Vicky Foster Harrison has been an expressionistic painter who has used mixed media and collage to create atmospheric landscapes since the ‘90s. Then twenty years later, after being introduced to the encaustic process, like so many of us, Vicky was smitten and eager to learn more about the medium.

After signing up for several encaustic workshops, Vicky eventually found herself in Santa Fe, NM with Paula Roland, a pioneer of the encaustic monotype who shared her love of its spontaneity and improvisational nature. Today, Vicky is just as passionate about encaustic monotypes as her teacher and believes that monotype printmaking is still an unrecognized segment of the encaustic art world.

Left: SOARING, 42x30, From the Suspended Form Series, for the Aurora Loop Gallery solo show, Encaustiflex and Pigmented Wax, Victoria Foster Harrison

Monotype printmaking has its roots in the early years of the 20th Century when artists like Edgar Degas, Camille Pissarro and Paul Gaugin were known to press simple prints of their own works by hand (rather than using a printer). Fast forward to this century’s printmaking and we can see how it has evolved into a multifaceted industry that can perfectly replicate nearly anything in two and even three dimensions.

As for encaustic monotypes, the actual process is fairly simple yet producing an extraordinary print may not be so easy. Unlike other printmaking methods, each monotype is a “one of a kind” print that cannot be duplicated. Once the first impression is made, the exact design and thickness of the wax is never the same.

   

Above left: TELL ME, 30x22, Part of an Asemic Encaustic Collage Series, Encaustic Monotypes, Asemic Writing on Watercolor Paper

Above right: COPPER RHYTHMS, 22x9.5, Part of the Weather Vignette series at the Aurora Loop Gallery solo show, Handmade Paper, Beeswax, Walnut Ink, Ephemera, Pigmented Wax, Victoria Foster Harrison

The basic method includes melting pigmented waxes directly on a heated palette and manipulating the colors with brushes and various mark-making tools to create a design.

Prints of these designs are typically (but not exclusively) made from pressing pliable and absorbent papers such as handmade Japanese Kozo or Sumi-e sheets over the waxy, color-laden warm palette. Monotypes by their very nature are one-pass prints but may be multi-layered with blended colors and designs in order to achieve the artist’s vision.

In her own practice Vicky has moved beyond her exquisite landscape imagery to sophisticated nonrepresentational abstracts and florals that sometimes incorporate photographic images with a multitude of textures, collage, calligraphy, etc.

Vicky says, “I have always gravitated towards experimentation and am very attracted to the Japanese concept of impermanence (aka wabi-sabi). My pieces often include impressions of various objects, mark-making, printed text, asemic writing, and collaged ephemera that create textures, patterns and imagery with results that, at times, are even surprising to me.”

Left: VESSEL O, 7x4.75, Japanese Tea Cup Box, Vintage Japanese Accounting Journals, Pigmented Wax, Part of the Vessel series at the Aurora Loop Gallery solo show, Victoria Foster Harrison

    

Above: PATHS YET UNTAKEN, 10x16, From the Suspended Form Series, for the Aurora Loop Gallery solo show, Encaustiflex and Pigmented Wax, Victoria Foster Harrison

During her years of practice Vicky also developed a tried and true solution for the dilemma of getting her wax-backed monotypes to adhere to wood panels, her favorite type of substrate. After much trial and error, she realized that applying a thin layer of encaustic gesso, Venetian plaster or tempera paint to the back of each print would create a toothy surface that helps to insure permanent adherence. “I suggest to my students that they develop a habit of applying what I call “grit” to the back of each print at the end of a work session. That way, everything is dry and ready for the next step the following morning,” Vicky counsels.

Left: WAVES TO SHORE, 33X38,  From the Suspended Form Series, for the Aurora Loop Gallery solo show, Encausticflex, Pigmented Wax, Vintage Japanese Window Blind, Silk Organza, Watercolor Paper and Indigo, Victoria Foster Harrison

Finishing monotype prints so that they are gallery-ready is another skill that Vicky has perfected. “My preferred way is to attach finished pieces to cradled panels with Gudy V, a fine art mounting adhesive from talasonline.com,” Vicky relates. Specific information about all her preferred products are posted on her website along with many other fun and informative videos, blog articles and photographs of her work with descriptions.

Vicky had been teaching encaustic techniques for several years when she and her husband decided to move to Port Townsend, Washington in 2017. Once settled, she was able to build a dreamy 1000 square foot studio complete with two areas—her personal workspace plus a teaching area that accommodates 4 individual work stations.

      

Above Left: LACEY, 21x10, Handmade Paper, Beeswax, Indigo, Washi Paper, Victoria Foster Harrison

Above Center: BLENDING GENERATIONS, 31x13, Canvas, Encaustic Monotypes, Mark Making, Stitching, Victoria Foster Harrison

Above Right: DIVERSITY, 30x12, Encaustiflex, Pigmented Wax, Calligraphy Brushes, Victoria Foster Harrison

Vicky’s usual work and teaching schedule was interrupted by personal challenges last year, which gave her time to reevaluate her goals. Today, she is more selective about her work hours and activities, devoting several days to creating her own art and limiting her teaching time. “In fact,” Vicky reports, “I’ll be rolling out a new pre-recorded online printmaking class a little later in 2025. It’s taken a lot of planning but organizational activity really appeals to the logical side of my brain, so it’s been fun,” Vicky chuckles. “I decided that I’m also interested in mentoring some of my past students and will be opening my studio to those who want to work alongside me while we all make our own monotype prints. Of course, I’ll be willing to provide them guidance and answer any questions. Vicky says she’s also become an IEA Mentor who will work with other members interested in advancing their monotype skills either in person in her studio or on a video chat.

Right: VESSEL Q, size, Encaustiflex, Pigmented Wax, Embroidery Thread, Victoria Foster Harrison

Vicky’s latest works will soon be featured in a solo show named “Heaven and Earth” at the Aurora Loop Gallery, in Port Townsend. This exhibit showcases her encaustic series exploring water, sky, and earth, that capture nature's timeless rhythms. ‘Suspended Forms’ offers 3D wall sculptures, while ‘Weathered Vignettes’ features mixed media with paper, wax, and ink. A third series consists of art vessels created with paper, cotton tea bags, tissue paper and vintage dress patterns.

If you’re in the vicinity of Washington state this December, stop by the gallery which will hold the opening art reception on Saturday, December 7th, 5 - 8 pm.

About Victoria:

Victoria Foster Harrison lives and creates in Port Townsend, WA.

You can see her work on Instagram at @curlygirlartstudio

For more information, visit her website: https://www.curlygirlartstudio.com