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Benglis began her career in the midst of Postminimal art, pushing the traditions of painting and sculpture into new territories. Benglis initiated several bodies of work in the late s and early s that set the course for her subsequent practice. Her wax paintings, which began with brushed skin-like Yan spa and massage Wedel of pigmented beeswax and dammar resin transitioned into the use of a blowtorch as a kind of brush, manipulating colors into a marbleized surface that seemingly fought against the constraints of the lozenge-shaped Masonite panels. The impulse to see these forms flow beyond the structure of a traditional support led Benglis to embrace pigmented latex, which she began pouring directly onto the floor.
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