In the last decade, I have unfortunately forgotten the importance of the meaning of collage as it pertains to the making of my work. Once I remembered this, I relaxed and took an easy breath…my work and me as an artist both have a place. If it weren’t for Kolaj Fest and the thought provoking discussion, I wouldn’t have had this very important personal realization. As a result, I decided to take a trip through my personal collage journey over the years, starting with an excerpt from my graduate school thesis paper.
Through all of the talks and presentations at Kolaj Fest, I started to think about where my own work fits into it all. I have reacted to the trauma of the world’s response to Covid by going through a bit of a transition in my work…a really lonnng transition. One could say my work is ‘all over the place’. In fact, several people have said those exact words and I didn’t take it well. With some thought, I realized that it’s not really all over the place. The series’ may all look different, but it all fits under the umbrella of collage; adhering little bits together to make a bigger bit. This concept (gestalt) is what my work has always been about, at least tangentially within the context of process. In the last decade, I have unfortunately forgotten the importance of the meaning of collage as it pertains to the making of my work. Once I remembered this, I relaxed and took an easy breath…my work and me as an artist both have a place. If it weren’t for Kolaj Fest and the thought provoking discussion, I wouldn’t have had this very important personal realization. As a result, I decided to take a trip through my personal collage journey over the years, starting with an excerpt from my graduate school thesis paper, written 2001-03. Visit this link to read more about and see images of what I was thinking about and making in the studio at that time. Scroll down to see a small sampling of encaustic work made between 2003-06 and best illustrate the ideas of Gestalt.
Fragments
“Nature, the prime genial artist, inexhaustible in diverse powers, is equally exhaustible in forms.”1 I am interested in raising questions in the viewer’s mind concerning how all of creation, the universe, earth, nature and humanity, coexist, connect and interweave in the physical, biological and physiological sense.
My work is a manifestation of the compiling and arranging of fragments. Each takes on new form and new meaning, as the content shifts with the addition or subtraction of another element. Fragments of fabrics are combined with fragments of thread to form a panel, which is a fragment itself until its arrangement with two other panels to complete the whole. Each individual panel remains as a complete unit and can stand alone as a significant entity. Yet each panel also contributes to the whole in it’s own way to create something greater than it could have been had it existed alone. Ideas of “grouping” or characteristics of stimuli causing us to structure or interpret a visual field in a certain way are the primary factors of Gestalt theory. 2 Utilizing the formal characteristics of Gestalt while also employing a visceral language of organic life is the manner in which the pieces are assembled.
The principles of Gestalt can be applied to many things, however my interest lies in the way it can be applied to nature and the biological sciences. In fact, before scientists could decipher what it was that constituted organic form, biologists first had to define what organic form actually was in recognized terms. Gestalt was used as a building block to do that as this comparison of organic vs. inorganic form states: “Form in living beings is more complex than form in non-living nature and that the form of living organisms or their remains is a property of the whole, while in non-living entities form results from the disposition of the parts of which they were composed. The interdependence of part and whole was the principal element of novelty in the idea of organic form, by which it represented a departure from the continuity principle of the great scale of being, according to which organisms had of course been recognized as ‘higher’ than inert substances.”3 Defining the attributes of organic form in this manner led the way toward the development of the cell theory in which it was discovered that all living matter was comprised of cells which not only perform “processes of division, growth, or membrane formation” within an organism, but dictate the structure of the organism depending upon how they are “combined together”.4 Portraying this simple commonality between all life forms in a visual way is the foremost proponent behind the making of my work.
Although I am not consciously thinking of these formal terms and philosophies as I assemble the pieces, my work does embody these principles, thus imparting inner unity, harmony and movement. Through unconscious but thoughtful manipulation of the materials and forms, symbiotic qualities begin to emerge and the eye begins to travel through, across and around the piece. “The effect of apparent movement is generated not so much by its individual elements as by their dynamic interrelation.”5 Visual harmony and movement is critical as each part maintains it’s own significance to the work, yet they flow together as one. Because of this visual flow and movement, the work springs forth with vitality and rhythmic energy. “The importance of the fragment, because of it’s potential to grow, is therefore heightened.”6
My objective is to employ the principles of the whole in both the philosophical and poetic sense. Ultimately, I wish to question the relationship of the individual vs. the group and the microscopic vs. the macroscopic. In other words, how all of the universe and natural world is a constantly moving, changing, flowing whole. Emerson illustrates this idea beautifully, “A leaf, a drop, a crystal, a moment of time, is related to the whole, and partakes of the perfection of the whole. Each particle is a microcosm, and faithfully renders the likeness of the world.”7
Behrens Roy R., Art, Design and Gestalt Theory, (https://scholarworks.uni.edu/cgi/viewcontent.cgi?article=1001&context=art_facpub). Proximity-items grouped together according to their nearness; similarity-items similar in some way are grouped together; simplicity-organization according to symmetry, regularity and smoothness; closure-grouped together if they complete something. ↩︎
Stoops, Susan L., Michelle Stuart: Silent Gardens, The American Landscape, (Waltham Massachusetts, Brandeis University, 1988), p. 10. Hereafter cited as Stoops, Silent Gardens, The American Landscape.↩︎
Emerson, Ralph Waldo, “The American Scholar”, in Emerson on Transcendentalism, ed. by Edward L. Ericson (New York, Ungar, 1986), p. 26. Hereafter cited as Emerson, Transcendentalism↩︎
Just like a good collage, there are many layers to Kolaj Fest, a lot of growth that has taken place and much more to come–an acceleration in interest in this conference and collage as a whole is trending – it’s a work in progress with only positive vibes all around.
I’ve been back in Philly for a few weeks now and still pondering some of the ideas, people and art I was introduced to at Kolaj Fest, New Orleans. Kolaj Fest is organized by The Kolaj Institute and is fairly new to the art conference scene, with it’s inaugural event held in 2018. Because of Covid, only four conferences have been held between it’s first and this year’s event. Just like a good collage, there are many layers to this event, a lot of growth that has taken place and much more to come–an acceleration in interest in this conference and collage as a whole is trending – it’s a work in progress with only positive vibes all around. I really got the sense that I was a part of something truly exciting, that the artists weren’t there to only talk about and promote themselves, we were there to create something new as a community and that’s what it’s all about.
I would love to write about the conference and highlight all its goodness, but there isn’t enough time or room on my computer. You can read about all of the past conferences and events, 2018-present, read the full program books and see images here and on Instagram at #kolajfest here. Read on for my most memorable take aways as a Kolaj Fest first timer and scroll down to see a couple of the quickie collages I made during some of the presentations from the scraps on the collage tables. I also added a selection of photos from my vast, ever-growing collection of urban surfaces of my city and travels (also collages, in a sense), including New Orleans. I do hope you will consider joining me in NOLA for Kolaj Fest, 2024!!
Community As I mentioned, the one thing that stands out about this conference is the desire to build a community. If you’ve been to any art related conference, you might argue that community building is what they all strive to do. While that may be true, I found that I truly felt that community was at the forefront in the design of the symposiums, demonstrations and workshops, whereas I can’t say that about most conferences I’ve attended. Almost everything at Kolaj Fest is set up for sharing in the way of dialogue, trading and making something happen together. I got the feeling that even as the conference came to end on it’s last day, it really wasn’t ending in the true sense. There is a continuance that is taking place within the community until the next conference. That’s why it’s called a movement, the community is always advancing toward the goal. It’s a way of life for the organizers and participants and it doesn’t go away after one weekend spent together in New Orleans.
When I walked into the main presentation room on the first day, I was so pleasantly surprised to see tables set up along the sides of the main audience. It was morning, I was a little late and a little groggy, but I soon realized those seated at the tables were all busy cutting, gluing, looking through magazines and books for images. Omg….they were making stuff….while presenters were speaking! I then noticed that there was a table with a huge box of books/magazines, glue sticks, paper, scissors, exacto knives-I was suddenly in collage heaven. I’m the type of person who listens better when my hands are doing something, usually surreptitiously drawing in my sketchbook during lectures and presentations. But here, I could just make whatever I wanted right out in the open. All this realization happening in my mind at once, I just smiled inside…I had finally found my people.
You might think that all of this collaging might be distracting to the presentation, but it really wasn’t. Everyone was respectfully listening and doing, quietly and minimally conversing while trading images, tools, etc. I’m such an art geek that for me, the best part about these group collage tables was seeing how everyone carried their portable collage materials, what kind of scissors or glue they used and what their favorite magazines were. In fact, I got a great recommendation for a fabulous pair of scissors from a wonderful woman, Natalie Schorr (@natalieschorrart), who sat next to me at one of the collage tables. If every art related conference did this, imagine the attendance records!
Elevating Collage Lets face it, even though collage holds a dramatic place in the development of abstraction, among many other art movements, it doesn’t seem to have achieved the respect it deserves from the art world at large. The exploration of why this bias exists is a topic I’m working on for another blog post, but the point is that it’s there. The main focus of this conference is to elevate collage, to educate, to speak of it’s diverse history in painting, politics, book-making, design, sculpture, etc. It’s a movement that is gaining ground and I’m so happy to be a part of it.
Through all of the talks and presentations at Kolaj Fest, I started to think about where my own work fits into all of this. I have reacted to the trauma of the world’s response to Covid by going through a bit of a transition in my work…a really long one. One could say my work is ‘all over the place’. In fact, several people have said those exact words and I didn’t take it well. I realized it’s not all over the place, the series may all look different, but it’s all under the umbrella of collage, adhering little bits together to make a bigger bit. (Again, the subject for another blog post:)) This concept (gestalt) is what my work has always been about, I even wrote a section in my grad thesis paper about it. In the last decade, I have unfortunately forgotten the importance of the meaning of collage as it pertains to my work. Once I remembered this, I relaxed and took an easy breath…my work and me as an artist both have a place. If it weren’t for this conference and the thought provoking discussion, I wouldn’t have had this very important personal realization.
