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.

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.

Finding Your Creative Truth: Artist Professional Development Retreat

Students of all levels are encouraged to participate in this professional development workshop that will focus on the thoughtful creation of art, ways to improve content and how to self critique, while also expressing personal values, beliefs and aesthetic interests.

Great things are done by a series of small things brought together.
– Vincent van Gogh

What Finding Your Creative Truth: Artist Professional Development Retreat

When July 25-28, 2022

Monday 7-9pm Orientation
Tuesday-Wednesday, 9am-4:00pm Workshop Hours
Thursday, 9:00am-2pm Workshop Hours

(Scroll down for detailed daily itinerary)

Where  Railroad House, Historic Marietta, Pennsylvania

Limited to 12 participants!
Level: All Levels
$1500 includes accommodations** (See the list of available rooms below), breakfast and lunch and most workshop materials (see supply list below)

Not Interested in Railroad Inn Accommodations, breakfast or lunch?
$1000 includes workshop fee and most materials (see supply list below)

Registration Instructions if staying at Railroad House:
1. See the list below for available rooms and brief description of each. You can get a sense of the rooms by viewing the images below or visiting the Railroad House Website. DO NOT book the room from the Railroad House website!!!
2. Contact Lorraine via email lorraineglessnerstudio@gmail.com with the number of the room you’d like to book and for payment details.

Available Rooms at Railroad House as of December 22, 2021
*NOTE* All rooms include a private bath and TV unless otherwise noted.

  • Room #3: Queen bed
  • Room #4: King bed/balcony 
  • Room #5: King bed/mini fridge/ largest room
  • Room #7: Queen bed
  • Room #8: Queen bed
  • Room #9: Queen bed
  • Room #10: King bed
  • Room #11: King bed
  • Room #12/Suite: Shared Room…King bed with 2nd roll-in bed, bathtub and mini fridge. No TV. *NOTE* Because this room is double occupancy, two participants who choose this room will pay $1350 total for the workshop.

Additional Accommodations Near Marietta

Susquehanna Manor Bed and Breakfast 
BF Heistand House Bed and Breakfast 
Comfort Inn, Columbia PA

Payment Payment of 50% of the workshop fee + materials + accommodations ($750 if paying via check or Venmo, $777 if paying via Paypal) is due at the time of registration with the remaining 50% ($750) 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 Terri Yacovelli &
Lorraine Glessner (Scroll down for more about Lorraine and Terri)

Workshop Description

Create, reflect, rejuvenate and connect with other artists in an inspiring atmosphere full of history and nature. Students of all levels are encouraged to participate in this professional development workshop that will focus on the thoughtful creation of art, ways to improve content and how to self critique, while also expressing personal values, beliefs and aesthetic interests. Daily walks led by the instructors explore the natural beauty of Lancaster County, Pennsylvania and the Susquehanna River and provide inspiration for expressive mark-making, journaling and meditation in situ as well as subsequent mixed media studio experimentation to further your practice. Daily readings, writing prompts and group discussions encourage self reflection and help identify and conceptually develop your ideas. Participants are invited to expand upon a current body of work or begin a new series based on techniques learned in the workshop. Optional individual critiques with both instructors is 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 6-8pm Orientation
Introductions, Overview of the retreat. Wine/snacks by the fire pit in the courtyard of the RailRoad House Inn. Brief discussion about finding your artistic voice.

Tuesday
Breakfast 7-8am, Lunch 11-12, Dinner on your own
9-4:00 Workshop
Brief writing discussion and presentation of Art Inspired by Nature. Walk along the Susquehanna River and/or carpool to Chickie’s Rock. Sketchbook activity, journaling by the water exploring water as subject matter. After lunch, we will return to the studio to expand on the morning sketches and written exercises to explore your personal relationship with nature. Evening reading and writing prompts to organize your thoughts.

Wednesday
Breakfast 7-8am, Lunch 11-12, 7:00pm Dinner on your own or Optional Group Dinner
9-4:00 Workshop
Morning journaling in courtyard, reading discussion and discussion of Art Inspirations from Environment, Objects & Architecture. Walks around Marietta to take photos, work in sketchbooks, develop ideas. After lunch studio exploration works on paper, journaling and individual talks with both instructors. Evening reading and writing prompts to organize your thoughts.

Thursday
Breakfast 7-8am, Lunch 11-12
9-2:00 Workshop
After morning discussion, we will continue with uninterrupted work time to further explore new ideas and relate them to current ideas, develop conceptual ideas, read, write, walk by the river and informally discuss your progress with both instructors.
After lunch we will have a show and tell discussion of the work created this week, share inspiration images and journal writings.

What Else?

  • Color relationships, composition, application, content, proportion, scale as an effective foundation for other painterly information.
  • 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 Terri 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. Work on a current body of work or start a new project.

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, student work and images from other workshops taught by Terri 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

Images of Historic Railroad House Inn & Marietta
For more images and information visit the Railroad House website.


About Terri Yacovelli

http://www.terriyacovelli.com/
Instagram @tyacovelli
Terri Yacovelli holds a MLA from McDaniel College and a BSE from Millersville University.  As a long time Adjunct Professor of Art at York College of Pennsylvania and studio art teacher, she has had the opportunity to share her love of art and art history with a diverse group of students. Her explorations with textured surfaces in mixed media led her to the exciting world of encaustic painting.   Terri’s art embodies the inherent abstract characteristics in which an interplay of shape, texture, color and line quality explore physical and spiritual journeys.  Additionally, her appreciation for the natural world enlivens her art with a relatable experience for the viewer. Her work has been exhibited locally and regionally in galleries and juried exhibitions.  She is a recent recipient of a Professional Development Grant from the Cultural Alliance of York and received an Award of Distinction from the 2021 YorkFest Juried Art Exhibition.  

