If you have already registered you have just or will shortly receive an email from Castle Hill. It will provide a live link for you to select the events of your choice
Those of you who register between now and the Conference will receive an email with the link as soon as your registration info is entered into the database.
Fee: $550 . . . . January 1 through May 15
If you're interested in Pre- or Post-Conference workshops, the full selection is here, along with information about the workshop and our distinguished faculty. You can register for the Workshops by phone.
. Ideas that emanate from below the threshold of conscious perception
. Artwork resulting from processes that are more intuitive than planned
. Artwork in which images or materials are literally under the surface
There is no entry fee for any conferee who is registered for the Eighth International Encaustic Conference by the exhibition’s April 1 deadline. Click here for the PDF entry form, which you can fill out online and return electronically with your images.
For the first time this year, we are opening the show to non conferees. Those not attending the Conference may submit work for a $35 fee.
We look forward to considering sculpture, painting, prints, collage, assemblage or books in which wax or encaustic is used in whole or in part to express the idea. For the gallery to accommodate the art comfortably, work should be no longer than 24 inches at its longest side.
The show will take place in the gallery at
About the juror: Dan Addington is an artist and gallery owner who has been working with wax since 1989 and exhibiting encaustic work professionally since 1992. His work has been featured in group and solo shows across the
In 1996, as director of what is now Addington Gallery in Chicago, Dan curated the first in a series of encaustic exhibitions which have since featured such notable artists as Lynda Ray, Howard Hersh, Robin Denevan, and Kathleen Waterloo.
Addington's own figurative work incorporates materials such as fabric, oil, wax, tar, gold leaf and various printed matter. Addington Gallery is in the River North arts district of Chicago.
Of course we'll have a juried show. The theme is yet to be announced but we can proudly tell you who our juror is: Dan Addington, owner of Addington Gallery in Chicago's River North gallery district. Dan is also a longtime painter in encaustic. The exhibition and much more about Dan will be on a separate post, coming soon. Event descriptions and presenter bios are coming, also in separate posts.
Registration will start in at the end of October. Meanwhile, take a look at what we have planned for you. Click schedule pages below to enlarge for legibility--and to print them out if you wish.
Saturday Morning Panel: The Roots of Contemporary Encaustic
Dan Addington, Heather Hutchison, Lynda Ray, Joan Stuart Ross, Tremain Smith; Joanne Mattera, moderator
In sequential PowerPoint presentations, five artists of achievement--all longtime painters working in wax or encaustic--will talk about their work and that of the two or three other contemporaries who have inspired or encouraged them, or whose work they admire. In this way a picture will develop of those whose efforts and visibility, teaching and organizing have contributed in very large measure to the worldwide interest in wax and encaustic today.
Sunday Afternoon Panel #1: Standards and Practices in Teaching Encaustic
Milissa Galazzi, Sara Mast, Cherie Mittenthal, Toby Sisson
In this ongoing discussion-- begun with Cherie and Sara in Conference 6, joined by Toby in Conference 7, and now joined by Milisa for Conference 8--four teaching professionals will continue their examination of safety, materials and content in the teaching of encaustic, with the introduction this session of ethical issues. Those teaching at all levels are encouraged to attend and participate in the discussion. This is a 90-minute session.
Sunday Afternoon Panel #2: Who Says a Commercial Gallery is the Only Place to Show?
Nancy Azara, Darla Bjork, Cheryl Clinton and Sandi Miot
While our professional practice presentations often focus on the challenge of getting into a commercial gallery, there are many other viable options for artists. Our panelists, all widely exhibited and reviewed, have each taken steps in their careers to create opportunities that put artists in control of exhibiting their work. They will discuss starting, running and participating in a cooperative gallery, a member gallery run by a director, a building-wide Open Studio event, an artist-run museum, and more. This is a 90-minute session.
Susanne Arnold and Richard Frumess
Perhaps no other artist material carries with it such a range of symbolism as does wax. It implies permanence because it is impervious and stable, impermanence because it is so readily transformed from solid to liquid to solid, fragility because it is brittle, mutability because it remains receptive to reworking. These contradictory aspects have led to its use in depicting both the mortal and the memorable, the human and the idealized. Susanne and Richard draw from their individual talks at Conference 7 in a collaboration to explore even further what these concepts mean in art when they are looked at, not from the abstraction of philosophy, social hierarchy, and religion, but from the physicality of wax itself.
