Finally! The much-promised final chapter in the Encaustic Conference saga...
The final day of the conference (Sunday) featured some more demos in the morning. These are the ones that I chose to attend:
Encaustic Monotype by Paula Roland
www.paularoland.com
Paula's work is featured in The Art of Encaustic Painting and a couple of my students have attended her workshop in Santa Fe, so she's a bit of a celebrity in the encaustic world.
She talked a bit about the teacher that she learned the monotype technique from, Dorothy Furlong Gardner, from New Orleans.
Paula has developed her own painting palette, seen here in the first photo on the right. The heat stays even all over and it's a light color to allow you to see the color of the paint.
The ideal temperature to have the palette set for monotypes is between 160 and 200 degrees. You'll get more detail at lower temperatures and more wax flow or saturation at higher temps.
Things to consider - temperature, type of paper, amount of wax, proportion and kind of pigment.
She uses 50% pigment and 50% medium for grittiness and texture and saturation.
It's easier to layer on thicker paper with thicker medium. Paper absorbency affects the outcome, too.
Often uses masa paper - a type of rice paper. Also uses kitakata paper, Rives BFK and other printmaking papers.
She will put dots of paint in the corners to indicate area to print. Apply paint to the palette and lay the paper down. Apply more paint and lay it down again to add more or to blend.
You can put the paper face up on the clean palette and blot with newsprint to take off some surface paint. You can use rice paper to blot and then use that to build up a print. While it's laying on the plate you can also draw into it with charcoal, pencil, add more encaustic... Graphite becomes fixed in the wax.
Silk flowers can be stamped into the paint on the palette and then stamped onto the paper when it gets saturated with paint.
Use wood block stamps.
You can block areas with newsprint on the palette.
Ghost image can be picked up with thin paper.
Create lines and shapes with dental floss, scrape with combs, rubber-tipped shaper tools, credit cards - anything that won't scratch the palette.
You can use a saturated print as a plate.
She showed some slides of other artist's work. One featured what she called "inlay" with a smaller piece of paper in a cut out hole of a larger piece. Scrolls - large rolls of rice paper printed with encaustic on both sides and worked back into with other media.
You can paint with watercolor on the un-waxed parts of the paper.
Recommends mounting a print to board with acrylic medium on the back (keep the back free of wax).
Way too much information for such a short demo! I'm sure she barely scratched the surface of what can be done with encaustic monotypes...
Encaustic Sculpture by Kim Bernard
www.kbernard.com
I really like Kim's work and was hoping that she would talk about HER work, but she gave a presentation about several artists working 3-dimensionally with wax in some way.
I'll just list the artists that she talked about and a website if I can find one... You should look at their work. It's quite amazing.
Melissa Stern - NY
Sylvia Metzer - NY (her work is in the Mattera book but I can't find a website for her)
Lynda Benglis - NY/Santa Fe
Johannes Girardoni - NY/Austria
Nancy Azara - NY
Michelle Stuart - NY
Martin Kline
Wolfgang Laib - Germany
Text Pictures by Mary W. Hart
www.winchesterartistsnetwork.org/hart_fs.htm
She showed various ways to incorporate text into encaustic, most of which involved collage.
Writing with ink on rice paper - when collaged into the encaustic the paper absorbs the wax and almost disappears.
She painted white gouache or chalk onto collage elements before adding the wax. The white will show up when it's waxed.
She used transfer letters (Letraset rub-on letters) and carbon paper.
Creates lines and rubs oil pastel or oil bars into the line. Wipes with walnut oil and fabric to remove excess.
Stencils - she creates stencils from transparency film.
Another interesting technique for collage materials - she painted words in white gouache on watercolor paper, let it dry and then covered it with waterproof in. Then she washed off the gouache and used it to collage into the encaustic.
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That was it for the demos. There was a final closing session and some get-togethers but I had miss them because I had to rush to the airport.
One last travel story...
