#encaustic conference

[fromthedust]

Douglas Thayer - A Gift For Your Grandchildren - cloth toy and plastic - 6" x 6" x 3" -  Our world will end if we don't do anything about climate change. I hope someone or something besides rats and cockroaches will appreciate this artwork.

Kirkland Smith - Plastic Reef - plastic milk jugs, bottle caps, disposable contact lens cases, plastic forks, computer keys - 38" x 51" -  For over a decade, I have been collecting the junk that no one wants. These once-loved or once-used items have been rescued from an eternity in the landfill and become the medium for my contemporary work. While my artistic passion has always been more classical- to capture light and form in paint — I have discovered that working with the discarded objects makes a more dramatic statement. To portray the problem of over-consumption and its effects in a disposable society, these contemporary assemblages are an evocative way to drive home the message of environmental responsibility.

Sooyeon Kim - A Pair of Pears from the Garden of Eden - porcelain - 9" x 8" x 4"

Lizi Beard-Ward - Approaching Storm - digital imagery on metal plate - 16"x 20" -  I hate to think the last of my years on this earth will be spent worrying about whether human beings can learn what the word stewardship means in time to save this planet.  The negative side of me says no way while the hopeful side sees glimmers of light.   The horrors of what we have done to earth are becoming evident by the day as we watch beloved species dwindle and go extinct; as we see the lands of our birth scorched, and the rise of the polluted ocean waters erasing homeland for so many.  We are seeing the seasons become erratic and the weather wax more violent.  The hungry have begun to cry and populations already impacted are beginning to migrate.  Where will they go when once green land becomes dust?  We have to listen to the desperate call; we have to ignore the naysayers; there is no time to listen to their canned and purposed lies; and we have to change...NOW.

Bonnie MacAllister - Above, Under, In Between - embroidery and handmade felt from locally sourced Merino wool and Norwegian black sheep wool - 10"x 10" -  As an artist, it is important to me to preserve the old ways of textile creation and to save materials from waste and landfills.  All work is handspun, hand felted, handmade, hand sewn using recycled textiles and raw fiber sourced directly by me from farms in my travels.  I could not imagine any other way to honor my ancestors and our future than to create safely and reference the existing characters and landscapes. 

Vee Brown - Altarpiece for the Earth's Embers - digitally manipulated photography - 18" x 12" -  I have been conscious of a disruption or conflict or some kind of cosmic upheaval in the atmosphere around the Earth and I want to show the images that bring people's attention to the potential of how it may bring us closer to hell or to God.

McKenzie Wren - Presence - mixed media on canvas - 11"x 16" -  I see streams, fields, woods and I feel the ghosts of what we have lost and destroyed. As we stand of the verge of extinction, I feel the presence of what we have lost. This piece speaks to the enduring resilience of the Earth even though we lose and are continuing to lose habitat and species.

Helen DeRamus - Storm Warning - encaustic, mixed mediums - 30" x 30" -  I carry a long history of awareness that our beloved landscape is changing due to global warming and the disregard of the need to be attentive to the smallest changes as well as those so gross that they cannot be ignored. We, as inhabitants of this planet, have a responsibility to see that Global Warming is arrested before it is too late.

Sandrine Arons - Rusted Sunrise - digitally manipulated photography -  Today I weep for the world we are destroying and I hope we will remember that our planet sustains us only if we sustain it. The Earth is what connects us all; something I understood so clearly as a small girl and something I wish everyone could feel. It is our duty to protect her. She is crying. Are we listening? 

Frank Holt - Encroachment - mixed media on canvas - 16"x 8" -  This began with a photo of an alley in Marietta, GA that I took as one of a series to earn my spot in an environmental conference in Green Bay, WI. (Teams of a Boy Scout, a Girl Scout, and an adult leader came from all over the US in 1971) to discuss what we could do to save the environment. I updated it for today's concerns about rising seas and sinking cities by adding the pea gravel sea wall and the dirty sky and ill-looking sea life.  

