Thursday

While you're waiting for a Conference update, check out the newest edition of

Save the date: Conference 9
June 5-7, 2015, in Provincetown 
with Pre-and Post-Conference Workshops at Castle Hill 


Joanne and Cherie, at Castle Hill viewing "Subliminal," the Conference show juried by Dan Addington 
(Photo by Christine Hochenkeppel for the Cape Cod Times; photo essay here


"I was impressed by the quality of the Conference and the presentations I attended, and I think it's wonderful that this excellent, long- running event has obviously had a real, tangible, positive effect in people's lives. When I think of all the friendships I heard about that have been made through the conference to say nothing of professional connections, I am amazed. And the testimony is it's getting better every year. It's an outstanding accomplishment that must be very gratifying, and I congratulate you.” 
--Dan Addington, artist, Conference presenter, and owner of Addington Gallery, Chicago  


“I feel like I’m part of a wonderful community now and for that I am extremely grateful.”
--Jennie Frederick, papermaker, Conference presenter, and professor, Maple Woods College, Kansas City, Missouri


DATELINE PROVINCETOWN: Conference 8 is now a sweet memory replete with gallery openings, demos, talks, panels, a Hotel Fair, food--lots of food, including the requisite lobstah which every non-New Englander consumed in great quantities--and eight days of workshops. I'll have a full report for you soon, so in the meantime, allow me to leave you with a few images and links:

Some early coverage about the Conference in Provincetown Magazine
Above: The work of Tremain Smith on the cover



. From the Saturday Morning Panel, The Roots of Contemporary Encaustic, there's a Conference blog post with info and links to allow you to continue your independent research on the artists presented. Our thesis was to discuss the work of artists of achievement who have been working in the medium for two decades or more, who have served as inspiration or role models. Presenters were Dan Addington, Heather Hutchison, Tremain Smith, Joan Stuart Ross and myself

. From the Sunday afternoon panel, Raising the Bar: Standards and Practices in Teaching Encaustic, there's a Facebook group called Artists TEACH Artists which has been formed to continue the discussion. A blog post, The Art of Teaching Art, prepared conferees for the discussion and also includes notes from previous years' sessions. Panelists were Milisa Galazzi, Sara Mast, Cherie Mittenthal and Toby Sisson

If you have blogged about the Conference or any of its events or workshops, please post the URL in the Comments section below. I'll live link them here.

See you next year! --J.M.

Saturday

Lots of Updates!
Click the Updates tab just under the header. We're adding new info and links all the time

What's that schematic in the corner? Click here 




Conference 8: June 6, 7, 8, 2014


Pre-Conference Workshops: June 3-5
Post-Conference Workshops: June 9-13

"It’s a great gathering where the experienced masters are so accessible."
--Jill Skupin Burkholder, New York, who will be attending the Conference for the third time

Thursday

Registration Is Underway

Registration is continuing apace. We expect to have 200+ conferees this year. You'll register via the Castle Hill website with a credit card. It's a fast and easy process. 

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.

Tuesday

“Not only have I learned and experienced so much, but most importantly to me, I have met the most awesome people who I can now call my friends . . .The Conference has made my life so much richer.”
 – Molly Geissman , New Mexico, who will be attending the Conference for the eighth time

Friday

Keynote Speaker: Kenise Barnes

"Materials are imbued with not only physical qualities such as viscosity, density, malleability and rarity but also with emotional attributes. An object's utility can steep it with memory or implied character. A viewer's own knowledge of a medium cannot be denied and informs the work of art. An artist has to be aware on many levels of what the "stuff" is to imagine what it can become. Artists have two fundamental choices: either they work to transcend the material or they surrender to the material and learn to think at its level."
 
-- Kenise Barnes, from the exhibition Materiality: Contemporary Artists and Their Material World
 
 
 
In her keynote talk, Kenise will address that aspect of art which we love but which we grapple with: the stuff it is made of. While we don't wish to be defined by our medium of wax, we nevertheless have chosen it because it allows us to express ourselves in the best possible way. Kenise, who represents artists working in a range of mediums and who has curated exhibitions in which material and method have a strong presence--whether in fiber, metal, wood or wax--will talk about materiality from a gallerist's perspective.
 
