PATRICIA BALDWIN SEGGEBRUCH BIO
for this we are created,
Encaustic and oil on panel, 48 x 36 inches
Patricia Baldwin Seggebruch is an internationally recognized artist whose work explores the profound quietude of the internal horizon. For over two decades, she has been a defining voice in contemporary encaustic practice—penning four books, including the bestseller Encaustic Workshop, which parted the ways for encaustic to become the contempory practice it is today. Trish created the internationally acclaimed annual all encaustic retreat, EncaustiCamp, in 2010, held in the Puget Sound region of Seattle and throughout the world.
Today, working from her studio in a restored 1880 Victorian castle in Lexington, Kentucky, Patricia’s practice has evolved into a rigorous exploration of material “smallness” and spiritual reconstruction. Her current work exists in a fruitful tension between two primary series: Subtle and Blank Canvas.
In Subtle, she utilizes large-scale canvases to explore the power of settling down. Through repeating hand-cut lino block patterns and soft, ombre gradients of encaustic and oil, she creates a visual rhythm that mimics a steady breath, inviting the viewer to find strength in the immediate and the understated. In contrast, her Blank Canvas series documents the architecture of the “second chance,” dismantling her own creative history to restructure cardboard, paper, and canvas into reconfigured topographies unified by gesso and steel staples.
Together, these works represent a life dedicated to the “unrepeatable vista”—the belief that the tools we grasp become vessels for our deepest truths, and that the touch of a unique hand transforms the familiar into the utterly novel.
Beyond the studio, Patricia is a visionary educator, having spent two decades sharing the wonder of encaustic throughout the world.
Whether through the ancient medium of beeswax or the industrial grit of stapled paper, her central impetus remains the same: to guide others toward their own authentic core and to reveal the extraordinary beauty that lies within the familiar.
EDUCATION
1989 University of Colorado, Boulder, Colorado BS English
SELECTED EXHIBITIONS
2026 Subtle, solo exhibition, WheelHouse Art, LEX, Lexington, KY
2025 Women in Motion, group exhibition, Natalie O Design, Louisville, KY
2023 RE: Surface, two-person exhibition with Gary Carpenter, WheelHouse Art,
Louisville, KY
2020 B. Deemer Gallery, Louisville, Kentucky, Solo Exhibition
2019 New Editions Gallery, Lexington, Kentucky, Solo Exhibition
City Gallery, Lexington, Kentucky, Solo Exhibition
2017 New Editions Gallery, Lexington, Kentucky, Solo Exhibition
Lynn Hanson Gallery, Solo Exhibition, Seattle, Washington
2016 City Gallery, Crosstown Colors, Lexington, Kentucky, Two Person Exhibit
SABiO, , ArtJazz, Lexington, Kentucky, Four Person Exhibit
City Gallery, RE-imagine invited artist, Lexington, Kentucky
2015 Frances Keevil Gallery, Sydney, Australia, Solo Exhibition
Bundaberg Regional Art Gallery, Bundaberg, Australia, Solo Exhibition
2014 Lynn Hanson Gallery, Seattle, Washington, Solo Exhibition
2013 Fraker/Scott Gallery, Seattle, Washington, Solo Exhibition
2012 Fraker/Scott Gallery, Seattle, Washington, Solo Exhibition
2011 International Encaustic Artists’ Masters Show, Troutdale, Oregon
Encaustic Art Institute, Santa Fe, New Mexico Columbia City Gallery, National Juried Exhibition
Rock, Paper, Scissors show, Seattle, Washington
Fraker/Scott Gallery, Icon Show, Seattle, Washington
AWARDS
International Encaustic Artists Association (IEA) Project Development Grant
IEA La Vendeenne award, nomination
Great Southern Art Award, Australia, Best of Show, Award
E.D. Foundation N.J. Project Grant
Washington State Arts Commission Artist Development Grant
RESIDENCIES
2014 Bundaberg Regional Art Gallery
2013 Vancouver Art Centre, Albany Western Australia
2011 Grunewald Guild, Washington
2010 Sitka Center for Art and Ecology, Oregon
ACCOMPLISHMENTS
Creator of internationally attended annual art retreat EncaustiCamp Creator of OPENstudio, encaustic art foundation driving the goal to reach more, teach more, inspire more~ offering exceptional all-inclusive art retreats with US and international instructors Creator of EncaustiKits: Creative encaustic kits designed to bring the fine art of encaustic to artists worldwide with the goal to reach more, teach more, inspire more~ Author of four books on encaustic instruction; see Publication
PUBLICATIONS
Encaustic Workshop: 10th Anniversary New Edition
Encaustic Revelation, North Light Press, 2014
Encaustic Workshop: The Whole Ball of Wax North Light Press
Encaustic Mixed Media North Light Press
Encaustic Workshop north Light Press
Assorted magazines and periodicals as well as DVD and YouTube video
IN THE COLLECTION OF