One Earth / One Chance

for more images: http://www.wcaga.org/page/global-warming

[loriglessner]

Last year, I wrote a popular post listing the Encaustic Paint Colors I Can’t Do Without and as a result a reader requested I write a post listing some colors for the beginner. The International Encaustic Conference is starting this week with it’s overwhelmingly wonderful vendor room, so now is a perfect time for this post.

There are only a handful of colors one really needs in order to mix all colors; magenta, yellow, cyan, black and white or the primary colors Red, Yellow, Blue, Black and White…actually, you don’t even need black, you can mix that by mixing all the colors in equal proportions. But who has time for that, it’s just easier to have some colors at the ready and I developed this list with that thought in mind. I also thought about some colors that are just so luscious you might want them all the time without having to mix them. I started with a varied color wheel and branched off with a few oddballs you might find interesting. As a beginner, it’s important to start small and purchase some, rather than all. Buy the small sizes instead of the mega size, find what’s right for you and go from there. When I first started painting with encaustic, I only used 4 colors and slowly added more. This list is a good place to start for the beginner as well as advanced and I hope it helps you find the color combination of your dreams.

Other things I mentioned in the first post that I would like to reiterate. I never use colors ‘straight out of the tube’, all of my colors are mixed with 2-5 colors and yours should be as well. It creates a more personalized palette when you do this as well as a more interesting painting. Once again, this list is in no particular order and I photographed the paints on top of an in progress painting just as they are…messy, mushy, splashed with other colors, alluding a little to my process and looking like colorful little sculptures. If you’d like to see the paints pretty and clean, just click on the links to the paint distributor’s sites. If you’d like to learn more about encaustic color mixing, take a workshop with me, I discuss paint mixing in a all of my workshops.

If this post was helpful to you, please let me know, I invite your comments questions and suggestions in the comments section now located in the upper left sidebar of this post.

Stay tuned for my next post, Part Two of my Evolution of a Mark series of posts in which I trace back to my beginnings as an artist to where I am today. If you haven’t done so, make sure you read Part One so it all makes sense.

Enjoy the lovely flowers blooming everywhere.

R&F Paints

Alizarin Orange I LOVE this color, it will be on any list I make regarding paint colors. Bright and versatile, it can go from a light gold to a rich rusty orange in one swipe. When mixed with white or any other color, it retains it’s richness.

Payne’s Grey  Like Alizarin Orange, this color will be on any encaustic paint color list I make. I use this instead of black to darken any color. For me, black tends to deaden the color as it darkens, while this one allows the original color to retain it’s voice.

Warm Pink Like neutral white, I have used this color since I started painting in encaustic. It brightens any color and when mixed with a little and painted next to or on top of earthy blues, grays or greens, the eyes vibrate!

Brilliant Yellow Extra Pale I love to use this color instead of white as it not only lightens, it adds just a touch of yellow and whimsy as it brightens as well. 

Cobalt Blue A bright, clear blue, I use it more than any other blue.

Malachite Green I use this color way too much. It’s one of those colors that changes as it’s painted next to different colors. It makes any color and any painting sing.

Phthalo Turquoise Another color that looks dead in the package and like black when it’s melted, it is actually one of the brightest and most versatile colors. Add just a touch of any white and watch the magic happen.

Phthalo Blue Embarrassingly I just read what Phthalo colors actually are a few years ago and now buy anything described as such because of its unmatched intensity. There is a clarity to this blue that you will find in no other for water, skies, anytime you need blue. It mixes beautifully and always retains its voice.

Alizarin Crimson I do not have a Cadmium Red on this list, which may be odd to some, but quite honestly I have rarely ever used it because it always reads slightly orange to me. To be clear, Cadmium Red is the purest red and I would be remiss to tell you not to have it in your collection. However, I always find myself reaching for the Alizarin Crimson instead. It’s a cross between magenta and red and leans on the darker side of both. However, when it’s mixed with only a slight amount of white, it comes alive and is quite bright. It also makes a wide range of lovely pinks when mixed any light or white color.

Cadmium Green Pale  Not really true green, not really yellow, its a good mix of both, but I wouldn’t call it yellow-green. This is my go-to green, it can be lightened beautifully as well as darkened.