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. Among her most recent professional achievements is a Second Place award in Sculpture from Art of the State at the State Museum in Harrisburg, PA, a recently completed artist residency at Jentel Foundation and an acquisition by Kelsey-Seybold Cancer Center in Houston, Texas. 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

  • Paper Towels, Watercups
  • India Ink
  • Lyra Water Soluble Graphite Pencils 
  • Charcoal
  • Some collage papers 
  • Colored Pencils/Markers
  • Pastel Chalk, Oil Pastels
  • Extra Brushes 

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, pencil or pen for note taking
  • Drawing Pencils, Black Sharpie Marker
  • Portable watercolor sketchbook (lay flat size 9 x 12, mixed media or watercolor sketchbook, heavy stock to withstand wet media, (Strathmore 300 Mixed Media (117 lb) is an excellent choice)
  • Watercolor Paint Set, Brushes
  • 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
  • materials for collage (fabric, papers, magazine images, photos, etc.)

Hiking Equipment Recommendations

  • Sturdy hiking shoes/boots
  • Sun block/bug spray
  • 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 $100 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

Images of student work and fun scenes from encaustic retreats at Lareau Farm Inn in 2021, student work and images from other workshops taught by Terri 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..

Exploring Landscape Through Encaustic & The Mark: A Vermont Artist Retreat

Utilizing the natural luminosity and layering possibilities of encaustic, participants will experiment with materials, drawing and marks to depict the spirit and essence of gorgeous rural Vermont.

Between every two pines there is a doorway to a new world. – John Muir

So thankful to RF Paints for partially sponsoring this Retreat by donating their exceptional products.

Read a lovely post about this Retreat on Dietlind’s Blog .

What
Exploring Landscape in Encaustic & The Mark: A Vermont Artist Retreat

When
June 20-24, 2022
(Scroll down for detailed daily itinerary)
Monday 7-9pm Orientation
Tuesday-Friday, 7-8am Yoga, 9am-4:00pm Workshop Hours
Tuesday-Thursday, 6:00-9pm optional night studio hours

Limited to 12 participants!
Level: Intermediate to Advanced
$1800 includes accommodations**(10 rooms available), breakfast and lunch and most workshop materials (see supply list below)

Not Interested in Lareau Inn Accommodations, breakfast or lunch?
$1000 includes workshop fee and most materials (see supply list below)

Registration Instructions if staying at Lareau Inn:
1. Visit the Lareau Inn web site and choose your room. See the list below of available rooms. DO NOT book the room from the Lareau Inn web site!!!
2. Contact Lorraine via email lorraineglessnerstudio@gmail.com with the name of the room you’d like to book and for payment details.

Available Rooms at the Inn as of June, 2022

Additional accommodations are available at Waitsfield Inn and Featherbed Inn which are within one mile of Lareau Inn.

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

Payment Payment of 50% of the workshop fee + materials + accommodations ($900 if paying via check or Venmo, $932 if paying via Paypal) is due at the time of registration with the remaining 50% ($900) due approximately 6 weeks before the workshop date. Please contact Lorraine for payment details.

**Additional Accommodations 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.

Who A collaborative teaching venture with Dietlind Vander Schaaf & Lorraine Glessner (Scroll down for detailed bios)

Workshop Description
The mark of nature combined with encaustic painting creates works that reference memory, change, and time. Utilizing the natural luminosity, textural and layering possibilities of encaustic, participants will experiment with innovative materials, drawing and marks to depict the spirit and essence of the land. Easy to moderate hikes exploring the rugged natural beauty of The Mad River Valley are led by Dietlind and Lorraine. Along with daily journaling, meditation, yoga, readings and expressive mark-making exercises, these immersive hikes will provide the inspiration for which to develop ideas and provide areas of focus for series-based work while also developing your personal artistic voice. Considerations of our body’s connection and its direct relationship to landscape will also be discussed. Optional individual critiques with both instructors will be offered to all participants.

SCROLL DOWN TO SEE images of student work and fun scenes from this encaustic retreat in 2021. Additional blog posts related to artist retreats co-taught by Lorraine are here, here and here..

Workshop Itinerary
Monday 7-9 pm Orientation
Meet & Greet Wine and Smores by the Lareau Farm Fire Pit

Tuesday-Friday 7-8am
Optional Morning Yoga taught by Dietlind
Dietlind will lead gentle to moderate yoga each morning designed to leave you feeling strong and grounded. Bring your yoga mat. Straps and blocks provided.

Tuesday 9-4:00 Workshop, 6:00-9pm Optional Night Studio
We will begin with brief discussion and meditation, settling and experiencing the moment. We will take an easy hike to begin our first day of experiencing the land, discussion of breath/breathing, listening, drawing, journaling collecting inspiration and materials suitable for brush making. Brief brush making demo.
After lunch, Lorraine will introduce a mixed media exercise inspired by our morning hike. We will use collected materials from the hike to make marks and generate ideas. Dietlind and Lorraine will also discuss creating optical depth using encaustic layers and the differences between transparent and opaque paint. The rest of the afternoon is devoted to refining this drawing and the sketches from our hike, free painting time and/or more inspiration gathering.

