the encaustic center

580 W. Arapaho Rd. #271, Richardson, Texas, 75080

Jenny Hudson

Of the Land

August 22 - September 27, 2014



As a young child in Costa Rica, Jenny Hudson Lao could always be found drawing and painting, principally motivated and inspired by her mother's own talent. Her mother encouraged her to discover and experiment with different styles of art.


As a teenager, Hudson attended a formal art academy, La Casa del Artista, run by Olga Espinach. Later she studied music at the Universidad Nacional in Costa Rica.


After moving to the United States, she studied with Michael Mentler at The Society of Figurative Arts and with Bonny Leibowitz at The Bonny Studio and The Encaustic Center.


She prefers to work in an abstract way to create work inspired by the beauty of the Costa Rican landscapes, including beaches and volcanoes.


Jenny's work:





Lorraine Glessner

Markings: the found wood series


Beautiful = Empty                                                      Clever Semantics

encaustic on scorched found wood                     encaustic, graphite, horse hair on found wood


Friday, October 25th, 2013


Markings is a series continuation which begins with discarded wood taken from dumpsters, trash piles and wood shops and which exhibits distressed markings-evidence of the human hand through use, age or environment. Through subtle modifications, collaborative dualities coexist between myself and the found wood object, those who handled the object before me and the implied history of the object itself.


"My background as a textile, interior and graphic designer combined with my profound interest in maps and geology has inspired me to explore how the earth, the body and the grid intersect." Lorraine Glessner



Jeff Hirst

Connectivity; the reAssemblages

March 8 - April 11, 2013


A Reinvestigation of a Double Fantasy

wood, screenprint, paper, fabric, epoxy, encaustic, black walnut dye, 17 x 15 x 9, 2012


reAssemblages explore my interest in urban environments and the parallel lines that exist between architectonic structure and a natural places.  Wood-filled installations emerge as visual poems that speak of history, compassion, human connectivity and transformations.


Jeff Hirst has worked as an artist for over 25 years and is interested in incorporating printmaking, painting and sculpture to arrive at his imagery.


“I approach my work as builder through gathering / excavation, stacking, reconfiguring and constructing found fragments. As a child I spent much time building wooden contraptions and vessels; that same fascination/ exploration has resurfaced in my reAssemblages series.”

Jeff Hirst


From the reception:





Deborah Kapoor


An exhibit celebrating the senses

March 9-March 31, 2012


An installation of strands of clementine peels reference mental 'actions', where the mind interprets sensory information from the physical. Floating cow tongues inscribed with text invite the viewer to think about the significance of 'the cow' in eastern and western cultures, conjuring the spoken and written word.


Manas (Detail)

Encaustic, Ink and Thread on Clementine Peels, 2012

Size variable


Deborah Kapoor grew up in Texas and returns to The Encaustic Center to teach "From Making Art to the Business of Art."  Her new work investigates the sensorial experience as seen through food.

"I am interested in that elusive space where strength dwells in vulnerability.  That often leads to investigating the senses. With ephemera like paper, thread, wire and encaustic I create works that address fragility, blessing, growth and transience. Text and cast shadows provide entryways into the confluence of form and formlessness."  - Deborah Kapoor


From the reception:




Mary Wright


August 27 - September 30, 2011



24" x 18" Encaustic Collage with Wood Veneer


Physical trips, as well as spiritual journeys, are filled with memorable 'moments', or stopping points. Waypoints have existed since humans began traveling. They are found in distinct rock formations, a certain bend in a creek, or a stand of trees. A waypoint may be at the time of decision making, or the breath that you take as you pause - just before you continue on your way. A thought or bit of an image along my journey may be portrayed by the use of wood veneer, the graphic elements of relief or intaglio prints, or flashes of photographs that I have taken. My work may hold photos of nature that capture the woods of Wisconsin or the open fields of Colorado, adventures of my children, or even bones of long ago mammoths. These depictions are simply glimpses of the journey.

The destination is finite. Waypoints are endless.


From the reception:




Michelle Pryor and Teri Lueders

natura obscura.

observations in encaustic

June 17 - July 30, 2011





Warm copper canyons. Cool steel wire. Mother Nature and Human Nature combine to provide unique inspiration in Natura Obscura, a two-person show from encaustic artists Michelle Pryor and Teri Lueders. From the fierce swoop of a raptor's wing to handwritten minutiae on a circuit board, the artists place the world in a petri dish and discover the true beauty of obscurity.


Michelle Pryor

My work explores the hidden drama that unfolds in nature, worlds that largely go unseen by human eyes simply because we are too busy to stop for a moment and watch. In this show, I hope to bring these scenes to the viewer as an invitation to observe, ask questions, and seek answers.

