Postcard Show


Postcard Show

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Conference 12:  Going Postal
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 11 is allowing 10 artists to attend Conference 12 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.

Postcard show. Photo,Norman Soskel.jpg

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

When to send: Please have cards sent by May 15

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 listed on the schedule


Juried Show: TRANS


Juried Show: TRANS

Juried Show Theme: “Trans”

Trans: a prefix occurring in loanwords from Latin transcend; transfix; on this model, used with the meanings “across”, “beyond,” “through,” “changing thoroughly,” “transverse,” in combination with elements of any origin: or a prefix meaning “on the other side of,” referring to the misalignment of one’s gender identity with one’s biological sex assigned at birth: Other words include: transaction, transfer, transferred, transformer, transparent, transitive, translated, transpose, transverse, transsexual, translation... so many options!

About the Juror: Tim Doud’s paintings and drawings address two seemingly distinct bodies of work, one figurative and one abstract. These bodies of work serve as a backdrop to broader discussions around constructed identities, branding and commodity culture. Recent exhibitions include Curator’s Office, Washington, DC, Randall Scott Projects, Baltimore, MD. He has received grants from The National Endowment for the Arts (Arts Midwest), The Pollock Krasner Art Foundation, DC Commission for the Arts and Humanities and participated in the Sharpe-Walentas Studio Program, New York, NY. Doud is currently an Associate Professor at American University and lives and work’s in Washington, DC. Doud and Zoë Charlton run the collaborative project space, ‘sindikit’ in Baltimore, MD. Doud also founded STABLE arts in Washington, DC with Linn Meyers and Caitlin Teal Price.

Congratulations to the following artists who's work will be included in this show:

AJ Grossman

Amy Finder

Pam Schneider

Anne Strout

Barry Margolin

Dietlind Vander Schaaf

Janise Yntema

Jodi Reeb

Joyce Coolidge

Karen Karlsson

Kelly Austin-Rolo

Lia Rothstein

Maryanne O'Brien

Michiko Watanabe

Miles Conrad

Pamela Blum

Patricia Dusman

Patricia Spainhour

Paula Fava

Sandra Koberlein

Sarah Springer

Deborah Peeples


The Vendor Room


The Vendor Room

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Vendor Room Hours
Friday and Saturday: 9:00 - 6:00
Sunday: 9:00 - 5:00


“If there were an encaustic heaven, it would be the vendor room."   
                             --Artist Shelley Gilchrist

Come and visit the Vendor Room! We're bringing back many of our wonderful vendors and introducing some new ones this year.  Look for discounts, special items, limited-edition colors, and stuff you didn't know you needed but will realize you can't live without. New vendors this year: the Vent-a-Fume folks, who will show you their ventilation system, and Provincetown's own Artist Loft, which will bring a selection of panels and other great stuff. R&F Paints will have some Encaustic board panels on hand as well. Kama Pigments, Enkaustikos, Miles Conrad Paints will be there to sell an array of amazing products!

Kama Pigments  
Montréal, Canada

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Kama Pigments is based in Montréal,  founded in 1996 by Vincent Deshaies, who still runs the company along with a staff composed entirely of practicing artists.  The mission of Kama Pigments is to make archival, high quality materials available to artists at the best possible prices. To this end, Kama Pigments offers a wide array of raw materials for artists interested in making their own paints and mediums (pigmentsbindersresinswaxesaqua-dispersions, etc.), and also manufactures artist-quality, ready-to-use products (encaustic paintsartists’ oil paintspainting mediumsoil sticks).

Kama products are available Online, through our distributors and at our Montreal store


The new KAMA pigments store opened fall 2013 in downtown Montréal

KAMA pigments’ handmade oil sticks . . .
. . . and sets

Kama encaustic paints

Clockwise from above:  fluorescent paints, shaped panels, brushes, earth pigments 

Mail orders

In the last years, it has become increasingly difficult to bring our products from Canada to Provincetown due to US customs and US labor laws. As a result we’ve had very little choice but to switch to a mail order system for our presence at the conference. Hence starting in 2014, all orders placed at the conference will be mailed directly to our customers.

Shipping will be free of charge and a 15 % discount will be offered on all orders placed at the conference.

If you require your supplies for the conference: We will deliver all orders placed before the conference. Those orders will receive a 30% discount; deadline for this offer is May 30th.

To take advantage of this offer, these steps must be followed:

  • Place the order online on our website, choose the store pickup as a shipping option.
  • Email referencing you order number and say that this order is to be treated as a pre-encaustic conference order. We will apply the discount, email you an updated confirmation and prepare your order which will be delivered at the conference.

Should you have any question about this offer or about our new mail order system we will happy to help, please contact Vincent directly by email at

Raffle: Don’t forget to stop by our table to register for our raffle. Our giveaway will consist of the following:


Providence, Rhode Island

Paper Connection International, LLC is your premier resource for fine art and specialty papers made by skilled craftspeople in East to suit the paper needs of the West. PCI is known for superior paper products dependable customer service, and for our staff with over 20 years of technical experience in the world of paper. Our warehouse and showroom are open by appointment and located in Providence, RI just off exit 24 from I-95. Please call us at 401.454.1436 or email us at

Click here for Paperwomans blog
Click here to "like" our Facebook page

Above and below: a selection of Japanese papers in gorgeous hues for printing, bookmaking and other encaustic-related (or non-encaustic related) projects


Below:  A selection of Japanese papers, ideal for encaustic monotype, in a neutral palette

 Paper fibers

Paper fibers

Miles Conrad Encaustics 
Tucson, Arizona

We combine the finest milled pigments, natural waxes, and hand-selected damar resin to create these lush encaustic paints in the vibrant colors of the Sonoran Desert. With over 19 years experience mixing encaustic color, our paints are smooth and supple enough for the master painter yet affordable enough for the beginner. Choose from our growing library of Southwest-inspired colors, or send us your color swatch and let us custom mix a blend made just for you!

Products: Encaustic Paint, Encaustic Medium 8:1 and 5:1 Blends, Beeswax, Soy Wax, Damar Resin, 'Thirsty' Absorbent Ground, 'Solve It!' Biodegradeable Wax Solvent, Custom Birch Panels, Imported and Handmade Papers, Brushes, Tools, Tins, Irons, Griddles, Heat Guns

We also sell a complete line of Cuní water-soluble wax paint. Formulated through chemical analysis of ancient Roman paintings, this patented formula is the only water-soluble encaustic paint that exists today. Cuní is fully compatible with all traditional hot wax-based encaustic techniques. Cuní is perfect for a painterly layer beneath your favorite hot encaustic medium. Or create quick drying ultra-thin washes for a great surface patina with a tidy, ‘no-solvent’ clean up. 

 'Solve It,' biodegradable wax solvent--unscented and non-toxic. Cleans tools and work surfaces like magic

'Solve It,' biodegradable wax solvent--unscented and non-toxic. Cleans tools and work surfaces like magic

Artist Loft 
Provincetown, Mass



Mark will have great prices on panels and assorted products in the Vendor Room, but stop into the  store before or after the Conference to see what else he has to offer!

R&F Handmade Paints   
Kingston, New York

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R&F Handmade Paints began manufacturing professional artists paints and providing artist-focused technical support in 1988. Today, R&F distinguishes itself by continuing to craft the highest quality paint in small, carefully controlled batches where the eye and skill of the paintmaker are key. R&F has run workshops in their factory building and around the country for over 20 years.

Specials: There will be deep discounts, new kits, limited-edition colors and a special raffle. Ask about them when you get to the Vendor Room.


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 R and F Paint workshop & manucacturing
Richard Darin.jpg
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R&F founder, Richard Frumess, with R&F president, Darin Seim


ENC 2015 @ Mark's Studio.jpg

Enkaustikos Wax Art Supplies  
Rochester, New York

Since 1996, Enkaustikos’ mission has been to produce the highest quality professional encaustic paint. To make the best paint we begin with the best ingredients. We only use Pharmaceutical grade beeswax, along with the highest quality damar resin; then after filtering we add artist-grade pigments that are lightfast, heat stable, and offer exceptional purity of color. We are proud to offer you a selection of 88 colors to choose from. 73 are single pigment paints that provide you with an opportunity to finely hone your color sensibility. Dan Sywalski, our paint maker for over 17 years, brings experience to the process. Dan uses modern milling technology to shear our pigment to its ultimate particle size. Each color has been formulated to achieve the maximum pigment concentration while maintaining good handling properties. Use either our original wax medium or XD to extend the pigment load to your satisfaction. Whether you want to make beautiful transparent glazes, apply thin veils of color or build thick opaque layers of color in your artwork, Enkaustikos paints has you covered.

Enkaustikos Paints

Enkaustikos professional paints are offered in several formats. At last years Encaustic Conference we brought a sampling of Wax Snaps to get your input, the feedback was tremendous and this year, we are excited to bring our full line of Wax Snaps. We also offer Hot Cakes (45ml) already in tins, our convenient Hot Sticks (13 ml) designed with direct application and printmaking in mind and our one ounce (29 ml) discs, sold in any size from 1 to 16 ounces, great for bulk purchasing and workshop settings.

We will bring all of our sundries and plenty of beeswax, damar resin and both our mediums available in bulk packaging for even greater savings.

Enkaustikos Paint Family.jpg

In addition to our paints and sundries, we will have all of our Enkaustikos aluminum printing plates, Enkaustikos hog bristle brushes, and our custom made Hot Tools.  Our Hot Tools are handcrafted in solid brass. We offer unique brass bristle brushes that keep your encaustic paints liquefied until applied to the substrate, actually fusing while you paint. They come in a variety of different profiles so that you can create a wide range of applications from the smallest of details to painterly brushstrokes.

Slotted  and hog bristle brushes


The Slotted Brush is designed to apply large, bold, textured strokes of wax color rapidly. The slotted design allows the hot air of the heat gun to flow through the brush, keeping paint fluid during application. The Enkaustikos Hog Bristle brushes are true work horses made from bristles originally chosen for masonry sign painters.





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Rebecca Crowell
Oakland, CA


Excited to announce a new Vendor: Rebecca Crowell
*Book: Cold Wax Medium
and SPCreate supplies.*

Cold Wax Medium includes specifics as to the choosing tools and materials, making cold wax medium, and setting up a safe and functional studio. Rebecca Crowell writes in her introduction, “A reader may use this book in whatever way is most useful—as a reference, a visual treat, or as a step-by-step instruction. Just as the creative process is rarely a straight line from beginning to end, we don’t expect everyone to start on page one and move methodically through.”


