Bigindicator

Kim Covell Maurer

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20170319122747-virgils_bees_1
Virgil's Bees #1, 2017 Encaustic 16"X16"
20170319122808-virgils_bees_2
Virgil's Bees #2, 2017 Encaustic 16"X16"
20170319122548-beefordali
Bee for Dali, 2017 Encaustic 12"X12"
20161218122936-img_20160827_1915481
private commission, summer 2016 Encaustic 6'x5' Triptych
20161218123521-dusky_way
Dusky Way, Winter 2016 Encaustic 4'x4' Diptych
20161218123805-dusk_blind_milky_way
Dusk Blind, summer 2016 Encaustic 2'x4'
20150625112430-img_20150530_0742321
Via Lactea, Spring 2015 Encaustic, Oil, Steel Rods 6'x4'
20161218124035-clearing
Clearing, summer 2016 Encaustic 2'x4'
20161218124322-img_20160909_2304130661_copy
Landing, summer 2016 Encaustic 2'x4'
20150625112336-descentedt
Descent, Winter 2015 Encaustic 2'x4'
20130929215034-kmaurer-01
'Orchid Moon', September 2013 Encaustic 2'x4' © covellstudios.com
20130929215552-cattlya_at_franklin_park_full
Spring Cattleyas at Franklin Park, Summer 2013 Encaustic On Panel 2'x4' © covellstudios.com
20151214003454-imgp8540vicecersaetd
Vice/Versa, Autumn 2015 Encaustic; Mixed Media 20"X30"
20151214004817-coming_to_terms
Coming To Terms, Summer 2014 Encaustic; Mixed Media 14"X30"
20151214004250-compromise
Compromise, Summer 2014 Encaustic; Mixed Media 18"X23"
20151214005133-shift
Shift, Summer 2014 Encaustic; Mixed Media 12"X15"
20151214004606-contra-side
Contra-Side, Summer 2014 Encaustic; Mixed Media 16"X30"
20130722140028-wide_berth_full
Wide Berth, Summer 2013 Encaustic On Panel 4'x2' © covellstudios.com
20130414140800-target_edited
Wayward Muse, February 2013 Encaustic On Panel 3'x2' © covellstudios.com
20120626195904-tethered
Tethered, June 2012 Encaustic On Panel 2'x3' © covellstudios.com
20130414141308-edited_hawk
Daily Vigil, Winter 2012/13 Encaustic, Oil On Wood 3'x2' © covellstudios.com
20121028142634-summer_sojourn
Summer Sojourn, Summer 2012 Encaustic On Panel 3'x2 © covellstudios.com
20120620174324-morning_conversation_sp__12
Morning Conversation, Spring 2012 Encaustic/Mixed Media 2'x3' © covellstudios.com
20121028143535-covellmaurerkim_01
Gulf View, 2012 Encaustic On Panel 8 © covellstudios.com
20120619180559-off_course
Off Course, Summer 2011 Encaustic 12"X12" © covellstudios.com
20120619181621-cliff_view
Cliff View, June 2012 Encaustic 12"X12" © covellstudios.com
20120619182008-orange_leaves
State of Suspension, June 2012 Encaustic 12"X12" © covellstudios.com
20120619183923-dogwoods_2
Dogwood , Winter 2011 Encaustic 12"X12" © covellstudios.com
20120619191311-full_dogwood
Hint of Dogwood, Winter 2011 Encaustic 24"X24" © covellstudios.com
20120619183235-rural_routes_
rural routes, 2009 Encaustic 30"X30" © covellstudios.com
20120626234301-split
Split, 2009 Encaustic/Mixed Media 6"X6" © covellstudios.com
20120626234920-targets_3-11-07_015
7,8,9, 2005 Encaustic/Mixed Media 6"X6" © covellstudios.com
20120706232335-midwest_meditation
Midwest Meditation, 2009 Encaustic On Panel 12"X12"
20120706233056-imgp1709__2_
Fly Over, 2008 Encaustic 3'x2'
20120706232717-imgp0026__2_
Waist Up, 2006 Encaustic, Acrylic, Oil Stick On Panel 2'x10"
20120706233433-kim_maurer__daily_dose_
Daily Dose, 2005 Encaustic On Panel 3'x2'
20150625115705-img_20150530_0742321
Quick Facts
Birthplace
US
Birth year
1965
Lives in
Columbus Ohio
Works in
Columbus Ohio
Representing galleries
Studios on High Gallery
Tags
Encaustic painting mixed-media
Statement

CV

Statement

My work is created with encaustic, the ancient Greek method of using wax medium.  I melt locally produced 100 percent beeswax with a refined beeswax processed in the state of New York and mix dry powdered pigments for color. The process requires steady temperatures to minimize toxic fumes yet enough heat to bond the wax and pigment. I apply this encaustic paint on varieties of porous surfaces with brushes, knives, and pouring methods. Each layer requires a heated bond to the previous layer, using torches, heat guns, and other less potent tools. This bonding of layers is referred to as burning in—the literal translation of the term ‘encaustikos’. 

My color and image decisions become a negotiation with the process – the torch and heat sources often have a different goal than I do, making for unpredictable outcomes. 

This tension between my preconceived ideas and the random aspects of heated and liquid wax has become a significant part of my art making.

My use of wax layers has developed a fundamental feature to the visual, symbolic, and procedural aspects of this work and its interest in dichotomies; it has an inherent quality to simultaneously reveal and conceal what lies underneath and adds further complexity to what will or will not complement it. 

My current process seeks to merge materials, methods, and visual qualities that do not quite fit, to invite a bit of play and struggle, and to discover and embrace new and surprising combinations.