Artist Statement

As a multidisciplinary artist, I explore the possibilities of abstract visual expression through a diverse range of materials and processes. The genesis for much of my work comes from memories, emotions, dreams, and inner reflections of my subconscious voice. I rely on play, exploration, and discovery, as each piece begins to take on a life of its own. My work can be likened to synesthesia being distilled into one concrete experience.

When working with fiber, I create woven wall hangings that play with material, texture, repetition, and form. The interplay of various fibers creates a rich tapestry of tactile impressions, inviting the viewer to engage with the work on a sensory level, and drawing their attention to the inherent qualities of the materials. A modern approach to construction invites contemplation and appreciation for the beauty found in the simplicity of raw materials transformed through my hands.

The use of fiber within my encaustic work allows me to explore the interplay of translucency, depth, and mark-making in a way that feels organic and dynamic. By incorporating traditional craft techniques, including crocheting, knitting, and weaving, within a contemporary framework, I create ethereal and moody, dreamlike pieces.

When painting with oil and cold wax, a distinct velvety matte surface is built up through numerous applications of layers. I etch, scrape, and reveal an underlying history of marks, shapes, and colors. The slow, meditative process of applying and subtracting wax mirrors the natural world's cycles of growth and decay.

Across these varied media, my work is unified by my focus on extracting the emotional resonance of colors, textures, and rhythmic patterns. I intend to evoke the familiar yet unknown - symbolic dreamscapes that spark wonder about the complexity of life’s constant transformation.

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Time spent working my studio becomes meditative, and I often get lost in the sensory experiences involved in the art making process – the smell of the beeswax heating up, the dragging of a loaded brush as the medium cools and solidifies, the heat from my palette and fusing tools, the feel of various fibers in my hands, and the scraping and pulling of paint and wax on papers and panels. I enjoy getting lost in light and shadow, subtleties of color, texture and smoothness, temperature fluctuations, smells of encaustic and oil sticks, flow and drag, sounds of wind through the trees, the scent of freshly fallen rain, shapes and colors of clouds, reflections of water, rhythmic dancing of tall grasses, dreams, and daydreams.

BIO

Dee Levang is an abstract visual artist working in encaustic, fiber, and oil and cold wax. Born and raised in the Los Angeles area, she has made St. Louis her home for the last 21 years. Levang studied graphic design at CalArts (California Institute of the Arts) and worked professionally as a graphic designer for over 25 years. Since 2015, she has been an artist and instructor teaching classes and workshops in fiber and encaustic both locally and regionally.

Levang has also participated in local juried art fairs and events. She is a member of the International Encaustics Artists organization, and the St. Louis Artists’ Guild and has been awarded grants and scholarships from the Regional Arts Commission and International Encaustic Conference in Provincetown, MA.

What Is Encaustic?

Encaustic medium consists of natural beeswax and damar resin obtained from coniferous and hardwood trees characteristic of Southeast and East Asia. The resin is used as a hardening and stabilizing agent for the wax. Encaustic painting is an ancient technique, dating back to the early Greeks, as far back as the 5th century B.C. The word encaustic which means “burn in,”originates from a Greek word. Heat is used throughout the process, from melting the beeswax and resin to fusing the layers of wax. The medium can be used alone for its transparency or adhesive qualities or used pigmented. The medium is melted and applied to a rigid support, often wood panels. Each layer is then reheated to fuse it to the previous layer.

When creating an encaustic monotype (one of a kind print), solid encaustic medium is applied to a smooth anodized aluminum hot plate, manipulated with natural bristle brushes, silicone spatulas, or other non-abrasive tools. When a design is completed, an absorbent paper is laid atop the hot plate until the image has been transferred to the paper, then carefully removed from the surface.