Wax or What?
"It’s not just about the object but rather the entire experience,” says Binnie. Throughout her travels this past year, she saw a lot of art and objects that she found intriguing for their materiality and richness. Many pieces appeared to be made of wax or to use wax in their construction, while others evoked a similar response in their use of glass, lacquer, and other media. Binnie will show and discuss the works of Ann Hamilton, Rafal Zawistowski, Nika Neelova, Delphine Lucielle, and the Fushimi Inari Shrine and others.
In this popular demonstration, Pamela will show her methods for creating fully dimensional forms over a substrate of papier maché that has been formed over an armature of metal screening and plaster gauze. Because the armature is relatively light-weight, the forms can be manipulated in whatever way you wish and worked large. And because the skin is wax, it can be painted as you choose. This is a great way for painters to think dimensionally, or for sculptors to think in a painterly way.
Mix Masters Batik Tools and Encaustic Painting
Elena De La Ville
Preparing Your Images with Photoshop . . . Or how to make sure your work is getting the best exposure.
Back by popular demand and updated: An artist’s work is never done! Once your piece is finished you need to focus on applying to shows, submissions on the Internet, web page, blog, Facebook, galleries and Zapp applications. You also need to know the best options for printing catalogs, books, postcards and prints. Each of these options require their own settings for optimum reproduction and distribution. By understanding the parameters for submitting images of your work and being aware of how that image is being used will increase your chances of being seen or chosen. In this talk, Elena will cover image quality, image size, scanning your work, white balance, saving, archiving and more, all in Photoshop.
Back by popular demand: This explanation of color relationships modernizes the traditional color wheel taught in art school. The importance of pigment differences from four distinct eras will be explained in a way that artists can easily put to use in studio practice. It will leave you eager to try out this new wheel with paints you already own. Hylla is the author of
Color Theory Workshop, published in May 2013 as a succinct instruction in color mixing.
Back by popular demand: Jennie will demonstrate how to transform strands of kozo (mulberry) fiber into stencils to be used in encaustic monoprinting, and later, incorporated as a relief element in the final piece.
Mix Masters Materials, Methods and Process
In her expansion of the talk she gave at Conference 7,
Design Tips for Presenting Your Work Professionally
The design of your website, business card, postcards, catalogs, packaging, framing and installation all play an important role in how your work is perceived. Jane’s presentation will cover how the presentation of your work influences decisions by galleries, museum curators and art consultants. She will show photos of exemplary presentations and then go into a bit of design 101, addressing basic concepts of layout, typography and the use of common elements across various platforms to create a consistent look. She will introduce good template-based designs for website and business cards that are easy to use and can be personalized. She’ll finish with tips on how to determine when it’s time to bring in the design pros.
Basics Fusing with Irons, Torches and Heat Guns
Studio Visit with Howard Hersh
In a personal talk that relates very much to The Roots of Contemporary Encaustic panel, Howard will welcome you into his studio--actually, a series of studios--that reflect the arc of his long and successful career and the intertwining of his life and art.
Screenprinting Onto/Into Encaustic Paint
Jeff will demonstrate the unique process of screenprinting oil paint, pigment sticks and pigmented encaustic gesso onto/ into encaustic surfaces. He says: "I use a simplified approach towards screenprinting that makes this process easy to grasp and unites graphic print elements with painting surfaces and motifs." The demonstration will exhibit multiple print applications/runs as well as single monoprint ideas and is designed for intermediate to advanced level encaustic practitioners.
Expanding Your Vision
Back by popular demand: Do you ever find yourself wondering what “next direction” your art should take? This talk is for those interested in learning how other artists move their work forward to the next level. In presenting images and descriptions of a wide range of unique approaches to artmaking, Deborah will offer ideas about these artists’ methods that can inspire next steps for your own studio practice.
Mix Masters Creating Texture and Dimension with textiles
Living and Sustaining A Creative Life
Lisa, a master printer who works out of a studio in New York City's Chelsea district and upstate in Castleton, will demonstrate the relatively new process of creating an intaglio plate with UV light and water on a specially prepared surface. She'll take you through the process from making the plate to printing it. For artists working in encaustic (or any medium) solarplate printing expands your options in printmaking, with or without encaustic.