Read More HERE and HERE!



The Hotel Fair

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The Hotel Fair will take place on Sunday morning, June 3rd. An in-house event, it's an opportunity for every conferee to show their work to their colleagues (and, as always, there is no fee for this). Just open your hotel room at the times noted below. Some artists create entire installations. Others approach the event more casually, placing work on their beds or on the furniture.  If you don't have a room at the Inn, not to worry; you can set up in the lobby.

 Schematic layout for the Hotel Fair. Green goes first, then yellow

Schematic layout for the Hotel Fair. Green goes first, then yellow


.  9:30 to 11:00: Rooms in the motel section--Harborview, Cape Tip and Breakwater and the lobby
11:00 to 12:30: Rooms in the two-story Inn section--Waterview Inn and Standard inn plus Waterview and Standard

The Motel Section  (green in the schematic above) is divided into three sections, each with a different name:

. Harborside rooms begin after the Main Lobby area: 120 to 134         

. Cape Tip Rooms: 135 – 149     

. Captain’s Suites: 150, 153, 154 

. Breakwater Rooms: 156-173

The Inn Section (yellow in the schematic above) is the two-story area where much of the Conference takes place

. 1st floor Waterview Inn: 2, 4, 6, 8, 10, 12, 14 

. 1st floor Standard Inn (across the hall, no water view): 1, 3, 5, 7, 9, 11, 15 

. 2nd floor Waterview Inn: 16, 22, 24, 2, 28, 30, 32 

. 2nd floor Standard Inn (across the hall, no water view): 17, 23, 25, 27, 29, 31, 33

The longer section on the second floor is, somewhat confusingly, also called "Waterview" and "Standard" but there's no "Inn" in the name
2nd floor Waterview: 38, 40, 42, 44, 46, 48, 50, 52 , 54, 56, 58, 60, 62  

2nd Floor Standard (across the hall, no water view): 37, 39, 41, 43, 47, 55, 57, 59, 61   

 The Hotel Fair Lobby

The Hotel Fair Lobby

Notes on the Hotel Fair
Please note that the nature of this Hotel Fair, or any hotel fair, is that exhibitors do not get to see the other exhibitors in their time slot. The only way to see everything is to be a viewer rather than an exhibitor. (Or share your room so that you and your roommate can take turns venturing out to see what's being shown during your time slot. Some conferees prefer not to share their personal accommodations but are open to the idea of sharing the room for exhibition during the Hotel Fair. Use the Message Board to pair up.)

Some views of earlier Hotel Fairs The History of the Encaustic Conference blog has a lot of good pictures. Once you're on the blog, scroll about one quarter of the way down the page (it's a long page) to find the Hotel Fair section. 


Can you sell out of your room?
Yes. Some conferees use electronic card readers to accept credit cards (though Wifi can be weak in the Cape Tip and Waterview Rooms). Others take checks, cash, or IOUs. And still others are open to trading. There are no rules, except that the business is between you and the person interested in your work. Neither The Encaustic Conference nor the Provincetown Inn assumes any responsibility for your transactions.

Is the Hotel Fair open to the general public?
Yes, The Hotel Fair is open to the public. Many gallery owners in town come and visit. We also invite a number of local and regional critics, curators, writers and publishers to attend the Conference specifically so that they may see what's going on in contemporary encaustic. We encourage them to attend the Hotel Fair, and many do.

Is there anything you can't do?
You cannot make holes in the wall with pins or nails. If you do and the Inn sees them, you will be charged a refinishing fee. However, there are temporary-tape picture hangers, and artists with light-in-weight work may use those. Others simply prop work on the furniture or the bed. Conferees have also used the bathroom to create displays and propped paintings on the outdoor areas of their rooms. Be inventive while being respectful of the limitations.

"What if I have registered only for Friday and Saturday night. I'm supposed to vacate my room by 11:00 am on Sunday. Can I participate?"
Yes! However, be prepared to vacate your room as soon as the Hotel Fair is over. You can leave your suitcases and/or wrapped art with the manager once you have checked out, but know that neither the Inn nor the Conference will assume responsibility for your belongings.

"What if I'm not staying at the Inn. Can I participate?"
Yes! The lobby is available for you to set up. Participants typically place work on the furniture in the lobby. Others have brought their own card table and chairs to set up. Again, be inventive without banging into the walls. And please be conscious of the amount of space you take, which you can gauge as others are setting up. A few installations from Conference 11 below:

Joanne's Bed!

"What time can I start setting up in the lobby?"
Between 8:30 and 9:30. Please be set up by 9:30 when conferees will start to come through.

"Can I ship artwork to the Inn?" 
If you are staying elsewhere, no. If you are a registered guest at the Inn, yes. The Eric, the event manager, will accept packages addressed to you. Add this at the bottom of your label: ATT: ERIC, ENC. CONF. Please know, however, that neither the Provincetown Inn nor the Encaustic Conference will assume responsibility for them. Some additional things to bear in mind if you ship your work:
. Provincetown is at the very tip of the Cape, so UPS and Fed Ex typically arrive late in the day

"How do I ship it back?"
. If you send packages to yourself, be prepared to send them back. That means contacting your carrier ahead of time to ascertain what you'll need to provide in the way of labels
. You will be responsible for storing the shipping boxes
. Make sure your carrier will pick up the packages for return delivery. If not, you will need to drop the packages off. Make sure you know where the drop locations are and when they are open
.Here's the link for the FedEx drop-off location in town

How to let conferees know where to find you
So that conferees know what room you're in, I will post outside the Mayflower Room a large sheet of paper with all the rooms numbers. If you're participating in the Hotel Fair, write your name next to your room number so that people can find you easily. Also, use the Comments section below to note your name if you'll be participating. Feel free to include  a website URL, too.


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Introducing our Keynote Speaker: Sharon Butler


A painter and arts writer, Sharon Butler is the founder and editor of Two Coats of Paint, the influential New York-based art blogazine. She has been awarded grants from numerous organizations, including the Creative Capital/Andy Warhol Foundation and the Pollock-Krasner Foundation. In 2015, she was the Patricia Highsmith-Plangman Fellow at Yaddo and the inaugural artist-in-residence at Counterproof Press at UConn. She has shown work at NADA New York and Pulse Miami Beach, and is represented by Theodore:Art in Brooklyn. Butler teaches at the Pennsylvania Academy of the Fine Arts and the Parsons School of Design at The New School.


If You Have a Medical Emergency


If You Have a Medical Emergency


No one attends a conference expecting to have a medical emergency, but if the unforeseeable happens, here's a rundown of what to do.

If you feel ill and the feeling doesn't pass but you don't feel it's an emergency, call the Outer Cape Health Services in Provincetown at 508-487-9395. Address is 49 Harry Kemp Way, about a mile from the Provincetown Inn.

Monday-Friday:  8:00am to 7:00 pm
Saturday: 9:00 am to 5:00 pm
Same day appointments may be available

If you feel you are having a medical emergency, whether it's an accident, an allergic reaction or any kind of serious health problem, call 911. The Provincetown Rescue Squad will respond, take your vitals, and determine a course of action for you. That might be a trip to the local Outer Cape Health Services in Provincetown or, for a more serious issue, the Cape Cod Hospital in Hyannis. You will be responsible for getting there if the ambulance doesn't take you.

If you have an accident at the Provincetown Inn, the same information applies. Don't feel embarrassed about "making a fuss" if you need to call 911. Make the call. Be sure to talk to a manager so that you can fill out an accident report as soon as possible after the incident.

. If you have an accident at Castle Hill, the same information applies. The Castle Hill staff are here to help you!

. Outer Cape Health Services has a Pharmacy
. The Stop & Shop on 56 Shank Painter Road also has a full-service pharmacy: 508-487-3738.
The pharmacy is open seven days a week; hours vary


Traveling to Provincetown


Traveling to Provincetown

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Provincetown is located at curled fingers of the flexed arm of Massachusetts. There are many ways to get to P-town. If you're new to the Conference, these are your travel options: 

  • 20 minutes via Cape Air from Logan International Airport
  • 90 minutes via ferry from Boston Harbor
  • 2.5 hours driving from Logan Airport in Boston to the Provincetown Inn
  • 2.5 hours driving from T.F. Green Airport in Warwick, R.I. (near Providence), with less traffic than from Boston

Fly from Boston to Provincetown: Cape Air

  • Plan on around $358 round trip. Check website for latest schedule and rates
  • Some conferees have found it cheaper to book their flight directly to Provincetown via Jet Blue, which partners with Cape Air. You'll still change planes at Logan, but through-booking should offer a better price.
  • If you wish to rent a car, Enterprise at the Provincetown Airport has cars available--but you must reserve as a limited number are typically available.

Ferry from Boston to Provincetown: Bay State Cruise Company & Boston Harbor Cruises

  • Check websites for latest schedule and fares
  • One caveat: A crossing can be a bit unpleasant if the bay is rough. Come prepared with anti-nausea medication if you are prone to seasickness.
  • If the company determines that the crossing will be too rough, you will board a bus and be taken directly to McMillan Wharf in Provincetown, where the ferry normally disembarks


  Provincetown Map © Ewa Nogiec

Provincetown Map © Ewa Nogiec


  • Provincetown Inn is at the very end of Commercial Street, at the left side of the map above. Look for the lighthouse icon with the arrow that says "Wood End." Next to it is "First Pilgrim Park." That's where the Inn is located. You will be staying exactly where the Pilgrims first landed in the New World!
  • Ferry: McMillan Wharf, where the ferry arrives, is just above the "E" in PROVINCETOWN. There are always taxis and pedicabs at the wharf to meet arriving passengers. It's about a mile from the Inn
  • Cape Air: Look for the airplane icon at the top of the map, just under the second "T" in ATLANTIC OCEAN. The Inn is a two-minute taxi ride from the airport.

Thinking of renting a car in P-Town? Enterprise is the franchise, and you have to reserve. You'd pick up the car at the airport. But unless you are planning to drive around the Cape, it's actually cheaper and far more convenient to take a taxi when you need one and walk the rest of the time. Besides, with so much taking place at the Inn, your car will sit in the parking lot. A car will come in handy if you are taking workshops at Castle Hill, but we can work with you for Pre- and Post-Conference to hook up folks with cars to those who need a ride. 


