Julia Fosson Encaustic Art & Paintings
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Julia Fosson Blog

Encaustic Art is my life.

Journeys

6/4/2018

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"Clarity and Confusion" encaustic with metal, 24 x 24.

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Well it has been a while since my last post but I have been busy.  I will be the Featured Artist at Woolworth Walk the month of July.  

Opening Reception July 6, 5-7pm
Gallery hours: Monday - Thursday  11am - 6pm
Friday                     11am - 7pm
Saturday                 10am - 7pm
Sunday                   11am - 5pm

For the last several years I have taken a sabbatical to begin the process of a new series.  It helps me to clear my mind and ready myself for new work.  This past year I was traveling in Spain and came upon a huge painting that inspired me for this series, Journeys.  

I believe life is a journey, some know just where they are going and find paths that keep them on course for their goals, aspirations, dreams and desires, and there are those that paths find them!
In this series the ladders signify our journey and the climb that may or may not happen. I collaborated with Mark Schieferstein of Skrap Monkey to fabricate my ladders.  I think you will find them beautiful, challenging, scary, and complex as they help to complete the soul of the paintings.

 I found this beautiful writing by Suzy Kassem and sums my feelings about these works so wonderfully:
 
Each day is born with a sunrise
and ends in a sunset, the same way we
open our eyes to see the light, 
and close them to hear the dark.
You have no control over
how your story begins or ends.
But by now, you should know that
all things have an ending.
Every spark returns to darkness.
Every sound returns to silence.
And every flower returns to sleep
with the earth.
The journey of the sun
and moon is predictable.
But yours, 
is your ultimate
ART.” 
― Suzy Kassem

​

SKRAP MONKEY
All pieces are handcrafted in Asheville, NC & created from salvaged materials.
Every item is individually made & truly one-of-a-kind.
Mark Schieferstein was born in Fort Wayne, Indiana in 1973 and studied at the University at Saint Francis. After twenty five years in Indiana, he relocated to Asheville, North Carolina. Since then he has worked as a painter, a picture framer, a canvas builder /stretcher and his passion du jour, a metal sculptor.
Mark is devoted minimalist and his modernist tastes are reflected in everything that he makes, paints and builds. Ineluctably drawn to indestructible steel objects, he combs scrap yards for both inspiration and raw material in piles of industrial cast-offs.
www.skrapmonkey.com

http://woolworthwalk.com
​

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It's finally here, Encaustic Art Magazine!

6/12/2017

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Encaustic Arts MagazineEncaustic Arts Magazine, the recipient of the 2016 La Vendéenne Award presented by International Encaustic Artists (IEA) for outstanding contributions to the advancement and practice of encaustic art in the Media category is published semi-annually, on December 1st and June 1st. The first and only international magazine about encaustic, it features the most important news about the medium, with information on techniques, tools, materials and exhibitions.  It is available as a digital/online magazine and is a full-color, full-length magazine. Explore how the wax medium is being used both traditionally and innovatively by artists around the world. View beautiful full-color photos of work by prominent as well as emerging artists.
The Spring 2017 Issue of Encaustic Arts Magazine is available now!
The SPRING 2017 issue features the work of artists:
BECKY BLACK, JULIA FOSSON, BEN HECHT, AHAVANI MULLEN,
JENNIFER PRETZEUS, JAMES EDWARD SCHERBARTH, ALICIA TORMEY
The Technique Article for this issue is by SHARI REPLOGLE.


