Hikes for Artists, Part Deux

If you’re like me, you don’t plan vacations, you plan Inspir-cations and mini self-made residencies to inspire your work. This list of 10 amazing hikes from me and some of my amazing artist friends will give you some ideas for places to go and things to do this summer.

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If Part 1 of this Hikes For Artists series brought you some inspiration, this week is sure to do the same with amazing art and images of inspiring hikes hand picked just for artists. If you’re like me, you don’t plan vacations, you plan Inspir-cations and mini self-made residencies to inspire your work. This list of 10 amazing hikes from me and some of my amazing artist friends will give you some ideas for places to go and things to do this summer.

  1. Lorraine GlessnerHike Location: Cohab Canyon in Capitol Reef National Park, Utah
  2. You can probably sense a theme that Utah is likely my favorite hiking destination and you would be right! This hike was also introduced to me by artist friend Jeff Juhlin in my favorite National Park of Capitol Reef. Its only about 3 miles out and back and you really don’t have to do the whole thing to experience it’s wonderfulness, but those who do will have the pleasure of a dramatic overlook (pictured above). I should mention that this hike and the park itself is not just for painters-photographers, writers, musicians and especially sculptors will all find inspiration here-I have a suspicion that Richard Serra must visit this park often.
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  4. The park itself is unusual, the terrain and land forms are literally like nowhere else on earth, but this hike is a stand-out even here-it’s like an abridged version of many areas of the part all in one place. Jeff and I took our Desert Artist Retreat here last year and even though it was a drizzly day, there was so much to see and sketch, one could do this hike a thousand times and not see it the same way twice. I have literally taken thousands of photos here, these photos being the ones I reach for most often when making my photo montages and digital drawings for painting inspiration-one of these is pictured above. Unusual colors in the earth, lichen and foliage from green-gold to salmon-peach-orange to rich creamy gold, textures, swirls, pocks, painted and sculpted rock faces and many layered surfaces abound on this hike. Being in the canyon offers a hushed, almost eery quiet while you’re surrounded by windswept trees, black lava rock and otherworldly scenes around every corner. Wind, water, time, wildlife and humans have sculpted this unusual place. The history of the canyon is quite interesting and you can almost feel the energy of the spirits of the Mormon settlers who resided here. Unlike my favorite hike I described in Part 1, this hike is well traveled, but there are many hideaways carved into the rocks where you can sit and draw, meditate or just look around for hours undisturbed.

2. Linda Celestian

Hike Location: Graffiti Pier, Philadelphia, PA

I live 30 minutes outside Philadelphia in North Wilmington. My husband maps out a new adventure for our hiking group every Sunday. On a recent hike we parked for free at the Sugarhouse Casino hiked to Graffiti Pier and then down Frankford Avenue to form a loop of around 4-5 miles.

Brushstroke

There’s something exciting about going slightly off the beaten path and exploring a place that’s a little gritty and edgy. I love the exuberant colors and layering of different styles that cover every surface at Graffiti Pier-even the trees-you feel like you’re inhabiting an abstract painting. It’s like a museum of street art that is free to the public and constantly evolving as new artists leave their marks. From the end of the pier there’s a great view of the city. We ended the hike strolling through burgeoning Fishtown sampling coffee, beer, bagels and more street art at every turn.

3. Laura Moriarty

Hike Location: Baer Art Center, a beautiful seaside horse farm in Northwestern Iceland

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My favorite walk followed well-worn tractor trails around the farm that eventually came to a black sand beach. From the beach I somehow made my way into these vast, deep bands of loosely piled, moss and lichen covered stones that go on for as far as the eye can see. Walking into them was not easy on the ankles. An immense, otherworldly-looking Cape jutting out of the sea was the punctuation point at the end of my trail.

 

4. Rebecca Siemering

Hike Location: Morro Bay, CA. Black Hill is the end of a string of mountains and trails of extinct volcanoes. Fleming Loop from Las Tunas Road, to the Powerline Trial and then the Carmel Loops to the top.

When I was living in Morro Bay, I was living with my Aunt Joanne Hand, a weaver, for an internship. I worked on various looms then, however,  I do not weave as much today.  I am a fiber artist partly because I could see making a life and living pursuing art. I worked in the bookstore with my aunt by day, wove on my days off and at night.

