Piece description from the artist
When I was a young woman in the middle 50's, a "lady" would never go to the city (Chicago) without wearing gloves and a hat.
I still think that was an elegant look and certainly set a tone and attitude of something special.
In this new series I am focusing on sophisticated women wearing gloves; mostly white and perhaps some black.
I am wanting to keep the paintings loose and the figure abstracted to give the feeling a a time that is gone.
I will experiment with covering the oil paintings with clear encaustic to mystify them even more.
Gloves played an important role in 1950s fashion. Although glove sales weren’t quite what they used to be, they still sold well and most women had a few pairs to choose from.
In the late 1950s, women wore long, white gloves when they wanted to look ultra-fashionable and glamorous. This look was later popularized by Audrey Hepburn in the 1961 classic, Breakfast at Tiffany’s. But white wasn’t the only color. Some women took it the next step further and wore gloves that matched the color of their outfit.
Ezshwan Winding has been a visual artist for 60 years. Her art education has been intense and varied. She has been living, working and teaching in San Miguel de Allende, Mexico for the last ten years.
Ezshwan strives to make art that touches people's hearts, either abstract or figurative, and that has spiritual meaning for her. Through her art, she hopes to connect with others with the beauty of harmony, color, form and energy. Quiet introspection often gives her a starting point on an image. Then comes the application of many layers of a mixture of molten beeswax, tree resin and colored pigments; each new layer is heat fused into the existing layer with a butane torch. At times she draws or paints on the layers and then scrapes and rebuilds the facade. Ezshwan says, "This action is much like analyzing a dream." Layer after layer is applied, scraped, incised, fused and marked to allow the truth of the piece to speak. The revealed layers whisper their subtle messages. Never having complete control of the encaustic process, she allows her subconscious to take over so that the work may transform beyond the mundane and predictable. Like jazz, there are improvisations that can take work to a deeper, more subconscious state that can be meditative and musical.
Ezshwan says, "The fluidity of encaustic is challenging, exhilarating and inspiring and exciting." this make a painting that can be looked into as well as looked at. The layered luminosity is appealingly tactile in the original work, allowing the viewer to stoke and caress the surface, discovering the sensual experience of encaustic.
Ezshwan has worked in almost every medium including oil,acrylic, sculpture, and printmaking, but has concentrated on painting in encaustic for the last 14 years.
Her worked has been exhibited in galleries and museums nationally and internationally and is in both private and corporate collections.
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