Keynote: Barbara O’Brien on the work of Petah CoyneAn internationally recognized curator will discuss the work of sculptor Petah Coyne as it relates to the encaustic tradition. The Kemper Museum of Contemporary Art in
Barbara's Post-Conference workshop is sold out
Friday Afternoon Extravaganza: Collagraph Mania!
Whether you spell it with an a or an o, collagraph printing is the new darling of encaustic. And with good reason. The techniques and effects are endless, and the equipment is easily available. In our Friday-afternoon extravaganza, three experienced printers share their approaches in technique and concept in one-hour sessions with a break in between each.
. . . . . Painterly Prints with Encaustic Collagraphs, Dorothy Cochran
This experienced printmaker will demonstrate a method of painting hot wax onto a plexiglass plate to reveal the subtleties of the brush and gesture. Manipulations of her plate include incising, additional layering, scraping and removal of unwanted wax areas before printing. The second stage of the demo includes inking and wiping the surface with Akua waterbase ink and printing the plate through an etching press on traditional printmaking paper.
. . . . . Encaustic Collagraph Monotype, Elise Wagner
Combining monotype with encaustic’s textural elements is a process that explodes beyond the boundaries of printmaking. Matrices of wax are built onto plexiglass, then we apply water based inks, wipe free the excess ink, and run it through an intaglio press to be printed on paper. These techniques can produce subtle and mysterious marks, allowing for variable prints or editions.
. . . . . Wax and the Collograph, Pamela Wallace
Collograph prints may provide exceptional texture and color as a collage element with encaustic, or an intricate layer of pattern beneath transparent encaustic color. The collograph plate can be pushed directly into layered warm wax, and the resulting impression inlaid with encaustic color or highlighted with pigment stick; repetition of this process builds the image and the surface.
You may find these demos of related interest: Creating the Image via Color Separations, Monoprinting and Relief with Kozo Fiber Stencils, Screen Printing onto Encaustic, Scrollworks; the talk, Bringing Light into Your Work
Workshops: Pamela and Elise will teach individual workshops in Collagraph P-rinting
Saturday Morning Panel: Raising the Bar: Encaustic in Our Practice
Lynn Basa, Mike Carroll, Miles Conrad, Laura Moriarty, Graceann Warn; Joanne Mattera, moderator
Raising the bar begins in our studio, where we think archivally as well as creatively about the work we make, work we expect will add to the discourse of contemporary art. It continues as we introduce the work to jurors, dealers, curators, critics and the public. It expands as we interact with the art world community—with artists who work in the medium of encaustic, and with artists in the larger sphere. Critical thinking, professional presentation, ethical standards, excellent teaching and being what artist Chuck Close calls “good art-world citizens” are all part of what helps to Raise the Bar—for us, for our encaustic community. The bar we set now will set the standard for many decades of artists to come. Six established artists who are also art dealers, curators, writers and teachers tackle the topic.
Workshops: Mike will offer a Portfolio Review; Laura, The Art of Securing Grant Funding
Sunday Afternoon Panel: Raising the Bar: Standards and Practices in Teaching of Encaustic
Sara Mast, Cherie Mittenthal, Toby Sisson
With a tenured professor of painting at Montana State University, Bozeman; the director of Truro Center for the Arts at Castle Hill; and associate professor of studio art at Clark University in Worcester, Mass., we have three seasoned art educators continuing a discussion that began in Conference 6. What kind of kind of instruction constitutes Beginner Encaustic? Intermediate? Advanced? A what point should esthetic concepts be introduced into a technical class? How does encaustic fits into the discourse of contemporary art? What education and experience should a teacher have? It is a discussion of interest to all artists who teach, as well as those who are taking courses with independent teachers. Sara Mast will report on discussions held at academic conferences during the past year, and we look forward to input from all of the teachers in the audience. Please note that two hour-long segments will be devoted to this panel.
If you are a teacher at any level or in any situation, come and be part of this discussion. Your input will help set the standards for the teaching of encaustic in this country and beyond. If you are a student at any level, come and learn how to be a smart consumer of educational resources.
Workshops: Sara will teach a collaborative with Lisa Pressman on Creating and Collaborating
The Altered Book, Supria Karmakar
Supria Curated last year’s conference-sponsored exhibition, The Wax Book: Altered, Repurposed, Remade, inspiring the Conference Curatorial Project this year. We invited her to present a slide talk of images from the exhibition and to add images of new work by the same artists—as well as a selection of works y additional artists—for a big look at how artists are integrating wax and the book form.
