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The beautiful coastal landscape is the setting for the Truro Center for the Arts, a place where such noted artists as Hans Hofman, Robert Motherwell and Edwin Dickinson were inspired for centuries by the beautiful light reflected from the sea that surrounds Cape Cod. A wonderful old New England barn cried out for years to be converted to an art center and today is home to bright and airy light filled studios. The wide array of painting and drawing classes we offer feature local, national and internationally recognized artists who provide critical engagement for the beginner, intermediate or master student. Helen Frankenthaler, Joan Snyder and Judy Pfaff, and many others have inspired students at Castle Hill to push their personal vision and the tradition continues in 2015 with visiting legend and artist Lois Dodd. Week-long or weekend workshops are sure to inspire one’s art practice for life and introduce you to new friends and fellow artists.
Students registered for workshops with open studios are welcome to stay in the studio from 12pm until the studio closes at 4pm, Monday - Thursday.
This will be a highly experimental workshop with the exploration of surface creation. Students will work on the same four paintings all week, creating different surface techniques that allow for a build-up of layers. Once the surface is created we will score into it and create finished paintings. We will work on larger-sized canvases and explore different mediums that include wax, marble dust, tar, collage, oil primer, alkyds, and enamels. We will work on wood, paper and canvas using oil paint and paint stick as the main medium.
Bonney Goldstein has been a painter for 42 years working in oil on canvas, wood and paper. She studied at the Art Student League in New York and Denver. She now works full-time after running a corporate art consulting firm in Texas and taking time off to work on her MFA in creative writing at Goddard. Bonney shows her work in galleries in New York, Iowa, Maine, Massachusetts and elsewhere. To view Bonney’s work visit www.bonneygoldstein.com.
Color rules but there are NO rules, no formulas, and no tricks. There is intention — getting color to say what you want it to say. This course will combine painting in the field with color studies done in the studio. In the spectacular environment of the lower Cape, we will simplify complex vistas into shapes of specific value and hue. In the studio we will use color studies to help us understand how color works. This workshop is meant for those who want to energize their work in any medium with better color; no painting experience is required. We will work with acrylic gouache on paper or the medium of your choice.
Nancy McCarthy is a Boston-based painter who works both abstractly and from observation. Exhibitions include a solo exhibition at Fitchburg State University in 2013; Manifest Drawing and Painting Center, Cincinnati, Ohio; Simmons College, Boston; Gutman Library, Harvard University, Cambridge; Bromfield Gallery, Boston; MFA Circle Gallery, Annapolis, Md; First Street Gallery, NY; and Bowery Gallery, NY. Awards include: a 2014 Residency at Inside/Out Museum, Beijing, China, a 2009 St. Botolph Foundation Award, Artist’s Grant, Vermont Studio Center and a Ragdale Foundation Fellowship. She has served as a mentor in MassArt’s low residency MFA Program and teaches painting, drawing and color courses at Massachusetts College of Art and Design in Boston. She has also taught at Assumption College in Worcester Mass., and the Washington Art Association in Washington, Conn. Her work is represented by the Post Office Gallery in Truro, Mass. nancymccarthypainting.com
From artists like Kurt Schwitters, Hannelore Baron, Mark Bradford and John Heartfield, the art of collage, assemblage and photomontage has been used to create work that is marked by nuance and an individualized vision. This workshop will offer various project possibilities for each participant to consider. Technical information on paper and adhesives will be discussed along with conceptual, thematic and process-oriented approaches to developing a series of inter-related works. Please bring an assortment of materials: scraps of fabric, papers, photographs, xeroxes, old works you want to recycle or reconfigure, colored tapes, staples, newspapers, books, or any other materials that you find interesting. The substrate for your work can be paper, board, or wood panels.
Anne Gilman is a Brooklyn based artist who works in varying formats that include large-scale drawings, prints, and multi-panel projects. Her practice combines text and non-text drawing as a means of processing information from both a verbal and nonverbal perspective. Her work has been included in numerous solo and group exhibitions throughout the United States, Latin America, and Europe including Mexico, Havana, Berlin, Paris, Chicago, Philadelphia and New York. Gilman was a recipient of a Fellowship from the Edward Albee Foundation in 2010 and a MacDowell Fellowship in 2012. Her work was featured in Bomb Magazine and in TECA/ Testimonianze Editoria Cultura Arte and she has been interviewed about her recent project The Mastermind y lo contrario in Guernica/a magazine of art + politics, Publishing Perspectives, Prattfolio, and the Spanish-language magazine, Literal. You can see examples of her work at:
The most important endeavor for artists is to find an authentic way to express themselves, with the intent to improve their ability to access creative resources. In a collaborative dialogue, students will explore what they feel strongly about in order to share that concern with others through their artwork. Each student will explore how to use visual imagery as a means to communicate, tapping into one’s own unique and independent voice. Artists working in all media may take this course. Please bring a smart phone or digital camera along with a project and medium with which you work as an artist.
Bernd Haussmann has been working independently since 1988. Although Haussmann is mostly known for his paintings and drawings, using various media, digital imagery and short videos are an integral part of his work. Haussmann’s work has been shown nationally and internationally, at galleries, art fairs, museums and other non-profit organizations. His work is in the collections of The Danforth Museum of Art, MA; the Lyman Allyn Museum of Art, C;, the Hunterdon Museum of Art, NJ; the Longview Museum of Fine Arts, TX; the Museum of the City of Tübingen, Germany and the Provincetown Art Association and Museum, MA. He is represented at the Schoolhouse Gallery in Provincetown and other galleries across in the US.
This encaustic painting class will include learning about materials, safety, making encaustic medium and paint, and using templates to create texture. Students will examine substrates and grounds, techniques of fusing, and transparency and opacity as a means to make a painting. Tremain Smith will teach her own particular technique of utilizing transparent wax in painting. She has been using this process in her work for the last twenty years. Working with a template as a reference point, participants will experiment with the rhythm of drawing, collaging, incising, oil glazing, dry-brushing, branding and surface manipulation to attain their own creative ends.
Tremain Smith has work in the collection of the Metropolitan Museum of Art and in corporate and private collections across the country. She has had solo exhibitions in New York, Los Angeles, Chicago, Atlanta, Philadelphia, Scottsdale, Maine, Delaware, Florida and Hawaii. Her work is in The Art of Encaustic Painting by Joanne Mattera and she has been an instructor of encaustic at the Penland School of Crafts.