Mold Making and Casting with Wax
Back by popular demand: This demonstration is intended to give you a sense of wax as a sculptural material through casting. There will be examples of single- and multiple-part silicone molds which are highly effective for creating a series of cast pieces. Wax will be cast into the mold as part of the demonstration. There will also be examples of working into the mold with design, incorporating/embedding objects into casings, and finishing techniques. This is advanced subject matter best serves those with a basic understanding of encaustic process. (Note: This is a 90-minute session)
Back by popular demand: This demo will show how to use digital color separations to build a photographic image using wax medium as an adhesive. Focusing on the assembly part of the process,
Encaustic Works: Nuance in Hot Wax Laura will present a slide talk about the latest edition of Encaustic Works, R&F’s ever-evolving survey of contemporary art in wax. This latest edition was curated by artist Michelle Stuart, a pioneer in the utilization of organic mediums such as earth, beeswax, seeds, and plants. We will take a look at Stuart’s work along with an expanded look at some of the artists she selected. The emphasis will be on works that go beyond the bounds of traditional artistic resources, articulating complex processes through a language that explores both the physicality of materials and cultural and scientific issues. Note: Encaustic Works: Nuance in Hot Wax will be featured in the Saturday afternoon Book Signing session.
Mix Masters Bricolage with Dimensional Materials
Bricolage is a French term that describes dimensional mixed-media work using objects and materials that are re-purposed, re-identified and transformed into art. The medium of encaustic naturally lends itself to the incorporation of other materials and objects, but initial attempts at such combinations often result in the disappointing “junk on a panel.” We will view the work of contemporary artists who use bricolage to make startlingly beautiful works that overcome the humble origins of their components. Some artists use encaustic or wax and others do not. Nancy will show several works each by internationally renowned artists such as El Anatsui, Leonardo Drew and Petah Coyne as well as works by accomplished artists who are among our presenters and conferees, such as Jeff Hirst, Susan Lasch Krevitt and Lisa Zukowski.
Working in Cold Wax
Carol will demonstrate how to make and store cold wax, using a few recipes and suspensions for the beeswax. She will also cover how cold wax can be used as a stand-alone medium on a variety of surfaces and how it can also be added to oil paint to create layers of depth and luminosity. Unlike encaustic, cold wax is used without heat and does not need to be fused. Because cold wax takes some time to dry, additives can be used to hasten the drying process while also providing flexibility. Basic, environmentally safe studio practices will also be covered, ie: cleaning without solvents and creating your own filtration systems for cleaning of brushes.
The Perfect Pour
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. Sherrie will explain and demonstrate the materials and techniques necessary to make a successful poured surface.
Says Lisa: "This demo will cover some of my favorite materials and techniques that help create interesting and, eventually, personal mark-making systems. I will begin with transparent layers of medium and demonstrate the various materials and tools I use to achieve a richness of surface. Drawing techniques, pan pastels, ink, pigment sticks and more. This demo is for all levels who may be looking for new ways to approach painting and mark making with encaustic. "
Mix Masters Secrets of Using Graphite
Paula shares her many secrets for combining graphite with encaustic. These methods apply to encaustic paintings and wax on paper or encaustic prints. You will learn how to make graphite into a liquid for painting; use graphite powder and pencil directly on wax; create heated drawings on the HotBox; use graphite with stencils, transfer rubbings and drawings; make graphite oil sticks, encaustic sticks for monoprinting, and your own graphite transfer paper. Other techniques include the use of tools and brushes to create marks and atmosphere, fusing with lamps for special effects, making graphite paste, and hard-drying acrylic and graphite material. Also covered are scientific and conceptual applications of this popular artist’s material.
This seminar deals with the issues related to using photographic images in your work. If you sometimes want to generate an image or use an existing image that you’ve made, but are not sure of the hows and whys, this demo talk will answer those questions. A point-and-shoot digital camera, iPhone, and digital SLR can all be useful tools to integrate photographic images into encaustic work. Additionally, you can use a scanner as the camera to create elements or full compositions. We will look at why you might add photos or photo elements and the software choices available to make prints (on a wide range of substrates) or digital negatives. Adobe Lightroom, Photoshop and Photoshop Elements will be discussed. This session is not to teach you how to make image transfers, but how to create images that can then be used as image transfers or mounted to boards and waxed or dipped in wax and used.
