Marissa Voytenko

"In Still Slumber" encaustic abstract painting of half circles in shades of teal

2020

“As an encaustic painter, I have come to appreciate and enjoy the way the hot wax pushes me beyond precision. I am a very orderly person and I think in grids. Much of my work is cent...

Abstract mixed media painting with light green, red and blue. Jylian Gustlin is a native Californian and grew up in the San Francisco bay area. S...

"Sirens 1" Figurative in Light Yellow, Pinks, Bright Colors, Drips and Lines Jylian Gustlin is a native Californian and grew up in the San Francisco bay area. She has been shaped by...

Chase Langford has created a distinctive visual language that is grounded in the natural and built environment while embarking into uncharted territory. His impactful depictions reca...

Abstract oil painting in blues, white and gold. At a very young age I started studying and drawing maps. The first maps I ever saw may have been the highway maps stashed in our Ford Country Squire station wagon’s glove box. By my teens I had a map and atlas collection totaling well over a thousand and spent my free time engorged in cartography. My fascination with maps led me to study cartography at UC Santa Barbara and followed with creating maps for faculty at UCLA. Imagine the effect of spending much of a lifetime intimately tracing coasts, rivers, highways and more. Inevitably the visual rhythms of geography largely created my visual sensibility, that is, my sense of what works or does not work visually. I would dare say it has even seeped into my DNA. The interplay of a lifetime of maps and my fine art painting became most apparent in the late 1980’s when I started to create map paintings. Their purpose was not to explain the geography of a place but rather to use the essence of geographic forms to re-express them in an entirely new way. Today my paintings still echo their geographic foundation. Whether it is translating the essence of the sand patterns made by the waves on Baker Beach...

Abstract mixed media painting in red, white and light green. Jylian Gustlin is a native Californian and grew up in the San Francisco bay area. She has been shaped by the technology...

Encaustic paint on 44 assembled wood pieces

Abstract encaustic painting with a green, earth toned palette. Made with natural plant material (Northern Sea Oats) "Chasmanthium Insignias I" made by Allyson Levy in 2021 encaustic and plant material on wood panel, 24 x 24 x 1 inches Lightweight, hangs with one d-ring, Signed, verso This modern abstract encaustic painting by Allyson Levy is made with Northern Sea Oats and green encaustic, sealed with a layer of neutral wax on a wood panel. The artist begins by finding the organic material in her 4-acre garden in upstate New York which she then arranges and embeds with encaustic on a wooden panel. The brown, earth toned sea oats are laid in a linear pattern on a wood panel with a surface of green encaustic and then sealed with clear wax. The encaustic wraps around to the sides of the panel, revealing some bumps and downward drips, accumulated during the natural drying process. The piece is lightweight and hangs on one d-ring. About the artist and her work: After moving to the rural town of Stone Ridge, NY seventeen years ago and starting a 4-acre botanical garden with her husband, mixed media artist, Allyson Levy, has found endless inspiration in the plant kingdom that surrounds her. The garden itself, named “Hortus Conclusus”, consisting of thousands of rare plants and edibles, remains at the epicenter of Levy’s art making. A fascination with earth’s bounty is expressed with her works in encaustic. Assorted organic material such as leaves, seeds, branches, insect wings...

Kay Hartung’s “Bio Flow 4” is composed of microscopic images multiplying and connecting. In colors of pink, green and gray, the painting simulates a fusion of cells. Painted with enc...

Kay Hartung’s "Bio Fusion 9" is composed of forms multiplying and connecting in colors of orange, yellow, and green. Cellular forms flow and migrate across the surface. Painted with ...

Kay Hartung's "Bio Patterns 5" is a 16 x 16 inch abstract encaustic and pastel painting composed of geometric forms colliding and overlapping in blue, green, rust and grey on a light...

Kay Hartung's "Bio Fusion 12" is a 16 x 16 x 1.5 inch abstract representation of microscopic forms painted in encaustic and pastel with embedded threads. In shades of green with a hi...