My Vermont Encaustic Retreats: 12 More Reasons to Join Us This Summer

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 and I’m so excited to teach this year with returning instructor, Kelly Milukas and two new instructors, Cynthia Morris and Beth Murphy. I’m thrilled to say that now in the third 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.

There are a few spaces still available in each of the following retreats listed here…Abstracting the Landscape in Encaustic, co-teaching with artist, Kelly Milukas and Encaustic on Paper and the Written Word, co-teaching with writer, Cynthia Morris and Encaustic w/ Flowers, Botanicals & Natural Processes, co-teaching with pressed flower artist, Beth Murphy.

If you’re on the fence about registering for a retreat, hop on over that pesky thing and join us!

  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.

New Year, New Goals

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.

Abstracting the Landscape: A Vermont Encaustic Retreat

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 February, 2023

Beauty

Compassion

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.

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

Who A collaborative teaching venture with Kelly 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.

Detailed Workshop 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 herehere and here. Additional blog posts related to artist retreats co-taught by Lorraine are herehere and here..

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

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 Inn Web 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.


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.

Workshop Supplies & Materials

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.)
  • Tombow 56171 Dual Brush Pen Art Markers, Grayscale, 10-Pack. Blendable, Brush and Fine Tip Markers **a workshop must have!**
  • Portable gouache or watercolor drawing media of your choice for plein air (make sure you have black watercolor and/or black and white gouache)
  • Water brush (1/2 to 1 inch flats to paint simple shapes)
  • Low tack masking tape
  • Absorbent papers for encaustic monoprinting (rice, masa, other printing papers)
  • Closed toe shoes for safety in the studio
  • flat edge Catalyst wedge for mixing color palettes **a workshop must have!**
  • 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 Materials Smock, 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.

Hiking Equipment Recommendations

  • Sturdy hiking shoes/boots
  • Small waterproof cushion or portable chair
  • Butt pack or small backpack
  • Comfortable clothing
  • Light rainwear
  • Hat
  • Water bottle
  • For art supply/portable art supply/hiking or travel ideas, visit Lorraine’s Amazon Store

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.

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

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 herehere and here. Additional blog posts related to artist retreats co-taught by Lorraine are herehere and here..

Image Credit: Kelly Milukas & Lorraine Glessner

Flowers, Botanicals, Natural Processes & Materials: A Vermont Encaustic Retreat

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 January, 2023

Respect

Wonder

Beauty

Kindness

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.

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

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.

Detailed Workshop 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..

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

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 Inn Web 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. 


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.


Workshop Supplies & Materials

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
  • Dried, 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)

  • Small, portable watercolor set with water brush
  • 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!!
  • Optional Materials Smock, any encaustic paint color or pigment stick color you favor, Iwatani torch with extra butanebasic 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.

Hiking Equipment Recommendations

  • Sturdy hiking shoes/boots
  • Small waterproof cushion or portable chair
  • Butt pack or small backpack
  • Comfortable clothing
  • Light rainwear
  • Hat
  • Water bottle
  • For art supply/portable art supply/hiking or travel ideas, visit Lorraine’s Amazon Store

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.

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

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

The Vermont Landscape as Muse: Encaustic on Paper & the Written Word

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.

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.

Available Rooms at the Inn as of January, 2023

Respect

Gratefulness

Beauty

Kindness

Compassion

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.

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

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.

Detailed Workshop 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 and bookmaking 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, book-making, 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..

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

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 Inn Web 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.


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.


Workshop Supplies & Materials

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)

  • Sketchbook/notebook for writing and portability, pencil or pen (4×6 Hahnemuhle Diary Flex is recommended)
  • 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.)
  • Inexpensive Rice Paper Pack for encaustic mono-printing
  • 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 butanebasic 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!!

Hiking Equipment Recommendations

  • Sturdy hiking shoes/boots
  • Small waterproof cushion or portable chair
  • Butt pack or small backpack
  • Comfortable clothing
  • Light rainwear
  • Hat
  • Water bottle
  • For art supply/portable art supply/hiking or travel ideas, visit Lorraine’s Amazon Store

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.

