Alternative Accommodations in Provincetown

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Alternative Accommodations in Provincetown

The following is a list of inns, hotels, and B&B's who are generously offering discounts to Conference attendees between May 30th-June 9th.
These discounts are offered on a space-available basis. 

Lotus Guest House 10% discount
508-487-4644
Commercial Street, Provincetown

The Masthead Cottages – 20% discount
508-487-0523
31-41 Commercial St., Provincetown

Roux Bed and Breakfast - 10% discount
508-487-1717
210 Bradford St., Provincetown

Sage Inn & Lounge - 15% off weekdays
508-487-6424
336 Commercial Street, 
Provincetown
Enter code CSLHIL online

Somerset House - 15% discount
800-575-1850
378 Commercial Street, Provincetown

Surfside Inn - 10% discount
543 Commercial St., Provincetown
508-487-1726

The West End Inn - 10% discount
44 Commercial St., Provincetown
508-487-
9555

Watership Inn15% discount
7 Winthrop Street, Provincetown
508-487-0094

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Who's Coming to the Conference?

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Who's Coming to the Conference?

Where in the world are the artists? This map pinpoints the home cities and countries of all Encaustic Conference 2017 attendees.

Where in the world are the artists? This map pinpoints the home cities and countries of all Encaustic Conference 2017 attendees.

Below is an alphabetical list of everyone who has registered for the 11th International Encaustic Conference so far. 

Christine Aaron - Larchmont, NY
Lorraine Agri - Plymouth, MA
Marie-Claude Allen - Bethesda, MD
Corina Alvarezdelugo - Branford, CT
Peg Bachenheimer - Carrboro, NC
Marilyn Banner - Takoma Park, MD
Shary Bartlett - Vancouver, BC
Colette Battaglia - San Rafael, CA
Tina Bauer - Groton, MA
Janet Beattie - Provincetown, MA
Lyn Belisle - San Antonio, TX
Michelle Belto - San Antonio, TX
Dawna Bemis - Portland, ME
Marcy Bergeron - Salem, MA
Linda Bigness - Camillus, NY
Michael Billie - Farmington, NM
Binnie Birstein - Norwalk, CT
Pamela Blum - Kingston, NY
Karen Bright - Little Silver, NJ
Bettina Broer - Siasconset, MA
Edith Rae Brown - Glen Head, NY
Steven Cabral - Somerville, MA
Kathy Cantwell - Maplewood, NJ
Laurel Cave - Tyrone, PA
Martha Chason-Sokol - Brookline, MA
Melissa Chiang - North York, ONT, Canada
Dorothy Cochran - Woodland Park, NJ
Lynda Cole - Ann Arbor, MI
Linda Cordner - Boston, MA
Kathleen Cosgrove - Portland, OR
Kathy Cotter - Provincetown, MA
Cat Crotchett - Kalamazoo, MI
Susann D'Antonio - Big Pine Key, FL
Michael David - Brooklyn, NY
Jan Davis - Mexico
Angel Dean - Providence, RI
Rachel DeCicco - Thornton, NH
Susan Delgalvis - Anchorage, AK
Sandi Donnelly - Freeport, ME
Patricia Dusman - Doylestown, PA
Dawn Edmondson - Foster, RI
Fanne Fernow - Santa Cruz, CA
Diane Ferree - Portland, OR
Dora Ficher - Philadelphia, PA
Jane Forth - Linden, VA
Karen Frazer - Plymouth, MI
Karen Freedman - North Wales, PA
Richard Frumess - Kingston, NY
Milisa Galazzi - Cranston, RI
Beverly Gaudet - Dedham, MA
Lorraine Glessner - Jenkintown, PA
Diana Gonzalez Gandolfi - Highland Park, NJ
Jennifer Greely - Westport, CT
A.J. Grossman - Hollywood, FL
Wendy Haas - Chicago, IL
Bethany Handfield - Penticton, BC, Canada
Ritch Hanna - Indianapolis, IN
Kay Hartung - Acton, MA
Marge Hayes - Forest Grove, OR
Ruth Hiller - Boulder, CO
Jeff Hirst - Chicago, IL
Lamia Holden - Lunenburg, MA
Karen Hubacher - Rock Hall, MD
Beth Johnston - Putnam, CT
Ashton Jones - Longmont, CO
Erik Karvonen - Phoenix, AZ
Rita Klachkin - Livingston, NJ
Susana Kuemmerle - Philadelphia, PA
Andree-Anne Laberge - Victoriaville, QC, Canada
Melissa Lackman - Canyon Country, CA
Susan Lasch Krevitt - Thousand Oaks, CA
Nadine Lavoie - North Chatham, MA
Tina Lawrence - Winder, GA
Joy Lawson - Milligan College, TN
Patricia Leeds - San Rafael, CA
Sharon Louden - Minneapolis, MN
Shari Lyon - American Fork, UT
Alexandre Masino - Longueuil, PQ, Canada
Sara Mast - Bozeman, MT
Joanne Mattera - New York, NY
Maude May - Portland, OR
Cheryl McClure - Overton, TX
Katherine McCluskey - Santa Rosa, CA
Kelly McGrath - Kingston, NY
Michele Millon - Cambridge, MA
Sandi Miot - Novato, CA
Patricia Miranda - Port Chester, NY
Cherie Mittenthal - Provincetown, MA
Wayne Montecalvo - Kingston, NY
Laura Moriarty - Kingston, NY
Lora Murphy - Ireland
Theia Murphy - Saco, ME
Nancy Natale - Easthampton, MA
Louise Noel - Montreal, QC, Canada
Jennifer Oliveira-Florio - North Haven, CT
Phyllis Ollari - Springfield, MA
Laurie O'Reilly - Haliburton, ON
Maria Oswald - Whitehorse, YT
Susan Paladino - Boston, MA
Sallyann Paschall - Santa Fe, NM
Samantha Passaniti - Italy
Carole Peck Harrison - New York, NY
Deborah Peeples - Cambridge, MA
Arlene Piacquadio - Westerly, RI
Susan Poirier - Carmichael, CA
Sherrie Posternak - Tucson, AZ
Deborah Pressman - Natick, MA
Lisa Pressman - West Orange, NJ
Lesley Price - Atlanta, GA
Raven Printz - Atlanta, GA
Lynda Ray - Richmond, VA
Jodi Reeb - Minneapolis, MN
Beverly Rippel - South Easton, MA
Dale Roberts - Norristown, PA
Verity Roberts - Australia
Stephanie Roberts-Camello - Pembroke, MA
Michelle Robinson - Los Angeles, CA
Paula Roland - Santa Fe, NM
Lia Rothstein - Hanover, NH
Valerie Roy - Laredo, TX
Patricia Russotti - Rochester, NY
Ruth Sack - Cheshire, CT
Jeff Schaller - Downingtown, PA
Gay Schempp - Winsted, CT
Heidi Schifferli - Philadelphia, PA
Charlene Shih - Culver City, CA
Toby Sisson - Providence, RI
Victoria Sivigny - Meriden, CT
Virginia Slawson - Waldoboro, ME
Julie Snidle - Saint Louis, MO
Patricia Spainhour - Lewisville, NC
Sarah Springer - Lexington, MA
Barbara Stainman - Denver, CO
Tracy Sweet - Brooklyn, NY
Wyanne Thompson - Atlanta, GA
Irene Valles - Orange, CT
Amy Vander Els - Amesbury, MA
Dietlind Vander Schaaf - Portland, ME
Linda Virio - Bowmanville, ONT, Canada
Mitchell Visoky - White Plains, NY
Cindy Wagner - Huntsville, AL
Anna Wagner-Ott - Gatineau, QC, Canada
Charyl Weissbach - Boston, MA
Mary Whelan - Biddeford, ME
Nancy Whitcomb - Providence, RI
Mira White - Walnut Creek, CA
Deborah Winiarski - New York, NY
Dianna Woolley - Walla Walla, WA
Janise Yntema - Belgium
Lisa Zukowski - Warwick, NY