Zinc White Not having Titanium White on this list may also be a color faux pas but again, I rarely ever use it because it’s so uncomfortably white and a bit too pure for my taste-kind of like a bridal gown that almost looks blue it’s so white. Zinc white is a cross between Titanium and cream. Zinc is very white, but it’s just a degree off and lightens colors just as well as Titanium, yet keeps them just a degree to the left.

Cadmium Yellow Medium & Light We have to have yellow, it’s the indispensable color, which is why I have two on this list. I almost always go for the Medium yellow, but sometimes I just want less and pick up the Light. R&F also offers a Deep Yellow, but I wouldn’t advise going for it just yet, it’s a bit orange and may not be needed for your palette if you have the other two.

Cobalt Violet Light  I don’t use purple much and frankly, when I need it I mix it myself. However, this color is unusual, is difficult to mix and works well to add just a hint of pinkish-purple-violet to any other color.

Enkaustikos I can’t link directly to each color, so this link goes to all of the colors listed below, just scroll the list to see the color.

Opal Aquamarine I love this color so much I buy it in huge bulk and for all of my workshops. It makes any blue or green bluer and richer, like the most amazing, clear glacier water. 

Indian Yellow Bright, clear, not quite yellow, not quite orange. I reach for it time and again in place of yellow and mixing it with R&F’s Alizarin Orange is magical.

Evans Encaustics

Manganese Black The only black you’ll ever need, I was instantly smitten when I first used it. So creamy rich, so deep and consistent. It’s a true black, no blue or brown or gray cast. You only need a teeny tiny bit to darken any color. If you use black by itself, you’ll never find grayish spots or be a bit dissatisfied with this color.

  Kama Pigments I can’t link directly to each color, so this link goes to all their colors , just scroll the list to see the color I listed.

Rose Hornyak/Hornyak’s Pink Again, me and pink-I’ll buy any pink. This one is so Pepto Bismol its almost gross, but it does so many things that the average pink doesn’t do! It adds just that tiny bit of purple that makes other colors vibrate. Try mixing this with Alizarin Orange and/or Warm Pink and/or Brown Pink for a pink magic fest.

Going to the encaustic Conference this week? Before you enter the vendor room, be sure to read this post. This list is a great start for the beginning encaustic painter as well as advanced to find the color combination of your dreams. Last year, I wrote a popular post listing the Encaustic Paint Colors I Can't Do Without…

[the-paintrist]

F.T. Marinetti and Benedetta Cappa

Benedetta Cappa (14 August 1897 – 15 May 1977) was an Italian futurist artist who has had retrospectives at the Walker Art Center and the Solomon R. Guggenheim Museum. Her work fits within the second phase of Italian Futurism.

Benedetta began to meet avant-garde artists, poets and writers who gathered in the studio. In 1918, she met Filippo Tommaso Marinetti at Casa Balla. Their friendship was first based on intellectual pursuits and they began exchanging letters in 1918. Initially, these are written with a certain formality on both parts and deal with Futurist ideas and a discussion of their literary works. By 1920 Marinetti is addressing his correspondence to B. Cappa Marinetti. Benedetta and Marinetti married three years later.

Though she was an artist active in Futurist circles, Benedetta felt labels were restrictive and initially rejected the designation. In a 1918 correspondence with F.T. Marinetti she writes, “I am too free and rebellious – I do not want to be restricted. I want only to be me.” Despite entering her marriage with such determined independence, the considerable contributions made by Benedetta are often overshadowed by the figure of Marinetti and the vociferous manner with which he directed the movement. Benedetta's body of work spanned a range of media that included pen, paper, paint, metal and textiles. She wrote poetry and prose, signed, and spoke as an individual, but only recently has she garnered independent recognition.

In 1919, Benedetta published Spicologia di 1 Uomo, a collection of poetry which incorporates “unusual word placement, typographic experimentation, and visual and auditory correspondences”. Subsequently published in 1924, Le Forze Umane: Romanzo Astratto con Sintesi Grafiche (Human Forces: Abstract Novel with Graphic Synthesis), has a similar structure presented in an extrapolated form. Two images from this novel provide an interesting conceptual contrast. The first, Forze Feminile: Spirale di Dolcezza + Serpe di Fascino (Feminine Forces: Spiral of Sweetness + Serpent of Charm) consists simply of three curved lines, one of which provides a central axis for the other two. The linear composition of the second drawing, Forze Maschili: Armi e Piume (Masculine Forces: Weapons and Feathers), has numerous straight lines and arcs arranged in an impenetrable tangle.