For Registration, Please Contact: Lorraine Glessner, lorraineglessnerstudio@gmail.com

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

With Wax: Materiality & Mixed Media in Encaustic (Sneak Peek 2)

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.

With Wax: Materiality & Mixed Media in Encaustic (Sneak Peek)

When I was asked to curate an exhibition of encaustic work for the Chester County Art Association, I was over the moon and agreed to do it without batting an eye. I was given absolute freedom to include any artist and work around any theme, it was almost overwhelming. I went back to the only place I know…my Fiber roots.
I selected artist friends, former students and others whose work I long admired. This post is a sneak peek of who and what will be shown in September, I hope to see some of you at the show!

Title Image: Bonny Leibowitz

While I was teaching at Tyler School of Art, part of my departmental responsibilities was to curate the student shows each semester and the Annual Department Student Show in the Spring. It was an honor for me to showcase the fabulous work of select students from each course in the Fibers & Materials Studies Department and I have missed it terribly. I loved creating a visual narrative between disparate pieces of art, uniting them on one level, while maintaining the unique qualities and content of each on an individual level.

When I was asked to curate an exhibition of encaustic work for the Chester County Art Association, I was over the moon and agreed to do it without batting an eye. I was given absolute freedom to include any artist and work around any theme, it was almost overwhelming. I went back to the only place I know…my Fiber roots. I selected artist friends, former students and others whose work I long admired, I can’t wait to see their work come together. I invite all of you who are in the area to come by and see the show and hopefully, some of you can make it to the opening–some of the artists will be there and I will be giving a free encaustic demonstration! I will also be showing my experimental encaustic collages, books and sculptures in the smaller gallery (more about this show in a future post). Please read on for my curator’s statement, abbreviated statements of the included artists and a sampling of their work. Please note, that because most of work by each artist is specially created for this show, the work shown in this post is similar to, but not necessarily what will be included in the exhibition.

With Wax: Materiality & Mixed Media in Encaustic
September 8-28, 2022
Opening Reception & Encaustic Demonstration, September 8, 6-8 pm
Chester County Art Association, West Chester, Pennsylvania
Website

Curator’s Statement
Encaustic is my primary medium because of its smell, it’s luminosity and tactile qualities that are unmatched by any other medium. Although encaustic is a painter’s medium, I approach working with it is as a craftsperson. To me, my work is not about the act of painting, but rather, to develop a deep engagement with my materials, to perfect my technique and support my content at the same time. There is a distinct process involved with working in encaustic; apply the paint, fuse the layers, then scrape back or add more paint. It’s like a dance or a poem as the creation and meaning of each step or verse hinges on the other. As the process continues, the work becomes a manifestation of the compiling and arranging of fragments in repetitious sequences, creating a visual rhythm in the work.
This collection of work by a few very accomplished artists from the United States and Canada, displays my ongoing interest in the fusing of fine art disciplines with craft and design-based materials and processes. As the layers of materials come together in the work, so do the concepts of drawing and painting, fiber and craft, art and design, memory and time.
A significant part of working in contemporary fiber/craft is the consideration of process and material and how these things relate to the content in the work. The artists selected for this show all possess a sensitive and symbiotic relationship with their materials as well as present thoughtful and meaningful content in their work.
Although the common thread in this exhibition is wax, wax is not the star of this show. Rather, this show is about stretching the boundaries of materiality by combining unusual materials, tactility and most importantly, engaging content. It was important to me to present serious art that is also inviting, warm and inspiring. Art that encourages the viewer to feel as well as think. I purposely kept the list of artists relatively small, so that each artist could exhibit a body of work rather than just one or two pieces. Most of the work by each artist is specially created for this show, most of it is being shown for the first time. I’m truly grateful to each artist for agreeing to participate in this show, for striving to show their best work, and for consistently growing, thinking and innovating, acting as an ongoing inspiration for me and countless other artists.

Anna Wagner Ott-Ottowa, Canada
Wagner-Ott’s cages/nests began at the beginning of the pandemic in 2020.  Through those sculptures she interprets ideas of repression, entrapment, isolation and fragility using encaustic and mixed media. In 2022 she continues to create her nesting architectural forms but also integrates other materials such as Tyvek and her themes include the earth’s topologies.   