St Joseph’s Hospital, Lexington, Kentucky
City of Albany, Albany, Western Australia
UK Hospital, Lexington, Kentucky
Jason Horjes, Scottsdale, Arizona
Encaustic Art Institute, Santa Fe, New Mexico
Symmetra Financial, Bellevue, Washington
WestPac Bank, Sydney, Australia
GALLERY REPRESENTATION
Editions Limited Gallery, Indianapolis, Indiana
Lynn Hanson Gallery, Seattle, Washington
Fischer Gallery, Jackson, MississippiGallery 1930, Birmingham, Alabama
WheelHouse Art, Louisville & Lexington, Kentucky
Gallery 126, Armidale, NSW, Australia
Xanadu Gallery, Scottsdale, Arizona
310Art, Asheville, North Carolina
ARTIST STATEMENT
In my work I strive for simplicity in design as it pertains to an internal calling for the same. With a deeper conscientiousness toward integrity, the intertwining of body, mind and spirit and the true elemental beginnings from which all created bits arise, I propose to expose the truest nature and fundamentals of life.
Through the practices of minimal color, gentle rhythm and ritualistic shape usage and simple form design, alongside the use of pigments from their source, earth matter as art material and creative guidance from intuition rather than external prompt I hope to speak back to the joy, richness and exhilaration of creation without shouting it to the world~
“The Artist is no other than he who unlearns what he has learned, in order to know himself,” E.E. Cummings
“For a long forever I have felt things preexist. Not in the grand sense, although that too; but that’s another conversation. I mean in the sense that elements, materials, tools have all been at hand, used by others, and reused by us. By me. Yet I also believe, in the grand sense and in this materiality sense, that these preexisting things are never repeated, always new, because of the hand that holds them. I believe that when one is standing in the river flow of their own unique life, that whatever comes to be in their hand a paint brush, a dentists tool, an electricians meter, that the river flow will say what it is meant to say, purely because that person is standing where they’re meant to stand. You have your own way of looking at things; I have mine. We can share, to the deepest of our being our own view, but never can we replicate with any truth and spirit, each other’s horizon. In this is the why of why I teach.
For a long forever I have taught it all; everything I get my hands on, my hands in, my mind around, is translated back to the best of my ability because I trust the universe to put it into the hands of those who are meant to find it, use it, and make it their own. I don’t believe in the prospect of imitation; only authenticity.
Therefore, what you get every time you come into my space, is everything. All that is required of you is that you stand in the flow, find your footing therein, and take it up to make it your own. You have that responsibility. If you want to be among the ones who get to be a part of the perfect, clear, prescient creation; this is your job.
It is your charge; to take great ownership of all that courses in you, to look around and understand, in the way only you can, in your own inimitable way. This is your duty to life. And to each other. For now, we here, as well as those past and those to come. We owe it. you owe it. yet the beauty of this debt is that it pays back, thousand-fold, when you give into the terms~
Forever and always I end in love.” – Patricia Seggebruch
ampersand
Featured artist: Patricia Baldwin Seggebruch
Murmur Installation, each 4x4, encaustic on Ampersand Unprimed Basswood
Artist, author, and international instructor Patricia Baldwin Seggebruch has shaped the world of encaustic through her teaching, books, and inspiring creative vision. Her work has been exhibited and collected worldwide, earning numerous awards and recognition for both artistry and influence.
Almost Like Sunshine, 48x36, encaustic on Ampersand Encausticbord
Q: Tell us about the first time you tried encaustic painting and what made you fall in love with it?
My journey into encaustic painting began in 2003 out of a desire to create image transfers from landscape design blueprints. Even before taking the official plunge, I was already exploring wax as a textural element in my mixed media works, primarily using a stovetop setup. Discovering formal encaustic channels for learning and growth was a game-changer.
Interestingly, my love for the Ampersand surfaces developed much earlier. I first started working on Ampersand’s Claybord, using Golden Fluid Acrylics and alcohol to create abstract color reductions. It was another lifetime ago, but if memory serves, I discovered the panels through a workshop with Maxine Masterfield. The luminous beauty of that initial surface discovery has stayed with me.