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Postcard Show

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Postcard Show

Plans for Conference 11's Going Postal show and sale have been finalized. Stephanie Roberts-Camello will accept and install your postcard donations. Info below. 

 

The Postcard Show, Going Postal, takes place in the Trawler Room, right off the lobby at the Provincetown Inn. We put the postcards up on Thursday so that when you arrive for the Conference on Friday morning, you'll be able to use your break times to pop in to see the show.

The Postcard Show is one of those glorious win/wins. Conferees--as well as friends of the Conference--donate postcards for show and sale. It's an exhibition for the artists donating, and every penny of the sale goes toward scholarships for the following year.

We are so appreciative that your generosity at Conference 10 is allowing 10 artists to attend Conference 11 on scholarship. Each year will see a different group of artists receive the Conference Scholarship Grant, which offers a paid-for entry to the Conference. Additionally, the Scholarship Grant is a legitimate entry for your resume.

Variety of shape, orientation, substrate and material in Going Postal

 

Where, when and how to send  

Our longtime Conference friend, artist Stephanie Roberts Camello will accept your postcards.

When to send: May 1 through May 25
Where to send: 
Stephanie Roberts-Camello
24 Standford Hill Road
Pembroke, MA 02359

How to pack: The postcards will not be sent individually but in a padded envelope or other safe container. Please try to cut down on excessive packaging. Not only will the environment thank you, Stephanie--who will have to unwrap everything--will thank you as well. The flat lightweight-cardboard or padded mailers available at the Post Office or FedEx should be sufficient to protect your work. You might wish to interleave your postcards with glassine, and then sandwich the stack between two lightweight layers of cardboard--the type that comes in  a digital-print paper box--before inserting the whole thing into the mailer. For good measure, I'd write "Do not bend."

Can you hand deliver? Unfortunately, no. Much as we'd love to have you do that, the postcards need to be received by May 25 so that Stephanie can prepare them for hanging before she arrives in Provincetown. An exception can be made for those of you coming from outside North America (email Stephanie if that's the case.)

Below USPO padded mailer and FedEx thin cardboard mailer, both about 9.5 x 12.5 inches. You can also use a less sturdy manila envelope if you sandwich the postcards with a thin sheet of cardboard top and bottom.

Postcard Guidelines

Basic parameters

. Size: postcard dimensions of 4x6 inches. Horizontal or vertical orientation is fine. Please keep your cards as close to the 4x6 size as possible so  they can fit into the plastic sleeves which will be provided

. Paper: People have used 300-lb watercolor paper to paint on, lightweight Japanese paper to print with, and everything in between. Other: Some artists have used  4x6" prepared panels, and others have used small stretched canvases or thin boards
. Dimension: Most of the postcards are two-dimensional, but who are we to cramp your style? Relief and three-dimensional works are entirely welcome

. Installing: We provide the archival poly bags. A small group of enthusiastic volunteers pins each poly bag to the cork walls around the room.  

. Materials: Most artists have incorporated wax entirely or in part, but we're open to your particular material expression

. Limit: There is no limit to the number of cards you donate or buy

. Purchase: The postcards are $30 each

. Getting into the room to buy: We'll have specifics closer to the Conference

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Want to Share a Room at the Provincetown Inn? Post Here

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Want to Share a Room at the Provincetown Inn? Post Here

This is a forum for all Conference attendees who would like to share a room with another attendee during the Conference (or during pre- and post-Conference workshop weeks).

Castle Hill is not responsible for matching people with one another - if you are interested in staying with someone, simply reply to their comment or get in touch using their preferred method of contact.

Please leave a comment below if you are interested in sharing a hotel room with a fellow Conference attendee. Be sure to include your preferred method of contact, i.e. email address, Facebook, etc.

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Booking a Room at the Provincetown Inn

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Booking a Room at the Provincetown Inn

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This year we are happy to again offer discounted room rates to those attending the Conference at the Provincetown Inn! 

The scenic Provincetown Inn, where the Conference will also take place.

The scenic Provincetown Inn, where the Conference will also take place.

Below are the special room rates for Conference attendees. Visit the Provincetown Inn online to view the different room types.


Midweek Room Rates (Sunday-Thursday)
Standard: $79/night
Standard Inn: $89
Waterview: $109
Waterview Inn: $129
Harborside/Breakwater: $129
Cape Tip: $149


Weekend Room Rates (Friday & Saturday)
Standard: $119
Standard Inn: $129
Waterview: $149
Waterview Inn: $169
Harborside/Breakwater: $169
Cape Tip: $189


Reservations begin November 1st at 9:00am ET. If you would like to book online via the Provincetown Inn website, use the coupon code ENC017 to receive the discount. You can also call the Inn to book: (508) 487-9500

The rooms at the Inn do fill up. We will soon post a list of alternative accommodations in Provincetown and Truro - stay tuned!
 

