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Enkaustikos Instructor Patricia Baldwin Seggebruch

Meet the Artist
Innovative developer of Encaustikits and Encausticamp Patricia Baldwin Seggebruch began painting more than eighteen years ago-always abstractly and evolving into encaustics from acrylic over eight years ago.  Her love for the medium translates into her teaching, and students’ worldwide benefit from a passionate, engaging workshop experience filled with all the knowledge Patricia has acquired and developed in her forage into this rich and diverse medium. Patricia’s books, Encaustic Workshop and Encaustic Mixed Media, are available on bookshelves everywhere.

My goal, what inspires me, is not simply encaustic. What my reason is for getting into the studio, stepping onto another plane, experimenting with a new, intriguing material, is to enliven and inspire artists and craftpersons, enthusiasts and admirers, worldwide; at this time-to the beauty, diversity and ease of painting in this wonderfully organic and deliciously versatile medium.

                                        Click here for information on EncaustiCamp 2014

Scroll down for Patricia's interview!

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Artist Interview

Q: Why do you feel using encaustic is important in your work?
A. Using encaustic is the foundation of all I do in art and creativity. From, and because of encaustic, I explore, experiment and try other techniques, materials and processes that I would otherwise never venture into. It is because I believe in the dynamic, all-inclusive nature of encaustic that I delve into everything and anything creative and look for how it feeds back into this vibrant medium.

I think that if encaustic weren’t as receptive to my experimentation, we would have parted ways some time ago as I am always moving onto something new, some other way; the ‘what if’ that appears as I work where I am. Encaustic comes along for the ride I am on through it all.

Q: Tell us about your creative process; how you might begin.
A. My vision always develops as I begin. I work in what some call ‘intuitive creativity’. For me this simply means I let the painting, the process, evolve based on the materials I choose, the colors speaking to me, the environment I am working in. Oftentimes during teaching workshops I try to finish a board that began as a demonstration piece. Because of this ‘thought-less’ start that is simply a demonstration-full piece, these creations are much different than the process driven, thought provoking work I come to in my quiet studio time. I enjoy both thoroughly; in process and end result.

Q: Do you have a favorite encaustic technique that you find yourself doing often in your pieces?
A. I tend to always bring PanPastel to my work lately. I love the luminous, rich translucent layers it creates and the way it flows over the encaustic layers.

Q: You are constantly traveling and teaching can you talk about what that is like for you?
A. I adore teaching. In fact, I love it so much I can not call it teaching-this word connoting a ‘chore’ I classify it as inspiring. I can’t get enough of watching the student’s eyes light up, their understanding of the dynamic nature of encaustic grab hold of them, and the potential of this incredible medium to translate into their own work, studio supplies and creative directions. It’s inspiring to inspire!

Q: What are your goals for the future? Do you have any parting words of advice or inspiration?
A. Without vision to see all too far into this future, I will spend the majority of my time inspiring, and an equal dose experimenting. I am off to Australia to inspire that great nation as much as they’ll let me, and in doing so, I know that I will take on many new and invigorating techniques that will play back into the experimental nature of my own work.
I hope to return to the states thereafter, be able to open a large studio of my own in the Pacific Northwest, and bring encaustic aficionados from around the globe in to join me in these new experimental techniques; to continue to inspire.
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