The action and aesthetic of the machine age is a trope within Futurism that appears frequently in Benedetta’s artwork. One early abstract painting, Velocità di Motoscafo, (Velocity of a Motorboat), (1923-24), contains many of the elements that would come to mark Benedetta’s painting style. Well defined, curvilinear shapes, painted in gradient tones are compositional arranged to imply objects in motion: “… the interplay of ‘force lines,’ become the subject”. The artist’s exploration of the machine continued with Luci + Rumori di un Treno Notturno, (Lights + Sounds of a Night Train), (ca. 1924) and with Aeropittura (1925). A trip to Latin America in 1926 was followed by a series of abstract paintings done in gouache on paper.

As Benedetta developed her artistic practice, her influence within the Futurist Movement expanded. Between the end of World War I and the early 1930’s, there was an ideological transformation which led to the period commonly known as Second Wave Futurism. The notably misogynistic tone of the foundation texts was largely muted as the number of female Futurists increaseD. Several other themes, such as Technology, Speed, and Mechanization carried over into this new incarnation of Futurism. For this reason, Benedetta’s oil painting Il Grande X (1931) is considered the culmination of one era and the prelude to another. In the two decades since F.T. Marinetti’s manifesto, the brash avant-garde movement had largely become the establishment.

It was the Futurists’ affiliation with the state establishment that would lead to one of Benedetta’s most recognizable paintings, her mural series for the Conference Room at the Palazzo delle Poste in Palermo, Sicily. The building is an amalgam of works by several Futurist artists. Designed by the Rationalist architect, Angiolo Mazzoni, the Poste Italiane houses tile wall mosaics by Luigi Colombo Filìa and Enrico Prampolini in addition to the murals by Benendetta. The shared themes of synthesis and communication are critical to the aesthetic program of the Futurist structure. Completed between 1933 and 1934, each painting depicts a form of information transfer, including terrestrial, maritime, aerial, radio, telegraphic and telephonic communication. The pale blue and green color palette, along with the use of tempera and encaustic media, were designed to invoke resonances with Pompeian frescos. The collection represents the idealized speed and efficiency of message delivery in the modern world.

Benedetta’s works were exhibited widely, along with the rest of the Italian Futurists, both during her lifetime and after, with major exhibitions as early as 1926 and up until the outbreak of World War II. She was a regular participant in the Venice Biennale, and was the first woman to have a painting reproduced in a Biennale catalog. A long pause ensued after the war, which lasted until the 1980s, when the works of the Futurists were, once again, starting to be appreciated.

[pilgrimartfoundation]

“It all began in 1972, when a group of visionary artists led by Joyce Johnson launched our creative community in an historic barn, still in active use on the Castle Hill campus. Castle Hill has grown considerably since then. Now they deliver up to 200 summer workshops at the Castle Hill and Edgewood Farm campuses; off-season, the Artist in Residence program, the Artists in the School program, free workshops for Outer Cape residents, the annual International Encaustic Conference and an after-school program for Truro kids keeps the studios and resi- dences buzzing. In 2020, Castle Hill launched a deep internal conversation and committed ourselves to authentic action to embed diversity, eq- uity and inclusion in everything we do. Valuing differences in age, race, identity, ethnicity and experience builds a stronger, more creative community. As Castle Hill moves forward, education, openness, and com- munity remain our key values. The year-round educational ex- periences fostering intellectual, creative, and personal growth in an open, inclusive artistic environment will continue far into the future. During this show at PAAM, Castle Hill is celebrating and honor- ing the talent of the Artists that teach and are part of the Castle Hill Community. Their dedication and commitment to Castle Hill are tremendous. Today, we approach our 5oth anniversary with gratitude, pride and a great deal of optimism. Thank you PAAM for hosting such a beautiful show of artists.” -Cherie Mittenthal, Curator and Artistic Executive Director, Truro Center for the Arts at Castle Hill @castlehilltruro #castlehill50th @paam1914 on view thru 11/13/22 (at Provincetown Art Association and Museum) https://www.instagram.com/p/CjOV2f5Oa4Q/?igshid=NGJjMDIxMWI=

[mrskuubetesuriteaches]

^ whole work

Made at an encaustics workshop led to produce NYSATA conference donations

Thank you to Shenendehowa Fine Arts for hosting!

