Backlit floating frame

Buddha 1, pigment ink on wax-infused kozo paper, ambient lighting, 10"x8"

I've experimented with floating frames where I can sandwich a wax-infused print between two pieces of glass. For the example shown above, I printed a photo on Awagami double-layered kozo, then peeled the kozo image layer from the pulp backing. The resulting image was then infused with encaustic medium on the hotplate. The paper is very thin (approximately 30 gsm) and enhances its translucency by capturing ambient light from the back. I prefer this method of backlighting to using LEDs since it is much simpler and the mood of the image changes constantly with the surrounding light.

Back view

Backlit wax-infused photograph

Since I'm interested in the translucency of wax-infused Japanese unryu washi paper, I've been experimenting with backlighting a photograph printed with pigment ink. I used an extra deep IKEA RIBBA frame and LED diode strips. Though the result is acceptable, I still need to tweaks the positioning of the light strips, the addition of a reflective aluminum backing and the colour of the light. I'd also like to see if I can layer the prints.

Encaustic

I attended a 3-day Photo Encaustic and Mixed Media workshop in Victoria led by Leah Macdonald, a well-known artist-photographer from Philadelphia. It was very inspiring since it involved playing with, exploring and discovering techniques for using beeswax over photographic prints, mounting on wood, Masonite or other substrates. It was an opportunity to meet other artists from BC and explore various media along with the molten wax: oil sticks, acrylics, natural and man-made objects.

In the Buddha piece above, rubbing, scratching, scoring, stamping and other techniques were used to enhance the initial image printed with pigment ink on unryu washi paper which was mounted on thin plywood. This is the kind of work I am aiming for since it allows me to get my hands dirty again and create a unique work.