SHE MARKED HER NAME WITH 'X' - Amy Melchior

+64 021.453.418:: thelab@fe29.com

A Blueprint of Hope (2023)
Beeswax & damar resin on board
(hidden under the wax are ancient letters, recipes,
photos, drawings, piano & violin music sheets)
600 x 450 x 45mm
(detail on left, full image right)
A Blueprint of Hope 600 x 450 hidden under the wax are ancient Letters, recipes, photos, drawings, piano & violin musi
She Marked Her Name with 'X' (2023)
Beeswax & damar resin on board
(with early items such as drawings, gramophone
record cover, cross stitch transfers, dress makers
tape, Indian advt labels, rice paper & pianola paper)
600 x 450 x 45mm
(detail on left, full image right)
X She Marked Her Name with an X e 600 x 450 Letters, recipes, drawings, gramophone record cover, sand, flowers, a
Wrapped in Silk (2023)
Beeswax & damar resin on board
(with historic items incl. recipes, drawings,
postcard, handmade ribbon & tatting. Back
wrapped in silk with velvet hat flowers)
600 x 450 x 45mm
(detail on left, full image right)
Wrapped in Silk c 600 x 450 Letters, recipes, instruction drawings, H-made Silk ribbon, advertising labels,
The Passage - Eliza Eaton Riedy (2023)
Beeswax & damar resin on board
(with historic memorabilia incl. medical drawings,
advt labels, print of Amy’s hair on ancient silk,
gold & bronze powder & rice paper)
600 x 450 x 45mm
(detail on left, full image right)
230512 - AM - The Passage - Eliza Eaton Riedy g 600 x 450 Letters, recipes, medical drawings, Silk ribbon, Dried Leaves,
Even My Dress Feels Seasick (2023)
(from Elsie May's diary of her journey to NZ)
Beeswax & damar resin on board
(with Indian ink & oil paint)
600 x 450 x 45mm
(detail on left, full image right)
XX Even my Dress Feels Sea Sick b - Elise May’s Diary of her Journey To NZ 600 x 450 Indian ink, oil paint d
Flourish (2023)
Beeswax & damar resin on board
(with pigment & silver powders)
600 x 800 x 45mm
(detail on left, full image right)
Flourish 600 x 800 pigment powders, silver powder b
Elsie's House (2023)
Beeswax & damar resin on floating board
(with old family recipes, pianola paper
drawings, gold powder & pencil
300 x 300 x 30mm
(detail on left, full image right)
Elise
A Very Good Cake (2023)
Beeswax & damar resin on floating board
(with old family recipes, rusted iron
powder & Indian ink)
300 x 300 x 30mm
(detail on left, full image right)
Very Good Cake 300 x 300 x 30 - Old Family Recipes On Paper, Iron Powder (Rusted), Indian Ink
Amy in the Sand (2023)
Beeswax & damar resin on floating board
(with old family recipes & letters, printed
Kopakopa - kidney fern, sand & iron)
300 x 300 x 30mm
(detail on left, full image right)
Amy in the Sand 300 x 300 x 30 Family Recipes & Letters On Paper, Hand Printed Kopakopa – Kidney Fern, Sand, Iron
Sponge Sandwich (2023)
Beeswax & damar resin on floating board
(with old family recipes, sand, bronze & rusted
iron powder, gold leaf, lichen & Indian ink).
300 x 300 x 30mm
(detail on left, full image right)
Sponge Sandwich 300 x 300 Family RecipesSand, Iron Powder (Gold Leaf, Lichen, Bronze Powder
A Sea of Sorrows (2023)
Beeswax & damar resin on board
(with rusted iron powder & Ceylon tea)
300 x 300 x 45mm
(detail on left, full image right)
X A Sea of Sorrows a 300 x 300 x 45 - Iron Powder (Rusted), Ceylon Tea Leaves b
Silent Remnants (2023)
Beeswax & damar resin on board
(with rusted iron powder).
300 x 300 x 45mm
(detail on left, full image right)
