Moe Taylor was born on the Prairies and now resides by the shores of Semiahmoo Bay in British Columbia. She draws much of her inspiration from the natural surroundings of the BC Coast.
Working primarily in the ancient medium of encaustic on wood panel, her paintings consist of layers of beeswax, tree resin, oil pigment, and occasionally collaged ephemera. Each stratum is fused to the next using unconventional artist tools: an array of torches.
“My process involves flow and response. The work is grounded in our natural surroundings; it is a distillation of the essence of a place rather than an illustration of it. Marks are pressed, incised and scraped into the luminous surface, some obscured, others exposed, much in the same way we leave our footprints on the landscape.”
In her recent series, Taylor’s leitmotifs of the lone canoe and collage materials of sea charts have been deferred in favour of elemental landscapes.
“… a large granite mountain cannot be denied – it speaks in silence to the very core of your being” Ansel Adams.
Taylor has studied at Emily Carr College of Art & Design.
Her paintings have found homes in North America and abroad, and she enjoys their continued migration.
Encaustic, which dates back to ancient Greece, is one of the oldest painting mediums. The term encaustic comes from the Greek ‘enkaustikos’ meaning “to burn in”. The unusual visual properties of encaustic paintings are derived from a combination of beeswax, damar resin and pigments. They are applied in molten form to a rigid surface, and then each layer is fused. This gives a luminous, richly layered appearance.
Care of Encaustic:
As with all fine art, encaustic paintings should not be subjected to direct sun or extremes in temperatures.
On occasion, lightly buff the surface with a soft cotton cloth or nylon.