Kenise is the director and owner of Kenise Barnes Fine Art in Larchmont, New York.  Established in 1994, the gallery has grown steadily over the last two decades, currently occupying 2300 square feet of street-level space.  Kenise and her staff organize ten exhibitions a year and host artist’s talks and special educational events. Kenise has curated exhibitions at The Nicolaysen Museum, Caspar, Wyoming; OSilas Gallery, Concordia College, Bronxville, New York; The Schweinfurth Memorial Art Center, Auburn, New York; Rockland Center for the Arts, West Nyack, New York; and others.  She has juried exhibitions for The Ridgefield Artists Guild, Ridgefield, Connecticut; Made In New York, Auburn, New York; The Woodstock Art Museum, Woodstock, New York;  Art=Quilt=Art, Auburn, NY, to name a few. In additional to the gallery program and curatorial work, Kenise is an art consultant and works with private collectors and corporations such as New York University/Langone Medical Center, Bank of America and Alliance Bernstein, to build their collections. With more that 20 years experience in the arts; Kenise is a frequent guest curator, speaker and advisor.  Kenise  has degrees in Painting and in Woman’s Studies.  She gained early experience as the Specialist in Charge of Contemporary Art at Christie’s East in Manhattan.
 
Kenise will lead a limited-enrollment Post-Conference workshop, What, Why and How: A Critique and Professional Practices Workshop on Monday, June 9.
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Kenise and her gallery in a recent issue of Luxe Interiors and Design  

Wednesday

Conference Event Schedule

Three days of Conference schedule are listed below. We've got a fabulous keynote, 3 panels, 33 demos or talks, a Hotel Fair, Book Signing, Postcard Show, Conference Wrapup, and a fabulous Vendor Room. A new feature this year is Mix Masters, at least one event each hour in which our presenters approach encaustic with a variety of materials--fiber, graphite, textile tools, metals and more. There are plenty of demos on printmaking (including solar plate!), talks to engender conceptual thinking, and numerous presentations on professional practices. .

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.



 
 

  

Monday

Event Descriptions

You may have noticed our new description in the header. As it has done in each year of its existence, The Conference grows to embrace the larger art world with a range of related disciplines, the expansion of professional practices, and a conceptual engagement with the medium. We know you'll love what we have planned for you this year. Below, three panels are listed first, with all other events posted in the alphabetical order of their presenters' names.

Panels
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Saturday Morning Panel: The Roots of Contemporary Encaustic
Dan Addington, Heather Hutchison, Joan Stuart Ross, Tremain Smith; Joanne Mattera, moderator
In sequential PowerPoint presentations, these 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.

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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.

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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.
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Hourlong Events

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Susanne Arnold and Richard Frumess
The Mortal and Memorable: Image and Figure in Wax
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.
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Binnie Birstein
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.
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Pamela Blum
Building
the Encaustic Sculpture

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.
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Dorothy Cochran
Experiments in Platemaking with Hot Wax
The fluid nature of this collagraph method to create printmaking plates is appealing for its low toxicity, the use of simple materials and the diversity of its visual outcome.  In the spirit of experimentation a plexiglass substrate will be treated with gestural brush work, stamping of found objects, embedding textures in the wax surface, linear drawing with a hot tool, free-flow pouring, and tape/stencil manipulation for precise geometry and image definition.  These surfaces can be incised, heated or removed as the image is developed. Printed intaglio or relief, the plates can be layered with each other, combined with monotypes, solarplates, or dry points. Many samples of plates and prints will be displayed in addition to the demonstration.
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Miles Conrad
Moving the Work Forward: Presenting to a Gallery
This interactive session is designed to remove barriers, identify next-steps, and empower artists to reach their full potential. Learn the secrets of presenting your work to a gallery, developing stronger marketing materials, and writing a more effective artist statement. 
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Cat Crotchett
Mix Masters Batik Tools and Encaustic Painting
Back by popular demand: This demonstration focuses on the use of traditional Indonesian batik tools with encaustics. In batik work the wax is a means to an end; it dissolves during the dyeing process. This demonstration 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.
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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.
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Hylla Evans
Color Theory in the 21st Century
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.
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Jenny Frederick
Monoprinting and Relief with Kozo Fiber Stencils
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.  Jennie takes long strands of kozo fiber and manipulates it to conform to her expressive preliminary drawings. When dry, the kozo becomes a rigid open-shaped stencil.  Using kozo as a resist during monoprinting will also be covered. Jennie will take you step by step through preparation of the kozo, creating the stencil, monoprinting, and assembly.
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Lorraine Glessner
Mix Masters 
Materials, Methods and Process
In her expansion of the talk she gave at Conference 7, Lorraine will present and discuss the work of contemporary artists who use alternative materials and construction techniques, as well as a range of processes to generate structure, form and content. The materials these artists use is as wide as it is varied, including found, household and recycled materials, Tyvek, hair, rubber, adhesives, fire and encaustic. Process may be the repetition of a single action, restriction by a set of rules, or restriction to the use of one material and one process, to name a few. The artists whose work Lorraine will show are inspirational, as they not only exploit the inherent properties of their materials, but at the same time transform the materials from their original use.
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Jane Guthridge
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.
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Lynette Haggard
Basics Fusing with Irons, Torches and Heat Guns
In this demo, open to anyone who wishes to be introduced to fusing or learn more about a particular fusing method, Lynette will discuss and demonstrate fusing with all the tools, noting their advantages and disadvantages. If you’ve feared the torch, or don’t have a clue about using an iron or heat gun, come and see your options.  Demonstration will include using the iron to achieve a smooth surface as well as a hot gouging tool; learning the range and shape of various flames used in torch “heat brushes”; and temperature and option considerations when working with a heat gun.
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Howard Hersh
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.
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Jeff Hirst
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.
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Deborah Kapoor
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.
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Susan Lasch Krevitt
Mix Masters Creating Texture and Dimension with textiles
Wool, cotton and silk textiles are a great resource for creating texture and dimension. This demo, updated from Conference 7,  will show ways to slide, piece, fold, wrap and drape textiles to create both 2D and 3D forms that can be used as structural or surface elements. Creating linear elements, using stitching to influence shaping, and working modularly will be included in this demo and on the Demo Boards that will be passed around. The benefits or working with new and upcycled textiles will be discussed, these techniques can be used by beginners or anyone looking to ass texture and dimension to their work.
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Sharon Louden
Living and Sustaining A Creative Life
Conversation and discussion with Artist/Editor Sharon Louden about Living and Sustaining a Creative Life, her recently published book of essays by artists about juggling creativity with the daily grind of life. In this day and age, when art has become a commodity and art school graduates are convinced that they can only make a living from their work by attaining gallery representation, it is more important than ever to show the reality of how a professional, contemporary artist sustains a creative practice over time. The 40 essays collected in Living and Sustaining a Creative Life are written in the artists' own voices, taking the form of narratives, statements, and interviews. Each story is unique, but the common thread is an ongoing commitment to creativity, inside and outside the studio. Both day-to-day and big-picture details are revealed, showing examples of how it is possible to sustain a creative practice that contributes to the ongoing dialogue in contemporary art. These stories inform and inspire artist at all levels an stages of their career, helping to redefine what "success" means to a professional artist. We expect to bring in one of the contributors to the essay, which we’ll announce here. Note: Living and Sustaining a Creative Life will be featured in the Saturday afternoon Book Signing session.
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Lisa Mackie
Solarplate Printing
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.