Silent Remnants c - 300 x 300 x 45 - Bees Wax & Damar Resin, Iron Powder (Rusted).
Unearthing Memories (2023)
Beeswax & damar resin on board
(with rusted iron powder, rice paper, dried
plants, copper flakes, gold powder & oil paint)
300 x 300 x 45mm
(detail on left, full image right)
Unearthing Memories c 300 x 300 x 45 Iron Powder (Rust), Rice Paper, Plants, Copper Flakes, Gold Powder,c
Finding A Way (2023)
Beeswax & damar resin on board
(with rusted iron powder & oil paint)
300 x 300 x 45mm
(detail on left, full image right)
Finding A Way 300 x 300 x 45 Bees Wax & Damar Resin, Iron Powder (Rusted), Oil Paint b
Driftweed - Fossil Lace (2023)
Beeswax & damar resin on board
(with rusted iron powder, copper flakes,
gold powder & oil paint)
300 x 300 x 45mm
(detail on left, full image right)
X Driftweed, Fossil Lace 300 x 300 Iron Powder (Rusted), Copper Flakes, Gold Powder, Oil Paint e
The Thread That Binds (2023)
Beeswax & damar resin on board
(with Jasmine flowers & rusted iron powder)
300 x 300 x 45mm
(detail on left, full image right)
The Thread That Binds 300 x 300 x 45 d Jasmine Flowers, Iron (Rust) & Gold Powder, Indian Ink
Granny's Scarf at Pie Melon Bay (2023)
Beeswax & damar resin on board
(with pigment powders & old
navigational of the Hauraki Gulf)
300 x 300 x 45mm
(detail on left, full image right)
GRanny
Eliza’s Coat (2023)
Beeswax & damar resin on board
(with pigment powders & chalk)
300 x 300 x 45mm
(detail on left, Full image right)
Eliza
No 1 Cottage (2023)
Beeswax & damar resin on board
(with pigment powders, pencil, pages from
Brett's Colonist Guide & Cyclopeaedia')
300 x 300 x 45mm
(detail on left, full image right)
No 1 Cottage 300 x 300 pigment powders, pencil, pages from
Journey Into the Blue - Galle Fort, Ceylon (2023)
Beeswax & damar resin on board
200 x 200 x 45mm
(detail on left, full image right)
230512 - AM - Journey into the Blue 2023 -Galle Fort Ceylon a - 200 x 200 x 45 Bees Wax & Damar Resin
Bone Lace (2023)
Beeswax & damar resin on board
(with sand & oil paint)
200 x 200 x 45mm
(detail on left, full image right)
Bone lace 200 x 200 x 45 Bees Wax & Damar Resin, Sand, Oil Paint b
Driving Creek (2023)
Beeswax & damar resin on board
(with gold, bronze and rusted iron
powder Indian ink & oil paint)
200 x 200 x 45mm
(detail on left, full image right)
Driving Creek 200 x 200 x 45 Sand, Iron Powder (Rusted) Gold Powder, Bronze Powder, Indian Ink, Oil Paint b
Golden Locks (2023)
Beeswax & damar resin
(with photographic print of Amy's hair
on ancient silk, gold powder & oil paint
200 x 200 x 45mm
(detail on left, full image right)
Golden Locks 200 x 200 x 45 Photographic Print of Amy’s Hair on Ancient Silk, Gold Powder, Oil Paint b
The Fabric of Perseverance - Ceylon 1860 (2023)
Beeswax & damar resin on board
200 x 200 x 45mm
(detail on left, full image right)
The Fabric of Perseverance - Ceylon 1860 e - Bees Wax & Damar Resin. c
Adrift (2023)
Beeswax & damar resin on board
(with print of sea asparagus
Samphire on ancient silk)
200 x 200 x 45mm
(detail on left, full image right)
230512 - AM - Adrift c - 200 x 200 x 45 Photographic Print of Sea Asparagus – Samphire on Ancient Silk.
A Keepsake (2023)
Antique book of expeditions dipped in
wax & damar resin, with old photo of peonies,
an old note, rusted lace, dried plants, lichen,
linen & wool threads, copper wire, moth wings,
& very old NZ postcard
200 x 140 x 35mm
(detail on left, rear in centre, front on right)
Book Front & rear 200 x 140 x 35mm a

