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About the Artist – Interview with Fine Arts America


Mustang Sally

Horse Group Contest,
1st Place Winner, “Mustang Sally,” by Cate McCauley

“I hope Cate inspires you as much as she has inspired me.”
– Jani Freimann.

Her art career began in 1975, as a sixteen-year-old apprentice, when everything was done by hand; eventually becoming well-known for her technical pen and ink illustrations. Pyrography started as a hobby with a few paying gigs along the way.

Cate McCauley has done pyrography on wood, as is most-common with this art form, but she is currently creating her beautiful paintings on watercolor paper.

What is Pyrography?

It literally means to “draw with fire.” Pyrography is perhaps our earliest form of art. Even cavemen (probably women too) did it. Back in the Victorian era, they used butane torches. It was quite popular then. Today, we use electrically-controlled units that can heat metal-tipped pens to temperatures ranging from 500 to 900 degrees Fahrenheit. The temperature is then controlled by dialing up or down.

Then about nine years ago, while standing by my step-father’s death bed, I was hit with the realization that life is too short. It was time to go for it. That’s when I built-up an inventory and began exhibiting my pyrographic illustrations.

Her choice of wood was ¼" Russian Birch cabinet-grade plywood, but it was getting too expensive and harder to find. Wood also limited her choices in applying color. Plus she wasn’t fond of people touching the artwork at shows: “That made me a bit crazy.”

In 2009, when most of her art on wood had sold, Cate decided it was time for a change. She wanted to take pyrography to a new limit. It took the better-part of a year experimenting with various types of paper before choosing upon Arches #140 lb. Cold Press watercolor paper.

Creating a pyrographic painting is a very long process of building-up layers. Large pieces can take Cate 50-plus hours, with less complicated works between 10–30 hours. The unique tones burning produces are very different than any other medium – such as ink, graphite or paint. “Pyrography actually changes the surface much like etching or engraving. There’s nothing like it.”

What tools do you use?

nisburner unit

Nibsburner “Best of Show”

My electrical burner unit is a Nibsburner
“Best of Show”
that has inputs for two pens with dials to regulate the temperature of each. I use Detail Master solid-vent pens that have fixed-tips for better heat transmission.

There are many tips available. I only use a few, a smooth-tip that glides over the paper and pointy one for details and texture. Pen tips lose heat when they touch the surface. Regulating the temperature adjusts for that and creates different tones or shades. Having the right equipment is the key to success in this medium.

Ever run into any complications?

I’m still waiting to swat a mosquito with the pen in my hand – so far, so good. But seriously, yes, I’ve run into problems. Not often, but it happens.

The pen will burn through the paper if you let it sit in one place too long. If you work the paper too hard, it can become crispy. Keeping a steady hand in constant motion and sometimes spraying the paper lightly with water helps to counteract those issues.

Christmas Morning

“Christmas Morning”
was finally completed.

Recently, humidity got the better of a complicated Christmas-theme piece. The fibers became mushy and I pushed it too hard. Three weeks of work went down the tubes. That composition took a long time. I plan on working on it again, perhaps next Christmas.

What are the benefits of burning on paper?

First, the artwork can be nicely-presented in a frame behind glass. Second is the ability to make high-quality scans in order to make reproductions. And finally, paper is readily available and consistent in quality.

Most fun piece?

tom the rooster

“Uncle Tom the Rooster” Commissioned.

I just finished a commission for an art collector who wanted a remake of “Uncle Tom the Rooster.” Getting a picture of that feisty alpha bird was the funniest photo shoot ever, crawling around on my hands and knees with this crazed rooster wanting to take a piece out of me; so drawing him put a smile on my face.

Most challenging piece?

I was asked to create a portrait of Rusty who passed away a week shy of his 50th birthday. In order to help pay funeral expenses, the family held a benefit. I had to work fast, and morph three different pictures into one portrait. And, of course, it had to be spot-on.

Rusty All Star

“Rusty All-Star” Commissioned by family.

Rusty’s portrait was raffled for over $1000. The winner then gave the artwork to his mom. There wasn’t a dry eye in the place. The time constraints, degree of difficulty and the raw emotions involved made that one a big challenge.

Most bizarre commission request?

People ask me all the time if I do tattoos. My answer is “sure, but you wouldn’t like it very much.”

In closing?

This year my work has been shown in several exhibits. “Colonial Kitchen” won 2nd place and honorable mention awards. I was featured in Pyrography Magazine. My new 2013 Wall Calendar is being offered in retail markets.

So it’s growing, becoming more full time as people are noticing and collecting my artwork. Overall, I feel very blessed and am looking ahead to even bigger, better horizons.

(Interview with featured artist Cate McCauley,
by Jani Freimann, Port Orchard, WA.
Published on Fine Art America, Dec 2012.)

Angel Arts Magazine Interview


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