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This hike can be taken off of Las Tunas Road in Morro Bay, CA or many other roads on the edge of town. In the late afternoon, I would hike up this small mountain or take a long walk down to the bay by Morro Rock. You can walk through the dunes full of jackrabbits and sand dollars. When walking up, the trail is filled with brush, scraggy pines, sometimes you see evidence of Chumash Indian caches. At the very top is such a treat. Looking one way, you see all of the ocean and the bird estuary below with cranes. Looking the other way, you can see back to the whole mountain range. If you are lucky, sometimes there is fog and it looks like it is just you in the clouds with the sun. Dress for all types of weather and in layers, the Bay is cold. However, ten miles inland in San Luis Obispo you are wearing shorts.

Photo Credit: Jenn Moore, Jenn Moore, Henry Hamm, Joey Gonzalez

5. Teri Bevelacqua

Hike Location: Olympic National Park, Hike to Toleak Point from Third Beach, just west of Forks Washington. Best done mid-week to avoid a crowd.

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It’s the kind of place you run away to. Part of the hike is on the beach and part is through the forest on the headlands-it’s beautiful and peaceful. The forest is old and has wonderful sight lines not common inland. The beaches are wild and remote with spectacular views- tide pools abound at low tide chock full of sea life and the ocean in many moods. Haystacks, private coves and much wild life on this hike. I’ve had many “Wild Kingdom” moments out there with orcas, hunting seals, eagles and hunting seals.  

Many, many thanks to Arden Bendler-Browning, Bridgette Guerzon-Mills, Dietlind Vander Schaaf, Jeffrey Hirst, Laura Moriarty, Linda Celestian, Rebecca Siemering and Teri Bevelacqua for taking the time to share with us their favorite hikes. I’m so grateful to all of them and to you for reading.

As always, I look forward to your comments, questions and suggestions-the comments section is located at the upper left sidebar of this post. I would like to make artist hikes/inspiring vacations a regular part of this blog, so please email me or leave a comment if you would like to share your favorite inspiring places in a future post.

Stay tuned for my next post still focused on summer and Inspir-cations, in which I will share with you my favorite portable art materials. I break down what is really necessary for me to take on the trail and in my suitcase when I travel. Even if you don’t hike or carry a backpack, anyone who travels away from home or even just commutes to work will find this post helpful. In the meantime, enjoy the lovely spring air!!

Hikes For Artists, Part 1

Looking for some painting inspiration this summer? Some of my artist friends and I share some of our most inspiring places along with the art inspired from having been there.

According to the calendar, spring has sprung, although one would never know it here in the Northeast. With this interminable winter we’ve been having here in Philly, I’m just itching to get out and do some hiking. I feel absolutely stifled when I can’t get out and immerse myself in nature’s inspiration and it shows in my work when I haven’t been outside for a while. One of my favorite quotes by Matisse suggests that no matter what kind of work one makes, nature is always filtered somehow through the artists mind…An artist must possess nature. He must identify himself with her rhythm, by efforts that will prepare the mastery which will later enable him to express himself in his own language.

The main source of inspiration for my paintings is from photographing and/or plein air sketching while on long hikes. I always like to explore at least one new place per year and usually plan extra days around my summer workshop teaching schedule to hike the area I’m teaching or I plan vacations around an inspiration hike. I was curious if other artists did this and apparently many of you do, so I decided to gather a few willing participants to write about their favorite inspiring places. Even if you don’t enjoy hiking, many of these places are drivable or just looking at the photos in this article, the art inspired by it and the artist’s web sites is inspiration decadence.

  1. Lorraine GlessnerHike Location: ‘The Knolls’ Teasdale, Utah

    I have so many favorite hikes, it was difficult to narrow it down. I chose ‘The Knolls’ (pictured the top of this article), the name granted by artist friend, Jeff Juhlin, who introduced it to me a couple of years ago and inspired by the odd earth forms that surround the area. It’s located just outside of the Dixie National Forest entry in Teasdale, Utah. Jeff and I have taken Our Desert Artist Retreat to The Knolls, but other than that, I have never seen another soul on the trail-all you hear is the wind and your own breathing.

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    The images I’ve shared below were taken on a cloudy day and even so, the earth shone a brilliant rust/red/orange/pink. To say the terrain is other worldly is an understatement, I have literally never seen anything like this place except in a Star Trek episode. The colors, earth, rock, trees, brush, flora all wind whipped into fascinating twisted, sculpted forms that keep me interested for hours. I hiked there alone on a stormy day last August and for many hours I climbed, photographed, sketched and wrote. I then went home and made some digital drawings from some of my photographs (one pictured above). Here is an excerpt from my journal that day…Rocks that grow out of the ground, trees growing out of rocks, rocks that seem to have teeth and fallen branches that look like bones. I keep trying to find a sound, but there is absolutely nothing to hear. This place defies all logic, but I never want to leave its magic.