As I mentioned before, I was flying standby and all the flights were full for the next couple of days and I was worried that I would be stuck. As it turned out, I was able to get out of Manchester but I got stuck in Chicago. I considered spending the night in the airport but that's depressing and also way too much like camping, so I went to a nearby (probably over-priced) hotel. I got to the airport super early the next morning and finally made it to Houston and then finally to Dallas. Quite an ordeal! But hey, it was "free!"
So the conference was fun and very informative and definitely worth the trip. I'm hoping to make it again next year!
A request
If anyone else happened to attend any of the other sessions, I would love to read the notes that you took. I'm especially interested in the one by James Meyer (Jasper Johns' assistant), the panel discussion about Wax, Paints, Substrates and Grounds and the discussion about beekeeping - Wax in the Context of the Hive. I wish I'd had a couple of clones that I could have sent to all of the sessions!
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Now playing: Whiskeytown - Everything I Do
via FoxyTunes
Showing posts with label first national encaustic conference. Show all posts
Showing posts with label first national encaustic conference. Show all posts
First National Encaustic Conference, Part 4
OK, finally, more of the conference...
Note: I'm going from the notes that I took during the demos, so if you happened to be there and notice that I got something wrong, please let me know. Oh, and often there was more info, I just tended to write down the things that I didn't know already or that helped clarify some process...
It was really difficult to choose between the competing sessions, but here are the ones that I chose:
Textural Explorations by Lissa Rankin
www.lissarankin.com
Lissa's work is very textural with built-up areas of encaustic. She showed many different techniques for achieving these types of effects.
She began talking about her love of the blowtorch. She said that she only used a heat gun for a long time but then tried the blowtorch and has never gone back. She recommended the Iwatani CB-TC-PRO Butane Torch. It's a small creme brulle torch available from www.cooking.com.
Scumbling - to get built-up texture, she uses sort of a dry-brush effect, letting the brush strokes build up. She takes the encaustic paint off of the heat to cool a bit. She brushes a few layers before fusing since the fusing knocks down the texture a bit. She continues, sometimes working on a piece all day long.
Relief - using leaves, burlap, lace, etc. She heats the surface a bit and then flattens the material onto the surface. She paints medium on first and then paint. She then removes the material (you have to experiment to find the perfect time to remove it) and fuses to soften the edges. She uses a pigment stick on the edges to add color and dimension.
She makes her own medium with 80% beeswax and 20% damar resin.
Stencils - using mylar stencils or transparency film that she cuts her own stencils from. Preheat the surface a bit before applying the stencil. Brush on some medium and then the paint. She recommended using a heat gun because the blowtorch can sometimes melt the stencils. Fuse lightly then remove stencil (again, there's a perfect time to remove it). Fuse again to soften edges.
You can put the stencils in the freezer and the wax will break off and you can reuse the stencil.
She makes her own blending sticks with 4 parts linseed oil to 1 part beeswax.
She makes her own pigment sticks by mixing half of the blending stick with half powdered pigment and then pouring it into a muffin tin.
Elevated shapes - using masking tape (I believe she used the blue painter's tape), mask off an area and then brush on medium first. Brush on paint. Fuse lightly and remove. 1/4" thin making tape bends and makes curvy lines.
If you wipe off oil paint or pigment stick with linseed oil, she recommended cleaning that off with alcohol at the very end since it evaporates.
Molds (this is a little sketchy since she was rushing and I'm a little rusty on mold-making)
Paper clay - like papier mache - push object into it and leave it for a couple of days. Pull it up when dry. Glue it to the panel with matte medium on back.
Gray modeling clay - roll it out and put object in it (coat it with linseed oil first). Pull it up. Fill the cavity with wax. Let it set a bit and remove it. Use toothbrush and water to clean clay off. Preheat surface of the painting. Put wax piece on palette to melt a little and then put it on the painting.
Elemental Substances and Processes by Mari Marks
www.marimarks.com
Mari's work is kind of minimal but also textural in a different way.