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Kelly McGrath
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)
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Wayne Montecalvo
Mix Masters Photographic Color Separation for Collage
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,  Wayne will use printed images, explaining his method and performing a basic assembly while addressing tools and materials used in the technique. This technique would be of interest to those working with photographic and printed materials as well as those working with collage. The color separation technique is best understood by those who have a basic understanding of Photoshop.
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Laura Moriarty
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.
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Nancy Natale
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.
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Carol Pelletier
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.

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Sherrie Posternak
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.

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Lisa Pressman
Mix Masters Mark-making and Encaustic with Mixed Media
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. "
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Paula Roland
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.
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Patti Russotti
Imaging For Artists                 
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.
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Jeff Schaller
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."
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Pat Spainhour
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.
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Laura Tyler
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.”

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Charyl Weissbach
Mix Masters Mainly Metals
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.
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Deborah Winiarski
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.

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Gregory Wright 
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.

Saturday

Presenter Bios

Our ad hoc faculty and invited guest presenters are some of the most talented artists, teachers and entrepreneurs working in encaustic, and in the larger art world, today. As you would want from any instructor, most are degree holders with extensive teaching or lecturing experience, many at the university level. As a group they are gallery represented, critically reviewed, and museum exhibited. They are grant awardees. They are published authors and/or their work is included in other published volumes. Each is a master practitioner within the disciplines of painting, sculpture or printmaking, and within such medium-specific practices as book arts, collage, fiber, papermaking, photography and/or mixed media.