2. Arden Bendler Browning

Hike Location: Drive-By’s in Australia

As I write this, I am traveling by motorhome with my partner and three daughters all around Australia.  As we drive, I paint while observing the landscape morphing through the windshield and out my side windows.  I have also revisited drawings made while outside and from window views of Sydney, hikes in Maui, and riding through the Sydney highways – I add layers from different locations and combine them together into one image.

Maker:L,Date:2017-8-24,Ver:5,Lens:Kan03,Act:Kan02,E-Y

My previous road trip out west from Philadelphia resulted in numerous sketches made in this way (primarily watercolor and gouache on Yupo), and then large paintings were made back in my studio as I looked at the thousands of photographs from my trip, held in my hand as I made marks on my panels.
The drives, moreso than the hikes, tend to be my inspiration.  I am interested in conveying the yearning to take everything in, to be everywhere all at once, yet also considering the awareness that it is an absurd impossibility promoted by our own constructs.  To see everything means to miss something else – be that the slower paced time spent in one place,  the elimination of another route altogether, or simply existing more on the physical present moment This seems to echo the prevalent pace of contemporary life in the digital age… We are convinced that anything and everything is possible, if we just decide to do it.  Things are rarely the way we envision them, and real time of quite a different thing than a digital feed.  Additionally, I’m shutting out other aspects of my ordinary daily reality in order to move around the world.
During my current road trip, we drove the infamous Eyre highway across the barren Nullarbor plain.  The Nullarbor contains the longest straightest section of road in the world and is a vast flat terrain with zero trees.  There are very few settlements – just a few roadhouses and tiny towns many miles apart.  I have imagined this landscape while looking at maps for years, and was surprised by its beauty and drama.  It never
I painted this watercolor and gouache painting on a round sheet of handmade watercolor paper during the three days it took us to drive the main sections of the highway, from Port Augusta in South Australia to Norseman in Western Australia.  I layered and layered marks in response to the changes in the roadway and the surrounding terrain… Far more changes and detail than I could have imagined.  I kept thinking it was done, only to see that it wasn’t, and became entranced with the changes in what I was noticing along the way: the shadows of clouds moving over the road ahead, the random patches of red earth, the range of color in the immensely vast horizon.  I worked on this painting for hours throughout each of the three days we traveled on this lonely, intense road.
I’m excited to experiment with printmaking and animation when I get back to my studio, along with large paintings.

 

3. Bridgette Guerzon Mills

Hike Location: Ruby Beach and Second Beach, along the northwest Pacific coast of Washington on the Olympic Peninsula

As a naturalist and outdoor enthusiast, I have hiked in many different areas around the United States. My most favorite hikes are these two hikes through the forest down to the wild beaches of the Pacific Northwest.

BGM4

Ruby Beach trail is very easy, not really a hike as it is only .25 miles through the woods, but it can give you a taste of the wild Olympic coast. The more rigorous hike, but also a very do-able day hike, Second Beach is further south and is a 4 mile round trip from the trailhead. The Second Beach hike was my first hike to the Pacific Ocean and was eye-opening for me- someone who grew up on the east coast and spent childhood summers playing games and getting funnel cake on the boardwalks by the Atlantic Ocean among throngs of bikini clad people. The trail took me by tall Sitka spruce and a descent down to the log-strewn beach. As I got closer to the beach, the trees thinned out and I caught sight of the iconic offshore sea stacks. When I emerged from the forest and was hit by the blustery wind, I just stood in awe of such wild beauty and the gray on gray of the seascape and sky. I had never been in such a place and it was an encounter that I will never forget and has inspired my art over and over again- not just the actual physical beauty, but the feeling of wild, of longing, and of a very strong sense of place.

