Student Highlight: Lee Anne White

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Meet Lee Anne White.

It’s funny how we can hear something repeated so often that we simply accept it as truth. Early in my photo encaustic journey, I was told—again and again—that black or very dark photographs should never be used with encaustic. The wax would supposedly cloud the shadows, dull the richness, and ruin the image. So I avoided them.

And then I discovered the work of Lee Anne White, and everything I thought I “knew” fell apart.

The first time I saw her images, I was mesmerized. What was she doing? How was she doing it? She proved the myth wrong and showed that black-and-white images can look absolutely stunning in encaustic when treated with intention. Her work felt deep, elegant, and timeless—nothing muddled at all.

It was also Lee Anne who opened the door for me to the beautiful world of PanPastels. This is one of the great joys of teaching: I often learn just as much from my students as they learn from me.

Below is a short conversation I had with Lee Anne. I hope you enjoy getting to know her—and if you want to see more of her work, visit her website at www.leeannewhite.com.

 

Tell us a little about your work.

Although I shoot many different subjects, I am principally a landscape and botanical photographer. Right now I’m working on a photo encaustic project called A Bowing Acquaintance With Plants, which is a series of black-and-white portraits exploring the unique characteristics that give plants their personality. I’ve also been playing around with encaustic collage—something I’d love to have more time to explore.

What draws you most to photo encaustic?

I love the depth and texture that encaustic medium adds to a photograph. It makes you want to reach out and touch the piece—to engage with it in a way that you wouldn’t (and couldn’t) a straight print.

How long have you been working in the medium?

I have been experimenting with encaustic for around two years—mostly trying to get a feel for the medium, what I can do with it and what works best with my photography. Just recently, I began work on my first in-depth photo encaustic project.

What are your ‘go to’ materials that you love using?

Pan Pastels and oil sticks top my list. I love printing on Japanese Kozo paper.  And I adore handmade papers, old book pages and random scraps of paper for encaustic collage.

Do you have a manifesto or creed?

I’ve always believed in learning something new every day. In recent years, however, I seem to have adopted a new guiding principle: Look at things another way. I find this is helpful in photography, when experimenting with art, and when tackling everyday challenges.

What are your inspirations?

Creative inspiration can come from almost anywhere—and does. Most often, however, I turn to the natural world for inspiration, and reading never fails to trigger ideas. I am also inspired by great design of any kind and the work of other artists—particularly those who have mastered the art of simplicity.

How do you feel when you create?

It depends upon which phase of the creative process I’m in. I feel excited and energetic when exploring ideas. I often get frustrated and impatient in the planning process—that time between dreaming and doing when I must figure out the “how,”—but know that good things tend to happen when I push on through. Once I hit my stride, it is an odd combination of being both intensely focused and relaxed. I especially love making things with my hands; it just feels right. This is one of the reasons I love working with encaustic.

What music do you listen to as you create?

My play list is pretty eclectic and depends on what I’m doing.  Some days it is acoustic guitar, New Age or soft jazz; other days you’ll find me singing along to oldies or indie rock . I’ve also discovered I like the sounds coming from the woodworking shop adjacent to my new studio. They’re not loud enough to be disturbing, and there is something very calming and satisfying about hearing others working at their craft.

What sustains you?

Quiet time alone, with those who mean the most to me, and in nature. The simple act of creating; it’s as essential as breathing. And knowing that my work has connected with or touched someone in some way.

 

 

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Be well….be creative,

Clare

 

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