Art is a journey of self discovery. This plein air painting class will strive to bring out each student’s unique abilities, and therefore will be moving along at different levels. The class will focus on composition, drawing, tonal relationships and the history of art, as well as feature teacher demonstrations. Oil is the preferred teaching medium although the use watercolors, acrylics or pastels is acceptable. No experience is necessary.
Larry Horowitz is an American landscape painter showing in galleries across the United States and Canada. He has a BFA from SUNY Purchase and, after graduating, worked as apprentice to Wolf Kahn. Horowitz is currently working on a bi-coastal show for October 2015 that will be at the Franklin Bowles Galleries in both NY and SF. His work is in many major corporate and private collections. He has also participated in the Arts-In-Embassies program in Finland and Russia. Through his art, Horowitz strives to depict America's vanishing landscape. To view his work and learn more, visit: larryhorowitzart.com
Have you ever been told to “loosen up,” without any guidance of how to do so? Would you like to change some old habits or become less judgmental of your artistic efforts?
In this class, the goal is to improve your drawing capability though a series of steps that alternate between landscape drawing from observation and a set of experimental drawing procedures.
With a playful risk-taking attitude of “un-striving,” we undertake exercises such as automatic drawing, chance processes, drawing as a link to memory, drawing in relationship to the body, merging writing and drawing, no-hands drawing, and blind drawing. “Homework” will be strongly encouraged as a way of consolidating new knowledge. We will have periodic discussions about your work, but class time will be predominantly drawing time. You’ll discover how working in a guided experimental fashion can open up your mind, hands and eyes to new possibilities. The goal of the class is to see your drawings from observation change and improve by the end of the week, and to learn new exercises that you can use in the future. Students use, but are not limited to, traditional drawing media— wet and dry— on paper or other surfaces as needed. Skill is important, but if you want to further your work you may have to lose it temporarily in a supportive environment! This course is suited to the secretly adventurous student at any level, beginning through advanced.
Sharon Horvath received her BFA in from Cooper Union, New York and her MFA from Tyler School of Art, Philadelphia. She is Associate Professor of Art at Purchase College, SUNY. Horvath has been the subject of numerous exhibitions in New York, Philadelphia, Boston, and abroad. Her numerous awards and grants include the Fulbright-Nehru U.S. Scholar Grant, the John Simon Guggenheim Memorial Foundation Grant for Painting, the Rome Prize from the American Academy in Rome, the Anonymous was a Woman Award, the American Academy of Arts and Letters Richard and Hilda Rosenthal Award for Painting, the Edwin Palmer Prize in Painting from the National Academy Museum, two Pollock-Krasner Foundation Grants . The artist is represented by Lori Bookstein Fine Art in NYC, The Drawing Room in East Hampton, NY and the Schoolhouse Gallery in Provincetown, MA. She lives and works in Queens and Brooklyn, NY.
This week long intensive painting workshop is for painters who would like to explore the possibilities of opening up their work to abstraction, whether it be by maintaining a sense of realism or moving into non-objectivity. The focus will be on the use of reference material like sketches, photographs, and the imagination as a starting and jumping off point to explore painterly, lyrical, and, dynamic non-conventional approaches to painting. Challenging the way one sees in order to reconstruct students’ approach to painting will be emphasized. Ideas about the process of painting as subject will also be explored. Examples of work by noteworthy abstract painters will be presented to enlighten and inspire students. Group discussion and individual critique will also be a component of the workshop. Participants can work in any type of water or oil based paint on canvas, panel, or paper. Some painting experience is recommended
Megan Hinton’s paintings and works on paper have been exhibited throughout North America. She shows her work at Tao Water Gallery in Provincetown, The Old Spouter Gallery on Nantucket, and The Carver Hill Gallery in Rockland, Maine. Hinton holds degrees from Ohio Wesleyan University, The School of the Museum of Fine Arts Boston, and New York University. Hinton has been awarded artist residencies from The Women’s Studio Workshop, The Vermont Studio Center, and Nantucket Island School of Design. She has been the recipient of two local Massachusetts Cultural Council grants for exhibitions held in Wellfleet in 2013 at Preservation Hall and in 2014 at The Harbor Stage Company. In the summer of 2014 Megan’s paintings appeared in a featured article in Provincetown Arts Magazine. Her work was recently featured in an exhibition at the Artists Association of Nantucket called Nantucket Moderns, Contemporary Art 1945-2013. Her work is included in the permanent collections of The Cape Cod Museum of Art, The Provincetown Art Association and Museum, and The Artists Association of Nantucket. Megan is an avid traveler and admirer of the ocean, both of which inform her work.
Firmin will be taking her students out on the streets of Provincetown, instructing them in working quickly with big brushes and bold color to capture the energy of the streets. This workshop is structured for both beginners and advanced painters who want to expand their painting skills. The first day the class will meet and paint at the Provincetown Monument. Firmin will be giving a demonstration at the
beginning of each class, and there will be a critique at the end of each session. The next four days, students will meet at assigned locations in Provincetown.
Lisbeth Firmin is a contemporary American realist whose paintings and monotypes explore the relationship between people and their urban environment. Her urban landscapes, following in the tradition of earlier realists such as John Sloan, George Bellows, and Edward Hopper, depict a feeling of human solitude, of people headed somewhere undisclosed. Firmin studied independently with printmaker Seong Moy, and painters Philip Malicoat, Victor Candell, and Leo Manso in Provincetown in the early 70’s, Her artwork has evolved from paintings done from many road trips, depicting lonely highways, to painting subjects seen on the streets around an apartment downtown NYC. This work has evolved even further since a move upstate in 2000, as the figure has gradually become the focal point. For over four decades her work has been in hundreds of solo and group shows across the country and internationally. Recent exhibitions include “Reflections”, new oil paintings, at the Rice-Polak Gallery in Provincetown, 2014. In 2013 she had several exhibitions including “Moments in Time,” at the Martin-Mullen Fine Arts Gallery at SUNY Oneonta, along with a solo show “Coming Home,” at the Tides Institute & Museum of Art, in Eastport, ME. Several new monoprints were also included in the “63rd Exhibition of Central New York Artists”, at the Munson Williams Proctor Arts Institute in Utica, NY, and in the “2013 Artists of the Mohawk/Hudson Region Exhibition,” Glens Falls, NY. Her work appeared in Hofstra University's 50th Anniversary Exhibition, “The Lyon, The Which, and the Warhol.” Firmin was the subject of a retrospective exhibition at the Taft School in Watertown, CT in 2011.
