Over the years many people have given input and ideas to help me along the way of discovery.

  • Ted Schnorr, artist, made the first encaustic crayons in the late 1970s and shared the process with me.  He found the information referenced in “The Artist’s Handbook of Materials and Techniques” by Ralph Mayer.  After reading what Mayer’s had to say, Ted invented the crayon making process.
  • Tom Willis, heating and air conditioning contractor, came up with the design of my hot table.  I wanted a heated surface upon which to work and he suggested a piece of 18 guage sheet metal bent over 90° to create a spring in the steel so that it could be mounted on an open frame.  For a heating element he came up with 40 watt light bulbs.  Perfect.
  • PhD Candidate in Coptic Art History (sadly, we lost touch with each other and I have forgotten his name), nearly 40 years ago set me on the quest to find the actual painting methods used by the ancients when he came to my studio and set up my encaustic materials to test out the then current theories.
  • Deborah Harmon, Archeologist, Grant Meister, and artist, sent more than 100 petroglyph line drawings to use in my cave art paintings.  The rock drawings started me on the quest to make a rock to paint on and eventually I created the modern cartonnage.
  • Caroline Cartwright, Senior Scientist, Department of Conservation and Scientific Research, British Museum, has, on numerous occasions corrected my misconceptions and provided helpful explanations of the scientific research concerning the Fayum mummy portraits.
  • Martin Kemp, Emeritus Professor of the History of Art, Oxford University, supplied numerous critical comments regarding materials which steered me toward the discovery of the vegan gesso.
  • And, a special thank you to both Martin Kemp and Caroline Cartwright for their interest and enthusiasm which added synergistic energy to my ongoing process of experimentation and inspired me to reach higher levels of development than I could have done alone.