Wednesday 9-4:00 Workshop, 6:00-9pm Optional Night Studio
After another easy morning hike, discussion of drawings and findings from the day before and possibilities for further study. Meditation, journaling, discussion of distancing, isolation, effects of pandemic, separation, silence in relationship to the outdoors and how to express these thoughts in marks and paint. Inspiration slide talk of contemporary artists who effectively use line, mark-making and landscape in their work. Optional individual meetings with Lorraine & Dietlind.
After lunch, Lorraine and Dietlind will demonstrate encaustic mark making using horsehair as well as introduce other interesting mark making products suitable for encaustic including India ink, colored pencils, pan pastel, oil pastel and graphite. Encaustic monoprint, work on paper demo. We will continue with uninterrupted work time for refining drawings, painting, working toward a series and individual discussions with Lorraine & Dietlind

Thursday 9-4:00 Workshop, 6:00-9pm Optional Night Studio
After a brief group meditation (optional), we will continue with inspiration discussion, discussion of the work already produced and the direction each person would like to take toward a paintings series or works on paper series. Encaustic collage demo. Dietlind will also guide participants through a series of written exercises designed to develop each individual’s artistic voice. Continued individual discussions with Lorraine & Dietlind. After a brief afternoon meeting and discussion, we will continue with uninterrupted work time for refining drawings, painting, working toward a series and individual discussions with Lorraine & Dietlind.

Friday 9:00am-1:00pm Workshop
After morning meditation (optional) and discussion, we will continue with uninterrupted work time using mark making and encaustic to build a series, experiment with marks, make color studies, ask questions, request informal demos, and continue with individual discussions with Lorraine.
For part of the afternoon, we will continue with uninterrupted work time using mark making and encaustic to build a series. Continue working through part of the afternoon, address your concerns one on one with Lorraine & Dietlind, take some time to journal your thoughts and informally discuss your progress.

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 Dietlind and Lorraine.
  • What’s your work about? Deepening the conversation. Guided writing exercises to help you focus on the meaning of your work and generate content for your artist statement.
  • 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.

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, Lareau Farm Inn is the perfect place to spark and inspire your artist vision. Our workshop studio in in the Historic Dairy Barn on the Lareau property, featuring rough-hewn beams, centuries-old hardwood floors and tons of space in which to create. The 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. See the gallery belwo of Lareau Farm Inn, Barn and surrounding property. Visit Lareau Farm Inn Web Site for more images and information.

About Lorraine & Dietlind

Dietlind Vander Schaaf
Dietlind Vander Schaaf’s paintings convey an emotional tone through texture and pattern and use mark making as a way to communicate what she finds most lovely, haunting, and curious about the human condition. Her work references teachings from Zen Buddhism, Christian mysticism, the poetic traditions, and contemplative practices including yoga and meditation. Dietlind holds an MFA from the University of San Francisco and an MA from the University of Southern Maine. Her work has been described as “the transformation of disparate objects into elegantly simple compositions of pattern and grace” (Artscope). She has exhibited at the Cape Cod Museum of Art, Conrad Wilde Gallery, The Fuller Craft Museum, and On Center Gallery, among others, and been featured in Maine Home + Design, Decor Maine, and Downeast magazines. Dietlind is a Core Instructor for R&F Handmade Paints, an Ampersand Ambassador, and the former president of New England Wax. An annual presenter at the International Encaustic Conference, Dietlind has taught workshops throughout the country, including Haystack, Castle Hill, Snow Farm, Penland, Arrowmont, Maine College of Art, R&F, and internationally at Zijdelings in The Netherlands. She is the recipient of grants from the Maine Arts Commission and International Encaustic Artists, as well as a Tending Space Artist Fellowship from the Hemera Foundation.

lorraineglessner.net
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, artist mentor, 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 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 many mixed media and encaustic books including, Encaustic Art in the 21st Century by Ashley Rooney and Nuance, a curated book by artist, Michelle Stuart. Lorraine frequently lectures and participates on academic panels at various Conferences including The International Encaustic Conference, SECAC and The College Art Association Annual Conference. Her work is exhibited locally and nationally in galleries, museums, craft centers, schools, libraries, universities, and more. Like her work, Lorraine brings to her teaching a strong interdisciplinary approach, mixed with a balance of concept, process, history, experimentation, problem solving and discovery.

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

  • All encaustic paints, encaustic medium, encaustic gesso, soy wax, tools and equipment
  • a variety of pigment sticks and blending medium
  • Sumi ink & other misc. drawing media
  • Misc. drawing papers
  • Paper towels/rags
  • Extra encaustic brushes

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

  • Sketchbook/notebook, pencil or pen for note taking
  • 1-2 drawing media of your choice (pencil, pastel, conte charcoal, oil pastel, Crayon, graphite, felt pen, etc.)
  • Closed toe shoes for safety in the studio
  • Lunch and beverage each day (if not purchasing the accommodation plan with Lareau)
  • 6-10 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, matt board, etc. (nothing coated in acrylic or acrylic gesso!!)
  • 2-4 actual OR images of your work, digital prints or phone/iPad sharing is fine
  • 5-10 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)
  • Absorbent Papers for encaustic mono-printing (rice, Masa, printing papers)
  • 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, head lamp or battery operated desk light.

Hiking + Yoga Equipment Recommendations

  • Sturdy hiking shoes/boots
  • Comfortable clothing
  • Butt pack or small backpack
  • Light rainwear
  • Hat
  • Water bottle
  • Digital Camera or smart phone or point and shoot camera or DSLR
  • Bag for collecting found materials
  • A yoga mat, eye pillow, and comfortable layered clothing for yoga practice
  • Sweatshirt or sweater for chilly evenings and yoga mornings

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

Searching for the Blackest Black: Non Water-Soluble Drawing Materials

Still on my quest for the blackest black art materials! Next up is Part 3 of 4: Non Water-Soluble Drawing Materials.