Cover art: BEN HECHT, Aquas Aliis Vitrius, (detail),
encaustic, on birch panel, 40 x 30 inches, 2016
Click HERE to read preview and subscribe, or to log in to your account.The link above is to a preview of this issue. To subscribe and read the full version, or to log in and read the full version, or to re-read the issue: click the link, then follow the instructions below.
New Subscriber? Click HERE , then click either the blue FULL VERSION button on the bottom center of the cover to subscribe, or click the Subscribe  tab from the left sidebar. See note below about single issue vs. yearly subscription. Need more info? Click  HERE.
Already subscribed, and want to read or re-read the magazine?  Click HERE. This link will give you access to log into your account and read the issue. To do that, click the link above, then click the blue FULL VERSION button on the bottom center of the cover. Under the subscribe options, you’ll see: “Already purchased this magazine? ACCESS”. Click the Access link to log into your account. Need more info? Click HERE  for more detailed instructions. 
The price for a single issue is $2.99/issue or $5.99/yearly subscription.  Please note: The yearly subscription cycle begins with the Winter issue and includes the Spring issue for that year. If you are a new subscriber and the current issue is a Spring issue, please choose the single issue purchase option rather than a yearly subscription, as the Spring issue is the last issue of the year so you would only receive the Spring issue in your subscription.
For more information about Encaustic Arts Magazine, click HERE.
If you’re interested in purchasing a bound hard copy of this issue or back issues from Spring 2013-Winter 2016: From the magazine viewer, click the green “ORDER PRINT” button or the “Info” button (the icon just above the “ORDER PRINT” button in the far left margin of the magazine viewer).  Detailed information on ordering hard copies is also available HERE.  *PLEASE NOTE, there was an error on the pricing of hard copies for this issue on the linked document. Corrected price list has been re-posted. The price listings from our publisher will always be the current and correct pricing, please verify the amount before ordering by clicking the “order print” button.
Questions? For information about navigating the magazine and for instructions to how subscribe or to re-access the magazine, go to our magazine general HERE  page.
To see other earlier editions of the magazine, including the last issue, Winter 2016, click on the Previous Issues tab on the dropdown menu for Encaustic Arts Magazine. Back issues from the Premiere issue to Spring 2016 are free to read.
Advertisers: You may now pay your invoice online! Click :
Pay your Invoice here
or select Advertisers page from drop down menu under EA Magazine tab on this website. Thanks for your ad! 
RATES, SPECIFICATIONS, DEADLINES AND GENERAL INFORMATION ON HOW TO PLACE AN AD IN AN UPCOMING ISSUE OF THE MAGAZINE IS AVAILABLE BY CLICKING HERE.


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Encaustic Art Magazine

4/3/2017

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Cover of the Spring 2017 edition. www.eainm.com
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Excited.......

3/29/2017

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I am very excited that I will be one of the featured artist in the Spring 2017 issue of Encaustic Arts Magazine.  Will post the link once it is ready.  

The NEW 
SPRING 2017 ISSUE of
ENCAUSTIC ARTS MAGAZINE
-  available JUNE 1, 2017 -
  
Cover Art: Ben Hecht, Aquas Aliis Vitrius, (detail),  encaustic, 
on birch panel,  40 x 30 x 6 inches, 2016.   Courtesy of the Artist.
We're happy to announce the new Spring 2017 Issue, will be available on June 1, 2017, see details below.


Encaustic Arts Magazine is a full-color, full-length digital magazine published by the Encaustic Art Institute (EAI). Each issue showcases emerging as well as established artists. The mission of the magazine is to highlight artists working in encaustic/wax and to reach out to artists, collectors and those interested in the medium. With a focus on inclusiveness, the magazine's aim is to represent the breadth of approaches possible with encaustic/wax media.

The first and only international magazine about encaustic targets the most important news about the medium, interviews with artists, information on techniques, tools, materials & exhibitions. Encaustic Arts Magazine, was the recipient of the 2016 La Vendéenne Award presented by International Encaustic Artist (IEA), for outstanding contribution to the advancement and practice of encaustic art. 

Artists this issue:  BECKY BLACK, JULIA FOSSON, BEN HECHT, AHAVANI MULLEN, JENNIFER PRETZEUS, JAMES EDWARD SCHERBARTH, ALICIA TORMEY, with SHARI REPLOGLE writing this issue's TECHNIQUE article.


We initiated paid subscriptions with the Winter 2016 issue, if you subscribed with a yearly subscription for the Winter 2016 issue, your subscription will be active for this issue. Just click on the subscribe link that will be posted on the EAI website magazine page on June 1st, and log into your account. For detailed instructions about this, and also how to re-access the magazine, click HERE. If you're a new subscriber, or you'd just like to buy a single issue rather than a yearly subscription, the link to subscribe to the new issue will be posted on the magazine page of the EAI website on June 1st. If you need additional instructions on how to subscribe, click the link above. The single issue price is $2.99. The link to subscribe and read this issue will be available on our website,  www.EAINM.com on June 1, 2017. 

All 11 back issues of the magazine (from the Premier issue to the Spring 2016 Issue) are still free to read. 

A new service we are offering our readers is the option to purchase full color perfect bound hard copies of the Spring 2013-Spring 2016 issues of the magazine. Click herefor pricing and information. The Spring 2017 issue will also be available to purchase as a hard copy once it has been published. Click on the green "Order Print" button on the magazine viewer to order. 