[finishinglinepress]

FINISHING LINE PRESS CHAPBOOK OF THE DAY:

WELLSPRINGS by Elizabeth Shafer

$14.99, paper

https://www.finishinglinepress.com/product/wellsprings-by-elizabeth-shafer/

Elizabeth Shafer is an artist, writer, and lawyer. She has taken courses at the Art Students League, the R & F Encaustic Studio, and the Woodstock School of Art, and exhibits her work at the Emerge Gallery in Saugerties, N.Y. She was a Contributor in Poetry at the Bread Loaf Writers’ Conference in August 2015. She is involved in environmental issues and has been a Board Member since 1991 of the Lawyers’ Committee on Nuclear Policy.

Poems are brave. They risk so much when they expose the heart-soul of the poet. In Wellsprings, Elizabeth Shafer is a brave poet, daring us join her on a word-journey as she blazes through reminiscence and reflection, mainly of her family. Through her poems we engage in a profound act of love.

–Bo Niles, author of crescendo/decrescendo.

“Bravely written of family, of sorrow, and of love and joy; of depression, longing and loss; but also celebration! In her writing we see the colours in her tone of describing life with all the surprises, the disappointments, and the hanging on.”

–Jan Randolph, author of Onion Snow

PREORDER SHIPS JULY 5, 2019, RESERVE YOUR COPY TODAY

https://www.finishinglinepress.com/product/wellsprings-by-elizabeth-shafer/ #FLP #poetry #chapbook

[michaelgogins]

Nostalgia Tour of Salt Lake

This was essentially my bedroom window view from Capitol Hill from my last year of high school through my first year at the U. Twin Peaks Broad Fork is 11,329 feet high and rises 7,500 feet above the valley floor.

Fifty years ago this was George Fox’s living room, and it is now my AirBnB quarters. The room did not used to be white. George had a cat, and an easel behind the point of view with a medium sized, abstract landscape painting he was working on, in encaustic.

The front terrace of the State Capitol building.

The downstairs doorway to the Manhattan Club. I remember these top hats from when I was a teenager, but never went inside the club.

Yet another view of the Wasatch Mountains from Capitol Hill.

The coffee shop near where I am staying, Alchemy Coffee.  I have been getting coffee and pastry here for breakfast. Recommended.

When I was a boy this was the Salt Lake Public Library, where I discovered science fiction in general and Robert Heinlein in particular. Later it became the Hansen Planetarium. Today it is O.C. Tanner, jewelers.

This was and perhaps still is the actual headquarters of the LDS Church leadership. When I was 19 or 20, I worked for an office supply company, and I helped deliver Plexiglas mats to put under conference room chairs in this building. It was pretty plush and old-fashioned inside.

Usual state of an unwatered lawn in Salt Lake in the summer.

[corinadotdash]

You're all invited to attend! I've been invited to show my #relief #painting #sculpture at the Black Tie (Optional) #exhibition at the #adampeckgallery Join us for our opening on June 2nd!! #internationalencausticconference #theeleventh #11 #encaustic #conference #blacktie (at Adam Peck Gallery)

[sandimiotart]

Exploring cold wax painting after taking Lisa Pressman's fabulous workshop at the Encaustic Conference in Provincetown. #sandiartwax #novatoartcenter #marinmocaartist #coldwaxpainting #coldwaxmedium (at Marin Museum of Contemporary Art)

[lynbelisle]

Collage, Composition and old Cape Cod

Collage, Composition and old Cape Cod

Home at last from a couple of weeks on the East Coast, mostly Boston, but one of my other favorite stops was the Truro Center for the Arts at Castle Hill. Thats where I taught Friday’s workshop on Collage and Composition. Almost all of the participants had been at the 11th International Encaustic Conference the previous weekend, so they knew their way around hot wax. But many of them had not…

[capecoddaily]

DENNIS – A new exhibit is coming to the Cape Cod Museum of Art in Dennis featuring sculptors and painters who paint in the medium of pigmented wax. Depth Perception: Painting in Wax includes the work of 19 artists who are taking part in the International Encaustic Conference in Provincetown. Encaustic paint is pigment… .