Who's Coming to the 2018 Conference

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Who's Coming to the 2018 Conference

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Where in the world is everyone from!? Below is a list of attendees in alphabetical order by last name.   Updated 2/28/18

Lorraine Agri - Plymouth, MA
Jean Arcangeli - Harpswell, ME
Susanne Arnold - Richmond, VA
Randal Arvilla - Carlton, New South Whales, AUSTRALIA
Kelly Austin-Rolo - Denver, CO
Hilary Baker - Ashuelot, NH
Shary Bartlett - Vancouver, BC, CANADA
Tina Baur - Groton, MA
Pat Benes - Beverly, MA
Marcy Bergeron-Noa - Salem, MA
Lynn Berglund - Forestville, CA
Linda Bigness - Camillus, NY
Michael Billie - Farmington, NM
Pamela Blum - Kingston, NY
Jody Boyer - Council Bluffs, IA
Kathy Bradshaw - Saskatoon, SK, CANADA
Eileen Braun - Dunwoody, GA
Karen Bright - West Long Branch, NJ
Bettina Broer - Siasconset, MA
Kathy Cantwell - Maplewood, NJ
Tracy Casagrande Clancy - Cincinnati, OH
Melissa Chapin - Northampton, MA
Zoe Charlton - Baltimore, MD
Martha Chason-Sokol - Brookline, MA
Lesley Clarke - Alexandria, VA
Dorothy Cochran - Woodland Park, NJ
Mary B. Collins - Rockport, ME
Miles Conrad - Tucson, AZ
Joyce Coolidge - Anchorage, AK
Linda Cordner - Lincoln, MA
Kathleen Cosgrove - Vancouver, WA
Cat Crotchett - Kalamazoo, MI
Mikey Cutting - Amherst, MA
Susann D'Antonio - Big Pine Key, FL
Michael David -  Brooklyn, NY
Jan Davis - San Miguel de Allende, MEXICO
Angel Dean - Providence, RI
Jane Deutsch - Boston, MA
Laurie Dohring - Glendale, CA
Sandi Donnelly - Freeport, ME
Elizabeth Dooher - New Bedford, MA
Tim Doud - Baltimore, MD
Loree Draude - Palo Alto, CA
Patricia Dusman - Doylestown, PA
Paula Fava - Novato, CA
Amy Finder - Louisville, KY
Jamie Fine - Washington, DC
Danielle Fontaine - Greenville, SC
Gretchen Forrest - Barrington, RI
Karen Frazer - Spencer, NC
Richard Frumess - Kingston, NY
Alison Fullerton - Stuttgart, GERMANY
Elizabeth Garrett - Palm Coast, FL
Beverly Gaudet - Wells, ME
Barbara George - Midlothian, VA
Shelley Gilchrist - Evanston, IL
Leslie Giuliani - Weston, CT
Deanna Glaze - Seattle, WA
Donna Goes - Hull, MA
Carrie Goller - Winter Park, FL
AJ Grossman - Hollywood, FL
Penny Gunderson - Black Diamond, AB, CANADA
Terry Hart - Belleville, ON, CANADA
Kay Hartung - Acton, MA
Marge Hayes - Forest Grove, OR
Cari Hernandez - Sebastopol, CA
Beth Herriman - Cape Elizabeth, ME
Joyce Hertzson - Pittsford, NY
Lin Holzinger - Carlsbad, CA
Karen Hubacher - Rock Hall, MD
Janet Hyland - Portland, ME
Sue Jachimiec - Richmond, VA
Beth Johnston - Putnam, CT
Amanda Jolley - Kansas City, MO
Deborah Kapoor - Seattle, WA
Karen Karlsson - Pomona, CA
Eliaichi Kimaro - Seattle, WA
Christine Clark Kitchener - Minneapolis, MN
Rita Klachkin - Livingston, NJ
Sandra Koberlein - Pilesgrove, NJ
Gigia Kolouch - Denver, CO
Melissa Lackman - Canyon Country, CA
Susan Lasch Krevitt - Thousand Oaks, CA
Nadine Lavoie - Mansfield Center, CT
Laura Lazowski - Minneapolis, MN
Sharon Louden - Minneapolis, MN
Barry Margolin - West Yarmouth, MA
Joanne Mattera - New York, NY
Nikki May - Paducah, KY
Sonia McArdle - Chicago, IL
Mary McCann - Portland, ME
Jennifer McCormick - Winston Salem, NC
Kelly McGrath - Kingston, NY
Nickerson Miles - Barrington, RI
Patricia Miranda - Port Chester, NY
Cherie Mittenthal - Provincetown, MA
Susan Moore - Guilford, CT
Darla Myers - Bozeman, MT
Nela Navarrine - Saint Louis, MO
Louise Noel - Montreal, QC, CANADA
Susan Paladino - Boston, MA
Deborah Peeples - Cambridge, MA
Esther Phelps - Winter Park, FL
Susan Poirier - Carmichael, CA
Sherrie Posternak - Tucson, AZ
Deborah Pressman - Natick, MA
Lisa Pressman - West Orange, NJ
Irene Pressner - New York, NY
Lynda Ray - Richmond, VA
Jodi Reeb -  Minneapolis, MN
Beverly Rippel - Easton, MA
Verity Roberts - Paddington, Syndey, AUSTRALIA
Stephanie Roberts-Camello - Pembroke
Lia Rothstein - Hanover, NH
Kim Russell - Phoenix, AZ
Patti Russotti - Rochester, NY
Merry Ryding - Kane, PA
Pam Schneider - Port Dover, ON, CANADA
Bettina Egli Sennhauser - Binningen, BL, SWITZERLAND
Julie Sheppard - Parklands, Christchurch, NEW ZEALAND
Julie Snidle - Saint Louis, MO
Pat Spainhour - Lewisville, NC
Sarah Springer - Lexington, MA
Caryl St. Ama - South Pasadena, CA
Melissa Stephens - Walnut Creek, CA
Susan Stover - Graton, CA
Kristine Stratas - Oxnard, CA
Anne Strout - Falmouth, ME
Marina Thompson - Lexinton, MA
Tuke - Boulder, CO
Dietlind Vander Schaaf - Portland, ME
Star Varner - Georgetown, TX
Jennifer Vigil - Tucson, AZ
Mitchell Visoky - White Plains, NY  
Anna Wagner-Ott - Barry's Bay, ON, CANADA
Pamela Wallace - Kingston, NY
Charyl Weissbach - Boston, MA
Micki Whelan - Biddeford, ME
Nancy Whitcomb - Providence, RI
Connie Wood - Hagerman, ID
Dianna Woolley - Walla Walla, WA
Janise Yntema - Brussels, BELGIUM
Lisa Zukowski - Warwick, NY

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2018 Conference Schedule


2018 Conference Schedule

Back to the Conference Homepage

Please Note:  This schedule is subject to change, please check back in as the Conference dates approach!

Friday, June 1

9:30 - 10:30  

DEMO: Basics: An Introduction to Encaustic
There is so much more to encaustic than beeswax. This demo will introduce you to this fascinating medium and allow you to discover its incredible versatility.  The basics of priming appropriate surfaces and fusing with heat will be covered, of course, but you will also learn to use many other 'wax friendly' techniques which can enhance your paintings, such as collage, image transfer, and combining oil and wax.  Set-up and safety will also be covered. 

DEMO: Alternative Surfaces

What do you use to impart some interesting surface finishes in your encaustic paintings? I will demonstrate alternative absorbent surfaces I have explored that can be partnered with encaustic painting.  I will show how to use a variety of surface treatments including powdered graphite, glass shards and acrylic metallic paints that patina or oxidize. The paints are water-based and contain real metal particles such as iron, copper and bronze. To create beautiful, rusted and patinas finishes on the encaustic surface, I mix a solution of peroxide, salt and vinegar, which speeds up the oxidation process. These surfaces can be layered with encaustic or be the final finish. I have tested these mediums on encaustic paint using the freezer method and have found them to be very durable and adhere well.  The metallic paints bind on porous and non-porous surfaces.

TALK: Creating a Social Media Strategy

Struggling with your Social Media? Not sure why you are using it? This talk will cover the steps needed to develop a social media strategy to achieve your goals. Whether you are looking to promote your workshops, generate more followers or drive traffic to your website, you will learn a step-by-step approach to developing a social media strategy.

TALK: Cyanotype Elements: Blue and Beyond

If you’ve been looking for a way to create abstract or figurative elements on textiles or paper for use with your 2-D or 3-D encaustic work, the cyanotype process offers a wide range of options. This presentation explores methods for creating images with the UV sensitive process that’s remained virtually unchanged since its invention in 1842. Water alone is used to develop the permanent blue image. These images can be further ‘toned’ to browns and greys removing all traces of blue.

10:30 - 11:30 BREAK

 Including 10:45 - 11:15 Welcome and Orientation for Newcomers

11:30 - 12:30

DEMO: Mounting Techniques for Works on Paper

As an encaustic artist, you have created exciting monotypes on a variety of papers. Now, what are the techniques used in a finished presentation? Pat Spainhour will demonstrate mounting encaustic printed paper onto wood panels and Multimedia Artboard. She will show how to go about using white glue, wax medium, gel medium, and adhesive papers. Pat will provide examples of finished work and explain which techniques she finds are the most successful.

DEMO: Layers, Translucency + See Throughs

From underpainting to the finished surface, this demo will offer participants a deeper understanding of how to create paintings that suggest depth and dimension. An emphasis will be placed on composition and expressing meaning through an exploration of accumulating marks, drawings, and image transfers at varying levels. Tips on how to achieve greater transparency through application of medium, control of temperature, and fusing will be demonstrated.

TALK: Professional Practice: Strategic Planning for Artists
Strategic Planning for Artists helps artists manage the business side of the full or part-time artist. The professional administrative work of an artist can be daunting, from writing articulately about your work; successfully documenting, formatting, and curating digitally images for multiple contexts; to keeping to deadlines and preparing proposals for grants, exhibitions and residencies. Learn to practically apply the creative skills and resourcefulness of your art practice to create a sustainable life as a working artist.

TALK:  The Environmental Politics of Wax and the Future of Encaustic

What does the future hold for artists working with encaustic? Will encaustic remain sustainable? How are supplies of beeswax and dammar being affected by modern farming techniques and climate change? Are there synthetic alternatives to wax that are viable and desirable? Originally based in New York, but having lived in Europe for over 20 years, Janise Yntema offers a unique perspective of how different countries are approaching environmental regulations and concerns. 