NOLA If you’ve visited New Orleans, you will totally understand why it makes so much sense that a collage conference be held here. As most urban environments are, NOLA is a collage itself…made up of fascinating history, diversity in thought, language, people, sound (music), terrain, weather…even the streets, architecture and design of the city is a collage.
I’ve been to NOLA a few times since I first visited in 2013 to help rebuild Katrina houses. I taught a private workshop there, as well as co-taught an encaustic retreat with a good friend who lives there. Each time I visit, the experience grows exponentially in that it becomes a part of me and I can’t wait to return. There is no other place on earth like it and for me, there is truly no other place that I react to so strongly except the desert.
I was just reminded of this quote from Richard Bienvenu that says it best…
New Orleans is one of the most magical cities in the world. There is something about this city that has a tendency to take hold of you and won’t let go….For many people who move away they are drawn back by something intangible. There is a spirit and deep sense of belonging that the city seems to invoke.
I’m not going to say that being in NOLA in June wasn’t uncomfortable heat, but the meaning of this conference was greatly augmented by it being held here and I really couldn’t see it being as great a success if it were held in any other city.
Picture it: Seventh grade art class…you just hung up your first drawing of a stack of books using the most recent lesson on perspective. You think it looks pretty good and when it’s your turn for critique, you’re all set for the praise and accolades. But wait…is that noise your best friend sitting next to you..laughing and proclaiming loudly that it looks like your books are floating in space? UGH…With that critique, I swore off drawing forever and decided I’d only stick with color blobs for the rest of my life. And I pretty much did, until 20 years later, a graduate school class turned my mindset around and I discovered why mark-making (not drawing in the formal sense) is so important to the artist and why line, specifically, is so important to painting.
Take a look at the line of that mountain range over there. If you plot that on a bar scale and connect the dots, you’ll have yourself a pretty good tune. All you need is a nice line. -Robert Genn
Picture it: Seventh grade art class…you just hung up your first drawing of a stack of books using the most recent lesson on perspective. You think it looks pretty good and when it’s your turn for critique, you’re all set for the praise and accolades. But wait…is that noise your best friend sitting next to you..laughing and proclaiming loudly that it looks like your books are floating in space? UGH…With that critique, I swore off drawing forever and decided I’d only stick with color blobs for the rest of my life. And I pretty much did, until 20 years later, a graduate school class turned my mindset around and I discovered why mark-making (not drawing in the formal sense) is so important to the artist and why line, specifically, is so important to painting.
TheWhy Why do I talk about line so much in my teaching, my social media posts and in writing this blog? Why do we respond so viscerally to the work of Cy Twombly and other artists who use line so prevalently? Why should you be using more line in your work? Read on for the answers to these burning questions…
Lines lead the eye, visually and physically connecting the elements of your painting. They complete the composition by creating rhythm, balance, visual music, text, a linear ballet, if you will. Variations in width, direction, density, length and character create interest and integration of the painting surface. Lance Esplund said it best, Line is a rich metaphor for the artist. It denotes not only boundary, edge or contour, but is an agent for location, energy, and growth. It is literally movement and change – life itself.
In one of the first published books about doodling, Everybody’s Pixillated, Russell Arundel wrote, (Doodles)…are the psychic blueprints of man’s inner thoughts and emotions that have slipped from the deeps of memory onto paper. Line is the emotion, the essence and personality of the artist. Lines create a distinction between artist’s works. For example, I may be able to paint a red or purple splotch similar to those in the Twombly paintings below. But, in a million years, I couldn’t copy the gesture of his lines, scribbles and text. Simply, your lines are yours, no one else can make them the way you do. Twombly said of his lines, My line is childlike but not childish. It is very difficult to fake… to get that quality you need to project yourself into the child’s line. It has to be felt. Indeed.
If I see a painting without line, there is a certain incompleteness, I feel I’m not seeing the entire message the artist wishes to convey. Certainly, there are artists who create amazing works of art without line, Rothko comes to mind…yet, even in his works, I see some line expression…certainly a confidence in his paint application. It’s this kind of confidence in your marks that carries your message home for the viewer.
One thing that my workshop participants consistently want to achieve is to develop their own ‘style’, their own ‘voice’, to create a cohesive body of work that is their own. There are a number of ways to do this, but one that I feel most strongly about is to develop a mark-making practice of 5-15 minutes a day. In late 2018, I was bored one night and decided I wanted to learn Spanish, so I picked up my phone, downloaded Duolingo and I’ve been practicing daily since then. If I miss a day, it’s incredible how much I forget! Mark-making is the same way, it establishes a connection between you and your work and your work and the viewer. This is your language, this is your communication, this is your vocabulary. You have to practice it everyday or you lose a little something in the translation from thought to painting. The same loss is felt if line is left out of the work entirely. Jean-Michel Basquiat said it simply, Every single line means something.
The Where So now that we know how important they are, where do we derive inspiration for these lines. Very simply, lines are everywhere! Most of the inspiration for my line work comes from lines I see in nature. I photograph them, sit on the ground and trace them with my finger, then I draw them, over and over again in my sketchbook. Like memorizing vocabulary words or song lyrics, over and over again, is the key-then the line becomes my own. Read this post to see some of my photos and then take your camera to collect a few inspiration images of your own. A few of my 15 minute drawings/collages inspired by landscape are pictured in the gallery below. I’m also constantly posting my drawings out on the trail on Instagram. Give me a follow to see
The How Establish a practice. This is as simple as picking up a sketchbook and a pencil, setting a timer for 5 minutes and letting the pencil glide on the paper until the timer says stop. Use your images for inspiration and do this everyday. Read this post for more mark-making exercises to get you started.
Now that you have these marks ready to go, how do they go from sketchbook to painting and how do you translate these things into encaustic? Join me in Ireland for Celtic Convergence: Wax Across the Water, October 13-15. My pre-conference workshop, Mixed Media Encaustic: Line is running October 11-12. I absolutely cannot wait to walk with you through the awe inspiring Irish coastline of Mulranny (pictured above) to capture the lines and then translate them through a number of alternative methods into your encaustic paintings. Please note that this is NOT a drawing workshop…rather, it’s about finding and making marks, creating your linear language and expressing yourself more fully in your work. The last time I taught this class was 2019 at the International Encaustic Conference in Provincetown and it was a fabulously fun class. We played with ink, established rhythm with music, choreographed marks on paper with long bamboo ‘brushes’, created marks with fire, horsehair and stitch and a lot more. Check out the images below to see the wonderful line interpretations the students created.
I can’t explain to you how shaken up I was when I turned in my first art history paper only to be told by my professor that I was the worst writer he’s ever read. Little did I know that that being a professional artist and a good writer go hand in hand…in fact, it’s difficult for one to exist without the other. In this article I list six reasons why artists need to sharpen their writing skills and then I’ll let you in on some easy ways I improved my writing and how you can improve yours.
Image: Cy Twombly, Untitled (Murder of Olofernes), 1964, graphite, colored pencil, wax crayon and ballpoint pen on paper, 27×39
If you’ve been reading this blog for a while, you know that I was a late bloomer, attending graduate school at the ripe old age of 34. Prior to that time, I hadn’t had a traditional art school education, I attended design school. It was a fine school for what it was, but did not stress critique, critical thinking or verbal/written statements of expression and I hadn’t developed any of those skills in my professional career as a textile designer. Grad school was a shake up in many ways but I can’t even explain to you how shaken up I was when I turned in my first art history paper only to be told by my esteemed (not being sarcastic here, this guy is brilliant) professor that I was the worst writer he’s ever read. I really respected this man and I felt totally dejected after that comment.
Up until this time, I hadn’t really thought much about writing and whatever little writing I did, I thought was pretty good. How (and why) was I supposed to be a better writer, now in my mid-thirties and trying to focus on my studio work? Little did I know that that being a professional artist and a good writer go hand in hand…in fact, it’s difficult for one to exist without the other. For me, graduate school was a flurry of writing papers, reading/research and thousands of hours crying in my studio. However, by the end of the two years there I received the best compliment ever from another professor whom I admired…my Graduate Thesis paper was a “standout” and “brilliant”. How did I go from the worst writer to brilliant in two short years? In this article I list six reasons why artists need to sharpen their writing skills and then I’ll let you in on some easy ways you can improve yours.
Organizing Those Wild Thoughts I admit, when I’m painting and in the zone, I have some wild thoughts from relationships to food to dreams to politics to outer space to nightmares and back again to my work. My thoughts flit in and out of sensical consciousness and every once in a while, a good idea breaks through…that’s when the writing begins. Simply put, writing organizes the mind. Placing a thought, cognitive or visual, into words, helps to organize that thought into a linear sentence and in turn, a clear idea. By organizing your thoughts into clear ideas as a practice, your studio work will become more focused and intentional, just as the work itself becomes stronger and more powerful.
Artist Support Materials As artists, our research is primarily our work, but we do need support materials to go along with that work. This is an unfortunate reality, but in this extremely competitive art world, we must find ways to stand out from the rest. We also need to be able to adequately communicate our work, intent and process to others who may not be artists themselves. Writing good statements, grant proposals, residency applications, conference presentations, artist talks, books, essays and responses to competitive show opportunities are just a few ways in which writing becomes part of our professional artist lives.