 

4. Dietlind Vander Schaaf

Hike Location: Tomales Point Trail, located at the northern end of Point Reyes National Seashore in California

Tomales Point is a beautiful space to see tule elk, birds of all kinds, and wildflowers. The hike is just shy of 10 miles roundtrip and follows the ridge crest of a narrow peninsula, offering panoramic views of Tomales Bay and Bolinas Ridge to the east, Bodega Bay to the north, and the coastline of the Point Reyes Peninsula, which stretches to the south. The parking lot is located at the historic Pierce Point Ranch, a remnant of the area’s early dairy ranching days. I have walked this trail a dozen times or so, but only made it to the end and back twice, both times with my friend Paul–once before I left San Francisco to move back to Maine, and then again last year. 

dietlindIn Winter I Found Quiet

It’s a bit of a drive to get to the remote trailhead at the northern-most end of the Point Reyes peninsula, past working dairy farms and long stretches of national seashore. Sometimes when I’ve been on the trail, the fog was thick, obscuring views of the sea, but mostly it’s clear and you’re pretty much guaranteed to see tule elk, a subspecies of elk found only in California. Conservation measures in the 70s have brought a dwindling population of wild tule elk back up to nearly 4,000.
Because there are few to no trees on this hike, it reminds me of the years I worked for the Appalachian Mountain Club in the huts, specifically the times I found myself hiking above the tree line between peaks. The eye can travel far on this trail–you get what I think of as the long view and I appreciate the sense of perspective this affords me.
When we reached the tip last February, Paul and I could see immediately that a large part of the cliff we had followed years before had fallen steeply to the sea below. There was no longer an easy scramble down rocks to the water’s edge. For some reason that felt appropriate, though it also made me a bit nostalgic, to think that where I had walked prior literally no longer existed.
It feels like something significant to complete this hike. I think of this trail as a place of pilgrimage, something sacred and infinitely beautiful, probably even more so now that I live in Maine and it is no longer a few hours drive from my apartment in San Francisco.

 

5. Jeffrey Hirst

Hike Location: Point Reyes Peninsula in Marin, Chimney Rock with elk reserve

I love to hike near water and when living in the Bay Area enjoyed visiting Point Reyes Peninsula in Marin for hiking and just to soak in the beauty.

Hirst.Red Aperture

The trail winds back and forth over the peninsula with spectacular views of Marin and the Pacific. There also is an elk reserve on the peninsula and it always seemed odd to me seeing the elk in that location. The terrain on Point Reyes is grassy with rocks and it’s a fairly easy hike and quite an adventure as you head out on the peninsula. While I don’t use the imagery in my work, it’s a great place to vacate and recharge your senses. Interestingly, I get a similar meditative feeling when hiking along Lake Michigan in Chicago, where I now live.

 

I hope you enjoyed this article and I am so grateful to my artist friends who participated in writing it, thanks so much! As always, I look forward to your comments, questions and suggestions-the comments section is located at the upper left sidebar of this post. I would like to make artist hikes/inspiring vacations a regular part of this blog, so please email me or leave a comment if you would like to share your favorite inspiring places in a future post.

Stay tuned for more amazing artist hike ideas in part two of this series. In the meantime, get out and breath the air.

The Grass IS Greener: A Life Changing Artist Experience

Happy New Year to you, Art Bite Blog fans! I thought I would start the new year with an inspiring story that will hopefully move you in a good direction for 2018. If you are stuck or need prodding like I did when the events in this story took place, it might help nudge you out of your rut. I have shared this story in bits in pieces, but never in full. I hope you will enjoy reading it as much as I did in recalling and writing it.