12:30 - 1:30 Buffet Lunch

1:30 - 2:30

DEMO: Working with EncausticFlex

Encaustiflex is a microfiber material with a paper-like feel and a fabric’s drape, developed by artist Leslie Giuliani, that works beautifully with encaustics. In this demo, Lia will show how this material can be used for encaustic monotypes or paintings, either alone or layered over previously printed photographs, drawings, and more. The resulting artwork can be cut and sewn, used in collages, sculptures, or books, hung without framing and so much more. A variety of techniques will be demonstrated and work done by artists with this versatile material will be shown.

TALK: Working Sculpturally

Does an empty space excite you? When you see a wall, room, or venue do you image ways to bring it to life with visual beauty? This talk will take you through the process of creating an installation, with the focus of our work being 3D sculptured forms. We will cover choosing an installation site, analyzing the components of access, placement, anchoring, lighting, and interaction/views utilizing textiles, wire/armature, and plaster cloth. 

TALK: Curatorial Thinking

“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

3:00 - 4:30

Sharing, Collaborating & Living Your Art 

Saturday, June 2

9:30 - 11:30


11:30 - 12:00 BREAK
12:00 - 1:00 Buffet Lunch

1:00 - 2:30

DEMO: Variations on Color: Understanding What You Already Know

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: Mainly Metals

This demonstration focuses on a variety of gilding techniques and materials for integrating with encaustic painting. Topics include sizing, gilding and sealing the surface with genuine and imitation metal leaf; loose leaf gold leafing above and below the surface, patent leaf for leaf transfer, ribbon leaf for larger flat surfaces. Metal flakes, metallic foils and mica pigments for accenting encaustic works. Embedding metal shavings, shards, and sheets onto encaustic paintings will also be demonstrated.

TALK: The Pedagogy of Critique

Critique is fundamental to a mature artistic practice, essential to artistic development, reflection, and assessment. Critique pushes us to grow our artistic vision in the most powerful way possible. Critique advances our artistic voice, intellectual curiosity, and respect for the wide expression art can make, including aesthetic, form, process, and content. This lecture will provide a brief background, context, and structure for developing lifelong criticality in an art practice.

TALK: Working with Grids

Grids are integral to the building of our homes, streets, and cities. We see them as calendars, ledgers, fences, windows, puzzles and games. Grids and variations of the grid form the basic structure of decorative patterns. This talk will take an art historical look at how various artists have used grids to provide an underlying structure, be involved conceptually, and presented options for groupings and installations. 

2:30 - 3:00 BREAK

3:00 - 4:30

DEMO: Mixed Media Encaustic

Objects, paper, fabric, photographs, mark making, visual depth, texture, color, transparency, luminosity ... All of these elements offer rich opportunities when combined with encaustic, adding story, history, symbology, memory, meaning and personal voice. In this demonstration you'll see how wax, materials, tools, techniques, personal reflection and research can be artfully combined and manipulated to create rich two- and three-dimensional work.

DEMO: Working with Cold Waxes

Are you intrigued with cold wax processes but just haven’t had the opportunity to learn more? This demo will explore how the following three methods can be integrated into an existing hot-wax studio practice:
o   Dorlands Wax Medium used with RF Pigment Sticks
o   Hylla Evans Cold Wax Paints
o   Cuni and Ceracolors Watersoluble Encaustics

TALK: Encaustic Theories and Practices: History to Contemporary, Part 2

4:30 - 5:00 BREAK


Sunday, June 3

9:30 - 11:00

Hotel Fair, Part 1 - Harbor View, Cape Tip, Breakwater

11:00 - 12:30

Hotel Fair, Part 2 - Waterview Inn, Waterview Standard, Lobby

12:30 - 1:30 Buffet Lunch

1:30 - 2:30

DEMO: Aqua Dispersion in Encaustic

Aqua-dispersion of pigments are another form in which pigments are made available. As such, they ease the way of artists who want to make their own water base paint (watercolours, gouache, acrylic), and egg tempera…But what if they were used for drawing and painting? This demonstration will describe the Aqua-dispersion of pigments, explore some ways to use them both for works on paper and on panels, and explain why encaustic is an excellent and even essential companion to them.

DEMO: Excavating Your Image: Working with Time, Layers & History to Create Resonance
Considering the idea of discovery through making, this demonstration will offer ways to build a deeper conversation with the paint. Focusing on working with the elements of time, layers and history, it will offer a toolbox of methodologies and practical tips suitable for dipping in and out of at varying times during a painting practice. Working on several panels, the demo will cover areas such as underpainting, incision and impressing, subtraction and complexity of the image. It will offer suggestions about play, critical looking and thinking.

TALK: Idea Generation and Inspiration

This talk will focus on what inspires different artists to develop ideas into executed works of art or bodies of work. When we get excited by hearing, seeing or reading something – how does that end up being translated into a visual experience? 

TALK: Photography, Multiple Substrates and Encaustic

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.
We will:
*Look at the issues related to utilizing photographic images in your work and daily practice.
*Look at questions related to the whys and hows of making an image or use of an existing image.
*Look at a variety of substrates that work well with wax; Linen, cotton andAwagami papers (kozo, bamboo…) will be highlighted.
This is to teach you how to think about creating images and selecting substrates that can then be used as photographs with wax, image transfers, collage, mounted to boards and waxed or dipped, painted in wax. Links and references will be provided.

2:30 - 3:00 Break

3:00 - 4:00

DEMO: Sculptural Techniques: Wire, Paper, & Wax

This demonstration is intended to give conferees an introduction to the tools and safe setup for soldering armature pieces and how this can be incorporated into mixed media work. I will be working with a high heat brazing compound that I find strong and versatile. There are a myriad of different soldering techniques one can use and I will describe why I prefer this method in particular. Once a few joint types have been demonstrated I will show how to incorporate additional materials such as paper, fabric and plaster bandage. Encaustic will be used as the final surface treatment.

DEMO: The Perfect Pour

One of the most useful applications of a poured layer of encaustic medium, is to prepare a smooth surface for accepting a detailed transferred image. In this 1 hour segment, SherriePosternak will explain and demonstrate the materials and techniques necessary to make asuccessful poured surface. To attain a thinner poured surface, the Overpour will also be shown.

TALK: Artists Working in Cold Wax
with LIA ROTHSTEIN and Rebecca Crowell

This slide presentation will present an overview of work, both 2 and 3-d, from around the world being done with cold wax medium and the work of artists combining encaustic and cold wax. Rebecca will present an overview of cold wax medium and show the work of artists using the material with a wide variety of approaches. Lia will discuss the advantages of both cold wax and encaustic, their challenges, and why artists sometimes use them together to enrich their final artwork. Rothstein’s cold wax and encaustic work is featured in the book co-authored by Crowell and Jerry McLaughlin, “Cold Wax Medium: Techniques, Concepts & Conversations” published by Squeegee Press in 2016 and currently being printed in its second edition.  


4:15 - 4:30

Wrap up in Mayflower Room
Closing remarks from Cherie


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. If you have any questions please contact the Castle Hill office.


80% of the total cost of registration will be refunded if Castle Hill is notified of withdrawal thirty days prior to the beginning of the Conference. This means that you must notify us of cancellation before May 1, 2018 in order to receive any form of a refund.
If you notify Castle Hill of a cancellation after May 1, 2018, your entire payment will be forfeited.  



80% of the total cost of registration will be refunded if Castle Hill is notified of withdrawal thirty days prior to the first day of the workshop.
If you cancel your registration less than thirty days before the first day of the workshop, your entire payment will be forfeited.  


If you would like to switch from one Pre- or Post-Conference workshop to another, a $25 processing fee will be charged. This fee will be waived if your previous workshop was cancelled.

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Is there an orientation for those of us who are new to the Conference? 
Yes, indeed. We've scheduled a 30-minute session on Friday morning, 10:45 to 11:15 during a special one-hour break between sessions. We'll meet in the Fore'n'Aft room, right off the lobby.

What if I want to register for just one day of the conference?
Yes, you can register for one day, we don't recommend it because there is so much going on each day, but if that is best you can do, fine. You will need to call the office to register: 508-349-7511

What if I don't like the event I've selected. May I switch rooms?
Sorry, no. Moving around once a presentation is underway is rude to the presenter and annoying to the audience.

What's the procedure for the Hotel Fair?  
If you are staying at the Provincetown Inn, on Sunday we invite you to open up your room to show and sell your work. If you are NOT staying at the Inn, we invite you to show your work in the hotel lobby.

Help! I want to participate in the Hotel Fair but I need to vacate my room at noon.
Don't worry, you can participate. Just be sure to vacate your room right after the Fair. You can leave your baggage at the front desk.

Are post-conference workshops included in the conference price?
No, there is a separate fee. 

Do I need to bring materials for the conference demos or workshops? 
Conference demos are strictly demonstration, so you do not need to bring materials. The Pre- and Post-Conference workshops are different. Teachers typically provide either a list of supplies that you may bring with you or purchase from conference vendors, or they may provide materials for a fee. Castle Hill or the specific teachers will contact you if you're signed up. Also, it's important to note that our wonderful vendors, including R&F Handmade Paints, Enkaustikos, Kama Pigments and Evans Encaustics, donate a large amount of paint, medium and materials for you to try.

Could I register only for the Post-Conference sessions?
Sure. But you'll miss a great conference!

What if I decide at a later date that I wish to register for a Post-Conference workshop? Possible?
Sure. If there is space, you can register even during the conference if you wish. Please know, however, that the workshops tend to fill up quickly.  Occasionally a spot may open at a late date, but it's not recommended to plan on that as a registration strategy.

What are the hours of the post-conference workshops, and where do they take place?
The workshops run from 10:00am to 4:00 pm with an hour for lunch as determined by the instructor. Informal events are planned for some of the evenings. All post-Conference events take place at Castle Hill in Truro, the next town over. At the Conference we encourage those with cars to offer rides to those without. There will be a signup sheet. It's also possible for a group to take a taxi. The ride thing seems confusing but it always works out. Castle Hill will post a sign-up sheet to help link drivers with those who need a ride. (Be sure to chip in for gas.)

I see you have multiple-day workshops. Is there any chance I could take just one day of, say, the three-day workshop so that I may take different workshops on other days?
Nice try, but the point of multiple-day workshops is to have the opportunity to explore one area in depth with one teacher and the same group of equally committed participants.