Social Media We all hate it, but what the heck would we do without it? Let’s face it, social media is an onerous necessity in a professional artist’s world. Social media blurbs, newsletters, websites, blogs, just to name a few, are all ways in which we communicate to the world what it is we do. Whether you choose to contribute to one or all of these things, you must at least become adequate in written communication whether you write for yourself or you hire out your marketing to someone else.
Titles& Stories First and foremost, the collector is attracted to the work itself, but an interesting title that speaks to the collector in a personal way can sometimes clinch the sale. With abstract work, the message is not always clear by just looking at the painting and the addition of creative titling or stories can act as as a supplement to it’s visual communication. I always sign, title and date my paintings on the back and for most of them, I include a story or poem that explains the title and many collectors respond in a positive way to this practice. Many times, it creates an intimate experience between the visual and written for the viewer. I can’t tell you the number of paintings I’ve sold because the collector emotionally reacted to the title or the story behind it.
Drawing If you’ve read this far and still think it’s not important to for an artist to develop a writing practice, you may be surprised to learn that the act of writing can actually improve your drawing and painting skills. Quoting from the children’s book writer/illustrator, Shoo Rayner, ‘All writing comes from thought. All thought is visualization. Writing is an advanced form of creating images from visualized thought. Words are advanced forms of pictograms. Letters are advanced forms of marks made on the walls of caves.’ In other words, the better we get at communicating through drawing, the better our writing will be and visa-versa, the two go together like chocolate and peanut butter. This is why I’m such a stickler for also developing a drawing practice, along with reading and writing. Those of you who have taken my workshops, know the 5-15 minutes a day rule of drawing and writing will keep you more in touch with yourself, your ideas and your work. Guaranteed.
Cy Twombly Did you know that Cy Twombly’s iconic scribble actually comes from writing? In the US Army, Twombly served as a cryptologist, spending many hours creating and analyzing cryptic codes from abstract writings. During his artistic career, he developed a technique of ‘gestural drawing characterized by thin white lines on a dark canvas that appear to be scratched onto the surface. He would apply bitumen on the canvas in a quick and coarse fashion, making the painting tactile and scarred with his energetic, gestural lines that would become his signature style.’ His famous chalkboard paintings were created by riding the shoulders of a friend as he walked the length of a chalkboard while Twombly ‘wrote’ a gestural ‘language’ across the board. Once learning that his marks actually came from an interesting history and weren’t just arbitrary scribbles, I gained so much respect for this artist who I had previously dismissed as a fraud. Now, I can’t get enough of his work and someday hope to develop a scribble as fabulous and meaningful as his.
So now you know why writing is important for your artistic practice, how do you get started if you’re not writing inclined? Below I’ve listed three easy ways, all of which helped me develop my writing. Keep in mind, that just as your work is a PRACTICE, so is writing and therefore, must be done everyday or several times a week in order to develop. Also, give yourself TIME to develop and you’ll see that the words will come easier the more you write.
Reading & Summarizing My thesis paper was brilliant because of the research I put in to write it. I was literally reading 5-10 books a week, highlighting and summarizing passages as I went. The paper itself was a two year labor of love, going through several drafts until the final. Not every graduate art program requires a thesis paper and I must admit, I resented having to write it on days when I wanted to be in the studio. But looking back, I see that it was probably one of the most significant parts of the development of my work during that time and without it, I can’t see how my work would possess the meaningful content it had then and continues to have now. The key to writing that paper was reading books on subjects relating to my work and then summarizing what I read in my own words. Reading scholarly writing, poems and literature helps you to become a better writer. Now, you certainly don’t need to read ten books a week, but 30 minutes every studio day is a good start. After your reading, write a short summary of what you read in your own words. Include any good quotes, facts or ideas from your reading in your summary. This will give you a wealth of written information regarding your interests and will make it’s way into your work in some form, ultimately creating a stronger visual presentation.
Studio Log I started this practice in graduate school because I was also working two jobs and my studio time was broken into long segments with breaks in between, rather than a consistent everyday like most of my classmates. In the reading of my log, I could keep in mind what I had been working on and what I needed to do the next time I was in the studio. I found the practice so helpful I recommended it to grad students in the program once I became a professor. Some still write me today to tell me they’ve kept up their logs, it’s just a part of their practice. It’s really quite simple: Write the date and number of hours you’ve been in the studio that day. Next, summarize what you did in paragraph and sentence form in handwriting-no bullet points and no computer. What are the strengths/weaknesses of what you did. If any ideas came to mind during your studio time, write those as well. Last, write what you would like to do next time you’re in the studio. These short paragraphs written over weeks, months and years are basically a thesis paper in rough draft form, offering you raw information that you can sharpen into scholarly writing of your work for use in professional support materials, social media, etc.
Take a Workshop Whether it’s creative writing, poetry or ways in which text could make it’s way into your paintings, a workshop could jump start a new body of work or series. In all of my workshops, writing is an important part of the daily practice and we’ll spend a few minutes each day writing answers to various prompts related to the the workshop topic. Writing has become such an important part of teaching that I decided to team up with artist/writer Cynthia Morris to offer an encaustic retreat this summer in Vermont. Cynthia was my coach many years ago and helped to reinvigorate my writing practice. This retreat is not a ‘how-to’ for improving your writing skills, a creative writing course or about adding text to your work, although any one or all of those things are an option for exploration. I envisioned this retreat as a melding of creative work on paper, journaling, sketch-booking, all in combination with the lusciousness of encaustic and inspired by the beauty of the Vermont landscape. With the huge popularity of sketchbooks and the convenience of working on paper in encaustic, this retreat will surely be an inspiration for all. Visit The Vermont Landscape as Muse: Encaustic on Paper & the Written Word and My Vermont Encaustic Retreats: 12 More Reasons to Join Us This Summer for more information.
Use This Book If you’ve made it this far into the article, you deserve a bonus. The best kept secret book of excellent writing prompts for artists is Mapping the Intelligence of Artistic Work: An Explorative Guide to Making, Thinking & Writing by Anne West. It’s a secret because it’s not available on Amazon, unless you want to pay $500 and it’s impossible to Google, so having this link is an extra special bonus.. I use this book extensively in my workshops and personal studio life. It’s jam packed with thought provoking questions that you can return to again and again to spark creative ideas and most importantly, inspire you to write.
I’m thrilled to say that now in the third year, I have many returning Vermont Encaustic Retreat attendees as well as new participants. Over the years, I have answered many questions regarding these retreats and I’ve also made a few discoveries from my frequent visits to Lareau Farm Inn and Vermont in general, so I decided to compile them into this handy list of answers, secrets and revelations. If you’re on the fence about registering for a retreat, hop on over that pesky thing and join us!
The planning of my Vermont Encaustic Retreats started in 2017, but between Covid and other anomalies, the first Retreats were held in Summer, 2021. They quickly filled with long waitlists, participants itching to get out of their homes to commune creatively in nature with other like minded artists. I’m so thankful to the fabulous instructors I’ve co-taught with each year. I’m thrilled to say that now going on the 4th year, I have many returning retreat attendees as well as new participants. Over the years, I have answered many questions regarding these retreats and I’ve also made a few discoveries from my frequent visits to Lareau Farm Inn and Vermont in general, so I decided to compile them into this handy list of answers, secrets and revelations.
If you’re on the fence about registering for a retreat, hop on over that pesky thing and join us!
Experience Level The most asked question prospective participants ask is if their encaustic painting experience level is appropriate in order to attend the retreat. Although it is helpful to have had some experience with encaustic, it is not a requirement to participate. Participants range from beginners to advanced to professional. Because the content is so unique, everyone is learning something, even those who have worked professionally in encaustic for years. There is no judgement, no competition, no comparisons made. I always begin the first day by offering an optional basics demo for anyone who feels they need to brush up on their encaustic painting skills and knowledge. I usually tailor the demo to what the group needs to work on and offer individual attention to those who may need it. The basics demo puts everyone in the class on the same page and eases the anxiety some participants may be feeling especially on that first day. Some of you may not know, but I offer a basics demo every year in January and the 2022 demo recording is posted on my Youtube page if you’d like to get a head start or just need an example of what you’ll learn during the basics demo at the retreat.
Age The second most asked question I get from prospective participants is if they are too young or too old to participate in the outdoor exercises. The answer is NOOOOOO! We’ve had participants as young as teens and as old as 90’s+! We allow participants to do what they can and expect no more or less. If there is something you cannot do, for whatever reason, we create alternatives to every workshop learning activity.
Travel The third most asked question is which airport to fly into and whether you need a car during the week. The closest airport is Burlington Airport (BTV), the one I always recommend and is a quick 45 minute distance to the Inn. As far as needing a car during the week, it is really your preference. There have been many people who have not rented a car and got around just fine between an Uber to/from the airport and/or rides with the other retreat participants. During the workshop week, there is very little use for a car, other than dinners or a trip to the food store. The town of Waitsfield, food and commerce is less than a mile away. I have given rides to town for various reasons to plenty of participants and I don’t mind at all. If you like your independence and find you get antsy for a drive (like I do when traveling), by all means, rent a car, but it’s not necessary.
Expectations I always preface each retreat by explaining how a workshop differs from a retreat. As I wrote in my article, Workshop & Retreat Guide: Which One is for You, I describe retreats as, “A unique experience that may be offered as a once in a lifetime or as a rarity.” The retreat is more carefully considered by the participant than a workshop and is an investment organized to feed your mind, body and soul so that you leave rested and inspired. It’s for this reason, we have no expectations of you to spend all of your time in the studio, to make tons of work, to mingle or to do anything you don’t want to do or feel uncomfortable doing. You set the tone for your retreat and we will be there as much as you need us to assist in facilitating a fabulous experience for you.