This is a mixed media painting/drawing workshop that encourages process as a strategy toward discovering personal and conceptual iconography and meaning. Using a range and variety of tools, materials, and references, individuals will examine how chance and accident can inform content through representation, invention or abstraction.
Deborah Dancy teaches at the University of Connecticut. She has received numerous awards and honors including a: Guggenheim Fellowship and New England Foundation for the Arts/NEA Individual Artist Grant. Her work is collected by The Boston Museum of Fine Art, The Birmingham Museum of Art, The Baltimore Museum of Art, The Montgomery Museum of Art, The Hunter Museum of Art, Vanderbilt University, Grinnell College, Oberlin College Museum of Art, Davidson Art Center, The Detroit Museum of Art, General Electric Company, and the US Embassy in Cameroon.
Egg Tempera has been rediscovered as an innovative, color-centric and contemporary medium. A luminous paint that emphasizes pure color and fine drawing, Tempera is ideal for those who love color but hate solvents. Made with egg yolk and pigments, Tempera has many of the glazing qualities of oil paint, yet is water-based, fast-drying and optically brilliant. Egg tempera formed the foundation of western painting and offers a strong core for understanding all paint. In this exploratory workshop participants will experiment with tempera on various surfaces including different papers and panel. We will explore color as a conceptual and physical language, including color application, optical mixing, and glazing, gaining a deeper understanding of the poetic possibilities of paint.
Patricia Miranda is an artist, curator and educator. She is founder and director of miranda arts project space, formerly Miranda Fine Arts, a contemporary gallery and project space in Port Chester, NY, where she founded a Collaborative Workspace Residency Program. Miranda has been Visiting Artist at the Heckscher Museum, Vermont Studio Center, University of Utah, Kutztown University, Concordia University-MI, and has developed art and education programs at The Solomon R. Guggenheim Museum, The American Museum of Natural History, The Metropolitan Museum, and the Smithsonian Institute. Miranda has been awarded residencies at Weir Farm, Vermont Studio Center and Spring Island Trust, and has exhibited at Wave Hill, Bronx NY; Metaphor Contemporary Art, Brooklyn, NY; the Belvedere Museum, Vienna, Austria; the Cape Museum of Fine Art, to name a few.
Painting is a call to enhance perception and visualize felt ideas, to fuse sensation and imagination in a compelling vision of life. In this workshop, we will go beyond imitation of nature to explore the expressive use of design, color, and paint. Our goal is to develop exercises, processes, and disciplines that will realign your creative process with your subjective responses to nature and infuse your work with poetry and feeling.
We’ll spend three days sketching outdoors (largely at dusk) and two days painting larger work in the studio. Our “big” paintings (24” x 36” or larger) will be inspired by memories and material gathered and refined over the previous days. This is a chance to try some bold, adventurous painting and open new avenues for original work.
This class functions well for a wide variety of skill levels, but some previous plein air painting experience may be helpful.
Christopher Volpe teaches at the New Hampshire Institute of Art in Manchester, NH. and teaches painting workshops in Maine, coastal New Hampshire, and Massachusetts. He completed a graduate degree in poetry from the University of New Hampshire and went on to study painting with Dennis Sheehan, Eric Aho, and Stuart Shils. He is represented in Provincetown by the Bowersock Gallery.
This workshop is designed to push beyond a typical “nice” portrait and work towards making a portrait painting that has psychological impact. We will discuss how to evoke emotion and mood. Using a model, we will first create a semi detailed charcoal drawing to determine the “feel” of the painting. We will start with a tonal under painting to establish the differing values, push the lights and darks within the composition, and create a monochromatic version of the finished product. We will finish the painting by using a limited palette of oil color to glaze over the under-painting. There will be individual attention and direction throughout the workshop, and all levels are welcome.
Daphne Confar received her BFA from the Art Institute of Southern California and her MFA from Boston University. She resides in Milton, Massachusetts and has enjoyed coming to the Cape for the last 15 years for her summer show at the William Scott Gallery in Provincetown. Daphne's work is collected by many individuals, as well as institutions, and recently her work has been acquired by the Provincetown Museum of Art. Daphne has exhibited her work coast-to-coast in the US and abroad, and was recently a fellow at the Ballinglen Arts Foundation in Ballycastle Ireland. Her work has been reviewed favorably by the Boston Globe, LA Times, American Art collector, Art in America, and the Provincetown Banner. www.daphneconfar.blogspot.com
Less than three miles long, Truro’s Pamet River occupies a valley hollowed out by the sudden draining of Cape Cod Lake in glacial times (or so geologists speculate). The setting offers the opportunity to journey with sketchbook in hand to observe vast salt marshes, historic vistas, overgrown channels and a barrier ocean beach. The class will offer a variety of methods for quick sketching with pencil, pen and ink, washes and watercolor, as well as descriptive exercises to sharpen observation.
If conditions permit we will try to get onto the river itself by kayak for one session – drawing as we drift or beached on the shore of the lower river. Participants can rent or bring their own kayak to launch from the Meetinghouse Road landing off Castle Road near the Castle Hill campus.
All levels are welcome -- bring a willingness to experiment and observe. Cameras are also welcome as an additional means to capture details and landscapes. Brief discussions of geology, wetland ecology, and natural/cultural history will be interspersed with drawing sessions.
Day 1: Studio meeting then upriver exploration from the Post Office toward the Ocean.
Day 2: Ballston Beach and Bearberry Hill
Day 3: Downriver paddle focusing on river tides and marshes.
Day 4: Pamet Harbor
Mark Adams is a landscape painter (Schoolhouse Gallery, Provincetown; The Fireplace Project, Easthampton) and has been a cartographer/geographer with the National Park Service for 15 years.
This workshop will provide technical means for expanding one’s visual vocabulary with the incorporation of secondary mediums to the process of painting. It will be designed for the intermediate/advanced painter with the assumption that a personal imagery has been established and/or is evolving. Basic skills and traditional painting techniques will be combined with various mediums like cyanotype and photo based images, alternative substrates, paint recipes and applications. Over the five days, time will be spent on those particular processes that most suit the course members and their artistic goals. Be sure to bring a smart phone, iPad or laptop for quick, simple printing of transparencies.
Timothy McDowell has been a professor of studio art for 33 years. He has taught painting, printmaking and drawing at the University of Arizona, Rhode Island School of Design and Connecticut College. His artworks regularly include the use of wax, oils, distemper, cyanotype and print mediums. Collections include the Metropolitan Museum of Art, NYC; Tucson Museum of Art, Santa Fe Museum of Art, William Benton Museum of Art as well as numerous corporate and private collections. www.timothymcdowellartist.com.