She had what seemed like a very time-consuming process but also sort of meditative.
She started with a panel that had a solid color of encaustic paint on it. She mixed artist's graphite powder with denatured alcohol. The alcohol dispersed the powder and enabled her to brush it on the painted panel. The alcohol evaporates and leaves the pigment. She then fused it under a lamp, moving the lamp very slowly. This seemed to allow the powder to melt into the paint. Sometimes the powder reacts with the paint to create interesting textures and shapes.
She mixes other powders with the denatured alcohol to create similar effects - ashes, red ceramic clay powder, plastic roofing cement, dry pigment.
Break Away from the Brush by Nash Hyon
I don't have a website for her, but click here to see some of her work.
She said that she rarely ever used any brushes. She applies paint almost exclusively with metal tools, using as-is or heating them for different effects.
Transfers - warm surface and apply copy face down, burnish, apply water and then scrub with a sponge or cloth. The toner will transfer onto the wax.
She mentioned something called Digi-Fab - digital silk - inks printed on clay-based paper that will transfer (I'm not sure if I wrote that down correctly).
Collage - when collaging paper, scrape with scraper to help it adhere and remove bubbles.
Metal tools - she had different metal tools such as a nail in a wood block - she would heat up the head of the nail and press into surface of the painting to create textures and shapes. Same with a piece of copper, metal screen tool, metal comb, paint brush cleaner, metal dog brush, ceramic tools, etc.
Iron - she recommended Reynolds non-stick aluminum foil - iron it to get texture.
Applying paint with metal tools - she used what she called "surface knives" for Venetian plaster that can be found in the decorative painting department at hardware stores (I found some at Lowe's). She would apply the paint and then smooth it out with the same tool. You can also heat up the tool and smooth the surface or drip paint off of the tool.
To create texture, she used it at a cooler temperature and let it kind of drag on the surface.
Those were the demos for the first full day. There were some the next morning that I will write about later!
To be continued...
----------------
Now playing: Ryan Adams - To Be Young
via FoxyTunes
Note: I'm going from the notes that I took during the demos, so if you happened to be there and notice that I got something wrong, please let me know. Oh, and often there was more info, I just tended to write down the things that I didn't know already or that helped clarify some process...
It was really difficult to choose between the competing sessions, but here are the ones that I chose:
Textural Explorations by Lissa Rankin
www.lissarankin.com
Lissa's work is very textural with built-up areas of encaustic. She showed many different techniques for achieving these types of effects.
She began talking about her love of the blowtorch. She said that she only used a heat gun for a long time but then tried the blowtorch and has never gone back. She recommended the Iwatani CB-TC-PRO Butane Torch. It's a small creme brulle torch available from www.cooking.com.
Scumbling - to get built-up texture, she uses sort of a dry-brush effect, letting the brush strokes build up. She takes the encaustic paint off of the heat to cool a bit. She brushes a few layers before fusing since the fusing knocks down the texture a bit. She continues, sometimes working on a piece all day long.
Relief - using leaves, burlap, lace, etc. She heats the surface a bit and then flattens the material onto the surface. She paints medium on first and then paint. She then removes the material (you have to experiment to find the perfect time to remove it) and fuses to soften the edges. She uses a pigment stick on the edges to add color and dimension.
She makes her own medium with 80% beeswax and 20% damar resin.
Stencils - using mylar stencils or transparency film that she cuts her own stencils from. Preheat the surface a bit before applying the stencil. Brush on some medium and then the paint. She recommended using a heat gun because the blowtorch can sometimes melt the stencils. Fuse lightly then remove stencil (again, there's a perfect time to remove it). Fuse again to soften edges.
You can put the stencils in the freezer and the wax will break off and you can reuse the stencil.
She makes her own blending sticks with 4 parts linseed oil to 1 part beeswax.
She makes her own pigment sticks by mixing half of the blending stick with half powdered pigment and then pouring it into a muffin tin.