Another aerial view of the picturesque Ptown Inn

Another aerial view of the picturesque Ptown Inn

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Scholarship Information

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Scholarship Information

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Scholarship applications are due on Friday, November 4th, 2016.

Castle Hill is happy to announce that we are offering 9 scholarships in total for the 2017 Conference. These scholarships are made possible by last year's proceeds from the Postcard Show.

We are accepting scholarship applications in 3 categories: 
1) International artists who are coming from outside the US.
2) Artists who have never attended the Conference before.
3) Artists who have attended the Conference in previous years, but cannot afford it for some reason this year.

To apply, please submit: A statement as to why you should be offered the scholarship, a resume and your website of your work.

Email your application to: cherie@castlehill.org by Friday, November 4th, 2016. 

We will also be offering one scholarship to someone who is willing to organize the Postcard Show. For more information, please contact cherie@castlehill.org.

Postcard Show

Postcard Show

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Cancellation Policy

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Cancellation Policy

Please make sure you understand our Cancellation and Transfer Policies before registering for the Encaustic Conference or Pre- and Post-Conference Workshops.

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Announcing our Keynote Speaker: Sharon Louden

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Announcing our Keynote Speaker: Sharon Louden

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We are pleased to announce our Keynote Speaker for the 11th International Encaustic Conference:
Artist, Author, and Critic Sharon Louden!

Title of her talk: Artist as Culture Producer: Living and Sustaining a Creative Life

Sharon Louden

Sharon Louden

Sharon Louden holds a MFA from Yale University and a BFA from the School of the Art Institute of Chicago. Her work has been exhibited in numerous venues including the Aldrich Contemporary Art Museum, the Drawing Center, Carnegie Mellon University, Weisman Art Museum, Birmingham Museum of Art and the Kemper Museum of Contemporary Art and is held in major public and private collections including the Whitney Museum of American Art, National Gallery of Art, Neuberger Museum of Art, Arkansas Arts Center, Yale University Art Gallery, Weatherspoon Art Museum, and the Museum of Fine Arts, Houston, among others.

In addition, Sharon Louden is a Senior Critic at the New York Academy of Art and the editor of “Living and Sustaining a Creative Life: Essays by 40 Working Artists" published by Intellect Books and distributed by the University of Chicago Press. Published in October, 2013, the book is now in its sixth printing. With sales in over 18 countries, it has become Intellect Book's #1 best selling publication two years in a row. The book has been translated into Korean, garnered over 45 reviews, the subject of 15 podcasts and radio appearances and received more individual feedback than can be counted. 

From September, 2013 until late May, 2015, Louden went on a 62-stop book tour, where she met thousands of artists from all over the US. Some of the venues who participated included LACMA, the Hirshhorn Museum, Strand Bookstore, Art Basel Miami Beach, the 92nd St Y in New York City, Museum of Contemporary Art, Cleveland and Pennsylvania Academy of Fine Arts in Philadelphia and many others. 

Louden's second book, "The Artist as Culture Producer: Living and Sustaining a Creative Life" will launch at the Strand Book Store on March 2, 2017 as a part of an extensive 80-stop conversation/book tour. The last book in the trilogy of Living and Sustaining a Creative Life books, "Last Artist Standing," focusing on artists over 50 years of age, will be published in 2020. 

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2017 Conference Schedule is Now Available!

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2017 Conference Schedule is Now Available!

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Click here to view and download the Conference schedule. Below is a more detailed version of the schedule, with descriptions for each demo, talk, and panel.

Note: This schedule is subject to change. Check this page for updates as the Conference draws closer.

For more information about the Presenters, visit the Presenter & Instructor Bios post.

Friday, June 2

9:30—10:30    

Demo: Basics: Introduction to Encaustic
Deborah Winiarski

In this hands-on workshop, participants will explore the luminous beauty and versatility of encaustic painting. The workshop will focus on encaustic painting basics, as well as how to easily and inexpensively incorporate encaustic into a regular studio practice. Equipment and tools, encaustic paint recipes, pigmenting options, painting supports, safety considerations and more will be discussed. Participants will learn how to create image, texture and line using a variety of techniques and how to embed collage elements, found objects and image transfers within translucent layers of wax. Ample time for hands-on work will be provided.

Talk: All about Artist Residency Programs
Ruth Hiller

Why go, how to choose one, cost, tips for applying, where to research, & what to expect.  I will present Slides of artists who have done one and what they have created there. I will explore : What was the most valuable thing they learned? Why did they pick the residency? How did it expand their work? This presentation will contain artists in and outside of the encaustic community. 

Talk: Professional Practice: Strategic Planning for Artists
Patricia Miranda

The professional administrative work of being an artist can be daunting, from writing articulately about your work; successfully documenting, formatting, and curating digitally images for multiple contexts; to preparing proposals and keeping to deadlines for grants, exhibitions and residencies. This lecture will introduce Strategic Planning for Artists, to help manage the business side of being a full or part-time artist. Learn to apply the creative skills and resourcefulness of your art practice to create a sustainable life as a working artist. This lecture will be followed up by a hands-on workshop.

Talk: Wax or What: Encaustic from Around the World
Binnie Birstein

Over the past few years, I’ve been able to travel to Italy, Spain, France, United Kingdom, and Japan, as well as to Washington, DC. I visited a lot of museums, churches, temples, and shrines and saw a lot of art and objects that I found intriguing for their materiality and richness. Many pieces that I saw appeared to be made of wax or to use wax in their construction. I was able to use the sniff test on many of them and distinguish the scent of beeswax, but of course not all wax is so distinctively fragrant or the work accessible enough to sniff. I took a lot (hundreds) of photos of the pieces that I found interesting and I would like to show them to conferees who may not be as fortunate as I was to see them in person.

10:30—11:30    Break,  including:
10:45—11:15  Welcome and Orientation for Newcomers with Cherie Mittenthal        

 

11:30—12:30    

Demo: Everything about Paper: Mounting, Framing, and Hanging
Pat Spainhour

Now that you have all these encaustic works on paper, what are you going to do with them? Pat Spainhour will present the latest techniques to mount monotypes and wax on paper to wood panels. Learn how to float mount paper within a traditional frame. Expand your presentation ideas through the use of magnets and suspended paper.

Demo: Making, Building, Monotypes
Laura Moriarty

Laura Moriarty will demonstrate her unique way of making encaustic monotypes, which have become an ongoing by-project of her sculptural work. Come see how she uses the process to compose and carefully off-set trails and spillways of melted paint onto fine Asian papers. Like thin sections in optical mineralogy, Laura's prints record the thinnest possible slivers of her sculptural work.