Bonny LeibowitzTexas, USA
I create objects and installations utilizing a variety of materials; plaster, encaustic, plastics, paper, foam, Tyvek, branches, roots, faux fur and wings, in ways that confuse the manufactured with the natural. I like to think of my work as fragments of a blown apart reality where forms collide and conjoin in myriad nuance and potential. “We are constantly creating the environment that creates us” – David Whyte

Alaina EnslenNew York, USA
I work with encaustic medium for its willingness to be transformed, fusing cloth and monotypes. The abstract collages that result are maps of my own making shaping the contours of memory and experience. 

Angela Hansen -BC, Canada
Angela’s pieces are inspired by the fantastical sculptural imagination of Mother Nature and the creative myriad of plant life.

Kelly Sheppard MurrayNorth Carolina, USA
Kelly Sheppard Murray’s multimedia sculptural work fashions a wide range of polymorphic, multicolored structures that have their roots in natural forms. She draws from the shapes of plants, moss, lichen, fungi, shells and geological forms. Collecting hundreds upon hundreds of sculptural elements, Murray slowly and deliberately assembles her pieces for installation—each one a unique building block within the visual language she articulates within her exhibitions. By developing her own malleable visual idiom, Murray expresses her curiosity and invites that of her audience. Further, through her careful and consistent day-to-day addition of sculptural elements, she reminds us how small steps can have a significant impact on both our perceptions of the world and our environment itself.

Skyler McGeeIllinois, USA
Based on the sculptural quality of landscapes, this work explores the process of reorienting oneself after global and personal upheaval. Through mapping macro and micro perspectives, these sculptural paintings act as talismans of place, and vehicles through which to mark movement and find solid ground.

Lindsay Fort Pennsylvania, USA
I am attracted to objects that show the evidence of time.  In my work I develop surfaces and combine various found materials with an interest in style and age in visual culture.

Nancy SandersGeorgia, USA
Nancy Sanders art draws from her inward journey of personal introspection
of deep separation, transformation, and connectedness. It explores the mystery of human life from a multidimensional context, providing the viewer with the possibility of self-reflection, and therefore the possibility of reconciliation.

The 4 Most Common Encaustic Painting Woes & How to Fix Them

Encaustic is an amazing painting medium and I’m sad when I hear that artists have given it up because of a problem that could have easily been fixed with knowing only one useful tip. If you’re having painting bothers, read on for the rescue.

I’ve been teaching encaustic painting since 2005 and throughout my teaching I have noticed four major recurring issues, problems and mistakes that many (beginner to advanced) encaustic painters encounter. Application, temperature, translucency and fusing issues are the infamous four problems. Even more of a problem is that these issues are difficult to pinpoint as some beginning painters may think it’s just the medium itself and give up before they really get started. Intermediate and advanced painters may have learned to adapt, but still end up getting frustrated. Encaustic is an amazing painting medium and its so sad when I hear that artists have given it up because of a problem that could have easily been fixed with knowing only one useful tip.

So if you’re having some painting bothers (both encaustic medium and pigmented encaustic paint), don’t throw down your brushes in disgust just yet…read on for the rescue. I’d like to preface by saying, if you’re heavy handed, a texture fiend, a fuse monster or anything else on this list and it doesn’t bother you….by all means, do you! Just make sure you have the control you want when it’s applicable and you’re obtaining desired results.

