OUR MISSION

A LETTER FROM THE EXECUTIVE DIRECTOR + BOARD PRESIDENT

CAMPUSES AND FACILITIES

THIS YEAR’S CHAIRS

OUR HISTORY

ACCOMMODATIONS

GETTING HERE

FAQ'S

BOARD OF DIRECTORS

We’re excited to unveil the 2025 Summer Catalog, showcasing an exceptional lineup of workshops and instructors! This year, we’re offering 190 workshops throughout spring, summer, and fall, including a fantastic range of encaustic workshops before and after the conference. We’re also thrilled to announce that the 18th International Encaustic Conference will be held at Edgewood Farm for the first time ever! Esperanza Cortés will be our keynote speaker, and we’ve got many exciting new plans in store. There’s still time to register—don’t miss out on this incredible event, happening May 30, 31, and June 1! We are honored to welcome back Jongkuk Lee from South Korea for another workshop, and we’re equally excited to introduce new instructors: Jabu Nala, a Master Zulu Potter from South Africa; Sati Zech from Germany; Bettina Egli Sennhauser from Switzerland; and Isabelle Gaborit from Ireland. Joining this diverse group of talented artists is Amanda Ménage from France, who will lead a one-of-a-kind workshop on fragrance and perfume. Additionally, we’re pleased to announce a special workshop with Theo Jansen’s StrandBeast, where his son Zach Danson will help us construct one of these famous creatures at Edgewood Farm. Afterward, it will take a stroll on the beach before heading back to the Netherlands! We’re also bringing back some much-loved favorites, including Judy Pfaff, Cynthia Packard, Vicky Tomayko, Ed Johnetta Miller, Paul Bowen, Ann Hood, Anne Bernays, Carol Pelletier, and many more! We are thrilled to have Adam Moss as this year’s Woody English Distinguished Artist & Writers Chair. Moss, the author of the fascinating book The Work of Art, explores how something comes from nothing. As artists, we are all captivated by the process of creation—whether it’s writing, sculpting, or making a book. Join us for his lecture and panel discussion on July 29th at Edgewood Farm. In these challenging times, we believe that making objects, writing an essay, creating a play, welding, making a clay pot, or working in encaustic can help uplift the spirit. We aim to bring community to Cape Cod, and we hope you’ll join us in lifting our spirits together!

In Peace,

LESLIE GILLETTE JACKSON CHAIRS:
Julia Cumes & Lipe Borges

Julia Cumes is a South African–born photographer based on Cape Cod. With a background in photojournalism, her work centers on narrative portraiture and long-form storytelling, exploring themes of identity, belonging, and community across cultures. Her projects span public health, environmental resilience, and women’s stories, from East Africa and South Asia to coastal New England. Her work has appeared in The New York Times, The Boston Globe, and other publications, and has been exhibited nationally and internationally. Her ongoing collaborative project, Invisible Threads: Portraits and Stories of Our Global Neighbors, developed with Lipe Borges, was exhibited at the Cape Cod Museum of Art and will be published in expanded form by Daylight Books. In 2024, she was named Artist of the Year by the Arts Foundation of Cape Cod. She is currently a Boston University Community Impact Fellow for the 2025–26 academic year.

More of her work can be found at JuliaCumes.com and on Instagram @juliacumes

Lipe Borges is a Brazilian artist whose work focuses on portrait and documentary photography. Using the camera as a tool for storytelling and attention, his photographs explore individuality, resilience, and human presence. His camera has served as a passport into prisons, favelas, disaster zones, and vulnerable communities, including work in one of the poorest regions of Peru. His artistic approach is shaped by the rhythm and resilience of Capoeira, an Afro-Brazilian art form blending dance, music, and martial arts. Based on Cape Cod since 2020, Lipe is a recipient of the 2023 Creative Futures Fellowship and the 2024 Teaching Artist Development Fellowship, both awarded by The Cordial Eye. He was also selected for the 2024 Creative Exchange Cohort by the Arts Foundation of Cape Cod.

More of his work can be found at CuriousLipe.com and on Instagram @lipeborges.photo

PRESIDENT'S CHAIR: Sheryl Jaffe

Sheryl works with materials that breathe, handmade paper from local and exotic plant fibers, found objects, branches and stems to create 2 and 3 dimensional works that connect the human body with the vulnerability and resilience of the flora around us.

Her work includes installations, sculpture, artist books and prints and are evocative offerings for viewers to move through, make discoveries, and be drawn in, to contemplation. She studied traditional hand papermaking in Japan and China and has taught papermaking at home and abroad with students age 2 to 84. Jaffe was a resident artist at The Barn, Edward Albee Foundation and at Yellowstone National Park, where she explored fibers found in those unique locations. She has a Masters Degree in Art Education and a BA in Multicultural Art Education, both from the University of Massachusetts. She volunteers in the community with the ArtPeace Makers, the MLK Action Team and in bringing Wampanoag Culture and Education to the Outer Cape. 