Demos of related interest: Cannibalism and the Art of Collage, Collagraph Mania!, Creating the Image via Color Separations, Wax Collage: Beyond Technique; the talk, Materials, Methods and Process
Authentic Visual Voices, Catherine Nash
What do artists make their art about? What contemporary issues do artists address in their work? Gaining expertise in technique is only a first step. Our goal is to create truly innovative, authentic art that resonates with such things as our core beliefs, our curiosity or our emotional self. With the emphasis on content rather than technique, this pertinent lecture will present international artists who push the boundaries of encaustic while addressing current trends in contemporary art.
Demos of related interest: Cannibalism and the Art of Collage. Wax Collage: Beyond Technique; the talks, Expanding Your Vision, Studio Visit with Howard Hersh, Wax as Metaphor
Workshops: Catherine will offer Your Authentic Visual Voice and Wax and Paper
Be Safe: Good, Better, Best Practices with Encaustic, Patricia DusmanWith a long career working in labs and hospitals, Patricia understands how to translate safe practices to art materials. “While encaustic shares many safety issues with other mediums, it also has its unique challenges,” says Patricia. She will present different options in varying degrees for such issues as ventilation, handling of materials, fire and burn prevention. The goal of the talk is to provide a great resource for artists who either want to confirm that they are working safely or for artists who may be already working safely but want to improve their individual situations.
Beginners: This is an essential talk for you, and should be part of a Friday package that includes Basics of Encaustic and Fusing with Torches, Irons and Heat Guns. However, artists at every level will find this talk helpful
Bringing Light into Your Work, Jane Guthridge
Reprising her talk from Conference 6, Jane will discuss the work of artists who use light as an integral part of their work via translucency or transparency. You will see work by a number of contemporary artists, including Jane’s own work. “What their work is about? How do they use light and why? Encaustic is a medium that works well to illuminate your work,” she says.
Demos of related interest: Collagraph Mania!, Creating the Image via Color Separations, Monoprinting and Relief with Kozo Fiber and Stencils, and Scrollworks
Cannibalism and the Art of Collage, Tracey Adams
A nationally exhibited artist, Tracey will talk about her work and process in her encausti-cbased collages. All the fragments used in her collages are derived from encaustic monotypes and small pieces of her intaglio prints coated with wax. During the talk, she will describe why and how she chooses certain fragments for collage, this being what defines her process. And the cannibalizing? Says Tracey, “I ‘cannibalize’ most of my large scroll installations (encaustic monotypes), after they are in de-installed from various museum installations.”
Demos of related interest: Collagraph Mania!, Monoprinting and Relief with Kozo Fiber Stencils, The Perfect Pour, Scrollworks; talks: Bringing Light into Your Work; Materials, Methods and Process; Studio Visit with Howard Hersh, Wax Collage: Beyond Technique
Digital Footprint: Marketing via Social Media, Catherine WeberArtists must understand and use a wide variety of digital tools to promote their work, exhibitions and workshops. While the opportunities to reach a wide audience are unlimited, they can be overwhelming, especially when you would rather be making art. This talk provides an overview and checklist of online marketing considerations, focusing on social tools such as websites, blogs, Facebook, and photo-sharing sites. The talk will integrate examples of artists who are successfully using these tools to build awareness and develop relationships their many audiences including their artist network, galleries and collectors.
Talks of related interest: Photographing Your Work , Preparing Your Images with Photoshop
Edges & Corners: The Devil in the Details, Milisa Galazzi
Does the edge enhance or detract from the overall painting? Does it make the painting more, rather than less, archival? Is it thoughtful and considered given the nature of the painting? In this slide talk Milisa will show and examples of paintings that exemplify a variety of edge treatments.
Beginners: This is a recommended talk for you, and should be part of the package that includes the demos Basics of Encaustic and Fusing with Torches, Irons and Heat Guns; the talk, Be Safe. However, artists at every level will find this talk an enhancement to your technical repertoire
Ephemeral Figures in Wax, Susanne ArnoldThis talk was the sleeper of Conference 6. The folks who attended were bowled over, Joanne included. We’re bringing Susanne back so that more of you can see and hear this wonderful presentation. As an organic medium, beeswax has the unique ability to simulate the look, touch and feel of human flesh. From earliest times artists took advantage of these qualities to create lifelike wax reproductions of the human head and body as objects for portraiture, science, religion, entertainment and art. By the mid 20th century, artists began to seek out forgotten images and reconsider wax as a medium for human figuration. Wax’s very mutability, ephemerality and ambiguity now matched contemporary artists’ vision of the human condition. This review of wax sculpture’s story and images, from the Infant of Prague to Mme. Tussaud to Urs Fischer, is fascinating, funny, scary and inspiring.