When Encausticbord was introduced, transitioning to it for my encaustic paintings was a natural and immediate choice. The thing I enjoy most about the surface is its ability to illuminate the paint it carries. I also tend to begin a surface with charcoal. The Encausticbord surface marries beautifully with this treatment, allowing the marks to smear or be defined while bonding to the surface to become an underpainting for my encaustic compositions through the application of a quick fuse. Between its luminosity and the pleasure offered through working with charcoal, it’s become something of an obsession for me.
Torial, 24x18, encaustic on Ampersand Encausticbord
Q: What’s the most challenging aspect of encaustic painting?
While most artists I work with will point to the technical challenge of ‘controlling the wax,’ for me and my process, the difficulty lies in the artistic discipline it demands.
The most challenging aspect is maintaining my values and working within the bounds of simplicity. This involves a constant effort to preserve the integrity of both the wax medium and my design, all while simultaneously pushing into the realm of ‘what if.’
Encaustic offers an unparalleled opportunity for exploration and creative expression, and it’s a medium that demands curiosity. It never fails to lead me down one fresh path after another. This perpetual sense of discovery—and the need to trust that intuitive curiosity—is what I strive to instill in my students. It is, ultimately, the greatest challenge the medium presents: not to overplay the depth of opportunity and inclusion encaustic offers.
The First Walls, Diptych, 24x36, encaustic on Ampersand Encausticbord
Q: Tell us about your annual EncaustiCamp retreats. How did they begin, and has their purpose evolved?
I conceived EncaustiCamp in 2010 as an all-inclusive, all-encaustic, week-long retreat—a complete immersion into the world of encaustic painting. From the start, I aimed to offer a deep dive into the medium’s multifaceted inclusiveness and endless possibilities. While the format has adapted and gone through many iterations over the last 15 years, that commitment to a profound, single-medium focus has never wavered.
My recent hiatus was critical; it began with the challenges of COVID and continued by my own choice to take the necessary time to evolve the program’s structure. As I look forward to the 2026 relaunch, the original motivations have been infused with greater intentionality, particularly regarding sustainability—both environmental and the long-term health of each artist’s practice.
This refreshed purpose is anchored in fostering intimate, cohesive community building and the passionate drive to help each participant realize their highest personal expression. I truly believe this commitment is a significant contribution I can make now, creating an impact that will resonate in the creative landscape far beyond my own lifetime.
And with all that said, EncaustiCamp is back and blossoming in two beautiful locations as I relaunch the community! Join us for our first retreat near Nashville, Tennessee, April 26–May 1, followed by a return to our origins near Seattle, Washington, July 25–31. Both intimate retreats offer the same all-inclusive, intensive focus on encaustic painting, providing a unique atmosphere and instruction tailored to each location. Secure your spot and find all the details and registration information here.
To Make a House a Home (detail), 24x18, encaustic on Ampersand Encausticbord
Q: How does teaching artists feed your own creative joy and practice?
Having recently spent time away from instructing, the value and sheer necessity of teaching to that of my own creative expression has become blindingly clear. I simply cannot create with the deepest intentionality I’m here for without the second arm of my artistic body—that of teaching, or as I prefer to call it: sharing, inspiring, and empowering others.
My personal art practice is now relaunching right alongside my return to teaching. While the reentry process can sometimes feel unwieldy, the necessity of standing here, with both arms fully engaged, is crystal clear. The two practices are completely symbiotic: my work in the studio enhances my teaching, and the act of teaching always inspires and deepens my personal art.
This powerful connection is a gift. I’m regularly, if not daily, awakened to the joy of getting to do what I do—to create, to teach, and to teach to create—and now realize I wouldn’t have it any other way, and am delighted anew that I still get to.
Given as a Gift, 48x36, encaustic on Ampersand Encausticbord
Q: How do you decide when to use soft, muted hues versus bold, saturated ones?
I don’t decide; the rhythm of the process decides! Honestly, I’ve discovered that rhythm is the true key to impactful art. My color choices—whether they are soft, muted hues or bold, saturated ones—emerge from a practice of releasing my grip and letting go of preconceived notions.
While initial ideas are necessary to begin, the deepest, richest work happens when I allow the first stroke to speak directly to the next, rather than imposing my own will. This is a lifelong process of release, but one I am now more than ever delighted to engage in.
