The journey through a work is as important to Rebecca as the finished piece.   Here she has documented the main features and junctions in this particular case, each journey being different to the last.  In this piece, wax encaustic used as a paste, is the main medium.



This work started from a memory of a childhood winter.  I often start a winter work from black as I like to scratch back to it and reveal the massive contrast, increasing the sense of structure.  


Here, on top of a black gesso, I have used a blue/black wax encaustic layer and re established the drawing with white pastel.

I begin to establish the lightest areas with oil paint.  It's still a bit of a guessing game, but I am starting to find my way.  The light will come from the right and shine through the trees.


This is a very exciting time in the process, when my eyes begin to see how the painting will progress and can start to plot a route.

It's going to be a hoar frost, so early layers in wax encaustic applied roughly with a palette knife, begin with snowy blues, building texture as I go.  At the end of the tunnel of trees, the light hits the hedges strongly and warm colour draws the eye through the paining.

As the layers build, I can begin to scratch back into the wax, creating the stark, bare branches.  I've now started on the sheep, their black heads mirroring the contrasting dark and light trees.



Some of the scores can then be filled with contrasting white and pink wax, and the thick hoar frost begins to take shape.

The finished work.  I've kept it rugged and chewy.   Strong directional light and intense winter structure are the main theme, with signs of life in the form of a flock of sheep on their way down the track.


The encaustic will continue to harden, giving this painting a long and happy life.

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