PMW GALLERY
Celestial Night I Celestial Night II Celestial Night III
Encaustic and sand on wood Encaustic and sand on wood Encaustic and sand on wood
16 x 20" 16 x 20" 16 x 20"
Detention I Detention II
Encaustic and sand on wood Encaustic and sand on wood
21 1/2 x 16" (framed) 21 1/2 x 16" (framed)
Echo I Echo II
Encaustic, oil, metal leaf and glaze on Encaustic, oil, metal leaf and glaze on
canvas on wood panel canvas on wood panel
17 3/4 x 79" 17 3/4 x 79"
Mont Noir
Encaustic and sand on wood
14 x 48"
Non Oui
Encaustic on wood Encaustic on wood
19 1/2 x 24" 19 1/2 x 24"
Parlor Games I Parlor Games II Parlor Games III
Encaustic and sand on wood Encaustic and sand on wood Encaustic and sand on wood
15 x 15" 15 x 15" 15 x 15"
Strata I Strata II
Encaustic and sand on wood Encaustic and sand on wood
14 x 48" 14 x 48"
Tropical Route Polar Route
Encaustic, sand and metal leaf on wood Encaustic, sand and metal leaf on wood
23 1/4 x 24" 27 3/4 x 19 1/2"
Circle Triangle Square
Encaustic and sand on wood Encaustic and sand on wood Encaustic and sand on wood
16 x 16" 16 x 16" 16 x 16"
Patrick Kennedy
Exhibitions
Current Encaustic Directions, PMW Gallery, Stamford, CT
2001 Center for Contemporary Printmaking Members show, Norwalk, CT
1999 P.S. 122 Group Exhibition, New York, NY
1998 Hunter Museum of American Art Chattanooga, TN
Juried show, Juror-Donald Kuspit (Award Winner)
1998 P.S. 122 Group Exhibition, New York, NY
1991 - 1996 Downstairs Gallery, W. Vancouver, BC
Teaching
1998 - Present Design, Fairfield University, Fairfield, CT
1997 - 2002 Design, Norwalk Community College, Norwalk, CT
1992 - 1994 Paper making and print making, Kennedy Design Studios, Vancouver, B.C.
Education
2005 Encaustic Painting - Laura Moriarty Center for Contemporary Printmaking,
Norwalk, CT
2001 Painting - Ronnie Langfield Art Students League New York, NY
1998 Printmaking - Carmela Venti Center for Contemporary Printmaking, Norwalk, CT
1996 Collage - Kathy Caraccio Center for Contemporary Printmaking, Norwalk, CT
1993 & 1994 Drawing - Michael Britton Basic Inquiry Studio Vancouver, B.C.
1973 - 1974 Design Diploma (Honors) Inchbald School of Design, London, England
1966 - 1968 Vancouver Art School - Fine Arts, Vancouver, B.C.
Patrick Kennedy
Alchemy and visual stimulation have always been a focus of my work. Transformation is a fascination... mixing materials, elements and concepts resulting in something different... sometimes something new... sometimes a variation on proven techniques creating new and varied solutions.
With a background in design the result in my work is frequently graphic and sometimes dramatic - hopefully something that speaks for itself to each viewer.
My work has been varied... enjoying the alchemy of experimentation for expression. Paper making, various forms of print making and painting in a variety of mediums, now including the use of wax in encaustic painting, have all allowed for varied forms of transformation through manipulation of materials and mediums to fuel my curiosity in creating visual interest.
Encaustic painting is an age-old technique practiced by Greek artists back as far as the 5th century B.C. Perhaps the best known of all encaustic work are the Fayum funeral portraits painted in the 1st and 2nd centuries A.D. by Greek painters in Egypt. A significant Greek population had settled in Egypt following its conquest by Alexander, eventually adopting the customs of the Egyptians. This included mummifying their dead. A portrait of the deceased, painted either in the prime of life or after death, was placed over the person's mummy as a memorial. Many of these pieces have survived to our own time, and their color has remained as fresh as any recently completed work. Beautiful examples of this work can be seen in the Egyptian section of the Metropolitan Museum in New York.
The encaustic paint is a beeswax based medium that is kept molten throughout the painting process. This is achieved through the use of a heated palette and such contemporary implements as electric hot air guns, irons, etc. This availability of modern heating equipment makes the painting process a much less formidable technique. The medium can be brushed, sculpted and textured and the finished work can be polished to a high gloss.
The durability of encaustic is due to the fact the beeswax has a relatively high melting point and the fact that it is impervious to moisture.
Contemporary encaustic work is frequently seen on it’s own or used in conjunction with other materials and mediums. The work can be done on paper where the pigmented wax is used more as a stain rather than built up. The build up of this wax medium requires a non-flexible base to avoid cracking. Therefore, as you can see, my work is mostly done on a wood base and sometimes braced depending on the thickness of the base.
The use of wax, pigment and heat in encaustic painting creates a wonderful medium for an artist interested in alchemy.