This series has gone from two parts to three and now, to four! It’s been super fun to compare and contrast art materials. I now know why there are so many Instagram and Youtube accounts dedicated to comparisons and which have thousands of followers-myself included in that following, not to mention the thousands of hours I spend watching the videos…but I digress…

So we will now embark on this Part Three: Non-Water Soluble Drawing Materials. Like the Paint and Water-Soluble Materials comparisons, I used Strathmore 400 Series Mixed Media Paper and Duralar Film, which are the two papers I use most for drawings. I chose to compare drawing materials that I had already narrowed down to the darkest ones in my collection. Again, I made short choppy strokes, a fluid line and a solid black rectangle. I comment first on the black-ness of the material, but I’m also interested in the smooth quality of the line. I’m a fluid draftsperson, I like things that flow and don’t grab at the paper or create too much texture-just my preference. The following list corresponds top down to the images below. I isolated each of the marks with the top being the Mixed Media paper and the second, the Duralar. Last, I include direct links to purchase each product from my Amazon affiliate store, Art Supplies I Love.

Stay tuned for Part Four of my Search for the Blackest Black, comparing the blackest black encaustic paints-this totally excites me!

BONUS!! Since most of these materials must be sharpened, here is the best Art Bite tip…This pencil sharpener is the best one I’ve ever purchased. It’s portable, sharpens pointed or blunt and apparently lasts a super long time without needing a new blade. The best part is that it sharpens to an extra long point, see the comparison below of my other studio pencil sharpener and this one.

  1. Scorched Fire Wood
    I started drawing with campfire wood a few years ago while teaching in Utah. I was looking for something to give to the workshop participants to draw with and there were old campfires everywhere, so walla..instant art material. It’s basically charcoal, but without binders and other things that make it easy to handle. You’ll get a variety of results depending on what kind of wood it is, how long it was burned, etc. The wood I used here is from my fire pit in Florida and is likely some kind of pine. It was super smooth and nice and dark on the paper, not so much on the Duralar. Like any charcoal, it needs a toothy surface to grab onto. If you try drawing with your own fire pit wood, made sure you use plenty of fixative!
  2. Posca Pen
    Hands down, the winner of the blackest black drawing material on both papers I tested. The pen is kind of a cheat because it’s actually acrylic paint and belongs in my paint comparison, but who cares. If you’re into paint markers, Posca pens are the best I’ve tried and I’ve tried A LOT of them so as to avoid paying for the expensive Posca. Like anything, you get what you pay for-Posca pens are smooth, luscious and you really don’t need a lot of it to get good coverage. They come in several sizes, so you can draw detailed and bold AND they come in a ton of rich colors, not just black.
  3. Prismacolor Ebony Pencil
    This is my go-to drawing pencil for all kinds of drawing. I can get a wide variety of shades from light to dark with just this one pencil. These pencils were originally made by Eberhard-Faber, then Sanford and now it looks like Prismacolor is making them. If you can get ahold of the EF pencils or even the Sanfords, you’ll find a slightly better and blacker pencil. I purchased a huge lot of the EF from Ebay and compared with the more recent Prismacolor, it seems that the more recent the pencil, the lesser the quality of graphite. It’s true that things in our modern age just aren’t made like they used to be.
  4. Generals Charcoal Pencil 557 HB
    You can’t beat Generals for anything charcoal, which is why four of their products have made it to this list. I love this particular pencil for drawing on paper, it’s extremely dark, smooth and doesn’t break or crumble when drawing or sharpening. Like any charcoal, it needs something toothy to grab so it didn’t do too well on the Duralar.
  5. Generals Carbon Sketch
    Believe it or not, this is a close second to Posca for the blackest black on both papers. It is the smoothest, darkest pencil I’ve ever had in my hand, it’s absolutely heavenly how it just glides over any surface. However, Heaven quickly turns to Hell when you try to sharpen it and sharpen it you must, as it’s extremely soft and loses it’s point very quickly and then breaks and breaks and breaks when you sharpen it. I’ve managed to be moderately successful sharpening it with a hand held sharpener, rather than an electric one. If you don’t lose your mind sharpening this pencil, it’s definitely worth it to draw with it, if only for a little while.
    **UPDATE An excellent alternative to this pencil is the Wolff’s Carbon Pencil, which is not to hard/not too soft and just right! Many thanks to @paddocknotes for the recommendation!
  6. Grumbacher Charcoal Pencil Medium
    Unfortunately, Grumbacher has discontinued this pencil, but I think you can still find it in sets under the Faber-Castell Pitt label. If you can find the vintage Grumabacher pencil on Ebay, they’re worth the extra work to purchase. They draw extremely smooth and dark on paper, maybe even slightly better than the General’s Charcoal pencil above. The charcoal is very firm and feels almost as smooth as graphite on paper, but an utter fail on the Duralar. I’m really in love with this pencil and I’m sad they’re not being made anymore.
  7. Primo Elite Grande #5000
    Made by General’s, their Primo line of charcoal pencils is as lovely as all of their products. Velvety smooth, dark and as heavenly as the Carbon Sketch above, it’s a little thicker than a regular pencil and easier to hold, it feels amazing in my hand. It draws wonderfully on both papers, but unfortunately suffers the same sharpening issues as the Carbon Sketch. Also, because it’s slightly thicker than most pencils, it won’t sharpen in most hand held sharpeners. However, I would choose this pencil over the other as it’s ever so slightly harder and doesn’t crumble quite as easily. Both are worth it, they really are heaven during the drawing process.
  8. Primo Charcoal 59 HB
    Like most of the General’s products listed here, the quality of this pencil is no exception. It’s also very dark, smooth and velvety as the others, but ever slightly firmer, making it easier to sharpen. The slightly harder charcoal, makes it slightly lighter on both papers. It’s still super dark, just not as dark as pitch like the others. If you don’t want to deal with the frustration of the softness of the other two, this one is just as good.
  9. Sharpie China Marker
    Unlike your usual everyday cheapie China Marker, this Sharpie China Marker is rich and black and ties for second in the line-up for the blackest black on Duralar, but only mediocre on the Mixed Media Paper. A china marker is what it is-a grease pencil-made to mark on difficult surfaces, so you’ll get an excellent black mark on smooth, shiny surfaces when most of the above pencils won’t cut it.
1. Scorched Fire Wood (Mixed Media Paper-top, Duralar-bottom)
2. Posca Pen (Mixed Media Paper-top, Duralar-bottom)
3. Prismacolor Ebony Pencil (Mixed Media Paper-top, Duralar-bottom)
4. Generals Charcoal Pencil 557 HB (Mixed Media Paper-top, Duralar-bottom)
5. General’s Carbon Sketch (Mixed Media Paper-top, Duralar-bottom)
6. Grumbacher Charcoal Pencil Medium (Mixed Media Paper-top, Duralar-bottom)
7. Primo Elite Grande 5000 (Mixed Media Paper-top, Duralar-bottom)
8. Primo Charcoal 59 HB (Mixed Media Paper-top, Duralar-bottom)
9. Sharpie China Marker (Mixed Media Paper-top, Duralar-bottom)