  1. PROBLEM Application– This is the number one issue on my list because this is where it all begins–if your application goes wrong, it’s pretty much a melty mess from there. Encaustic application is affected by many factors: the amount of paint on the brush, the size of the brush, the type of the brush and the angle of the brush as well as the temperature of the paint, which I address below in #2. Improper paint application can cause issues with too much texture, blurring or obscuring collage elements, wasting paint/medium, not to mention endless frustration.
    FIX Try using a smaller brush. Seriously, I know those 4-inch brushes are luscious, but you don’t need one that large when you’re painting on anything smaller than a 36×36 inch panel and even then I would question it’s use. The brush size should reflect the panel size and/or the function of the stroke. For example, I never go above a 1.5 inch brush when applying medium over collage and I have several sizes below 1.5 in my medium skillet. When painting, you can get a bit larger, but stay proportionate to the size of your panel and/or the effect you’re trying to achieve.
    FIX Try a different type of brush/tool. Most encaustic painters prefer hake brushes to chip brushes as they hold a nice amount of paint and make a nice smooth stroke when needed. However, if you’re not getting the results you like with a brush, try an alternative application tool, such as a palette knife or squeegee. See this blog post for how to make an alternative brush from flashing.
    FIX Scrape off excess paint. If your brushes are sitting in cups or skillets of paint/medium and you’re not scraping them, you’re likely applying too much. Any brush, especially a hake is just sitting in there soaking up the wax. Try scraping the brush on the side of the cup once or twice. This works wonders, trust me.
    FIX Adjust the angle. Because of the way a hake brush is made, it holds most of the paint at the base. So if you’re looking for a lot of paint to flow smoothly, try holding the brush at a 45 degree angle to the substrate with a gentle pressure instead of just the tip of the brush touching the substrate.
  2. PROBLEM Too much Texture This problem is very much related to application, but it’s a solo number on this list because it’s possibly the most annoying and prevalent issue in encaustic painting. This is also one of those problems that can cause someone to either begrudgingly accept it or quit encaustic altogether.
    FIX Adjust the Temperature. So simple, yet it’s ignored or not sufficiently attended to. The proper working temperature for encaustic painting is 200 degrees Fahrenheit….nothing less and sometimes more! More people than I can count do not keep their paint hot enough for proper encaustic painting. I use a pancake griddle in my unheated studio and in the winter I usually have it at 225F. Most pancake griddles are not meant to be working for hours at a time, so the heating elements are not accurate. If your wax is cooling on your brushes and too much texture is on your substrate, your wax is simply not hot enough.
    FIX Load Your Brush. While having too much paint on your brush may cause problems, having too little can be problematic as well. If you’re mixing your paint directly on the griddle and not in cups, chances are you’re not loading your brush. Make sure you have a nice puddle of paint, your brush is laid flat as you soak it up (not just the tip) and you load both sides of the brush.
    FIX Keep your brushes warm. During painting, your brushes should always be kept in the cups or on your griddle to keep them warm. When they begin to cool as you paint, lay them flat for few seconds on the griddle to warm up.
  3. PROBLEM Too much Opacity, No Translucency. One of the most amazing things about encaustic is its wonderful translucency and yet, I see very few artists taking advantage of this gift. Most are adding way too much pigment and not enough medium and/or not understanding that translucency is even an option to take their work to the next level. The ability to look through the layers to embedded information creates interest and encourages the viewer to remain engaged with your work. The key to translucency lies in the paint mixing.
    FIX Add color to Medium. In my teaching, I see way too many artists adding medium to their melted paint in order to create a translucent glaze and then end up using ten pounds of medium for a single color. Instead, add color to the medium to create a glaze. Melt a small amount of medium in your color cup or on the palette and then add a very small amount of color to create a tint. Keep adding color in very small increments until the desired color/translucency is achieved. Color test as you add. You will be amazed at how this changes your color mixing knowledge as well as the look of your paintings.
  4. PROBLEM Over fusing I can’t tell you how many (mostly beginners) tell me that they love what they painted, but when they fuse it, it gets all smushed together and ruined. While fusing is definitely necessary, there are various levels and various fusing tools that can be implemented according to the technique you’re employing. For the purposes of this article, I am focusing only on painting and not collage or other mixed media.
    FIX Try another tool. I use three tools for fusing; an iron, a heat gun and a torch. Many beginners start encaustic painting with the torch and only use it for the duration of their careers. This is fine if it’s working for you, but in many situations, it isn’t working. I always say, begin with a heat gun and gradually add in the torch. Also, most expensive heat guns are way too hot and heavy for what you need. I love my embossing tool and have used it since the beginning. It’s exactly what I need and if I need anything stronger, I use my torch.
    FIX Don’t Fuse Every Layer. What??? Yes, that’s what I said. If you’re fusing every single application of paint, you likely have a very hot surface you’re working on and this is creating a hot waxy mess instead of a painting. Okay, if you’re a heavy handed painter, you should probably fuse every 1-2 layers. But if you’re applying thin to medium strokes and those strokes are only in one part of the painting, I recommend only fusing every 2-4 layers. Your substrate is already warm enough from your last fusing and therefore doesn’t need another right after you just applied new hot paint. Many people are perplexed when I tell them this liberating fact after they have been over-fusing for so many years. I have paintings out in the world that are now over 20 years old and they are still in excellent shape. Try it! Trust me, you’ll thank me later.
    FIX Employ the The Glazed Donut Standard. Many encaustic painters seem to be mistaken in thinking that in order to properly fuse, the wax needs to be brought back to a molten state or close to it and this is just not the case. It’s for this reason that many painters sadly obliterate their paintings. But for the foundation layers, it’s only in very few cases that you would ever need to fuse back to a molten state. For the most part, most fusing should render the surface no more shinier than a glazed donut and this is where the standard on your fusing scale begins. Sometimes you will need to fuse more than a glazed donut, sometimes less, but this is the fusing surface you are attempting to achieve.

