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619-354-5969 | 1980 Kettner Boulevard STE 40 , San Diego, CA 92101
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Morning Stroll #2

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About Encaustics
The History The word Encaustic originates from the Greek word enkaustikos, which means to “burn in” or “to fuse”. Encaustic painting involves layering beeswax that has been melted with crystalized tree sap, tinted with colored pigments and oil paints to create the most unique painting technique I have ever seen. It is painted on wooden panels with natural hair brushes and fused in between layers with fire or heat. The wax can be layered to have a smooth finish or be built up to create unique and mesmerizing textures making the possibilities endless. This technique began in ancient Egypt and Greece as far back as the 5th century B.C. The oldest surviving paintings we know of are the Romano-Egyptian Fayum mummy portraits from Egypt dated around 100–300 AD. There are hundreds of paintings that have survived over 2,000 years without cracking, flaking, or fading. The portraits were placed on the outside of coffins over the head of upper class mummies or were carefully wrapped into the mummy bandages. Encaustics are extremely archival due to the nature of beeswax. It naturally repells dust and water and is mildew resistant, which is how the Fayum paintings have survived this long. Care Even though Encaustic paintings are very durable, you still have to handle them with great care. Just like any piece of artwork, you never want to hang an encaustic painting in direct sunlight. This creates a “magnifying glass” effect and can cause the painting to get warm and “sag” over time and fade the colors. That being said, encaustics have a melting point of 150° making it perfectly safe to hang in your home or office. Avoid letting the wax freeze, freezing could cause the wax to crack over time. They do best in stable temperatures 40-125 degrees F. Ensure that your painting is wrapped and packaged properly. It should be covered with wax paper or glassine paper first then wrapped with a protective layer like bubble wrap. For larger and heavier works, a wooden crate/box lined with insulation may be needed for shipping/transporting/storage. IF your painting does get warm and you are unsure how hot it actually got, DO NOT UNWRAP IT. Let it cool completely before unwrapping it and the wax paper should just pop off. Always protect the surface and edges of a painting. Although the surface is completely dry, encaustic paintings can be scratched, gouged, or chipped if not handled with care. That being said wax is very easy to fix if anything does get damaged over time. Encaustic paint will continue to cure and harden for about a year after completion; in this process the surface may lose some of its original luster and sheen. This is called “blooming” and looks like a cloudy effect over the surface of the wax. Not to worry this is natural and actually good for the painting. Just take a soft, lint free cloth or shirt and lightly buff the surface of the painting. Over some time you will not need to buff it as often and will have a beautiful, glass like shine to it. If you have any questions please contact me (: ~Korin Chapman
Artist

Korin Chapman is an emerging artist who seeks to find herself surrounded by nature. Born and raised in San Diego, California, Korin creates her work at her home and studio in Bird Rock, La Jolla. Taking inspiration from the coastline in her own backyard, Korin aims to recreate the awe striking views of the different seascapes that she both finds herself in and hopes to visit and experience for herself.

Korin’s process starts with a foundation of​ land, recreating the various rocks, cliffs and seafloor from the base of her panel. Doing so through shaping and hand carving ​her mixed media materials over the span of weeks to months. At which point, the land components are then ready for her to paint and add any further texture to reach the desired result.

Now ready to add the water components of her piece, Korin pours many layers of resin. A rising tide to meet and fuse both elements of her work. The resin completes each of her one of a kind slices of earth, resulting in the depth and photo realistic aspects of these aerial perspective pieces.

Korin views her work as an ever evolving and exploratory journey through the experimentation of process. In each piece she is attempting to create the right combination of both feeling and realism taking what she loves most, the natural world, and allowing it to live and exist wherever hung.

Adelman Fine Art is pleased to represent Korin Chapman and share her talent with collectors worldwide.