Many people have gathered local flowers but are perplexed on how to go about arranging and painting them. Learn how to properly cut and prepare flowers and foliage for a longer vase life, then arrange them into your own unique composition. Lighting, composition and various painting philosophies as dictated by subject matter will be considered on a personal basis. The painting course is in oils and the instructor will demonstrate the process from beginning to end. Students may use oils, watercolor, gouache or acrylic
Gerald Simcoe is an avid horticulturist having studied at Longwood Gardens while working on Ambassador Annenberg's 13-acre Wynnewood Estate. He currently spends his time painting on Sanibel Island, FL, in his barn/studio in rural PA and on Cape Cod and is a member of PAAM and the Salmagundi Club, NY.
This class will meet outdoors at pre-arranged sites nearby in Provincetown and Wellfleet. Participants should come prepared to work in all weather conditions, except rain, and should consider equipping themselves with hats, bug repellant, sunscreen, and umbrellas. A new painting will be done each day. Recommended canvas size is from 9"x12" up to 16"x20". Gessoed Masonite, heavy weight paper, canvas or panel are suitable painting surfaces. Oil paint is the preferred medium; acrylics can be used.
Don Beal studied painting at the Swain School of Design in New Bedford, Massachusetts, Brooklyn College in Brooklyn, New York, and received an MFA from Parsons School of Design in 1983. Beal has been a Professor of Fine Arts at the University of Massachusetts in North Dartmouth since 1999. He is represented by the Berta Walker Gallery in Provincetown. In 1985 he moved to Provincetown where he married photographer Khristine Hopkins. They have a son, Max.
This workshop focuses on simplifying the human figure, in terms of both color and form, through direct observation. Topics covered include value and temperature studies, demystifying skin tones through color mixing exercises, and basic anatomy, along with how to capture light and build form. Historical and contemporary figure paintings will be presented; live demonstrations will be provided. We will work directly from the nude model each day. A variety of standing, seated and reclining poses will be covered throughout the week. Some painting experience is preferred. Oil painting is the preferred medium.
Brett X. Gamache received his BFA in Painting from Mass Art and his MFA in Painting from the University of New Hampshire. He is a Fulbright Grant recipient, has attended Vermont Studio Center and the Virginia Center for the Creative Arts artist residencies. He teaches painting at the Cambridge Studio Center, has taught at UNH and for the UNH-in-Italy program. He shows at the George Marshall Store Gallery in York, Maine. www.brettgamache.com
Repeated use of a shape, color or design element unifies composition by creating pattern, rhythm and movement as well as reinforces content. Lines lead the eye and communicate information through variation in width, direction, density, length and character. Open to those with a beginning to advanced level of encaustic experience, this workshop focuses on the creation of intricate patterns, expressive personal surfaces and complex, multi-layered pieces utilizing and in combination with encaustic painting techniques. With an emphasis on mixed media, methods and materials covered in this workshop include the use of organic and geometric form, realistic and abstract imagery, patterned collage, stencils, drawing with horse hair, branding (creating marks with heated metal and wood burning tools) as well as creating your own grids, laces and lacelike forms using free motion sewing machine embroidery on water soluble stabilizer. Considerations such as using pattern and repetition as content itself, to tell a story, support and/or strengthen the content message will also be discussed. All materials and a sewing machine will be included for class use.
Lorraine Glessner received an MFA in Fibers from Temple University, Tyler School of Art, where she is currently an Assistant Professor in the Fibers and Material Studies Department. Lorraine also holds a BS in Textile Design from Philadelphia University and an Associate’s Degree in Computer Graphics from Moore College of Art and Design. Recent awards include two Artist Fellowship Grants in Crafts from Pennsylvania Council on the Arts as well as the Yvonne Kelly Memorial Award for Mixed Media from Abington Art Center. Recent exhibitions include solo shows at Kenise Barnes Fine Art, Larchmont, New York and House Gallery, Philadelphia, Pennsylvania and a two-person show at Marietta/Cobb Museum of Art, Marietta, Georgia. Recent group exhibitions include James Gallery, Pittsburgh, Pennsylvania; Hunterdon Art Museum, Clinton, New Jersey; and Delaware Center for Contemporary Art, Wilmington, Delaware. Her work is included in the recently released Encaustic Works: Nuance, curated by Michelle Stuart, Encaustic With a Textile Sensibility by Daniella Woolf and Encaustic Art: The Complete Guide to Creating Fine Art With Wax by Lissa Rankin. Lorraine lectures, teaches, exhibits her work nationally and maintains a studio in Philadelphia, Pennsylvania.
The great tradition of landscape painting goes back thousands of years. What inspired people to paint animals on cave walls still inspires us to depict a natural world in which we can hopefully still exist. How can we convey the color of the earth, the strength of trees, against the spaciousness of sky? In this workshop, each day we will focus on different aspects of landscape painting such as proportion, light, tonal value and color. We work both on short,quick studies and longer more-involved pictures. The emphasis will be on composing with light and color freely, allowing felt sensations to be simply stated rather than making an illustration of some generic landscape. There will be a short lecture each day on some old or modern master and what they can tell us about finding our own way outdoors, with brush in hand. Each day we will visit a different Truro location.
Robert DuToit was born in Boston Massachusetts in 1956. He began painting with oils and drawing with ink at the age of 10. He received a BFA from the University of New Hampshire and an MFA from Parsons School of Design in New York City and has studied for extended periods in France and Italy. An active Cape Artist since the 1980's, he has been involved in numerous solo and group shows in Boston, New York and the Outer Cape. Currently he is showing his work at Berta Walker Gallery in Provincetown. His recent work consists of elemental landscapes of various motifs as well as small direct figure compositions. He now resides in North Truro with his wife Janice Redman and son Alexander.
This class will explore the use of different materials—photographs, fabric, paper and others—as formal and narrative elements within our painting. Students are encouraged to bring materials that inspire them visually, challenge them technically and tell some kind of story, literal or not. The workshop begins with simple assignments, then advances to individual projects, focusing on how to develop and explore ideas and techniques and especially how to combine different elements with paint. Finished work can be two- and three-dimensional. Group discussion and individual attention will be part of the class.
Adam Lowenbein has a BFA in painting from The Rhode Island School of Design and his MFA in painting is from Indiana University. He is a graduate of Skowhegan School of Painting and Sculpture and was a Core Fellow at the Glassell School, Museum of Fine Arts, Houston. His work has been exhibited at Go Fish Gallery in NYC, at Caren Golden Fine Arts, The Center for Book Arts, Bluestone Gallery in Milford, PA, and at Rudolph Blume Fine Arts, and other corporate collections. His work has appeared in The New Yorker, The New York Times Magazine, World of Interiors and other publications.