My Discovery of Mars (Not the Planet, Silly)

Just like the planet Mars has been around forever, so have R&F Paints’ Mars Encaustic colors, only I just discovered them while at my Brown Pink Residency…my trip to Mars took a few turns, it seems. I’m speaking specifically of Mars Red, Mars Orange and Mars Violet. Although I have all of them in my home studio collection, I’ve never used them. Even after working with encaustic for over twenty years, I often forget that a lot of the colors look wildly different when they’re melted, especially the more earth based tones.

Just like the planet Mars has been around forever, so have R&F Paints’ Mars Encaustic colors, only I just discovered them while at my Brown Pink Residency…my trip to Mars took a few turns, it seems. I’m speaking specifically of Mars Red, Mars Orange and Mars Violet. Although I have all of them in my home studio collection, I’ve never used them. In fact, my Mars Violet is so old it’s still donned with discontinued packaging format and is likely a collectors item at this point.

Why I avoided these colors (and others) is only somewhat relevant to this article and a subject I would like to revisit more in depth in a later post. In terms of the Mars colors, it seems I just reached for colors I was more familiar with using and which happened to be near enough in color for what I wanted-or so I thought. Even after working with encaustic for over twenty years, I often forget that a lot of the colors look wildly different when they’re melted, especially the more earth based tones. Yes, of course, I have my R&F color chart proudly displayed and I consult with it often. However, when I’m in ‘the zone’, it’s difficult to get me to look at anything else other than what I’m painting.

So why did I pick up the Mars colors at Brown Pink? Because they were there, I wasn’t in my home studio where my colors are organized differently and because I was at a paint company’s residency, I was in an ‘experiment with colors’ mindset. For a few years now, I’ve been working with a certain color group; blacks, whites and grays as the base with blues, pinks, reds and browns as highlights. If greens and yellows enter in, it’s more of the dark olives and ochres respectively. I use these colors because they connect to both landscape and the body, the notion of which is conceptually at the core of my work. While I was at the residency, I totally got into the fact that I had the entire R&F color line in front of me so why not try other things. I know what I like, but that doesn’t mean I know everything.

The following is a list of the colors and how they differ from the colors I normally use that are within the same range. I also discuss how I paired them next to and with other colors and you can see some of the results in the images below. Additionally, I have included inspiration photos I’ve recently taken where these colors show up in nature. Take note of the color combinations in the photos, this is what I do for inspiration when creating color palettes. Please check out my favorite encaustic colors blog posts for more about color and how I use it here and here. Going forward, my new studio life on Mars is looking pretty good!

Mars Red I’m so in love with this color! The reds I pick up without fail are Alizarin Crimson, Turkey Red and Warm Pink, with Alizarin Crimson being the one I use most to hint at the body, blood, flesh, etc. However, I was always trying to tone down the violet undertones in AC, it just seemed more lively than a sanguine color. When I picked up the Mars Red, there was an instant recognition that it was the color I was always trying to mix…an aha moment, for sure. I mixed it with Alizarin as well as Brown Pink and all were amazing rich reds. In addition, I can’t tell you how often I search for the Perfect Pink and usually begin with Warm Pink and several other colors to move it toward a salmon, peach or violet pink, but still always left me wanting that Perfect Pink. When mixed with any white, Mars Red makes the pink of my dreams and created the best watercolor sunsets in my landscape mono-prints. Last, a great combination is painting this color next to any blue or blue-toned color to make both colors sing. In the images below, I used combinations of Payne’s Gray, Cerulean Extra Pale, Cerulean Gray and Cobalt Teal.

