#Silke Seybold

[fromthedust]

Silke Seybold (American photographer currently living in Germany)

Silent Places - series of self-portraits

Silke Seybold

www.instagram.com/silke_seybold/

www.silkeseybold.com

www.flickr.com/photos/silkeseybold/8667669439/in/photostream/

[jonna-thure-agnes]

Silke Seybold

[moradadabeleza]

Silke Seybold

Dark Days - Trapped

[vincekris]

Silke Seybold

[gacougnol]

Silke Seybold Self Portrait 2020

[stylish-differenceform]

“Silent Places Series” by Silke Seybold

[jordantane]

Cooper, Dean. Daghari, Al Saleh. Seybold, Silke. Walton-Healey, Nicholas. 2020. BETA developments in photography number 36 July 2020. Issuu.

https://issuu.com/betadevelopmentsinphotography/docs/_beta_36

This zine appealed to me for a variety of reasons. I like the layout of the images as there is no clear system or pattern. This creates diversity and allows each image to be unique. I also like that each image is silhouetted in some manner either by lighting or the positioning of the subject within the setting. What also appeals to me is that within the layout of the zine, some images are two to a page and some fill the entire page. This creates visual interest and keeps the viewer focused.  

[tugumu]

junk yard by Silke Seybold

[thedirectedimagejordantane]

Publication Research

Cooper, Dean. Daghari, Al Saleh. Seybold, Silke. Walton-Healey, Nicholas. 2020. BETA developments in photography number 36 July 2020. Issuu.

https://issuu.com/betadevelopmentsinphotography/docs/_beta_36

I like the layout of the images in this publication as there is no is no set pattern and so is not predictable. This keeps the viewers focus and does not become boring.  As a result of this, each image is unique. What is inspirational is that each of the images are silhouetted in some way by either the lighting or the positioning of the subject.

There is also diversity within the publication by the layouts of each page as some are single images per page and others are double. This ensures the publication is not predictable which would make the viewer to skim the pages instead of really taking in the stories.

I particulalry liked the image above of the man in the doorway as this is in line with my research on the frame within a frame techniques research. I would really like to incorporate this in my publication as this will ensure the focus remains on my subjects and their stories.

Even though each image here is unqiue, there is one common item in each image which is the top hat. This may not be obvious to the viewer but it certainly brings all the images together so I need to consider this.

[uno-universal]

Silke Seybold

[jordantanedesignresearch604]

I find myself lately looking for contrast in images which is why I find myself drawn to black and white images. I find them very expressive and focus the viewer on the images and the message. It is not however, just the contrast that is appealing to me, it is the lighting also and how the lighting can change the mood of the image or give it a new dimension.

What I found most appealing about these images is the contrast between each two images between the light background and dark background. This is the element that keeps the viewers focused whether they be still images or images that include movement.

An example her is the first image as above of a man standing with his back to the camera. The lighting that has been used halo’s the profile of the subject which now gives this image depth. What does it mean? Well it goes from a subject just standing there to possibly be something spiritual (it depends on your interpretation). The plug in the air shows that the light coming from him is not caused by a direct light source. What ever way you want to look at it, my point is that the meaning of the image has been changed because of the lighting used and this is something I have been learning about in my photography class. 

Because of my learnings in this area, I have found it has shaped how I view work now and how I will work in the future.

What initially grabbed my attention with the bottom work was the movement created in the images. I find that mood can also be communicated through movement. What I find is that the blurring of images can help focus the viewer on the subject.

Cooper, Dean. Daghari, Al Saleh. Seybold, Silke. Walton-Healey, Nicholas. 2020. BETA developments in photography number 36 July 2020. Issuu. https://issuu.com/betadevelopmentsinphotography/docs/_beta_36

Reinhart, Johannes. Xiangjie, Peng. Joergensen, Ole Marius. Zhao, Zengyi. 2016. Beta 21. Issuu.   https://issuu.com/betadevelopmentsinphotography/docs/beta_21

[jonna-thure-agnes]

Silke Seybold

[moradadabeleza]

Silke Seybold

The rain forest where a little girl disappeared

[vincekris]

Silke Seybold

[gacougnol]

Silke Seybold My "Back" Yard 2015

[loriglessner]

Other things leave me, but it abides; other things change, but it remains the same. For me the balmy airs are always blowing, its summer seas flashing in the sun; the pulsing of its surfbeat is in my ear; I can see its garlanded crags, its leaping cascades, its plumy palms drowsing by the shore, its remote summits floating like islands above the cloud wrack; I can feel the spirit of its wildland solitudes, I can hear the splash of its brooks; in my nostrils still lives the breath of flowers that perished twenty years ago.