Furries, Friends & Spouses Yes! Dogs, friends, spouses are all welcome at the Inn. Many participants have brought friends and spouses who accompany them but don’t necessarily participate in class. There is no extra charge for double occupancy and many rooms have multiple beds. If your travel partner would like to join us for breakfast or lunch, they are welcome, there is just a nominal charge paid to the Inn to do that. There are a ton of local activities for your partner to take part in while you’re in the studio or they can relax and read a book in many of the indoor/outdoor/porch nooks at the Inn. If you would like to bring your furry friend, please make sure to book one of the four designated pet-friendly rooms for a nominal extra charge paid to the Inn. There is also a huge meadow and lots of hiking trails for dogs to run and roam.
A Truly Unique Learning Experience With so many encaustic workshops, conferences and retreats available both online and in person, it seems that there is nothing new under the waxy sun. However, I can guarantee you that you won’t find the content presented in our retreats in any encaustic learning forum. All content is researched and developed by myself and 3 different instructors each year. All instructors are accomplished experts at what they do and I’m honored to co-teach with each of them. It’s a joy for me to present to you a learning experience that is like no other.
Studio Space Because our first retreat at the Inn happened in 2021 when Covid was alive and well, we decided to take the retreat from indoors at the Inn’s Art Barn to the outdoor Event Pavilion. It turned out to be the perfect space to hold encaustic classes and we have made it ours. The pavilion boasts plenty of workspace for each participant, fresh air ventilation for encaustic, sunshine and happy times with twinkle lights, too! The pavilion is also where one of the wood-fired ovens is housed and where the chef’s do their prep work for the Inn and restaurant. It’s wonderful to share a workspace with the wonderful sounds and smells of these accomplished food creatives. I’m happy to say that this year we’ve improved the space with high powered lights that you can see from the moon thanks to the research of the amazing Kelly Milukas.
Garden The Lareau Farm garden is one of the special places at the Inn that keeps me coming back-to stroll, think, photograph, sketch and learn. Each year, the garden grows larger with more bio-diverse plants and bio-dynamic sensitivity. The garden feeds the Inn and the American Flatbread Restaurant with lush fruits, vegetables and edible flowers prepared by accomplished chefs. It’s a hands-on community endeavor that at any time during the summer days has groups of volunteer students, garden professionals and environmentalists working diligently to make it a success. Being in the garden as often as I am, I decided to team up with pressed flower artist, Beth Murphy and design a retreat around it. We’ll be spending many hours soaking in the garden’s beauty while also learning how to incorporate it’s life into encaustic painting. It’s impossible not to step foot in the garden and feel it’s contagious magic. Read on about George and follow the links to see how it all began.
George The best kept secret at Lareau Inn is Proprietor, George Schenk. George is a true Renaissance man: chef, restauranteur, entrepreneur, community activist, artist, writer, bio-dynamic farmer, environmentalist, gardner, story teller, hippie, visionary, endlessly fascinating. You can normally find George toiling away in the huge garden at the Farm at Lareau Inn, but he’s never too busy to say hello and chat for awhile. It was during one of these impromptu chats while strolling in the garden that I got to know George and all of his gifts. A few participants and I stood in the rain for over an hour listening to his fabulous stories about the Inn, the garden and his plans for more. Despite being so accomplished, he is exceedingly humble, maybe even a little shy. He’s always thinking about how to benefit others, how to share and how to preserve nature while living off of it. I’m hoping he’ll make a visit to our August botanicals workshop with Beth Murphy to tell garden stories, but it’s difficult to tie him down to a date and time. My favorite thing about George is his watercolor diary series hanging throughout the Inn. Some small, some large, the watercolors depict Farm/Inn life with a penned story underneath. He also faithfully writes a short weekly diary page about the happenings on the Farm. This page is copied and given out to visitors at his adjoining restaurant, American Flatbread-he’s done this weekly for decades. I’m proud to say that our retreats were mentioned a few times in the weekly diary pages. Someday George plans to create a book of his watercolor diaries spanning over the years and I always tell him I’d be his first customer! You can read a lot more about George and the fascinating history of Lareau Farm.
Vermont Life There is so much to do in the Mad River Valley, you could spend the whole summer there and not do it all. At the same time, the people and the tone of the atmosphere is totally laid back and relaxing. Right on the Lareau Property are several walking trails, a mountain biking trail, and swimming hole. Just a short distance away are many places to kayak, fish, swim, climb and sit in the sun. During the week while we’re there in Waitsfield, there is a Farmers market on Saturday and Wednesday nights is a block party with music and food. The best thing about Waitsfield is that one of the top three Maple Creemee stands in the whole state of Vermont resides there, Canteen Creemee and I have the thighs to prove I’ve been there many a time! What? You’ve never had a maple creemee? You will when you visit (my treat) and you’ll crave them for the rest of your life. Also, a visit to Mad Taco for dinner before your Creemee is a must. Here is a complete list of things to do in the Mad River Valley.
Artist Community For such a small town, Mad River Valley offers a thriving artist community and the Lareau Inn is a bit of a hub for creatives. The Lareau Inn’s Historic Dairy Barn is a huge venue for summer art shows. After working hard in the studio, its a wonderful pleasure to stroll through the galleries, sipping wine while perusing the work of local artists. Just down the street is Mad River Valley Arts as well as Mad River Fiber Arts & Mill. Another unique and interesting place very close to the Inn is Bundy Gallery, which offers interesting art shows throughout the summer. This year as a special treat, I’ll be offering artist talks on Thursday evenings during all three retreats.
Healing&Bonding Many amazing things can happen on an artist retreat. I’ve traveled to Vermont every summer since 2018 and since the very moment I enter the boundaries of the state, my heart relaxes and I can breathe. The air, light and sky are so different from any place I’ve ever visited. You have to see it, feel it, to experience it. There is no place like it on earth and it unlocks the artist in me who wants to capture it all in paint. Friends who live there insist that there are fairies, forest gnomes and water spirits who inhabit the quiet nature and I can attest I have felt them. It’s the only place where I can go to a public walking trail and not see another soul for miles, if at all. Many retreat participants have come with trauma, either recent or in the distant past and between the Vermont calm and the creative retreat outlet, they are a little bit healed when they leave. One thing that can be relied upon is that bonding happens at every retreat I’ve offered at Lareau. On the first day, everyone is a stranger and by the end of it, we’re all family. Its a truly magical experience, I hope you’ll join us.
The universe has its way of giving us not so subtle hints and right now, I have nothing to do but listen. Almost a solid week of barely moving has offered the opportunity to reflect on the last year and develop ideas for change going forward in this year. Instead of making a exhaustive list of tasks I want to complete, my list is less than ten items long and for the first time in the last 30 years, it’s not all about art.
As I write this, I’m sitting in bed nursing a painful ear infection caused by one or more viruses flying through the air and I’m thinking, this is just not how I want to welcome a new year. It’s presently a pretty warm January thaw right now and if I was in good health, I would likely be kayaking, hiking, using newly learned iphone camera tricks, painting by a somewhat frozen stream, collecting rocks or any number of outdoor activities I enjoy. Instead, I’m writing a blog post and happily succeeding in finding contentment in this moment by being grateful that I have this moment.
The universe has its way of giving us not so subtle hints and right now, I have nothing to do but listen. I realize I’m always doing something. Like any teaching artist (with a total of 4 jobs), I never sit still. Even when I’m sitting still I’m writing, drawing, making lists…something. Almost a solid week of barely moving has offered the opportunity to reflect on the last year and develop ideas for change going forward in this year. Instead of making a exhaustive list of tasks I want to complete, my list is less than ten items long and for the first time in the last 30 years, it’s not all about art-its about focus, learning and change..in myself and for myself.
Doing for myself may sound selfish, but it’s not meant that way at all. When you change yourself, the way you think and present yourself, you can affect change in others.
I’m not going to share my list as some things on it are embarrassing 😉 In art related goals -my focus is work on paper, no more panels for me. I found in the last year that paper is so freeing that I want to continue with it and see what other materials I want to combine with it. There is also a big surprise I have yet to reveal to you all that you will love-going all the way back to a year ago-unfortunately, some surprises take longer than others. I’m also introducing two new product lines this year, teaching a lot more virtual classes and reaffirming a new commitment to this blog.
One good non-art related thing on my list-to revive the gratitudes I had been writing for many years. It’s amazing how a simple, daily list of written gratitudes can change the inside you. I truly noticed a difference in my outlook in the last two years since I stopped doing this and was reminded by a very smart someone that it is imperative to practice gratitude everyday. I wrote an article on my gratitudes right before the world went crazy. If you’re feeling a bit snarky, it might be worth a shot to try it, it certainly won’t hurt.
One last thing is to get out and spend quality time with more people. The last three years have made this introvert way more comfortable than I should be in saying no to social activities. Even though I travel every month to teach in other states and meet a lot of new people, I still spend a lot of that time on my own in my car or Airbnb and I’d like to change this. If I you’re on my email list, in my contacts or social media, let’s meet in person for some quality time. I’m just putting it out there. Hope to see you soon.
Thank you for reading. Like all of my posts, I do hope this one has helped you in some small way.
Using Vermont’s ever-changing light and stunningly diverse landscape as muse, this retreat experience is designed for artists interested in transitioning to an abstract encaustic painting style or advancing their abstract practice, while also developing a unique creative voice.
