Tag Archives: Encaustic Art

Meet the Artist in Residence: Ali Herrmann

Ali Herrmann, artist in residence at Main Street Arts during the month of September, 2017,  will be working on mixed-media encaustic paintings featuring female icons and role models. We asked Ali a few questions about her artwork and studio practice:

Ali Herrmann

Ali Herrmann

Q:  Tell us about your background
I live in the Berkshires; travel around upstate NY and Hudson River Valley selling my work at markets, fairs, and events.  I have been making art since a very young age—coloring books and a box of Crayola crayons were always my go to.  I went to Colgate University to pursue geology, but after not being satisfied with my choice in college and the academic requirements surrounding the school, I decided to switch majors, transfer, and convinced my geology professor to write a recommendation for application to Bennington College.  My intent was to focus on ceramics and painting, but as it turned out, fell in love with printmaking and continued to pursue painting. I’ve always maintained a multimedia approach to my work, even to this day.  In addition to making art, I teach classes in bookmaking and encaustic painting, bringing my techniques, knowledge and shared experiences to each class.

Encaustic Landscape with Trees

Encaustic Landscape with Trees

Q:  How would you describe your work?
My work is painting with a multi-media approach, using inks, papers, paint, encaustic wax, found object…the idea dictates the medium of choice. I often use multiple things in one painting, hence why I say ‘multi-media.’  Subject matter is typically botanical and nature oriented, in ways that I tend to personify it’s beauty.  There’s a graphic design element to my work, which is a trickle down effect from the very graphic-illustrative nature contributed by college printmaking techniques.

At work in the studio at Main Street Arts

At work in the studio at Main Street Arts

Q:  What is your process for creating a work of art?
My day typically starts around 7:25 am,  getting up with my built in alarm clock, then I head for coffee and journal writing.  It takes me a good hour to fully ‘wake up’ in the morning, even after I’ve gotten out of bed, so I’ve learned this is a good time to let out the thoughts, dreams, ideas, and mental clutter into my journals.  After that, depending on the weather, I may head to the studio or go for a walk/jog.  If I head to the studio, I am likely to turn on the hot plate and slowly start heating up my encaustic paints.  While I’m waiting for the materials to liquify to working state, I clean off the work surface from the day before, prep paper collage materials I think I may want to use, and organize my workspace…much like decluttering my mind in the morning journals. When the materials are ready, I begin with a meditative layering and heat setting process with the wax, developing a surface upon which to work.  Encaustic works in layers, so this medium suits me particularly well, given that I utilize a multi-media approach to other paint processes.  Some of the pieces take days or weeks, while others may be done in a few hours…the elements and working properties of the wax dictate the direction, so it’s an experience of being both in control at times and letting go.

Uma: B. Kiddo, 6” x 6” panel encaustic, 2017

Uma: B. Kiddo, 6” x 6” panel encaustic, 2017

Q:  What are your goals for this residency?
My goal for this residency is to create a body of work that uses portraiture as subject matter, particularly women icons and role models.  I anticipate creating 100 6”x6” encaustic portraits of women, using illustrative drawings, paper collage techniques, writings, and encaustic wax.  Portraiture is almost a big diversion from my typical work in encaustic, since I tend to be more focussed on incorporating color abstraction and illustrative narratives using symbols of plants, trees, and sailboats. However, working with the more illustrative pieces in my tree series, where I embed text, I felt a sense of empowerment through the text and it led me to want to personify a strong women icon series.  And with everything going on in the world of current events/politics, I personally find this a perfect time to explore this series. Also interesting is the idea of ‘icons’, since the history of encaustic was predominantly a process of preserving pieces, such as the face masks from the Fayum wedding portraits, so in a sense, I feel as if I am bringing my love and knowledge of encaustic full circle. Going back to the beginnings and root of why this medium gained attention, while bringing attention to modern day women.

A collection of small, handmade sketchbooks

A collection of small, handmade sketchbooks

Q:  Do you collect anything?
I have a fascination for collecting ‘objects of containment’, yes this needs defining.  For a long time, I used to collect sketchbooks and they would sit on a shelf, pristine blank books, waiting and wanting to be used, but at the time, I was out of college and focused on a day job, completely unrelated to anything artistic.  The blank books became a thing of admiration, a collection of sorts: pretty covers, sizes, different bindings.  Once I took a course on different bookmaking techniques and realized how ordinary these were, I started using them to sketch, paint, & write while I made more fun books to eventually use.  While I do have a collection of sketchbooks I’ve made, it’s more for demonstrations and teaching purposes, but they do get used!  Additionally, I have other objects of containment, ranging from a modern, funky purse collection to old wooden boxes: rice boxes, tea boxes, cheese boxes, wine boxes, pencil boxes, and shelf boxes.

