What is Encaustic Painting?

Encaustic painting is an ancient art form, practiced as far back as the 5th century B.C. The word encaustic comes from the Greek for “to burn in,” referring to the process of fusing layers of paint with heat. The technique uses heated beeswax combined with colored pigments, applied to a firm surface — typically prepared wood, paper, or canvas.

Though steeped in history, encaustic remains as versatile as any contemporary medium. The wax can be shaped with brushes before it cools, then polished, modeled, sculpted, textured, or combined with collage materials. It cools immediately, so there is no drying time, yet it can always be reworked. Unlike other media, encaustic paintings do not require varnish or glass for protection.

A common question is, “But will it melt on a hot day?” The answer is no. The wax is applied at roughly 220°F (105°C), so ordinary room temperatures pose no risk. As with any artwork, it’s best to avoid direct sunlight or extreme heat to preserve the work’s longevity.

Encaustic Monotypes are one-of-a-kind, non-repeatable prints created through a hands-on, agile process. Pigmented wax is melted on a heated metal surface and transferred to paper using only wax, heat, and gentle hand pressure — no press required. These four variables produce endless, unpredictable outcomes. Compositions evolve through adding and subtracting wax with customized silicone tools and brushes, combining the immediacy of printmaking with the richness and luminosity of encaustic.

David’s Encaustic Corrugations explore folded geometry and rhythmic structure, inspired by tessellations like the Miura Ori, a fold developed by Koryo Miura for compacting solar panels on Japanese space probes. While tessellated patterns have been used since the 16th century, David brings them into a contemporary sculptural context.

He animates and adds dimension to flat prints by folding encaustic monotypes into lyrical, three-dimensional forms. Undulating angles and geometric folds twist and bend the printed patterns, guiding the viewer’s eye across the composition.

His rhythmical wall sculptures extend these ideas using folded cardboard armatures. The energetic geometric structures are coated with a heavily textured encaustic surface on the front and acrylic paint on the back, creating a subtle, enchanted glow as light interacts with the folds and planes.