“As an artist, my work has always been rooted in my personal experiences and the narratives that have shaped my life. In 2021, my grandmother Audrey Betterton passed away just after celebrating her 99th birthday with our family. This was a deeply emotional time for me, as COVID restrictions prevented me and my family from being able to attend her burial. It was this experience that inspired me to create this body of work in her honour.

For this show, I have created a series of pieces that explore the themes of memory, identity, and heritage through the lens of the women in my family. Using a variety of materials to reference them such as letters, drawings, photographs, silk, lace, tea leaves, sand, rust, and dried plants, I have created multi-layered works that are rich in texture and meaning that lead the viewer to experience a range of sensations and emotions.

Encaustic painting has allowed me to incorporate these materials into the wax, creating a unique and tactile surface that invites the viewer to explore and engage with the work. Each layer tells a story, whether it be the delicate lace etched or embedded in the wax that speaks to the fragility of memory, or the rusted metal that represents the passage of time and the decay of physical objects.

What makes this body of work particularly special to me is that many of the materials used were inherited from my grandmother and her ancestors. By incorporating these tangible possessions and heirlooms into the wax, I am able to create a physical connection to my family’s history and legacy.

I have chosen to focus specifically on the stories of the women in my family, from Eliza who left Ireland in the 1840s and travelled to remote corners of the world with her children; to Hannah who gave birth to my great-grandmother Janetta onboard a boat from England as they rounded the Cape Of Good Hope! To Elsie who had the forethought to keep a diary of her journey to New Zealand at the age of 16 and of course Audrey (my Granny) who taught me so much and brought great joy to many. Through these fragments of their history and stories, I aim to highlight the often-overlooked contributions of women throughout history and the ways in which their experiences continue to shape our present.

The title of the show, “She Marked Her Name with X ” is a nod to Hannah, who marked her name with a cross, (women who did not know how to read or write signed with a cross on official documents). It serves as a reminder of the strength and resilience of the women who came before us, and the impact they have on our lives.

I invite you to join me on this journey of exploration and remembrance, as we delve into the rich tapestry of memory, ancestry, and the human experience.” Amy Melchior

A Bit about Encaustic Painting:

 The word “encaustic” comes from the Greek word “enkaustikos,” which means “to burn in.” The technique was first used in ancient Greece and Egypt, where it was used to create funerary portraits. Encaustic painting was also popular in the Roman Empire, where it was used to create mosaics and murals. The oldest surviving encaustic panel paintings are the Romano-Egyptian Fayum Mummy Portraits from Egypt around 100–300 AD.

Encaustic painting is a technique that involves heating a mixture of beeswax and damar resin, which acts as a hardener, to create a paint medium. The wax medium is heated until it becomes liquid. Powdered pure pigments are then added to the wax medium to make the desired colours.

The hot liquid wax mixture is applied to a prepared surface, such as a wood panel or paper, using a brush. Each layer of wax is then fused to the layer below using a blow torch or heat gun. The wax can also be layered and fused together with additional layers of wax & other materials such as paper or fabric, sand etc.

One of the unique properties of encaustic painting is the ability to rework the wax after it has hardened. The wax can be reheated and manipulated, allowing for a range of textures and effects.

Encaustic paintings have a luminous quality due to the translucency of the wax. The wax also provides a unique depth and texture, as well as protection for the underlying surface. Encaustic paintings are durable and long-lasting, as the wax hardens to form a protective layer.