Month: November 2014

Exploring Mixed Media Narratives in Photography and Encaustic

lglkimage

What:

Exploring Mixed Media Narratives in Photography & Encaustic: A Teaching Collaboration with Photographer Laurie Klein

Limited to 8 participants! Sign up now!

Level: Beginner to Intermediate

$595 includes all materials (Payment of 50% of the workshop fee is due at the time of registration with the remaining 50% due on the first day of the workshop. Please contact Lorraine via email for payment details.)

Contact: Lorraine Glessner, lorigles@earthlink.net

This workshop takes the exciting combination of mixed media, encaustic and the photographic image far beyond straightforward collage to include innovative materials and mark-making techniques in which to explore narrative. During photo shoots led by Laurie, participants will create images to use as inspiration and/or starting points for a series of focus during the workshop. Utilizing the natural luminosity, textural and layering possibilities of encaustic, participants will combine and collage photographic images created during the workshop with found images, marks and texture to explore, communicate, or entertain through narrative. This workshop will cover basic encaustic techniques and collage as well as mark-making using horse hair, graphite paper and image transfer.

Where: Lorraine Glessner Studio, Rockledge, PA 19046

When: May 22-24, 10am-4pm each day

Who: Laurie Klein & Lorraine Glessner

www.laurieklein.com
Laurie Klein is an award-winning fine art, commercial, wedding and portrait photographer as well as educator. She is the author of “Photographing The Female Form with Digital Infrared” published by Amherst Media and Hand Coloring Black and White Photography published by Rockport Publishers. Her next book “The Art and Techniques of Digital Infrared” Amherst Media, will be published fall of 2015. Her work has been published in The New York Times, New York Magazine, Interior Design Magazine, House Beautiful, Ladies Home Journal, Brides Magazine, Modern Bride, Ridgefield Magazine and others. Laurie has a MFA in photography from Ohio U. and BFA from RIT. She studied with Ansel Adams. Digital Silver Imaging, Kodak, Fuji, Prismacolor, White House Color , Bay Color Lab and Curtis Paper have been her sponsors. Her Images have been exhibited nationally and internationally.

A gifted photo educator for over 30 years, Laurie teaches classes and workshops both nationally and internationally. Teaching venues include: Peters Valley, Santa Fe Photographic Workshops, Texas School, Western CT State University, University of Bridgeport, Naugatuck Community College, Ohio University, Phillips Academy, Naples Philharmonic Center for the Arts, Marco Island Art League. WPPI, PPA, PPI. (National Convention and State Conventions.) She also holds yearly mentoring programs for high school students who are interested in photography.

Laurie Klein is recognized worldwide for her photography shooting almost exclusively in the arresting infrared spectrum. Her work embodies a soft passionate style that most often depicts the feminine experience, relationships and landscapes.

www.lorraineglessner.net
Lorraine Glessner received an MFA in Fibers from Temple University, Tyler School of Art, where she is currently an Assistant Professor in the Fibers and Material Studies Department. Lorraine also holds a BS in Textile Design from Philadelphia University and an Associate’s Degree in Computer Graphics from Moore College of Art and Design. Recent awards include two Artist Fellowship Grants in Crafts from Pennsylvania Council on the Arts as well as the Yvonne Kelly Memorial Award for Mixed Media from Abington Art Center. Recent exhibitions include solo shows at Kenise Barnes Fine Art, Larchmont, New York and House Gallery, Philadelphia, Pennsylvania and a 2-person show at Marietta/Cobb Museum of Art, Marietta, Georgia. Recent group exhibitions include James Gallery, Pittsburgh, Pennsylvania, Hunterdon Art Museum, Clinton, New Jersey and Delaware Center for Contemporary Art, Wilmington, Delaware. Her work is included in the recently released Encaustic Works: Nuance, curated by Michelle Stuart, Encaustic With a Textile Sensibility by Daniella Woolf and Encaustic Art: The Complete Guide to Creating Fine Art With Wax by Lissa Rankin. Lorraine lectures, teaches, exhibits her work nationally and maintains a studio in Philadelphia, Pennsylvania.

Hotel Recommendations
Here are two hotels that I have personally stayed in, located in willow grove, which is about 20 minutes from the studio and which get pretty good reviews: Hampton Inn,1500 Easton Road, Willow Grove, PA – (215) 659-3535 and Courtyard Marriot, 2350 Easton Road Route 611, Willow Grove, PA – (215) 830-0550.

Cancellation Policy
In the event that you need to cancel your workshop, please notify Lorraine at least 30 days prior to the start of the workshop and your deposit will be refunded. No refunds will be available for cancellations occurring less than 30 days from the start of the workshop.