In 2014 I was awarded my first month long residency at Jentel Artist Residency in Banner Wyoming. I applied for this residency in 2013 out of utter desperation. I had been grieving the sudden loss of someone very special to me and as a result, I hadn’t been in the studio or made any work for over two years. When I did receive an invitation to this residency, it was manna from heaven. I drove from my home in Philadelphia to Wyoming-a first for me to travel that far on my own. Although I had been out west many times, I had never traveled at ground level, witnessed the marked changes in terrain, the changes in the light from blue to green to gold or watched the sunset for three hours as I drove due west. As I made my way further away from my home, I felt the mountains of guilt, grief and depression fall away from my shoulders and as each mile passed, I felt lighter and more free.
The residency is located on a thousand acre working cattle ranch with trees, foothills, desert flowers, a lovely creek, rattlesnakes, deer and porcupines. I was in love at first sight with the raw beauty of the land and the huge sky that I could see for forever. Behind the house was the tallest mountain on the property and for some reason, I got it into my head that before the end of the month I would climb that mountain. This was a ludicrous thought because for one, I’m afraid of heights and two, I had never climbed anything resembling a mountain. However, these pesky logistics didn’t matter to me. Come hell or high water, I was going to climb that mountain and I was also going to break my two year slump and make some work during this residency.
During the month, I hiked those thousand acres, exploring each foothill, memorizing the curves, drawing the contour of the land against the sky with grasses I collected and dipped in ink, hearing nothing but the wind and my own breathing as I walked and worked. This strange, brown and barren land was healing me step by step as I hiked, line by line as I drew, breath by breath as I listened to the wind. I kept an eye on my mountain nemesis behind the house, everyday assessing the height, the verticality, the rocks. It loomed and taunted me, just as the challenge to let go of my depression and get out of bed everyday seemed to loom and taunt me.
It didn’t happen for me right away but by almost 3 weeks into my month long residency I finally had a breakthrough in my work and it all started to flow. I made about four paintings, a ream of drawings and about 1000 digital drawings by the last week. I was definitely on fire, determined and inspired. The residency had done for my studio work all I had hoped for and more.
But. I. Still. Hadn’t. Climbed. That. Mountain.
Ok, so I never told anyone I was going to do it. I never made any promises to anyone, except myself, of course. It certainly wasn’t a requirement of the residency program that I climb it. Who would know if I didn’t do it? Well..I would know..and I would feel like a total failure even with all of the studio success I had achieved.
So…On the second to last day before I was to leave, it was now or never. It was a lovely day for a hike and just as I had done most days, I woke up, put on my backpack and hiking shoes. But instead of heading out to the thousand acres, I went behind the house and started up the mountain. It was much steeper than I thought and at some points, it was almost vertical with nothing but scree in most places. I had no climbing equipment and I had absolutely no idea what I was doing from a mountain climbing standpoint. I just started, one foot in front of the other… grabbed, slid, sweated and breathed my way up, paying close attention not to look down. To pull myself up the sheer verticals and to stop myself from falling when I slipped, I held on to the the tall grasses, they were my lifeline-just as they had been in the studio when I made those first drawings in ink.
At one point I did look down and immediately panicked.
I had climbed so far, there was only a short distance left, but what lie ahead of me was nothing but rock and a sheer vertical, I had no idea what to do. My heart started to pound and I couldn’t breathe, I had to sit down. As I sat there on the rock, crying, paralyzed with panic, contemplating the embarrassment of butt sliding back down in defeat…or worse, having to be rescued, I heard something breathing behind me…it was a deer! She was pretty close and seemed a bit skittish, but more confused at what I was doing all the way up there on her turf. She quietly turned around and went over the top of the mountain. I kept an eye on her path and followed it..hand over hand, step over step, gripping anything I could, even digging my fingers into the dirt to pull myself up and finally I made it to the top. I turned around to look at the ranch below me and snapped a picture ( shown at the top of this article) so I would never forget that moment. I still remember how victorious I felt and it was then that I knew everything would be okay. I was strong and I could get through my grief and depression and move forward. I would never be the same as I was before, I would never make the work I was making before, but everything was going to be okay. I was going to be okay.
As I turned to continue down the other side of the mountain, I was relieved to see a green meadow with flowers, a clear path and an easy, gradual descent down into the valley.

I hope you enjoyed that story. If you have a similarly inspiring story you would like to share, please leave it in the comments section below. If you are interested in applying for a residency, but are unsure about which one, this post may be helpful. I will be writing more about my residency and the transition from my older work to the work I do now, so stay tuned for those articles in the coming months.

As promised, I will be posting to this blog twice a month and my next post outlines my New Year’s Studio Resolutions. Since 2015 when I started making these resolutions, I have shared them with a few people who have found them very helpful and useful for their own studio practice. If you haven’t made your resolutions yet, please make sure you follow this blog so you don’t miss my next post!

A Desert Artist Retreat: Exploring Landscape Through Encaustic & the Mark

Awestruck, we found ourselves face-to-face with the rising sandstone cliffs of the Capitol Reef. The only comparable vista that I have ever seen is at the site of Petra, in the land of Jordan. However, the Capitol Reef is not only much vaster — extending over a hundred miles; unlike Petra — where Man had a major role in carving out its topology and architecture — the Capitol Reef owes its unique landscape and incredible array of multi-colored sandstone canyons, castles, pinnacles, and buttes — some of them reaching right up to the sky — to Nature’s rich endowment of evolutionary forces. Here, over eons, the rain, the snow, the sun, and wind have converged, employing all of their might to render a grandiose and unforgettable landscape.

