Amy Royce

Fine Art Waxes and Prints

Tectonic. Planetary. Maps. Fossilized. Aerial.

These words come to mind when I pull the collagraph plate off of the fresh, curing plaster. Ghostly ink embeds itself into the bright whites. When I brush on more ink or watery paint al fresco, it soaks deeply into the fine-grained relief. This is the time to further scrape and shape the surface and edges. I then allow the plaster to dry and fully cure on the wood substrate. The whites get brighter, chalky, textured in places, smooth in others. In the dry high desert climate, it soon becomes another surface to draw upon: graphite, charcoal, more ink. Shards of plaster are applied to deepen the relief. Finally encaustic paint is poured on, brushed on, manipulated with heat and tools. Layer after layer the surface changes.

Satisfying.

Plaster printmaking and encaustic, work in progress Plaster printmaking and encaustic, work in progress Plaster printmaking and encaustic, work in progress Plaster printmaking, works in progress Plaster printmaking and encaustic, work in progress

 

I’m pleased to say that two of my paintings have been juried in to “The Devil in a Straight Line” exhibit at the Bakehouse Art Complex, Audrey Love Gallery in Miami FL opening October 6-14, 2014.

 BreathofLife BreathofLife2

Curatorial Statement

This open juried show, entitled “The Devil in the Straight Line,” is inspired by Austrian Friedensreich Hundertwasser, one of the best- known late 20thcentury artists. This iconoclastic, nature-loving, artist created zany masterpieces of unruly shapes and vibrant color, expressions of a powerful idealism that compelled people to think out of the box.

Hundertwasser’s approach has been described as“Gegen die gerade Linie”, against the straight line. He considered straight lines “the devil’s tools,” associating them with the ills of modern civilization: coldness and sterility of industrial design, detachment from nature, and cruelty of wars fought with machines. Straight lines he thought immoral and atheistic as painting is a religious experience. There are no straight lines in nature.

Encaustic painting lends itself beautifully to Hundertwasser’s ideals. For “The Devil in the Straight Line,” the juror will select work for this exhibition that reflects the beauty of Hundertwasser’s undulating lines and riots of color. Miami is also the perfect setting for dynamic, colorful expression.

Amy Royce Making PrintsI had a lot of fun with IEA-PDX during our retreat in Bend to learn Encaustic Collagraphs with Ron Schultz at Atelier 6000. I always learn a lot from other media, so I can take what I learned and apply it in some form to my painting practice. Whether it’s picking up a new tool, or a new way of thinking, I always feel inspired. In this case, it’s a perfect bridge between encaustic painting and printmaking because the encaustic medium is used to build and manipulate the surface of a plate to be inked and printed onto paper. Next I can take it “full circle” and embed the prints in my paintings, or of course, offer the unique prints as an affordable way to build an art collection.

 

 

 

 

 

 

Here are a few of the results:

untitled18untitled17untitled2untitled7untitled13untitled10

 

More Collagraphs 

 

Opening Reception / First Friday
August 1, 2014   5-8:30 pm

Exhibit Dates: August 1-30

A6 presents “Embedded: Prints in Encaustic”, a juried collection of encaustic work by members of IEA-PDX, the Oregon chapter of International Encaustic Artists, on display August 1-30. A6 will be open First Friday from 9:30 am to 8:30 pm.

Encaustic—also known as hot wax painting—is an ancient painting technique dating to the 1st Century A.D.  Traditionally, encaustic artists heat beeswax and add paints or pigments, and apply the heated mixture to a wood surface.  Encaustic has enjoyed a resurgence in the last two decades. For the “Embedded” exhibit, contemporary artists applied layers of wax over drawings, original prints and hand-made papers.

Artists represented in the exhibit include Bend artist Amy Royce, and Portland artists Bridget Benton, Chantel Greene, Claudia Hollister, Dianne Jean Erickson, Karen Story, Kelly Williams, Manuela Kalestiantz, Pam Nichols, Robyn Andersen, Ruth Ann Skodacek, Sue Jensen, and Virginia Parks.

The exhibit is co-curated by Manuela Kalestiantz (President, IEA-PDX), Amy Royce, Dawn Boone (Executive Director, A6), Julie Winter (Studio Manager, A6), and Ron Schultz.

The International Encaustic Artists (IEA) is a non-profit, professional artists’ organization that seeks to raise the level of excellence in fine art encaustic work by providing a global information exchange and by raising interest about encaustic in the art world and with the general public.

Top Image: “Turning”, Encaustic and Collagraph Print on Panels, 10″ x 30″ x 2″, by Amy Royce

For those of you not familiar with Ozone Fine Art, it’s a stunning gallery in Newport, OR, leaning out over the beautiful historic Newport bayfront. I’ve been represented there since day one  in 2010, and have been a featured artist every August.  I am currently packing the van to deliver work this weekend for my show beginning August 16. This year’s work will be a little different; I’ve chosen five large diptychs that lean more towards slightly abstracted figures vs figure-inspired abstracts. As always, human movement fascinates and inspires me. I hope you can come see these paintings in person!

Exhibitions-Showing Now

Just found out the show will be moving to Pronghorn for August! You still have time to see the show at Franklin Crossing through July 26.

Franklin Crossing Art July 2014

Amy Royce, Justyn Livingston and Pam Jersey Bird exhibit abstract work at Franklin Crossing, downtown Bend, July 2014

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