Workshop Highlight: Exploring Landscape Through Encaustic, Mark-Making and the Handmade Book

Join me in July for a unique encaustic workshop opportunity. Located on the shores of Lake Superior just outside beautiful Bayfield, Wisconsin, Wild Rice Retreat creates a space for grounding the mind, body, and spirit through integrative artistic and holistic life experiences. 

When: July 11-15, 2021

Check In: Sunday, July 11th, 2021 | Check Out: Thursday, July 15th, 2021

Tuition + Meals: From $1004 per person
With RicePod Lodging Package: From $2,083 per person
With Nest Lodging Package: From $2,372 per person
With TreeHaus Lodging Package: From $1,671 per person

Visit Wild Rice Retreats for Information, Supply List, Images and Registration

Use discount code GLESSNER2021…HURRY…It expires 4/30

Workshop Description
Utilizing the natural luminosity, textural and layering possibilities of encaustic, participants will experiment with innovative materials, drawing and marks to depict the spirit and essence of the land. Daily journaling, meditation, readings and expressive mark-making exercises along with leisurely walks exploring the outdoors provide the inspiration for which to develop ideas for series-based work while also developing your personal artistic voice. Participants will experiment with a wide variety of innovative processes and materials such as encaustic monoprinting, suminagashi, powdered graphite/charcoal, graphite bars, horsehair, pyrography and stitch. The conceptual use of translucency and layers is further explored through simple, yet versatile, book bindings to create unique personal journals through the alternative book form. Through listening, mapping, touching, collecting and communing with nature through all of the senses, our body’s connection and its direct relationship to landscape is explored and experienced. Optional individual critiques with Lorraine will be offered to all participants.

**Please note that participants should be prepared to spend time outside as well as in the studio. In the event that participants are unable to take part in the outdoor activities, participants are welcome to opt out and alternative indoor creative exercises will be provided.

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.
  • Encaustic monoprints/works on paper and an option for exploration in combine with cold wax.
  • Mark-making exercises geared toward making simple or complex marks to generate a personal language.
  • The option of an Individual Consultation/Critique discussion with Lorraine. Bring a piece of work, a question, a concern, a problem and discuss it with Lorraine.
  • What’s your work about? Deepening the conversation. Guided writing exercises to help you focus on the meaning of your work and generate content for your artist statement.
  • 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.
  • Basic book structures such as the accordion and pamphlet will be explored as sculptural additions to our journals and sketchbooks.
  • The sketchbook as an art form, in and of itself, will be explored in depth as part of a discussion on combining found, altered, and sewn books into our curated sketchbooks.
  • The art of the book as an investigation of narrative, text and image, tactility and materiality and the book form as an intimate object will be discussed.

Visit Wild Rice Retreats for Information, Supply List, Images and Registration

Use discount code GLESSNER2021…HURRY…It expires 4/30

About Wild Rice Retreats
Located on the shores of Lake Superior just outside beautiful Bayfield, Wisconsin, Wild Rice Retreat creates a space for grounding the mind, body, and spirit through integrative artistic and holistic life experiences.  Our focus is on artistic excellence in teaching and thoughtful, supportive programming for individual growth.  Rooted in the idea of exploring and supporting expression in nature, Wild Rice Retreat offers a home for healing guided, personal and group retreats, meeting space, and events following the pillars of nourishment, expression, and movement.  Wild Rice Retreat is a vibrant, creative, and beautiful destination retreat center in the Upper Midwest.

Carefully crafted and locally sourced meals prepared by renowned Chef Lars Dukowitz (formerly of the Wild Rice Restaurant), daily programming, beautiful trails, and comfortable, exquisitely detailed lodging are all part of the retreat package.  Whether guests choose from a guided retreat, taught by nationally acclaimed instructors, a personal retreat, perfect for quiet rest and relaxation, or a group or corporate retreat where guests come together around a common goal, all the elements of retreat await. See more gorgeous images and read about Wild Rice Retreat’s Brand New Housing.

