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Friday, May 31
9:30 - 10:30
DEMO: Expansive Wax Printmaking
Making prints on paper has a long tradition. This demonstration will expand the vocabulary of plates to printed surface by using innovative materials for exciting new approaches and effects. Painting hot wax onto Yupo, a 100% recyclable, waterproof, tree-free synthetic paper, creates an encaustic collagraph plate with unending textural appeal. After inking up with Akua soy base inks, the plates are printed on Evolon, a polyspun fabric like material which is absorbent, non-wrinkling and archival. Finished work can be matted, mounted, wrapped on wood or used in 3-D objects. The possibilities are endless. The entire process will be demonstrated step by step from beginning to end.
DEMO: Getting Down to Basics
This demo is intended as an introduction to encaustic, a medium that is incredibly simple and incredibly complicated at the same time. Laura will start by discussing the fundamentals, such as appropriate surfaces and brushes, fusing techniques, and of course temperature and ventilation. Then, through a free-flowing demonstration, she will illustrate how the simple process of painting with hot wax can be enhanced in a variety of ways using simple hand tools.
TALK: The Environmental Politics of Wax and the Future of Encaustic
What does the future hold for artists working with encaustic? Will encaustic remain sustainable? How are supplies of beeswax and dammar being affected by modern farming techniques and climate change? Are there synthetic alternatives to wax that are viable and desirable? Originally based in New York, but having lived in Europe for over 20 years, Janise Yntema offers a unique perspective of how different countries are approaching environmental regulations and concerns.
TALK: Blurring of Boundaries
We, as artists working primarily in the medium of encaustic, are fond of proposing and even insisting that “It’s not the medium, it’s the message.” Affirming this proposition, Sherrie will discuss combining other materials and encaustic techniques in order to convey our intent in the best way possible. Multi-disciplinary approaches can add dynamism, energy, texture and depth to our work. The talk will then focus on a more general blurring of boundaries between disciplines, such as visual art and poetry or dance, or the arts and the sciences. We will discuss why this synergistic approach is so important to us as individuals, community and the world.
10:30 - 11:30 BREAK
Including 10:45 - 11:15 Welcome and Orientation for Newcomers
11:30 - 12:30
DEMO: Drawing Within Painting - The Possibilities of the Line and Mark Within Your Encaustic Painting
This demonstration will explore the potential of drawing within encaustic painting. Experimentation, intuition and immediacy will be the focus in looking at ways to expand a drawing vocabulary. It will explore a wide range of techniques and tools to add and subtract lines and marks: additive processes such as drawing media compatible with encaustic, the flow pen, masking, transferring line and subtractive techniques such as intaglio, intarsia, using objects to make impressions.
DEMO: Encaustic + Cold Wax: A Synergistic Combination
In this Demo you’ll learn the basics of encaustic and cold wax painting and how, in combining the two materials, unique textures and effects can be achieved. The advantages of combining the materials and safe practices and limitations will be explored in-depth.
TALK: The Art and Craft of Teaching: Ongoing Professional Development for the Experienced Artist Teacher
Many of us are professional artists who create and sell a body of work or many bodies of work - if we are lucky! Our studio practice is well defined and our product is thoughtfully conceived and beautifully executed. As Artists who also Teach, are we giving the same amount of thoughtfulness to the Art and Craft of our Teaching? In this talk, I will partner with the experienced ArtistTeacher to guide them through thinking about ways to deepen their art teaching practice. Just like critiquing our own artwork, professional ArtistTeachers must also learn to critique their own teaching in order to grow as an ArtistTeacher. Topics to be covered will include: Who are your students? What is your syllabus? Does your target market (students) and your teaching match? What is your philosophy of education? What exactly are you teaching your students and why? What are your goals for your students given your time and space constraints? How do you best meet the needs of your students given your goals and your philosophy? How do you know if your students are meeting your teaching and learning goals? What type of art historical context do you provide and in what way? What type of feedback, critique or critical assessment do you provide your students, how and why?
TALK: Making Art in a Time of Trial
Vedran Smailović, the cellist of Sarajevo, captured the imagination of the world when he played his cello in the streets in the midst of war. You don’t have to be a brave musician or under fire to ponder the meaning of being an artist in a world so full of challenges. This lecture will speak to the value of art in difficult times, with examples of the ways contemporary art sits in relation to the issues of the day, from outwardly political to that which stakes a claim for beauty. This includes discussion on how art speaks to our time, from witness to memorial, revelation to action, reflective to inspirational, as well as how to see your work as having a meaningful role in the world no matter the form it takes.
12:30 - 1:30 BUFFET LUNCH
1:30 - 2:30
This is the third installment of the series VARIATIONS ON COLOR, UNDERSTANDING WHAT YOU ALREADY KNOW. The previous two presentations discussed OPAQUE AND TRANSLUCENT COLORS and BLACK AND WHITE. This time the subject is MUD… as in dull colors or mixes that seem lifeless. So when you’re stuck in the mud, what do you do? You can, of course, always throw your painting in the garbage. But you won’t learn anything by doing that. Or you can stop and ask yourself how you got stuck. And then, since you can’t call a AAA tow truck to pull you out, you explore colors that will. And in the process you find there is no mud that can’t be turned into a color of great usefulness.
DEMO: Mixing Your Mediums (and Maybe Metaphors): Oil Paint, R&F Blending Medium with Encaustic
Using a very absorbent paper (I use Rives BFK) on a panel. An initial drawing is made with white or clear encaustic paint and lightly fused. The next layer is put down with R&F pigment sticks or oil paint with R&F Blending medium. The paint will slide over the encaustic and absorb into the open space on the Rives BFK in a unique mix of texture and surface.
TALK: Materials, Method and Process
Process is simply defined as a specific, continuous action, operation or series of changes that produce development. Artists who use process in their work possess a strong sense of connection to their materials, yet there is always a struggle over control. In some cases this struggle may serve as a catalyst for the discovery of new processes. This lecture presents contemporary artists whose work utilizes alternative materials as well as process, and the repetition of that process to generate structure, form and content. Sculptors, painters, craft and fiber artists work is grouped into process categories such as repetition of a single action, restriction by a set of rules and restriction of use of one material and one process. The materials which these artists use is as wide as it is varied and include, found, household and recycled materials, Tyvek, hair, rubber, adhesives, stitch, fire and encaustic to name a few. These artists inspire, as they not only exploit the inherent properties of their materials, yet at the same time transform the materials from their original use.
TALK: Thinking Through Space
Are you working dimensionally and interested in shaping space with your work? Are you challenged and intrigued by site specific work and installation? This talk will feature artists who create sculpture and installation that utilize space to actively engage the viewer, and include insights into the evolution of the thinking process inherent in envisioning dimensional work in space. How these artists address space and use it as one of the elements integral to the success of the work itself, as well as consideration of scale, lighting, height, movement, placement and sound will be illustrated and addressed.
2:30 - 3:00 BREAK
3:00 - 5:00
PANEL: It’s Not ALL about the Wax but a Tool in the Toolbox
PANELISTS: Michael David, Joanne Mattera, Deborah Kapoor, Susan Lasch Krevitt
Moderated by: CHERIE MITTENTHAL