[loriglessner]

Going to the Encaustic Conference this week? Before you enter the wonder of the vendor room, be sure to read this post..Essential Encaustic Paint Colors for the Beginner. It’s a great start for the beginner as well as advanced. Link to the article in my profile. . . #artbiteblog #actionplan #encaustic #encausticconference #visualthinking #encausticart #arttips #artstories #artblog #artblogger #visualartist #lorraineglessnerartist #phillyartist #artistsofinstagram #artinspiration #artistsoninstagram #abstractart #artists #creativelife #creatives #artistlife #artarticles #teachingartist #color #colormixing #paintmixing #rfpaints

[gystink]

View this post on Instagram

A post shared by Getting Your Sh*t Together (@gyst_ink)

This oil treatment so smooth, so right. Like an artist spa. Swirly swirl. Thanks @r&fhandmadepaints for keeping me looking youthful at this conference #myCAA #CAA2017 #r&fhandmadepaints #painter #artist #oilpaint #encaustic #sticks #awwyiss (at New York, New York)

[pilgrimartfoundation]

Joyce Johnson, Untitled (Bust Wearing Hood), n.d., Plaster, 12”x9”x9”. From the @paam1914 Permanent Collection, Gift of Harriet Rubin and Del Filardi, 2019. “Sculptor, writer, teacher, arts community anchor Joyce Johnson….She was the founder of the esteemed Truro Center for the Arts at Castle Hill.” (https://bit.ly/3CoaLFR) #castlehill50th @castlehilltruro on view @paam1914 thru 11/13/22: “It all began in 1972, when a group of visionary artists led by Joyce Johnson launched our creative community in an historic barn, still in active use on the Castle Hill campus. Castle Hill has grown considerably since then. Now they deliver up to 200 summer workshops at the Castle Hill and Edgewood Farm campuses; off-season, the Artist in Residence program, the Artists in the School program, free workshops for Outer Cape residents, the annual International Encaustic Conference and an after-school program for Truro kids keeps the studios and resi- dences buzzing. In 2020, Castle Hill launched a deep internal conversation and committed ourselves to authentic action to embed diversity, eq- uity and inclusion in everything we do. Valuing differences in age, race, identity, ethnicity and experience builds a stronger, more creative community. As Castle Hill moves forward, education, openness, and com- munity remain our key values. The year-round educational ex- periences fostering intellectual, creative, and personal growth in an open, inclusive artistic environment will continue far into the future. During this show at PAAM, Castle Hill is celebrating and honor- ing the talent of the Artists that teach and are part of the Castle Hill Community. Their dedication and commitment to Castle Hill are tremendous. Today, we approach our 5oth anniversary with gratitude, pride and a great deal of optimism. Thank you PAAM for hosting such a beautiful show of artists. -Cherie Mittenthal, Curator and Artistic Executive Director, Truro Center for the Arts at Castle Hill.” #joycejohnson #castlehill #artistlegacy (at Provincetown Art Association and Museum) https://www.instagram.com/p/CjOVGxiO88j/?igshid=NGJjMDIxMWI=

[corinadotdash]

Proud to announce that I have been invited to #show at the #AdamPeckGallery. The #exhibition is titled "BLACK TIE (optional)", so of course, I couldn't help it but to make a black tie relief!!! Opening reception on Friday, JUNE 2, 2017 from 6pm - 10pm ~Black Tie (Optional) to celebrate the gallery's new location. Location: 142 Commercial Street and Pleasant Street during #theEleventh #International #Encaustic #Conference in #ProvinceTown #MA Work image: Black Tie -detail on left #painting #sculpture #relief #art #interiordesign #artlovers #gallery #copyright #corinasalvarezdelugo (at Adam Peck Gallery)

[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.