Thanks for your continued readership!

Douglas Mehrens
Founder/CEO Encaustic Art Institute
 
  
The Encaustic Art Institute * MoEA
632 Agua Fria St., Santa Fe, NM 87501 
505-989-3283
Gallery Hours: Tuesday through Sunday, 10 am - 5 pm 
A non-profit 501c3 organization  

 EAI WEBSITE   BLOG  FACEBOOK   ENCAUSTIC ARTS MAGAZINE  MAP    MoEA WEBSITE
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Hello 2017.........

1/7/2017

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Well it is a new year, new challenges, and new work. As I sit on a beach and feel the warmth of the sun watching the beautiful blast of orange disappear into the water I smell the salt air and feel refreshed, encouraged and blessed.

I am looking forward to the new year, new challenges, new work and meeting new clients and connecting with previous clients who choose to have my work in their homes.  At present I am on my 3 month painting sabbatical and pressing the refresh button. I will begin a new series on paper in 2017 as well as continue my present work and taking this time to paint mentally and design a hanging system for the new work.

I wish all the best for 2017 and look forward to my creative journey.   When looking into each layer in the close up image of a piece below, I think of all the ways in our world we intersect and relate, I want to look deep not just on the surface see everything.  I don't want to miss anything and I want to learn, enjoy and taken in as much as possible and hope that kindness defines  2017.  


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End of a chapter................

9/12/2016

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.............................but the story will continue just in a different location.  I am writing to let everyone know that I am giving up my River Arts District Studio in the Hatchery.  I am going to continue my work at home.  I have a lovely studio and feel that it is time to come back home.  I want to move into some new work and experiment.  I can do this much better at home and feel that I need the solitude to complete this next journey.
 
It has been an amazing 5 years, I still remember when I moved into the Hatchery I told my friends that I just wanted to make my rent.  Well 5 years later I am busier then I could have ever imagined.  It is so wonderful to have met such great people and made it to so many folk walls.  I feel so privileged and honored that they would want “me” to adorn their walls.  I am truly blessed and this could have never happened without the support, vision and flexibility of my family and my friends.  I want to thank John Bryant for being an amazing landlord.  I met so many folks and shared in many conversations over these past year’s…………..priceless. 
 
I will still be showing some work in Matt Tommey Sculptural Art Baskets studio in Riverview Station #160.  As well I will continue with Woolworth Walk in downtown Asheville at 25 Haywood Street, Asheville, NC 28801.
 
Please continue to visit my website, it will have all the pieces for sale and information.  I can always be contacted for questions, commission and or just to chat.
 
Thank you for a great 5 years.  Stay tuned for the new work.  Below is a photo of my home studio, so the journey continues.
Thank you, Julia

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“Wild” Art and Aesthetics 

8/21/2016

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That moment............

8/3/2016

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I feel that in every artist's life there is that moment, the moment when you feel you have created pieces that just stand out.  Today after completing these pieces for a show (still to be framed) these stand out.  I dove deep for these, feeling so excited to work on pieces that were not commissioned or florals, these just manifested from my very core.  There is a lot of meaning to these, I am sure I will share some of it but not all, which makes me happy to keep a bit of me inside the wax.
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Julia Fosson Discusses her Abstract Floral Paintings

6/28/2016

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Video Transcription

Jeremy Ashburn: Hey guys, I'm Jeremy Ashburn and I've got Julia Fosson here.

Julia Fosson: Hey Jeremy.

Jeremy Ashburn: Today, we're actually just asking her some of the questions that her clients usually ask her. What would you say the main question that people ask about your florals?

The Technique for Creating Her Florals

Julia Fosson: Well, this is a different technique, so when you come in to my studio, you'll see lots of different styles that I do. I work with beeswax and demar and pigment. What I use for this, is I start with ten layers of wax and then I paint with ink. Then, I burn some of the ink off and I paint more ink on, then I burn some off. Then, I finish it with the last coat of beeswax with demar to protect it. This is a technique that I started doing because I had a large commission to do. I had a four foot by three foot commission that somebody had asked me to do and I wanted to tighten up my florals. I wanted to make sure I had something a little more wispy. I wanted stemware. I didn't want them to be in vases and they were always in vases. I thought, "That's kind of weird." I didn't like it because it was like a blob of vase.

