In these paintings, layers of wax are painstakingly piled on top of acrylic washes, oil, and spray paints. Surface depth accumulates by weaving organic and geometric shapes, rendered in positive and negative form, through different levels. The final result is a thin sculpture with fragments of
long-forgotten messages resonating through.
In these paintings, David explores the limits of the encaustic medium while balancing non-representational images and abstract space. His lyrical and constructivist approach engages delicate line work, hard-edge geometric forms, and graceful organic shapes. He works in successive layers of applied wax in a potentially endless process of revision and discovery. His colour palette uses cool pastels, warm earth tones, and lamp blacks to articulate a hierarchical relationship between the fore and aft. Urban culture is a dominant theme, with a hint of childish whimsy peaking through the layers.
Miura Ori is the best-known and most used origami corrugation. The folded pattern is named after Koryo Miura, who later designed a variant for folding solar panels on Japanese space probes. Simpler tessellations have been known since the 16th century.
I have been using tessellations for several years now. I animate and add dimension to the flat prints by folding my encaustic monotypes into lyrical sculptures. The undulating angles and geometric forms twist and bend the printed patterns.
My rhythmical wall sculptures use the Muira Ori pattern. The pieces are made from folded corrugated cardboard. The energetic geometric structures are coated with a heavily textured Encaustic front surface and acrylic paint on the back to add an enchanted warm glow.
By folding his prints into rhythmical sculptures, David animates and adds dimension to the flat Encaustic Monotypes. The undulating angles and geometric forms twist and bend the printed patterns while moving the viewer’s eye back and forth, up and down, in and out.
Encaustic Monotypes are one-of-a-kind non-repeatable prints. It is an agile process where pigmented wax is melted on a heated metal surface and then transferred to a sheet of paper. No printing press is required, just wax, heat, paper, and gentle hand pressure. These four variables allow endless and unpredictable results. The compositions evolve by adding and subtracting elements using customized silicone scrapers and brushes. The final results combine traditional printmaking's directness and immediacy with the encaustic medium's richness and luminosity.
By cutting up and reassembling his prints, David transforms and adds new life to his
Encaustic Monotypes. The geometric shapes draw your eyes in and around the
meticulously crafted compositions.