Treat nature by the sphere, the cylinder and the cone… Sometimes I imagine colors as if they were living ideas, being of pure reason with which to communicate. Nature is not on the surface, it is deep down. ~Paul Cezanne Image: Kelly Milukas
What Abstracting the Landscape: A Vermont Encaustic Retreat
When June 19-23, 2023
Monday 6-9pm Orientation Tuesday-Friday, 9am-4:00pm Workshop Hours Tuesday-Thursday, 6:00-9pm optional night studio hours (Scroll down for detailed daily itinerary)
Where Lareau Farm Inn, Waitsfield, Vermont
Limited to 10 participants! Level: Intermediate to Advanced $2100 includes accommodations** (See the list of available rooms below), breakfast and lunch everyday, one dinner and most workshop materials (see supply list below)
Not Interested in Lareau Inn Accommodations, breakfast or lunch? $1300 includes workshop fee and most materials (see supply list below)
Registration Instructions if staying at Lareau Inn: 1. Visit the Lareau Inn web site and choose your room. See the list below of available rooms. DO NOT book the room from the Lareau Inn web site!!! 2. Contact Lorraine via email lorraineglessnerstudio@gmail.com with the name of the room you’d like to book and for payment details.
Available Rooms at the Inn as of June, 2023
This retreat is full at the Inn. We do have one available space for the workshop only and additional accommodations are listed below.
Additional Accommodations are available at Waitsfield Inn and Featherbed Inn which are within one mile of Lareau Inn. **Please Note Although the workshop continues through Friday, you must check out of Lareau Inn on Friday morning. If you would like to stay in the area Friday evening or beyond, there are many places in the town of Waitsfield and in nearby Stowe.
Payment Payment of 50% of the workshop fee + materials + accommodations ($1050 if paying via check or Venmo, $1085 if paying via Paypal is due at the time of registration with the remaining 50% ($1050) due approximately 6 weeks before the workshop date. Please contact Lorraine for payment details.
Who A collaborative teaching venture withKelly Milukas & Lorraine Glessner (Scroll down for more about Lorraine and Leah)
Workshop Description Using Vermont’s ever-changing light and stunningly diverse landscape as muse, this retreat experience is designed for artists interested in transitioning to an abstract encaustic painting style or advancing their abstract practice, while also developing a unique creative voice. Traditional outdoor image gathering techniques are combined with guided studies exploring new ways of seeing and simplifying color, value, texture and form. Outdoor studies are then translated into encaustic paintings using comprehensive translucency, layering and color mixing techniques, which may be combined with collage and/or mixed media to make the abstract landscape your own. Considerations of our body’s connection and its direct relationship to landscape will also be discussed through journaling, readings and expressive mark-making exercises. Optional individual critiques with both instructors will be offered to all participants.
**Please note that participants should be prepared to spend time outside as well as in the studio. Any participant unable to take part in the outdoor activities are welcome to opt out and alternative indoor creative exercises will be provided.
DetailedWorkshop Itinerary
Monday 6-9pm Orientation Meet & Greet Wine, Cheese, Snacks and Smores by the Lareau Farm Fire Pit
Tuesday 9-4:00 Workshop, 6:00-9:00pm Optional Night Studio We will start the day en plein air, learning how to select a composition, rough out the values, create photo references, identify and combine forms within the landscape. Back at the studio a comprehensive discussion and demos of encaustic color mixing, color to value color matching, translucency and layering is the main focus for the afternoon. Lorraine will introduce a series of fun encaustic painting exercises designed to sharpen your encaustic color, application and layering expertise. Kelly will demonstrate mixing B &W tints, shades, and how to make value tools, and both Kelly and Lorraine will begin conducting personalized individual mentoring sessions.
Wednesday 9-4:00 Workshop, 6:00-9:00pm Optional Night Studio A deeper dive into the plein air image gathering experience to include a more complex visual area, and a further exploration of synthesizing form, value and layering color to capture mood. Continued color and value matching to amplify or mute your abstract compositions. Later, Lorraine will introduce a comprehensive talk on composition, encouraging students to think creatively, symbolically and intuitively throughout the creative process. Kelly and Lorraine will continue conducting personalized individual mentoring sessions.
Thursday 9-4:00 Workshop, 6:00-9:00pm Optional Night Studio After morning discussion, we will continue with uninterrupted work time to further explore abstracting the landscape using encaustic collage, surface manipulation, translucency, layers and mark-making to build a series that expresses your personal connection to the landscape. Take the rest of the afternoon to experiment with marks, make color studies, ask questions, request informal demos, and continue with individual discussions with Kelly and Lorraine.
Friday 9:00am-1:00pm Workshop Morning work time to complete projects, look at books, journal your thoughts and continued individual mentoring with Lorraine and Kelly. Late morning project show and tell with the group, lunch, clean up and good-byes.
What
Else?
Color relationships, composition, application, content, proportion, scale as an effective foundation for other painterly information.
Learn how to use encaustic’s strengths (layering, transparency, luminosity) to tell your story.
Mark-making exercises geared toward making simple or complex marks to generate a personal language.
The option of an Individual Consultation/Critique discussion with each instructor. Bring a piece of work, a question, a concern, a problem and discuss it with Kelly and Lorraine.
Some guided meditation time and planned hikes will relax and open your mind and spirit to the land, helping to support and nurture your unique creative voice.
A slide talk with examples of contemporary artists whose work applies the ideas and concepts discussed in the workshop is offered for inspiration.
Lots of open studio time to explore and interpret the inspiration gained from the meditations and hikes.
SCROLL DOWN TO THE END OF THIS POST TO SEE Images of student work and fun scenes from encaustic retreats at Lareau Farm Inn in 2021& 2022, student work and images from other workshops taught by Kelly and Lorraine. For more images of past Artist Retreats co-taught by Lorraine visit here, here and here. Additional blog posts related to artist retreats co-taught by Lorraine are here, here and here..
About Lareau Farm Inn & Barn Nestled on 25 acres of natural beauty, with the Mad River just steps away as well as trails for walking, hiking, mountain biking and swimming, Lareau Farm Inn and Barn is the perfect place to spark and inspire your artist vision. Our workshop studio is in the magical Event Pavilion situated to the rear of the Lareau property, offering tons of space in which to create. The quaint rooms at Lareau Inn feature antique furnishings, comfortable beds, and charming baths in a Vermont farmhouse setting with delicious farm to table dining. There is plenty of room to relax and enjoy the view in the common areas including a charming dining room, back porch and backyard fire pit. An added bonus is Peter, the sweetest farm kitty, stops by our classes everyday for a visit. Please visit Lareau Farm InnWeb Site for more images and information.
About Kelly Milukas
http://kellymilukas.com Instagram @kellymilukas Kelly Milukas, professional working and teaching artist, art & science residency collaborator, is an award-winning multi-media artist whose practice began as a sculptor and has expanded her art making include pastel and encaustic painting. Big, bold, brave color, shape and texture, define her broad and diverse subject matter. Her “Keys to Cures” have been exhibited in many venues including the International Encaustic Museum, Sante Fe, NM, her solo exhibitions at the Ronald Reagan International Forum, in Washington, DC, the Museum at Palm Beach Photographic Centre, FL, and the Regenerative Medicine Forum in Berkeley, CA. Her artwork is in national museums, international private and corporate collections, and been visible at international art fairs such as Red Dot Miami, and Boston International Art Fairs. She has served as a curator and juror, and her ability to communicate her ideas has established her as a respected and sought-after instructor and speaker in museums, arts and science forums, universities, and arts organizations. She is a juried artist member of the Salmagundi Club, the founding President Emerita and member of the South Coast Artists, RI & MA, and a past President of the Providence Art Club, the 3 rd oldest art club in the United States founded in 1880.
lorraineglessner.net Instagram @lorraineglessner1 Lorraine Glessner’s love of surface, pattern, markmaking, image and landscape has led her to combine disparate materials and processes such as silk, wood, wax, pyrography, rust, paper and more in her work. Lorraine is a former Assistant Professor at Tyler School of Art, Temple University, a workshop instructor and an award-winning artist. She holds an MFA from Tyler School of Art, Temple University, a BS from Philadelphia University, and an AAS in Computer Graphics from Moore College of Art & Design. She has a diverse art background with skills that include painting, sculpture, graphic design, interior design, textile design, photography, digital imaging and much more. Recent professional achievements include curating With Wax: Materiality & Mixed Media in Encaustic at Chester County Art Association in West Chester, PA, a Grand Prize Award from the show (re)Building, Atlantic Gallery, New York, NY and a recently appointed position as a Tier Artist at R&F Paints. Lorraine’s work is included in the recently released Encaustic Art in the 21st Century by Ashley Rooney and Nuance, a curated book by artist, Michelle Stuart. Lorraine frequently lectures and participates on academic panels at various Conferences including The International Encaustic Conference, SECAC and The College Art Association Annual Conference. Her work is exhibited locally and nationally in galleries, museums, craft centers, schools, libraries, universities, and more. Like her work, Lorraine brings to her teaching a strong interdisciplinary approach, mixed with a balance of concept, process, history, experimentation, problem solving and discovery.
Materials Included: The following list of materials is provided for the student
All encaustic paints, encaustic medium, tools and equipment
a variety of pigment sticks
Sumi ink & other misc. drawing media
Misc. drawing papers
Paper towels/rags
Extra encaustic brushes
Stencils and other textures
Misc. collage materials
Extra rice/printing papers for encaustic monoprint
What to bring: the following is a list of materials for the student to bring to the workshop (Visit Lorraine’s Amazon Store for Art Supply/Portable Art Supply Ideas)
Portable sketchbook (lay flat size 9 x 12, mixed media or sketchbook, heavy stock to withstand wet media, encaustic sketching and color matching, Strathmore 300 or 400 Mixed Media (117 lb and above) is an excellent choice)
1-2 drawing media of your choice (pencil, pastel, conte charcoal, oil pastel, Crayon, graphite, Sharpie felt pen, etc.)