Mark Twain, (Written after his stay in Maui)

What Exploring Landscape Through Encaustic & The Mark: A Hawaiian Artist Retreat Limited to 12 participants! Level: Intermediate to Advanced $1200 includes most materials (see below) For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Payment Payment of 50% of the workshop fee + materials ($600) is due at the time of registration with the remaining 50% ($600) due on the first day of the workshop. Please contact Lorraine for payment details.

When October 21-25, 2019, 10am-4pm each day

Workshop Description The mark of nature combined with encaustic painting creates timeless works which reference memory, change and time. Utilizing the natural luminosity, textural and layering possibilities of encaustic, participants will experiment with innovative materials, drawing and marks to depict the spirit and essence of the land. Easy to moderate hikes exploring the lush, verdant coastal areas of the North Shore, Maui are led by Jeff and Lorraine. Along with daily journaling, meditation, readings and expressive mark-making exercises, these immersive hikes will provide the inspiration for which to develop ideas and provide areas of focus for series based work while also developing your personal artistic voice. Considerations of our body’s connection and it’s direct relationship to landscape will also be discussed. Optional individual critiques with both instructors will be offered to all participants.

SCROLL DOWN TO SEE images of student work and fun scenes from hikes and studio time during Lorraine and Jeff’s 2016 and 2017 Artist Retreats in Torrey, Utah. Additional blog posts related to other artist retreats co-taught by Jeff and Lorraine are here, here and here..

Where  The Uaoa Art Barn located on Carla and Steve Thistle’s lush, rugged paradise on Maui’s North Shore. (pictured above: Uaoa Art Barn and Carla Thistle’s home and studio)

What Else?

Color relationships, composition, application, content, proportion, scale as an effective foundation for other painterly information.

Learn how to use encaustic’s strengths (layering, transparency, luminosity) to tell your story.

Mark-making exercises geared toward making simple or complex marks to generate a personal language.

The option of an Individual Consultation/Critique discussion with each instructor. Bring a piece of work, a question, a concern, a problem and discuss it with Jeff and Lorraine.

Some guided meditation time, planned hiking and beach walks will relax and open your mind and spirit to the ocean and land, helping to support and nurture your unique creative voice.

A slide talk with examples of contemporary artists whose work applies the ideas and concepts discussed in the workshop is offered for inspiration.

Lots of open studio time to explore and interpret the inspiration gained from the meditations and hikes.

Who A collaborative teaching venture with Jeff Juhlin & Lorraine Glessner

Jeffjuhlin.com Jeff Juhlin’s work references his experience of time and place. He explores the horizontal line and the layers and strata of things substantive and imagined. HIs work alludes to the vast space and geology of the western landscape where he lives. There, time makes itself present in horizontal layers evidencing the past, both building up and wearing away in a continuous process. Jeff’s methodology typically includes many layers of translucent strata composed of pigmented wax, oil, paper and other media, that are built up and worn away similarly in a compressed period of creative time. He accumulates layers of material, images and color that make up the whole of a painting, then goes back in to explore, excavate, expose and obscure. The end result is a non-literal visual form, a translation of that experience and process. Jeff uses various materials and mediums to create these works however encaustic incorporated with mixed media including paper, ink and oil paint are most often the primary mediums. Encaustic’s luscious luminosity; physical presence and translucent quality seem the ideal medium to explore this process. Jeff has completed Residency/Fellowships at the Virginia Center for the Arts and VCCA, Moulin Au Neuf, Auvillar France. He has been Artist in Residence 2010-2017 at the Hui Art Center in Maui, Hawaii. His work can be found in numerous private, corporate and public collections as well several public art commissions. Jeff holds a BFA degree from the San Francisco Art Institute. He maintains studios in Salt Lake City and Torrey Utah. He teaches Regularly at the Hui Art Center in Maui, Hawaii, the Kimball Art Center in Park City Utah and at his Studio in Salt Lake City.

