Mindy Rozear — Encaustic Artist

Fire. Wax. Reverence.

Original encaustic panels built from beeswax, damar resin, and shellac burns. Tactile, elemental work made in close attention to the natrual world.

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The Premise

At the core, 

love is the everything.

Everything I make comes back to this: love as the organizing principle. Love of the natural world. Love of what persists. Love of what gets left behind and what that reveals about a life.

The medium follows the logic: beeswax, heat, pigment, shellac burns, scraped back to find what's real underneath. 

Build, burn, reveal, repeat.

Recent Panels

Originals available. Each panel is one-of-a-kind — built in layers of wax, pigment, and controlled fire.

Encaustic panel
Shellac burn
Forest abstract
Botanical wax
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The Process

Beeswax. Damar Resin. Fire.

Encaustic is one of the oldest painting mediums on record — pigment suspended in wax from bees and sap from trees, fused with heat. Here's the short version of how a panel comes together.

01

Layer

Beeswax mixed with damar resin are heated, pigmented, and brushed in translucent layers — each one fused with a torch before the next.

02

Burn

Shellac is brushed on and ignited. The flame leaves organic, unrepeatable patterns.

03

Reveal

Alcohol inks, pan pastels, and oil sticks go in. Then I scrape back — uncovering what's been buried. That's usually where the piece becomes itself.

Collector Notes

Made to be experienced slowly.

Encaustic paintings hold texture, fire marks, and layered surfaces that shift with light and distance. What appears first is rarely the whole piece.

What to notice

  • Translucent wax layers that reveal and conceal
  • Shellac burns that create organic, unrepeatable marks
  • Surface shifts that change with viewing angle and light
  • Scraped and built-back surfaces that hold the history of their making
Studio
About the Artist

It started with a tree.

My earliest memory, maybe three or four years old, is pressing my lips to tree bark to know what it felt like. That impulse to know things through sensation, to understand through feeling, never left. It just changed form.

For years the artist worked quietly underneath, surfacing here and there, gathering, accumulating.

The natural world has always been present for me and what first taught me what it meant to pay attention. 

What I call reverence isn't a philosophy. It's what happens when you get close enough to something to feel it has a life of its own. The studio is where I matabolize all of it

Now I'm in a phase of life that allows the quiet. The searching. The feeling. Encaustic is where I landed: a medium that works in layers, heat, and sensation rather than sentences. Building, burning, scraping back to find what's real underneath.

This work is an evolution in progress.


Stay Close to the Work

Acquire. Commission. Or Catch the Next Crawl.

Inquire about an available panel, request a commission, or get on the list for upcoming gallery crawls and exhibitions.