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Yntema's inclusion of original photography has brought her work in encaustic to a contemporary platform, blurring the boundary between photography and painting, and merging digital with the ancient. Continually intrigued by the fine line between figuration and abstraction, Yntema's images evolve through slow accumulations of semi-transparent wax layers, light permeating these works and becoming compositionally present.


Yntema asks, "Can photography be objective in representing recorded fact? How do we locate reality in an age when alternative truths frame both politics and press? And where lies certaintly within digital imaging, when what is objective and what is manipulated is not longer apparent and what was understood is now in question?


Yntema alters the "truth" of these paintings. Though human presence is minimized, it remains continually evident within the manipulation of landscape. The use of beeswax focuses the conversation to environmental concerns.


Q  U  O  T  E  S


“In a minimalist manner,  Yntema captures the recollection of light where hue is the reminder that opens an unseeable distance. She creates a physical container for the uncontainable.”  – Joanne Mattera, NYC, Author, Curator, Artist


"Her paintings capture and emanate light toward a transcendent feeling of tranquillity, order, and purity.  Yntema's colours create silence and simplicity; an atmosphere of transcendent lightness remains.”  –Jacquelyn Stonberg Professor of Art History, Kean University, NJ


"With her affinity for the land and attraction towards the spiritual, Yntema's paintings embrace the primal and unseen found both in the world that surrounds and within.  Sharing within the romantic tradition, her works rest firmly within the realm of the sublime."  –Mark Ferguson, Writer


H  I  S  T  O  R  Y


Beeswax encaustic painting dates back over 2000 years.  The ancient Greeks adorned their battle ships, statues and buildings with this combination of damar resin, beeswax and pigment. The Fayum tomb portraits, from the Roman Egyptian period, testify to the archival durability of this material. Beeswax, resin and pigment were the materials used to create the murals of Pompeii. This technique remained popular throughout the 6th and 7th centuries, but was replaced by tempera and fresco due to the intensity of time, labour and heat involved. Beeswax painting was virtually lost by the middle ages.


The term encaustic literally means to burn in. Any true beeswax and resin painting involves heat and the process to fuse the layers.  Heat acts as the invisible solvent much as turpentine acts as an evaporating solvent for oil painting. The natural dammar resin gives the wax strength and durability. Beeswax and resin are organically pure and biological materials. From the labour of the honey bees to the natural Malaysian dammar resin, no chemicals are involved in this technique. The quality of the material is very much alive, like an organic skin, and can hold colour in a pure, luminous tone.


As a painting material, beeswax and resin reveals a subtlety rarely found in artificially manufactured materials. The delicate beauty of nature is inherent. Biologically pure, no other material encompases nature so honestly.


                                                                                                                                                                                                                                             – Janise Yntema, 2019



All content © 2019  Janise Yntema