The Mortal and Memorable: Image and Figure in Wax
Saturday Morning Panel: The Roots of Contemporary Encaustic
Dan Addington, Heather Hutchison, Lynda Ray, Joan Stuart Ross, Tremain Smith; Joanne Mattera, moderator
In sequential PowerPoint presentations, five artists of achievement--all longtime painters working in wax or encaustic--will talk about their work and that of the two or three other contemporaries who have inspired or encouraged them, or whose work they admire. In this way a picture will develop of those whose efforts and visibility, teaching and organizing have contributed in very large measure to the worldwide interest in wax and encaustic today.
Sunday Afternoon Panel #1: Standards and Practices in Teaching Encaustic
Milissa Galazzi, Sara Mast, Cherie Mittenthal, Toby Sisson
In this ongoing discussion-- begun with Cherie and Sara in Conference 6, joined by Toby in Conference 7, and now joined by Milisa for Conference 8--four teaching professionals will continue their examination of safety, materials and content in the teaching of encaustic, with the introduction this session of ethical issues. Those teaching at all levels are encouraged to attend and participate in the discussion. This is a 90-minute session.
Sunday Afternoon Panel #2: Who Says a Commercial Gallery is the Only Place to Show?
Nancy Azara, Darla Bjork, Cheryl Clinton and Sandi Miot
While our professional practice presentations often focus on the challenge of getting into a commercial gallery, there are many other viable options for artists. Our panelists, all widely exhibited and reviewed, have each taken steps in their careers to create opportunities that put artists in control of exhibiting their work. They will discuss starting, running and participating in a cooperative gallery, a member gallery run by a director, a building-wide Open Studio event, an artist-run museum, and more. This is a 90-minute session.
Hour long Events
Susanne Arnold and Richard Frumess
Perhaps no other artist material carries with it such a range of symbolism as does wax. It implies permanence because it is impervious and stable, impermanence because it is so readily transformed from solid to liquid to solid, fragility because it is brittle, mutability because it remains receptive to reworking. These contradictory aspects have led to its use in depicting both the mortal and the memorable, the human and the idealized. Susanne and Richard draw from their individual talks at Conference 7 in a collaboration to explore even further what these concepts mean in art when they are looked at, not from the abstraction of philosophy, social hierarchy, and religion, but from the physicality of wax itself.
Wax or What?
"It’s not just about the object but rather the entire experience,” says Binnie. Throughout her travels this past year, she saw a lot of art and objects that she found intriguing for their materiality and richness. Many pieces appeared to be made of wax or to use wax in their construction, while others evoked a similar response in their use of glass, lacquer, and other media. Binnie will show and discuss the works of Ann Hamilton, Rafal Zawistowski, Nika Neelova, Delphine Lucielle, and the Fushimi Inari Shrine and others.
Building the Encaustic Sculpture
In this popular demonstration, Pamela will show her methods for creating fully dimensional forms over a substrate of papier maché that has been formed over an armature of metal screening and plaster gauze. Because the armature is relatively light-weight, the forms can be manipulated in whatever way you wish and worked large. And because the skin is wax, it can be painted as you choose. This is a great way for painters to think dimensionally, or for sculptors to think in a painterly way.
Experiments in Platemaking with Hot Wax
The fluid nature of this collagraph method to create printmaking plates is appealing for its low toxicity, the use of simple materials and the diversity of its visual outcome. In the spirit of experimentation a plexiglass substrate will be treated with gestural brush work, stamping of found objects, embedding textures in the wax surface, linear drawing with a hot tool, free-flow pouring, and tape/stencil manipulation for precise geometry and image definition. These surfaces can be incised, heated or removed as the image is developed. Printed intaglio or relief, the plates can be layered with each other, combined with monotypes, solarplates, or dry points. Many samples of plates and prints will be displayed in addition to the demonstration.
Moving the Work Forward: Presenting to a Gallery
This interactive session is designed to remove barriers, identify next-steps, and empower artists to reach their full potential. Learn the secrets of presenting your work to a gallery, developing stronger marketing materials, and writing a more effective artist statement.
Mix Masters Batik Tools and Encaustic Painting
Back by popular demand: This demonstration focuses on the use of traditional Indonesian batik tools with encaustics. In batik work the wax is a means to an end; it dissolves during the dyeing process. This demonstration will show how to use batik caps and canting tools (traditional Indonesian batik tools for stamping and pouring wax) with encaustic painting incorporating collage, mixed media, sgraffito, direct painting and oil media.
Elena De La Ville
Preparing Your Images with Photoshop . . . Or how to make sure your work is getting the best exposure.