Terry Tempest Williams

What
A Desert Artist Retreat: Exploring Landscape Through Encaustic & the Mark
Limited to 8 participants! 2 Spaces Available!
Level: Intermediate to Advanced
$755 includes most materials (see below)
For Registration, Please Contact: Lorraine Glessner, lorigles@earthlink.net

When
August 21-25, 2017, 10am-4pm each day

Basic 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. Easy to moderate hikes exploring the high desert landscape of Torrey, Utah are led by Jeff and Lorraine and 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 the use of the grid as a conceptual and compositional tool as well as 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 the images below of student work and fun scenes from hikes and studio during last year’s Torrey Retreat, 2016.

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Where Jeff Juhlin Studio, in beautiful Torrey, Utah located just outside of Capital Reef National Park in the heart of the southern Utah Red Rock country. (pictured above: Jeff Juhlin’s Torrey, Utah home and studio)

SCROLL DOWN TO SEE the pics below for more of Torrey’s amazing landscape and Jeff’s studio, as well as additional blog posts related to the Torrey landscape here, here and here.

Who A collaborative teaching venture with Jeff Juhlin & Lorraine Glessner

Jeffjuhlin.com
Jeff’s work is about discovery, the hint of possibility. It’s about the layers or strata of things substantive, imagined, physical and implicit. He accumulates layers of material, images and color that make up the whole of a painting, then goes back in and to explore, excavate, expose and obscure. The end result is a non-literal visual form, a translation of that experience and process.
Jeff uses various materials and mediums to create these works however encaustic incorporated with mixed media including paper, ink and oil paint are most often the primary mediums. Encaustic’s luscious luminosity; physical presence and translucent quality seem the ideal medium to explore this process.
Jeff has completed Residency/Fellowships at the Virginia Center for the Arts and VCCA France, Moulin Au Neuf, Auvillar France. He has been Artist in Residence 2010-2015 at the Hui Art Center in Maui, Hawaii. His work can be found in numerous private, corporate and public collections as well several public art commissions. Jeff holds a BFA degree from the San Francisco Art Institute. He maintains studios in Salt Lake City and Torrey Utah. He teaches Regularly at the Hui Art Center in Maui, Hawaii, the Kimball Art Center in Park City Utah and at his Studio in Salt Lake City.

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, branding, rust, paper and more in her work. Lorraine is an 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 has been exhibited locally and nationally in galleries, 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.

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.
  • Individual consultation/critique discussion with each participant. Bring a piece of work, a question, a concern, a problem and discuss it with Jeff and Lorraine.
  • Daily hikes and meditations relax and open your mind and spirit to the land and to your own creative voice.
  • A slide talk with examples of contemporary artists whose applies the concepts discussed in the workshop is offered for inspiration.
Student work and other fun stuff from Torrey Retreat, 2016

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

  • All encaustic paints, extra medium, tools and equipment
  • Graphite paper, 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
  • Smock (optional)
  • Closed toe shoes for safety in the studio
  • Lunch and beverage each day
  • 6-10 wooden painting panels (your preference of 8×8 or 10×10, but no larger or smaller, please) Experimentation is great! You must bring the wooden painting panels, but other suggested substrates are: stiff card, paper, masonite, board, plexiglass, etc. (nothing coated in acrylic or acrylic gesso!!) wooden panels will also be available for sale in the studio during the workshop.
  • 2-4 actual or images of your work
  • 5-10 natural hair brushes in various 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)
  • a variety of basic encaustic colors will be provided, however, if you prefer certain colors, please bring them. (containers provided)
  • a variety of pigment sticks will be provided, however, if you prefer certain colors, please bring them.
  • drawing media of your choice (pencil, pastel, conte charcoal, oil pastel, Crayon, graphite, felt pen, etc.)
  • any tool or material for any technique that you normally employ while working with encaustic
  • iwatani torch with extra butane (optional)
  • textured objects and/or sharp ended tool for pressing into/incising/writing/drawing into wax.
  • 1 lb encaustic medium (containers provided)

 Hiking Equipment Recommendations

  • Sturdy hiking shoes/boots
  • butt pack or small backpack
  • comfortable clothing
  • light rainwear
  • Hat
  • water bottle
  • Digital Camera or smart phone or point and shoot camera or DSLR
  • bag for collecting found materials

For Registration, Please Contact: Lorraine Glessner, lorigles@earthlink.net

Payment Payment of 50% of the workshop fee + materials ($377.50) is due at the time of registration with the remaining 50% ($377.50) due on the first day of the workshop. Please contact Lorraine for payment details.

Cancellation 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.