Would you explain how Conference presenters get selected?
Earlier in the year, Cherie put out a Call for proposals and received many great options. She tried to bring in new and different topics to keep it fresh, but also to bring back some regular favorites!

What's the parking like?
The Provincetown Inn has a very large lot which is FREE for conferees to use, whether you're staying at the Inn or not. Parking in town is less accommodating. There's not a lot of free on-street parking, but there are pay-to-park lots--municipal lots on the hill above town and on McMillan Wharf in the center of town, and another, the rather costly Duarte's, on Bradford St.

Where can I find a map of Provincetown?
Click here for a fully printable map of Provincetown.

What about transportation to and from Provincetown?
Getting to and from the conference is your responsibility. Information about buses, taxis, etc. will be posted on the blog.

How soon can I arrive?
The Inn is fully booked earlier in the week of the Conference. If you don't have a room and wish to come early, check out the Alternative Accommodations page. It's a great way to take advantage of what P-town has to offer in June: the beach, biking, kayaking, exploring the shops and galleries, the Provincetown Art Association and Museum, whale watching, fishing, and satisfying your seafood cravings at fried clam shacks as well as upscale restaurants.

Where can I find information about the Provincetown galleries?
Encaustic-specific info will be posted to the blog when it has been finalized. Gallery Guides should be available at the Inn.

What's the weather like in Provincetown?
Normally, the temperature range in early June is is in the high 60s to low 70s during the day, and in the low 60s to high 50s at night. But that's an average. It can get hotter or colder. And the weather can turn on a dime. As the town meteorologist :-), I guarantee it will be perfect!

So how should I dress?
Bring a light jacket or a sweater, a turtleneck, a t-shirt and a tank top; pants and shorts; sunglasses and an umbrella. In other words, dress for New England weather, which encompasses a meteorological range. You can safely leave the boots at home, however: The only thing you don't have to plan for this time of year is snow.

Is there a dress code?
Nope. Wear what you like, whether it's a sundress, jeans and a t-shirt, a suit, or cutoffs. Your choice. One thing I would suggest is that you have a sweater, shawl or other coverup for the Mayflower room, where the all-Conference events take place as well as many demos. It's a big room, and the cooling is uneven, so to get the warm areas cool, the cool areas may be cold.

Does the Conference provide food?
Coffee and tea are provided all day, every day, of the three-day Conference. A fabulous buffet lunch is provided on Friday, Saturday and Sunday, where you'll find a selection of meats, cheeses, vegetables. pastas and salads. Lots of Vegetarian options to choose from.  

For those staying at the Inn there's a breakfast room where you can get a nice selection of breakfast foods. You may be asked to show your room card if the staff doesn't recognize you.

Pre- and Post-Conference workshops do not provide lunch, however there's a good sandwich shop nearby and a Castle Hill staffer comes by to take orders. Lunch is about $10, but that's between you and what you select from the menu.

Can I purchase paint or paper or panels in the Vendor Room even if I haven't registered for the Conference?
Yes you can. We hope you come to the conference or take a workshop but the vendors would be happy.



Presenter and Instructor Bios

Shary Bartlett  is an artist and fine arts instructor living in Vancouver, Canada. She teaches Fine Arts at Capilano University and Langara Collegeand leads mixed media workshops and retreats in Canada, the United States and internationally.  Her mixed media body of work includes encaustic, acrylic, fibre arts, prints, sculptural assemblage, collage and altered photographs.

A painter and arts writer, Sharon Butler is the founder and editor of  Two Coats of Paint, the influential New York-based art blogazine. She has been awarded grants from numerous organizations, including the Creative Capital/Andy Warhol Foundation and the Pollock-Krasner Foundation. In 2015, she was the Patricia Highsmith-Plangman Fellow at Yaddo and the inaugural artist-in-residence at Counterproof Press at UConn. She has shown work at NADA New York and Pulse Miami Beach, and is represented by Theodore:Art in Brooklyn. Butler teaches at the Pennsylvania Academy of the Fine Arts and the Parsons School of Design at The New School.

Zoë Charlton creates drawings that explore the ironies of contemporary social and cultural stereotypes. She depicts her subject's relationship with their world by combining images of culturally loaded objects and landscapes with undressed bodies. She received her MFA degree from the University of Texas at Austin and participated in residencies at the Skowhegan School of Painting (Skowhegan, ME, 2001), Creative Alliance (Baltimore, MD, 2003), and Art342 (Fort Collins, CO, 2010). Her recent exhibitions include ConnerSmith. (Washington, DC, 2013), Delaware Center for the Contemporary Arts (Wilmington, DE, 2009), and Wendy Cooper Gallery (Chicago, IL, 2006). Her work has been included in national and international exhibitions including the Harvey B. Gantt Center (Charlotte, NC, 2015), Crystal Bridges Museum of American Art (Bentonville, AR, 2014), Studio Museum of Harlem (NYC, NY, 2012), Contemporary Art Museum (Houston, TX, 2000), the Zacheta National Gallery of Art (Warsaw, Poland 2006), and Haas & Fischer Gallery (Zurich, Switzerland, 2006). She is a recipient of a Pollock-Krasner grant (2012) and Rubys grant (2014) . Charlton is an Associate Professor of Art at American University in Washington, DC. She resides in Baltimore, MD. 


Miles Conrad is known for his innovative, large-scale, abstract encaustic sculptures. He works from a studio granted by the Process Museum and received the Tucson Museum of Art ’Award of Excellence’ for his work in the Arizona Biennial 2011. His work was included in the project; Occupy Museums: DebtFair featured in the 2017 Whitney Biennial. He received the Lifetime Achievement Award from International Encaustic Artists in 2016. He is founding Director of Conrad Wilde Gallery and the creator of Miles Conrad Encaustics, an internet-based supplier of encaustic supplies based in Tucson, AZ where he also teaches comprehensive workshops in encaustic.

Cat Crotchett is a professor in the Frostic School of Art at Western Michigan University in Kalamazoo. Her studio work focuses on encaustic painting characterized by layers of information; interweaving patterns painted in vibrant colors and textured surfaces. She has an extensive exhibition record including international and national solo exhibitions and invitational and juried shows. Cat is currently producing a body of work that combines the use of Indonesian batik tools and motifs, and encaustic painting.

Rebecca Crowell has been a professional artist for over thirty years, and is widely known for her innovative painting techniques involving cold wax medium and oils.  She teaches these methods both in the US and internationally, and in late 2016 she published (with co-author Jerry McLaughlin) the first comprehensive guide to this material, Cold Wax Medium: Techniques, Concepts & Conversations.

Rebecca’s work is handled by fine art galleries in Dublin, Ireland; Belfast, Northern Ireland; Santa Fe, Chicago, Atlanta, Palm Springs, Milwaukee, and Telluride, Colorado. Her paintings are included in hundreds of private, public and corporate collections.  She and her husband divide their time between rural Wisconsin and northern New Mexico, and Rebecca travels widely for teaching and artist residencies. 


Michael David has been exhibiting with the Bill Lowe Gallery since his first workings in representational art in 1999, including the comprehensive exhibit "Compassion" held in Atlanta during 2006. David has exhibited widely throughout the United States for 30 years, and has been the subject of much historical and curatorial acclaim. His work is included in the permanent public collections of the Museum of Modern Art in New York, the Guggenheim Museum in New York, the Museum of Contemporary Art in Los Angeles, and the Los Angeles County Museum of Art, among several prominent private collections.

Critically-acclaimed New York artist Michael David built his early career on abstraction, a stylistic tendency he continues to explore, but since 1999 he has also successfully experimented with representational painting and traditional photography.


Tim Doud’s paintings and drawings address two seemingly distinct bodies of work, one figurative and one abstract. These bodies of works serve as a backdrop to broader discussions around constructed identities, branding and commodity culture. He graduated from The School of the Art Institute of Chicago with an M.F.A in Painting and Drawing. He attended Skowhegan School of Painting and Sculpture in Skowhegan, Maine. Recent exhibitions include Curator's Office, Washington, DC, RandallScottProjects, Baltimore, MD, New Bedford Museum of Art and group shows at The Kemper Museum of Contemporary Art, Kansas City, MO, Tacoma Art Museum, and the Smithsonian's National Portrait Gallery, Washington, DC. His work has been included in exhibitions at PS1 (MOMA) in New York City, The Corcoran Gallery of Art in Washington, DC, Artists Space in New York City and the Frye Art Gallery in Seattle, Washington, Art Basel, Basel, Switzerland, Galerie Brusberg, Berlin and MC Magma, Milan, Italy. He has received grants from The National Endowment for the Arts (Arts Midwest), The Pollock Krasner Art Foundation, DC Commission for the Arts and Humanities and participated in  the Sharpe-Walentas Studio Program, NY, NY. Tim Doud is currently an Associate Professor at American University. Tim lives and works in Washington, DC. Tim Doud and Zoë Charlton run the collaborative project space, 'sindikit in Baltimore, MD and Tim Doud, Linn Meyers and Caitlin Teal Price founded STABLE arts in Washington, DC


Richard Frumess has been manufacturing encaustic commercially since 1982. In 1988 he founded R&F Handmade Paints. For the last several years he has been developing a series of comprehensive tests on the properties of encaustic paint – its lightfastness, adhesiveness, aging, and characteristics of raw materials. Many of these tests have never been carried out on a systematic basis until now. Richard has been working in collaboration with industry experts, conservators, and materials scientists.


AJ Grossman is a small business owner by day and painter by night. By using social media, AJ, was able to make her small business financially successful by leveraging the power of social media. AJ invested many hours and dollars to learn the ins and outs of social media from such industry experts as Sue B. Zimmerman (The Instagram Expert), Dean Street Society, Amy Schmittaur and many more. But she found that most of the information was not specific enough for the fine artist. By using her own website and social media as the test subject, she is still discovering the advantages of social media to help the artist in their business. AJ also maintains the Facebook group of Art.Post.Promote that has 140 members within 2 months of launch

Leslie Giuliani has an eclectic artistic background. Having graduated with a B.F.A. in drawing and painting, she continued her studies in esoteric art forms including fresco painting, Byzantine icon painting, gold leaf conservation, non-silver photographic processes, primitive rug hooking, digital embroidery and encaustic painting. Working at the Center for Contemporary Printmaking in Norwalk, CT, she has taught hybrid forms of printmaking focusing on its application in Encaustic painting. Currently, her work involves creating monotypes, embellishing them with Digital Embroidery and sewing the pieces together to form larger works.  Ms. Giuliani is the recipient of a 2008 Artist Fellowship Grant from the Connecticut Commission on Culture and Tourism for Craft and is the author of several published articles on rug hooking and cyanotype photography. Her work was included in the Farnsworth Museum’s show, “Beyond Rugs” and her work is in the permanent art collections of the Housatonic Museum of Art and the state of Connecticut. She has worked with well-known artists on special projects including the architect, Richard Meier and the Argentinian artist Liliana Porter.  