Visit Wild Rice Retreats for Information, Supply List, Images and Registration

Use discount code GLESSNER2021…HURRY…It expires 4/30

What Kind of Work Will I Make?

The following is a collection of student and instructor’s work from workshops similar in content to this one. Enjoy this eye candy, I hope to see you this summer at Wild Rice Retreats!

New Virtual Workshop: Fast & Loose Encaustic Painting

You love the fast moving, layering and quick drying abilities of acrylic painting, but you want more depth, more scraping abilities, more texture and more dimension that can only be achieved by painting in encaustic…well, you’ve come to the right place!

If you could say it with words, there would be no reason to paint. –Edward Hopper

Fast & Loose Encaustic Painting
A Live Virtual Zoom Workshop
Registrants will receive a Zoom link to join the workshop & will have access to the recorded sessions for a limited time following the workshop.

Limited to 10 participants!
Level: Beginner to Advanced

When
2 Days-April  29-30, 2021
12pm-2:30pm EST each day
*We will take at least 2 5-minute breaks each day

Price
$350

2 Ways to Register
1. *PREFERRED* Venmo: Send to @Lorraine-Glessner
2. Paypal: Send to lorraineglessnerstudio@gmail.com

Who
For Lorraine’s bio, portfolio, exhibitions, teaching and anything else you might want to know, please visit her web site.

Basic Description

You love the fast moving, layering and quick drying abilities of acrylic painting, but you want more depth, more scraping abilities, more texture and more dimension that can only be achieved by painting in encaustic…well, you’ve come to the right place! I developed this workshop at the request and with the collaboration from several artists. In this workshop, I offer alternative tools, color mixing, application methods and techniques for faster, more process oriented encaustic painting. Also discussed are tips for getting out of your head, letting go and letting it flow. It is helpful, but not necessary to have had any previous experience with the encaustic medium to take this workshop.

SCROLL DOWN TO SEE images of student work from encaustic workshops similar in content to this one.
Read Part 1 of Fast & Loose Encaustic Painting: Tools
Read Part 2 of Fast & Loose Encaustic Painting: Painting Methods

Who should take this workshop?

  • You’re a painter and have always wanted to work in encaustic but have been deterred by what seems like a slow moving, laborious process compared to other painting mediums like acrylics and oils.
  • You fill sketchbooks with mixed media acrylic sketches that you love, but you want more depth, more scraping abilities, more texture and more dimension that can only be achieved by painting in encaustic
  • You tend to think too hard about the next step and end up stifling the process.
  • You’ve worked in encaustic for a while and have never scraped your layers(!) to reveal the awesomeness underneath.
  • You want to know what the heck Encaustic PaintSmash is and how it will benefit your work.
  • You spend too much time on one painting and tend to overwork the painting.
  • You love encaustic painting and are looking for some alternatives to the usual encaustic painting methods.
  • You are frustrated with your current body of work, your process(es) and want to create consistency, and a cohesive portfolio.
  • You want to express yourself in a more meaningful way with your work.
  • Your creative process is stagnating and you want to learn a new process, idea or technique.
  • You have always wanted to create ‘visual poetry’ in your paintings.


What happens in this workshop? What will I learn?

  • Marking, drawing, making marks with fun exercises are sure to relax you so that you don’t even know you’re drawing and are designed for you to generate ideas, content and a personal mark.
  • Learn tips for getting out of your own way so your painting process flows.
  • Learn how to apply encaustic paint in layers and in various levels of transparency, as well as how and when to scrape back to reveal exciting forms and patterns within the layers.
  • Learn how to use the transparency of the wax to allow pattern and information to combine and ‘talk’ within the painting.
  • Experiment with doodling, mark making and process to create a personal vocabulary of marks.
  • How to effectively use the palette for mixing and painting in encaustic.
  • Learn how to use stencils, marks, pattern and the grid to organize the ‘chaos’.
  • Learn alternatives in tools, painting and scraping methods from the ‘usual’ encaustic techniques.
  • Learn how fun PaintSmash is and how it can spice up your work.
  • Something new, fun, fast and loose.


Included in all of my encaustic workshops

  • Color, composition, application, content-the basics, the intermediate, the advanced.
  • Using color relationships, proportion, scale as an effective foundation for other painterly information.
  • Individual consultation/critique discussion with each participant. Bring a piece of work, a question, a concern, a problem and discuss it with me. My most favorite part of the workshop is this special time I spend talking one-on-one with each participant.
  • 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 voice.
  • Group sharing and discussion-always an amazingly helpful time for participants to share their victories and struggles.
  • A slide talk with examples of contemporary artists whose work applies the concepts discussed in the workshop is offered for inspiration. Some examples of the slides included in the talks for this workshop is just below.
  • Individual and group instruction/critique throughout the workshop.


    SUGGESTED MATERIALS PARTICIPANTS HAVE IN THEIR STUDIO

    • Read this blog post for tools ideas-please note, you don’t have to have these materials but you might see something you’d like to try.
    • 2-4 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) (nothing coated in acrylic or acrylic gesso!!)
    • 3-5 natural hair brushes  for encaustic painting (1 smallish-no bigger than 1.5” brush will be designated your medium brush, so it must be free of color.
    • 1lb encaustic medium from any company
    • Heat gun and/or Iwatani torch
    • Sketchbook or Drawing paper
    • Package of razor blades or clay scraper
    • Any small sharp-ended tool for incising/writing/drawing into the wax (sewing or knitting needles are great)
    • Basic encaustic colors
    • 1-2 RF paintsticks

      OPTIONAL MATERIALS 
    • Double sided scraper tool-available for purchase here
    • Mark-making tools…Woody, litho crayon, graphite paper, charcoal, oil pastel, etc.
    • Decorative stencils, mesh, doilies, etc-anything flat with open areas that can be used as a stencil
    • Various materials for collage (papers, magazine images, photos, etc.)