Presenters
Click each presenter's name to access their website
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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 US, and is in numerous public and private collections. 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. The accumulation and layering of these materials echoes his interest in history and the relationships between the stratification of cultures and the layering of memory. In these constructed, overtly physical pieces, Addington seeks to engage the viewer through their own process of physical and spiritual excavation. 
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Virginia painter and sculptor, Susanne K. Arnold exhibits her work regionally and nationally. She holds an MA and an MFA from Virginia Commonwealth University. Awards include national artist grants from the Ludwig Vogelstein and the Adolph and Esther Gottlieb Foundations. Susanne presents workshops throughout Virginia as an Artist-in-Education for the Virginia Commission for the Arts and teaches at the Visual Arts Center of Richmond.  A retrospective of her work was held in 2013 at the McLean Project for the Arts in McLean, Virginia. Her talk, Ephemeral Figures in Wax, presented at the 6th and the 7th International Encaustic Conferences, revealed the lost history and significance of wax sculpture in Western art.
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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.  
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An award-winning artist originally from New York City, Binnie Birstein teaches and maintains a studio in Norwalk, Connecticut. Her expertise with the medium is evident in her large, multilayered encaustic paintings whose mysterious and dissonant imagery is all about energy and spatial ambiguity—reality distorted, space imagined or concealed. She has shown throughout the country, extensively in the Northeast, including at the Everson Museum of Art, Chautauqua Institute, Memorial Art Gallery, The Gallery at R & F, and the Cape Cod Museum of Art. Her work is featured in the exhibition catalog for  Swept Away: Translucence, Transparence, Transcendence In Contemporary Encaustic and the exhibition in a book, Encaustic Works 2012, published by R&F. She is an instructor at Creative Arts Workshop and at Center for Contemporary Printmaking. She has participated in all of the Encaustic Conferences, presenting and teaching since Conference 3.
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Darla Bjork is a painter who works with encaustic and oil stick on wood panels to develop an expressionistic layering and uncovering of an abstract internal landscape. She was a founding member of Ceres Gallery in 1984. She has been a member of SOHO20 Chelsea Gallery since 1995 and has been the Treasurer and now is the President of the Board of Directors. Her most recent exhibition there was in October 2013.
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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 United States and in France. Active in national organizations, she has been the Editor of F.A.T.E. in Review, the Journal of Foundations in Art Theory and Education, and a member of the Mid-America Art Association Board of Directors. Pamela has a BA degree in studio art and art history from the University of Pennsylvania and a MFA in sculptural installation from the Massachusetts College of Art.
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Cheryl Clinton (aka Cherie) makes paintings that capture the moods, colors, and patterns of the landscape. She first became passionate about art growing up in Framingham, Massachusetts.  She earned her BFA in Painting from the Massachusetts College of Art in 1993, and went on to complete her MFA in Visual Design from the University of Massachusetts Dartmouth in 1998. Cherie is an active as a promoter of the arts in the Metrowest Boston area, in particular as the creator of the successful Fountain Street Open Studios in Framingham, now in its sixteenth year. In 2010 Cherie partnered with photographer, Marie Craig to establish Fountain Street Fine Art, a membership gallery located in the Bancroft Building in Framingham.
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Dorothy Cochran is an East Coast printmaker acknowledged for her expertise and broad command of multiple print methods. A two-time recipient of a NJ State Council on the Arts fellowship, she has taught at Columbia University, City University of New York, Manhattan Graphics Center and is currently a faculty member at The Montclair Art Museum.  Her work is represented in both private and public art collections throughout the United States including The New York Public Library, Prudential Life Insurance Company and the Zimmerli Museum of Rutgers University to name a few. 
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Miles Conrad is the founding director of Conrad Wilde Gallery in Tucson. Also an artist, Miles works from a studio granted by the Artist-In-Residence program at Process Museum in Tucson. He received the Award of Excellence from the Tucson Museum of Art for his work in the Arizona Biennial 2011. He is full-time faculty and curator of campus gallery programs at Southwest University of Visual Arts. 
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Cat Crotchett is a professor in the Frostic School of Art at Western Michigan University in Kalamazoo. Her studio work focuses on layers of patterned information , painted in vibrant colors and textured surfaces. She has an extensive exhibition record including international and national solo exhibits and invitational and juried shows. As a result of conducting recent encaustic workshops in Indonesia, Cat is currently producing a body of work that incorporates Indonesian batik tools and motifs her painting.
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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, Boston Center for the Arts, and the Cape Cod Museum of Art. She is instructor at Ringling College of Art and Art Center Sarasota.