This philosophy of surrender isn’t limited to my brushstrokes; it guides the design and delivery of my retreats and art events as well. While the notion of “release” can sound cliché, I find that its power lies in the fact that clichés are always grounded in fundamental truth.
Only on the Southside, each 21x7, encaustic on Ampersand Encausticbord
Q: When working on a painting, what stage do you like best and why?
I love two distinct places in the painting process.
The first is the moment before the first mark is made. That blank surface holds the richest potential—the point where a single, niggling idea has me itching to hold the brush. However, this initiation inevitably begets frustration as I wrestle with the “rhythm and release” inherent in my process.
Once I let go and the painting begins to grow into the beauty it’s meant to become, I reach my second favorite place. This is the moment when I can see clearly how the current painting is calling to the next, and the next. Therein lies the original, larger vision that was always the potential from the start: the realization of a full installation of expression.
Whether that installation involves three, five, fifteen, or even three thousand paintings, like my Murmur installation in 2021, the joy of seeing the individual work connect to the whole is the ultimate reward.
Poetry Wall (detail), each 21x7, encaustic on Ampersand Encausticbord
Q: Do you consider how the pieces in a series interact within a space, as if they come together to create one sculptural form?
Consideration of the final installation is never an initiating force, but it absolutely becomes one as a series evolves. I need first to understand why the work is coming into being, then where it can serve, and how it will show itself to the world begins to take shape.
Collections like Murmur (2021) or Poetry Wall (2017) began to emerge along this timeline. My vision for their final placement and installation began to take shape as I started the process of primitive creation, and the place for installation or exhibition certainly comes into consideration as part of its final expression. It’s a bit of a dance: the work comes together of its own volition and flow, yet at a certain point, it actively demands to find a place to live outside of the studio.
I rarely create a truly stand-alone work. If a piece does exist alone, I have now come to consider it as ‘transitional’—a stepping stone on the way to the next large installation or collection that is already waiting to take on its final, sculptural distinction.
Communal Quilting Bee, each 4x4, encaustic on Ampersand Unprimed Basswood
Q: What inspired you to create EncaustiCastle, and how has it become a space for nurturing and sharing the encaustic community?
While the name EncaustiCastle was an easy choice—a natural fit after establishing EncaustiCamp and EncaustiKits—the true inspiration was a lifelong, deep-seated desire for community. I wanted to create an environment dedicated to nurturing encaustic expression, a space where local and global artists could come together, connect, and then weave those connections back into their own respective worlds.
This desire became acutely focused after my years of teaching abroad from 2013 to 2015, during which I traveled through Australia, New Zealand, Bali, and Italy. Being so far from my home base, community, and family created an unexpected ache in my soul. This profound longing manifested as the driving force behind this development.
Upon returning to the U.S. in 2015, I established the EncaustiCastle. Today, it has grown into a full-fledged compound offering residency capacity for artists from around the world, creative and business development through retreats like WinterWax, and studio spaces for local artists on grounds rich with perennial fruits, flowers, and forage.
I can now confidently own the fact that this sensibility for community building and nurturing is simply part of my soul. Having honed this ability as a mother of four for the past 35 years, the EncaustiCastle Compound is a culmination of that practice: a physical space built on a foundation of care and connection.
Artist Bio:
Patricia Baldwin Seggebruch is a recognized figure in the encaustic art community with three decades of artistic exploration and teaching. She is dedicated to crafting the art of encaustic, drawing inspiration from its unique materiality, color, and boundless opportunities for self-expression. Her abstract artwork reflects a sophisticated understanding of the medium.
Beyond her personal practice, Trish is a passionate educator who empowers artists worldwide through immersive retreats and workshops globally. She is the author of influential guides, including Encaustic Workshop, Encaustic Mixed Media, and Encaustic Revelation. She also founded EncaustiCamp in 2010, which continues to be an invaluable resource for the encaustic community.
Currently, her endeavors keep her deeply involved in:
- The relaunch of EncaustiCamp, the annual retreat run 2010-2022, now in two locations: Horizon, near Nashville, TN and the Hearth location outside of Seattle, WA.
- Building anew, renovating old at the EncaustiCastle Compound as the vision for its potential grows and takes on new energy.
- Managing and hosting eight studio artists on this compound.
- Fostering the 1/4-acre compound perennial market flower gardens
- Serving as editor of the Enkaustikos newsletter.
Trish continues to inspire and empower artists to discover the transformative power of encaustic through her extensive experience and unwavering commitment to the medium.
