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Introducing our Keynote Speaker: Sharon Butler

Butler.BW.2016.jpg

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.

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If You Have a Medical Emergency

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If You Have a Medical Emergency

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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.

Hours:
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!


Pharmacies
. 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

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Traveling to Provincetown

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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. 
 

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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 regularly. 

Lorraine Agri - Plymouth, MA
Caryl St. Ama - South Pasadena, CA
Jean Arcangeli - Harpswell, ME
Susanne Arnold - Richmond, VA
Randal Arvilla - Hurstville BC, NWS, AUSTRALIA
Shary Bartlett - Vancouver, BC, CANADA
Tina Baur - Groton, MA
Pat Benes - Beverly, MA
Linda Bigness - Camillus, NY
Michael Billie - Farmington, NM
Jody Boyer - Council Bluffs, IA
Karen Bright - West Long Branch, NJ
Bettina Broer - Siasconset, MA
Kathy Cantwell - Maplewood, NJ
Zoe Charlton - Baltimore, MD
Martha Chason-Sokol - Brookline, MA
Dorothy Cochran - Woodland Park, NJ
Mary 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
Sandi Donnelly - Freeport, ME
Tim Doud - Baltimore, MD
Loree Draude - Palo Alto, CA
Shirley Drevich - Miami, FL
Patricia Dusman - Doylestown, PA
Paula Fava - Novato, CA
Amy Finder - Louisville, KY
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
Donna Goes - Hull, MA
Carrie Goller - Winter Park, FL
AJ Grossman - Hollywood, FL
Penny Gunderson - Black Diamond, AB, CANADA
Kay Hartung - Acton, MA
Marge Hayes - Forest Grove, OR
Cari Hernandez - Sebastopol, CA
Lin Holzinger - Carlsbad, CA
Karen Hubacher - Rock Hall, MD
Janet Hyland - Portland, ME
Sue Jachimiec - Richmond, VA
Cindy James - Edmonton, AB, CANADA
Beth Johnston - Putnam, CT
Amanda Jolley - Kansas City, MO
Deborah Kapoor - Seattle, WA
Karen Karlsson - Pomona, CA
Anne Kennedy - Saint Helena Island, SC
Eli Kimaro - Seattle, WA
Rita Klachkin - Livingston, NJ
Melissa Lackman - Canyon Country, CA
Susan Lasch Krevitt - Thousand Oaks, CA
Nadine Lavoie - Mansfield Center, CT
Sharon Louden - Minneapolis, MN
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
Julie Sheppard - Parklands, Christchurch, NEW ZEALAND
Sandy Simonian - Honolulu, HI
Julie Snidle - Saint Louis, MO
Pat Spainhour - Lewisville, NC
Sarah Springer - Lexington, MA
Susan Stover - Graton, CA
Kristine Stratas - Oxnard, CA
Tuke - Boulder, CO
Dietlind Vander Schaaf - Portland, ME
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

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2018 Conference Schedule

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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
JULIE SNIDLE
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
JODI REEB

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
AJ GROSSMAN

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
SUSAN LASCH KREVITT

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
CHERIE MITTENTHAL

11:30 - 12:30

DEMO: Mounting Techniques for Works on Paper
PAT SPAINHOUR

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
DIETLIND VANDER SCHAAF

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
PATRICIA MIRANDA
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
JANISE YNTEMA

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
LIA ROTHSTEIN

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
CARI HERNANDEZ

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
JOANNE MATTERA

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

DEMO: Working with Grids
SUSAN STOVER

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 demo explores how, in artwork, grids can provide an underlying structure, be involved conceptually, and present options for groupings and installations. 

2:30 - 3:00 BREAK

3:00 - 4:30

Sharing, Collaborating & Living Your Art 
Panel: SHARON LOUDEN, TIM DOUD, PATRICIA MIRANDA, ZOE CHARLTON 
Moderator: CHERIE MITTENTHAL

Saturday, June 2

9:30 - 11:30

KEYNOTE SPEAKER: SHARON BUTLER

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

1:00 - 2:30

DEMO: Variations on Color: Understanding What You Already Know
LISA PRESSMAN & RICHARD FRUMESS

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

DEMO: Mainly Metals
CHARYL WEISSBACH

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
PATRICIA MIRANDA

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.

