Study and Documentation of the Materials and Techniques of Tasmanian Artist Philip Wolfhagen and the implications of the use of beeswax medium in his paintings

Abstract

This paper investigates the unique materials and methods of Tasmanian artist Philip Wolfhagen (b. 1963), known for the use of beeswax in his oil paintings. A comprehensive record of the materials the artist used from 1989 until 2014 is presented, including supports, grounds, painting mediums, recipes and techniques, varnishes and glazes, framing and final presentation, as well as the conceptual rationale and meanings behind his choice of materials. The information was gathered through a series of interviews at the artist's studio in Longford, Tasmania, and access to his journals and studio notes. In view of the materials and techniques, the vulnerabilities of all media components, coupled with the results from examinations of representative paintings are also addressed. Some conservation problems observed relate to wax mediums and the use of shellac as a barrier layer in some early works. Implications of the artist's use of beeswax and dammar resin medium are discussed as is the potential risk of failure of zinc white on acrylic emulsion grounds. The study presents outcomes of a holistic approach to the documentation of a living artist's entire oeuvre.