Back by popular demand and updated: An artist’s work is never done! Once your piece is finished you need to focus on applying to shows, submissions on the Internet, web page, blog, Facebook, galleries and Zapp applications. You also need to know the best options for printing catalogs, books, postcards and prints. Each of these options require their own settings for optimum reproduction and distribution. By understanding the parameters for submitting images of your work and being aware of how that image is being used will increase your chances of being seen or chosen. In this talk, Elena will cover image quality, image size, scanning your work, white balance, saving, archiving and more, all in Photoshop.
Color Theory in the 21st Century
Back by popular demand: This explanation of color relationships modernizes the traditional color wheel taught in art school. The importance of pigment differences from four distinct eras will be explained in a way that artists can easily put to use in studio practice. It will leave you eager to try out this new wheel with paints you already own. Hylla is the author of
Color Theory Workshop,
published in May 2013 as a succinct instruction in color mixing.
Monoprinting and Relief with Kozo Fiber Stencils
Back by popular demand: Jennie will demonstrate how to transform strands of kozo (mulberry) fiber into stencils to be used in encaustic monoprinting, and later, incorporated as a relief element in the final piece. Jennie takes long strands of kozo fiber and manipulates it to conform to her expressive preliminary drawings. When dry, the kozo becomes a rigid open-shaped stencil. Using kozo as a resist during monoprinting will also be covered. Jennie will take you step by step through preparation of the kozo, creating the stencil, monoprinting, and assembly.
Mix Masters Materials, Methods and Process
In her expansion of the talk she gave at Conference 7, Lorraine will present and discuss the work of contemporary artists who use alternative materials and construction techniques, as well as a range of processes to generate structure, form and content. The materials these artists use is as wide as it is varied, including found, household and recycled materials, Tyvek, hair, rubber, adhesives, fire and encaustic. Process may be the repetition of a single action, restriction by a set of rules, or restriction to the use of one material and one process, to name a few. The artists whose work Lorraine will show are inspirational, as they not only exploit the inherent properties of their materials, but at the same time transform the materials from their original use.
Design Tips for Presenting Your Work Professionally
The design of your website, business card, postcards, catalogs, packaging, framing and installation all play an important role in how your work is perceived. Jane’s presentation will cover how the presentation of your work influences decisions by galleries, museum curators and art consultants. She will show photos of exemplary presentations and then go into a bit of design 101, addressing basic concepts of layout, typography and the use of common elements across various platforms to create a consistent look. She will introduce good template-based designs for website and business cards that are easy to use and can be personalized. She’ll finish with tips on how to determine when it’s time to bring in the design pros.
Basics Fusing with Irons, Torches and Heat Guns
In this demo, open to anyone who wishes to be introduced to fusing or learn more about a particular fusing method, Lynette will discuss and demonstrate fusing with all the tools, noting their advantages and disadvantages. If you’ve feared the torch, or don’t have a clue about using an iron or heat gun, come and see your options. Demonstration will include using the iron to achieve a smooth surface as well as a hot gouging tool; learning the range and shape of various flames used in torch “heat brushes”; and temperature and option considerations when working with a heat gun.
Studio Visit with Howard Hersh
In a personal talk that relates very much to The Roots of Contemporary Encaustic
panel, Howard will welcome you into his studio--actually, a series of studios--that reflect the arc of his long and successful career and the intertwining of his life and art.
Screenprinting Onto/Into Encaustic Paint
Jeff will demonstrate the unique process of screenprinting oil paint, pigment sticks and pigmented encaustic gesso onto/ into encaustic surfaces. He says: "I use a simplified approach towards screenprinting that makes this process easy to grasp and unites graphic print elements with painting surfaces and motifs." The demonstration will exhibit multiple print applications/runs as well as single monoprint ideas and is designed for intermediate to advanced level encaustic practitioners.
Expanding Your Vision
Back by popular demand: Do you ever find yourself wondering what “next direction” your art should take? This talk is for those interested in learning how other artists move their work forward to the next level. In presenting images and descriptions of a wide range of unique approaches to artmaking, Deborah will offer ideas about these artists’ methods that can inspire next steps for your own studio practice.
Susan Lasch Krevitt
Mix Masters Creating Texture and Dimension with textiles
Wool, cotton and silk textiles are a great resource for creating texture and dimension. This demo, updated from Conference 7, will show ways to slide, piece, fold, wrap and drape textiles to create both 2D and 3D forms that can be used as structural or surface elements. Creating linear elements, using stitching to influence shaping, and working modularly will be included in this demo and on the Demo Boards that will be passed around. The benefits or working with new and upcycled textiles will be discussed, these techniques can be used by beginners or anyone looking to ass texture and dimension to their work.