Accommodations  THE CABIN HAS BEEN FILLED. SEE BELOW FOR ACCOMMODATION RECOMMENDATIONS (Pictured below) The large cabin next to the main house and studio is walking distance to the studio and is available for $100 per night with each person an additional $25 (up to 6 people) and a $100 deposit. It includes one bunk bed (two beds) Rear bedroom, two single beds in a middle bedroom and one double bed in the other middle bedroom, (see images) one full bath, full kitchen. A group of friends could take the whole cabin or 3-6 people could stay there for very little cost. Please contact Jeff jeffjuhlin@yahoo.com if you are interested in renting the cabin on the Torrey property.

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Cabins and hotel rooms in town (less than 10 minutes away) Start at $60 and up. There is a tent camping and mobile home park in Torrey also. Please see the web sites below or contact Jeff for more information.

torreyutah.com
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Food Filtered water will be available for drinking and tea, however, you may want to bring other preferred beverages. There will be no food served during the workshop, you must bring lunch and snacks each day. There is a full supermarket 25 Min away located on Loa, Utah and a small market right in Torrey with local meat, some vegetables and basic food items plus a Deli that serves breakfast and lunch. Contact Jeff jeffjuhlin@yahoo.com if you have specific food needs and questions.

New Drawings Series

As promised in my last post, this months post is devoted to a new drawings series that I began during the workshop I taught in Torrey, Utah with artist friend, Jeff Juhlin. I continued to work with these drawings through subsequent travels and at home during the months to follow.

I should mention that my previous feeble attempts at drawing the Torrey landscape from life were just horrendous. Whenever I try to control anything I do in the art making process, it turns out to look contrived and just awful. This landscape is especially overwhelming, wherever you look there is something inspiring, something as an artist I wanted to capture and hold. I couldn’t do it by just doing it, I had to invent a process.

The focus of the workshop was making marks inspired by hikes through this amazing landscape and then translating those marks to encaustic paintings. One of our mark-making exercises was to collect items from the landscape that could be made into brushes or other types of mark-making tools. We then dipped these brushes and tools into Speedball Super Black India ink and made marks in response to meditations and sketches from our hikes. Working in my favorite 6×6 Stillman & Birn, Zeta series sketchbook**, I took a slightly different approach and instead made marks that loosely followed the contour of the landscape as I observed it through the studio window as well as from my sketches made on our hikes. These contour marks along with the brushes that made them are below.

I liked the marks I had made but I felt that something more was needed so I just started working back into them and responding to the marks with two of my favorite drawing pens..a Pilot G-Tec-C4 for thin lines and a small size Faber Castell Pitt artist pen for thicker lines. The results are so complex and full of life! I love that these drawings are made with a combination of my hand and the actual landscape itself. Unbelievably, through this simple process I arrived at drawings that look like what I had been trying to capture in those first unsuccessful drawings from life…and I got there through process and giving up a bit of control…two techniques that I constantly have to remind myself (and my students) to employ in the work.

These drawings are immensely gratifying, meditative and I just love the results. People I’ve shown them to ask me what I’m going to do with them and I haven’t really decided. I’m thinking that making them on larger sheets of paper might be an idea or using them somehow in my paintings might be another. Right now, I’m just going to focus on making more of them.

If these posts about Torrey, Utah have inspired you, you are in luck because Jeff Juhlin and I will be teaching in Torrey together again in August, 2017. Visit the updated blog post for details about this exciting workshop. If you are interested, you had better hurry…there are only 2 spots left!!

For even more inspiration, view two other posts on Torrey here and here. To learn more about employing process in your own work, see notes from a talk I gave last year at the International Encaustic Conference here. For more inspiration on lines, see this post here and follow my Marks Pinterest board here.

**I LOVE this sketchbook! Thick, quality paper that holds water media, ink, etc. and stays flat, without any curling or buckling. It’s very sturdy, stayed intact through six months of travel and many hikes. Get one, especially if you like to sketch in any kind of water media!

Torrey Layers

As I wrote in my last post, the workshop I taught in Torrey, Utah with artist friend, Jeff Juhlin and the subsequent hikes through Capital Reef and Arches National Parks, was most inspiring. The land, colors, forms, lines, just everything, inspired me. Part 1 of my Torrey posts focuses on the the amazing texture and sculptural forms within the landscape and I’ve devoted this post, Part 2, to layers, color and marks.

