STEPHANIE ROBERTS CAMELLO

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"A Little Fall Of Wheat", encaustic relief over old letter and ink, 6" x 6" x 2.5", $200

"A Little Melody", encaustic relief over music manuscript, 8" x 8" x 2", $300

"Acting Out", encaustic relief over old letter, 8" x 8.5" x 2", $300

"All Soul's Day", encaustic relief over music manuscript and ink, 8.5" x 8.5" x 2.5", SOLD

"Blessings", encaustic wrap over ecoprinting, 13" x 12" x 4", $650 (framed)

"Cornered", encaustic relief over indigo dyed paper, 6" x 6.5" x 3", $200

"Curving In", encaustic relief over rusted paper and ink, 8" x 8" x 2", $300

"Eclipse", encaustic relief construction over old letters on wood, 32" x 27" x 3.5", $2,200

"Falling Softly", encaustic relief and plaster over eco-printing on silk, 6' x 6.5" x 2.5", SOLD

"Family Grounds", encaustic wrap over eco-printing on silk, 16" x 20" x 4", $1,500

"Glimmer Of Hope", encaustic relief over old letter and ink, 14" x 11" x 4", $875

"Hard To Come By", encaustic relief over old letter and ink, 8.5" x 10" x 3", $350

"I Believe", encaustic relief and plaster over old letter and ink, 6" x 6" x 4", $200

"In The Shadows", (diptych) encaustic relief over old letters, 20" x 20.5" x 3", $1,800

"Oklahoma 1919", encaustic relief over old letter, rusted paper and ink, 8" x 8" x 2", $300

"On The Edge", encaustic relief over rusted paper and ink, 6" x 6" x 3", $200

"Send Prayers", encaustic relief, joint compound, old letters, 8.5" x 10" x 2.5", $350

"Shadowland", encaustic wrap over eco-printing, 11" x 11" x 2.5", SOLD

"Texas Flood", (diptych), encaustic relief over old letter and eco-printing on fabric, 25" x 20" x 5", $2,200

"The End Of The Day", encaustic relief over eco-printing on silk, 6" x 6" x 3", $200

"Through The Years", encaustic relief over old letters and rusted paper, 8" x 8" x 2.5", SOLD

"Mortal Memory I", encaustic, old letter, rusted paper, old envelope, 8" x 8" (image), 12" x 12", $300 (framed)

"Mortal Memory II", encaustic, old letter, rusted paper, old envelope, 8" x 8" (image), 12" x 12", $300 (framed)

"Troubled Times", encaustic relief and ink over old letter, 6" x 6" x 3", SOLD

"Weather Dependent", encaustic relief, joint compound over old letters, 12" x 12" x 3.5", $550

"What Ties Us Together", encaustic relief over old letters and cold wax, 24" x 19.5" x 3.5", SOLD

BIO
Stephanie graduated with a BFA in Painting from Rhode Island School of Design in 1985. She was awarded a residency at The Vermont Studio Center in 2016. The article “Thriving on Experimentation by Flavia Cigliano featured Stephanie’s encaustic relief work in the March/April 2018 issue of Artscope Magazine. Her work is featured in the 2015/2016 winter issue of The Surface Design Journal called “Memory, Spirit and Gender: Existential Themes in Fiber and Wax” written by Joanne Mattera. She has shown her work extensively throughout the east coast. Stephanie is a member of New England Wax which consists of 32 artists working in hot and cold wax in all of the New England states and will be president of the organization in 2021-2023. She and her husband run a honey business called Queen Bee Honey, where she harvests and cleans some of the beeswax that goes into her paintings. Her work is in the collection of Meditech and Mitz Levin and Enkaustikos, as well as many private collections.

“Discovering a box of old family letters in my family’s basement would change the way I painted and how I thought about my work. There were stacks of letters bound in twine according to who sent them, dating back as far as 1919 through 1946. Many of them reference the dust bowl days of Texas and the Great Depression. I come from a family of cattlemen and farmers who were dependent on the weather for their survival. Loss of crops due to droughts and tough conditions in raising cattle are common themes coupled with money problems. These problems are not mine, but I couldn’t help relate them to obstacles and set backs that we all have.
Encaustic is a medium that can be worked flat or sculpturally. One of its many attributes is it can retain any stress mark or scrape once it cools. It has an innate feature for documentation. These letters represent a period of suffering, loss and endurance in our country, and for me, the intricately-worked encaustic shrouds became metaphors for struggle and change. Layers of wax literally cover up the past. I peel them back to reveal a portion of what once was. Revealed, exhumed, manipulated, up-ended, exposed-all of these actions give me a sense of freedom, and the ability to step outside myself. Seemingly destructive to the surface, the peeling plays a positive roll in removing a build up and seeing what has been lying dormant. It holds a stratum of time much like the earths core. The depth created working this way is jarring to me, confrontational, alluring and frightening. There is risk involved, but the presence of this relief work conveys a sense of resilience and life which keeps me returning. It speaks with a boldness and beauty which is also fragile. This opposition between image/content and material is the catalyst for the development of my encaustic relief series. This work continues to evolve as I find new ways to shed light on the past that enlightens and informs the future.”

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