Demos of related interest: Building the Encaustic Sculpture; Fusing With Torches, Irons and Heat Guns; Moldmaking and Casting; and the talk, Wax as Metaphor
Expanding Your Vision, Deborah KapoorSo you’ve mastered technique. If you’ve been asking yourself, “What is the next step for my art?” this is the talk for you. See how other artists have continued to evolve and grow. Deborah intends this presentation to help you identify ways to take your work to the next level.
Talks of related interest: Authentic Visual Voices, Studio Visit with Howard Hersh, Wax Collage: Beyond Technique, Wax as Metaphor
Materials, Methods and Process,This lecture presents contemporary artists whose work utilizes alternative materials as well as process—defined as a specific, continuous action—and the repetition of that process to generate structure, form and content. The work of sculptors, painters, craftmakers and fiber artists 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.
Demos of related interest: Building the Encaustic Sculpture, Cannibalism and Collage, Collagraph Mania!, Creating Texture and Dimension with Textiles, Texture and Pattern; the talks, Authentic Visual Voices, Edges and Corners: The Devil in the Details, Expanding Your Vision, Wax Collage: Beyond Technique
Photographing Your Work, Patti RussottiThis presentation will survey the different options and methods for photographing your work as well as a brief demo illustrating the results of a do-it-yourself photo studio. When should you photograph work yourself and when should you hire a professional? How do images differ when photographed with a smart phone, a point-and-shoot, and an SLR? What kinds of lights will give you a professional quality? What do you need to know about formats and software? How much photo geekiness do you need to get professional results? Join Patti, associate professor in the
Talks of related interest: Preparing Your mages with Photoshop, Digital Footprint: Marketing Via Social Media
Preparing Your Images with Photoshop, Elena De la VilleThe images of your work are used on the internet, web page, blog, facebook, submissions to galleries and Zapp applications. They are also used on their own for prints, photo transfers and as part of photo-based work. Each one of these requires their own settings for their best reproduction and distribution. Elena will use Adobe Photoshop to cover sizing, color management, saving as jpgs and tifs, and working with outside printers.
Talks of related interest: Photographing Your Work, Digital Footprint: Marketing Via Social Media
Workshop: Elena will offer Photography and Encaustic
Studio Visit with Howard Hersh, Howard HershWhile Howard can’t bring his actual
Talks of related interest: Authentic Visual Voices, Expanding Your Vision, Visiting the Encaustic Studio, Wax as Metaphor
Visiting the Encaustic Studio, Part 2, Lisa Pressman
Back by popular demand, and with some revisions from Conference 6, this talk features a visit to abut a dozen artists who use encaustic in their practice. “I will be focusing on the actual studio, each individual’s work and its relationship to encaustic along with techniques of interest,” says Lisa. The talk will address the etiquette of the studio visit from the visitor’s point of view and the artist’s point of view.
Talks of related interest: Authentic Visual Voicesm Expanding Your Vision, Studio Visit with Howard Hersh
Workshop: Lisa will offer a collaborative with Sara Mast on Creating and Collaborating
Wax Collage: Beyond Technique, Marybeth RothmanRepeating her SRO talk from last year, Marybeth will discuss and analyze the message, rather than the medium of Wax Collage. This presentation will of the work of contemporary artists who create a singular expression that transcends materials, both encaustic and collage. “This is not a ‘How To’ revealing the secret techniques of a sub-group of ‘encaustic artists,’ but an examination of the expression of wax collage,” says Marybeth. Expect to see work by Henri Matisse, Georges Braque, Hannah Hoch, Kurt Schwitters, Nancy Spero and Jasper Johns, among others.
You may find demos of related interest: Cannibalism and the Art of Collage, Creating The Image via Color Separation, Screen Printing on Encaustic; and the talks, The Altered Book, Expanding Your Vision, Wax as Metaphor
Wax as Metaphor, Richard Frumess
For some artists the seductive visual properties of wax are an end in themselves. Yet, in the overuse of those effects, beauty can trump substance. Wax is extraordinarily multifaceted. Its ancient history of utilitarian uses, its role in the fertility of bees and the production of our food, and its optical and mutable properties make wax not only a material of paint but a tool for metaphorical statement.
