Encaustic painting over pigment prints on paper.

I started working with encaustic wax around 2018 as a way to deepen my physical connection to photography. After 100 Days of Disconstruction, I realized how disconnected I had become from my photographic work. I had spent years shooting film and making darkroom prints, but with digital photography, I lost the tangible, hands-on experience of working with my images. I needed to get back in touch—quite literally.

Having spent time photographing underwater, encaustic wax felt like a natural extension of that world. When heated, it melts, swirls, and drips like water, creating a sense of movement and fluidity. At first, I experimented with applying it to my underwater images, but over time, I found myself more drawn to its effect on demolitions and natural landscapes. The process allowed me to reshape my images into something more tactile and unpredictable—each piece a singular, unrepeatable object.