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Students in this workshop will be given the tools to see their surroundings more fully, to more critically analyze their work, and also to refine their skills. The class will first explore color sketching in various mediums in preparation for painting. Afterwards, participants will work directly from nature. Even in a week-long course, a fire can be ignited.
You wander around with your portable easel, see something that looks interesting, set yourself up and begin to paint. STOP! Before you make a mark on that canvas you should have some idea of why this view appeals to you. Is it the arrangement of the rocks? The dark cloud moving in from the north? The way that green tree sets off that red barn? Something that reminds you of an incident when you were nine? As an artist it is your responsibility to know at least 51% of what you are painting is about and convey that to the viewer. The other 49% may be as mysterious or obscure as you like.
For centuries, world cultures have utilized the arts as a natural part of healing. Whether psychological or physical, the creative process has transformed and transcended.
new relationship?”), this inspirational, expressive workshop will assist in finding your true, expansive, healed self and unlock barriers to your full creativity.
This workshop will span four weeks in September and is open to all levels. We will meet at a different location for each class and focus on a particular aspect of The Perceptual Moment - a 3 day outdoor painting intensive Stuart Shils
September 23, 24, 25
8:30 - 4:30
Thursday evening lecture, Friday, Saturday, Sunday
$850
During these three days we are focusing on cultivating perceptual discrimination and visual clarity by understanding close, critical looking at nature and, the relation of that to constructing a drawing or painting. We’re asking ourselves exactly what we are seeing, how we are seeing, and then what to make of it on paper, panel or canvas.
The class is intended to push the mid range to advanced painter further into a kind of visual boot camp, each day a concentrated and comprehensive work schedule, but also fun and productive. In the tradition/spirit of “first strike” or alla prima, emphasis will be placed on 1) examining the perceptual processes in front of nature; 2) the editorial response that follows in the head of the painter and how that takes form graphically; 3) and perhaps most importantly, on shaking up and/or questioning what is meant by “finish”. We’re not concerned here with making anything “pretty”, sale - able or “trophy” like. With painting, one never really gets a trophy anyway – it’s always work in progress.
In addition to full day outdoor sessions, on the evening before the first day there will be a 90 minute slide talk presenting paintings and drawings made by past and modern masters, to lay out a foundation of visual themes for the next three days. (All participants should please attend, as it will be impossible to go over the same ground the next morning.) Within those slides I’ll discuss how, via graphic organization, we look at/and or make sense of construction, paint and drawing language, and how different artists have used the processes of working outside (both directly and in the studio) to achieve visual unity in their responses.Stuart Shils (b. 1954, Philadelphia) studied at the Pennsylvania Academy, Philadelphia College of Art and Temple University. Shils is represented in NY by Tibor de Nagy. And has shown with Fenton Gallery in Cork, Ireland; Davis and Langdale, NY; Gallery 33, Tel Aviv; Hackett Freedman, San Francisco, and Bernard Toale Gallery, Boston, among others. Awards include an Independence Foundation Grant, NEA Fellowship, an Academy Award from the American Academy of Arts and Letters, a Pollock-Krasner Foundation Grant.
Erin Woodbrey received her BFA from the School of the Museum of Fine Arts where she recently served as visiting faculty in the Print & Paper Department. Additionally she has studied at the California College of Art, the Carriage House Research Institute of Paper History and Technology and the Women’s Studio Workshop. Recent exhibitions include the 15th Tallinn Print Triennial,Tallinn Estonia, New Prints, International Print Center New York and Monumental Ideas in Miniature Books. Her work can been seen in the collections of Columbia College, Meyers College of Art, Provincetown Art Association and Museum and the Southern Graphics Council Archives at the University of Mississippi. When she is not in the studio or playing with her dog, Waffles, Erin can be found in the Castle Hill Tower were she is on staff as Registrar and resident organizational maven.
OPEN FIGURE SESSIONS
Happiness Is A Warm Extruder: We will focus on the extruder, a marvelously expressive but often misunderstood tool that can foster a personal aesthetic. Even though it’s a gizmo, it can produce a very fresh and direct approach to clay. The course is not just for hand-builders; it will offer insights to throwers who want to expand their clay horizons beyond the wheel.
As long as groups of ceramists continue to participate in the practice of wood-firing an age-old custom is both examined and carried on. This hands-on wood firing will be a great opportunity to work in a community setting and participate in all aspects of firing Castle Hill’s train kiln. Students will bring a variety of sized bisque pieces to glaze and fire. Each student will be allowed approximately four cubic feet of kiln space. Clay must be cone 10. In addition participants will be educated in kiln design and firing processes that maximize aesthetic options possible using wood as a fuel employing wood kilns.
All ceramics start with the use of local materials from which modern suppliers provide highly refined products with predictable results. If the potter finds and uses local clays and other materials he or she may not attain ceramic precision but will be able to produce pottery with exciting and unexpected textures and effects 
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This workshop is designed for individuals who have never touched clay or would like to review and refresh basic skills in a fun and creative environment. Students will start at the very beginning from wedging and centering to learning how to throw basic forms such as bowls, cups, and vases. Work from this class will end in a reduction firing.
The Truro Center for the Arts at Castle Hill in partnership with the Provincetown Center for Coastal Studies, invites nature photographers to explore Cape Cod for a two-day marine and coastal photography workshop; September 15th and 16th. The lifeblood of Cape Cod is the connection between our communities and the surrounding coastal and marine environments. The Cape’s magnificent light, unfettered landscapes and wondrous wildlife has inspired people and artists for generations. Join photographer, naturalist and educator, Jesse Mechling for a two day workshop photographing whales, seals, and the coastal environment of Outer Cape Cod. 
having traveled to over 30 countries and 43 states, regards Cape Cod as one of his favorite places to photograph; continually finding new destinations and subjects. Jesse has exhibited his work in group and solo shows throughout the country, and locally at art festivals and businesses on Cape Cod. His work has appeared in numerous calendars, Lonely Planet guidebooks, Nature Photographer Magazine, the electronic New York Times, Condenet, Yahoo, Geoplaneta, and American Express. He has led a summer photography workshop for the Cape Cod National Seashore since 2008, and currently works as the Director of Marine Education at the Provincetown Center for Coastal Studies. He lives in Eastham.
Professional photographer, Judy G. Rolfe will lead a CastleHill Photo Workshop out to Captain Andrew Cummings' "Wash-A-Shore Oyster Ranch" along the waters of Wellfleet Bay where we will make images of harvesting and shellfishermen. The workshop is scheduled to get you in the mood for the upcoming Annual Wellfleet Oyster Festival October 15th & 16th.
Professional photographer, Judy G. Rolfe, shows you step by step how to master High Dynamic Range (HDR). HDR is the process of taking a sequence of exposures, allowing you to lighten your underexposed areas and darken your overexposed areas to better simulate what your eye would actually see. You will see how to best choose subjects for HDR, such as watching for movement, clouds, sensor dust, and when you can find the ideal light to master HDR. HDR can enhance and improve your images, often adding drama and details. Judy will show you how to merge exposures to enhance your photographs.