Talks of related interest: Bringing Light into Your Work, Ephemeral Figures in Wax, Wax Collage: Beyond Technique
Basics of Encaustic, Binnie Birstein
What is medium? What is fusing? What’s a substrate? If you are new to encaustic, we urge you to attend this demo so that you will become familiar with the essential terms and processes that will be referenced throughout the Conference. Birstein will introduce you to painting with a medium that begins to harden the moment it leaves its heat source. You will learn about wax and medium, painting and fusing, substrate options, working the surface to achieve various textures, archival issues, and safe studio practices. If you are new to encaustic, this is a demo you must attend, because all other Conference presentations assume you will have a basic understanding of materials and techniques
Beginners: This is an essential talk for you and should be part of a Friday package that includes Be Safe: Good, Better, Best Practices with Encaustic; Edges and Corners: The Devil in the Details and Fusing with Torches, Irons and Heat Guns
Workshop: Binnie will offer Beginning Encaustic
Batik Tools and Encaustic Painting, Cat Crotchett
Batik is the art of creating wax-resist patterns on fabric to be dyed While it may not appear to have much in common with encaustic besides the wax, Cat—who has been involved in an Indonesian exchange of information on traditional batik tools and how they could be used with encaustic processes—will show how to use batik caps and canting tools (traditional Indonesian batik tools for stamping and pouring wax) with encaustic painting incorporating collage, mixed media, sgraffito, direct painting and oil media.
Demos of related interest: Creating Texture and Dimension with Textiles, Monoprinting and Relief with Kozo Fiber Stencils; talk: Materials, Methods and Process
This demonstration will give artists at all levels the skills to construct simple storage and shipping containers for their encaustic work. David will begin by showing how to construct a basic cardboard box and then adapt the design by adding foam padding and silicone release paper or glassine to protect and cushion the work. He’ll modify the design to function as a reusable shipping container. He will also demonstrate several simple solutions to protect work when it is stored in the studio or in a gallery rack. You’ll leave this demonstration with the basic skills to construct your own customized boxes, storage protection solutions and shipping containers.
Workshop: David will offer Encaustic P-rintmaking
Building the Encaustic Sculpture, Pamela BlumIn this popular demonstration, Pamela will show her method 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 in 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.
Demos of related interest: Creating Texture and Dimension with Textiles, Moldmaking and Casting; talks: The Ephemeral Figure in Wax, Studio Visit with Howard Hersh, Wax as Metaphor
Cannibalism and the Art of Collage, Tracey AdamsA nationally exhibited artist, Tracey will talk about her work and process in her encausti-cbased collages. All the fragments used in her collages are derived from encaustic monotypes and small pieces of her intaglio prints coated with wax. During the talk, she will describe why and how she chooses certain fragments for collage, this being what defines her process. And the cannibalizing? Says Tracey, “I ‘cannibalize’ most of my large scroll installations (encaustic monotypes), after they are in de-installed from various museum installations.”
Demos of related interest: Collagraph Mania!, Creating the Image via Color Separations, Monoprinting and Relief with Kozo Fiber Stencils, The Perfect Pour, Scrollworks; talks: Bringing Light into Your Work; Materials, Methods and Process; Studio Visit with Howard Hersh, Wax Collage: Beyond Technique
Creating the Image via Color Separations, Wayne Montecalvo
Demos of related interest: Cannibalism and the Art of Collage, Collagraph Mania!, Screen Printing on Encaustic; talks: The Altered Book; Materials, Methods and Process; Photoshopping Your Work; Wax Collage: Beyond Technique
Creating Texture and Dimension w/ Textiles, Susan Lasch KrevittWorking with a variety of textiles Susan will demonstrate ways that texture and dimension can be created for 2D and 3D forms. After applying wax onto/into fabric on the hot palette, I’ll demo how to remove and store it for later manipulation. Slicing, piercing, folding, wrapping and draping will be shown . Susan will how stitching can influence shaping. Additionally she will demo the use of linear textile elements as the base for accretion, as armature under textiles. These techniques can be used by artists at all levels looking to add texture and dimension to their work.
Demos of related interest: Batik Tools and Encaustic Painting, Monoprinting and Relief with Kozo Fiber Stencils; the talk, Materials, Methods and Process
Encaustic en Plein Air, Kimberly Kent
If you think encaustic equipment has you tethered to the studio, Kimberly
Workshop: Kimberly will offer Encaustic en Plein Air
Fusing w/ Torches, Irons and Heat Guns, Lynette HaggardIf you’ve been stuck on one type of fusing method, it may be time to consider the options. Long a master of the open flame, Lynette has expanded her teaching repertoire so that you can expand your practice. Learn basic techniques and understand the safety requirements of each fusing method. Come and compare. If you are new to encaustic, this is a demo you should attend, but even longtime practitioners can benefit from learning a new methods.