What kind of work will I make?

Please enjoy these works in progress that were created by workshop participants during workshops similar to this one.

2 Ways to Register
1. *PREFERRED* Venmo: Send to @Lorraine-Glessner
2. Paypal: Send to lorraineglessnerstudio@gmail.com

New Virtual Workshop: Encaustic Pattern &Repetition

Repeated use of a shape, color, design element unifies composition, creates pattern and rhythm as well as reinforces content. This workshop focuses on the creation of intricate patterns, expressive personal surfaces and multi-layered encaustic paintings.

When you repeat an action again and again, you produce an effect of certainty or security in the viewer’s mind. –Jackie Winsor

Mixed Media Encaustic Pattern & Repetition
A Live Virtual Zoom Workshop
Registrants will receive a Zoom link to join the workshop & will have access to the recorded sessions for a limited time following the workshop.

Limited to 10 participants!
Level: Beginner to Intermediate

When
3 Wednesdays-April  7, 14, 21, 2021
12pm-3pm EST each day

Price
$450

3 Ways to Register
1. *PREFERRED* Venmo: Send to @Lorraine-Glessner
2. Paypal: Send to lorraineglessnerstudio@gmail.com
3. Check: Email lorraineglessnerstudio@gmail.com for mailing address (check must be received at least 5 days before workshop start date)

Who
For Lorraine’s bio, work, exhibitions, teaching and anything else you might want to know, please visit her web site.

Basic Description

Repeated use of a shape, color or design element unifies composition, creates pattern, rhythm and movement as well as reinforces content. This workshop focuses on the creation of intricate patterns, expressive personal surfaces and complex, multi-layered pieces utilizing and in combination with encaustic painting techniques. With an emphasis on mixed media, methods and materials covered in this workshop include the use of organic and geometric form, realistic and abstract imagery, patterned collage, stencils, candy molds, tjaps, and branding (creating marks with heated metal and wood burning tools). Spacing the sessions to once a week allows for participants to experiment and truly delve into the techniques learned. Considerations such as using pattern and repetition as content itself, to tell a story, support and/or strengthen the message will also be discussed.

SCROLL DOWN TO SEE images of student work from encaustic workshops similar in content to this one. Additional blog posts related to other encaustic workshops taught by Lorraine are herehere and here.

Who should take this workshop?

  • You swoon over textiles, prints, decorative arts, design, anything with pattern and you want to learn how to effectively incorporate these elements into your work.
  • You already include lots of pattern and repetition in your work, but the work hasn’t moved past mere decoration to involve meaningful content.
  • You desperately want to include pattern in your work, but you are fearful that it will be received by the viewing public as decorative art.
  • You love image and collage, but when you embed these elements into encaustic, the collage is blurred, burned or looks clunky.
  • You love painting with the intensely pigmented color of encaustic and want to learn how to effectively apply it-how to mix color, how and when to dilute, what brushes and tools to use.
  • You are frustrated with your current body of work, your process(es) and want to create consistency, and a cohesive portfolio.
  • You want to express yourself in a more meaningful way with your work.
  • Your creative process is stagnating and you want to learn a new process, idea or technique.
  • You have always wanted to create ‘visual poetry’ in your paintings.


What happens in this workshop? What will I learn?

  • What a motif is and how you can generate one to create personal patterns with meaning and how to incorporate them into your work.
  • Create personally designed fabrics and papers using indigo, rust and compost printing and use them as a basis for a painting.
  • Create repetitive patterns using innovative tools and techniques such as pyrography (making marks with heated metal and tools), tjaps and candy molds.
  • Learn my technique for applying decorative stenciling into my work and how you can use stenciling to strengthen your compositions and content.
  • Learn how to apply encaustic paint in layers and in various levels of transparency, as well as how and when to scrape back to reveal exciting forms and patterns within the layers.
  • Practice the effective application and fusing of encaustic collaged layers so you aren’t tempted to give up collage forever in frustration!
  • Experiment with doodling, mark making and process to create personal patterns.
  • Learn how to use the transparency of the wax to allow pattern and information to combine and ‘talk’ within the painting.
  • Learn how repetitive pattern, symbols, text, ornament adds power and interest to the work and therefore brings the viewer closer to its message.
  • How repetition can create visual poetry, rhythm, music, etc within the work.


Included in all of my encaustic workshops

  • Color, composition, application, content-the basics, the intermediate, the advanced.
  • Using color relationships, proportion, scale as an effective foundation for other painterly information.
  • Individual consultation/critique discussion with each participant. Bring a piece of work, a question, a concern, a problem and discuss it with me. My most favorite part of the workshop is this special time I spend talking one-on-one with each participant.
  • Learn how to use encaustic’s strengths (layering, transparency, luminosity) to tell your story.
  • Mark-making exercises-whether you are taking the line workshop or not, exercises geared toward making simple or complex marks to generate a personal voice.
  • Book-sharing-each participant brings their favorite art book to share.
  • Group sharing and discussion-always an amazingly helpful time for participants to share their victories and struggles.
  • A slide talk with examples of contemporary artists whose work applies the concepts discussed in the workshop is offered for inspiration. Some examples of the slides included in the talks for this workshop is just below.
  • 30 minute one on one consultation with Lorraine.
  • Individual and group instruction/critique throughout the workshop.
    SUGGESTED MATERIALS PARTICIPANTS HAVE IN THEIR STUDIO

