Wax additive issues

Reading through the description of Oleogel on Natural Pigments’ website I see no mention of wax. It appears that it is composed of drying oil thickened by fumed silica. We have asked George O’Hanlon to comment here to clear up any confusion.

Even though Oleogel does not have any wax additions that we are aware of, it is a good to wonder about how additions of wax may adversely affect your paint layer if you are adding it to oils. Small additions are likely alright but more research is needed to clarify just how much is “ok.” Certainly adding as much as 1/3 wax medium to your oil medium (as has been suggested in other recipes) will create a paint film that will remain sensitive to solvents and possibly some of the issues I have listed below which can be found under the “Encaustic” section in the Mediums and Additives document in the Resources section:It is generally considered best practice to apply wax paints on rigid supports as the paints can potential crack on flexible supports, especially at lower temperatures.
Store and exhibit alkyd paintings in dust free environments with relatively stable levels of temperature (60-70 F) and humidity (45-60%). Paintings should not be subjected to light levels over 200 lux or exposed to direct sunlight.
When wax mediums are exposed to extremely low temperatures they become increasingly more brittle and therefore more susceptible to cracking. Conversely, high temperatures can lead to softening of the medium and in some cases can cause the medium to permanently deform. Environments with higher levels of temperature and humidity can also lead to the accumulation of dust and grime on the surface; if the wax becomes soft, dirt and grime can become permanently imbibed in the surface. High humidity alone has also been found to cause wax coatings/layers to bloom, as water molecules can become trapped in voids or interfaces between layers creating an overall hazy appearance.
It is not advised to apply paints containing large amounts of wax over other mediums; however, some artists prefer the aesthetic effects created by applying wax mediums over oils, alkyds, acrylics, etc. Such layering is still considered to be an experimental technique.
It is best to not apply a varnish over paints that are rich in wax. Varnishes that are dissolved in common solvents (e.g. mineral spirits) will likely dissolve the wax medium in the underlying paint layers, causing smearing and/or becoming permanently incorporated into the wax paint.
As an alternative to varnishing, it is far preferable to buff the surface to create an appropriate level of sheen using a piece of silk fabric.
Certain pigments have been known to react adversely and/or degrade over time when present in high pH environments (saponified wax). Artists should select pigments that are known to withstand high pH mediums (e.g. lime/fresco) when working with saponified wax mediums.
Unlike oils, tempera, acrylics, and other mediums, encaustic paintings can be re-worked years after they have been completed, although this may trap any accumulated surface grime between/within layers of encaustic paint.

Thanks for the clarification George. Given the very low concentration and the physical properties of this stabilizer, it does not appear that its presence in Oleogel would contribute to the concerns mentioned by the original poster.