4-6 wooden painting panels (your preference of 8×8, 8×10 or 10×10, but no larger or smaller, please) Other suggested substrates are: masonite (coated with encaustic gesso), Ampersand Encausticbord, MultiMedia Art Board. If you decide to bring something other than what is suggested here, it must be rigid and not coated in acrylic or acrylic gesso!!
2-4 actual OR images of your work, digital prints or phone/iPad sharing is fine
4-6 hake or hog’s bristle natural hair brushes in 1-2 inch sizes for encaustic painting (1 brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
materials for collage (fabric, papers, magazine images, photos, etc.
Optional MaterialsSmock, any encaustic paint color or pigment stick color you favor, Iwatani torch with extra butane, any tool or material for any technique that you normally employ while working with encaustic, textured objects and/or sharp ended tool for pressing into/incising/writing/drawing into wax, 1-2 inspiring books to share with the class, sweatshirt or sweater for chilly evenings and mornings, head lamp or battery operated desk lamp.
Cancellation Please note a $50 cancelation processing fee will be deducted from any refund. In the event that you need to cancel your workshop, please notify Lorraine via email. Cancelations made 30 days or more from the workshop start date will be refunded their deposit (minus $100 processing fee). Cancelations made 30 days or less from the workshop start date will be refunded their deposit (minus $100 processing fee) only if the space can be filled. If the space cannot be filled, no refund will be issued.
Workshop Image Gallery Images of student work and fun scenes from this encaustic retreat at Lareau Farm Inn in 2022, as well as student work and images from other workshops and retreats taught by Kelly and Lorraine. For more images of past Artist Retreats co-taught by Lorraine visit here, here and here. Additional blog posts related to artist retreats co-taught by Lorraine are here, here and here.. Image Credit: Kelly Milukas & Lorraine Glessner
If you have always wanted to combine flowers, botanicals and other natural mixed media into your encaustic paintings, then this is the retreat for you! Working on both paper and fabric, we will experiment with pressed botanicals, various eco-printing techniques, photo transfer and in depth encaustic collage processes.
All of my life-so far I have loved best how the flowers rise and open, how the pink lungs of their bodies enter the fire of the world and stand there shining and willing- -Mary Oiver
What Flowers, Botanicals, Natural Processes & Materials: A Vermont Encaustic Retreat
When August 14-18, 2023
Monday 7-9pm Orientation Tuesday-Friday, 9am-4:00pm Workshop Hours Tuesday-Thursday, 6:00-9pm optional night studio hours (Scroll down for detailed daily itinerary)
Where Lareau Farm Inn, Waitsfield, Vermont
Limited to 10 participants! Level: Intermediate to Advanced $2100 includes accommodations** (See the list of available rooms below), breakfast and lunch everyday, one dinner and most workshop materials (see supply list below)
Not Interested in Lareau Inn Accommodations, breakfast or lunch? $1300 includes workshop fee and most materials (see supply list below)
Registration Instructions if staying at Lareau Inn: 1. Visit the Lareau Inn web site and choose your room. See the list below of available rooms. DO NOT book the room from the Lareau Inn web site!!! 2. Contact Lorraine via email lorraineglessnerstudio@gmail.com with the name of the room you’d like to book and for payment details.
Available Rooms at the Inn as of June, 2023
We are FULL at the Lareau Inn for this retreat. Please email Lorraine to be added to the waitlist.
Additional Accommodations are available at Waitsfield Inn and Featherbed Inn which are within one mile of Lareau Inn. **Please Note Although the workshop continues through Friday afternoon, you must check out of Lareau Inn on Friday morning. If you would like to stay in the area Friday evening or beyond, there are many places in the town of Waitsfield and in nearby Stowe.
Payment Payment of 50% of the workshop fee + materials + accommodations ($1050 if paying via check or Venmo, $1085 if paying via Paypal is due at the time of registration with the remaining 50% ($1050) due approximately 6 weeks before the workshop date. Please contact Lorraine for payment details.
Who A collaborative teaching venture with Beth Murphy & Lorraine Glessner (Scroll down for more about Lorraine and Beth)
Workshop Description If you have always wanted to combine flowers, botanicals and other natural mixed media into your encaustic paintings, then this is the retreat for you! Utilizing the gorgeously cultivated flower and vegetable garden, wildflower meadow and lush forest at Lareau Farm to study and forage, we will explore the myriad ways to use natural materials and processes in combination with encaustic. Working on both paper and fabric, we will experiment with pressed botanicals, various eco-printing techniques, photo transfer and in depth encaustic collage processes. Bridging the gap between art and craft, content and creation, participants are encouraged to develop a personal vocabulary by applying these new techniques to their current ideas and methodologies. Optional individual critiques with both Beth and Lorraine are offered to all participants.
**Please note that participants should be prepared to spend time outside as well as in the studio. Any participant unable to take part in the outdoor activities are welcome to opt out and alternative indoor creative exercises will be provided.
DetailedWorkshop Itinerary
Monday 7-9pm Orientation Meet & Greet Wine and Smores by the Lareau Farm Fire Pit
Tuesday 9-4:00 Workshop, 6:00-9:00pm Optional Night Studio We will begin this exciting day of exploration, learning and gathering with a walk through the garden and wildflower meadow where Beth will discuss the differences in flowers, propagation and what works best for the pressed flower process. Beth will also lead us in a series of journaling exercises designed to clarify the structure of flowers and plants into simple elements, such as movement, color, texture and form . Back at the studio, Beth will share her process for pressing flowers and botanicals through her personal sketchbooks and garden journals. Later in the afternoon, Lorraine will lead an eco-printing, rust printing and flower pounding demonstration on paper and fabric. The rest of the afternoon is devoted to finishing garden journal entries and experimenting with the new printing techniques. Beth and Lorraine will begin conducting personalized individual mentoring sessions.
Wednesday 9-4:00 Workshop, 6:00-9:00pm Optional Night Studio After a brief morning discussion, Lorraine will demonstrate basic encaustic collage and drawing with horsehair. Spend the rest of the morning experimenting with eco-printing processes and using encaustic, begin to layer these papers and fabrics with pressed botanicals, photo transfers and mixed media collage items. After lunch, we will continue with uninterrupted work time working toward a series on paper or panel using layers of encaustic collage, painting and printing. Individual discussions with Lorraine & Beth will continue.
Thursday 9-4:00 Workshop, 6:00-9:00pm Optional Night Studio After our morning discussion, we will continue with uninterrupted work time to further explore the layering and printing of natural materials in combination with encaustic, collage and mark-making to build a series that expresses your personal connection to plants, flowers and the landscape at large. Take the rest of the afternoon to experiment with marks, make color studies, ask questions, request informal demos, and continue with individual discussions with Beth and Lorraine.
Friday 9:00am-1:00pm Workshop Morning work time to complete projects, look at books, journal your thoughts and continued individual mentoring with Beth and Lorraine. Late morning project show and tell with the group, lunch, clean up and good-byes.
What
Else?
Color relationships, composition, application, content, proportion, scale as an effective foundation for other painterly information.
Learn how to use encaustic’s strengths (layering, transparency, luminosity) to tell your story.
Mark-making exercises geared toward making simple or complex marks to generate a personal language.
The option of an Individual Consultation/Critique discussion with each instructor. Bring a piece of work, a question, a concern, a problem and discuss it with Beth and Lorraine.
Guided meditation time and planned hikes will relax and open your mind and spirit to the land, helping to support and nurture your unique creative voice.
A slide talk with examples of contemporary artists whose work applies the ideas and concepts discussed in the workshop is offered for inspiration.
Lots of open studio time to explore and interpret the inspiration gained from the meditations and hikes.
SCROLL DOWN TO THE END OF THIS POST TO SEE Images of student work and fun scenes from encaustic retreats at Lareau Farm Inn in 2021& 2022, student work and images from other workshops taught by Beth and Lorraine. For more images of past Artist Retreats co-taught by Lorraine visit here, here and here. Additional blog posts related to artist retreats co-taught by Lorraine are here, here and here..
About Lareau Farm Inn & Barn Nestled on 25 acres of natural beauty, with the Mad River just steps away as well as trails for walking, hiking, mountain biking and swimming, Lareau Farm Inn and Barn is the perfect place to spark and inspire your artist vision. Our workshop studio is in the magical Event Pavilion situated to the rear of the Lareau property, offering tons of space in which to create. The quaint rooms at Lareau Inn feature antique furnishings, comfortable beds, and charming baths in a Vermont farmhouse setting with delicious farm to table dining. There is plenty of room to relax and enjoy the view in the common areas including a charming dining room, back porch and backyard fire pit. An added bonus is Peter, the sweetest farm kitty, stops by our classes everyday for a visit. Please visit Lareau Farm InnWeb Site for more images and information.