Talk: Many Things you never Learned in College
Karen Freedman

As professional artists, we thrive in a creative environment. But a successful professional career in the arts does not begin and end with the creative process. We are also running a business that often involves tasks or skills that don’t come naturally to us or that we are unaware of. This talk, first introduced at Conference 9, presents six categories that Karen Freedman has integrated into her professional studio practice.

Talk: The Politics behind the Bees
Janise Yntema

Bees have always been a part of our cultural history. Beginning with the prehistoric foraging of wild honey, to their domestic cultivation dating from about 7000 BC, the utility of bees and beeswax has been long known  — most famously for encaustic artists as the first pigment binder. But the intricate architecture of the hive, the complex social structures and intriguing communications through dance all make bee life an intriguing topic. Today’s industrialized bee farming largely ignores their nature by subjecting honeybees to unnatural conditions and genetic manipulation. In 2006 Colony Collapse Disorder (CCD) brought our attention to an augmenting problem. As Einstein stated: If the bee disappeared off the surface of the globe, human life would be soon to follow.” Politics and power are at play here. Learn how different countries are regulating multinationals in an effort to protect the bee and discover what we can all do to help.

12:30—1:30    Buffet Lunch

1:30—2:30    

Demo: Variations on Color: Understanding What You Already Know
Lisa Pressman & Richard Frumess

Name any common pigment, and many artists will have an intuitive familiarity with it without necessarily being aware of its characteristic properties. Chief among those properties is a pigment’s qualities of opacity and translucency.  We will demonstrate how the differences in opacity/translucency effect mixes and color relationships in terms of color saturation (vividness), color texture, and color temperature. We will also demonstrate how using the same pigment in different mediums (such as encaustic, cold wax, oil, and casein) affects that relationship of opacity and translucency.  This is, in short, a brief introduction to how color theory can be applied to the actual pigments and mediums you use in your studio.

Demo: Cyanotype & Encaustic
Susan Lasch Krevitt

Cyanotype is a direct, hands-on, light-sensitive process producing unique and beautifully blue images. This demo explores the integration and creation of cyanotypes and encaustic based work. Techniques for creating images outside in the sun or indoors with ultra violet light bulbs will be discussed. Prints made on a variety of sensitized papers and fabrics will be presented to illustrate the effects those qualities can lend.  Methods, tools and ideas for integrating the cyanotype print with 2D and 3D encaustic based work will be presented.

Talk: Thinking Through Space
Christine Aaron

Are you working dimensionally and interested in shaping space with your work? Are you challenged and intrigued by site specific work and installation? This talk will feature artists who create sculpture and installation that utilize space to actively engage the viewer, and include insights into the evolution of the thinking process inherent in envisioning dimensional work in space.  How these artists address space and use it as one of the elements integral to the success of the work itself, as well as consideration of scale, lighting, height, movement, placement and sound will be illustrated and addressed.

Talk: Pricing Your Work                        
Wendy Haas & Jeff Schaller

The most popular question and complex riddle of an artists career is, “How do I price my artwork?” Everyone has difficulty with where to start pricing our priceless creations. I too filled my years of schooling with art classes instead of business classes. It took me (Jeff Schaller) more than 20 years of hard knocks to grasp the basics of economics 101. This workshop will examine how to price your work with basic formulas as well as the simple economics of price and demand. 

2:30—3:00    Break

3:00—4:30    

Demo: Metal |  Metallic                                      
Dietlind Vander Schaaf

Metal | Metallic will focus on combining metal, metallic pigment stick, and silver and gold leaf with encaustic medium to create work that shimmers and has depth.  If you love old nails or collect small pieces of found metal and rust, learn how to incorporate these objects into encaustic medium.  The application of metallic pigment stick and silver and gold leaf will be demonstrated as ways to finish work, add shine, and enhance metal surfaces.

Demo: Creative Approach to Still Life
Dale Roberts

Encaustic as a painting medium is undergoing renewed interest as a method of personal expression and for creating objects of intrinsic beauty and intensity. The unique properties of the medium make it suited for a wide range of approaches and aesthetic directions. My own search over the past 38 years has intertwined with my love of working from life.
I view my work in any medium as a metaphor in the service of expressing my understanding of the visible world. Paint is pressed into service to stand for any number of visual elements in the construction of a painting. Encaustic by its very nature isn't particularly portable so landscape painting is often accomplished in the studio from preparatory drawings and color studies. For me the interaction with the subject weather landscape, still life or figure is paramount and the transformation from those initial reactions to the final Encaustic painting has an alchemy all of its own.

Talk: Encaustic Monotype 1997 - 2017
Paula Roland

Paula Roland presents an overview of the development of the Encaustic Monotype. Attracted by the obscure process and its relationship to her acrylic process/concept painting, Roland developed and expanded the Encaustic Monotype to suit her needs and the needs of artists whom she has taught over the past 20 years. Highlights include the relationships between Roland’s early painting process with her encaustic prints, and works by other artists who have claimed the process, and furthered it.

Talk: Authentic Art: Creating from the Inside Out
Michelle Belto

This interactive presentation is about using art making as a means of personal transformation. No matter your level of experience, art provides us a way to tap into our inner wisdom where our most important work is done. Not all of art coming from our studio is profound or life changing, but we each have the ability to create from a place of power and be changed by what we create. This presentation will show you how.  Through guided exercises, personal story and group discussion participants will generate imagery that is both personal and immediate and learn to set up a studio practice that move us ever closer to creating 100% authentic art.

    

4:30—6:00    Last call at the Vendor Room, Postcard Show for today    

5:30—10:00    Dinner on your own / Openings in town

 

Saturday, June 3

9:00—3:00    Late Registration
9:00—6:00    Vendor Room open
Postcard Show open         

9:30—11:30    Keynote Speaker: Sharon Louden

11:30 - 12:00      Break

12:00—1:00    Buffet lunch

 

1:00 - 2:30    

Panel: Think Tank on Creative Teaching and Learning
Toby Sisson, Misa Gallazi, Sara Mast, Lisa Pressman
Come to this interactive 90-minute session, ready to participate in active dialogue. Share ways to cultivate creativity, ingenuity, and vision. Take away ideas and inspiration about making meaning in your own studio practice and beyond.         