This class is for the beginner or the intermediate painter who would like to learn or review the basics of oil painting. We will start by exploring materials available, including canvas, paint, mediums and how to set up the palette. Then we will learn the foundations for making a picture, including composition, color, values, various painting techniques, and how to begin and finish a painting. After a short introduction each day, class members will make a painting that employs that morning’s topic. Individual attention will be emphasized.
Peter Chepus studied art at the Cape Cod School of Arts and at the Armory Art Center in Florida. For the past thirteen years he has been conducting painting workshops in Florida and on Cape Cod. He is a native of Cuba and has been painting professionally for the past 27 years. His solo exhibits include the Palm Beach Hibel Museum of Art, Palm Beach Council on the Arts, and the Truro Public Library. He is represented by Cortile Gallery in Provincetown, Massachusetts. www.peterchepus.com.
Come paint the inspiring landscape of Truro and Provincetown; embrace the exciting challenge of painting and drawing outdoors, catching the fleeting, changing light. Simple hikes will take class members to tidal marshes, ocean and bay beaches and the Provinceland dunes. Initially, there will be an emphasis on drawing the inner structure of the landscape and its compositional dynamics to accumulate sketches and visual data. Workshop participants will then build the paintings from the ground up, respecting the anatomy of the painting and allowing the layering and the process to create subtleties that imbue the work with a spirit of place. Students of all levels are welcome, open to all painters using oil, watercolor, acrylic or gouache.
Amy Wynne is a third generation Truro summer resident who received her MFA in Painting and Drawing from the New York Academy of Art in Manhattan, and her BA from Smith College. She has studied at the New York Studio School and the Instituto Allende in San Miguel d’Allende, Mexico. She has taught at the School of the Museum of Fine Arts Boston, and at the Rhode Island School of Design. She exhibits her work throughout New England and is in several corporate collections. She has been awarded numerous grants and fellowships; including one from the Rhode Island State Council for the Arts and a fellowship from the Vermont Studio Center.
This workshop explores the various properties of cold wax used as a stand-alone medium or combined with photographs, collage on panel, ink drawings, watercolor and oil paint. Cold wax has many of the luminous properties seen in encaustic painting but is flexible for the artist on the move. Unlike heated encaustic, cold wax is used without heat and does not need to be fused. You will learn to use a variety of tools to create textures and layers, to add depth to your imagery. The workshop also deals with issues of color theory and how it pertains to the development of a painting. Students are encouraged to work on a variety of surfaces, including panel, watercolor/printmaking papers, photographs and canvas that can be mounted to panel. Demonstrations will begin each session, and each participant will receive one-on one-feedback. This workshop is for beginning to advanced artists.
Carol Pelletier is the Chair of Fine Arts and Professor of Art at Endicott College. She has exhibited in over 50 solo and group shows nationwide, including the Attleboro Art Museum, the Becket Arts Center, the Huntington Museum of Art, the Oglebay Institute, Soren Christensen, Isalos Fine Art, Olson-Larsen Gallery, Berea College and Marietta College to name a few. She has received three National Endowment for the Arts Grants, a Mellon Foundation grant and is a Salzburg Fellow. Her work has been in multiple exhibitions and publications, including the New American Paintings and Creative Quarterly Magazines and the Bloom Literary Journal based out of Los Angeles. She is represented by the Cynthia Winings Gallery in Blue Hill, Maine. For more information, please visit www.carolpelletier.net
This class will focus on figure painting methods. The instructor will work with you both individually and as a group as all levels are welcome to develop studio skills. For beginners, we’ll work in a more traditional and academic approach, creating a stronger foundation and starting to analyze ways of applying paint to get interesting effects. For more advanced participants, we’ll be experimenting with and exploring the figure expression possibilities. We’ll paint and draw from direct observation of a live model. There will be a demonstration from the instructor and, at the end of the week, a group critique.
Antonia Ramis Miguel was trained in Europe and has been painting for more than 30 years, teaching drawing and painting for 20 years. She has a passion for teaching and helping each student to find their individual approach and path to painting. Her work has been shown in her native Spain, Vienna, Washington, D.C. Massachusetts and London. You can view her work at www.antoniaramismiguel.com
In this weeklong workshop, students will study and observe forms, patterns and structures found in the natural world. Natural specimens and images will serve as points of departure to explore design forms and growth patterns such as branching, the spiral/Fibonacci, star/radial, retiform/mesh, etc. Based on these concepts, participants will experiment and create works in 2D utilizing various materials and techniques including cut paper, kirigami, collage, printmaking and cyanotypes, and in 3D sculpture with wire and clay, cardboard and woven structures. Through close observation, drawing, discussion, and experimentation with materials, students will understand connections between art and science, and nature and the man-made world.
Karen Fuchs graduated from Moore College of Art with a BFA in textile design. She had a weaving studio, worked professionally in interior architecture in NYC, taught color and materials at Pratt Institute in Brooklyn, and currently teaches art and design to children and adults. She leads workshops and talks for educators, artists and designers on design thinking, and cross-discipline connections with art, design, science, math, history and technology. Her work employs various materials and techniques including cyanotypes, textiles, photography, printmaking, collage and assemblage, and explores connections between the natural and manmade. karenfuchshome.com
In this workshop students will explore abstraction through a series of exercises designed to sharpen their intuitive skills and strengthen their compositional skills. Searching the unlimited possibilities of gesture and mark-making, we will use a variety of materials to create unique marks and lines. There will be an emphasis on building engaging organic shapes and the relationships needed to create strong compositions. Students will come away with a good amount of work, large and small, to take home. Critique and individual discussion will supplement our studio work. Development of individual vision will be encouraged. Open to all levels.
Jenny Nelson attended Maine College of Art in Portland Main and is a graduate of Bard College, where she received a scholarship to the Lacoste School of the Arts in France. She has been living in Woodstock, New York for over two decades, including a Residency at the Byrdcliffe Art Colony from November 2004-08. Jenny is represented by galleries nationally, including Tria Gallery in Manhattan; Hidell Brooks in Charlotte, North Carolina; Pryor Fine Art in Atlanta, GA. and the East End Gallery in Nantucket.
