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. Her wax paintings, which began with brushed skin-like layers of pigmented beeswax and dammar resin progressed, in one series, to 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. She initiated several bodies of work in the late 60s and early 70s that set the course for her subsequent practice. Benglis began her career in the midst of the Postminimal movement, pushing the traditions of painting and sculpture into new territories.
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