About Beth Murphy
https://www.bethmurphybotanicals.com/#/ Instagram @bethmurphybotanicals Beth Murphy’s mixed media collages are fine art that is both familiar and modern. Designs utilize the texture, form, color and movement of each pressed flower and leaf. “I want to share the serenity I feel while creating my collages with others, and pull you into the peace, flow, mystery and magic that nature offers.” Being a forever admirer of nature and all it supplies us with, it is no surprise that I was led to work with pressed botanicals as my medium. Flower petals, stems, leaves, grasses even some vegetables make their way into my presses to yield one surprise after the other. I work these amazing colors, shapes and textures into mixed media collages where paints (acrylic or watercolor) and hand printed papers are used to accent the organic beauty. My hope is that these works allow you to experience nature in a new way as well as opening up to the use of botanical materials as an art medium. My artwork is created in my Vermont studio and incorporates the flora and reflects the landscapes of New England, the Midwest and the Mid-Atlantic. I cannot over stress the relaxation and peace that is achieved while working with organic materials.
lorraineglessner.net Instagram @lorraineglessner1 Lorraine Glessner’s love of surface, pattern, markmaking, image and landscape has led her to combine disparate materials and processes such as silk, wood, wax, pyrography, rust, paper and more in her work. Lorraine is a former Assistant Professor at Tyler School of Art, Temple University, a workshop instructor and an award-winning artist. She holds an MFA from Tyler School of Art, Temple University, a BS from Philadelphia University, and an AAS in Computer Graphics from Moore College of Art & Design. She has a diverse art background with skills that include painting, sculpture, graphic design, interior design, textile design, photography, digital imaging and much more. Recent professional achievements include curating With Wax: Materiality & Mixed Media in Encaustic at Chester County Art Association in West Chester, PA, a Grand Prize Award from the show (re)Building, Atlantic Gallery, New York, NY and a recently appointed position as a Tier Artist at R&F Paints. Lorraine’s work is included in the recently released Encaustic Art in the 21st Century by Ashley Rooney and Nuance, a curated book by artist, Michelle Stuart. Lorraine frequently lectures and participates on academic panels at various Conferences including The International Encaustic Conference, SECAC and The College Art Association Annual Conference. Her work is exhibited locally and nationally in galleries, museums, craft centers, schools, libraries, universities, and more. Like her work, Lorraine brings to her teaching a strong interdisciplinary approach, mixed with a balance of concept, process, history, experimentation, problem solving and discovery.
Materials Included: The following list of materials is provided for the student
All encaustic paints, encaustic medium, tools and equipment
a variety of pigment sticks
Sumi ink & other misc. drawing media
Misc. drawing papers
Paper towels/rags
Extra encaustic brushes
Stencils and other textures
Misc. collage materials
Pressed flowers and botanicals
Silk Fabric
Pyrography tools
Carbon copies for photo transfer
What to bring: the following is a list of materials for the student to bring to the workshop (Visit Lorraine’s Amazon Store for Art Supply/Portable Art Supply Ideas)
Portable watercolor sketchbook (lay flat, size 9 x 12 or 11×14, mixed media or watercolor sketchbook, heavy stock to withstand wet media, encaustic sketching-at least 117 lb or above)
1-2 drawing media of your choice (pencil, pastel, conte charcoal, oil pastel, Crayon, graphite, Sharpie felt pen, etc.)
Closed toe shoes for safety in the studio
2-4 actual OR images of your work, digital prints or phone/iPad sharing is fine
4-6 hake or hog’s bristle natural hair brushes in 1-2 inch sizes for encaustic painting (1 brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
materials for collage (fabric, papers, magazine images, photos, etc.)
Pressed botanicals or flowers (only if you have them!) Beth has a huge stash she is generously sharing with the class.
4-6 wooden painting panels (your preference of 8×8 or 10×10 or 12×12, but no larger or smaller, please) Other suggested substrates are: masonite (coated with encaustic gesso), Ampersand Encausticbord, MultiMedia Art Board. If you decide to bring something other than what is suggested here, it must be rigid and not coated in acrylic or acrylic gesso!!
Cancellation Please note a $50 cancelation processing fee will be deducted from any refund. In the event that you need to cancel your workshop, please notify Lorraine via email. Cancelations made 30 days or more from the workshop start date will be refunded their deposit (minus $100 processing fee). Cancelations made 30 days or less from the workshop start date will be refunded their deposit (minus $100 processing fee) only if the space can be filled. If the space cannot be filled, no refund will be issued.
Workshop Image Gallery Images of student work and fun scenes from previous encaustic retreats at Lareau Farm Inn in 2021/2022, as well as student work and images from other workshops and retreats taught by Beth and Lorraine. For more images of additional Artist Retreats co-taught by Lorraine visit here, here and here. Additional blog posts related to artist retreats co-taught by Lorraine are here, here and here.. Image Credit: Beth Murphy & Lorraine Glessner
In response to the recent pandemic, some artists had to adapt to smaller spaces, modify their painting media or change their work content completely. As a result of these changes, many artists turned to the simplicity of working on paper. This workshop explores the immediacy and process-diverse technique of encaustic mono-printing in combination with the written word.
Read about some of the things Cynthia and I have planned for this retreat in her latest blog post.
Lifting a brush, a burin, a pen, or a stylus is like releasing a bite or lifting a claw. -Gary Snyder
What The Vermont Landscape as Muse: Encaustic on Paper & the Written Word
When July 24-28, 2023
Monday 7-9pm Orientation Tuesday-Friday, 9am-4:00pm Workshop Hours Tuesday-Thursday, 6:00-9pm optional night studio hours (Scroll down for detailed daily itinerary)
Where Lareau Farm Inn, Waitsfield, Vermont
Limited to 10 participants! Level: Intermediate to Advanced $2100 includes accommodations** (See the list of available rooms below), breakfast and lunch everyday, one dinner and most workshop materials (see supply list below)
Not Interested in Lareau Inn Accommodations, breakfast or lunch? $1300 includes workshop fee and most materials (see supply list below)
Registration Instructions if staying at Lareau Inn: 1. Visit the Lareau Inn web site and choose your room. See the list below of available rooms. DO NOT book the room from the Lareau Inn web site!!! 2. Contact Lorraine via email lorraineglessnerstudio@gmail.com with the name of the room you’d like to book and for payment details.
Additional Accommodations are available at Waitsfield Inn and Featherbed Inn which are within one mile of Lareau Inn. **Please Note Although the workshop continues through Friday afternoon, you must check out of Lareau Inn on Friday morning. If you would like to stay in the area Friday evening or beyond, there are many places in the town of Waitsfield and in nearby Stowe.
Payment Payment of 50% of the workshop fee + materials + accommodations ($1050 if paying via check or Venmo, $1085 if paying via Paypal is due at the time of registration with the remaining 50% ($1050) due approximately 6 weeks before the workshop date. Please contact Lorraine for payment details.
Who A collaborative teaching venture with Cynthia Morris & Lorraine Glessner (Scroll down for more about Lorraine and Cynthia)
Workshop Description In response to the recent pandemic, some artists had to adapt to smaller spaces, modify their painting media or change their work content entirely. As a result of these changes, many artists turned to the simplicity of working on paper. This workshop explores the immediacy and process-diverse technique of encaustic mono-printing in combination with the written word. Mapping, journaling and image gathering provide the inspiration to develop ideas and areas of focus for series based work. Exploring the widely varied Vermont landscape, we will use our body’s sensory connection and it’s direct relationship to the landscape to explore our personal artistic voice. Through journaling, readings and expressive mark-making exercises, we will access layers of the self and apply that to the page. Optional individual critiques with both Cynthia and Lorraine are offered to all participants.
**Please note that participants should be prepared to spend time outside as well as in the studio. Any participant unable to take part in the outdoor activities are welcome to opt out and alternative indoor creative exercises will be provided.
DetailedWorkshop Itinerary
Monday 7-9pm Orientation Meet & Greet Wine and Smores by the Lareau Farm Fire Pit
Tuesday 9-4:00 Workshop, 6:00-9:00pm Optional Night Studio We will begin by seeking our muse through a short walk, taking in the various areas of Lareau Farm- river, meadow, forest and garden-pausing periodically to write and meditate. During this walk, Cynthia will lead us in several multi-sensory journaling/writing exercises and walking meditations designed to capture, gather and convert our experiences into written expression. After lunch, Lorraine will demonstrate basic encaustic mono-printing, including a discussion of paper and tools. The rest of the afternoon is devoted to experimenting with this process and combining it with the sketches and writings from our hike, free painting time and/or more inspiration gathering. . Cynthia and Lorraine will begin conducting personalized individual mentoring sessions.
Wednesday 9-4:00 Workshop, 6:00-9:00pm Optional Night Studio We will take a deeper dive into both writing and encaustic work on paper, making connections to writing and imagery with morning writing exercises and mark-making, including a brief discussion of interesting mark making products suitable for encaustic. Later, Lorraine will demonstrate basic collage to further enhance your works on paper. We will continue with uninterrupted work time for refining drawings, writing, painting, working toward a series and individual discussions with Lorraine & Cynthia.
Thursday 9-4:00 Workshop, 6:00-9:00pm Optional Night Studio After morning discussion, we will continue with uninterrupted work time to further explore writing/journaling, paper, encaustic mono-printing, translucency, collage and mark-making to build a series that expresses your personal connection to the landscape. After a brief discussion on mounting encaustic work on paper, take the rest of the afternoon to experiment with marks, make color studies, ask questions, request informal demos, and continue with individual discussions with Cynthia and Lorraine.
Friday 9:00am-1:00pm Workshop Morning work time to complete projects, look at books, journal your thoughts and continued individual mentoring with Cynthia and Lorraine. Late morning project show and tell with the group, lunch, clean up and good-byes.
What
Else?
Color relationships, composition, application, content, proportion, scale as an effective foundation for other painterly information.
Learn how to use encaustic’s strengths (layering, transparency, luminosity) to tell your story.
Mark-making exercises geared toward making simple or complex marks to generate a personal language.
The option of an Individual Consultation/Critique discussion with each instructor. Bring a piece of work, a question, a concern, a problem and discuss it with Cynthia and Lorraine.
Guided meditation time and planned hikes will relax and open your mind and spirit to the land, helping to support and nurture your unique creative voice.
A slide talk with examples of contemporary artists whose work applies the ideas and concepts discussed in the workshop is offered for inspiration.
