California based mixed media artist Deprise Brescia is best known for her innovative encaustic artwork and her unique style. It is something she likes to call 'Transformational Energy Art'. She coined the phrase because of the intention to raise vibratory frequencies by merging science and spirituality in her artwork. Science has proven many of the methods she uses to have a positive impact on people and environments. Although Deprise works in a wide range of mediums, large scale encaustic is her preferred style of working. Her bold use of color, craveable texture and elaborate detail makes working in a larger format a natural.
Deprise's recognizable style is earning her the reputation of a prolific, modern master. Her radical departure from the tradition use of encaustic painting sets her apart as she creates her own unique style of art.
Deprise merges elements of French Impressionism, ancient encaustic art, like the Fayum mummy portraits found at the Metropolitan Museum of Art, Greek relief sculptures and contemporary art to create something new. Her works are held in private collections and have exhibited throughout the world in galleries, museums, including the Louvre in Paris, France and public art installations.
She works with encaustic, acrylic, collage, digital art and photography as well as semi precious stones placing them into sacred and ancient grid formations and arrays for their beneficial properties. She also uses the semi precious stones of: quartz crystal, jade, garnet, kyanite, lapis lazuli, tigers eye, coral, amethyst, geodes, moonstone, black phantom quartz, rose quartz, turquoise and citrine to enhance and energize the positive intentions set forth in the artwork.
Dr Masaru Emoto and his research on water with the peace project and the water crystals had a profound impact upon Deprise and her work. After meeting Dr Masaru Emoto and receiving a blessing from the Ajari, the Living Buddha in Los Angeles California she was compelled to further this powerful work in her own unique way, through art.