As a full-time artist Cari Hernandez teaches, lectures, and exhibits her work in the US and abroad. She is a founding board member of International Encaustic Artists (IEA). As their Education Chair she created and directed the first three annual retreats & conferences held in Carmel Valley, CA. Her methods and artwork are featured in two instructional DVDs, as well as being featured in several books and articles. Cari is a CORE Artist for R&F Handmade Paints, Kingston, NY. Her studio is one hour north of San Francisco in the town of Fulton

Joanna Kidney was born in Dublin, Ireland and currently lives in Co. Wicklow, Ireland. Her practice encompasses drawing, spatial drawing, encaustic painting and assemblage works. Utilizing a wide range of diverse materials and processes, her work reflects on the human experience and our place within the vastness of the universe.  Recent Solo Exhibitions include Galway Arts Centre (2017), Mermaid Arts Centre, Co. Wicklow (2015), Royal Hibernian Academy, Dublin (2013) and The Drawing Project, Co. Dublin (2012). She has exhibited widely in group shows in Ireland, France, Germany and the USA. She has been visiting lecturer and presenter in Universities in Ireland and Utah, USA. She is a founding member of Outpost Studios, Bray, Co. Wicklow (2014); a member of the artists collective The Tellurometer Project (with Helen G. Blake, Joanne Boyle, Raine Hozier Byrne, Rachel Fallon, Laura Kelly and Susan Montgomery) and a featured artist on The Drawing Suite. Her work can be seen in the collections of AIB, The Central Bank, Dublin, OPW, UCD and the Department of the Environment, Northern Ireland.

Originally from Chicago, Susan Lasch Krevitt now resides in Southern California and New Orleans. She earned her BFA from the School of the Art Institute of Chicago majoring in Material Studies. Susan builds free standing and wall hung sculptural paintings exploring themes of structure, connection and transformation. Her work has been exhibited internationally and across the U.S. including Depth Perception in 2016 at the Cape Cod Museum of Art. In 2014 she participated in the Conference Curatorial Program, co-curating Material Consequences with Nancy Natale at Gallery X. Susan received the Juror’s Award in 2013 for her work in Seven, juried by Shawn Hill.  In September of 2017 Susan became a contributor to ProWax Journal, reporting on Nancy Youdelman’s retrospective at the Fresno Art Museum.


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.

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A recently elected member of American Abstract Artists, Joanne Mattera is a gallery-represented painter who has shown widely since 1975. Her work is in the collections of the New Britain Museum of American Art, Connecticut; Montclair Art Museum, New Jersey; the U.S. State Department; and collections internationally. Her work is included in Geoform, an online curatorial project featuring geometric abstraction. She is the author ofThe Art of Encaustic Painting and the ongoing Joanne Mattera Art Blog. Joanne is the editor of ProWax Journal and the founder/former director of this Conference.

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Kelly explores materials and engages in a process driven dialogue on topics such, the narrative of materials and exploring found and natural objects. Kelly divides her time between two passions, teaching and pursuing her studio practice. While living in the Hudson Valley of New York she is currently pursuing graduate studies at Hunter College in Art Education. She served as the Director of Education at R&F Handmade Paints from 2014-2017, which inspired her to return to school to expand her ability to teach in the arts. Since 2010 she has taught studio based classes through a variety of organizations including: Castle Hill Center for the Arts, Women's Studio Workshop, R&F Handmade Paints and in private studio settings. She received her undergraduate degree from SUNY New Paltz in 2007.

With nearly seventeen years of experience with encaustic, Raé Miller now teaches workshops and private classes to students from around the world in her studio in San Miguel de Allende, Mexico. In her self-directed art education, she has studied painting and monotype with some of the most prominent artists in the United States and Mexico. She has found the International Encaustic Conference an invaluable tool in the furthering of her art career and as a teacher of encaustic painting and monotype. She taught Painting with Encaustic on Paper at Conference 10.

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Patricia Miranda is an artist, educator, and curator, using interdisciplinary projects to make connections between art, science, history and culture. She is founder of MAPSpace, a gallery and project space in Port Chester, NY, where she implemented a collaborative workspace residency program. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah, and been awarded residencies at I-Park, Weir Farm, Julio Valdez Printmaking Studio, and Vermont Studio Center. She has received grants from ArtsWestchester/New York State Council on the Arts, and an NEA grant working with homeless youth. Miranda is Practitiioner-in-Residence in the BFA program at Lyme Academy College of Fine Arts of the University of New Haven, and served as director and curator of the Gallery at Concordia College-NY from 2008-12. She has curated exhibitions on the intersections of art, science, history, culture, and the environment. Miranda develops education programs for K-12, museums, and institutions, including Franklin Furnace, the Solomon R. Guggenheim Museum, the American Museum of Natural History, and the Smithsonian Institution. She has exhibited at Wave Hill, Bronx, NY; the Cape Museum of Fine Art, Cape Cod MA; the Belvedere Museum, Vienna Austria; Metaphor Contemporary Art, Brooklyn, NY; and Kenise Barnes Fine Art, Larchmont, NY.

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Cherie Mittenthal has her MFA from the State University of New York at Purchase and her BFA from the Hartford Art School at the University of Hartford. She is the Executive Director of Truro Center for the Arts at Castle Hill since 2002. Cherie serves on the board of Campus Provincetown, Provincetown Cultural Council, and partners with Highlands Center Inc. for the only Wood-Fired Kiln on Cape Cod. Cherie’s paintings and work on paper are redolent of the meeting of sky, sand and sea, and sometimes animals from crows, to pigs and sheep. In her studio practice she works in pigment sticks, mixed media and encaustic. Her work is represented by Kobalt Gallery in Provincetown. She is the producer of the International Encaustic Conference in Provincetown.

Louise Noël is a visual artist who uses Aqua-dispersion of pigments with encaustic in her works on paper. She came to encaustic five years ago after a career in social work. From 1990, she has studied color theory, composition, perspective, oil painting and drawing on a part-time but regular basis; and since 2013, she has studied with qualified artists who use encaustic as their primary medium.

Sherrie Posternak takes advantage of all of her life’s passions—making and teaching art, travel, learning about other cultures, becoming fluent in the Spanish language, and building her new business designing accessories. Everything involves communication and the integration of the variety of life’s disciplines. Within the context of the arts, Sherrie chooses whatever medium or technique is most appropriate to express her ideas—encaustic, photography, ceramic, glass, fiber. She began her encaustic practice 11 years ago, and has had solo and group shows in the U.S. and Mexico. She teaches workshops in all phases of the encaustic practice, including specialty courses in transferred and embedded imagery and working with mixed media. She self-published a catalogue on the topic of her art installation “A Memorial for El Tomate.” Images of Sherrie’s work are in the gallery section of the E-book “Contemporary Paper and Encaustic” by Catherine Nash, and Volume I of Linda Robertson’s revised E-book “Embracing Encaustic.”


Lisa Pressman, American abstract painter, was born in Elizabeth, New Jersey in 1958. She earned her BA in Art from Douglass College, Rutgers University and her MFA from Bard College. Her work focuses on a visual synthesis of stored and personal memory. Lisa’s paintings have been featured in solo and group exhibitions in museums and galleries throughout the USA and internationally including The Hunderton Art Museum, Clinton, NJ, Butters Gallery, Portland, OR, Susan Eley Fine Arts, NY, NY, Causey Contemporary, NY, NY, The Curator Gallery, NY, NY, Thomas Deans Gallery, Atlanta, GA, Telluride Gallery of Art,Telluride, Colorado, Addington Gallery,Chicago,IL , Palazzo Dell’Annunziata, Matera, Italy and Jen Tough Gallery in Vallejo, CA.  Lisa is a core instructor for R&F Handmade Paints in Kingston, NY and a workshop instructor for Gamblin Artists Colors. She is an annual presenter and instructor at the International Encaustic Conference in Provincetown, MA. Lisa teaches workshops in both encaustic and oil and cold wax mediums throughout the U.S; including Penland School of Arts and Crafts, Pratt Institute, Pacific Northwest College of Art, Arrowmont School of Art and Crafts and more.

Lynda Ray has been working with encaustic since its re-emergence 1986. Originally from Massachusetts where she graduated from Mass. College of Art and Design she then attended Skowhegan School of Painting and Sculpture, where she had the honor of studying with Joseph Campbell and Agnes Martin. Shortly after she was the recipient of the Mass. Artist Foundation Fellowship in Sculpture and was a Finalist in Painting.  Lynda’s work and interview with Julie Karabenick are posted on the international forum Her work is included in The Art of Encaustic Painting by Joanne Mattera. Lynda has exhibited her work and held workshops throughout the United States. Her work was included in exhibitions in Massachusetts including; Depth Perception and Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic, Cape Cod Museum of Art, Dennis, MA. Curator: Michael Giaquinto. She currently lives in Richmond, VA and is represented by Space Gallery, Denver, CO.

Jodi Reeb lives in Minneapolis, Minnesota, and has been a full-time artist and teacher for 20 years. She has taught printmaking, acrylic and encaustic painting as well as book arts.  Her artwork has been shown nationally receiving numerous awards and is in many private and corporate collections nationally such as Target Corporation, United HealthCare Group, Hilton Hotel Minneapolis and Wells Fargo Mortgage. She received a Bachelor’s degree in Fine Arts from the Minneapolis College of Art and Design where she instructed printmaking in the Continuing Studies program for over 9 years. She also has been teaching acrylic and encaustic painting workshops for the past 6 years at the Minnetonka Center for Art and in her studio. Jodi creates her mixed-media paintings and sculptures in her studio at the Traffic Zone Center for Visual Art in Minneapolis, but travels to the countryside to receive her inspiration, combining contrasting landscapes and environments in her work.

