My water lilies celebrate a chapter of artistic transformation. After more then 30 years of painting almost exclusively in watercolour, the brush has become an extension of my hand and I can picture the end result before beginning. Diving into encaustics challenged me to stay present and ask new questions. This journey began one morning while paddling my canoe, the Little Tripper. Noticing the sunlight’s dance of light and shadow on lily pads, I was struck by their waxy appearance, which inspired the change of medium. Paddling the Tripper is my first ever encaustic. I later happened upon the lily ponds of the Van Dusen Botanical Gardens in Vancouver, conceiving
Homage to Monet, Resplendent and Water Lily Ballet in the close up point of view that I love. The game changer was a visit to MOMA – while standing awe-struck before Monet’s mural sized triptych, Water Lilies, I felt compelled to work bigger. In Liz’ Lilies, Late September and A Million Answers, I played with texture and depth on a larger scale. Stepping back reveals a landscape of great depth, rich with details inviting close up examination. Close up one realizes that much of the paint is fragmented jewels of colour, which one’s eyes transform into unified identifiable objects.