Elevated shapes - using masking tape (I believe she used the blue painter's tape), mask off an area and then brush on medium first. Brush on paint. Fuse lightly and remove. 1/4" thin making tape bends and makes curvy lines.
If you wipe off oil paint or pigment stick with linseed oil, she recommended cleaning that off with alcohol at the very end since it evaporates.
Molds (this is a little sketchy since she was rushing and I'm a little rusty on mold-making)
Paper clay - like papier mache - push object into it and leave it for a couple of days. Pull it up when dry. Glue it to the panel with matte medium on back.
Gray modeling clay - roll it out and put object in it (coat it with linseed oil first). Pull it up. Fill the cavity with wax. Let it set a bit and remove it. Use toothbrush and water to clean clay off. Preheat surface of the painting. Put wax piece on palette to melt a little and then put it on the painting.
Elemental Substances and Processes by Mari Marks
www.marimarks.com
Mari's work is kind of minimal but also textural in a different way.
She had what seemed like a very time-consuming process but also sort of meditative.
She started with a panel that had a solid color of encaustic paint on it. She mixed artist's graphite powder with denatured alcohol. The alcohol dispersed the powder and enabled her to brush it on the painted panel. The alcohol evaporates and leaves the pigment. She then fused it under a lamp, moving the lamp very slowly. This seemed to allow the powder to melt into the paint. Sometimes the powder reacts with the paint to create interesting textures and shapes.
She mixes other powders with the denatured alcohol to create similar effects - ashes, red ceramic clay powder, plastic roofing cement, dry pigment.
Break Away from the Brush by Nash Hyon
I don't have a website for her, but click here to see some of her work.
She said that she rarely ever used any brushes. She applies paint almost exclusively with metal tools, using as-is or heating them for different effects.
Transfers - warm surface and apply copy face down, burnish, apply water and then scrub with a sponge or cloth. The toner will transfer onto the wax.
She mentioned something called Digi-Fab - digital silk - inks printed on clay-based paper that will transfer (I'm not sure if I wrote that down correctly).
Collage - when collaging paper, scrape with scraper to help it adhere and remove bubbles.
Metal tools - she had different metal tools such as a nail in a wood block - she would heat up the head of the nail and press into surface of the painting to create textures and shapes. Same with a piece of copper, metal screen tool, metal comb, paint brush cleaner, metal dog brush, ceramic tools, etc.
Iron - she recommended Reynolds non-stick aluminum foil - iron it to get texture.
Applying paint with metal tools - she used what she called "surface knives" for Venetian plaster that can be found in the decorative painting department at hardware stores (I found some at Lowe's). She would apply the paint and then smooth it out with the same tool. You can also heat up the tool and smooth the surface or drip paint off of the tool.
To create texture, she used it at a cooler temperature and let it kind of drag on the surface.
Those were the demos for the first full day. There were some the next morning that I will write about later!
To be continued...
----------------
Now playing: Ryan Adams - To Be Young
via FoxyTunes
First National Encaustic Conference, Part 3
OK, enough silliness - back to the conference report...
On Saturday, the first full day of the conference, I attended the morning panel discussion. The panel was moderated by Joanne Mattera and included Timothy McDowell (artist), Katherine French (curator), Richard Frumess (artist and founder of R&F Paints), Hope Turner (gallery owner), and Barbara O'Brien (curator and critic).
I found the discussion interesting and lively. I took some notes on the highlights:
On the fragility of encaustics - no one seemed to be concerned - just suggested that you have to be a little more careful. Tim McDowell related a story he'd heard about Anselm Kiefer - Kiefer's gallery person called him to let him know that the new owner of one of his straw paintings was staring at a pile of straw in their living room. Kiefer replied, "It must be beautiful."
Someone else mentioned that throughout history, wax has been used as protection and a preservative.