Q:  Where are your favorite places to see artwork?
While I enjoy going to a gallery or museum to see work, I really never want to make a full day of it or spend a lot of time in them.  There is a silent, sterile quality that somehow ‘quiets’ the art for me.  I believe this is because I am a process oriented person.  I like to see work in progress, the sketches, the inner brainchild workings, the silly notes, and the processes involved in making work.  The two places I really enjoy to see art are in peoples homes or artist studios.  I think there’s a real intimacy seeing what people collect and how they display it in their environment.  As for artist studios, you get to see the raw and visceral experience of being engaged in the process.

Six, 6x6 inch panels in progress

Six, 6×6 inch panels in progress

Q:  Do you collect artwork?
I think artists always collect artwork.  My collection started in college, where I exchanged a few etchings and monoprints with other printmakers.  Having an affinity for pottery and coffee, I have always loved collecting mugs, though the functional, everyday use aspect of it never made me think I was ‘collecting art’, but rather, creating a collection of enjoyment.  My first purchase that actually made me feel like I was buying art ‘to collect’ was a small portrait piece I found in a boutique type gift shop in Asheville, NC ironically during a pottery visit in 2003.  I saw this lovely portrait and it reminded me of myself: haircut, red background (at the time I had a red Jeep wrangler), seeming poignant, isolated, alone, but having this ingrained presence that could light up a room.  I kept looking at it; however, did not buy it that moment because I thought: why would I want to buy a portrait?   Of who? Of someone I didn’t know?… and so continued on my journey around Asheville.  When my trip reached it’s end, I found myself racing back to the store in the early morning, hoping they would be open, because I simply needed my this piece in my life, regardless of who this person was in the portrait.  I think I even floored the shop owner when I said, ‘I need that’.  She was so excited for the artist, to be selling a piece of their work, but it was more than a sale or a purchase, I somehow connected with that piece in a way that went beyond the imagery, so it became needing it in my life, not simply wanting it.

Since then, I have collected etchings from an artist in New Hampshire, and tiny paintings from artists based in Portland, OR.  Overall, I can say that all the work has a very illustrative feel, despite some being whimsical paintings and others being detailed bug/botanical prints…they all have images of birds, bugs, botany, with the artists personal vision/flair. Artists include: Cori Dantini, Michele Maule, Rachel Austin, J. Ann Eldridge  

Q:  What is the most useful tool in your studio?
The most useful tool is the most unattractive, bright yellow, mundane looking tool: an automotive bond application/spreading tool, but it has a great name…the Dynatron!  While I do love a palette knife, I find this tool in my car, my purse, in the kitchen, and yes, all over the studio for all media, so it is the most purposeful.  Life changing actually!


In the studio at Main Street Arts

Q:  What’s next for you?
When I return home, I hope have a full schedule teaching classes in encaustic and bookmaking, head into autumn’s beauty, and ready myself for the winter market/vending season.

Q:  Where else can we find you?
On my webiste, www.aliherrmann.com, on Instagram, @aliherrmann, on Facebook, and on my blog, www.aliherrmann.blogspot.com.

Ali is teaching an encaustic collage workshop  on Saturday, September 16 from 12 to 3 p.m. at Main Street Arts. Sign up on our website to reserve your spot!

Inside the Artist’s Studio with Virginia Cassetta: The Road Taken

I was raised in a very traditional Italian family and and when I graduated high school the only road open for me was either attending nursing school or becoming a teacher. I chose a career in nursing, although in my heart I wanted to work in the arts and move to NYC. I married, had children, and pursued a career in healthcare. At 57 I was working at a job I had fought hard to get, only to discover that it was not for me, and not where I wanted to be. I began to take night art classes at MCC, and the rest, as they say, is history.