To see more of Patricia's work, visit her website, Instagram, and Facebook.
Meet Patricia Baldwin Seggebruch
Stories & Insights January 25, 2024
We’re excited to introduce you to the always interesting and insightful Patricia Baldwin Seggebruch. We hope you’ll enjoy our conversation with Patricia below.
Patricia, thanks for taking the time to share your stories with us today It’s always helpful to hear about times when someone’s had to take a risk – how did they think through the decision, why did they take the risk, and what ended up happening. We’d love to hear about a risk you’ve taken.
Sold it all! That’s right-on a whim, as I’d call it looking back from this 10 years gone by vantage-selling my home, all possessions, car, packing my youngest son, husband, and I into two 50lb suitcases each and taking off for a two year life down under was complete whimsy! All this being decided and executed over a quick nine month time frame was a bit ludicrous. But stars align, trust ruled, and good work paid off. The three of us lived from these same suitcases, traveling Australia, New Zealand, and Bali teaching encaustic and exploring a world we’d never have known existed had we not taken this risk. Many of the people we met have become life long friends, and the time living in this luminous space of exploration and curiosity afforded me not only amazing exhibition opportunities but also several chances to bring others down under through hosting my annual retreat, EncaustiCamp, abroad. Truly a life changing whim, and one I would not change for the world. Despite certain difficulties and hardship, perseverance won the race and taught me life lessons in courage, resilience, flexibility, and community. :)
Patricia, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?
I began in abstract art from my basement over 25 years ago. An ‘escape’ from the harried life of raising four sons under the age of 7, I tucked my creative expression into the spaces between naps and food. Fast forward to 2003 which found me working my way through the ‘new’ medium of encaustic; I was hooked! 2007 afforded me the opportunity to publish the first book in workshop format on encaustic and from there, the marriage of creating my own art to that of teaching and inspiring others was born. Five books, world travel teaching, industry awards for life accomplishment, I could ask for no greater reward for the life I’ve invested in the arts. Now settled into Lexington, KY after a life on the west coast and abroad, I host retreats, residencies, and artist’s studios on my compound, The EncaustiCastle. My work in abstract encaustic as well as oil is exhibited worldwide with concentration in Lexington, Louisville, Sydney, and Seattle. Most notable was my installation in 2019 titled Murmur. These 3000 4″x4″ encaustic panels were installed in New Editions Gallery in Lexington forming a flowing expression of color, texture, and beauty mimicking the communal connection of Starling murmurations.
Can you tell us about a time you’ve had to pivot?
In 2019 I took a year off in order to refuel and realign. I’d burned myself out moving full force into building and holding space for all of the sharing and inspiring I’d come to love about the artistic community I’d been a part of and built. I had lost the rhythm and timber of my own creative practice and needed a sabbatical year to discover it anew. Little did I know that Covid would turn this year into three! And not just three, but an entirely new direction. With the courage and trust that I was not finished on this entrepreneurial path, and that the creative community still had a footing on which to stand, I persevered while also remained open to how and where I might shift within this creative community framework. Resilience and determination are necessary arrows in an artist’s quiver, most especially if part of that artists ambition is to be present in a community of like minded, and to thrive in the environment of inspiration and dedication. Alas, 2023 found a new way, doors opening, and courageous ‘walking through’. The EncaustiCastle now boasts full studios with seven artists onsite, the castle proper home to a fantastic group of students, and the gardens and grounds thriving in the attention I now afford them. More shifting and exploration are sure to come as time takes things into new evolutions, but these years of discovery and learning, being open as best I could be to what may come rather than what I ‘must’ do as prescribed, have fed nutritious fuel to the fires of my ambition and I look forward to the journey ahead once again. It may be much quieter than the previous 20 years, but this too will be fruitful, joy filled, and inspiring.
Learning and unlearning are both critical parts of growth – can you share a story of a time when you had to unlearn a lesson?
The biggest lesson I have had to learn as I’ve walked this nonconventional creative path is that convention doesn’t necessarily know the right way! I was raised in a very conservative, conventional paradigm. My parents and three sibling all trod professional paths into HR management and engineering degrees. I walked with an english major because I loved to read!
My unique leaning toward art, introspection, self discovery, was not so much frowned upon as puzzling to my parents. I tried to fit the proper mold, facing the mental, emotional, and of course physical rejections my soul manifest from this forced way. But of course, this had to break at some point.