Encaustic lends itself to expressionism. Color can be entrapped in and bounce out of the layers of wax in the painting.
On encaustic painting as a ghetto or cult - most panelists agreed that the idea or formal image is the most important aspect of a work of art, not the medium chosen by the artist. The medium can be interesting but it is secondary (this idea was repeated several times).
Barbara O'Brien stated that art doesn't speak for itself, an artist has to educate the viewer.
Miles Conrad asked the panel if encaustic is seen as a medium used mostly by women. He has noticed an overwhelming majority of women artists entering his encaustic invitational every year. Someone on the panel suggested that perhaps women are more open to trying new media or are more willing to learn from other people (I have noticed, too - I've been teaching workshops for a year and a half and haven't had one male student...).
But historically, male artists had passed down the knowledge of the encaustic process - Brice Marden learned from David Aronson, who learned from Karl Zerbe...
On shipping encaustic work - Someone said that they use 1st or 2nd day FedEx and only ship on Monday, Tuesday, or Wednesday to arrive on Friday. This eliminates the danger of the artwork sitting in a hot truck or warehouse over a weekend. Never use the US Post Office. Never put anything in contact with the surface. Use a crate within a crate. Someone suggested using Ethafoam. Tim McDowell says he usually ships overnight. He also suggested never to list the contents as "artwork." They won't pay the full insurance value on artwork. In the description line he writes, "hand-painted signs." They'll insure those...
On getting into galleries - Look at galleries in your area. Look at the gallery's stable and get a dialog going with the gallery director/owner. Produce a web page that focuses on your art. Keep it businesslike and easy to migrate through. Go to openings and network. Just because a gallery says no once, it's not final. Send them information later with new work and they'll often look at your work again. Don't give up. Gallery owners put a lot more weight to recommendations from their current artists.
Debra Ramsay
After the panel, Tricia Lazuka, Heather Harris and I walked over to see Hot Stuff, the juried group show of encaustic work. I took photos of most of the work and you can see it here. I'm working on finding the names for each work, so if you know who did any of them, please leave a comment.
To be continued...
Related links:
My Flickr set of the Hot Stuff show
Joanne Mattera's in-depth synopsis
Linda Womack's on-going report
Daniella Woolf's blog
International Encaustic Artists
On Saturday, the first full day of the conference, I attended the morning panel discussion. The panel was moderated by Joanne Mattera and included Timothy McDowell (artist), Katherine French (curator), Richard Frumess (artist and founder of R&F Paints), Hope Turner (gallery owner), and Barbara O'Brien (curator and critic).I found the discussion interesting and lively. I took some notes on the highlights:
On the fragility of encaustics - no one seemed to be concerned - just suggested that you have to be a little more careful. Tim McDowell related a story he'd heard about Anselm Kiefer - Kiefer's gallery person called him to let him know that the new owner of one of his straw paintings was staring at a pile of straw in their living room. Kiefer replied, "It must be beautiful."
Someone else mentioned that throughout history, wax has been used as protection and a preservative.
Encaustic lends itself to expressionism. Color can be entrapped in and bounce out of the layers of wax in the painting.
On encaustic painting as a ghetto or cult - most panelists agreed that the idea or formal image is the most important aspect of a work of art, not the medium chosen by the artist. The medium can be interesting but it is secondary (this idea was repeated several times).
Barbara O'Brien stated that art doesn't speak for itself, an artist has to educate the viewer.
Miles Conrad asked the panel if encaustic is seen as a medium used mostly by women. He has noticed an overwhelming majority of women artists entering his encaustic invitational every year. Someone on the panel suggested that perhaps women are more open to trying new media or are more willing to learn from other people (I have noticed, too - I've been teaching workshops for a year and a half and haven't had one male student...).
But historically, male artists had passed down the knowledge of the encaustic process - Brice Marden learned from David Aronson, who learned from Karl Zerbe...