Dale O. Roberts was born in Waterville, New York in 1959. Roberts is a painter, working primarily in the encaustic medium for over 30 years with a significant portion of work carried out in gouache, graphite and a variety of other techniques. His work explores the painterly possibilities of representation with regard to urban landscape, still life and rural landscape. Roberts graduated cum laude with a Bachelor of Fine Arts degree in painting and drawing from Tyler School of Art in 1982. He has had numerous solo shows at the Rosenfeld gallery in Philadelphia PA, and is also represented by the following galleries: Blue Heron in Wellfleet MA, Marshall Lakae Gallery in Scottsdale AZ, and the 1261 Gallery in Denver CO. He has paintings in many public and private collections including Rutgers University Museum, Community College of Philadelphia Museum, The Wharton School of business, and Vanguard investment Group. Roberts currently lives and works in Norristown PA. Future representation in Philadelphia will be at Gross McCleaf Gallery.

Lia Rothstein has BA and MFA degrees from Boston University. She has been a professional photographer for over 40 years, has taught digital photography and imaging in colleges and art centers throughout New England, and has also worked as a photographic specialist for Dartmouth College. Lia was awarded artist residencies at the Vermont Studio Center and the Baer Art Center in Hofsos, Iceland. From 2009 through August 2012 Rothstein directed the award-winning PHOTOSTOP Gallery in White River Junction, VT. She has exhibited her photographic and mixed media work in galleries and museums across the US and her work is in numerous private and public collections, including the Polaroid Permanent International Exhibition Photography Collection, John Hancock, and the Radisson Group. Rothstein’s encaustic and cold wax paintings are featured in the newly published book, Cold Wax Medium: Techniques, Concepts and Conversations by Rebecca Crowell and Jerry McLaughlin.

Julie Snidle is a St. Louis artist with a studio in Lafayette Square.  Her private studio space doubles as a comfortable and safely equipped classroom where she shares her passion and knowledge of painting with encaustic (beeswax and tree resin) to anyone interested in this ancient art medium.  Painting, primarily with encaustic, has been her driving force since 2004.  More recently she has been approaching  her work with oil and cold wax medium.   During the cooler months, she offers  'Open Studio Time'  for those with prior encaustic experience.  She is a Core Support Artist/Instructor for R&F Handmade Paints, she offers workshops and demos in retail spaces and art centers, and material talks about the R&F product line including their Encaustic paints and Pigment Sticks.  


Pat Spainhour is a contemporary artist and art educator. She recently retired from teaching AP Art History at the University of North Carolina School of the Arts. Pat also serves as a docent at Reynolda House Museum of American Art in Winston-Salem, NC. Pat has a BFA degree, with concentrations in design and art education from the University of North Carolina Greensboro, with graduate studies at Wake Forest University. Pat Spainhour studied encaustic painting at Penland School of Crafts and was awarded a North Carolina Arts Council Regional Artist Grant, used to attend Paula Roland’s Advanced Encaustic Workshop. Assisting Paula Roland, Pat taught an encaustic monotype workshop at Cullowhee Mountain Arts. Pat Spainhour is a certified instructor in encaustic painting, encaustic monotypes, and Evans Cold Wax Paint.


Susan Stover received a MFA from California College of Art in Oakland, CA and a BFA from Miami University in Oxford, Ohio with both degrees concentrating in a combination of textiles and painting. Among her professional experience is faculty at University of CaliforniaDavis, lab technician at CCA, and 10 years at Jacquard Products, a manufacturer of textile pigments and dyes. She teaches workshops nationally and internationally and recently presented at the Surface Design Conference in Portland, OR. Her paintings are in many private collections. In 2016, she was commissioned for several pieces for American Ag Credit headquarters in Windsor, CA. Her work has been included in Encaustic Revelation by Patricia Baldwin Seggebruch, Studio Visit, Wax and Paper Workshop by Michelle Belto, Expressive Collage by Crystal Neubauer, Gathering Clouds - A Magazine of Contemporary Art, FiberArts, Surface Design Journal and American Craft magazines.


Dietlind Vander Schaaf holds an MFA from the University of San Francisco and an MA from the University of Southern Maine.  Her work has been described as the transformation of “disparate objects into elegantly simple compositions of pattern and grace” (Artscope).  She has exhibited nationally and was featured in Maine Home + Design magazine’s 2016 profile “One to Watch” on standout artists in Maine.  Vander Schaaf has received grants from the Maine Arts Commission, a Tending Space Artist Fellowship from the Hemera Foundation, and the Juror’s Award in association with the 10th International Encaustic Conference.  She currently serves as the president of New England Wax.

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Charyl Weissbach received a BFA in painting and art history from Massachusetts College of Art & Design. Her studio-gallery is located in Boston's SoWa Artist’s District. Her artwork is in many private and corporate collections, including Brigham & Women’s Hospital, Harvard Pilgrim Healthcare, University of Pennsylvania, Winchester Hospital, Novacare and Oracle Pharmaceuticals. Images of her paintings are featured in Encaustic Works 2012: A Biennial Exhibition in Print, 100 Artists of New England, Boston Magazine's Design Home, and in the book, Encaustic Art in the Twenty-First Century. She is represented by multiple galleries and has exhibited at museums such as Danforth Art, Art Complex, Fuller, and the Saco Museum.


As a painter,  Janise Yntema has worked in encaustic for over 20 years. She is a graduate of Parsons School of Design and an alumna member of AIR Gallery in NYC. Recent Solo Exhibitions include: Galerie Marie Demange, Bruxelles, 2016, Nancy Dryfoos Gallery at Kean College, Union, New Jersey 2015, Cadogan Contemporary, London UK 2015, Libre Choix Bruxelles 2014, Galerie Josine Bokhoven, Amsterdam 2012 Recent Group exhibitions include: Elizabeth Dow, East Hampton NY 2016, Galerie Judy Straten, The Netherlands, 2014, School Voor Filosofie, Amsterdam, 2012. Her works are included in public and private collections throughout the United States and Europe.  Yntema lives and works in Brussels, Belgium.  A forthcoming book on her life and work is scheduled for publication by Galerie Marie Demange next year. 


Pre & Post Conference Workshop Details


Pre & Post Conference Workshop Details

Below are detailed descriptions of the Pre- and Post-Conference workshops held at Castle Hill in Truro.  To register for a workshop, please click here.

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Pre-Conference, May 29 - 31, 2018

Photo Encaustic Theories and Practices
Tuesday, Wednesday, Thursday
May 29, 30 and 31
10am - 4pm

This three-day immersive workshop will concentrate on the use of photography and the Encaustic technique, focusing on the beautiful aspect of memory found in both media. We will open the workshop with a discussion tracing the historical relationship between painting and photography, tracing a line from early tintypes to Degas, Muybridge, Cornell, Rauschenberg, the Starn Twins, Kiefer and to its present day uses. We will be demonstrating techniques of pouring, fusing, working on different papers as well exploring deconstructing and distressing our images . In addition, we will discuss archival techniques, methods of presentation, step-by-step instruction in the use of proper substrates, use of different papers, digital and collage techniques, as well as presentation – a “Digital for Dummies” (everything you were afraid to ask) to help you to create and produce your images. An individualized materials list will be provided in advance after two one-hour Skype consultations with the instructor prior to the workshop to make sure you are prepared to maximize our time together. In these consultations we will prepare and discuss your choice of imagery, any pre-production (digital or distressing) you may need to do, choice of papers, collage elements, and substrates with which you need to be prepared to bring with you to the workshop. An email communication outlining what to expect and how to best prepare prior to these consultations will be sent prior to these consultation.

Layers, Translucency & See Throughs
Wednesday & Thursday
May 30,  31
10am – 4pm

This 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 offer participants a deeper understanding of how to create paintings that suggest depth and dimension.  An emphasis will be placed on composition and expressing meaning through an exploration of accumulating marks, drawings, and image transfers at varying levels.  Students will have plenty of time to explore and develop their own personal ideas and visual vocabulary on larger or multiple panels.  

Learning outcomes:

+ Prepare white panel using paper, paint, or gesso
+ Different types of brushes and how to hold brushes to create smooth, even layers
+ Ways to fuse lightly
+ Image transfers using water or tracing paper
+ Creating translucent colored layers
+ Building depth in layers
+ Working with pigment stick    
+ Collage + embedding
+ Composition

What Do Colors Really Do?
Applying of Color Theory to the Paint You are Using
Wednesday & Thursday
May 30 & 31

10am - 4pm

The purpose of this workshop is to give 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. Instead, we will relate color theory 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:

· How do the opaque or translucent characteristics of a pigment make its color brighter or deeper, muted or vivid?

·  How do the characteristics of pigments affect color relationships and mixing?

· What makes light influence a color?

The concepts examined in this workshop will provide tools for your own exploration of color in your studio and help you understand how to make more purposeful choices in contrast, balance, movement, and depth.

Transferred Images
Wednesday & Thursday
May 30 & 31
10am - 4pm

In this 2-day workshop, students will learn and rate photo-transfers on sample boards with an encaustic base, using 6 types of printed surfaces, 3 transfer methods, and 6 ways to “seal in” the image.  Students will learn how to do a proper encaustic medium Perfect Pour to prepare for transferring.  Students will also practice transferring a variety of other media besides photos and graphics, such as oil pastels, charcoal, and foils. 

This workshop is appropriate for students with intermediate through advanced knowledge/experience with encaustic.

Creating Depth with Encaustic and Paper
May 30
10am - 4pm

Whether you prefer working on paper or panels, Raé will teach effective use of translucent layers of encaustic, how to make marks in the wax with handmade stamps to give depth to the layers, and how to safely fuse with a torch on paper. She’ll demonstrate methods of creating deceptively thin layers, ways to make organic marks and underlayers, and working with pigment sticks and cold wax over the surface. Raé will also stress the importance of temperature control to achieve desired effects with encaustic. This workshop will teach you ways to achieve the visual depth artists are often seeking in their work. This intermediate level workshop requires a working knowledge of encaustic.

Sculptural Installations: bringing your BIG idea to life!
May 30
10am - 4pm

Does an empty space excite you? When you see a wall, room, or venue do you image ways to bring it to life with visual beauty? In this 2-day hands-on workshop, we are going to go through the process of creating an installation, with the focus of our work being 3D sculptured forms. We will begin by defining our installation site, analyze the components of access, placement, anchoring, lighting, and interaction/views. We will focus on specific sculpture techniques that utilize textiles, wire/armature, and plaster cloth. As a group, we will construct our sculpted pieces, with each student actively participating in making pieces of their own that will be incorporated into the single group installation. Through this collaborative process, each student will come away with an understanding and practical experience on how to approach designing and creating their own installation projects, as well as gaining knowledge on methods for creating 3D sculptures.