Living and Sustaining A Creative Life
Conversation and discussion with Artist/Editor Sharon Louden about Living and Sustaining a Creative Life,
her recently published book of essays by artists about juggling creativity with the daily grind of life. In this day and age, when art has become a commodity and art school graduates are convinced that they can only make a living from their work by attaining gallery representation, it is more important than ever to show the reality of how a professional, contemporary artist sustains a creative practice over time. The 40 essays collected in Living and Sustaining a Creative Life
are written in the artists' own voices, taking the form of narratives, statements, and interviews. Each story is unique, but the common thread is an ongoing commitment to creativity, inside and outside the studio. Both day-to-day and big-picture details are revealed, showing examples of how it is possible to sustain a creative practice that contributes to the ongoing dialogue in contemporary art. These stories inform and inspire artist at all levels an stages of their career, helping to redefine what "success" means to a professional artist. We expect to bring in one of the contributors to the essay, which we’ll announce here. Note: Living and Sustaining a Creative Life
will be featured in the Saturday afternoon Book Signing session.
Lisa, a master printer who works out of a studio in New York City's Chelsea district and upstate in Castleton, will demonstrate the relatively new process of creating an intaglio plate with UV light and water on a specially prepared surface. She'll take you through the process from making the plate to printing it. For artists working in encaustic (or any medium) solarplate printing expands your options in printmaking, with or without encaustic.
Mold Making and Casting with Wax
Back by popular demand: This demonstration is intended to give you a sense of wax as a sculptural material through casting. There will be examples of single- and multiple-part silicone molds which are highly effective for creating a series of cast pieces. Wax will be cast into the mold as part of the demonstration. There will also be examples of working into the mold with design, incorporating/embedding objects into casings, and finishing techniques. This is advanced subject matter best serves those with a basic understanding of encaustic process. (Note: This is a 90-minute session)
Mix Masters Photographic Color Separation for Collage
Back by popular demand: This demo will show how to use digital color separations to build a photographic image using wax medium as an adhesive. Focusing on the assembly part of the process, Wayne will use printed images, explaining his method and performing a basic assembly while addressing tools and materials used in the technique. This technique would be of interest to those working with photographic and printed materials as well as those working with collage. The color separation technique is best understood by those who have a basic understanding of Photoshop.
Encaustic Works 14 Uncovered
Laura will present a slide talk about the latest edition of Encaustic Works, R&F’s ever-evolving survey of contemporary art in wax. This latest edition was curated by artist Michelle Stuart, a pioneer in the utilization of organic mediums such as earth, beeswax, seeds, and plants. We will take a look at Stuart’s work along with an expanded look at some of the artists she selected. The emphasis will be on works that go beyond the bounds of traditional artistic resources, articulating complex processes through a language that explores both the physicality of materials and cultural and scientific issues. Note: Encaustic Works 14 will be featured in the Saturday afternoon Book Signing session.
Mix Masters Bricolage with Dimensional Materials
is a French term that describes dimensional mixed-media work using objects and materials that are re-purposed, re-identified and transformed into art. The medium of encaustic naturally lends itself to the incorporation of other materials and objects, but initial attempts at such combinations often result in the disappointing “junk on a panel.” We will view the work of contemporary artists who use bricolage to make startlingly beautiful works that overcome the humble origins of their components. Some artists use encaustic or wax and others do not. Nancy will show several works each by internationally renowned artists such as El Anatsui, Leonardo Drew and Petah Coyne as well as works by accomplished artists who are among our presenters and conferees, such as Jeff Hirst, Susan Lasch Krevitt and Lisa Zukowski.
Working in Cold Wax
Carol will demonstrate how to make and store cold wax, using a few recipes and suspensions for the beeswax. She will also cover how cold wax can be used as a stand-alone medium on a variety of surfaces and how it can also be added to oil paint to create layers of depth and luminosity. Unlike encaustic, cold wax is used without heat and does not need to be fused. Because cold wax takes some time to dry, additives can be used to hasten the drying process while also providing flexibility. Basic, environmentally safe studio practices will also be covered, ie: cleaning without solvents and creating your own filtration systems for cleaning of brushes.
The Perfect Pour
One of the most useful applications of a poured layer of encaustic medium is to prepare a smooth surface for accepting a detailed transferred image. Sherrie will explain and demonstrate the materials and techniques necessary to make a successful poured surface.