    • 3-5 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) (nothing coated in acrylic or acrylic gesso!!)
    • 3-5 natural hair brushes  for encaustic painting (1 smallish-no bigger than 1.5” brush will be designated your medium brush, so it must be free of color.
    • 1lb encaustic medium from any company
    • Sketchbook or Drawing paper
    • Package of razor blades or scraper
    • Various materials for collage (papers, magazine images, photos, etc.)
    • Any small sharp-ended tool for incising/writing/drawing into the wax (sewing or knitting needles are great)
    • Basic encaustic colors
    • Decorative stencils, mesh, doilies, etc-anything flat with open areas that can be used as a stencil
    • Masking or Painters tape
    • Carbon or Graphite transfer paper

      OPTIONAL MATERIALS 

Pattern & Repetition Slides Examples

What kind of work will I make?

Please enjoy the work example pics below from participants who have previously taken this workshop. Please also visit additional blog posts here and here and here for more information related to this workshop.

3 Ways to Register
1. *PREFERRED* Venmo: Send to @Lorraine-Glessner
2. Paypal: Send to lorraineglessnerstudio@gmail.com
3. Check: Email lorraineglessnerstudio@gmail.com for mailing address (check must be received at least 5 days before workshop start date)

Workshops! Workshops! Workshops! My 2020-2021 Encaustic Workshop Schedule

Are you in need of something new to occupy your mind in this time of crazy? Take an encaustic workshop to soothe your soul, help you gain perspective, or get out those frustrations by throwing some paint around the room!

Are you in need of something new to occupy your mind in this time of crazy? Take an encaustic workshop to soothe your soul, help you gain perspective, or get out those frustrations by throwing some paint around the room!
Whatever the reason…buy one for someone you love, buy one for yourself or both.
Before choosing a Retreat or Workshop, please be sure to read my Workshop & Retreat Guide to find out if a Workshop or a Retreat experience (or both!) is the best choice for you. Please note that an additional category has been added to my workshop listing..Virtual Workshops! More virtual workshops will soon be added for January-March, so keep up to date by:

1. Checking my web site Events Page
2. Following me on Instagram or Facebook
3. Becoming a member of my New Facebook Group-Full Spectrum: Lorraine Glessner Painting Workshops Forum
4. Signing up for my Newsletter so you can be the first to know of new listings.
5. Asking! Just email me and I’ll send you a link to my latest schedule.

Please don’t hesitate to contact me with questions about any of these Retreats or Workshops.

2020-2021 VIRTUAL WORKSHOP & RETREAT SCHEDULE

MIXED MEDIA ENCAUSTIC COLLAGE
Live Zoom Workshop

October 26-27, 2020
WORKSHOP WEB SITE & REGISTRATION



EXPLORING LANDSCAPE IN ENCAUSTIC & THE MARK

A Live Virtual Retreat
December 6-11, 2020
WORKSHOP WEB SITE
WORKSHOP REGISTRATION



2021 IN-PERSON WORKSHOP & RETREAT SCHEDULE


MIXED MEDIA ENCAUSTIC
March 24-26
Aya Fiber Studio, Stuart, Florida
WORKSHOP WEB SITE & REGISTRATION


ENCAUSTIC COLLAGE
April 16-17
Hunterdon Art Museum, Clinton, New Jersey
WORKSHOP WEB SITE & REGISTRATION


BEYOND THE BASICS ENCAUSTIC
June 18-22
Peters Valley School of Craft
WORKSHOP WEB SITE & REGISTRATION


EXPLORING LANDSCAPE THROUGH ENCAUSTIC, MARK-MAKING & THE HANDMADE BOOK
Use discount code: Glessner2021 Hurry, it expires 2/8!
July 11-15
Wild Rice Retreat, Bayfield, Wisconsin
WORKSHOP WEB SITE & REGISTRATION

EXPLORING LANDSCAPE IN ENCAUSTIC & THE MARK: A VERMONT ARTIST RETREAT W/DIETLIND VANDER SCHAAF
July 26-30
Lareau Inn & Farm, Waitsfield, Vermont
WORKSHOP WEB SITE & REGISTRATION


EXPLORING LANDSCAPE THROUGH PHOTOGRAPHY, THE FIGURE & ENCAUSTIC: A VERMONT ARTIST RETREAT W/LEAH MACDONALD
August 9-13
Lareau Inn & Farm, Waitsfield, Vermont
WORKSHOP WEB SITE & REGISTRATION


MIXED MEDIA ENCAUSTIC: FIBER & STRUCTURE
August 27-29
Schweinfurth Art Center, Auburn, New York
WORKSHOP WEB SITE & REGISTRATION


EXPLORING LANDSCAPE THROUGH MARKMAKING, JOURNALING & THE BOOK: A TUSCAN ARTIST RETREAT

October 3-7
In Collaboration with Strada Toscana, Tuscany, Italy
WORKSHOP WEB SITE & REGISTRATION


MIXED MEDIA ENCAUSTIC: TEXTURE & LAYERS
October 28-30
R&F Paints, Kingston, New York
WORKSHOP WEB SITE & REGISTRATION


NOLA ARTIST RETREAT: A HISTORIC CEMETERY EXPLORATION THROUGH MIXED MEDIA ENCAUSTIC
November 8-12
New Orleans, Louisianna
WORKSHOP WEB SITE & REGISTRATION


%d bloggers like this: