Regina Quinn
About Regina
Regina B Quinn, an award-winning encaustic artist who resides in the Northern Catskill Mountains of New York, has been part of the Painting with Fire faculty since its inception. While her career encompasses painting, photography, ceramics, printmaking, and theatrical set design, Regina now focuses on creating works in encaustics combined with oils, India inks and watercolors. She teaches encaustic painting at the Woodstock School of Art in New York and at Essence of Mulranny Studios in Ireland. Her work is included in numerous private collections and the permanent collections of the Williamsburg Art and Historical Center in Brooklyn and the Museum of Encaustic Art in Santa Fe.
Regina serves as President of International Encaustic Artists and is represented by the Carrie Haddad Gallery in Hudson, New York.
About her work she writes: “Rooted in my deep connection to the natural world, my encaustic paintings are an expression of my love and sense of stewardship for the fragile balance that allows life to thrive on this planet. My works are primarily abstracted landscapes suspended at the edges of day between darkness and light.
Even as the darkness enshrouds, physically and metaphorically, it is pierced by glimmers of light—often unexpected light. That piercing of the darkness is what drives me to create my paintings.”
You can view Regina’s work at:
Class Details
Skygazing: creating a sense of atmosphere with encaustics and oils
A sense of awe…a sense of wonder, foreboding, or hope…these are but a few of the visceral responses we may experience as we gaze up at the heavens.
Conveying that range of emotions and capturing the elusive qualities of atmosphere and light are challenges faced by artists working in any medium. Yet, artists working in wax have the opportunity to create atmospheric luminosity in unique and compelling ways.
During this session we’ll dip our toes in a bit of atmospheric science to better understand some of the stunning phenomena we observe while skygazing and then explore a multitude of ways we can use that knowledge as we work with encaustics and oils to convey “a sense of atmosphere.”
Finishing Touches: framing and presenting encaustic works on paper and panel
In this demonstration lesson I will share some of the archival and aesthetically pleasing practices I use to securely mount, mat and frame my encaustic works on paper, particularly techniques for displaying encaustic-infused paper with lovely deckled edges. I will also touch on how I finish edges and frame my encaustics on panel preserving and protecting those lovely, undulating wax edges.