lorraineglessner.net Lorraine Glessner’s love of surface, pattern, markmaking, image and landscape has led her to combine disparate materials and processes such as silk, wood, wax, pyrography, rust, paper and more in her work. Lorraine is a former Assistant Professor at Tyler School of Art, Temple University, a workshop instructor and an award-winning artist. She holds an MFA from Tyler School of Art, Temple University, a BS from Philadelphia University, and an AAS in Computer Graphics from Moore College of Art & Design. She has a diverse art background with skills that include painting, sculpture, graphic design, interior design, textile design, photography, digital imaging and much more. Among her most recent professional achievements is a Second Place award in Sculpture from Art of the State at the State Museum in Harrisburg, PA, a recently completed artist residency at Jentel Foundation and an acquisition by Kelsey-Seybold Cancer Center in Houston, Texas. Lorraine’s work is included in the recently released Encaustic Art in the 21st Century by Ashley Rooney and Nuance, a curated book by artist, Michelle Stuart. Lorraine frequently lectures and participates on academic panels at various Conferences including The International Encaustic Conference, SECAC and The College Art Association Annual Conference. Her work is exhibited locally and nationally in galleries, museums, craft centers, schools, libraries, universities, and more. Like her work, Lorraine brings to her teaching a strong interdisciplinary approach, mixed with a balance of concept, process, history, experimentation, problem solving and discovery.

  Student work and other fun stuff from Torrey Retreat, 2016-2017

Materials Included: the following list of materials is provided for the student

All encaustic paints, encaustic medium, tools and equipment

a variety of pigment sticks

Sumi ink & other misc. drawing media

Misc. drawing papers

Paper towels/rags

Extra encaustic brushes

8×8 & 10×10 1″ cradle birch painting panels for sale

What to bring: the following is a list of materials for the student to bring to the workshop

Sketchbook/notebook, pencil or pen for note taking

1-2 drawing media of your choice (pencil, pastel, conte charcoal, oil pastel, Crayon, graphite, felt pen, etc.)

Closed toe shoes for safety in the studio

Lunch and beverage each day

6-10 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) Other suggested substrates are: masonite (coated with encaustic gesso), Ampersand Encausticbord, 3-ply matt board, whatever you bring, it must be rigid, but nothing coated in acrylic or acrylic gesso!! NOTE: There will be 8×8 and 10×10 1″ cradled panels for sale in the studio, so it is not necessary to bring panels if this presents a hardship due to travel.

2-4 actual OR images of your work, digital prints or phone/iPad sharing is fine

5-10 hake or hog’s bristle natural hair brushes in 1-2 inch sizes for encaustic painting (1 brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)

Optional Materials Smock, any encaustic paint color or pigment stick color you favor, iwatani torch with extra butane, any tool or material for any technique that you normally employ while working with encaustic, textured objects and/or sharp ended tool for pressing into/incising/writing/drawing into wax, 1-2 inspiring books to share with the class.

 Hiking Equipment Recommendations

Sturdy hiking shoes/boots

butt pack or small backpack

comfortable clothing

light rainwear

Hat

water bottle

Digital Camera or smart phone or point and shoot camera or DSLR

bag for collecting found materials

Cancellation In the event that you need to cancel your workshop, please notify Lorraine at least 45 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 45 days from the start of the workshop.

Accommodations  This web site offers a full list of air B&B’s along the North Shore in Haiku. Book early, they fill up quickly!

Two Within walking distance…

Holomakai   Mention Carla Thistle for a discount.

Queen bed, small kitchen, bathroom, beautiful ocean view, clean and safe:

100.00 cash a nite, 7 day minimum, 2 persons only. Email Jen Shannon for details and mention Carla Thistle.

Food Filtered water will be available for drinking and tea, however, you may want to bring other preferred beverages. There will be no food served during the workshop, you must bring lunch and snacks each day. There are a number of eateries, cafes, restaurants and markets nearby. A full list will be provided to registrants a few weeks before the start of the workshop.

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Exploring Landscape Through Encaustic & The Mark: A Hawaiian Artist Retreat Jeff Juhlin & Lorraine Glessner take their collaborative teaching venture to Maui! Register now for this exiting opportunity! Other things leave me, but it abides; other things change, but it remains the same. For me the balmy airs are always blowing, its summer seas flashing in the sun; the pulsing of its surfbeat is in my ear; I can see its garlanded crags, its leaping cascades, its plumy palms drowsing by the shore, its remote summits floating like islands above the cloud wrack; I can feel the spirit of its wildland solitudes, I can hear the splash of its brooks; in my nostrils still lives the breath of flowers that perished twenty years ago.