I wanted to have some kind of stemware to it. Then, I started just experimenting with all different types of inks and paints and I ended up with this style. Since then, it's been very popular. This particular one is the one that didn't make it. My commission process is that I do two. If you want one, I do two because as much as you don't think you know what you want, you know you don't want it when you see it. I always do two. If you're spending that much money on something, you should have a choice. I feel like it's important that you have a choice because it's going to be yours and hanging on your wall, so I want you to be really happy with it. I'll do two very similar ones and then you can have the choice. This is the one that didn't go with the family.
An Example of Julia Fosson's Encaustic Florals
An Example of Julia Fosson's Encaustic Florals

The Beauty of Wax & Encaustic Ink

The beautiful thing about this is that the ink is reactive. I can put different colors in different places and it'll react. It'll create a different look. The buds are just so delicious because they're so tiny, but they've got a lot to them. This inside interior area where you can create little teeny new blossoms or new buds, are kind of hidden. Someone referred to this as 'Bill the Cat' from the cartoon, is that Gary Trudeau? It's one of the Trudeaus, anyway. 'Bill the Cat' is like, aah because it's all wispy and crazy. These have been extremely popular and now that I pretty much just do them by commission. I have prints available for most of them.

Jeremy Ashburn: It kind of looks like a cross between watercolor and pen and ink.

Julia Fosson: Yes. A lot of people actually think they are watercolor, especially the printed ones. They look like watercolor because they're done on watercolor paper. I think it's because it's so liquid looking that it does look like a watercolor because the color is so vibrant. Then, it's protected by that last coat of wax, which is really nice.

Jeremy Ashburn: Does the last coat of wax make it pop a little bit? Obviously in video, you can't tell the same way when you're in person, but it really just pops right off the canvas.

Julia Fosson: I think it creates a little subtlety to it, but it also creates more of a three dimensional component to it.

Jeremy Ashburn: Definitely. They're fabulous.

Julia Fosson: Thank you.

Jeremy Ashburn: Thanks a lot. Now, if you want to see more, just go to JuliaFosson.com. You can reach her through social media or call her, email her. Just don't wake her up in the middle of the night.

Julia Fosson: No. Thank you Jeremy.

Jeremy Ashburn: Thanks a lot.
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Creating a "Story That Will Never End"

6/28/2016

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Video Transcription

Julia Fosson's Encaustic Wax PaintingsJulia Fosson's Encaustic Wax Paintings
Hi, I'm Julia Fosson from Julia Fosson Encaustic Art in the River Arts District in the Hatchery Studios in Asheville, North Carolina. I'm going to talk to you today about this particular painting, it's called: Creating a Story That Will Never End. I think in our lives we're always creating stories, and we hope that some of them never end because it could be good for us. This particular piece is interesting because of this particular technique at the top. It was a mistake, which is great because I love happy mistakes. I just ran with it, and since then I've done quite a few paintings with this particular style at the top. It all has to do with this particular purple I use, and this purple pushes all the colors away. I can over it, and over it, and over it, but the purple will always come back. It creates these little, tiny explosions within the painting which is really, for me, very beautiful.

My Process for Creating Chairs on My Wax Paintings

Julia Fosson's Encaustic ArtJulia Fosson's Encaustic Art
In this little piece down here: I do chairs, chairs are very important to me, they're like people. This particular chair is transferred with graphite and charcoal, and then I've taken the newspaper and I've rubbed it into the wax so it creates a transfer. In here you'll see all types of words within the chair, it's almost like a reading chair. Then I have a little dog from a cartoon that was rubbed into that. Little side bar story: I had a painting over on the and I had a gentleman come up to me and he said, "I want to buy the one that has the little cat in the window." I'm like, "I don't have a cat in the painting," he's like, "Oh yeah, you do." I'm like, "Um, no, I really don't," and he's like "Yeah, you do." I go over there and sure enough I had done a comic and I didn't realize the little kitten was in that painting, and he's like, "Yeah, you do." He bought the painting, which was very nice.

The Importance of White Space

This particular piece has very similar to a lot of my chair paintings, because I like white space. I like you to fill what white space is, I don't want to fill a whole piece often with a color because sometimes we need that quiet. I think for this particular one, because you're trying to create that story that will never end, you want that solid, quiet, contemplative kind of feeling. If you want to see more, please go to my website: juliafosson.com. I'm also on social media. Take a look and call me.

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  • Home
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  • Artwork
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    • Abstract Paintings
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    • Mini Floral Prints
    • Floral Prints
    • Commissions Samples
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