Panel: The Ethics of Appropriation                     
Fanne Fernow & Deborah Winiarski

Appropriation – the ‘borrowing’ of pre-existing objects or images without sufficient transformation – has played a significant role in the history of Art.  In this age of the Internet, the sharing and appropriation of images has become even more pervasive.  This presentation will explore the very fine lines between appropriation, plagiarism, influence and inspiration and the implications on artist copyright. The slide presentation will feature notable artists whose use of appropriation in their work has been challenged (i.e., Andy Warhol, Jeff Koons, Luc Tuymans, etc.), as well as artists from the ProWax community who have experienced the appropriation of their own work.  The group discussion to follow will focus on the difference between transformative and derivative work, what actions an artist can take if their work has been appropriated, and, finally, how an artist can ensure that their own work is unique to their personal vision.

Demo: Wax, Yupo, Washi: Encaustic Collagraph on Japanese Papers
Dorothy Cochran

Yupo is a synethetic paper available in pads, sheets and rolls of various weights.  It makes the perfect substrate to create hot wax plates called encaustic collagraphs. The surface holds gestural marks of the brush and objects can be coated with wax and stamped. Layers of wax can be incised or textured to create depth. Tapes and stencils can be employed to block areas for precise, geometric areas and defined edges.  The imaged plates can be printed as relief, intaglio or combined with monotype and drypoint, all using the Yupo. This method is economical, plates easily cleaned and stored and have the additive benefit of being easily cut with scissors or utility knives. This demonstration includes making a Yupo plate, inking and printing by hand and various samples of the many possibilities.

2:30—3:00    Break

3:00—4:30    90-minute session

Demo: Mixed Media Printmaking                        
Jeff Hirst

This 2-day intensive workshop will explore printmaking with an experimental approach and encourage intuitive thinking and play.  Participants will create imagery using encaustic collagraph processes, chine colle, and hand-drawing applications while exploring the second-generation image that comes off the press.  Multi-plate images will be demonstrated and students will create multicolor prints.  The emphasis of the class is image making and each participant will receive feedback and guidance in creating their personal vision.

Demo: Contemporary Portraiture
Lora Murphy

This  Demo will take the mystery out of Painting a Portrait or working Figuratively. (But not the Magic!!). Lora's step by step demo, will show you how to approach a portrait or figure, from the initial drawing to the final highlight. Working vertically on either canvas or panel, Lora will demonstrate how to  use the  hot palette to create luminous skin tones, how to accurately draw the head, how to interpret the light, halftone and shadow and how to paint the features. She will demonstrate the use of water based encaustic paint as one of the final steps in a portrait , creating very expressive passages  and transitions. She will discuss the specific requirements for working with encaustic on canvas.

Talk: Advanced Technique and Studio Practices
Alexandre Masino

Masino's talk will reveal a wealth of information to advance and enrich one's painting approach and studio practice. Building on last year's well received presentation, this new version will approach both the technical and conceptual aspects required to achieve a personal vision and to anchor it in materiality. Starting with the initial idea and intent, we will follow the research involved in producing a new series. The focus will then shift to introduce numerous techniques and methods going beyond the first reflexes of how the medium is handled. Important points will be made between painting, monotypes and monoprints and how intertwining these disciplines can nourish ones body of work. The topics will include the creative process of generating new avenues in our art, the advantages of the easel, various brush techniques, the proper time to use the heat gun or torches, working large, working with gold leaf, acetate techniques, indirect drawing and much more!  

Talk: Encaustic Theories and Practices: History to Contemporary
Michael David

Description TBA    

 

4:30—5:00    Break

5:00—6:00    Book Signing in Lobby / Postcard Sales begin!  

Until 6:00    Vendor Room open
Last Look at Postcard Show

8:00         Fun to be announced!!

 

Sunday, June 4

9:00—10:00    Very Late Registration
9:00—5:00    Vendor Room open

9:30—11:00    Hotel Fair, Part 1— Waterview Inn, Waterview Standard, Lobby
11:00—12:30    Hotel Fair, Part 2— Harbor View, Cape Tip, Breakwater

9:30—12:30    Postcard Show and sale    

12:30—1:30    Buffet Lunch

 

1:30—2:30    

Demo: Branding: Mark Making                                                   
Lorraine Glessner

Branding, or pyrography is the process of creating marks and patterns with fire, heated metal tools and objects. Depending on the branding method and the surface being branded, colors range from yellows to rusts to browns and blacks and when combined with the warm translucency of encaustic, these marks become a rich, dynamic framework for subsequent painted marks. The branding techniques covered in this demonstration include utilizing a propane torch to heat found metal objects and wood burning tools with various tips. Variations including positive and negative burning, drawing with soot and distressing the surface are incorporated into the demonstration. With an emphasis on mixed media, a short demonstration toward the end of the hour will include several ways in which to respond to these marks utilizing various encaustic techniques as well as other media. Because branding is not a commonly used technique, this demonstration is open to those with beginning to advanced levels of encaustic experience as it can be incorporated into any artist’s working process.  

Demo: Photography & Encaustic
Patti Russotti

The artist's hand and eye combined with a “lens” or any optical device can create a unique narrative. Photography can be a useful tool to integrate into your daily practice as well as a tool to create and enhance the depth of encaustic work.
This seminar deals with the issues related to utilizing photographic images in your work and daily practice. We will look at questions related to the whys and hows of making an image or use of an existing image. Whether you have a point and shoot digital camera, IPhone, or dslr, all of these can 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.

Talk: Idea Development
Cat Crotchett

This talk will focus on the individual ways different artists develop ideas into executed works of art or bodies of work. It will also delve into strategies specific artists use to get past roadblocks in their work and how they place limits on themselves (or don’t) working in the studio.

Talk: Curatorial Thinking
Joanne Mattera

“Curating” is an overworked word these days. Lifestyle magazines would have you believe that wardrobes and menus are “curated.” Curating by and for art professionals is something else entirely. It’s realizing a thematic vision by means of the art of others, each work advancing the curatorial thesis with depth and breadth so that the installed exhibition immerses the viewer in a river of ideas that are amplified by juxtapositions, sequential placements, and cross-gallery conversations. In this illustrated talk we’ll consider various kinds of curators and curatorial projects, with a focus on 1) how to get onto a curator’s radar; and 2) what to consider if you wish to curate an exhibition of your own.