Mix Masters Mark-making and Encaustic with Mixed Media
Says Lisa: "This demo will cover some of my favorite materials and techniques that help create interesting and, eventually, personal mark-making systems. I will begin with transparent layers of medium and demonstrate the various materials and tools I use to achieve a richness of surface. Drawing techniques, pan pastels, ink, pigment sticks and more. This demo is for all levels who may be looking for new ways to approach painting and mark making with encaustic. "
Mix Masters Secrets of Using Graphite
Paula shares her many secrets for combining graphite with encaustic. These methods apply to encaustic paintings and wax on paper or encaustic prints. You will learn how to make graphite into a liquid for painting; use graphite powder and pencil directly on wax; create heated drawings on the HotBox; use graphite with stencils, transfer rubbings and drawings; make graphite oil sticks, encaustic sticks for monoprinting, and your own graphite transfer paper. Other techniques include the use of tools and brushes to create marks and atmosphere, fusing with lamps for special effects, making graphite paste, and hard-drying acrylic and graphite material. Also covered are scientific and conceptual applications of this popular artist’s material.
Imaging For Artists
This seminar deals with the issues related to using photographic images in your work. If you sometimes want to generate an image or use an existing image that you’ve made, but are not sure of the hows and whys, this demo talk will answer those questions. A point-and-shoot digital camera, iPhone, and digital SLR can all be useful tools to integrate photographic images into encaustic work. Additionally, you can use a scanner as the camera to create elements or full compositions. We will look at why you might add photos or photo elements and the software choices available to make prints (on a wide range of substrates) or digital negatives. Adobe Lightroom, Photoshop and Photoshop Elements will be discussed. This session is not to teach you how to make image transfers, but how to create images that can then be used as image transfers or mounted to boards and waxed or dipped in wax and used.
The Art of Pricing Your Art
"Not getting enough on your ROI? That's okay; I had no idea what that meant until I started paying for frames…and I needed a Return On my Investment., says Jeff, who has a thriving practice as a studio painter who often undertakes large commissions throughout the Mid Atlantic region. "Once I established my own profit margin, I had the confidence and knowledge to approach the galleries with an understanding of business. What I had to offer was more than art, it was a mutual respect for business. I have over 20 years of hard knocks schooling that helped me grasp the basics of economics 101 and I’d like to share that with you. If you're making great art, now is the time for a better business."
What & How: Scrollworks
Back by popular demand: Working on the HotBox, Pat will demonstrate vertical scrolls, horizontal scrolls, fans, and hand scrolls. The initial step is a printmaking technique—a monotype—which is reworked through painting on the reverse side. Working with a monochromatic palette, she will place a heavy influence on black and white design. Composition points I will stress are positive and negative space, repetition of shape, and movement. Pat will discuss and show various papers, tools, and encaustic paints used in her unique approach to monotype.
Selling Material in a Digital World
In her thought-provoking multimedia talk, Laura will explore the impact social media is having on how people produce and consume culture. “The experience I am proposing is an interactive one with opportunity for conferees to participate in moderated conversation and Q&A,” says Laura. “The goal is to get a juicy conversation started about the role material-conscious encaustic work has to play in a culture increasingly consumed by digital communion.”
Mix Masters Mainly Metals
This demonstration focuses on a variety of gilding techniques and materials for integrating with encaustic painting. Topics include sizing, gilding and sealing the surface with genuine and imitation metal leaf; loose leaf gold leafing above and below the surface, patent leaf for leaf transfer, ribbon leaf for larger flat surfaces, metal flakes and metallic foils for accenting encaustic works. Embedding metal shavings, shards, and sheets onto encaustic painting will also be demonstrated.
Basics Introduction to Encaustic
This demonstration will introduce participants to the fundamentals of encaustic painting. Encaustic paint options will include commercially made paints, as well as encaustic medium made from scratch. Equipment and tools, painting supports and grounds will be addressed. Various fusing options will be be demonstrated along with discussion about when to use which. Various techniques to create texture and line will be demonstrated, as well several ways to introduce imagery to a work with transfers and rice papers. Basic studio safety and ventilation will be discussed.
Mix Masters Pigment Wizardry-Special Effects with Pigments and Encaustic
In this exciting demonstration, Gregory will show the varied uses of pigments, such as powdered, aqua-dispersion, and metallic. The reactions of these pigments mixed with various solvents, including water, alcohol, and shellac atop encaustic surfaces will be highlighted. Enhancing manufactured encaustic paints, creating your own encaustic paint and coloring encaustic gesso will also be shown, along with enhancing texture and relief. As always, Gregory will focus on the safe handling of these products, working with a torch, as well as studio safety, safe practices, and ventilation.