My artwork is an exploration of the passage of time, colour and composition. I am intrigued with aspects of lost communication, evidence of human habitation and use, and ’visual music’. I use a mixed media approach to my paintings. One medium I am particularly fond of is the ancient encaustic medium (beeswax and damar resin). This medium allows me the ability to easily paint in an additive and subtractive manner. I can paint layer over layer and then excavate the medium for a sense of loss and discovery. The abstract paintings display a textured colour field with deep lustre and complex textures. The layered elements excavated and rediscovered reveals hidden, damaged, lost, and that which has worn away. The resulting the patina of distressed and textured surfaces suggests a history and a passage of time. I strive to find the emotional connection between the artwork and the viewer where the artwork becomes a meaningful and valuable object.
Kevin Ghiglione working on encaustic pieces with blow torch
Kevin Ghiglione’s paintings are abstract with many layers of composition. He works in the ancient encaustic medium and various mixed mediums. He is fundamentally inspired by the mark of mankind through time. His artworks often reflect evidences of wear, vestiges of architecture, and hints of communication through the passage of time. His artwork, a discovery of hidden and excavated elements, suggests a missing part of history when viewed in person.
Kevin has now held five successful solo shows at Muse Gallery in Toronto and has participated in various group exhibitions. He is represented in Toronto by Muse Gallery and in Calgary by Gibson Fine Art. His work is in collections across North America and Europe.
A native of Saskatchewan, he attended the Alberta College of Art and Ontario College of Art where he studied print making, experimental media, photography, communication arts and industrial design. His working career has led him into various fields of art related careers. Kevin brings four decades of artist experiences to his encaustic painting process. Kevin resides in Toronto, is married with three children and creates artwork full time.
Kevin Ghiglione & Patti Dibski Gibson Fine Art, Calgary, Canada
The ancient art of encaustic painting involves the quick application of molten beeswax and damar (tree) resin to a hard painting surface. Oil and powder pigments add colour to the natural translucent wax. The word ‘encaustic’ means ‘created by fire’ or ‘to burn in’. Each layer of opaque and translucent pigmented wax are then fused with a torch or heat gun to ensure a bond to the wax layers underneath. Thick coloured layers create a lush sensuality, while thinner translucent layers create mysterious depths. Ghiglione often claws or scrapes away wax from his encaustic paintings to expose past workings of surfaces and achieve textural and visual depth. The heavily worked painting surface transforms into a low relief sculpture. The encaustic medium can be lightly buffed to bring up a deep lustre.
Kevin Ghiglione in his studio with a blowtorch
by K. N. Ghiglione
Encaustic – literally means “created by fire”. Dating back to the 5th century B.C, encaustic paintings are created by melting together natural beeswax and damar (tree) resin. Colour is added by powder and oil pigments. Applied quickly to a firm surface, the molten wax can be applied as thick, lush sculptural colour and combined with other materials. The surface can also be scraped and excavated to reveal past layers. Encaustic is a natural medium and speaks directly to your senses. The surface is exotic to the touch. The aroma of honey and beeswax plays to your sense of smell.
Moving – To transport the painting, protect the edges, corners and cover the surface. Handle the painting by the outside frame, the back hanging wire, and the back supports when moving or hanging. Avoid temperature shock when transporting and let the artwork acclimatize to room temperature before unwrapping.
Hanging - Although the painting can be placed anywhere, you should hang it away from extreme, focused, or unmoving light and heat sources. Avoid fingers and objects touching the surface of the painting when it is hot. Once positioned, the painting will be trouble free and withstand normal heat and cold suitable for any living thing.
Lighting – Lighting and placement can result in dramatic viewing results. The encaustic medium benefits from proper lighting conditions. Focused lights reveal the depth of the layers of the semi-translucent wax, whereas indirect natural light from a window often brings out the painting’s sculptural qualities.
Polishing – Beeswax is a natural material, so the painting will ‘breathe’ for some time after it has been created. To bring up the deep lustrous glow of the painting, particularly after you purchase it, gently ‘buff’ or ‘polish’ the surface by hand, but only when the painting is cool. It is okay to touch the painting! Use a soft cotton cloth, turning it repeatedly. You can lightly buff the painting’s complete surface. As the painting ages, the painting’s semi-gloss lustre will remain for long periods.
Kevin Ghiglione and “Silence Between Kingdoms” before shipping to France