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Hylla Evans is the founder of and paint maker for Evans Encaustics, located in Sonoma, California. Much sought after as a painting instructor, she also she shares her expertise in the form of master classes in color theory and U.S. Copyright Law for artists.  In 2013 Hylla published Color Theory Workshop, which explains color mixing in an entirely new way. Hylla’s 25 year professional art career follows a career in advertising, music production, and broadcast television, with CLIO and other major awards.  She has served as Education Director for the Sonoma Valley Museum of Art, Sonoma Plein Air, and has chaired major art events in Westport, Connecticut, and  Sonoma.
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Jennie Frederick earned her BFA from the Kansas City Art Institute (Fiber), followed by her MFA from Indiana State University. She apprenticed at Twinrocker Handmade Paper and founded Kansas City Paperworks, Inc. in 1983. Jennie has taught at the Kansas City Art Institute, MCC-Maple Woods, and private workshops. Publications include Hand Papermaking Magazine: Drawing with Kozo (Summer 2000) and Lacandon Maya Bark Cloth: Hu’un (Winter 2004). Jennie  has received many grants, including from the National Endowment for the Humanities, Missouri Arts Council, Department of Education Title IV-A, and KC Arts Regional Arts Council. She has exhibited internationally. 
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Richard Frumess is the founder of R&F Handmade Paints. He has written and lectured extensively about the history and technical properties of encaustic. His catalog essays have appeared in Waxing Poetic: Encaustic Art in America (Montclair Art Museum), and Encaustic Works 2005 (Samuel Dorsky Museum of Art). He has also written a monograph on the life and work of Rifka Angel, one of the first American artists painting in encaustic. His talk on Wax as Metaphor, presented at the 7th International Encaustic Conference discussed the conceptual uses of wax in both historical and contemporary art.
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Milisa Galazzi is best known for her large scale installations, works on paper, or conceptual paintings and she is represented by Ernden  Fine Art Gallery in Provincetown. Her work often highlights human relationships as she is intrigued with the ways in which people interrelate—especially when there exists physical distance or separation by time. Milisa holds an MA with Honors from the Rhode Island School of Design, where she extensively researched the evaluation and assessment of the educational effectiveness of community-based art education settings, and her research is published by Harvard University Graduate School of Education, Project Zero Press, 1999. In addition, Milisa holds a BA in Studio Art with minors in Women’s Studies and Cultural Anthropology from Brown University all of which directly informs the content of her art making. She works full time in her studio in Providence, Rhode Island, and on Cape Cod in the summer months.
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Lorraine Glessner holds an MFA in Fibers from Tyler School of Art, where she is currently an Assistant Professor in the Fibers and Material Studies Department. Lorraine also holds a BS in Textile Design from Philadelphia University and an Associate’s Degree in Computer Graphics from Moore College of Art & Design. Recent awards include two Pennsylvania Council on the Arts: Artist Fellowship Grant in Crafts and the Yvonne Kelly Memorial Award for Mixed Media from Abington Art Center. Lorraine lectures, teaches, exhibits her work nationally and maintains a studio in Philadelphia
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Jane Guthridge has owned a graphic design business for 25 years and won over 100 design awards. She graduated from Kent State University with a degree in Fine and Professional Arts majoring in graphic design, continuing her studies in Switzerland with Armin Hoffman and Paul Rand, both groundbreaking forces in modern graphic design. Her art is represented in galleries across the country and has been shown in solo, group and museum exhibitions. Her work is included in numerous corporate collections, including the U.S. Department of States Collection of American Artists..
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Lynette Haggard earned a BFA from Philadelphia College of Art. Since 1999, her work has been included in over 70 exhibitions nationally. Exhibition venues include galleries throughout the United States as well as these New England museums: Attleboro Museum, Danforth Museum, Saco Museum, and the Art Complex Museum. Her work can be found in collections of the New Britain Museum of American Art, Massachusetts General Hospital, Pearson Education, Alternatives, Inc. and private collections in the USA and abroad. Lynette has been a regular presenter at the International Encaustic Conference in Provincetown. In 2010 she launched her  Lynette Haggard Blog, where she has interviewed dozens of artists. Lynette lives and maintains her art practice 20 miles west of Boston, Massachusetts.
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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 New Mexico, Howard is a lifelong Californian, living in San Francisco and maintaining a studio at Hunters Point Naval Shipyards, a decommissioned base now occupied by over 250 artist studios.
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Jeff Hirst is a San Francisco Bay Area-based artist who has been exhibiting his work since 1987 and has shown extensively across the United States and Europe. Jeff’s  work has been exhibited at The Minneapolis Institute of Arts, the McKinney Contemporary in Dallas, and Arte Internazionale in Matera, Italy.  He is the owner of Hirst Printmaking and Fine Art Studio, a printshop and teaching facility in Oakland, California, where research and exploration in experimental print ideas meld encaustic and printmaking.