My foundation as an artist lies in textiles, specifically in quilting, which ultimately led me to explorations in encaustic. Building up the layers of colored wax, fusing them with heat and scraping them back to reveal amazing things will always keep me working in the medium. To me, layers of wax and other materials represent skin, cells, earth’s geology and its atmosphere, while layering itself relates to memory, perception and time. I see layers in everything and what better place to view earth’s layers than in Torrey, a place that changes daily, but so slowly and gradually, it seemingly never changes at all. In this amazing place and similar to the the process of encaustic, earth’s layers are built up and through the slow processes of water and wind erosion, those layers are revealed and transformed.

The surfaces of most rock faces in Torrey are covered in spectacular colors ranging from subtle pinks, yellows and whites to the deepest sepias, siennas and umbers. These painterly surfaces are known as ‘desert varnish’, a staining that occurs over time through an extremely slow combination process of water and time. Other surface marks, textures and swirls are also visible on the rock’s surface, manifesting a ghost of the water that created it.

Just as stunning as the desert varnish are the colorful, textured markings of lichen, covering the more protected, hidden rock surfaces. Most striking are the color contrasts arising between the greens, yellows and blues of the lichen and contrasting red earth or black lava rocks. Because lichen in the high desert grows abundantly on porous surfaces protected from strong wind and sunlight, it is often overlooked and/or quickly dismissed. However, those who look closely are rewarded with brilliant color, extraordinary patterns and unexpected plant-like formations.

In addition to my own photographs, I have included other artists whose work references layers and marks similar to the surfaces I encountered on my hikes. See more artists like these on my Fiber Pinterest board here and my Drawing and Marks Pinterest board here. Names and web site links to the artist’s included below are in order as follows: Bill Gingles, Deborah Kapoor, Dorothy Caldwell, Erin Endicott, Fran Skiles, Jeane Meyers, Jennifer Reifsneider, Jeri Ledbetter, Junko Oki, Lee Kaloidis, Matthew Harris, Sue Hotchkis, Ward Shumaker, Adam Cohen.

Stay tuned for the next and last post (January, 2017) related to my wondrous trip to Torrey, in which I will share a series of drawings I started during the workshop I taught there and have been working on during my subsequent travels and since I returned home.

If these posts about Torrey, Utah have inspired you, you are in luck because Jeff Juhlin and I will be teaching in Torrey together again in August, 2017. Visit the updated blog post for details about this exciting workshop.

For even more inspiration, view other posts on Layers here and here. See some student work from a workshop I taught on Layers and Texture here and follow my Layers Pinterest board here.

Torrey Textures

I love to teach and I love to travel, so what better way to make a living than teaching workshops all over the country! Teaching and interacting with so many amazing people informs my work in countless positive ways. But for me, the true inspiration comes from many cross country drives to amazing destinations, and the breathtaking landscape, weather, skies and sunsets I encounter along the way.

One of the most inspiring workshops I taught this summer was with artist pal, Jeff Juhlin at his home and studio in Torrey, Utah. After a few hikes with our class, a crazy strenuous hike with Jeff through a canyon (mostly through water) after our workshop as well as some hikes on my own through Capital Reef and Arches National Parks, my inspiration was overflowing. The landscape is otherworldly surreal to say the least-with every turn is something awe-inspiring that can only be fully appreciated by actually being there. I took thousands of pictures, I just couldn’t get enough! I wanted to capture and hold every magnificent thing that I witnessed. This place is overwhelming (in a good way) and I couldn’t wait to share what I experienced.

For this first of two posts about my trip to Torrey, I’m focusing on the sculptural qualities of the landscape. The monumental forms and precariously balanced boulders with their carved and etched markings brought to life the fragility, violence and vulnerability in nature that I investigate in my work. I could almost hear the glaciers grinding and scraping against the rocks to create these amazing surfaces. Through a process of wind, water, weather and time, those marks are transformed into gravity defying sculptural forms and surfaces. Besides inspiring a new series of drawings (to be posted January, 2017 on this blog) this landscape reignited a longtime desire to carve into plaster, clay or wood and combine these things with encaustic. Along with my photographic inspirations, I have included some other artists whose work references these amazing sights. Names and links to the artist’s web sites as follows: Conrad Jon Godly, Leslie Wayne, Piero Manzoni, Richard Tuttle, Arthur Pena, Laura Moriarty, Bram Bogart, Elisabeth Vary, Marlies Hoevers, Hilary Harnischfe.

Stay tuned for part 2 of Torrey inspiration, which is focused on layers and color in the landscape and will be posted by mid-December. If this post has inspired you, you are in luck because Jeff Juhlin and I will be teaching in Torrey together again in August, 2017. Visit the updated blog post for details about this exciting workshop.