Materials Included: the following is a list of materials provided for the student

All encaustic paints, tools and equipment
3 images printed on inkjet printer
3 Practice painting panels
Graphite paper
Horsehair
Carbon copier

What to bring: the following is a list of materials for the student to bring to the workshop

  • Collage materials-include a little or a lot (scrap papers, threads, fabrics, natural materials, found materials, images, found objects, etc.-look around you, be a collector and use your imagination!)
  • Size 6×6 painting panels will be provided. If you prefer to work larger, you are welcome to bring larger panels.
  • Sketchbook/notebook, pencil or pen for note taking
  • Smock
  • Closed toe shoes for safety
  • scissors
  • Lunch and beverage each day
  • Digital Cameras, can be smart phones, point and shoot cameras or DSLR’s
  • Fresh batteries and memory cards
  • Laptop optional
Advertisements

A Heated Exchange at SECAC

 

In early October, I was fortunate enough to leave a rather chilly Philadelphia for sunny Sarasota, Florida to attend and deliver a paper at the SECAC conference. (Southeastern College Art Association Conference) the conference theme was ‘From Handmade to High Tech’, a theme which resonated with me personally. As an artist my history is craft based, yet I have always used digital technology in some way to inspire and create my work. I was one of nine artists asked by moderators, Reni Gower and Kristy Deetz to speak on a panel, the subject of which was how each artist combined the slow process of encaustic painting with relatively speedy digital technologies. It was so interesting to hear how each artist uniquely integrated the two into their work and below is a brief synopsis of each artist’s talk.

Jane Nodine spoke of her elimination of toxic inks and solvents in favor of making marks with natural inks, plant materials and rust, in combination with technological printing aids. Her interesting talk was supplemented by rich images of her garden, studio, her process of creating and her student’s work.

Chris Keinke was the only artist on the panel whose work I was not familiar with and I was intrigued as he spoke about his thoughts and processes. The satellite ‘glitch’ photographed from the the television screen is where the inspiration begins and is then combined with layers of traditional painting materials. Years ago, i was somewhat obsessed with photographing glitches when they occurred on my TV, so i was quite taken with his work and inspired by how he tied these glitch events into contemporary painting ideas and practices. Also fun to see were the images of his studio and his giant, but very cool printer.

Cheryl Goldsleger‘s paper truly spoke to the theme of the panel in that she emphasized that even with the labor intensiveness of the encaustic medium, she has freedoms within the medium that allow her to express her thoughts in ways that no other medium can. Yet, alongside this slow process she utilizes 3D modeling and 3D printing technologies to achieve the desired compositional juxtapositions and effects in her work. Her talk was so interesting as she discussed her thoughts regarding the use of ancient and contemporary art making platforms to create her work.

Heather Harvey‘s work is so intriguing as she intertwines her background in archeology and her current practice in art. Her work is mainly site specific installations that integrate drawing, painting and sculpture and which involve the space between the wall and floor surfaces. Her talk was mainly focused on her new work which entails a fascinating process of the collection of disparate objects while walking through various locations, then reorganizing those objects as a cohesive whole.

I spoke about my new work and focused on my process of making it, which I started at my Jentel Residency this summer and have continued to develop since. The following is a brief excerpt from my talk.

My recent series of paintings begin with the process of digitally layering my photographs of cemetery flowers and facades of abandoned or nearly abandoned urban dwellings with Google Earth image captures of abandoned manufacturing, amusement and housing development sites. Based on these three or four images and a simple 5-10 step digital manipulation of those images, the digitized imagery allows me to design many variations of a compositional theme. Utilizing a digital projector and a pencil, I trace the shapes in the composition to a Mylar surface, systematically breaking down the composition into a graphic series of marks. I strive to capture every mark, every shape, and this process can take up to several hours. Working in gouache and attempting to follow the original composition, I interpret the marks in paint, however, something is always lost in translation. As I paint, I remove parts of the painting with a damp towel, leaving a vague residue from the original paint and pencil marks. Again, utilizing the projector and a pencil, I go about translating shapes from the digital composition back into the painting and repainting and wiping those shapes with gouache and towel. Through this repetitive process, the ghosts of the former pencil and paint marks interact with the new and I reflect on time, memory, the tenuous nature of life and human relationships, as well as my own mortality.

The Mylar painting is then mounted to wood and ready for the encaustic layers. A piece of rust or compost stained silk fabric is mounted over the Mylar to protect it from the heat of encaustic painting as well as contributing the content of the work. A visual narrative is formed as actual histories of the photographed abandoned sites are interwoven with my own memories and perceived imaginings about its history as I collage, brand and draw in response to the painting underneath. Each mark or shape takes on new form and new meaning, as the content shifts with the addition or subtraction of another element. 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. Through process, image, repetition layers, traditional tools and current image technology, my goal is to reflect on the intimacy of memory, the awareness of mortality and spiritual growth through loss.

Heated Exchange Exhibition

 

The show Heated Exchange at the Art Center Sarasota is a fabulous mix of encaustic work and stupendously shows off the medium’s versatility with a well rounded grouping of paintings, installation and sculpture. Reni Gower and Kristy Deetz did a extraordinary job installing the work and the opening was extremely well attended with interested viewers. Artists included in the show are Lorraine Glessner, Jane Allen Nodine, Laura Moriarty, Tim McDowell, Jeff Hirst, Heather Harvey, Cheryl Goldsleger, Reni Gower, Peter Dykhuis, Kim Bernard, Kristy Deetz. This show was a wonderful accompaniment to the SECAC panel talks and is still running through November and beyond with a beautifully designed catalog you can purchase here.

Photo credit: Reni Gower