This is an Intuitive Painting workshop with no prior experience required. In this workshop we explore intuitive painting as a powerful tool for self-expression, self-exploration, and spiritual development. This creative painting work offers practical ways to dissolve creative blocks and find inspiration so that, in a state of infinite possibility, art becomes not a means to an end but a place we inhabit, a place to explore our true selves and the mysteries of our lives.
With a small group of people we will have a circle each morning and then move to wall space. The Painting Studio is a sacred space encouraging a safe yet challenging journey to the boundary of your personal frontier. The studio atmosphere is friendly and non-threatening — it fosters a culture free of competition and comparison. Paintings are not critiqued or analyzed by the group. As a gesture of respect and completion, the facilitator acknowledges each painting with you before you take it down. Plenty of paper is provided and students are encouraged to stay with a painting until they feel it is finished. Ample tempera paint is provided along with a cup of clean water for each color and 2 brushes beside each paint pot on a long table. Students are the product and we are using a “piece of paper”. This is basically a journey within, exploring the vibrant, driving force of your own creative spirit. Both Hope and Gerry have trained with Michele Cassou [see: http://youtube/aMG1YeTpmOw] in process painting experience. There is lots of ‘clean-up’ and we will need an assistant. Gerry taught process painting at the Wayne Art Center, Wayne, PA 2004 – 2006 and both Hope and Gerry are excited about the prospect of teaching together.
Gerry Tuten, MFA was born in Pittsburgh and is a classically trained artist with degrees from University of the Arts and Tyler School of Art, in Philadelphia. She lives outside of Philadelphia and is a lifelong summer resident of Cape Cod. Taking risks is something Gerry enjoys in her energetic tactile paintings filled with strong emotion. These paintings are often more about the feeling than what is seen. They are brilliant short essays in color that can be appreciated for their abstract arrangement as well as their capability to transport viewers to the scene. She has trained with Michele Cassou in ‘Point Zero’ Process Painting. Gerry is also a graduate of Barbara Brennan School of Healing and continues to evolve and heal through constant painting and teaching yoga. For more information please visit her website: www.gerrytuten.com
Hope Van der Wolk has been a student of the creative process since 2000 and she is delighted to have recently begun to share what she has learned with others. She has completed teacher training with Michele Cassou in Point Zero Painting and is certified as a SoulCollage® facilitator and, previously, as a Speaking Circle facilitator. She holds a BFA from the Rhode Island School of Design and is currently in practice as an interior designer in Osterville at Hope Van der Wolk interiors.
How can you take an ordinary object, that one right in front of you, and make it extraordinary? Merging the analytical and the intuitive, thinking and playing, this workshop will be a time to invent, explore and experiment. Putting aside the idea of making finished, perfect paintings we will take all possibilities at our finger tips—placement, gesture, composition, line, color, thick luscious paint – and create a wealth of feeling with painted subjects by expanding our ideas of presentation.
Working primarily from observation, each day will start with quick thumbnail sketches and fast, loose oil studies to get things rolling. With these we will explore strategies that move an idea, an emotion, a feeling from its initial dynamic impulse to a flesh and blood painting. Interspersed will be short discussions on topics ranging from historical ideas of beauty, the grotesque, the abject, the sublime. Class time will be mainly focused on careful looking and intensely focused painting. A central still life with a variety of objects will be provided. In addition students are encouraged to bring a few objects of their own to add to the mix, one chosen for its meaning the other for its looks.
The aim of this workshop is to be both conceptually provocative and technically informative - a no-holds bared investigation into our individual and collective understanding of what painting an object can mean. Working in oils is suggested, but not required, and a lively curiosity is a must.
Emily Eveleth has been eliminating boundaries between genres and finding vulnerability, humor, pathos and sensuality in the most unlikely of subjects for twenty years. She is represented by Danese/Corey, New York, and the Miller Yezerski Gallery, Boston. Recent solo shows include a ten year painting survey at the Smith College Museum of Art. Her works can be found the permanent collections of the Museum of Fine Arts, Boston and the Pennsylvania Academy of Art, among others. They have been featured in shows at the Sheldon Museum of Art, Lincoln, NE, the Katonah Museum of Art and the Parrish Art Museum, Southampton, NY. She has received grants from the Art Matters Foundation, the New England Foundation for the Arts and she was a Visiting Artist at the American Academy in Rome. Her next solo show will be with Danese/Corey, New York.
This beginner or refresher class is for students with limited, or no experience with watercolor painting. No drawing skills are necessary. We will explore the unique properties of this magical medium through transparent washes and layering, mingled washes, brushwork, and practice how to incorporate shapes of untouched paper for brilliance. Discussion of materials, skills, color theory, and the history of watercolor painting are included as we begin with a foundation of monochromatic exercises and, then, with two- and three-color exercises and simple compositions. Group critiques, individualized instruction, and demonstrations are included.
Suzanne Siegel divides her painting time among coastal places, Connecticut, Maine, and the Outer Cape towns of Truro and Provincetown. Always in search of ideas for compositions that communicate vast space and luminous light, her distilled vision of the landscape includes relationships between built structures and nature. Suzanne Siegel is currently represented by Greene Art Gallery in Guilford, CT; Landing Gallery in Rockland, Maine; Isalos Fine Art in Stonington, Maine; and Charlestown Gallery in Charlestown, RI
All of the fundamental principles and elements of drawing are introduced in guided exercises. The workshop concentrates on traditional and experimental techniques of object drawing using a variety of media and techniques. Various media and processes used include pencil and charcoal, colored pencils, pastels, oil pastels, image-transfer, and collage. Also, we will experiment with combinations of media and techniques that can be used to create works of art that appear complex, yet easy to produce. The workshop focuses on "how to see" and the major skills dealing with drawing, materials, and techniques. This course is appropriate for beginners as well as more advanced students. Individual attention is given to students at various levels of ability and allows students to progress at their own pace.
Vico Fabbris received a MFA in painting from Accademia di Belle Arti, Florence. Among his accomplishments: twice recipient Mass Cultural Grant in painting; Artist in Residence at Studios Key West; selected for New American Painting; twice finalist Blanche Coleman Award; commissioned by Muka Print Project, New Zealand.
Vico is represented by Gurari Collections, Boston; Rice Polak Gallery, Provincetown and Graficas Gallery, Nantucket. Exhibitions include Forum Gallery, NY and LA; De Cordova Museum Invitational; Provincetown Art Association & Museum; Cape Museum;; Lucky Street Gallery, Key West; Giardino Botanico, Florence. He’s in the collection of Fidelity Investments; Arkansas Art Center; DeCordova; Suffolk University and PAAM. Articles have appeared in Art New England, ARTSmedia, Boston Globe, The Nation and featured on HGTV. He’s Senior Lecturer at New England School of Art & Design/Suffolk University, Boston where Vico enjoys teaching drawing and painting when not spending time in Florence and Provincetown.
