From May to August, I taught eight different workshops in eight different states, from big cites to remote locations where I barely got a cell signal. My favorite thing to do at the end of each teaching day is to treat myself to a walk around the town where I’m teaching and I almost always find something to inspire me. I take pictures of anything that attracts me during these walks and then organize them into folders, which I look at later for inspiration. Always attracted to line in everything I see, I put together this small, but strong, collection from my walks.
While my advanced encaustic class at Arrowmont was outside doing their morning drawing exercises, I noticed these amazing colorations on the kiln just outside of my classroom. I became totally obsessed with capturing the subtle changes, exciting contrasts and marks on and between the bricks as well as the placement of the gridded pattern and some of the interesting sculptural moments. I see something different in each image.
ONLY A SHORT TIME AND A FEW SPOTS LEFT TO SIGN UP!!
September 29-October 2
@ Jeff Hirst’s Studio in the Bridgeport neighborhood of Chicago
$600 + $65 materials fee
WORKSHOP WEB SITE
Contact: Jeff Hirst, firstname.lastname@example.org
Student work from Tyler School of Art and various encaustic workshops similar in content to this one.
Rebecca Solnit writes, ‘Cities have always offered anonymity, variety and conjunction, qualities best basked in by walking… A city always contains more than inhabitant can know, and a great city always makes the unknown and the possible spurs to the imagination.’ This workshop begins with a walking tour of Chicago’s Bridgeport section and the area around the Bridgeport Art Center, in which participants will mine the streets through listening, mapping, touching and collecting raw and image based materials from which to work. Working with fabric, wood and paper, participants will experiment with innovative materials, drawing and marks to depict the spirit and essence of the urban environment while also developing a personal artistic voice. Layers of screen printing under and on top of encaustic, rust/copper printing, branding and considerations of the use of the grid as a conceptual as well as compositional tool will also be discussed. Optional individual critiques with both instructors will be offered to all participants.
I’m so excited to teach this class for the first time at the Kimball Art Center in Park City, Utah!
This workshop combines all of my favorite things: encaustic, photography, landscape and narrative. We will first spend some time photographing the fabulous eclectic town of Park City and lovely surrounding mountain landscape. Then, back at the studio, we will translate these images into narratives using markmaking, collage and encaustic. We will also discuss different types of conceptual vs. journalistic narrative, composition and painting considerations. For the full workshop description and registration details, please visit the workshop web site. To see some of my photographic explorations and narrative encaustic paintings, please follow me on instagram.
There are still a few spots left in this workshop and only a few weeks left to sign up!
Enjoy some student work highlights from my Encaustic Conference Workshop, Encaustic Pattern & Repetition and my workshop at Society for Contemporary Craft, Encaustic Pattern & Line.
Off to the lovely land of Cullowhee Mountain Arts in North Carolina next week to teach Encaustic Pattern & Line. There are some spots left and still some time to sign up!
Part 2 of my dune hike inspiration is also focused on Herring Cove Beach where the parking lot is slowly sinking into the sea. I have no idea what happened here, but it was probably the result of protective dunes being washed away by a storm. It was a cloudy day with strong wind and currents, which made the sea look even angrier and the asphalt appear malleable and as black as lava. The contrast of the lead gray sky, dark water, white foam and black asphalt is truly brilliant, not to mention the painted white parking outline and the bright yellow barriers which added a touch of reality to a seriously surreal scene. It’s devastating to look at, but there is true beauty in this vulnerability and in the intense power of nature.
Last week I was in gorgeous Provincetown, Cape Cod for the 10th International Encaustic Conference. I had three whole days to kill between the conference festivities and the post conference workshop I was teaching, so I went on a 6 mile hike adventure in the dunes by Herring Cove Beach.
When I hike, I take pictures with my phone of anything that strikes me, usually landscape-y kinds of things. But on this trip, there were two areas that stuck with me that I couldn’t stop photographing.
