In studying the works of favorites such as John Blockley, Thomas Daly, Burt Silverman and David Levine I noticed they all worked on smooth surfaces. I began experimenting with different papers, then with coating my papers with gesso to give a nonporous surface. This led to trials with panels, canvas papers, artificial papers, water and oil based mediums and impasto additives. At the same time, paradoxically, I worked, and continue to work, to maintain the transparency, fluidity and spontaneity that watercolors and encaustics can impart. I feel I have only just begun to explore the possibilities of these variables, in content as well as in process.
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