Whether we interact with it or ignore it, man is still a part of the natural world. Many try to rule over it or even destroy it, however nature survives and overcomes. It always finds a way. It always seeks balance and harmony.

Nature whispers her secrets to us. Will we listen?


Teri Lueders

My work is a study of a plugged-in society - of how we often struggle to find a balance between nature and technology. For this show, I attempt to resurrect seemingly obsolete items, giving them new purpose and thereby inviting renewed scrutiny.

It is part of man's nature to create, then destroy. And like so many other victims in the rapidly evolving world of technology, these materials had been abandoned, discarded, left to a life of decay. Now, they have new strength. New motivation. New beauty their creators could not have imagined.

And it is because of their very insignificance that these everyday artifacts have been chosen to enjoy a life everlasting.


From the reception:




Michelle Belto

Conversations in Paper and Wax

April 15th - May 20, 2011



abaca, cotton, beeswax, damar, oil



Michelle Belto is a Texas artist, teacher and author. Her new work investigates the positive and negative ways that communication affects relationship.

"Both encaustics and papermaking are two ancient art modalities with thousand-year histories and countless numbers of dedicated artist practitioners. When I combine these two powerful mediums in my work, I am a relationship counselor with two strong personalities in dialogue. My role is to facilitate each voice without allowing either to dominate the conversation. This new series reflects the complexity of my own intercommunication experiences." Michelle Belto


From the reception:




Gwendolyn Plunkett


February 20 - April 2, 2011



Gwendolyn Plunke
tt is a Houston based artist and Art Instructor. She works in various media including encaustics, recently focusing on ideas surrounding notions of beauty within a cultural and historical context.


Marked Time

encaustic and oil bar on panel

18" x 1


From the reception:




Nancy Ferro


September 16 - October 23, 2010


Standard Book

mixed media with beeswax

on a book cover, 8.5 inches x 6.5 inches


Artist's Statement

Each day when making decisions we look to the past and our current situations

to create the present, part of the past is brought forward, part of it left behind.

The juxtaposition of the past: historical, certain, and the present: new, random,

evolving, fluctuating... these are the contrasts with which I enjoy working.

The materials come from many sources: friends, relatives, collections, walks,

discards, the street, nature, and traditional art materials as well. These

materials include paper, pencil, crayons, pastes, paints, and most recently beeswax.

A favorite quotation of mine is simply part of a sentence from an Isaac Bashevis

Singer novel, "...the patterns of continuous creation". I attempt to interpret my

constants and my changes as I proceed through time.


From the reception:




Peggy Epner "Forest Falling" and Cheryl McClure "Influenced by the Land"

April 16 - May 28, 2010



Peggy Epner

Throughout human history, there have been cultures that have regarded trees as having spirits.

It is not difficult to imagine why. Trees live, grow, adapt, and die, subject to the same forces of nature that rule humans. On a cellular level, humans and trees are made up of the same essential ingredients. We come from the same source, whatever you believe that to be.

My work assumes an interconnectedness of the world's life forms, particularly of man to the forest.

Throughout my life, I have played, explored, and slept in the forest. It always feels like coming home. It is a spiritual connection that goes to the root of who I am as an artist and a person.

In my evolving visual vocabulary, wood and reference to trees have come to represent the bodies, spirits, and intentions of people. Sometimes mine. Sometimes yours. Sometimes everyone's.

Does it really matter? It is all the same.


Cheryl D. McClure

I have always been influenced by nature and the land. Living on a ranch in northeastern Texas for the past two years has moved that influence up a notch. I am surrounded by trees, pasture lands, sky, pond and a meandering creek. Looking out my windows in the house or the studio is such a pleasure...even in bad weather; I find something I never noticed before.

With all this said, I don't set out to paint what I actually see in nature. It just comes through

as I work through my process. Whether in acrylic painting or the wonderful encaustic medium, I strive to let the painting speak to me. I make revisions when I see that is where the painting is going. I have a conversation with the paint and the process.

Without a social or political message, surface quality, color relationships and design are what I am most interested in when painting.


From the reception:




Caryl Gordon

Redefining Nature

February 19th - April 3, 2010


The encaustics evolved from the monoprints I have been creating over the past 14 years. They are essentially collages using wax as an adherent. I also use the wax to paint areas of the collage. When I construct my monoprints, I often use found objects of flat metal, plastic or wood with unusual textures and shapes to emboss my plates. I now use these same textures and shapes in my encaustics in a variety of ways. Sometimes, I will cut up my monoprints to basically recycle them, using the chosen portions for collage purposes. In addition, I make my own fabric designs on raw canvas using the before-mentioned found objects as stencils, spray painting the canvas with fabric dyes. I use these pieces of cloth in my collages as well. In fact, I use whatever I find that interests me, a real recycling endeavor, for collaging, stenciling, stamping, tracing, etc.