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Heather Hutchison is a recipient of a 2012 Pollock Krasner award and a 2011 Adolph and Esther Gottlieb Foundation Individual Artist Grant. Her work has been exhibited in The Corcoran Biennial in Washington, D.C., at The Brooklyn Museum, The Otis College of Art and Design in Los Angeles, The Knoxville Museum of Art, and The Montclair Art Museum, in Montclair, New Jersey. Select public collections housing her work include The Hammer Museum, Los Angeles; The Brooklyn Museum; The Smithsonian, Washington, D.C.; and Art in Embassies, Beijing.
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Deborah Kapoor’s work is featured in publications such as Contemporary Paper and Encaustic by Catherine Nash, The World Encyclopedia of Calligraphy by Holly Cohen-Roochvarg and Christopher Calderhead, and Encaustic with a Textile Sensibility by Daniella Woolf.  Recent projects include curating of the exhibit Navigate  at Tashiro Kaplan Building’s Corridor Gallery in Seattle, and the creation of an Encaustic Certificate Program at Bellevue College (WA). Deborah holds an MFA from the University of Delaware and a BFA from the University of North Texas.  Represented by ArtXchange Gallery in Seattle’s Pioneer Square Arts District and Conrad Wilde Gallery in Tucson, she lives and works in Seattle.  
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Susan Lasch Krevitt received her BFA from The School of The Art Institute of Chicago. She currently lives and maintains a studio in Southern California, north of Los Angeles. Susan builds tactile abstractions using textiles and mixed-media. Her work has been shown nationally and abroad and can be seen in Authentic Visual Voices: Contemporary Paper and Encaustic by Catherine Nash. She won the Juror’s Award at the Seventh International Encaustic Conference in 2013. This is Susan’s 2nd year as a presenter at The Conference. 
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Sharon Louden graduated with her MFA from Yale University and her BFA from the School of the Art Institute of Chicago. Her work has been exhibited in many museums and galleries and is in the collections of the National Gallery of Art, Whitney Museum of American Art and Museum of Fine Arts Houston among other places. Editor for Living and Sustaining a Creative Life, Sharon’s teaching experience includes studio and professional practice classes to students of all levels in colleges and universities throughout the United States including Kansas City Art Institute, College of Saint Rose, Massachusetts College of Art, Vanderbilt University and Maryland Institute College of Art. Sharon currently teaches at the National Academy of Art in New York City and lives and works in Brooklyn 
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Lisa Mackie  works in mixed media prints, paintings, original books, video and installation. Her visiting professorships include New York University, Cooper Union, Fashion Institute of Technolog (FIT)  and Queens College in New York City; and the Rochester Institute of Technology. She currently teaches in New York at FIT, York College and The Printshop. She is a master printer and proprietor of Lisa H. Mackie Studios in New York City. Her work is in numerous collections, including the Victoria and Albert Museum in London, the Baltimore Museum of Art, the Museum of Fine Arts, Boston, Yale University Art Gallery, the Hunterdon Museum of Art, New Jersey, and the Botswana Museum and Art Gallery in Gaborone. Lisa is represented by June Kelly Gallery in New York City.
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Sara Mast is a widely exhibited artist whose paintings are included in over 30 public and private collections in the United States and abroad. Her work is included in Joanne Mattera’s book, The Art of Encaustic painting. Recent exhibitions include Soundings, a collaborative exhibition at the Ucross Foundation in Clearmont, Wyoming;  As Above, So Below, a solo exhibition at Rosenfeld Gallery in Philadelphia; and Repertoire, a group exhibition at Zolla/Lieberman Gallery in Chicago. Currently, she is working ona collaborative project with physicists entitled Black (W)hole, an art installation that was was recently selected for inclusion in R & F's Encaustic Works: A Curated Exhibition in Print, curated by Michelle Stuart. Sara lives and works in Bozeman, Montana, and co-chairs the Drawing & Painting department at Montana State University.
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Working in a style that is chromatically resonant and compositionally reductive, Joanne Mattera is a represented artist in galleries throughout the United States. Her paintings and works on paper are in the collections of the New Britain Museum of American Art, Connecticut; the Montclair Art Museum, New Jersey, and in university and corporate collections internationally. Her work has been reviewed in Art in America and The New York Times. She exhibited in and wrote a catalog essay for Swept Away: Translucence, Transparence, Transcendence In Contemporary Encaustic at the Cape Cod Museum of Art last year. Joanne is the author of The Art of Encaustic Painting, published in 2001, and the ongoing Joanne Mattera Art Blog. She is the founder/director of this Conference.  
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Kelly McGrath is a mold maker who is excited to be able to expand the perception of encaustic as a dynamic material for 3D applications. An emerging artist, her work was featured in the 2009 Kingston Sculpture Biennial, and she has been featured in a number of group shows throughout the Hudson Valley. Kelly enjoys working with other artists to creatively problem solve and has worked at R&F since 2009, presenting group workshops and private instruction geared for those whose interest lies in combining encaustic and sculptural methods into their practice. She earned her BFA in Sculpture from SUNY New Paltz in 2007.
