an artist/teacher!

I’ve been invited to join a group of the Best Encaustic Teachers in the World (yes, they let me in!!) to participate in a year-long learning experience called Painting with Fire.

Click here to visit Painting with Fire Essence of Mulranny .

Would you like to meet these artists and see what their work looks like? It’s pretty awesome – check out the video.

Painting with Fire Online Workshop A Year of Encaustic from Lyn Belisle on Vimeo.

The program was founded by Lora Murphy, an encaustic artist who was born in Ireland and has a school there in County Mayo called Essence of Mulranny. Lora sent out an invitation to us, scattered all over the world, and brought us together to teach this Masterclass. And it’s for beginners, too!

My pals Michelle Belto and Clare O’Neill are teaching in Painting with Fire, as well. I’ve learned so much from both of them. And when you sign up, you can take every single class offered by every single teacher over the course of a year, including mine and Michelle’s and Clare’s. Oooh, and Crystal Neubauer and Trish Seggebruch and Shary Bartlett and so many more of my favorite encaustic aritsts are in this, too!

The class that I am teaching is called MYTH AND MIST: Fusing Image and Imagination in Wax. It’s a combination of all the things I love about encaustic – pale translucent layers, mysterious photos and objects, fragrant beeswax – well, take a look for yourself. Here are some details from one of the first pieces I’ve been working on::

I honestly can’t wait to participate in Painting with Fire. Maybe Lora will invite me to Ireland to teach in person next year!!

I almost hesitate to say this, because I feel like I might jinx it, but there’s this new stirring amongst us creative creatures – a cautious optimism that’s reminding us that spring is coming and we can start reaching out again rather than just hanging on in survival mode.

By the way, The Enso Circle is certainly stirring! Michelle Belto and I have had a number of incredible applicants who want to join us in virtual residency. If you didn’t get a chance to read about it, here’s my last post that will explain it. It’s a program for the long-term, and when you are ready to consider it, we will be around! Applications are still open until February 21st, which is a week from this Sunday. Applicants will be notified of acceptance on February 23rd.

I hope to see you at Painting with Fire — it opens today!! Warm your hands with us at the encaustic griddle!

Click here to visit Painting with Fire Essence of Mulranny .

Take good care, trust the process – ♥

Lyn

 

 

The Story of The Enso Circle

Posted on by
4

Creative work is rarely done by a lone genius. Artists, writers, scientists and other professionals often do their most creative work when collaborating within a circle of like-minded friends. Experimenting together and challenging one another, they develop the courage to rebel against the established traditions in their field. Working alone or in pairs, then meeting as a group to discuss their emerging ideas, they forge a new, shared vision that guides their work. When circles work well, the unusual interactions that occur in them draw out creativity in each of the members.

Michael Farrell, Collaborative Circles: Friendship Dynamics and Creative Work (2001)

After six years of hatching, percolating, and polishing this concept, Michelle Belto and I are (at last) introducing you to The Enso Circle, our Invitational Online Artists’ Residency program. When we previewed the new website to several artist friends, here were their reactions:

  • “I just read your note on the class/residency that you and Michelle will be teaching and just wanted to let you know that this sounds truly amazing. Love both of your artwork and this sounds perfect! I have been creating art for over 50 years so I think it’s time I joined your tribe.” Bosha S.
  • “Brilliant idea. Brava!” Jean D.
  • “What a fabulous idea!!! Love this! This is a BRILLIANT venture!” Christine S.

When we began talking about what has ultimately become The Enso Circle, we wanted to create a structured, collaborative community that we ourselves would want to belong to.

This community would offer a supportive space in which to both expand and focus our present art practice, and to offer us a safe place for sharing ideas with like-minded creatives. It would have a starting time and an ending time, and be long enough to be meaningful but short enough to keep the energy going.

We knew from experience that we both need certain guidelines to make this work for us. Among those are:

  • A time-defined goal to motivate us (an art show submission, an article deadline, a workshop design, a group exhibit)
  • Private time to generate or refine a creative concept
  • A concrete plan to reach our goal with focus but flexibility
  • Group time to get feedback on where we are, where we were, and where we are going with our project
  • A collection of resources, always available, that can give us both technical and aesthetic advice and answers
  • Input from mentors outside the community who have expertise and objectivity
  • Small-group opportunities to brainstorm and problem solve the small steps in the process that sometimes get us stuck

Why did we name our community The Enso Circle? Because the Enso is a manifestation of the artist at the moment of creation and the acceptance of our innermost self. It symbolizes strength, elegance, and one-mindedness.

The very imperfections and hand-created contours are exactly what makes the Enso beautiful.

If you want to cut to the chase and learn more right this moment, just click here.

