Durhams Carrack Modern Art is a beehive of activity.
The gallery, at 111 W. Parrish St., opened in June 2011 as a zero-commission, no-cost-to-artists community art space. Every 10 days, a selected artist gets the door keys, the help of Carrack supporters, and the freedom to transform the space for this time as he or she wishes.
On Tuesday, when Libby Lynn raises the curtains on her show, the Carrack will be abuzz even more than usual.
Lynn will have more than 70 paintings on display, created using encaustic medium, the main ingredient of which is beeswax.
For the duration of the show, there will be a living beehive in the gallery, Lynn said.
Beekeeper Matthew Yearout is making the beehive installation possible and assured Lynn it would not hurt the bees. Yearout will give a talk in the gallery on urban beekeeping at 7 p.m. Wednesday.
At the exhibit opening from 7 p.m. to 10 p.m. Friday, Jude Casseday will perform a soundscape that she composed.
In August, I placed microphones in two of Matthews beehives and recorded the sounds, Casseday said. This soundscape includes samplings of Libbys encaustic process torches, fusing and the chopping of beeswax as it melts samplings from the beehive recording, and my own composition. The soundscape, titled Hot Wax/Shadowdoubt/BeeSynthony, will loop in the gallery for the duration of the exhibit.
You tend to think of encaustic works as creatures since they smell faintly like honey, Lynn said. You work so closely with the beeswax as you are hovering over the hot griddle used to melt it. You gain a respect for bees.
Encaustic medium, which in its simplest translation is melted beeswax colored with pigment, has been used for millennia but has never been mainstream. When artist Jasper Johns spoke about using it in creating some of his paintings, it emerged from its relative obscurity.
It is having a huge renaissance right now, and I think it has to do with social media and people having access to information, Lynn said. Influential people in the encaustic community really do a great job of promoting their work. When people find out about it, they are fascinated.
It is unusual, she added. It is not something you grow up learning about.
It is also not a very easy way to make art.
When you are working with wax, you are working between a solid and a liquid, and it is very difficult to control, Lynn said.
As she will show in a demo about encaustic painting from 1 p.m. to 3 p.m. Saturday, one of the core principles of encaustic is fusing where each layer of laid-down medium is fused to the layer below in order to secure it. Some of Lynns works have up to 40 layers.
Fusing is difficult. I think it is the hardest thing about encaustic in terms of getting the effect you want, she said.
Lynn will give an artists talk at 7 p.m. Nov. 26, and the show ends Nov. 30.
Lynn, who creates in many media, including video, got drawn into the encaustic world after she saw three very small pieces by Kate Kretz at Raleighs Artspace. I could not figure out what medium she had made them in, said Lynn. Once she learned about encaustic, she was inspired to take a class in it at the Penland School of Crafts. Now, Lynn teaches classes in the medium at Happymess and at the Durham Arts Council.
Several of the paintings in Lynns exhibit are of a mystery woman who is never far from Lynns mind.
In addition to her paintings, the exhibit will have lockets, brooches, rings, bracelets and earrings that Lynn made using encaustic medium.
All of the pieces are for sale, most at prices that even a child who has a sated piggybank can afford. I believe that art should be affordable and accessible to as many people as possible, Lynn said. Art is important, and I think that we have forgotten that.