The Art of Pricing Your Art
"Not getting enough on your ROI? That's okay; I had no idea what that meant until I started paying for frames…and I needed a Return On my Investment., says Jeff, who has a thriving practice as a studio painter who often undertakes large commissions throughout the Mid Atlantic region. "Once I established my own profit margin, I had the confidence and knowledge to approach the galleries with an understanding of business. What I had to offer was more than art, it was a mutual respect for business. I have over 20 years of hard knocks schooling that helped me grasp the basics of economics 101 and I’d like to share that with you. If you're making great art, now is the time for a better business."
What & How: Scrollworks
Back by popular demand: Working on the HotBox, Pat will demonstrate vertical scrolls, horizontal scrolls, fans, and hand scrolls. The initial step is a printmaking technique—a monotype—which is reworked through painting on the reverse side. Working with a monochromatic palette, she will place a heavy influence on black and white design. Composition points I will stress are positive and negative space, repetition of shape, and movement. Pat will discuss and show various papers, tools, and encaustic paints used in her unique approach to monotype.
Selling Material in a Digital World
In her thought-provoking multimedia talk, Laura will explore the impact social media is having on how people produce and consume culture. “The experience I am proposing is an interactive one with opportunity for conferees to participate in moderated conversation and Q&A,” says Laura. “The goal is to get a juicy conversation started about the role material-conscious encaustic work has to play in a culture increasingly consumed by digital communion.”
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 and metallic foils for accenting encaustic works. Embedding metal shavings, shards, and sheets onto encaustic painting will also be demonstrated.
Basics Introduction to Encaustic
This demonstration will introduce participants to the fundamentals of encaustic painting. Encaustic paint options will include commercially made paints, as well as encaustic medium made from scratch. Equipment and tools, painting supports and grounds will be addressed. Various fusing options will be be demonstrated along with discussion about when to use which. Various techniques to create texture and line will be demonstrated, as well several ways to introduce imagery to a work with transfers and rice papers. Basic studio safety and ventilation will be discussed.
Mix Masters Pigment Wizardry-Special Effects with Pigments and Encaustic
In this exciting demonstration, Gregory will show the varied uses of pigments, such as powdered, aqua-dispersion, and metallic. The reactions of these pigments mixed with various solvents, including water, alcohol, and shellac atop encaustic surfaces will be highlighted. Enhancing manufactured encaustic paints, creating your own encaustic paint and coloring encaustic gesso will also be shown, along with enhancing texture and relief. As always, Gregory will focus on the safe handling of these products, working with a torch, as well as studio safety, safe practices, and ventilation.
Click each presenter's name to access their website
Nancy Azara is an artist whose sculpture is carved, assembled and highly painted wood with gold and silver leaf and encaustic. The wood, the paint and the layers that make up the sculpture record a journey of memory, images and ideas. She has been a member of four cooperative galleries from the 1970’s on: Fourteen Sculptors, SOHO20 and A.I.R. Gallery; and was instrumental in the founding of the Ceres Gallery, all in NYC. Her book Spirit Taking Form: Making a Spiritual Practice of Making Art is available through Red Wheel/Weiser.
An award-winning artist originally from
PamelaBlum makes art work with encaustic paint. She has a diverse background in visual disciplines including drawing, painting, sculptural installation, performance art, architecture, physical planning and graphic design. She specializes in teaching and directing visual arts foundations programs, the first two years of study. She has exhibited her work throughout the
Elena De La Ville is an internationally exhibit artist working in photography, encaustic and mixed media. Her work has been exhibited at the Museo de Arte Contemporaneo, Biblioteca Nacional de Colombia, Danforth Museum of Art,
Jane Guthridge has owned a graphic design business for 25 years and won over 100 design awards. She graduated from
Howard Hersh is a third generation artist who has maintained a professional studio practice for almost 30 years. Howard works in a variety of mediums: drawing, printmaking, painting in encaustic, oil, and acrylic, and lately more sculptural creations with wood. With over 60 solo exhibitions and 250 group shows, his works are in collections worldwide. Other than 20 years in
Jeff Hirst is a San Francisco Bay Area-based artist who has been exhibiting his work since 1987 and has shown extensively across the
Sandi Miot is a founder of the Marin Museum of Contemporary Art (MarinMOCA), an artist-run museum space in
Deborah Winiarski teaches a mixed-media class and the encaustic workshops at The Art Students League of New York. Her work has been exhibited at Kouros Gallery and Denise Bibro Fine Art, both in