“The thermoplastic nature and translucence of encaustic are rare, intrinsic qualities, which I find endlessly fascinating. Given the variables of pigment composition, spontaneous effects unattainable with any other medium tend to exhibit themselves. The “paint” has a very physical quality, capable of an exciting range of applications.”
From: Philadelphia | Medium: Encaustic Paintting
Born 1959 in Waterville, NY, Dale Roberts attended Waterville Central School and graduated in 1977. At Rochester Institute of Technology, Dale studied foundational art and majored in painting. As a sophomore he worked in RIT’s graduate program. He transferred to the Tyler School of Art in Philadelphia, where he continued as a fine arts major. He earned a BFA in painting and Cum Laude honors in 1981. Mr. Roberts also received the prestigious Rohm and Haas Purchase Prize that year.
Dale Roberts has taught art for more than 15 years at various levels. At a Philadelphia private school he was chair of the fine arts department and instructor for grades 7-12. He later taught at Arcadia University as an adjunct professor in drawing and painting. Several of Roberts’s students continue to win prizes and show at notable fine art galleries in Scottsdale, the U.S. and abroad.
Dale’s exhibition record includes many juried shows and several national competitions. Galleries from Philadelphia, New York and Atlanta have handled his work, and he has numerous one- person shows, juried and museum exhibitions to his credit. His work is in many public and private collections in the U.S., Canada and London. Dale Roberts is Fine Arts Juror for the Pennsylvania Governor’s School for the Arts. He was the subject of a Public TV documentary in 2002. Dale Roberts has participated in different panel discussions specifically related to encaustic painting, and he has delivered museum lectures on related subjects.
Dale Roberts resides with his family near Philadelphia, where he maintains his studio.
“True, classic encaustic, a process dating from Roman times, is my medium of choice for my investigations in painting. I work on glue-prepared gesso panels; my “paints” consist of beeswax, damar resin crystals and dry pigments. I apply the “paint” hot and manipulate it with various techniques. I use different brushes, knives and “implements” to create the textures and desired appearance. Finally, I heat treat the entire surface – a stage called “burning-in.” This final process, essential to the true ancient method, causes the layers to fuse into a stable, inert paint film.
Over the past twenty plus years I’ve experimented with various paint formulas and application methods. The thermoplastic nature and translucence of encaustic are rare, intrinsic qualities, which I find endlessly fascinating. Given the variables of pigment composition, spontaneous effects unattainable with any other medium tend to exhibit themselves. The “paint” has a very physical quality, capable of an exciting range of applications. Encaustic has extended my own vision to the point where technique and aesthetic have fused – like the paintings themselves, really.
True encaustic materials and methodology require careful studio preparation; studies, notes and drawings are indispensable aspects of the procedure. The remote nature of the process brings its own challenges and allows for internal changes as reactions to the observable world. My finished encaustic art needs no special care. It can be polished periodically to remove dust and bring up its natural luster.”
Rohm and Haas Annual Purchase Prize for Painting, 1981
University of Pennsylvania Hospital
Fidelity Bank of Delaware
CLC Publications, PA