On shipping encaustic work - Someone said that they use 1st or 2nd day FedEx and only ship on Monday, Tuesday, or Wednesday to arrive on Friday. This eliminates the danger of the artwork sitting in a hot truck or warehouse over a weekend. Never use the US Post Office. Never put anything in contact with the surface. Use a crate within a crate. Someone suggested using Ethafoam. Tim McDowell says he usually ships overnight. He also suggested never to list the contents as "artwork." They won't pay the full insurance value on artwork. In the description line he writes, "hand-painted signs." They'll insure those...
On getting into galleries - Look at galleries in your area. Look at the gallery's stable and get a dialog going with the gallery director/owner. Produce a web page that focuses on your art. Keep it businesslike and easy to migrate through. Go to openings and network. Just because a gallery says no once, it's not final. Send them information later with new work and they'll often look at your work again. Don't give up. Gallery owners put a lot more weight to recommendations from their current artists.
Debra RamsayAfter the panel, Tricia Lazuka, Heather Harris and I walked over to see Hot Stuff, the juried group show of encaustic work. I took photos of most of the work and you can see it here. I'm working on finding the names for each work, so if you know who did any of them, please leave a comment.
To be continued...
Related links:
My Flickr set of the Hot Stuff show
Joanne Mattera's in-depth synopsis
Linda Womack's on-going report
Daniella Woolf's blog
International Encaustic Artists
First National Encaustic Conference, Part 2
on the Salem FerryJoanne Mattera and Nancy Natale gave me some helpful travel tips and I was able to figure out a way to do it. I had rented a car since I flew into Manchester, NH, but in order to drive to Provincetown, I would have to go through Boston. Now, I had been to a conference in Boston a few years ago and had made the mistake of renting a car, so I knew that driving in Boston is a dicey proposition...
Ernden Fine Art Gallery, Provincetown, MA
Ernden Fine Art Gallery, Provincetown, MA - my work is on the right
Another reason for the trip to Provincetown was to meet up with Mary Richmond, a blogger that I have corresponded with occasionally for a few months. She's a ceramic artist and painter and also a writer and naturalist. We had lunch and she drove me to the beach - it had been too long since I'd had my toes in the sand, and it was great to get a tour from someone who is so knowledgeable about the area.
Mary (l) and me (r)I'm always so jealous when I visit a city with public transportation!
Anyway, I arrived at the conference at the beginning of Joanne Mattera's keynote presentation, so it worked out perfectly.
Joanne talked about the history of encaustic and some of the early pioneers of the encaustic process in the 20th century, expanding on the information in her book.
Here are a few of the notes that I scrawled:
The Fayum portraits -
The painters might have used bicarbonate of soda to mix their wax.
They were painted during a 300 year period.
Metal and gemstones were applied to the wax.
The gold leaf was most likely applied after the person's death to symbolize the passage to the next world.
There was a get together of the International Encaustic Artists after the keynote at one of the area hotels, but I was beat from my "Planes, Trains, and Automobiles" type of day, so I decided to skip it.
I ended up going back to my hotel and grabbing a bite to eat in the hotel bar/restaurant. There was a "loud talker" in the group sitting next to me so I couldn't help overhearing their conversation. I thought at first that they were professors or something because they were talking about historic places to visit in England and then some kind of organization that they were in. After a while, though, I realized that they were witches!
Only in Salem...
Oh, I forgot to mention - the next day Dennis sent me an email saying that he had sold one of my paintings!
Release - 12" x 12" - collage, oil, and encaustic - SOLD!To be continued...
First National Encaustic Conference, Part 1
I'm still trying to digest everything that I learned at the conference. I thought I'd break it down into several posts to make it more manageable.
I arrived in Salem late on Wednesday night. My ex-husband works for Southwest Airlines and he was very generous to give me a free pass, which meant I had to fly standby (exciting in a nerve-racking sort of way). I had been invited to a reception at Joanne Mattera's house on Thursday evening, so I definitely wanted to be there in time for that.