Some of my best friends are plants, and like plants and most other living things I need water, air and soil to thrive. I collaborate with materials that were once alive and continue to “breathe”.

Learn more at sheryljaffe.com

JOYCE JOHNSON CHAIR: Linnéa Gad

Linnéa Gad is a visual artist from Stockholm, Sweden. Her art reflects an interconnected ecosystem, with works in cardboard, metal, bark, and porcelain, all embodying protective shell materials and calcification processes. Her practice is cyclical, reusing materials and recurring motifs, embodying lifecycles. Gad received her MFA from Columbia University in 2022. Her solo shows include Return of The Mollusk at Astor Weeks in New York (2024), Erratics at Spencer Brownstone in New York (2019) and Luster Pit at RØM in Copenhagen (2018). The artist has participated in group shows at The Jewish Museum in New York (2022), The Lenfest Center for the Arts in New York (2021) and SixtyEight Art Institute in Copenhagen (2021). The artist has also recently exhibited at Ceysson Bénétière in New York, Beau Travail in Stockholm, Half Gallery in New York and Issues Gallery in Stockholm. In 2023, Gad presented her first public artwork, Shoals, two large-scale sculptures installed in Nolan Park on Governors Island in collaboration with the Billion Oyster Project. She is the recipient of multiple grants from The Swedish Arts Grants Committee and was shortlisted for the Frankenthaler Climate Art Awards in 2022.

OUR MISSION

A LETTER FROM THE EXECUTIVE DIRECTOR + BOARD PRESIDENT

CAMPUSES AND FACILITIES

THIS YEAR’S CHAIRS

OUR HISTORY

ACCOMMODATIONS

GETTING HERE

FAQ'S

BOARD OF DIRECTORS

The Early Days of Castle Hill

by Joyce Johnson

In 1971 Truro Center for the Arts at Castle Hill was taking its first tentative steps toward becoming a successful art center. And tentative was the word. There was no money, just a wonderful old New England barn that had cried out for years to be converted to an art center. Eventually the cry was heard by a group of people who wanted just that. The alternative would have been fateful for the Snow's Stables, over a century old and once the hub of community activity. Built around 1882, it was used by Charles W. Snow for multiple purposes, including keeping a team of horses, storing equipment for his building trade, and serving as a retail paint store. He also rented sections to ever-changing tenants.

Contractor Peter Brown, who bought the property in the 1960s, told a group of people who first assembled to discuss the barn's future that if artists were not interested in using the space as studios or for a school, he would demolish the building and use the lot for another purpose.

I attended that meeting of a handful of artists and craftsmen in August 1971. It was organized by the late Harry Hollander, who wanted a place to teach his specialty, working in plastics. Those who met at the home of craftsman Albert Kaufman were indeed very interested in the availability of studio space, even creating an art center. But without funds, and no one offering to produce them, the meeting ended without resolve, except thatBrown was encouraged enough by the group's interest to move forward with renovations to stabilize the building, with the hope of renting sections as artists' studios.

For five years I had been running the Nauset School of Sculpture at my studio in North Eastham. Several weeks after the meeting, Hollander found me at my Truro home. Someone had pointed the general direction of my isolated homestead in a kettle pot and he arrived, tramping through a swamp and brambles, having missed the dirt road leading in. He suggested that I move my school to the barn and add a few diverse workshops to the program, including his particular workshop on plastic techniques. He urged me to take a look at what Brown was doing to renovate and repair the barn-adding windows for north light and reconstructing floors and walls to convert the barn into seven individual studios.

I followed the suggestion the next day and when I saw the new space, any questions and concerns faded away. If nothing else, I decided to rent the spacious main studio for my sculpture school, convinced my luck for running the school in Eastham during rainless summers in a grove of pine trees without shelter would soon run out. Doris Harris, a ceramics teacher from Binghamton, New York, with a summer home in Wellfleet, had been a student in my school for several years and became very interested in the idea of a summer school in Truro also. She agreed to set up a ceramic department, a major start for a summer craft program. We told Brown we wanted to rent another room. Then we asked for two more as other artists and craftspeople expressed interest in teaching.

The first official meeting of a steering committee occurred in my Eastham home. It included Rigmor Holbrook Plezner and George Zilliac, both of Orleans, and myself. Eleanor Meldahl of Truro was invited but unable to attend. We decided to move forward. My sculpture school mailing list of about 200 people and a barrage of news releases began to inform people that an art center would be opening in late June close to the picturesque Pamet River in Truro. The news was well-received.

Funding was still an issue. I said I would work on the project without recompense until we saw what might happen. Brown said he would postpone the date to receive rent until June, a significant reprieve. And I borrowed $250 on my newly acquired Master Charge card-all that was needed to get out the first one-page brochure describing 15 workshops.