Mars Orange The oranges I use most are Alizarin Orange and Burnt Sienna and Indian Yellow, which I count as an orange. In fact, I have to say that these are the only oranges I use as I’m not particularly drawn to yellows and oranges. However, I do have a deep love of the ‘red earth’ of the desert as well as the ‘black water’ in Northern Florida where I travel to do my self-made residencies (images below). These are the oranges I’m attracted to in nature and I tend to pick up the Burnt Sienna and Brown Pink when I want to replicate it. Mars Orange by itself is exciting, but it totally pops Burnt Sienna and Brown Pink when they are mixed with it. The best mix is Mars Orange and Mars Red for a very rich, earthy red. For a little extra zing, add in to that mix a small amount of Cobalt Yellow, Cad Lemon or Olive Yellow. Just like Mars Red, Mars Orange sings when paired next to any Blue/Green color and I would add Phthalo Green Pale, Malachite Green, Turkey Umber Greenish and Celadon to the list of pairings.

Mars Violet I never use purples or violets, but this color is deceptively named as it’s very close to Sepia and Brown Pink. Both Sepia and MV have purple(ish) undertones when compared with other browns, Mars Violet being richer, a little more red and a tad brighter, while Sepia is a bit darker, more violet and closer to a classic brown. I likely never picked up the Mars Violet because I’m totally in love with Sepia and Brown Pink and always reach for them first. Mars Violet bridges the gap and adds a richness between Brown Pink and Magenta. In the images below, you’ll see I mixed this color with Payne’s Gray to make a lovely dark gray and when mixed with Neutral White and/or Brilliant Yellow Extra Pale, it makes a still lovelier pale gray with a violet undertone. I found it’s best when painted next to rich oranges and reds, whites and my favorite pairing color, Turkey Umber Greenish.

Brown Pink Residency: Thoughts and Afterthoughts

I was so fortunate to have been invited by R&F Paints to delve into their new Brown Pink Residency Program for two weeks in February-March. I worked really intensely and ended up making more work than I usually make at home in a year…


I was so fortunate to have been invited by R&F Paints to delve into their new Brown Pink Residency Program for two weeks in February-March. For an artist inspired by hiking and immersing oneself in the environment, this was the perfect two weeks to be in Kingston, New York. I saw bitter cold, a couple of snowstorms, ice chunks on the Hudson the size of buildings, plus a surprise few days of sunny, spring-like temperatures..and I attended a fabulous opening of a group exhibition of collage at The Lockwood Gallery. I took advantage of those spring like days to get out of my own head, photograph and be inspired. Even though I took those breaks, most of my time was spent eating a lot, sleeping little and basically wearing the same clothes everyday…I also made a ton of work, some of it I really like and will continue to explore.

I love my self made residencies sequestered in sunny Florida, but it was wonderful to have a real studio filled with luscious paints and visitors to talk to from time to time. Because this residency was scheduled for a much shorter time than I’m used to, I had a list of things I wanted to accomplish and pretty much did them all. Most of it was work I had in my head to make for a long time… Some of it worked, some of it didn’t, but I kept moving, following my instincts, plugging away and trying not to be too hard on myself. I worked really intensely and ended up making more work than I usually make at home in a year…not necessarily in quantity, but in exponential growth and conceptual quality, because what came out in the end were the beginnings of several distinctive bodies of work that will continue for years. I describe the work below in detail with image examples and notes from my sketchbook and Instagram posts I wrote during the residency.