2:30 – 3:00    Break
Postcard sale ends

 

3:00—4:00

   
Talk: Being in Community: Miss Manners Meets ArtZilla
Deborah Winiarski & Fanne Fernow

Many artists are part of a community. You could be a member of an art organization, a critique group, or on Facebook.  You could be a student or a teacher with many colleagues.  Some communities thrive while others have imploded. Some artists have much to gain by being in community.  Sometimes, all it will take to spoil a functional community is one person with the wrong spirit. 
This will be a talk and discussion about communities of artists and how they can grow and prosper.  It will be about changing dynamics of groups and how to function effectively no matter what the size of the group or the issues that arise.  It will be about what artists often do for one another. It will be about learning to play well with others. The origin of a group does not matter.  The situations groups encounter are pretty much the same no matter what.  We will address questions about how to speak straightforwardly without someone taking umbrage and how to deal with a response you don’t like, even if you have solicited an opinion.  What are basic courtesies regarding referrals and other means of support?  What do you do if you feel your work is being copied? How do you say, “No?”  How do we establish a healthy combination of creative independence, ethics and human kindness?

Talk: Demystifying Social Media for an Artist
AJ Grossman

To review the different types of social media available today and the pros/cons on each to help the artist select the best social media resource for them and to answer the question, “Do I need social media?” 
Overview of social media, Review of social media/website terms, Social Media as part of my brand , Best Practices, Social Media Etiquette , Apps to help with Marketing/Social Media

Critique:  Looking at Your Work Critically
Patricia Miranda

Description TBA

Talk: Expressing Meaning Through Materials
Nancy Natale

Many artists working with encaustic combine its unique qualities with various found or manipulated materials. I propose to give a talk on 10 to 15 artists who are making mixed media artworks that derive meaning because of the materials from which they are made. Some of my proposed artists have personal connections to the materials they select, while others create works that find meaning in the way that random materials are used or brought together. While not all of the artists in my talk use wax in their work, these artists represent the broader art world and may inspire new ways of thinking about work with encaustic.

Demo: Working on Soft Supports
Sherrie Posternak

Hard substrates like wood panels, ceramic or metal, limit the ways in which wax and other materials can be applied. Using soft supports like cotton quilt batting, oil-absorbent sheets used for hazardous waste cleanup, and perhaps canvas and other fabrics, we will expand the possibilities by sewing through these materials after they are soaked through with wax. These soft materials also provide a direct method of attaching mixed media elements. And like working with encaustic atop rigid supports, these soft supports can be painted on, image-transferred on, and collaged on. Students will also learn various innovative methods of mounting, framing and hanging including affixing work to rigid under-supports. Or by free-hanging the finished pieces, students will compare the results of viewing the work with and without light coming through from behind.
 

4:15—4:30    Wrap up in Mayflower Room
Closing remarks from Cherie

5:30—6:30    Closing Reception at the Cape Cod Museum  - Buses will be provided

Presenter & Instructor Bios

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Pre- and Post-Conference Workshop Preview

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Pre- and Post-Conference Workshop Preview

Back to 11th International Encaustic Conference Home Page

REGISTRATION IS NOW OPEN! To register click here.

All one-day workshops cost $240 plus materials fees.
All two-day workshops cost $480 plus materials fees.


Pre-Conference Workshops
May 30 - June 1, 2017


PAULA ROLAND
Mop and Mark: A 2 day workshop in Mark-making with a mop or large brushes and Encaustic Monotype
May 30 & 31, Tuesday & Wednesday
10am - 4pm

With this workshop, we will free-up our movements, discover a new language of marks beyond our habituated ones, and develop processes that can inform future works in any media. We begin by engaging the whole body using big brushes and mops with India ink on body-size paper. We expand our vocabulary using unusual tools such as sticks and found objects. Utilizing our “library” of marks, we create encaustic monotypes on the Roland HOTbox. Working freely, we combine encaustic monotypes with ink and wash. Our process will yield many works on paper that can be utilized alone or with other works such as paintings on panels. This evolution will yield a new language of marks and a process that can continue to morph according to one’s personal vision, chosen imagery, and medium. Discussions include: a Zen approach, review of composition, and application of processes learned to future works.


LORA MURPHY
Contemporary Portraiture in Encaustic
May 30 & 31, Tuesday & Wednesday
10am - 4pm

Many people would like to try Portraiture and/or Figurative painting in Encaustic but are unsure of where to start and how to proceed. This Workshop will take the mystery out of it (but not the magic!). Step by step instruction will show you how to approach a portrait or figure, from the initial drawing to the final highlight. Working vertically on either canvas or panel, I will teach you how to use the hot palette to create luminous skin tones, how to accurately draw the head, how to interpret the light, halftone and shadow and how to paint the features. I will demonstrate the use of water based encaustic paint as one of the final steps in a portrait, creating very expressive passages and transitions. 
This is a hands on course and while the focus is on contemporary portraiture, you will get an opportunity to try a variety of techniques. I trained at a traditional art atelier in Florence but I have been working in encaustic for over 10 years and I have adapted the traditional methods, to encaustic work. I am a firm believer in knowing the rules of painting and once you know them, breaking them as you wish! Drawing is key and with step by step instruction you will be able to make sense of the somewhat complicated territory of building a portrait in encaustic; a wonderfully expressive and creative material. 
Other topics covered will include safety, history, properties of pigments and different waxes, making your own supplies , texture and mark making, embedding and transfers, fusing, supports and what you need to do to work on canvas . You will get a wealth of information on what will work with encaustic.


LORRAINE GLESSNER
Alternative Methods & Materials in Encaustic: Exploring Line
May 30 & 31, Tuesday & Wednesday
10am - 4pm

Lines lead the eye and communicate information through variation in width, direction, density, length and character. They are as integral to any composition as the composition itself. Despite the incredible versatility of the encaustic medium, there is a limit to the techniques available in which to incorporate line. Open to those with a beginning to advanced level of encaustic experience, this workshop will explore line and linear language far beyond the usual methods and materials to include the use of tjanting tools, drawing with horse and human hair, branding 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. The workshop begins with a comprehensive exercise involving composition generation, which will result in several compositions from which to explore these new techniques. Considerations of the use of the grid as a conceptual as well as compositional tool will also be discussed. Most materials and a sewing machine will be included for class use.  