This class will help you develop painting techniques and gain more confidence in figure painting. You will learn fundamentals, simplifying structure and gesture with gradient exercises to help you create the figure on the canvas. We will work from life. There will be daily demonstrations, handouts and plenty of individual instruction. The class will increase your confidence and love of painting, incorporating design, beautiful color and edge quality into your work. Students will learn to set up their color palette to capture skin tones. We will be painting both indoors and outside, including portraits. Students are encouraged to incorporate these fundamentals and express themselves freely in order to set their work apart and create a finished painting.
Julie Snyder is a native of Scotland whose artistic career spans both sides of the Atlantic, including several years of residence in Southern Spain. She forged her craft as an illustrator in advertising, publishing and the motion picture industry, including Warner Bros. Her work hangs in collections and galleries across the country. She received the Gold Medal for Painting from the National Art Museum of Sport in 2013. Her paintings have been exhibited at the Pasadena Museum of History, Segil Fine Art, DanielakArt, the California Theatrical Youth Ballet, the Waterhouse Gallery in Santa Barbara, the Howard/Mandeville Gallery in Washington, Addison Art Gallery, and the Boston International Fine Arts Show. She is program coordinator for The Art Engine, presenting frequent seminars on art marketing and art collecting.
THIS YEAR'S MARY LOU FRIEDMAN CHAIR:
This is an experimental workshop for intermediate and advanced painters about perception and place. Using the landscape and villages of the Cape as inspiration, the class will be prompted to use all five senses to assess specific places and to interpret these experiences with charcoal, pencil and paint. The outdoor sessions will focus on improvisational responses to touch, sound and color. The studio sessions will focus on the formal development of the field notes into rigorous compositions. The goal of the class is to balance the sensuality of perception with the rationality of design.
Mike Glier has exhibited at Barbara Krakow Gallery, Gerald Peters Gallery, The Kitchen, Barbara Gladstone Gallery, the Whitney Museum and the Museum of Modern Art. Both the Drawing Center, NY and The Tyler Gallery, Temple University, have sponsored national touring shows of his painting and his work has been the subject of two survey exhibitions. He is the recipient of a National Endowment Grant, Awards in the Visual Arts 9, and a Guggenheim Fellowship in painting. During the last decade, Glier has been pursued a global, plein air, painting project. He is a Professor of Art at Williams College.
This year's Present's Chair honors:
Tim Knowles will lead a 5 day workshop that seeks to explore and map castle hill's new site in creative ways. Pursuing inventive, performative, methods of exploration which seeking to discover and understand the many and varied aspects of the location and will result in tangible outcomes which in alternative ways map and represent the area.
Tim Knowles will introduce a number of experimental methods of exploration and mapping which the group will participate in. Participants will then be supported to develop projects collaboratively, before going on to develop their own ideas and strategies, producing works individually.
The workshop will involve making, mapping, drawing, and performative elements. The outcome of these varied experiments will resulted in diverse range of work, existing in the field (on site) - as land art, as actions, as drawings and digitally.
Artist Tim Knowles lives and works in London. His work is exhibited widely both in the UK and internationally. He is currently artist in residence at IBERS [Institute of Biological, Environmental and Rural Sciences] in Aberystwyth. In 2013 he was commissioned by City of Sydney to produce a new public work and Mass Windwalk - a larger participatory event, he participated in Mildura Palimpsest Biennale, Australia.
Chance is crucial to Tim Knowles’ work, which is generated by apparatus, mechanisms, systems and processes beyond the artist’s control. Akin to scientific experimentation a situation is engineered in which the outcome is unpredictable, directed by the external forces.
For further information please visit; www.timknowles.com
This workshop will focus on cultivating perceptual discrimination and visual clarity by practicing critical looking at nature and the relation of that looking to constructing a drawing or painting. We will ask what we are seeing, how we are seeing, and then how to translate that to paper, panel or canvas. The class is intended to push the mid- range to advanced painter further -- into a visual boot camp, which is also fun and productive. In the tradition and spirit of the “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 and how that takes form graphically
3) Perhaps most importantly, on shaking up and/or questioning what is meant by “finish”.
We’re not concerned with making anything “pretty”, sale - able or trophy-winning. With painting, one never really gets a trophy anyway – it’s always work in progress. In addition to three 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, it will be impossible to go over the same ground the next day.) Shils will discuss how, via graphic organization, we look and 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.
Shils (b. 1954), Philadelphia, has painted outside for more than 30 years. His paintings are represented by Steven Harvey Fine Art Projects in New York, Davis and Langdale, New York and Rothchild Fine Art in Tel Aviv. Shils is the recipient of a Pollock-Krasner Foundation Grant, a National Endowment for the Arts Fellowship, a Ballinglen Arts Foundation Fellowship for Residency in Ballycastle, Ireland, and an Academy Award from the American Academy of Arts and Letters. His work has been presented in solo shows in New York, Philadelphia, Tel Aviv, Boston, Scottsdale, Richmond, San Francisco and Cork (Ireland). Critical review and commentary has appeared in The New York Times, The New Yorker, The New York Sun, Ha'aretz, The Jerusalem Post, Art Critical.com, The Wall Street Journal, The Boston Globe, The Boston Phoenix, The Philadelphia Inquirer, The Irish Times, Art in America, The New Republic, The New Criterion, Art New England, American Artist, The Hudson Review and The Philadelphia Daily News. He is an annual visiting critic at the Vermont Studio Center and a weekly critic at Pennsylvania Academy of the Fine Arts (PAFA)where he also teaches painting and drawing. Shils has also teaches the master class for the Jerusalem Studio School in Italy and Jerusalem. Shils spent 13 summers painting on the northwest coast of Ireland, an extended painting campaign described in the PBS film documentary, “Ballycastle,” which won numerous awards, including First Place for Documentary Excellence, Society for Professional Journalists. Shils studied at The Pennsylvania Academy of Fine Arts with Seymour Remenick and at the Philadelphia College of Art.