Q & A Interview:

 

Icebreakers:
AFA: If you could live in any sitcom, which would it be?
KC: “That 70’s Show”
AFA: What is the funniest thing you did as a kid that your parents still talk about to this day?
KC: “My dad loves to tell people how when I was little I used to collect these little green bugs called Planthoppers and ride around the neighborhood with them lined up on my handlebars. I was fascinated by them first because of the strength they could generate when jumping out of my hand. That feeling of them jumping felt so cool but once I got them on my handlebars they would hardly ever jump off unless I tried to grab them again. Of course I had to show my new friends around the neighborhood!”
AFA: If you were to perform in the circus, what would you do and why?
KC: “That’s an easy one! I would definitely be a Trapeze Artist. I love the thought of flying through the air, doing flips and spinning to catch a moving target high off the ground. I was a Pole Vaulter for my high school and college so I imagine there are some similar feelings. It takes so much time and hard work to get both the physical AND mental strength to throw yourself up off the ground, fly through the air, and try to stick a perfect landing. The adrenaline in the moment is incredible.”
AFA: What is the silliest thing you have have an emotional attachment to?
KC: “Well after going through my box of items I have been keeping since I was a kid… I would say my albums of stickers is probably my silliest attachment. I would always choose stickers at gumball vending machines and instead of using them, I would organize the stickers into albums based on the themes of the stickers. I was young and thought I was being clever haha. I have never thrown them out to this day and I honestly don’t know why I still have them.”
AFA: What is something unexpected that has changed about you in the last few years?
KC: “My whole life I dreamed about doing something athletic for my career. Come College I knew my dream was to try to go to the olympics for Pole Vault. Unfortunately I was injured when on my College team and I was forced to quit jumping for an extended period of time (I spent nearly 2 years in a boot/crutches). That’s when I rediscovered my passion for art and decided to pursue an artistic career just as I had watched my grandparents do. That was over 4 years ago now, it’s amazing to think back at how far I’ve come and where I am now in my pursuit of this dream.”
About The Art:
AFA: How long does it typically take you to complete a painting?
KC: “The time it takes for me to complete a painting varies greatly depending on how detailed a piece is going to be and how large it will be. Some of these larger works with a lot of carving detail can take upwards of 6 months. That being said, I find a typical commission takes about 3 months on average to complete.”
AFA: What do you find is the most challenging thing about using resin? Additionally, could you tell us about the advancement of the resin you use?
KC: “Working with resin has proven to be one of the most difficult mediums I have ever tried. Epoxy Resin is a two part chemical reaction. When Part A is mixed with Part B, an exothermic chemical reaction takes place causing the resin to heat up (which in turn accelerates the reaction further) and ultimately ends with the alignment of the material into a solid matrix with a crystal clear, glass like finish. When in its liquid state, the resin can seem to have a mind of its own (with some added help from gravity), making it difficult to control. Forcing the resin to do what you want never works, instead I take on the role of its guide and do so based on my years of practice and experimentation. I always start a resin pour by first fully planning and visualizing the process start to finish. Doing so allows me to anticipate the behavior of the resin and get the results I desire. Over the last year, I’ve been working closely with my resin manufacturer to create the premier resin for artwork. It has an abundance of UV stabilizers, an ideal pot life (working time), improved hardness and a crystal clear finish. I have tested nearly every brands of resin and their various application focuses, whether designed for art, flooring, table tops, boats, surfboards, you name it! I’m beyond happy with this new formula I’ve played a part in creating and am excited to continue pushing the limits to ensure the utmost quality.”
AFA: How do you create the water breaks in the waves? 
KC: “My process for creating waves varies based on how dimensional I am looking to be with a piece. My more 3D pieces actually have built up wave forms that pop off the panel as opposed to my glass finish aerial perspectives. Either way both processes require the use of a heat gun and torch which allows me to heat and better control the consistency of my resin. By doing so I can guide my waves into the shape and the composition I desire. It is the most challenging and rewarding step in my process, a fine line of patience while never forgetting that there is a limited amount of working time prior to the resin kicking (setting/hardening).”
AFA: Do you ever use raw materials?
KC: “All pieces start with wood, I create nearly all my panels which allows me be creative and not limited to any specific sizing or dimensions available through brand/store purchased wood panels. The other raw material that I commonly use is Plaster. Plaster starts as a soft mixture of limestone, sand and water most commonly used for spreading onto walls to form a smooth hard surface once dried. It is what I use to wet sculpt and then dry carve my dimensional effects in my paintings such as the rocks, cliffs, waves, etc.”
AFA: Do you take custom orders of specific breaks/beach locations? 
KC: “I am a local here in San Diego and love recreating our hometown’s amazing coastline as well as being challenged with locations I have not yet visited. For example, I recently created a piece based on a specific beach in Marseille, France that my client gifted to a homesick friend knowing it was their favorite beach back home.”
AFA: Please contact Adelman Fine Art for information on how to book your Korin Chapman commission!
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