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“Eye of the Hurricane,” Sculpture Collection, Museum of Encaustic Art, Santa Fe, NM - 2019
2020 St. Louis Artists' Guild, "Myth or Memory," Clayton, MO
2012 E.A.S.T., Cepeda Branch Public Library, Austin, TX
2019 Museum of Encaustic Art, “Permanent Collection Exhibition: 50 States/200 Artists,” Santa Fe, NM
2019 Art Saint Louis, "Honor Awards Exhibit 2019," St. Louis, MO (Curator: Jessica Mannisi)
2019 Encaustic Art Institute, “No Creative Boundaries – Anything Goes,” Santa Fe, NM (Juror: Ellen Koment)
2019 University of Connecticut Art Gallery, “National Encaustic Exhibition,” Stamford, CT (Curated by Dorothea Osborn)
2018 OA Gallery, "4th Annual ManyMini Exhibit," Kirkwood, MO
2018 d'Art Center, "Merged," Norfolk, VA (Juror: Peter Eudenbach)
2018 Art Saint Louis, "Pink Pearl," St. Louis, MO (Jurors: Mary Borgman and Brigham Dimick)
2018 Foundry Art Centre, "Micro Macro," St. Charles, MO (Juror: Peg Fetter)
Award of Excellence, Art Saint Louis, 2018
Featured Artist, May 29 2020, Ladue News
Featured Artist, Winter 2019 Encaustic Art Magazine
Encaustic Art Institute, Member Gallery, Santa Fe, NM
The Art Collective Gallery, Rogers, AR
Art Meets Vintage, St. Charles, MO
The layers of paper and found objects in my sculptures explore those expected and unexpected life experiences which give texture to our personalities, that shape our minds and bodies. As the written content, color and images of the papers I collect superficially describe each character I create, then also the inner, twisted skeleton of paper becomes the structure of a person’s physical and emotional memory. I enjoy the journey I take while applying visible patterns to the secret, unseen symbols used for structure and bulk to give my characters their own private moments and secret thoughts. Sometimes these secrets are my private jokes and sometimes they are more serious in nature.
While each of my pieces is sealed with beeswax to protect the integrity of the work, the conscious intent of recycling the torn paper and natural materials suggests the possibility that each work could easily melt back into the earth were it to be left to age outdoors.
Deanne Row grew up in a family of graphic artists and jazz musicians, which influenced her interest in the arts from an early age. Combining the clarity of design with the improvisations of the jazz and blues around her, her lifelong love of representational portraits and figures has become more expressive as she explores new media and techniques.
She studied French language and art at the Lycee Saint Exupery, in Bellegarde, France, then continued her focus on painting at the Savannah College of Art and Design. While in college, she worked as a traditional candle carver to pay for art supplies; little did she know that wax would come back into her artistic life much later.
After college, Deanne studied to become a professional picture framer certified in conservation materials and techniques, and framed fine art for a decade before discovering encaustic painting in a client's gallery. She fell in love with the look and feel of the beeswax, which was different from the paraffin that she used in candle making.
As her picture framing work began to include building three-dimensional exhibition and museum displays, her artistic practice also expanded into creating assemblage pieces and sculpture. Most of her paintings and sculpture now incorporate beeswax in the form of encaustic or cold wax mediums. Of course, she still loves charcoal, oil and acrylic, and occasionally explores a theme in various media at the same time, to allow the techniques and color palettes of each to cross pollinate the others.
MEMBER OF THE FOLLOWING ORGANIZATIONS:Encaustic Art Institute Portrait Society of America National Sculpture Society Missouri Fiber Artists Art Saint Louis Saint Louis Artists' Guild
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