Joanne was so gracious and warm. It was such a delight to meet her and see her beautiful home and studio. I was too shy to take pictures in her house but I got up the nerve to ask her if I could take some shots of her studio.
I got to meet and talk with several artists there -
Sandi Miot from California, who has produced a beautiful show catalog of her work (she used viovio.com and recommended them highly). She does really dimensional work. I asked her a bunch of technical questions about her process, too.
Heather Harris from near Seattle, who made me very jealous because she's moving to Italy soon.
Daniella Woolf from California, who I didn't really get a chance to talk to but her work is really amazing. She pointed out that we have the same initials.
Kim Bernard from Maine, who does lush paintings and beautiful sculpture.
Nancy Natale from Massachusetts, who does beautiful abstract paintings. She also really helped me out with advice on getting to and around in Boston.
Paula Roland from Santa Fe, who teaches encaustic monotype workshops. I've had a couple of students that have taken her workshop and I was excited to meet her. I attended her demo and I'll talk more about that later.
Tricia Lazuka from Ohio, who does encaustic painting and monotypes and also works in ceramics. She and her husband had driven there from Ohio.
I met several other people there but don't remember their last names... I'm hoping they put out a directory of the attendees that will help jog my memory...
Here are shots of Joanne's studio:
I'm blogging about all my tourist-y sight-seeing activities on my personal blog, in case you're interested...
To be continued...
I arrived in Salem late on Wednesday night. My ex-husband works for Southwest Airlines and he was very generous to give me a free pass, which meant I had to fly standby (exciting in a nerve-racking sort of way). I had been invited to a reception at Joanne Mattera's house on Thursday evening, so I definitely wanted to be there in time for that.
Joanne was so gracious and warm. It was such a delight to meet her and see her beautiful home and studio. I was too shy to take pictures in her house but I got up the nerve to ask her if I could take some shots of her studio.
I got to meet and talk with several artists there -
Sandi Miot from California, who has produced a beautiful show catalog of her work (she used viovio.com and recommended them highly). She does really dimensional work. I asked her a bunch of technical questions about her process, too.
Heather Harris from near Seattle, who made me very jealous because she's moving to Italy soon.
Daniella Woolf from California, who I didn't really get a chance to talk to but her work is really amazing. She pointed out that we have the same initials.
Kim Bernard from Maine, who does lush paintings and beautiful sculpture.
Nancy Natale from Massachusetts, who does beautiful abstract paintings. She also really helped me out with advice on getting to and around in Boston.
Paula Roland from Santa Fe, who teaches encaustic monotype workshops. I've had a couple of students that have taken her workshop and I was excited to meet her. I attended her demo and I'll talk more about that later.
Tricia Lazuka from Ohio, who does encaustic painting and monotypes and also works in ceramics. She and her husband had driven there from Ohio.
I met several other people there but don't remember their last names... I'm hoping they put out a directory of the attendees that will help jog my memory...
Here are shots of Joanne's studio:
I'm blogging about all my tourist-y sight-seeing activities on my personal blog, in case you're interested...To be continued...
Travel Fatigue
I returned today from my trip to the Boston area where I attended the First National Encaustic Conference. It was so much fun - lots of great information, networking, and ideas. I'm overwhelmed.
It was so much fun to talk to so many people who understand what you do. I'm so used to having to explain what encaustic painting is. It was refreshing to just talk about what kind of work we do. And of course, we all shared with each other about our techniques and processes.
I'm going to go through my notes, sort through all the business cards and postcards that I picked up, and upload my photos. I'll post a report in the next couple of days once I sort it all out!
It was so much fun to talk to so many people who understand what you do. I'm so used to having to explain what encaustic painting is. It was refreshing to just talk about what kind of work we do. And of course, we all shared with each other about our techniques and processes.
I'm going to go through my notes, sort through all the business cards and postcards that I picked up, and upload my photos. I'll post a report in the next couple of days once I sort it all out!