Lots of open studio time to explore and interpret the inspiration gained from the meditations and hikes.
SCROLL DOWN TO THE END OF THIS POST TO SEE Images of student work and fun scenes from encaustic retreats at Lareau Farm Inn in 2021& 2022, student work and images from other workshops taught by Cynthia and Lorraine. For more images of past Artist Retreats co-taught by Lorraine visit here, here and here. Additional blog posts related to artist retreats co-taught by Lorraine are here, here and here..
About Lareau Farm Inn & Barn Nestled on 25 acres of natural beauty, with the Mad River just steps away as well as trails for walking, hiking, mountain biking and swimming, Lareau Farm Inn and Barn is the perfect place to spark and inspire your artist vision. Our workshop studio is in the magical Event Pavilion situated to the rear of the Lareau property, offering tons of space in which to create. The quaint rooms at Lareau Inn feature antique furnishings, comfortable beds, and charming baths in a Vermont farmhouse setting with delicious farm to table dining. There is plenty of room to relax and enjoy the view in the common areas including a charming dining room, back porch and backyard fire pit. An added bonus is Peter, the sweetest farm kitty, stops by our classes everyday for a visit. Please visit Lareau Farm InnWeb Site for more images and information.
About Cynthia Morris
http://orginalimpulse.com Instagram @cynthiamorris Cynthia Morris is an acclaimed creativity coach, author and artist living in Denver, Colorado. Believing that we all have the impulse to create, she coaches writers, artists and entrepreneurs to make their creative dreams an exciting reality. Through her company Original Impulse, Cynthia leads workshops in the US and Europe. Author of the Paris novel Chasing Sylvia Beach and the how-to guide The Busy Woman’s Guide to Writing a World-Changing Book, Cynthia has also published several e-books on creative travel such as Visit Paris Like an Artist. Her newsletter, Impulses, has been published since 2001, inspiring people across the globe to be more creatively expressed. Cynthia’s personal library of illustrated journals are bursting with color, drawings, and snippets of life both on the road and at home in Colorado. Her pages show how to see familiar and faraway places with new eyes. Cynthia’s journal process led her to a path as an illustrator. She’s the creator of Writual Blessings, a colorful deck of affirmations for writers. Cynthia illustrated the book, How to Sell Your Art Online (Harper Design, 2016) by Cory Huff. She creates lovely watercolor illustrations and whimsical drawings that illuminate the sweetness and depth in everyday objects. Cynthia teaches creativity workshops Magical Journey, Magical Journal, Paris Sketchbook and Drawing As Meditation. They all offer a way to slow down and savor even the smallest details of life around us. A sought-after speaker, guest writer and podcast guest, Cynthia believes that our creativity is the source of our vitality. Her art, writing and teaching inspire others to relish their own creative impulse on a daily basis.
Visit Cynthia’s website link above for more images of her work.
About Lorraine Glessner
lorraineglessner.net Instagram @lorraineglessner1 Lorraine Glessner’s love of surface, pattern, markmaking, image and landscape has led her to combine disparate materials and processes such as silk, wood, wax, pyrography, rust, paper and more in her work. Lorraine is a former Assistant Professor at Tyler School of Art, Temple University, a workshop instructor and an award-winning artist. She holds an MFA from Tyler School of Art, Temple University, a BS from Philadelphia University, and an AAS in Computer Graphics from Moore College of Art & Design. She has a diverse art background with skills that include painting, sculpture, graphic design, interior design, textile design, photography, digital imaging and much more. Recent professional achievements include curating With Wax: Materiality & Mixed Media in Encaustic at Chester County Art Association in West Chester, PA, a Grand Prize Award from the show (re)Building, Atlantic Gallery, New York, NY and a recently appointed position as a Tier Artist at R&F Paints. Lorraine’s work is included in the recently released Encaustic Art in the 21st Century by Ashley Rooney and Nuance, a curated book by artist, Michelle Stuart. Lorraine frequently lectures and participates on academic panels at various Conferences including The International Encaustic Conference, SECAC and The College Art Association Annual Conference. Her work is exhibited locally and nationally in galleries, museums, craft centers, schools, libraries, universities, and more. Like her work, Lorraine brings to her teaching a strong interdisciplinary approach, mixed with a balance of concept, process, history, experimentation, problem solving and discovery.
Materials Included: The following list of materials is provided for the student
All encaustic paints, encaustic medium, tools and equipment
a variety of pigment sticks
Sumi ink & other misc. drawing media
Misc. drawing papers
Paper towels/rags
Extra encaustic brushes
Stencils and other textures
Misc. collage materials
Extra rice/printing papers for encaustic monoprint
A limited selection of encaustic mono-printing tools
What to bring: the following is a list of materials for the student to bring to the workshop (Visit Lorraine’s Amazon Store for Art Supply/Portable Art Supply Ideas)
Portable watercolor sketchbook (lay flat, size 9 x 12 or 11×14, mixed media or watercolor sketchbook, heavy stock to withstand wet media, encaustic sketching-at least 117 lb or above)
1-2 drawing media of your choice (pencil, pastel, conte charcoal, oil pastel, Crayon, graphite, Sharpie felt pen, etc.)
Additional absorbent papers for encaustic monoprinting (mulberry, masa, other printing papers (Lauren at Paper Connection can recommend some excellent printing papers if you’re feeling adventurous OR Arches Oil Paper)
Closed toe shoes for safety in the studio
2-4 actual OR images of your work, digital prints or phone/iPad sharing is fine
4-6 hake or hog’s bristle natural hair brushes in 1-2 inch sizes for encaustic painting (1 brush will be designated your medium brush, so it must be free of color if you are bringing used brushes)
materials for collage (fabric, papers, magazine images, photos, etc.)
stencils or objects with open and closed areas
Optional Materials Smock, any encaustic paint color or pigment stick color you favor, Iwatani torch with extra butane, basic pyrography set, any tool or material for any technique that you normally employ while working with encaustic, textured objects and/or sharp ended tool for pressing into/incising/writing/drawing into wax, flat edge Catalyst wedge, silicone tipped clay tools or Catalyst tools, 1-2 inspiring books to share with the class, sweatshirt or sweater for chilly evenings and mornings, head lamp or battery operated desk lamp, 1-2 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) Other suggested substrates are: masonite (coated with encaustic gesso), Ampersand Encausticbord, MultiMedia Art Board. If you decide to bring something other than what is suggested here, it must be rigid and not coated in acrylic or acrylic gesso!!
Cancellation Please note a $50 cancelation processing fee will be deducted from any refund. In the event that you need to cancel your workshop, please notify Lorraine via email. Cancelations made 30 days or more from the workshop start date will be refunded their deposit (minus $100 processing fee). Cancelations made 30 days or less from the workshop start date will be refunded their deposit (minus $100 processing fee) only if the space can be filled. If the space cannot be filled, no refund will be issued.
Workshop Image Gallery Images of student work and fun scenes from previous encaustic retreats at Lareau Farm Inn in 2021/2022, as well as student work and images from other workshops and retreats taught by Cynthia and Lorraine. For more images of additional Artist Retreats co-taught by Lorraine visit here, here and here. Additional blog posts related to artist retreats co-taught by Lorraine are here, here and here.. Image Credit: Cynthia Morris & Lorraine Glessner
I may have jumped the gun when I introduced what I thought was the complete line-up of included artists in this show. I’m so pleased to announce two new additions, Deborah Kapoor and Cari Hernandez.
Title Image: Deborah Kapoor
We are in the home stretch for installation of With Wax, my curated show at the Chester County Art Association coming up in the first week of September! I can’t believe it, it’s been almost a year in planning. Please read my first article about this show, which includes images and statements from the eight other artists, as well as my curators statement.
I may have jumped the gun when I introduced what I thought was the complete line-up of included artists in this show. I’m so pleased to announce two new additions, Deborah Kapoor and Cari Hernandez. I have long been a fan of both of these artists…first, because they are amazing women and second, they have consistently made work that is always innovative, inspired and engaging for the many years that I have known them.
With the addition of Deborah’s and Cari’s work, the line-up of artists is finally complete. Please note that the images included in this article may/may not be work that will be included in the show.
I do hope to see some of you at the opening when I will be presenting an interactive encaustic demonstration. If you can’t make it to the opening, I hope you will come by and see the show, it’ll be up through September.
With Wax: Materiality & Mixed Media in Encaustic September 8-30, 2022 Opening Reception & Encaustic Demonstration, September 8, 6-8 pm Chester County Art Association, West Chester, Pennsylvania Website
Deborah Kapoor – Washington, USA I am inspired by cultural markers related to spaces the body inhabits. Universal themes I traverse include embodiment, destruction, renewal, legacy, perseverance, spirituality, and the space language and architecture occupy — with a particular interest in the vulnerable. My work is process-oriented, often beginning with a piece of fabric or paper, adding threads, ephemera, paint and markmaking — to create haptic, dimensional wall pieces, sculptural objects and installations There is an inherent intimacy in what I make, no matter the scale. My attention lingers in the liminal, making connections between states of being and the need for belonging at a time when there is a poverty of empathy in our global community.
Cari Hernandez – California, USA Her work combines rich color fields in conjunction with an elegant layering of line and pattern creating a developed depth of interest in each painting whereby the human experience is woven into her rich layers of material, creating a historical record for exploration. When working with other mediums such as oil or fiber, her focus continues to be centered on color study, shape, and form. She is endlessly inspired by her natural environment of the ocean, mountains, and wildlife that surround her in Sonoma County. The sculptural work in this show is from a series I have been working on for the past decade, exploring the notion of thought, and how the strands of ideas might intertwine in/out of our reality.
Art Bite Blog 