Wax is the perfect substance to convey the ethereal qualities of the landscape and atmosphere that are depicted in my paintings. The handling and viscosity of the wax are very different from other painting techniques leading to experimental ways of working on the paintings. My work is done by remembering places or feelings about nature and my surroundings.
The word Encaustic, from ancient Greek, means “to heat” and that is the basis for encaustic painting. Beeswax, with or without added pigment and mixed with a small amount of natural damar resin, is heated to a liquid state and applied to a wooden ground with brushes. Painting is done quickly, as the wax starts to harden as soon as it is separated from its heat source. Each painted layer must be fused to the next to create a solid piece that becomes the encaustic painting. It is one of the most durable painting mediums since wax is impervious to moisture and over time will retain its original colors. The pigments in the wax are the same as those used in oil paints, but without any solvents.
In my work I combine many layers of wax, incorporating washes of oil paint as well as markings into the wax.
Encaustic Art in the Twenty-First Century
Anne Lee & E. Ashley Rooney, Foreword by Kim Bernard, Afterword by Ellen Koment.
My work is included in this book from Schiffer Publishing which features 79 American artists who use encaustic today.
Art New England, July 2013, review of The Elephant in The Room at Laconia Gallery, Boston, MA. This is an exhibit that I curated and participated in, showcasing contemporary encaustic artists from around the country.
Artscope Magazine, May/June 2013, review of Swept Away at the Cape Cod Museum of Art,
includes image of my painting, Summer Sunrise
Art New England, Sept/Oct 2010, review of Atmospheric, solo show at Three Graces Gallery, Portsmouth, NH
Boston Home magazine features two of my paintings in their High/Low spread.
Boston Globe Magazine, Oct. 22, 2006 – Room with a View features my fish painting.
SouthWest Art Magazine
October 2008 Collectors Issue
Highlighted regional artist.
With a bachelor’s of Fine Art in design and painting from the University of Connecticut, Linda Cordner had been doing commercial graphic design work when her attention was drawn to encaustic. Abstract expressionist Jasper Johns explored this medium and in the hands of contemporary artists, its potential intrigued her. “I just love the surface and effects of painting with hot wax,” Cordner relates. For the past eight years the Boston-based artist has worked exclusively in encaustic. She heats pigmented beeswax on a heated palette, and uses brushes to apply the viscous liquid to board. Her imagery is organic and frequently botanic in feel, with layers of wax producing both subtle complexity and simplicity of design. “Linda’s paintings are rich in color and elegantly minimal,” observes Julie Mussafer, owner of Jules Place in Boston, “They have a soothing translucency that draws the viewer below the surface.”