April 29 - May 31, 2026
Opening Reception: Friday, May 1, 6-8 pm
Barb Cone: “Melting Point”
Mary Bablitch: “Spirited Geometries”
Barb Cone: “Waxen Weave,” 36”X36”X1.5”, encaustic and oil stick on cradled birch panel, 2026
Barb Cone:
“Melting Point”
I have long been interested in encaustic, the ancient, versatile and technically-challenging material. The Greeks derived the term “enkaustikos” or burned in, originally describing colored beeswax they used to caulk their warships. Later, encaustic was widely used in Roman-era murals. However, the most well-known of ancient encaustic works are the “Fayum” Mummy Portraits, a series of encaustic funerary portraits created during a person’s lifetime, then attached to the person’s remains after death. Because of the durability of the encaustic paint and the dry Mediterranean climate, these portraits have retained a colorful and life-like appearance.
My first introduction to encaustic was in a workshop decades ago in the high desert of New Mexico. Encaustic was a perfect medium to express the sharp edges and high color contrasts of this landscape. Representational work was difficult if not impossible, so shapes were abstracted, the surfaces built up and carved back. he melted beeswax filled the studio with its own sweet smell. Within a short time I was hooked.
Encaustic is melted, then applied quickly while in its melted state. It is then then lightly fused with a heat gun or blow-torch. Pouring pitchers of melted encaustic medium to form the base of the paintings is a challenge as the wax tends to cool quickly and harden too soon. While encaustic paintings are usually small-scale due to the difficulty of controlling the movement of the melted paint, my goal has been to push the boundaries by working ever larger. The work has become more physical as I work larger. This created a particular problem this past Fall after I shattered my leg, had metal pieces implanted during emergency surgery and was laid up for six months. I think of “Melting Point” as “my fractured leg challenge.”
Mary Bablitch: “Blue Note,” work on paper, 35” x 27”, 2024
Mary Bablitch:
“Spirited Geometries”
Spirited Geometries is about finding movement within structure. I'm interested in how rigid forms can hold emotion, rhythm, and even a sense of play. My work is an exploration of geometric abstraction through the medium of painted collage. A non-objective approach allows me the freedom for serious exploration. A tango of color, line and form is paramount.
I unconsciously borrow from an ingrained, life-long interest in design, architecture, decorative art and textiles. My work is a satisfying combination of controlled linear design with random drawing and painting. I rely on intuition, repetition and a sensitivity to my own visual experiences. I am attentive to the possibilities that arise and give way to unexpected pairings of shape and color.
What emerges is work that balances the forces of simplicity and complexity. In Spirited Geometries, I consider form as something active. Shapes divide, overlap, and realign. Edges and seams become points of tension—holding, disrupting, and guiding each composition. The work exists in equilibrium where geometry begins to loosen and take on a more fluid, spirited life of its own.