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Sandi Miot is a founder of the Marin Museum of Contemporary Art (MarinMOCA), an artist-run museum space in Marin County--North Bay area of San Francisco.  She was instrumental in this new museum's creation, its first President and has been on the Board of Directors since its creation in 2008.  MarinMOCA has become a unique non-collecting museum that is for artists, about artists, and by artists.  Sandi is a widwly exhibited painter and sculptor who has been working with encaustic for almost 15 years. www.sandimiot.com
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Cherie Mittenthal has her MFA from the State University of New York at Purchase and her BFA from the Hartford Art School at the University of Hartford. She is the Executive Director of Truro Center for the Arts at Castle Hill since 2002. Cherie serves on the board of Campus Provincetown, Provincetown Cultural Council, and partners with Highlands Center Inc. for the only Wood-Fired Kiln on Cape Cod. Cherie’s paintings and work on paper are redolent of the meeting of sky, sand and sea. In her studio practice, she works in pigment sticks, mixed media and encaustic. Her work is represented by Kobalt Gallery in Provincetown. She is the co-producer of this Conference.
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. Wayne Montecalvo is a multi-disciplinary artist whose wide-ranging works include mixed media prints, paintings, sculpture, video and collaborative street performance. Wayne received a BFA in Sculpture from the School of Visual Arts.  His work has been widely exhibited and he has been Artist-in-Residence at the Frans Masereel Center in Belgium, the Vermont Studio Center, Women’s Studio Workshop and the John Michael Kohler Arts in Industry Program. In addition to teaching at R&F, Wayne presents workshops at the Truro Center for the Arts at Castle Hill and is Adjunct Professor of Art at SUNY New Paltz.
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Laura Moriarty makes sculptures, prints and installations that resonate with the geologic. She is the author of Table of Contents, an artist’s book published in 2012. Her work has been exhibited widely in venues including The Islip Art Museum, The Nicolaysen Art Museum, The Jyväskylä Art Museum in Finland, and OK Harris in New York. Laura's work is held in major public collections including The New York Public Library, The Samuel Dorsky Museum of Art, The Center for Book Arts and the Progressive Art Collection, among others. Her honors include two grants from the Pollock-Krasner Foundation and numerous artist residencies throughout the United States and abroad.
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Nancy Natale is a painter at heart, but she also loves putting together pieces of things to make objects, solve problems and devise whatever processes are necessary to achieve a desired resolution in her work.  After years of experimenting with materials, mediums and methods, she has mastered a way of working with encaustic that allows her to make constructed paintings (bricolage) that straddle the divide between two and three dimensions. You can read more details on her website and her blogs, Art in the Studio and Art of Bricolage
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Carol Pelletier is the Chair of Fine Arts and Associate Professor of Art at Endicott College, which is located on the north shore of Boston.  She received the MFA in Painting and Drawing from James Madison University and the BFA from the University of Maine at Presque Isle. Her previous posts have included Chair of Visual Arts at West Virginia Wesleyan College and Visual Arts Master Teacher at the Governors School for the Arts at Marshall University. She has exhibited in over 50 solo and group shows nationwide, including the Attleboro Art Museum and the Huntington Museum of Art. She has received three National Endowment for the Arts Grants, including a Fellowship grant to honor her achievement in the field of Fine Arts. She has also received a Mellon Foundation grant and is a Salzburg Fellow. Her work has been in multiple catalogue exhibitions and publications including New American Paintings. She is represented by the River Gallery in Chattanooga, Tennessee and Cynthia Winings Gallery in Blue Hill, Maine.
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Sherrie Posternak takes advantage of all of her life’s passions—making and teaching art, travel, learning about other cultures, learning new languages. Everything involves communication and the integration of the variety of life’s disciplines. Within the context of the arts, Sherrie chooses whatever medium or technique is most appropriate to express her ideas—encaustic, photography, printmaking, video, collage, assemblage, mosaic, paper, fiber, metals, wood, ceramic, glass.  She began her encaustic practice nine years ago, and has had solo and group shows in the U.S. and Mexico. She self-published a catalogue on the topic of her art installation, A Memorial for El Tomate. Images of Sherrie’s work are in the gallery section of the e-book Contemporary Paper and Encaustic by Catherine Nash.
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This past year Lisa Pressman’s work was exhibited in Infused at Butter’s Gallery, Portland, Oregon, and in a solo show  at The Rosenfeld Gallery, Philadelphia.  Her work was also exhibited in several group shows, including Shape Shifting, at Susan Eley Fine Art in New York City, and  Swept Away: Translucence, Transparence, Transcendence In Contemporary Encaustic at the Cape Cod Museum of Art, Dennis, Mass. Lisa teaches at the Art Institute of New York in Manhattan, and travels nationally to teach at such legendary venues as Penland School of Art in North Carolina and Arrowmont School of Arts and Crafts in Tennessee. She was recently a visiting artist at  Pacific College of Art, Portland, Oregon.
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Paula Roland, MFA, is known for bringing the little-known process of encaustic monotype printmaking to awareness and popularity through 18 years of teaching and exhibitions. Public collections containing her works include the American Embassies in Uganda and in South Africa, Agilent Technologies, and R&F Handmade Paints. Residencies with Fellowships include Anderson Ranch Arts Center, the Virginia Center for Creative Arts (VCCA), the VCCA Residency Abroad Program in France, and residencies at the Santa Fe Art Institute with Master Artists Lynda Benglis and Elizabeth Murray. Paula received an endowed commission from the National Endowment for the Arts and her works and interviews are included in numerous books and publications, including Joanne Mattera’s The Art of Encaustic Painting.
