Laura Ecsi is well known in her home country, Slovakia but also in Czech republic. Her paintings are famous for being full of colours and passion. The themes vary from abstract to very unusual, bird view like landscapes. She mainly paints intuitively and spontaneously, bringing out the deepness from within herself. She named this process
exposing infinity – the inner abyss.
At the beginning as a new explorer of this unknown art technique, she first started with the simplest of heating tools – the encaustic iron. Later on she learned the deeper secrets thanks to the masters of this art: Elisabeth van Uden, John Buckland and Anna-Marie Aigner. Thanks to these artists she gained excellent skills in mastering other heating tools, like hot plate, hot air gun and propane torch.
She now leads encaustic courses in Prague and Bratislava attended by many European enthusiasts. Also cooperates with charities through exhibitions and bringing encaustic as a form of art therapy to disabled people.
She has many exhibitions throughout the year, both in Czech and Slovak republic.
I surrounded my life with art work since childhood. When becoming older, I started to look for something unique, unusual, but still using natural materials. As it happens, „coincidence“ led me to encaustic. It is now 10 years that I work solely with encaustic technique.
Encaustic is unbelievably colourful and live art. My attention was caught by the possibility to change the structures and practically the whole painting endlessly, by which action I always get something new, unexpected.
Encaustic waxes are great in their structures, thus being suitable for many kinds of supports. After mastering the basics, which are mainly done on encaustic paper, one can move on to canvas, wooden panel as well as glass. I work on all these supports, but my favourite is glass.
For every technique I use different type of material. For hot technique, and when painting on encaustic paper I use the so called European waxes. When I work on other supports like wooden boards, I use R&F waxes. For the cold technique I use Cuni wax colours, MPO and R&F pigment sticks. The most astonishing fact is that you can mix all these different materials between each other, and thus achieve uniqueness in every piece.
I frame pieces that are on glass, to ensure stability for this support when it is hung on wall. When the finished work is on canvas or on wooden board I prefer not to frame it. I think this way it can step out from the wall and be part of it at the same time…
It always depends on how the Muse kicks me, is my usual answer to this question. Of course it depends on the size of the painting too. Small pieces take much less time and can be finished in a day. Bigger pieces take naturally longer time. Some work takes endless time and never gets really finished.
Inspiration confronts me in every step I take, it is all around me.
To tell the truth I cannot describe how the creative process starts and goes on until I step away from the ready painting. I do not plan. I come to the clean surface and just start work. It is like meditation, different state of mind.
Actually I do not have one. I like to combine all of them. I do hot technique as well as cold, but I think the best results are achieved when they are combined. For example, I do the ground with water soluble wax colours, then apply a layer of hot wax, ending up sculpting wax mixed with resin into the space.
I would describe the process of painting with encaustic as exposing infinity – the inner abyss. Infinity in the possibility of shapes, structures, patterns, colours, paintings and art work…
First of all, do not be afraid to use heating tools. It is ever so surprising to observe how the heat changes the matter into something new and many times unexpected. Play with it, explore it, find your own ways to tackle it and form it into what you want. You will be surprised how fast you master it.