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
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

3 Comments