The new work continues to serve me as an extension of how I view the things around me. Color has always and will forever be the inspiration in my journey as a painter. Of recent years living in an urban landscape consumed with visual media noise… I find myself back to my original default color… Payne’s Gray. Concrete, silver skies, steel and metallic pavement cracks. Nothing can be missed when veils of color results in variations on a theme of a singular color. Texture, shape, dimension… a dialogue on the edge of the paper.

Experimenting with cloth, pulp and fibers, using encaustic as my medium, grew into my new work- “what remains beneath the surface.” How deep can the surface go and what remains unquestioned, and unnoticed… I refer to it as deconstructed beauty.

Having an innate understanding for fabric– how the yarn, weave, texture, surface and finish behave under pressure led me to encaustic.

My passion as an abstract expressionist and textile designer has resulted in a place of “paring down to the basics,” creating a compositional tension of parts.

Through a discipline and culmination of a lifetime in textiles and painting, I needed to isolate what matters… to find what remains…

As Jonathan Miller Spies, Editor of Hanging Papers Press, writes:

“Bronkar has moved, recently to a poetic mode: the works are intimately scaled and cleave toward monchrome. Sheets of paper soaked in wax and collaged, with an outside-in compositional device: now the edges of the paper are on the inside of the picture, pressurizing that interior activating the outside. The textural ground of the encaustic– gritty, almost industrial, to the semi-transparent and rounding– makes a raw stage for the dance of delicate lines and edges: the occasional dash of muted color resonates profoundly.”