Beginners: This is an essential demo for you and should be part of a Friday package that includes Beginning Encaustic and Be Safe: Good, Better, Best Practices with Encaustic, as well as Edges and Corners: The Devil in the Detail
Workshop: Lynette will offer Fusing w/ Torches, Irons and Heat Guns
Giving Form to Paper, Sarah RehmerThe focus of this demo would be utilizing various papers not as just flat collage elements, but as three-dimensional elements on the picture plane. After discussing substrates, papers, and various coloring elements, Sarah will show you how she saturates the paper and gives it form while the wax is warm. Then using a variety of heated tools, she will fuse, and further shape the composition.
Demos of related interest: Cannibalism and Collage, Collagraph Mania!, Creating the Image via Color Separations, Creating Texture and Dimension with Textiles; talk: Materials, Methods and Process
Moldmaking and Casting, Kelly McGrathThis demonstration is intended to show you different approaches to using wax as a casting material. You’ll see different types of mold--clay waste molds, alginate lifecasting, multiple-part plaster molds; single and multiple part silicone molds. Kelly will cast wax into each of these molds as part of the demonstration. She will also show you how to incorporate and embed objects into castings, and demonstrate finishing techniques.
Demos of related interest: Building the Encaustic Sculpture; Cannibalizing Collage; The Perfect Pour
Workshop: Kelly will offer Cast, Build, Sculpt in Wax
Monoprinting and Relief with Kozo Fiber Stencils, Paula Roland/Jennie FrederickTwo artists join forces to transform strands of kozo (mulberry) fiber into stencils to be used in encaustic monoprinting, and later, incorporated as an element in the final piece. Jennie manipulates long strands of kozo it to conform to her expressive preliminary drawings; when dry, the kozo becomes a rigid open-shaped stencil. Paula shows how to use the personally designed stencil in monoprinting to create positive and negative shapes and pattern. When complete, the fiber constructions may be used as relief elements with the prints. Roland and Frederick will take you step by step through preparation of the kozo creating the stencil, monoprinting, and assembly.
Demos of related interest: Collagraph Mania!, Creating the Image via Color Separation, Screen Printing onto Encaustic, Scrollworks; the talk, Bringing Light into Your Work
The Perfect Pour, Sherrie PosternakOne 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.
Demos of related interest: Creating the Image via Color Separations, Cannibalism and Collage; talks: Edges and Corners: Devil in the Details; Materials, Methods, Process; Wax: Collage Beyond Technique
Workshop: Sherrie will offer The Perfect Pour and Transferring and Embedding Images
Pigment Wizardry, Gregory WrightIn this followup to Patterned Effects, which he presented at two previous Conferences, Greg will show the varied uses of pigments (powdered, aqua-dispersion, and metallic) and will demonstrate such techniques as coloring encaustic gesso, mixing pigments with various solvents (including water, alcohol, and shellac), enhancing manufactured encaustic paints, creating your own encaustic paint, and enhancing texture and relief with powdered pigments. As always, Greg will focus on the safe handling of these products, working with a torch, and studio safety.
Demos of related interest: Batik Tools and Encaustic Painting; Cannibalizing Collage, The Perfect Pour, Texture and Pattern
Workshop: Greg will offer Pigment Wizardry
Aficionados of monotypes and Asian Art will want to sign up for this one. Working on the HotBox, Patricia 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, employing design skills. You’ll also learn about various papers, tools, and encaustic paints.
Demos of related interest: Creating the Image via Color Separations, Monoprinting and Relief with Kozo Fiber Stencils, Screenprinting onto Encaustic; talks: Expanding your Vision; Materials, Methods and Process
Texture and Pattern, Lynda RayLynda is the master of pattern and surface. You’ll see how to create engaging surfaces with encaustic paint using a thick stencil, a heated palette knife or a slightly cool loaded brush. Learn to exploit the character of color: warm/cool, transparent/opaque, light/dark, with the quality of the medium to generate dynamic work.
Demos of related interest: Batik Tools and Encaustic Painting, Collagraph Mania!, Edges and Corners: The Devil in the Details; The Perfect Pour, Pigment Wizardry; talk: Materials, Methods and Process
Workshop: Lynda will offer Texture and Pattern