With abstraction as your starting point, you will explore abstraction of the figure, still life, and landscape. The statements, ‘you cannot make it up’ and ‘you must make it up’ will be your guide. Students will create collages with cut colored paper so as to push your understanding of color and form and learn to make adjustments to your paintings. What you put down on your paper or canvas are real things that you will adjust just as you adjust objects in a still life. You will also make sculptures to further develop your understanding of space. Using corrugated cardboard, masking tape, and acrylic paint you will create small stage settings with figures drawn from your work with the model and then continue to draw, paint, and collage from these 3D sculptures. In doing so, a path from copying to composing is cleared. The workshop will equip you with many ways to push your figurative work, with or without a live model, without losing the abstraction,.
Kewley graduated from the College of Creative Studies at the University of California, Santa Barbara. He was a night watchman at the Metropolitan Museum of Art 1980-1990 and considers this a major part of his education. In New York his work has been exhibited at Steven Harvey Fine Art Projects, Lori Bookstein Fine Art and Pavel Zoubok. He teaches workshops and lectures at the Pennsylvania Academy of Fine Arts, Hollins University, University of Arkansas, National Academy of Design, and the Jerusalem Studio School, including the Italian Summer Program. His work has been reviewed in the New York Times, New York Sun, ARTnews, and the New York Observer and included in many private and public collections. An exhibition of his new work will be held March 2015 at Rothschild Fine Art in Tel Aviv.
Skill Level; Beginner to Intermediate
Working outside, students will investigate and record the unique atmosphere and splendor of the natural Cape Cod seashore. Students will hone their observational skills and work intuitively to explore and consider line, form and the distinctive colors that exist in this beautiful part of the world. Thumbnail sketches will help students to understand a simplified sense of space and compositional structure -- without over analysis of detail. Painting will not exceed 10” x 10”. All skill levels welcome.
Kathleen Jacobs has been painting from the Cape Cod landscape for over sixteen years. She attended the University of MA where she received a BFA in Painting/Art History. She was honored at the University with the Chancellor's Talent Award for outstanding achievement that resulted in receiving a full scholarship. She was awarded an Art Fund Scholarship to attend the La Napoule Art Foundation in France. She earned her MFA in Painting/Visual Arts from the Lesley University College of Art and Design in Boston, MA. Her work is shown regionally throughout New England and locally at Kendall Gallery in Wellfleet. www.kathleendjacobs.com
This year's Director's Chair honors:
This workshop will be primarily in oil, however students are welcome to work in other mediums if they prefer. Lois will help students set up to paint, and will be available throughout the day, mingling with students as they work on the grounds of Castle Hill, in the studio building, and in the field. Lois not be giving demonstrations but rather working one on one with students and in group discussion. There will be group critiques at the end of each day.
Lois Dodd was born in Montclair, New Jersey in 1927 and attended Cooper Union in New York from 1945 to 1948. Ms. Dodd taught at Brooklyn College from 1971 to 1992. She is an elected member of the American Academy of Arts and Letters, and the National Academy of Design. Currently the Alexandre Gallery in Manhattan represents Ms. Dodd. Her work is also shown in Maine at the Caldbeck Gallery in Rockland and can be found in collections at the Portland Museum, Portland; Bowdoin College Museum, Brunswick; Colby College Museum, Waterville; the Ogunquit Museum of American Art, Ogunquit; and at the Farnsworth Art Museum in Rockland. She resides in New York City.
Interview with John Yau - CLICK HERE
This workshop will focus on using cold wax and other mediums to create layered, expressive, richly surfaced paintings. We will be experimenting with a wide range of materials, including R&F pigment sticks, oil paint, cold wax, graphite, ink, and pastels. There is a freedom of gesture, movement and process that occurs when painting with these materials. A variety of techniques, tools and exercises are used to explore personal imagery—abstract as well as representational—and students will be encouraged to use alternatives to brushes for their mark making. Layering, excavating, edge, line, texture, mark making, color and the concept of "editing" will be addressed. Students will work in a series, while revisiting the painting process. Working on multiple panels helps to free the creative spirit so that a personal language and vision can develop into a new body of work. Informal group discussion and individual support will be offered along with basic art fundamentals. This class is for beginners and professionals alike
Lisa Pressman has a BA in Art from Douglass College, Rutgers University and an MFA from Bard College. Her work is exhibited extensively throughout the U.S, and is included in many public and private collections. Lisa most recently had a solo show, "Mapping a Place," at Susan Eley Fine Arts, New York, NY. In 2015, her work was included in “Spaces Between” at Butters Gallery, OR and had a solo show, "Inside/Outside," at R&F Handmade Paints in Kingston, NY. She is represented by Telluride Gallery of Fine Art, Telluride, Co; Causey Contemporary, NY, NY and Susan Eley Fine Art, NY, NY. She lives and works in West Orange, NJ and currently teaches painting locally and nationally.
This hands-on workshop will introduce the technique of painting with pigmented beeswax to create beautiful, subtly layered works. We will begin with fundamental processes and branch out into more experimental approaches. We will go over appropriate substrates, equipment and tools. Introductory exercises will help participants get comfortable with the pace and timing of the material. Specific demonstrations will include creating smoothness and texture, mixing color, and a plethora of layering and mark making techniques, including incorporating other media. Demonstrations will be presented throughout the workshop, allowing ample time in between for individual, hands-on experimentation and one-on-one feedback. Students can expect to complete a small series or a number of sample pieces during the workshop. We will discuss equipment options and best practices for safety in your own workspace. This class is appropriate for beginners and those who are familiar with the medium, but desire a little more guidance, fine-tuning, or feedback from the instructor.
Laura Moriarty makes prints, sculptural paintings and installations that resonate with the geologic. Laura’s honors include two grants from the Pollock-Krasner Foundation and participation in numerous artist residencies, including The Frans Masereel Center in Belgium and The Ucross Foundation in Wyoming. She was the exhibition and workshop director at R&F Handmade Paints from 2003-2013. Recent exhibition venues include the Paul Robeson Galleries at Rutgers University, OK Harris Works of Art, The Handwerker Gallery at Ithaca College and The Jyväskylä Art Museum in Finland. She is the author of Table of Contents, an artist’s book published in 2012.
July 9, 16, 23, 30, Aug. 6, 13, 20, 27
We provide the model, and you provide everything else.
7 - 9 pm at Pamet Crossing (1 Depot Road)
$10 per session (pay there)
A location, nestled in the dunes of Truro and within walking distance to Cape Cod bay, provides an inspirational and meditative backdrop that enhances the workshop experience.
A distinguished faculty that consists of prominent artists in the fields of painting, photography, printmaking, sculpture, ceramics, photography, jewelry and writing.
A student body consists of both working artists and art students who hail from all over the US and Canada. Today Castle Hill celebrates its 40th year Anniversary.