I came home from work late one afternoon, stepped out of the car, dropped the weighted briefcase, undressed from my suit of armor and began to run through the fields naked (we lived in the country at that time). I came upon my husband, who was quietly reading his daily newspaper, sat down next to him and said, “ I am going to change my life”. And then I did. I quit my job, my husband took early retirement, and we relocated to Portland, Maine for 3 years, when in 2004 I obtained my BFA in Sculpture. We relocated back to Rochester, NY and in 2006 I obtained my MFA in Sculpture.

A scholarship to Florence, Italy, and art residencies served to give me solid working experiences in both sculpture and painting, as well as forcing me to understand what I wanted to communicate in my work. Women, the aging process, identity, nature were all issues that I was drawn to. It has been an ongoing struggle to narrow some of those ideas down and build cohesive bodies of work. My website virginiacassetta.com will give you an idea of some of the artistic methods that I have worked with over the past few years.

Womanscape Series 2012

Womanscape Series, 2012, 21″ x 19″, Thread, oil on linen

This oil painting of “Three Women” incorporated sewing and painting on a linen background. With this series I was able to add sculptural qualities to a painting by first sewing the design onto linen and then paint over the thread in oils.

I was seeking a way to continue this method of incorporating texture into my work when I discovered Encaustic Painting. Encaustics is an age old art that was practiced by the Greeks and dates back to the 5th Century. It involves the painting of hot pigmented beeswax & resin (which hardens) on a structured panel. The hot wax is then manipulated by the process of melting, brushing, layering, fusing, scraping, filling and gouging to reveal imagery that can result in a glossy translucence, or texturally sculptural works. “House II” was one of my first ventures. In this image I use heavy brushes to create the textured look.


House II, 2012, encaustic on panel board, 24″ x 18″

I wanted to learn more about this technique so I began watching the tutorials from Enkaustikos Paints, and when the opportunity arose I took a week long workshop in Encaustics to develop technical skills and learn how to incorporate other materials into the wax process. It was here that my artistic energies began to unfold, and encaustics’ is now my medium of choice.

In my Small Scapes series, I turned to the landscape for my inspiration and created a series combining the layering of paints to create a translucent effect. With metal tools I drew in much of the detail work.

2014, 6" x 6"

Smallscape Series, 2014, encaustic & oils on panel board 6″ x 6″

The melted wax process is difficult to control. The fusing and multi- layering of pigmented wax (sometimes 5 or more layers) will create visual narratives that tell their own stories, and as the images and colors change, so may my original designs. This is why Encaustics is my medium of choice. I am continually challenged to draw on my hidden creative energies. The end result surprises me and will often change the direction of the series I may be working on.

A series called the Big Bang speaks to positive energies and the motion of life; we are not alone in our universe. This again presents the effects of the layering, fusing, drawing and scraping of images and colors to present the movement of female images and objects in space.

Big Bang, 2014, 23 3/4' x 23 1/2", encaustic & oils on panel board

Big Bang, 2014, 23 3/4′ x 23 1/2″, encaustic & oils on panel board

So where do my ideas come from. I love poetry and much of the Big Bang series came from reading the poetess Sappho. My house series came from reading the Poetics of Space. Womanscape came from my own direct life experiences as a women and how I see women functioning in today’s world. Observation of self and my experiences of being female over the past 70 years has become a metaphor for me; I draw on the female form to express the social, cultural, and religious conditions of a woman’s life. Nature and landscape imagery represents the sensuality, feelings, fecundity, and the colors of femininity.

2014, 6" x 6", encaustic & oil on panel board

Half Moon Scape, 2014, 6″ x 6″, encaustic & oil on panel board

Night Scape is new and in development. I am intrigued with the comets, planets, and star formations. Following the Big Bang, this series brings me closer to our ever expansive universe and our spiritual interactive roles within.

Night Scape, 2014, 24" 25", encaustic & oils on panel board.

Night Scape, 2014, 24″ 25″, encaustic & oils on panel board.

For the past 13 years I have been engaged in exploring, discovering and experimenting with various art mediums and media. I see this as a lifelong engagement with the artistic process. I have a newly remodeled studio room in my garage at home, I recently put together my own website, I am on Facebook, and have two new shows coming up in 2015. At this new age of 70, I have not looked back and glad I choose art as my road taken.

You can see more of Virginia’s work at her website, virginiacassetta.com. Or stop by Main Street Arts through December 29, 2014 to see one of her encaustic landscapes in person.

Check out our previous Inside the Artist’s Studio blog post by jewelry artist Vanessa Rivera.