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Joan Stuart Ross was born in Boston and educated at Boston Girls Latin School, Connecticut College, Yale and the University of Iowa. She has worked and taught in Seattle for many years, and is an established figure in its arts community. Recent solo exhibitions have been at the University of Puget Sound and the Patricia Cameron Gallery. Joan is a founding partner of BallardWorks, an artists’ workspace building in Seattle. She maintains her studios there and in Nahcotta, Washington. 
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Jeff Schaller, who holds a BFA from Arcadia University, has shown both nationally and internationally, in Chicago, New York, Switzerland, and recently The Coca Cola Museum in Atlanta, Georgia. His work is frequently published in magazines and newspapers, chosen for juried art exhibitions and selected for special projects, commissions and murals. He is named one of the Top 5 Most Influential Artists in Chester County by Business 2 Business. Schaller received a highly coveted fellowship from the Common Wealth of Pennsylvania and also the recipient of the prestigious Philadelphia Museum of Art Purchase Award.
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Toby Sisson earned her MFA from the University of Minnesota, Twin Cities, and is an Assistant Professor of Studio Art and Director of the Schiltkamp Gallery at Clark University in Worcester, Massachusetts. In addition to drawing and painting, Sisson’s areas of specialization include community-based service learning and collaborative public art projects. She has been the recipient of numerous awards and grants for her studio practice and her current research focuses on the development of dialogic critique methods for visual artists. Sisson’s artwork has been shown in solo and select group exhibitions, and acquired for numerous private collections. 
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Tremain Smith has four works in the Metropolitan Museum of Art.  Her work is in corporate and private collections across the country.  She has had solo exhibitions in New York City, Los Angeles, Chicago, Atlanta, Philadelphia, Scottsdale, as well as in the states of  Maine, Delaware, Florida and Hawaii. Tremain has been reviewed extensively including coverage by the Philadelphia Inquirer, Chicago Tribune and the LA Weekly. Her work is included in The Art of Encaustic Painting by Joanne Mattera. She studied at the Pennsylvania Academy of Fine Arts, Tyler School of Art, Carnegie-Mellon University and the University of Pennsylvania. Alongside her studio work, Tremain teaches art, lectures, and leads community workshops.
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Pat Spainhour is a contemporary painter-printmaker, currently teaching AP Art History at the University of North Carolina School of the Arts. She earned a BFA degree from the University of North Carolina at Greensboro and has 33 years of experience teaching studio art and art history. Pat studied encaustic painting with Tremain Smith in 2006 and Paula Roland in 2009. Her art is exhibited internationally.
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Laura Tyler is an artist and documentary filmmaker. Her works inspired by the plant/animal interactions that give landscape its texture have shown at private, non-profit and university galleries across the United States.  Raised in Maine, she earned a BFA from the Massachusetts College of Art in Boston before settling in Boulder, Colorado where she lives and works today.
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Charyl Weissbach’s studio and gallery is located in Boston's historic South End where she is a participating artist during First Friday and South End Open Studio events. Charyl received a BFA in painting and art history from Massachusetts College of Art. Her artwork is represented in many galleries and corporate collections including L'Attitude Gallery, Boston; Art3Gallery, Manchester, NH; Brigham & Women's Hospital, Children's Hospital, UPenn, Harvard Pilgrim Healthcare, Winchester Hospital, Oracle|Acme Packet, and Novacare Pharmaceuticals. She is featured in Encaustic Works 2012: A Biennial Exhibition in Print, and 100 Artists of New England. Her paintings have been purchased by many private collectors throughout the United States.
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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 New York City, and at various venues across the United States.  In 2013, Deborah’s work was included in the exhibition, Red, at A Gallery in Provincetown and Seven at Truro Center for the Arts at Castle Hill in Truro in conjunction with Conference 7. Her work will be included in the upcoming third edition of Embracing Encaustic by Linda Robertson Womak and in the 2013 Winter Edition of Studio Visit Magazine. Deborah is represented by Broadhurst Gallery, Pinehurst, North Carolina.
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Gregory Wright creates aquatic, cosmic, and microscopic fantasy worlds in his paintings that incorporate mixed media embellishments with encaustic. He is an exuberant presenter and instructor who brings his enthusiasm and innovative techniques to his Conference presentations and workshops. Gregory exhibits nationally, as well as in the Boston area. In May 2013, his solo exhibition, Forces, at Galatea Fine Art in Boston was discussed in Artscope magazine. Gregory was invited to be part of R & F Handmade Paints Visiting Artist Series, where he taught and had a solo exhibition in the Gallery in August of 2013. Gregory was one of the selected artists in Encaustic Works 2012, published by R&F and juried by Joanne Mattera.