The first were these little found drawings of rose petals (roses grow wild on Cape Cod) and other natural detritus. As I walked, I was struck by how interestingly balanced were the compositions and materials in these little vignettes and all of them naturally shaped by the wind. All of the images shown here are exactly how I found them, I didn’t change them in any way. They will likely somehow find their way into paintings.
Stay tuned for next week’s post for the second group of images.
Below are links to the artists work and videos which were included or referenced in my talk, Materials, Methods & Process, presented at the Tenth International Encaustic Conference this weekend in beautiful Provincetown, MA.
Many thanks to the wonderful people who attended the lecture and participated in the lively discussion afterward. I am grateful for all of you.
To understand what is meant by the word process is simply to define it and and then apply this definition to the making of art.
Process is simply defined as a series of actions and artists who use process in their work seem to posses a strong sense of connection to their materials. Despite this connection, there always remains a struggle over control between the maker and the material. It is within this struggle and acquiescence, that, In some cases may serve as a catalyst for new discoveries. One reason is that process eliminates the burden of decision making and over thinking the work, therefore allowing the artist to move freely within simple confines to explore the inherent properties of their materials in new and exciting ways.
Part I: Process & The Single Act
Part II: Process & Rules: A Blend of Art & Science
Part III: Process & Collection
When you repeat an action again and again, you produce an effect of certainty or security in the viewers mind. You are not trying discover something or convince yourself. You’re dealing with certainty then as a formal concern and that soothes the viewer.
ENCAUSTIC MIXED MEDIA: PATTERN & LINE
July 3- 8
Cullowhee Mountain Arts
Western Carolina University
WORKSHOP WEB SITE
This was such a fun workshop last year with excellent facilities and a dynamic environment with additional painting and writing workshops going on simultaneously, there is so much to do and learn in one week. I’m so looking forward to returning to this beautiful campus again this year.
Work from last year’s Pattern & Line workshops.
Five days allows intensive time for critique, learning, applying and expanding on your current work to not only learn valuable techniques, but to grow exponentially as an artist.
The repeated use of a shape, color or design element unifies composition, creates pattern, rhythm and movement as well as reinforces content. Lines lead the eye and communicate information through variation in width, direction, density, length and character. T his workshop focuses on the creation of intricate patterns, expressive personal surfaces and complex, multi-layered pieces utilizing and in combination with encaustic painting techniques. With an emphasis on mixed media, methods and materials covered in this workshop include the use of organic and geometric form, realistic and abstract imagery, patterned collage, stencils, drawing with horse hair, branding (creating marks with heated metal and wood burning tools) as well as creating your own grids, laces and lacelike forms using free motion sewing machine embroidery on water soluble stabilizer . Considerations such as using pattern and repetition as content itself, to tell a story, support and/or strengthen the content message will also be discussed. Most encaustic supplies/equipment and a sewing machine will be included for class use.
I participated in my first Chester County Studio Tour last weekend and it was a blast! Despite the rain, there was steady traffic of art enthusiasts, collectors, friends (old and new) and just nice, interested people.
I keep thinking about one collector who came in with her friends and while they were very talkative, she was so quiet and just kept staring at the painting shown above, Every Flower Has a Silver Cloud. I began talking with her and she shared with me that she had suffered a painful loss and the line of ovals in the painting combined with the imagery seemed to symbolize the before and after of her life after that loss. In turn, I shared with her a painful loss that had taken place in my life and that my work often consists of contrasting imagery which marks that event and the growth that often takes place after one experiences such an event.
I am so pleased that the painting touched her in such a deeply personal way and that it will now be a part of her collection, always reminding her of her strength and continued growth. I have had conversations like this with other collectors and it is always so good to know that there is a reason why I am making this work and that it does affect and help others in positive ways as I hope it will.
I am so grateful to Jeff Schaller for the opportunity to camp out on his lawn and show my work during this wonderful event!