I have been a fine art printmaker since 1996, making mostly monoprints in my home studio in Plano,Texas. I started my art education at the Art Student's League in New York City during high school, studied a year at The School of the Museum of Fine Arts in Boston, Massachusetts and received my BFA from The Cooper Union School of Art and Architecture in New York City in 1975. After four children and a freelance photography business, I went back to my art full time. Since then, my prints have been in juried shows in museums, galleries, universities and art centers all over the country. Just last year I discovered The Encaustic Center in Richardson, Texas and my passion for encaustics came alive! I am tremendously excited by what is for me a new medium, and I hope y'all enjoy looking at my encaustic collage/paintings as much as I have enjoyed creating them! To view more of my work, please visit my website at


From the reception:




Karen Chaussabel and Susan Sponsler

Two Journeys

November 20 - December 20, 2009



Karen Chaussabel

Into the Horizon

Born in France, Karen spent her childhood steeped in nature, aware and appreciative of her surroundings; the connection endured, all the while moving to Canada, and now creating in Texas; her work speaks to those landscapes and the process of integration and movement. "This body of work represents a journey of exploration, both personal and artistic. The fluid quality of monotyping with encaustic paint, is particularly suitable to embodying land and sea masses. The experience of loosely brushing the paint onto a hot plate, having colors run into one another, blending and melding, contributes to the feeling of exploration, of stepping a little further into those horizons as expansive bodies of water and land emerge. Trust and respect of the process are at the heart of my creative journey." "I enjoy being in the process, engaged in a dialogue with my material. I find that through that dialogue, my experience in art and life are enhanced. By letting materials be my guide, I get the unique opportunity to grow and cultivate my creative voice. And exploring those new horizons through art has given me a familiarity with them I did not have when I stood in their midst. That connection brought me to appreciate where I am"


Susan Sponsler

Yellow Work

Susan Sponsler was born in Seoul, Korea. She was adopted by American parents and arrived in the United States -  Iowa, specifically. Sponsler's father, a Korean War veteran, and her mother went through the Holt agency to  adopt two babies - Susan and the two years later, a brother.  "The Yellow Work series consists of encaustic photo-based images related to my experiences as an Asian American  adoptee. My early dislike of the color yellow was closely entwined with my low self esteem as an Asian American.  From derogatory to powerful; naming ourselves Yellow now comes from the strength of our survival."  "Yellow Work incorporates photos of myself along with items symbolizing Asia including, traditional Korean  language symbols, bamboo, the beautiful yellow leaf and other nature photos with yellow as the main focus."  Sponsler's work has been exhibited internationally - Seoul, South Korea, The US Embassy in Panama City and in  various cities in the US such as New York, Los Angeles, Houston and Dallas, to name a few. She has a bachelor's  degree in advertising and a Master of Fine Arts degree in photography from Texas Woman's University.


From the reception:




Brett Dyer

El Triunfo de la Muerte

The Triumph of the Dead

October 24 - November 13, 2009


"Often death is seen in a dark manner, however just as much life and energy can result from death. The body of work for El Triunfo de la Muerte explores the various ideals, effects, and affects of death within humanity and society. It was Vincent van Gogh who said “…we take death to reach a star.”

~ Brett Dyer


Brett Dyer received his BFA in painting and printmaking at UT Tyler and his MFA at TWU. Brett is teaching art at Tarrant County College and creates in encaustic wax.








From the reception:




Waxy 100

August 14 - September 30, 2009


Exhibiting artists:

Hayley Elizabeth Juster, Susan Sponsler-Carstarphen, Liz Rogers, Sam Wood, Caryl C. Gordon, Allison Gillies, Dan Cunningham, LeAnna Markus, Maya Dubove, Wendi Medling, Tricia Dewey, Laura Griffin, Diana Chase, Rhonda Daniel, Pamela Rabin, Heather Jean Clinton, Lydia Gowens, Michelle Pryor, Junanne Peck, Karen Chaussabel, Crystal Gordon, Susan E. Wiedner, Brett Dyer, Deborah Hobbs, Deanna Wood, Bonny Leibowitz, Rafael Soto, Jenny Hudson


From the reception:



Bonny Leibowitz

for registration and questions



The Encaustic Center

580 W Arapaho Rd. #271

Richardson, TX. 75080




580 W. Arapaho Rd. #271, Richardson, Texas, 75080