Atmospheric Landscapes Using Oil And Cold Wax – Paula Dunn (1)

In this detail of the foreground, bright gold pearl lustre pigments were carefully brushed into the painting, then layered with a transparent colour. This process is repeated until the desired glow, depth, and luminous quality is achieved. Another method for adding dry pigments is to create a splash effect. Add a small amount of pigment to the end of your brush and let it drop randomly on to some print paper.

Spread a thin layer of cold wax onto a piece of tissue paper and press it face-down onto the splashed pigment, applying gentle pressure. When you lift the tissue, it should have picked up the pigment. You can then use the tissue to transfer the pigment onto specific areas of your work by pressing it face-down onto your painting. Bronze powders differ from pearl lustre pigments in that they consist of metallic particles made from copper and zinc alloys, designed to replicate the appearance of bronze.

However, they can achieve the same shimmering, metallic effect, whether brushed onto your painting surface or used to create a splash effect. Adding collage to your painting can strengthen the narrative and enrich the composition, but it is crucial to fully integrate the elements so they become an integral part of the piece.

Use lightweight papers and materials, such as decoupage papers, to ensure that the cold wax can effectively hold them in place. Collage Collage is a versatile technique for introducing visual interest and narrative to your work. Lightweight papers, such as tissue, patterned papers, including handmade collage papers, can be seamlessly embedded into layers of oil and cold wax. To begin, place the paper onto the wet surface of your painting, or apply a layer of cold wax to the desired area before positioning the paper.

Press the paper firmly to ensure good adhesion, then apply a thin layer of cold wax on top to secure it in place. This not only binds the paper but also protects it.

The work of an artist – any artist – should be an evolutionary process, as they deepen their understanding of the artform(s) they practise, the materials they use, their personal style, the subjects that inspire them and how their approach to all these facets combines to produce the ‘things’ they are creating. All of this is underpinned by exploration, experimentation, and refinement, as well as being shaped by personal experiences and a strengthening connection to the subject matter.

Over the years, I have moved away from creating large-scale representational landscapes, defined by thick, textural impasto, to embracing a more experimental and abstract approach with thin, delicate layers of transparent and opaque paint. Although my style – and my practice – have developed, some constants have remained: the influence of the weather, the environment, and the ever- changing light on the landscape, continue to inspire me.

Where the Curlew Calls, 60 × 60cm (23½ × 23½in), oils, cold wax and gold leaf on a wooden panel. My introduction to cold wax began during a transformative residency in Ireland with the American abstract artist Rebecca Crowell. I found that this medium, which was new to me, allowed me to loosen my approach to painting and explore new possibilities in my work. Cold wax provided a thickness to my paint that I favoured, while also opening doors to a bolder use of colour and texture.

This shift encouraged me to move away from using sketches and photographs for reference, instead drawing on memories, emotions, and what I found to be the essence of a place. Cold wax is a versatile medium that enables artists to explore textures and layering techniques which are distinct from traditional oil painting methods. It has been a revelation for my practice, encouraging experimentation with embedding materials such as marble dust, pigments, and gold leaf, dissolving paints with solvents, and embracing colour in my work.

As a result, I have found that the boundaries between abstraction and representation in my art are becoming increasingly blurred. Historically, the use of wax in painting has its roots in ancient practices, particularly the encaustic, which involved fusing wax and pigment onto the surface of the painting using heat (Doerner, 1921).

In the mid-twentieth century, artists began to explore cold wax to create texture and depth without the need for heat, making it more accessible than traditional encaustic methods (Crowell & McLaughlin, 2016). Its recent resurgence owes much to contemporary artists such as Rebecca Crowell, whose encouragement has inspired artists like me to push boundaries, challenge conventional approaches to oil painting, and discover new ways to express ourselves. Cold wax provides artists at any stage of their practice with the opportunity to work with oils without the daunting complexities often associated with traditional methods.

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.

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