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Twenty 10x10x1.5 inch panels. Encaustic (bees wax & damar resin), water media, ink, paper, vintage finds (1950 LIFE magazine), gesso and oil on thick cradled wood panel. Lots of texture and inclusions in this series. The surfaces are very thick and textured. The edges are painted light gray with lots of waxy drips. These hang easily with two push pins each, they do not have hanging wire as they hang more flush against the wall without it. Numbered 1-20 on the back, panel number 20 is signed and dated. As they are hanging they are roughly 60”x48” but you can expand this to suit your space. In this encaustic series I am exploring opposites and juxtapositions: Light against dark, precise lines alongside torn edges, smooth and rough, chaos and control whether the wax is fused with a light kiss from a torch or a heavy iron dragged through the wax. I often begin a piece with script in charcoal, this is mostly covered with encaustic paint and torn strips of paper that I have stained. I work in many layers, often tucking things into the wax or masking something out, sometimes repeating the entire process. It’s completely process driven, a dialogue of responses and reactions. The resulting surfaces are thick & translucent, marred & textured, riddled with secrets.
Twenty 10x10x1.5 inch panels. Encaustic (bees wax & damar resin), water media, ink, paper, vintage finds (1950 LIFE magazine), gesso and oil on thick cradled wood panel. Lots of texture and inclusions in this series. The surfaces are very thick and textured. The edges are painted light gray with lots of waxy drips. These hang easily with two push pins each, they do not have hanging wire as they hang more flush against the wall without it. Numbered 1-20 on the back, panel number 20 is signed and dated. As they are hanging they are roughly 60”x48” but you can expand this to suit your space. In this encaustic series I am exploring opposites and juxtapositions: Light against dark, precise lines alongside torn edges, smooth and rough, chaos and control whether the wax is fused with a light kiss from a torch or a heavy iron dragged through the wax. I often begin a piece with script in charcoal, this is mostly covered with encaustic paint and torn strips of paper that I have stained. I work in many layers, often tucking things into the wax or masking something out, sometimes repeating the entire process. It’s completely process driven, a dialogue of responses and reactions. The resulting surfaces are thick & translucent, marred & textured, riddled with secrets.
Twenty 10x10x1.5 inch panels. Encaustic (bees wax & damar resin), water media, ink, paper, vintage finds (1950 LIFE magazine), gesso and oil on thick cradled wood panel. Lots of texture and inclusions in this series. The surfaces are very thick and textured. The edges are painted light gray with lots of waxy drips. These hang easily with two push pins each, they do not have hanging wire as they hang more flush against the wall without it. Numbered 1-20 on the back, panel number 20 is signed and dated. As they are hanging they are roughly 60”x48” but you can expand this to suit your space. In this encaustic series I am exploring opposites and juxtapositions: Light against dark, precise lines alongside torn edges, smooth and rough, chaos and control whether the wax is fused with a light kiss from a torch or a heavy iron dragged through the wax. I often begin a piece with script in charcoal, this is mostly covered with encaustic paint and torn strips of paper that I have stained. I work in many layers, often tucking things into the wax or masking something out, sometimes repeating the entire process. It’s completely process driven, a dialogue of responses and reactions. The resulting surfaces are thick & translucent, marred & textured, riddled with secrets.
Twenty 10x10x1.5 inch panels. Encaustic (bees wax & damar resin), water media, ink, paper, vintage finds (1950 LIFE magazine), gesso and oil on thick cradled wood panel. Lots of texture and inclusions in this series. The surfaces are very thick and textured. The edges are painted light gray with lots of waxy drips. These hang easily with two push pins each, they do not have hanging wire as they hang more flush against the wall without it. Numbered 1-20 on the back, panel number 20 is signed and dated. As they are hanging they are roughly 60”x48” but you can expand this to suit your space. In this encaustic series I am exploring opposites and juxtapositions: Light against dark, precise lines alongside torn edges, smooth and rough, chaos and control whether the wax is fused with a light kiss from a torch or a heavy iron dragged through the wax. I often begin a piece with script in charcoal, this is mostly covered with encaustic paint and torn strips of paper that I have stained. I work in many layers, often tucking things into the wax or masking something out, sometimes repeating the entire process. It’s completely process driven, a dialogue of responses and reactions. The resulting surfaces are thick & translucent, marred & textured, riddled with secrets.
Twenty 10x10x1.5 inch panels. Encaustic (bees wax & damar resin), water media, ink, paper, vintage finds (1950 LIFE magazine), gesso and oil on thick cradled wood panel. Lots of texture and inclusions in this series. The surfaces are very thick and textured. The edges are painted light gray with lots of waxy drips. These hang easily with two push pins each, they do not have hanging wire as they hang more flush against the wall without it. Numbered 1-20 on the back, panel number 20 is signed and dated. As they are hanging they are roughly 60”x48” but you can expand this to suit your space. In this encaustic series I am exploring opposites and juxtapositions: Light against dark, precise lines alongside torn edges, smooth and rough, chaos and control whether the wax is fused with a light kiss from a torch or a heavy iron dragged through the wax. I often begin a piece with script in charcoal, this is mostly covered with encaustic paint and torn strips of paper that I have stained. I work in many layers, often tucking things into the wax or masking something out, sometimes repeating the entire process. It’s completely process driven, a dialogue of responses and reactions. The resulting surfaces are thick & translucent, marred & textured, riddled with secrets.
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VIEW IN MY ROOM

Every Other Tuesday Installation

GINA COCHRAN

United States

Installation, Encaustic on Wood

Size: 48 W x 60 H x 1.5 D in

Ships in a Crate

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SOLD
Originally listed for $3,870
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Artist Recognition

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About The Artwork

Twenty 10x10x1.5 inch panels. Encaustic (bees wax & damar resin), water media, ink, paper, vintage finds (1950 LIFE magazine), gesso and oil on thick cradled wood panel. Lots of texture and inclusions in this series. The surfaces are very thick and textured. The edges are painted light gray with lots of waxy drips. These hang easily with two push pins each, they do not have hanging wire as they hang more flush against the wall without it. Numbered 1-20 on the back, panel number 20 is signed and dated. As they are hanging they are roughly 60”x48” but you can expand this to suit your space. In this encaustic series I am exploring opposites and juxtapositions: Light against dark, precise lines alongside torn edges, smooth and rough, chaos and control whether the wax is fused with a light kiss from a torch or a heavy iron dragged through the wax. I often begin a piece with script in charcoal, this is mostly covered with encaustic paint and torn strips of paper that I have stained. I work in many layers, often tucking things into the wax or masking something out, sometimes repeating the entire process. It’s completely process driven, a dialogue of responses and reactions. The resulting surfaces are thick & translucent, marred & textured, riddled with secrets.

Details & Dimensions

Multi-paneled Installation:Encaustic on Wood

Original:One-of-a-kind Artwork

Size:48 W x 60 H x 1.5 D in

Number of Panels:2

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Human behavior fascinates me. I have a background in Mental Health Counseling and more recently, Applied Behavior Analysis. What compels us to do the things we do? More importantly, why do we do some things only once and others repeatedly? It’s about taking in whatever is presented to us, processing it in the most functional way for us at that moment, and then responding to the original stimulus. I feel that I approach each step of my work the same way. My work is a visual representation of an emotional response to all of the things I experience on any ordinary day. It comes from a place of resolution, gratitude and ultimately happiness. There’s no deep social or political commentary to my work, nor am I trying to emulate one of the greats or to match your sofa, it’s simply a series of reactions. I work with acrylic, mixed media as well as encaustic.

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