Kathleen Waterloo

Tweet My works are architectural fantasies which attempt to record the urban/urbane/mundane observances I see on a daily basis. With an approach towards monumental simplicity—given any scale—an elevation, aerial view, or structure becomes a vision construed in space. Previously trained as an interior architect, lines are a recurring theme in my work. Current works from the series Off the Charts are inspired by graphs and charts found in periodical publications. Select content from same includes ‘Airline Fuel/Fare Economics’, ‘Why CEO’s Leave Their Job’, ‘Warmth Trends in the Midwest’, and ‘Mayor Daley’s Popularity Poll’. The titles of the artworks are named for the song that was playing on my iPod when I knew the piece was finished. Recent inspirations have been fault lines, rodeo bucking chutes, ‘mapquest’ routes, Chicago urban landscapes, airport floor plans, and architectural elements from international travels. Kathleen Waterloo Waterloo in the studio I'm Not Worried, encaustic on panel, 48x36 Done Moved On, encaustic on panel, 42x48 Call it What You Want, encaustic on panel, 36x48 Don't Let it Break Your Heart, encaustic on panel, 48x36 South Side I, encaustic on panel, 36x24 South Side II, encaustic on panel, 36x24 There There, encaustic on panel, 30x30 Square One, encaustic on panel, 30x30 In Spite Of Me, encaustic on panel, 30x30 Quaternary I, encaustic on panel, 12x12 Stripes XXII, encaustic on panel, 12x12 Stripes XXIII, encaustic on panel, 12x12 Stream Feed V, encaustic on panel, 12x12 NOTES on THE ENCAUSTIC MEDIUM Encaustic painting is a technique developed in ancient Greece, and refers to any process that incorporates the use of wax manipulated through heat. Predating oil paint by centuries, beeswax is the oldest known pigment binder. The Greek word Encaustika literally means "Burning In". Typically, in this process, pigment is added to molten beeswax and in some cases resin, a hardening agent, and then applied to a rigid surface. The surface itself may be warm allowing for manipulation of the encaustic paint. It may also be cool causing the brush stroke to "freeze" immediately. After each application, the object is subjected to the "burning in" process, which consists of passing a heat source over the surface, causing a fusing and bonding of the painting. The surface may then be polished with a soft cloth resulting in an attractive sheen. While this is considered the "Classic Technique", encaustic is a flexible medium, accommodating a wide range of experimentation. Beeswax, with its organic qualities, its evocative translucency, and its inherent feeling of timelessness, can be a seductive medium for both artist and viewer. Today many contemporary painters are rediscovering this ancient medium with amazing and varied results. These artists are experimenting with the expressive possibilities of encaustic techniques, pushing and coaxing the medium in new and unusual directions, always with an eye to its history. Encaustic artwork has the advantage of not yellowing, of weathering well, being unaffected by moisture, and actually being able to withstand higher heat than oil paintings. It can be used for creating texture and can be applied to any number of surfaces (canvas, paper, stone, wood panels, etc). While at first glance beeswax may seem like a delicate medium, durability is one of it's greatest attributes; many examples of complete and undamaged works survive from ancient times. Unlike paintings produced in other mediums, these works retain a surprising brilliancy of color and freshness of execution. Rooted in historical precedent, this versatile medium remains vital, rich with possibilities for contemporary artists.