RICHARD FRUMESS
What Do Colors Really Do? Applying of Color Theory to the Paint You are Using
May 31 & June 1, Wednesday & Thursday
10am - 4pm

The purpose of this workshop, will be a systematic hands-on exploration of color theory using R&F Pigment Sticks. There will be exercises using color theory principles in the mixing, layering, and juxtaposing of color. This workshop differs from traditional approaches to color theory, which rely on calibrated color sets, like Color-Aid. The limitation to these approaches is that they do not relate to the specific pigments and mediums that you work with in your studio. This class approaches the subject with a practical application of the colors you are already familiar with and expands your knowledge of them. 
You will experiment with the different aspects of pigments – their opacity, temperature, saturation, and value – and see how they play crucial roles in mixing and color composition.  We also look at how different mediums, the absorbent properties of grounds, and the diffusing nature of texture can either radically or subtly affect the characteristics of colors and how they interact with light. The conversation will bring us to the “mechanics” of color – the physical and chemical processes that underlie those characteristics of pigments and mediums and grounds. We will see:

  • What makes pigments translucent or opaque, brighter or deeper, muted or vivid
  • What makes colors influence each other
  • What makes light influence a color 

Overall this knowledge will help you understand how to make more purposeful choices in design including: contrast, balance, movement, and depth.


SUSAN LASCH KREVITT
Cyanotype & Encaustic
May 31 & June 1, Wednesday & Thursday
10am - 4pm

Cyanotype is a direct, hands-on, light-sensitive process producing unique and beautifully blue images. In this 2-day workshop you’ll learn how to integrate cyanotype elements on paper and fabric with encaustic based work.


DEBORAH WINIARSKI
Beginning Encaustic
June 1, Thursday
10am - 4pm

In this hands-on workshop, participants will explore the luminous beauty and versatility of encaustic painting. The workshop will focus on encaustic painting basics, as well as how to easily and inexpensively incorporate encaustic into a regular studio practice. Equipment and tools, encaustic paint recipes, pigmenting options, painting supports, safety considerations and more will be discussed. Participants will learn how to create image, texture and line using a variety of techniques and how to embed collage elements, found objects and image transfers within translucent layers of wax. Ample time for hands-on work will be provided.


LISA PRESSMAN
Finding Your Mark
June 1, Thursday
10am - 4pm

Lisa will demonstrate painting with R&F pigments sticks along with blender stick, oil paint, cold wax and her favorite drawing materials. Through guided exercises students will revisit fundamental of art concepts along with experimenting with these materials. Layering, mono printing and mark making will be covered along with the use of tools such as scrapers and brayers. Students will create 10-20 small scale studies on board and paper. (No encaustic included)


PAT SPAINHOUR
Fired Up
June 1, Thursday
10am - 4pm

Who likes to play with fire? Pat Spainhour, assisted by her blacksmith husband Paul Spainhour, will present a one day workshop experimenting with the burned surface and encaustic paint. Students will learn how to scorch paper, use fireworks (sparklers) on paper, brand a wood panel, and even create texture with gunpowder. This is an exciting experience, safety measures will be in place, and the  burning controlled. Beeswax, medium, and encaustic paints will be introduced to the surface for finishing techniques.


Post-Conference Workshops
June 5 - 9, 2017


SHARON LOUDEN (Keynote Speaker)
Artist as Culture Producer
June 5, Monday
10am-4pm


MICHAEL DAVID
Painting Workshop (TBA)
June 5 & 6, Monday & Tuesday
10am-4pm


JEFF HIRST
Mixed Media Printmaking
June 5 & 6, Monday & Tuesday
10am - 4pm

This 2-day intensive workshop will explore printmaking with an experimental approach and encourage intuitive thinking and play.  Participants will create imagery using encaustic collagraph processes, chine colle, and hand-drawing applications while exploring the second-generation image that comes off the press.  Multi-plate images will be demonstrated and students will create multicolor prints.  The emphasis of the class is image making and each participant will receive feedback and guidance in creating their personal vision.


PATRICIA MIRANDA
Professional Practices
June 6, Tuesday
10am - 4pm

This hands-on workshop will provide extensive practical information and tools on the business side of pursuing a career as a full or part-time artist. Emphasis will be on organizing and mapping a path to an active, lifelong, studio practice. A broad spectrum of subjects will be covered in-depth, (time allowed) including: writing articulately about your work for artist statements, grants, and proposals; portfolio curation and preparation; preparing an artist resume/cv; finding opportunities in galleries, non-profits, alternative spaces; residencies; time management, and ethical and professional practices for an artist citizen. Participants will be sent info prior to workshop and prepare materials beforehand for review so the day can be spent as productively as possible. Structure of the workshop will be designed specifically for the needs of registered participants. Bring laptops and/or notepads for a full day of pragmatic hands-on activity. 


KAREN FREEDMAN
Maintaining Your Edge: The Art of Stenciling
June 5 & 6, Monday & Tuesday
10am - 4pm

This two day workshop will cover advanced stenciling techniques using both encaustic and Pigment Sticks. Participants will explore the various materials and methods they can use to expand their stenciling vocabulary. The majority of time will focus on working. This workshop is geared towards students with a strong working knowledge of the encaustic process.


ALEXANDRE MASINO
Advanced Painting Techniques
June 5 & 6, Monday & Tuesday
10am - 4pm

This two day workshop offers a great opportunity to develop, refine and widen the approaches of your painting techniques. During the first day, we will discuss different aspects of encaustic painting. Alexandre will demonstrate his use of the medium by showing different steps of his approach. Presenting the advantages of the double-boilers, he will demonstrate ways to achieve interesting textures, various fusing methods, using drawing tools, indirect drawing, underpainting, the great versatility of fan brushes and so on….  All these techniques can easily be applied both to representation or abstraction. The participants may either work from photos, from objects or in an abstract manner, but the main focus will be geared towards a painterly approach.  Staying away from tricks and gadgets, the goal is to push your own technique and art practice by suggesting new avenues to explore and provide different ways to achieve your vision.
The main focus of the second day is to allow the participants to explore the various notions presented in the first day. Alexandre will talk individually to each participant about their own practice, and how they can further develop their painting ability, control and understanding of the visual language. The objective is to make sure that each participant returns to their practice with new tools and knowledge, having a higher level of understanding of painting and of the encaustic medium and its many subtleties.


AJ GROSSMAN
Instagram for the Artist
June 7, Wednesday
10am - 4pm

A hands-on workshop from setup to posting and the inner working of Instagram for the Artist. Topics include account set-up, geotagging, business account vs. personal, messaging, Emoji, other apps to use with Instagram, hashtags, and posting strategy, plus photography tips.


BINNIE BIRSTEIN
TAKING YOUR WORK TO THE NEXT LEVEL: Beyond the Basics
June 7, Wednesday
10am - 4pm

You’ve got the fusing thing down…well most of the time.