2:30 - 3:00 BREAK

3:00 - 4:30

DEMO: Mixed Media Encaustic
SHARY BARTLETT

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
MILES CONRAD

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
MICHAEL DAVID

4:30 - 5:00 BREAK

8:00 FUN TO BE ANNOUNCED!!

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
LOUISE NOEL

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
JOANNA KIDNEY
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
CAT CROTCHETT

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
PATTI RUSSOTTI

The artist's hand and eye combined with a “lens” or any optical device can create a unique narrative. Photography can be a useful tool to integrate into your daily practice as well as a tool to create and enhance the depth of encaustic work.
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
KELLY MCGRATH

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
SHERRIE POSTERNAK

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
LIA ROTHSTEIN

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. Lia will discuss the advantages of each material, their challenges, and why using them together sometimes enriches the final artwork. Rothstein’s cold wax and encaustic work is featured in the book “Cold Wax Medium: Techniques, Concepts & Conversations” by Rebecca Crowell and Jerry McLaughlin, published by Squeegee Press in 2016.    

4:15 - 4:30

Wrap up in Mayflower Room
Closing remarks from Cherie

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Cancellation Policy

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Cancellation Policy


Please make sure you understand our Cancellation and Transfer Policies before registering for the Encaustic Conference or Pre- and Post-Conference Workshops. If you have any questions please contact the Castle Hill office.

ENCAUSTIC CONFERENCE:

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 2, 2018 in order to receive any form of a refund.
If you notify Castle Hill of a cancellation after May 2, 2018, your entire payment will be forfeited.  

 

PRE- & POST-CONFERENCE WORKSHOPS:

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.  

 

TRANSFERRING TO A DIFFERENT WORKSHOP:

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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FAQs

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FAQs


FREQUENTLY ASKED QUESTIONS

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.

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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. 


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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.


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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


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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.


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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.  


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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.


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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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As an instructor at R&F Kelly McGrath has been teaching and participating in encaustic based workshops for the past four years. She has been developing and executing a sculpturally based curriculum for R&F’s workshop program, which is showing a growing popularity. As part of the development of this subject matter she has been doing numerous experiments and samples for combining different ratios of waxes and using wax with other media. Having run a sculpturally based workshop Post Conference for both conference 6 & 7 she has a much clearer understanding of what is successful for this subject matter and what is not. It seems clear that a more streamlined approach to focus on the mold making and allow for more work time is what will make this class a continued success.


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.”


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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 Geoform.net. 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.  


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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.


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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.


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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.


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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. 


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Pre & Post Conference Workshop Details

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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


MICHAEL DAVID
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.


DIETLIND VANDER SCHAAF
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


RICHARD FRUMESS
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.


SHERRIE POSTERNAK
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.


RAé MILLER
Creating Depth with Encaustic and Paper
Wednesday
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.


CARI HERNANDEZ
Sculptural Installations: bringing your BIG idea to life!
Wednesday
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.


JULIE SNIDLE
The Nature and Allure of Encaustic
Wednesday
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.


LYNDA RAY
Expanding your Skill in Wax
Thursday
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


LISA PRESSMAN
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.


JOANNA KIDNEY
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.


PATRICIA SPAINHOUR
Working with Fire

Monday
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.


MILES CONRAD
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


LESLIE GIULIANI
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
*Stencils
*Transfers
*Cold composition
*Combining oil and wax on the palette
*Gel plates
*Stamps
*Combining several prints to create a unified new work
*Ways to finish and present the work


JODI REEB
Encaustic and Alternative Surfaces
Monday
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.


JOANNE MATTERA
The Next Three Steps in Your Career

Tuesday
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. 


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

Tuesday
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.


SUSAN LASCH KREVITT
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.


DALE ROBERTS
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.


SUSAN STOVER
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.


CHARYL WEISSBACH
Mainly Metals
Wednesday
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.


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