Once releasing the constraints due to divorce, it was as if seeing the proverbial light for the first time. There was, is, and always will be a way to thrive, if one follows their gut. Little by little, 20 years down this route, I have found this to be the ultimate truth. Some days it is no easier than before to trust for financial, physical, community well being. But at the heart, when I put emotional and intuitive well being and attention at the forefront, the rest can always be trusted to fall into place.
Local Luminaries: Patricia Seggebruch
May 30, 2019
Encaustic artist Patricia Seggebruch in her home artist space. Photo by Melissa T. Hall
The first thing you’ll likely notice when you visit Lexington artist Patricia Baldwin Seggebruch’s home studio is the unique nature of the house itself: an iconic, Victorian stone house in historic north Lexington that strongly resembles a castle, complete with stained glass and turret.
Once inside her studio, which inhabits the charming third floor of the rambling structure, the next thing you’ll likely notice is the smell, familiar and comforting: the faint, sweet fragrance of bee’s wax. Seggebruch’s chosen art medium – encaustic, which involves heating pigmented beeswax and applying it to a surface – is evident throughout the studio, with beeswax, brushes, melting tins and other materials, as well as several pieces in progress, lining every surface. This is an artist who never stops.
Seggebruch’s home studio is an iconic, Victorian stone house in historic north Lexington. Photo by Melissa T. Hall
Seggebruch said the medium beguiled her the first time she tried it.
“It was life changing – I was hooked,” she said of the experience. “It offered me my most authentic, creative soul expression as well as a means of reaching out and inspiring others.”
A California native who moved to Lexington four years ago, Seggebruch has devoted her talents to the encaustic art form for the past 15 years – not only as a (seemingly insatiable) artist but as an apostle of the medium. Teaching encaustic workshops and creating other interactive artist experiences centering on the form have been a central part of Seggebruch’s professional career in the various venues she has called home, from Seattle to Australia, and it’s a passion she is continuing here in Lexington.
Seggebruch and her husband, John, bought their home – lovingly dubbed the “EncaustiCastle” – in 2015, in what she describes as a “love-at-first-sight fever dream.” After moving in, they began work right away to not only make the house a home but also to execute the artist’s dream of having a space for creating her own art and also for other artists from all over the country to gather.
“I like the model of artist community and workspace,” Seggebruch says. “So much can come out of working and learning together.”
Four years into the “EncasutiCastle” project and now, with the purchase of the house next door and the completion of a large garage with dedicated studio space, the property has evolved into a creative compound of sorts, where artists live, work and learn encaustic. A recognized expert on the medium currently working on her fifth book on the subject, Seggebruch also hosts EncaustiCamps throughout year. Artists wishing to explore the encaustic medium are invited to come and stay for a week in several guest rooms set aside for visitors. During the “camps,” participants also utilize studio spaces designed to allow artists to immerse themselves in the art form in a communal setting. Additional long-term studio spaces are also available for local artists to rent, and the EncaustiCastle features a thriving Airbnb business for additional Lexington visitors who would like to stay in a unique and historic castle, surrounded by art.
Formerly the home of a gatekeeper for a local cemetery, Seggebruch’s historic North Limestone property serves as home, studio, communal arts space and Airbnb rental. Photo by Melissa T. Hall
In the midst of launching, managing and tending to the communal living and work space, the artist has taken on one of the most ambitious projects of her career: an art installation currently up at New Editions Gallery titled “Murmur.” Featuring 3,000 four-inch encaustic paintings, the installation is the result of close to two years of planning and painting, over 2,000 hours in the studio and a 150-hour installation process that utilized the efforts of four people. The final product is a flowing installation that spans over the New Editions Gallery’s three rooms of exhibit space, swooping and soaring like a murmuration of birds, which is the inspiration for the piece.
Despite the hours and effort behind the arduous envisioning and installation process, New Editions Gallery owner Frankie York said the exhibit has been a great joy and true example of vision and collaboration.
“The installation of ‘Murmur’ was a true collaboration,” said York, who worked alongside Seggebruch and her son Patrick, as well as New Editions Gallery employee Julie Buchanan, on the installation.
“There is a quiet beauty to each of the 3,000 encaustic panels that pulled us together...and Patricia is the quiet leader you find yourself following, wanting to learn more,” York continued. “The longer you know her, the more layers and depth you find, which resonates out into everything she does.”
Inspired by the murmurations of starlings, Seggebruch’s ambitious installation at New Editions Gallery consists of 3,000 four-by-four-inch encaustic paintings. Photo by Tiffany Combs