You know how to mix colors.

In this workshop, participants will learn how to take their work to the next level…

Designed for the artist who wants utilize what they already know in painting with encaustic; who are interested in finding their voice and developing a body of work. Working with Binnie, they will be able to apply the best techniques to achieve their vision in pigmented wax.

Spend studio time together…looking…thinking…talking…working on your art.
What is your work about?
What are you trying to say?
What do you need to know to get there?


SHERRIE POSTERNAK
Working with Soft Supports
June 7, Wednesday
10am - 4pm

Hard substrates like wood panels, ceramic or metal, limit the ways in which wax and other materials can be applied.  Using soft supports like cotton quilt batting, oil-absorbent sheets used for hazardous waste cleanup, and perhaps canvas and other fabrics, we will expand the possibilities by sewing through these materials after they are soaked through with wax.  These soft materials also provide a direct method of attaching mixed media elements.  And like working with encaustic atop rigid supports, these soft supports can be painted on, image-transferred on, and collaged on.  Students will also learn various innovative methods of mounting, framing and hanging including affixing work to rigid under-supports.  Or by free-hanging the finished pieces, students will compare the results of viewing the work with and without light coming through from behind. This workshop is appropriate for students with beginning through advanced knowledge / experience in encaustic.


 SAMSUNG CAMERA PICTURES

KELLY MCGRATH
Wax, Wire, Fiber: Working with Armature
June 7 & 8, Wednesday and Thursday
10am - 4pm

In this class we will be constructing lightweight sculptures using wire armature, covered in wax dipped papers and fabrics. We will begin with exercises that focus on the physical changes that occur in fabric and paper when they are wax saturated. Then we will introduce wire as a structural element to add complexity and structure to our formal exploration. Soldering will be one of the main a methods for joining metal giving the work permanence and stability. Students will use Encaustic as the finishing surface in these 3 dimensional mixed media works adding color, texture and luminosity to their pieces.


DOROTHY COCHRAN
Wax, Yupo, Washi – Encaustic Collagraph on Japanese Papers
June 7 & 8, Wednesday & Thursday
10am - 4pm

Yupo is a synthetic paper available in pads, sheets and rolls of various weights.  It makes the perfect substrate to create hot wax plates called encaustic collagraphs.  The surface holds gestural marks of the brush and objects can be coated with wax and stamped. Layers of wax can be incised or textured to create depth. Tapes and stencils can be employed to block areas for precise, geometric areas and defined edges.  The imaged plates can be printed as relief, intaglio or combined with monotype and drypoint, all using the Yupo.  This method is economical, plates easily cleaned and stored and have the additive benefit of being easily cut with scissors or utility knives. In this two-day workshop, we will make plates, explore various printing strategies such as multiple color plates, transparency and chine colle. Additional encaustic applications of the completed prints and Japanese papers will be part of the learning experience.


DALE ROBERTS
Encaustic Still Life, Elegant Play
June 7 & 8, Wednesday & Thursday
10am - 4pm

This workshop will offer a creative approach to the discipline of still life painting using encaustic. During the two-day session through demonstration and personal instruction, the beautiful interaction of the translucent skin of the wax film will be applied to a creative dialogue with observable objects. The character, intrinsic nature and interaction of objects and environment will become the inspiration for the work.
The expressive possibilities of the medium are well suited to the thoughtful consideration of the still life. The objects we surround ourselves with are often a reflection of the visual choices, which most deeply engage and move us. The excitement, which a still life painting session evokes, can translate into powerful and sublime painting.
The class will cover important considerations including composition, theme, focus, texture, spatial interaction, value range, and verisimilitude vs. interpretative aesthetics.


DIETLIND VANDER SCHAAF
Metal | Metallic
June 8 & 9, Thursday and Friday
10am - 4pm

Metal | Metallic is a two-day encaustic workshop designed to take students beyond the basics involved in working with encaustic.  A hands-on studio course, this workshop will focus on the technical aspects of incorporating small pieces of metal and rust with encaustic medium and paint, as well as the opportunity to work with metal leaf and metallic pigment sticks to create work that shimmers and has depth.  An emphasis will be placed on expressing meaning through an exploration of composition.  Students will have plenty of time to explore and develop their personal ideas and visual vocabulary on multiple panels.  If you love old nails or collect small pieces of found metal and rust, learn how to incorporate these objects into encaustic medium. The application of metallic pigment stick and silver and gold leaf will be demonstrated as ways to finish work, add shine, and enhance metal surfaces.


LYN BELISLE
Composition and Collage
June 9, Friday
10am - 4pm

This workshop takes a lively approach to exploring and mastering composition through layering and image manipulation using Lyn’s hugely successful AB3 System of Composition as a springboard for ideas in mixed media and encaustic work, particularly photocollage.
In the first phase, allows a painter to envision several “right answers” to each composition while creating journal-like collage studies. Participants will veil, conceal and reveal images with loosely applied acrylic paint, stamps, stencils and other collage elements.  The second phase bring these simple composition-mastery exercises into the photocollage process. This will be done through manipulating and arranging non-copyright photographs, veiling them with beeswax and encaustic medium layering, scraping, and applying translucent surface treatments to produce a fail-proof, viewer-engaging encaustic work. Participants can expect to complete at least one or two pieces. Prior work with encaustic materials is suggested but not mandatory.


CORINA ALVAREZDELUGO
Encaustic in 3-D
June 8 & 9, Thursday & Friday
10am - 4pm

One of the versatilities of working with encaustic is its use for sculpture. One of those uses is inherent to its ability to give structure to soft materials. It can also be used to add strength, and to seal and finish surfaces, among others uses that will be talked about in class. In this workshop, students will be using wire and plaster gauze to sculpt pieces. They will be also using papers and fibers dipped in wax to create sculptural pieces, by folding, twisting, sewing, and attaching pieces together to build a structure that can be mounted or installed as well.
The plaster pieces will be prepared on day one and left to dry. Day two will be spent finishing up their sculptures, and learning different ways to display them, as well as how to attach them to a panel or support. They will be painting their prep pieces; experiencing the different ways that encaustic can enhance its surfaces. Students will be encouraged to use mixed media elements, combined with other media to develop their concepts and push their limits and possibilities. We will wrap up the workshop with a discussion and critique. By developing an awareness of the sculptural possibilities of the Encaustic medium, this workshop is designed to increase the ability to create, see and respond to a 3-D object, despite your personal style. A materials list will be provided upon registration.

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