(And here’s what I know that you’re wondering up front . . .the program costs $325, it’s 12-weeks long, only 12 people can be accepted, and yes, it’s absolutely worth it)

But there’s more, and it’s important – and unusual – read on:

The Enso Circle is based on the idea of an Artist’s Residency – a twelve-week commitment that results in a personal body of work, large or small, conceived and completed through goals that you set with the support of the community throughout the process. You do need to apply and have a goal in mind, although that can change over the course of the term.

The Enso Circle is a unique experience for several reasons.

  • It has all the advantages of an in-depth workshop: resources, technique videos, handouts and printables.
  • Like an academic residency, it allows you to select your individual goal and work toward it with peer and mentor support.
  • It has the power of a critique group through frequent informal Zoom meetings and discussions in our private Slack space.
  • It is led by nationally known teacher/artists Michelle Belto and Lyn Belisle, who will model the process by working toward their own goals right along with you during the three-month program.
  • And it culminates in an online exhibition.
  • Lyn and Michelle plan to offer three twelve-week Residency terms throughout the year. The first one will start on March 2nd, 2021.

Here’s an up-close and personal invitation from both of us, via our Zoom recording. Just click on the video image.

VIMEO LINK

We hope you choose to apply to be one of the first twelve residents of The Enso Circle!

HERE’S THE LINK TO THE ENSO CIRCLE CLASSROOM./RESIDENCY WEBSITE WITH ALL THE INFORMATION AND THE APPLICATION FORM FOR YOUR CONSIDERATION

Thanks for reading – you’ll know if it’s right for you, and if it’s not, thanks for learning about our Enso Circle story!

Take good care,

Lyn

Susie King Taylor – Inspiring Discovery, Remarkable Woman

Posted on by
13

Upcoming Black History Month is the perfect time to share what I have learned about a remarkable woman named Susie King Taylor.

Several months ago, I was looking thrugh old photos in the archives of the Library of Congress and saw this one. Sometimes, images reach out like a compelling force, and this was one of them. What a presence!

After I learned that her name was Susie King Taylor, I started researching her remarkable life, then used her image to inspire an artwork.

Born into slavery in Georgia in 1848, Susie King Taylor (born Susan Baker) lived on a plantation for the first seven years of her life. In 1855, Susie was allowed to go live with her free grandmother in Savannah. Despite Georgia’s harsh laws prohibiting formal education for African Americans, Susie attended two secret schools taught by black women and was tutored by two white youths.

In April 1862, Susie was able to escape slavery with her uncle and other African Americans who fled to a federal gunboat near Confederate-held Fort Pulaski. She went to live on Union-occupied St. Simons Island off the southern Georgia coast along with hundreds of other formerly enslaved refugees. There, at only 14 years old, Susie became the first black teacher to openly educate African Americans in Georgia.

That same year Susie married Edward King, a black officer in the 33rd United States Colored Infantry Regiment, and began serving as a nurse and laundress for his regiment. Off hours she taught the soldiers reading and writing and, according to her memoirs, “…learned to handle a musket very well…and could shoot straight and often hit the target.”

Susie served as a nurse at a hospital for African American soldiers in Beaumont, South Carolina, where she met and worked with Clara Barton. For four years and three months, she served the Union military without pay. Susie and Edward remained with the 33rd Regiment until they were mustered out at the end of the war. (Source)

Susie King Taylor’s autobiographic book, Reminiscences of My Life in Camp, was written in 1906 and is still in publication. I ordered her book and  was transported by her wisdom and graciousness. She is a skilled and objective writer.

I was compelled to use her striking mage in an encaustic mixed-media collage, which was recently included in an article in the Winter 2020 issue of Encaustic Arts magazine.

In the article, I wrote, “In one of my latest pieces, the subject is a striking African American woman. As usual, I knew nothing about her until her photograph almost leaped out at me from the screen as I was looking through Library of Congress for inspiration.  She was identified in the photograph as Susie King Taylor, and through research I learned that she was the first Black Army nurse. During the Civil War, she tended to the all-Black 33rd United States Colored Infantry Regiment. In my encaustic collage titled Susie, I included gauze and horsehair as material symbols of her life in the regiment.”

You can see the gauze and horsehair embedded in the beeswax layers in this detail. I used colors of indigo and sepia as the primary palette:

As always, photos and stories from the past continue to inspire and fascinate me as inspirations for my work. Susie’s story was one of the best discoveries I’ve made.

If you’d like to learn more about her, please watch this brief video about the life of Susie King Taylor, produced by the Georgia Women of Achievement when she was inducted in 2018. You’ll be glad you did.

See you next time, and take good care,

Lyn