Teachers agreed that the Center would not be obligated to run a workshop if the number of students needed to break even was not reached. The list of instructors was small but, in retrospect, formidable. Among them wereRobert Vickrey, an internationally known egg tempera specialist who lives in Orleans, and New York sculptor Sidney Simon who has a summer home in Truro. Printmaker Jan Gelb of Provincetown agreed to teach, along with New Hampshire weaver Mary Bishop and Orleans poet Thomas Whitbread. Orleans printmaker Marcia Howe would teach experimental printmaking and Hollander, who lived year-round in Truro, would teach jewelry-making with plastics. His wife, Ruth, and Harris would comprise the ceramics department.

The Center had approached Dan Klubock, a Boston lawyer, to begin applying for non-profit status, which was finally certified a year or so later. He also counseled me, in the initial stages during the fall of 1971, to squelch a move by several residents of Castle Road to stop the Center. Since schools are allowed in residential areas, the attempt was groundless and thankfully faded away. We, of course, had no idea whether the Center would succeed. I was prepared to lose no more than $2000 that first summer. As it worked out, we made a "profit" of about that much, some of which was paid me as salary. We need not have feared. The response to Castle Hill was steady and enthusiastic. Volunteers began to surface. Many, such as Ella Jackson, Mary Lou Friedman and Eleanor Meldahl, are still working to keep the center afloat with fundraising and promotional efforts and of course there were Doris and Chet Harris, without whom there would never have been a ceramic department. The economic reality was that even with so many volunteers, tuition still covered only about half of the operating costs. A board of trustees to help with fundraising was critical and soon came together.

Truro proved to be the ideal location. The town had no center for artists and writers. All ages were soon attracted to Castle Hill as though there were a magnet hidden among the barn's weathered beams. Some came to learn, others to teach or to fold flyers and stick labels on them. Others came to meet others-to feel a part of a worthwhile project.

Josiah Child, a retired Boston architect, had recently bought a home in Truro just up the hill from the Center. As a board member, he saw its potential and invited Louise Tate, the director of the newly-formed Massachusetts Council for the Arts, to see Castle Hill in the early fall, after the first summer. She liked what she saw and gave the Center its first grant, $5000 for administrative salaries, which was repeated a second year. By the end of the first trial summer we were renting five of the seven studios. A year later we took over the entire barn and tower, which had become the Center's administrative offices.

The next eight years were thrilling and exhausting. Each summer the enrollment increased at least 10 percent. The evenings as well as the days were filled with classes and events. A lecture and concert series drew crowds of over 100 people. In a few years the number of classes rose to over 40 offerings, among them a series of writing courses. Courses on nature were added, such as experimenting with natural dyes with Cape Cod National Seashore naturalist Hal Hinds. Dr. Graham Giese and Barbara and Charles "Stormy" Mayo taught coastal ecology and sea life and were excited enough by the response to start their own school the next year-the Center for Coastal Studies, which is now nationally acclaimed for its whale research.

Some of the most exciting workshops in those early days centered on the ceramic department, with ceramicist Mikhail Zakin acting as the Pied Piper of clay. She led students to discover over 12 natural clays at local beaches, most low-fire, but a few high-fire. They experimented with the clays and one summer built a wood-fired kiln in the back area, staying up for 24 hours to feed the straw and clay hulk filled with hand-crafted pots. Primitive pit firing was another course that attracted large classes.

The success of the Center was not without its down moments. Harris, on Memorial Weekend just before our anticipated opening in late June 1972, complained of a backache and went home to Binghamton to see her doctor. Within a short time she was diagnosed with cancer. She taught only one day at the Center and passed away the next spring, leaving a gaping hole in our program and dreams. She and her husband had completely outfitted the ceramic department with its sturdy tables, secondhand metal stools, deck, and kick wheels lovingly designed and constructed for the program.

In 1975, with only three years under our belt, Brown said he intended to sell the property and offered it to the fledgling board at a generously low price. A yearlong fundraising effort produced the down payment and we became landowners, filled with both excitement and anxiety.

The need for a strong board became clear if the Center was to honor its new obligations in maintaining the two buildings and the grounds. Friedman, a summer resident, agreed to become president of the board for a year and was succeeded by comic strip creator Lee Falk, who also had a summer home in Truro. He instituted a financial plan that has kept the Center in the black for almost two decades, giving subsequent presidents freedom to address the many other challenges that have arisen since Castle Hill's infancy.

Joyce Johnson, a writer and sculptor, was the founder of Castle Hill, president for six years, and director for eight years. This story was printed in Provincetown Arts magazine.

Board of Directors
2025-2026

EXECUTIVE COMMITTEE

President:  Damon Katz
Vice President:  Mary Ann O’Loughlin
Treasurer: Vanessa (Nomi) McGuire                                   
Recording Secretary: Karen Dukess   
Corresponding Secretary: Ann McQueen
Past Presidents: Ellyn Weiss & Rob Silverstein