Pushing the Medium

Dana Brown is largely self-taught. She focused on watercolor as a young adult, submitting pieces to juried art museums and exhibitions.  Eventually she began to sell her work at juried art fairs.  For 10 years she traveled to Chicago, Denver, Miami, and all points between before making the decision to get off the road. For many years she has focused on selling her work through galleries. 

Encaustic is an unusual medium to work in, how did you choose it? What do you like about it over other mediums?

I was inspired to learn more about encaustic by Jasper John’s work. I first saw it at MOMA and began searching for information. There was only one book in print at the time that was helpful but it was enough to get me started. After a couple of years of exploring and slinging wax, I had a couple of worthwhile pieces to show gallery directors. I’ve worked in encaustic for close to 20 years.

What subjects inspire you?

I’m inspired by structural subjects and more recently have been painting botanical subjects I’ve photographed while kayaking.

How do you approach the beginning of a new piece? 

I work on one piece at a time. As I paint, I’m mixing color in my brush, which means the color of the encaustic medium in my pans is shifting constantly. It’s useful for color harmony and a more spontaneous way to work — but my palette is applicable to only the painting on my table. So, one at a time.

What are the greatest challenges in your work?

My greatest challenge at this point is to continue learning. I’m mindful of using the wax in a new way, new technique, new color palette, new approach to a subject. When I feel sluggish, I tend to add a medium to my practice.

Do you use mixed media in your work?

No mixed media. I like to push a medium to see what it can do on its own.

What safety and health measures do you employ while working with encaustics? 

Safety and health issues are huge with encaustic. Ventilation is mandatory. I work with an open studio door, fresh air always no matter the temps outside. A fan is above my palette to pull fumes out of the room. Palette temperatures are monitored so the wax and resin is at a safe temperature. Toxicity is always a concern.

Do you use photo references?

I use photo references, mainly to evaluate values. My painting colors from the actual color and composition may be different. And of course, photos help me remember what I’ve seen and have been excited about!

How do you know when a work is finished?

A painting is finished when I can’t see any way to improve it. To continue can sometimes drag it down. Better to stop.  

What is the hardest part of creating a painting?

The hardest part of creating a painting is trying to be innovative. Seeing something in a new and different way requires that I not be complacent, not to be lazy. 

Are there unique challenges in framing and displaying encaustic works?

I frame my encaustics in a floater. Because the medium drips over the edge of my board as I work, there is never a neat, clean edge. Making that work in a frame can be a challenge.

How can an encaustic work be cared for by a collector?

Encaustic paintings don’t require specific care. They need to be hung out of direct, raking sunlight — but that is the same for most hanging art.  

What do you wish you knew when you first started working as an artist, and what advice would you give to your younger self?

When I began my art journey in a serious way I wish I had been kinder to myself. It’s possible to be kind and still be self-demanding. I think it can be done with clear goals, obtainable goals, markers along the way for clarity. 

What advice would you give to aspiring artists?

My advice is to work consistently, reflect back on what you have achieved, and always look toward what can be done better. Daily/weekly/annual goals work. Keeping at it works.

Have you experienced any significant challenges in your career? How did you overcome them?

The challenges that I’ve focused on have been internal. If I had a dollar for every self-help-book I’ve read…. External challenges I can’t control so I just spend time in the studio and put the paintings out there.

What do you hope viewers take away from your work?

By looking at my work, I hope viewers have a renewed interest in their surroundings. I hope my paintings help them perk up when riding down the road or looking at nature. To truly see and appreciate is a conscious effort.

Are there any new directions or ideas you’re excited to explore?

I work in clay along with encaustic in my tiny studio. Splitting my day between the wedging table and the encaustic table has been a good thing for me in the last few years.  I’ve been contemplating working on paper ­— drawings, journals, etc. A portable way to work intrigues me.