I started with this fun group of collages made from cutting up my encaustic mono-prints on Masa and rice papers. I was inspired to do this with my acrylic paintings during my class late last year with Stephen Aimone so I wanted to see what I could do in encaustic. These pieces were fun to make, whimsical, a bit silly and almost cartoonish at first glance. I like them, they’re so different for me. What I’m learning about myself through this work is that painting is not enough for me. I do want to make that painted mark, but I also want to isolate it, reinterpret it through the cutting and then manipulate it further through layers and materials, changing its context and content. The possibilities are endless. Another important lesson I’m learning is that the typical painting in the square/rectangle format is also not enough for me. I have always worked to escape it when experimenting, only to return to it when the work becomes ‘solid’. The biggest reason why I do this is because the rectangular format is what a painting IS, the rectangle is what is acceptable., it’s what is most people purchase and feel comfortable hanging on their walls, but are these good enough reasons? I’m exploring this in my thoughts and work, there is much more to think and write about on this topic.


Last year during my Florida residency I was inspired to burn layers of paper, but my vision was not complete and I got stuck on where to go next. Now a year later, I pulled out this pile of burned paper to try to make some sense out of it. My original intention was to bind it all together, but now I’m seeing separate ‘books’ with drawings or paintings on the ‘covers’ or conversely, separating them, collaging them and burning again-which is likely what will happen. The best part about being in a residency is that I don’t have to know where it’s going and I can just plug away until it turns to gold-or ash, as it were. I’m intrigued by the dichotomy of fire-it’s destructive powers as well as it’s ability to fertilize life after destruction. I’m constantly reminded of fire’s acute beauty as I hiked around Florida, as almost everywhere I went there is evidence of controlled burns in the forested areas. It’s also in Florida that I began my photo journal of bark-peeling; burned, marked, degraded, moss covered, etc., so many different looks that bark carries-all of which resemble skin and as I photograph, I recall my own fragility and vulnerability-both physical and emotional.


I grew up on the Delaware river centuries ago when huge ice chunks would flow and collide in the strong current, creating a gorgeous sculptural spectacle. Even while watching it go by as an apathetic teenager, drinking instant coffee and smoking a cigarette at the bus stop, I was awed by it. Unfortunately, I haven’t seen ice like that in years, but was treated to the frozen patterns and sculptural amazingness along the Hudson River that brought such inspiration to my studio work. I took hundreds of photographs that are paintings in and of themselves and these inspired a more muted palette as well as some of the forms in the following collages. As i look back at some of the sketchbook drawings I’ve been doing over the last year, I can see the similarities in the forms in the ice. You can see a video of my ice photographs, past drawings, present collages here.


I’ve had it in my head to make work like the following collages for a long time and they turned out better than I’d thought-that doesn’t always happen and I’m thrilled that it did. They are inspired by my multitude of photographs of Philly and other city walls taken over 20 years and and are born out of inspiration from urban layers and grids, piles of studio ephemera and process. This is the most exciting series I made during the residency, but unfortunately, I can speak the least about it because this pieces are so new. However, they will be the first series I’ll pick up on when I can next work unencumbered in the studio.


The last goal I had for this residency was to make more ‘worry blocks’. This is an ongoing encaustic sculpture series I started at a time when I was very much in transition with my work and life and this series came about as a way to sort out my thoughts through meditative process. I call them ‘worry blocks’ because these pieces are the vehicles by which I deposit my worries. Through the repetitive process of burning holes and using encaustic to place my hair strand by strand in grid patterns on scorched found wood, I think, reflect and heal. I’ve had a nervous habit since I was little of twisting my hair when I’m stressed or contemplating and I keep a bag of it in the studio that I add to frequently. I have been using horse hair as well as my own hair in my work for quite some time. It makes a beautiful line in the wax and it also speaks to the bodily connections that have always been at the core of my work.  I first showed my worry blocks at the old R&F Paints Gallery in 2011 where they were very well received and this encouraged me to keep making them. I don’t make them much, but I had a goal to have them come full circle to be shown in the new R&F Paints Gallery called Work In Progress this April. The show is called Beauty in the Breakdown and will present a sampling of my favorite pieces from the residency as well as 6 new worry blocks. See some earlier pieces from this series here.

Worry Blocks, encaustic, pyrography, horse and human hair on found wood


During this residency, I also pulled a ream of encaustic monoprints as ‘warm-ups’ before getting started each day. I’m writing about those separately along with new favorite R&F colors for next month’s blog post. For more photos on my residency work at Brown Pink, visit my Instagram and Youtube and go see the show in April at R&F! Many thanks to you for reading and to @rfpaints for this tremendous opportunity.

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