As a CORE Artist for R&F Handmade Paints Cari brings extensive knowledge and teaching experience, as well as providing R&F Handmade Paints products and supplies to work with during this workshop.

The Nature and Allure of Encaustic
May 30
10am - 4pm

There is so much more to encaustic than beeswax. This workshop will introduce you to this fascinating medium and allow you to discover its incredible versatility.  The basics of priming appropriate surfaces and fusing with heat will be covered, of course, but you will also learn to use many other 'wax friendly' techniques which can enhance your paintings, such as collage, image transfer, and combining oil and wax.  Set-up and safety will also be covered.  Come and find out what it is about this ancient art medium that is so alluring.

Expanding your Skill in Wax
May 31
10am - 4pm

This workshop is for students who are new to encaustic and for those who want to expand their skills, get another point of view or to explore more possibilities. Students will be oriented to all equipment, safety measures, materials and some history. Demonstrations and explanations of various techniques are offered in a step-by-step method with encouragement to improvise. These demos are offered at intervals with time to practice in between, throughout the course. Wherever you are in your experience working with encaustic, I will take you to the next level.

We will cover the following:
*Getting started with surface preparation
*Melting and fusing
*Working transparently
*Working with rubber stencils.
*Leaf and pine imprints and their wax reliefs
as time and interest allows
*Making lines and dots with the stylus and batik pen
* Using cold metal tools
* Making “jellyrolls and geodes”
* Working with accretion.
* Enhancing the surface with heat sensitive foil and pastels
* Working with printed transfers

Post-Conference, June 4 - 7, 2018

Visual Language: An Exploration of Marks and Medium.
Monday & Tuesday
June 4 & 5

10am - 4pm

This two-day workshop is for intermediate to advanced artists working in encaustic. The focus is on exploration, intuition and pushing out of your comfort zone. The first day will consist of quick exercises and prompts that encourage mark making to identify individual interests and personal language. We will be experimenting with charcoal, graphite, ink and pigment sticks, and other materials on a variety of papers developing source materials for the next day. Day two, we  will transfer, embed, cover over and dip the drawings in wax creating a visual reference of personal narrative. This class provides an insightful experience in personal creative development. Be prepared to be inspired.

Excavating Your Image: Working With Time, Layers and History to Create Resonance in Painting
Monday & Tuesday
June 4 & 5

10am - 4pm

Considering the idea of discovery through making, this workshop will focus on building a deeper conversation with the paint and finding new ways to express meaning through the medium. It will take an experimental approach to question the possibilities of encaustic paint. Thinking about the elements of time, layers and history, we’ll work through a toolbox of methodologies suitable for dipping in and out of at varying times during a painting practice (underpainting, incision and impressing, subtraction and complexity of the image). It will offer suggestions about play, critical looking and thinking. We will look at other artists work to support the explored ideas and methods. Participants will work on 4 panels simultaneously throughout the workshop.

Working with Fire

June 4
10am - 4pm

Who likes to play with fire? Pat Spainhour, assisted by blacksmith Paul Spainhour, will present a one day workshop experimenting with the charred surface and encaustic paint. Students will draw with firework sparklers, use hot metal to brand a wood panel, watch firecrackers become mark makers, and create texture with gunpowder. Encaustic paint will be introduced to the altered paper through encaustic monotypes techniques. Safety measures will be in place and the burning controlled. This is an unforgettable artistic experience.

Cold Wax Demystified
Monday & Tuesday
June 4 & 5

10am - 4pm

Are you intrigued with cold wax processes but just haven’t had the opportunity to try them out yet? This workshop explores the leading three material/methods:
o   Dorlands Wax Medium used with RF Pigment Sticks
o   Hylla Evans Cold Wax Paints
o   Cuni and Ceracolors Watersoluble Encaustics

 Students come prepared with their own ideas and resources for practice projects. The Instructor will overview the differences and similarities between each material/method, and demonstrate how each can be integrated into an existing hot-wax studio practice. Each student will receive individualized coaching on how to best choose and combine materials for their desired project.

*Please note this is an Intermediate/Advanced Level Course

Encaustic Monotypes and Monoprints: Beyond the basics
Monday & Tuesday
June 4 & 5
10am - 4pm

The goal of this workshop is to give artists a new perspective into the process of printmaking with encaustic, with the aim of breaking out of color, shape, and visual vocabulary ruts. I will offer some new tools and methods to employ in their studio practice that encourage experimentation and artistic growth.  In this session we will explore the experimental process of making monotypes and monoprints leading up to creating prints with a strong visual focus.  We will discuss pigment characteristics inherent in the paints that will enhance the layering and mixing of colors to their best effect. Instead of going into the studio with the pressure of always having to have the big idea, we will explore the virtues of the improvisational nature or monotype making. We will add techniques to create design elements for focus and repeatable shapes and textures to amplify their impact.

We will cover:
*Planning the printmaking process
*Tools for mark making and texture
*Color layering and mixing
*Cold composition
*Combining oil and wax on the palette
*Gel plates
*Combining several prints to create a unified new work
*Ways to finish and present the work

Encaustic and Alternative Surfaces
June 4
10am - 4pm

What do you use to impart some interesting surface finishes in your encaustic paintings? I will demonstrate alternative absorbent surfaces I have explored that can be partnered with encaustic painting.  We will use a variety of surface treatments including powdered graphite, glass shards and acrylic metallic paints that patina or oxidize. The paints are water-based and contain real metal particles such as iron, copper and bronze. To create beautiful, rusted and patinas finishes on the encaustic surface, we will a solution of peroxide, salt and vinegar, which speeds up the oxidation process. These surfaces can be layered with encaustic or be the final finish. I have tested these mediums on encaustic paint using the freezer method and have found them to be very durable and adhere well.  The metallic paints bind on porous and non-porous surfaces.

The Next Three Steps in Your Career

June 5
10am - 4pm

You’ve heard from the curators and gallerists about how to get your foot in the door. You’ve heard from the artists and authors (including me) about how to move your career forward. If you feel stuck professionally, it may be that your plan for advancement is not sufficiently well defined or that your priorities are out of order. We’ll start with where you are right now and work out your next three steps. Since each step will lead to the successive steps along your career path, formulating a plan for those next three will give you focus and direction, ideally leading you to success as you define it. As a group we’ll focus on basic professional issues, and in individual short sessions we’ll hone your specific three steps. You’ll have a series of projects to work on while individual sessions are taking place with the others, and we’ll wrap up the session as we start: with group discussion and Q&A.

This session is for emerging artists of any age who have a serious studio practice but who have yet to experience a greater interaction with the art world, whether it be in terms of exhibition opportunities, representation, critical response, or achieving the kind of visibility that leads to career advancement. 

Forms and Foundations: Sculpting with Wire, Paper, and Pulp

June 5

10am - 4pm

In this class we will be constructing lightweight sculptures using wire armature, paper and pulp. Soldering and wire wrapping will be our main method for joining giving the work permanence and stability. We experiment with wet sheets of unsized abaca paper and pulp to create skin like coatings over our armature pieces. Students will also be introduced to techniques that use manufactured Asian papers to create similar effects, including kozo, tengucho and kitakata. Encaustic and Pigment Sticks are introduced as a finishing materials adding color, texture and luminosity to finished pieces.

Creating Elements with Cyanotypes, Textiles and Encaustic
Wednesday & Thursday
June 6 & 7
10 – 4pm

 Cyanotypes are one-of-a-kind prints created using a sun sensitive process that’s remained virtually unchanged since its invention in 1842. Water is used as the developer. In this 2-day workshop you’ll learn techniques for making beautiful blue (cyan) abstract and figurative images on textiles as well as the most secure methods to incorporate them into your 2D and 3D encaustic work. I’ll demo the use of plants, lace, cut paper and glass as well as shibori techniques and drawings/mark making. If you’ve been looking for a way to include or expand imagery in your 2D and 3D encaustic work, this is it! On Day 1 we’ll make lots of prints and learn how to work with them. On Day 2 you are encouraged to create a finished piece.

The materials fee covers 2 contact printing frames (yours to take home) and a light-blocking envelope packed with sensitized silk, cotton and linen fabrics in a range of colors and opacities. You’ll complete this workshop with enough knowledge and materials to continue making prints in your own studio.

Taking Reference to the Poetic
Wednesday & Thursday
June 6 & 7
10am - 4pm

This workshop will address several possibilities and strategies for using references as a source of subject matter in encaustic painting. The tactile, almost visceral beauty and response to the encaustic medium is often an uneasy vehicle for translating various references into paint. The image of a painter happily confronting the subject, palette and brush in hand gives way to a cumbersome arrangement of hotplates, cords and essentially an unwieldy set-up. For some 35 years I have confronted this reality with each painting session, and during that time I have explored a wide range of approaches to the challenge. This class will focus on the process of opening possibilities in the presence of limitation. Highly personal and diverse methods are encouraged and celebrated as the search for moving expression in painting. The use of a variety of reference material will be the starting point for a lively visual dialogue with the goal of equipping the painter for future interaction with various subjects. Painting is ultimately concerned with using the “how” to communicate the “why “of visual pursuits. This search for “how and why” is the foundation for fruitful encounters for the artist and viewer of the finished painting.

Grids: Exploring Pattern, Structure and Multiple Units
Wednesday & Thursday
June 6 & 7

10am - 4pm

Grids are integral to the building of our homes, streets, and cities. We see them as calendars, ledgers, fences, windows, puzzles and games. Grids and variations of the grid form the basic structure of decorative patterns. This class explores how, in artwork, grids can provide an underlying structure, be involved conceptually, and present options for groupings and installations. Participants will explore different layouts for creating patterns, how grids can be used compositionally, and the flexibility of working with individual modules to create larger pieces. Discussions and slide presentation to include other artists and inspiration from the environment. Using encaustic and mixed media techniques on panel, participants will be encouraged to investigate their individual interests in response to the presented material.

Mainly Metals
June 6
10am - 4pm

This workshop focuses on the metallic. Demonstrations include a variety of techniques and materials for integrating metal leaf and metal with encaustic painting: gilding above and below the surface with genuine and imitation metal leaf, flakes, metallic foils, metallic oil sticks, mica powders, and iridescent pigments. Embedding metal shavings, shards, and sheets of metal will also be demonstrated. Students will integrate these materials and techniques into their own projects with Charyl’s assistance.