From IEA Exhibitions Co-Chair, Lola Baltzell: So many things can bring inspiration, including a great exhibition opportunity! The deadline for our next show, In Flawed Abundance, juried by esteemed artist and innovator Miles Conrad, is fast approaching, January 7th, 2017. http://www.international-encaustic-artists.org/CallforEntry
May you find inspiration in Mark Nepo’s poem Accepting This: Stripped of causes and plans And things to strive for, I have discovered everything I could need or ask for Is right here – In flawed abundance.
Dear members, Another year draws to a close, and the Holiday Season is upon us. I wish you warm times with family and friends, and peace, prosperity, and happiness in the New Year! In February, we will be having the annual Election of Officers. You will receive an email with an online voting link, which typically remains open for 30 days. I am honored to stand for re-election as President for a second (and under our Bylaws, final) two-year term, and Melissa Rubin will stand for election as Vice President for a two-year term. As Melissa Rubin has taken on many large jobs, including creating and editing this e-zine, encaustiZINE, and heading the Education Committee (which oversees scholarships and grants), we at this time are seeking someone to step forward to serve as Education Chair. This person handles the scholarship and grant program oversight, chairs the committees that administer the awards, and in other ways promotes excellence in teaching among our teaching artists. If you have qualifications in these areas, would you consider stepping forward to volunteer for a Board role as Education Director? If you have questions about this position feel free to contact me (firstname.lastname@example.org) for further information. Thank you for the privilege of serving as your President. You are in store for another beautiful newsletter with this Winter issue of encaustiZINE. Thanks to all our contributors and to Melissa Rubin for your excellent work in putting it together!
Melissa Morton Lackman President, IEA 1
Inspiration. We all want it. We all need it. But where do we get it? As artists, inspiration is as important as breathing. It is our life-blood. It’s why we do what we do and create what we create. Without it, there is no creation. Sometimes we are steeped in it and find no end to it; other times we suffer a terrible drought, the depths from which we cannot see a resolution. But then, we look up at the clouds. We watch the trees shimmer lightly in the wind. We catch the edge of a shadow, or notice how the light continually changes the colors on that wall, and something wakes up inside. In this new issue of encaustiZINE we asked members to think about what inspires them. We asked you to share your process, what makes you get into the studio and crank out your work. It is a varied journey getting inspired: from an unusual artist residency in a hotel; looking at the work of one’s son; observing trees; pulling from family lineage; hearing stories of rides people have taken; attending a professional retreat; working with kids; trusting our intuitive nature...all of these experiences contribute to the most important thing: a good idea.
Enjoy! Melissa Rubin Editor, Interim Vice President, Education Director
a new perspective
by s. kay burnett art by s. kay burnett, nathan burnett & gerry burnett
It’s easy to get caught up in the business of being an artist. Or to narrow our vision when we are focused on a large series of paintings. Sometimes we mistake theme for voice and each new painting becomes a variation of a previous work. All of these can cause us to lose perspective. When this happens, it’s good to step back and look for inspiration elsewhere. And sometimes the source of that inspiration will surprise us.
When he brought his portfolio home at the end of the school year, I found a series of faces, hands, and feet with rich colors and fluid lines painted with the innocence of a new artist. And I was envious of his playful sketches reminiscent of Picasso and Chagall. I have to draw with my finger on an iPad to get loose Chagall style sketches. Even then, they look labored and deliberate. As we get deeper into our careers as artists, do we lose the ability to play when we paint?
I’ve been exploring expressionism, cubism, and abstraction in hopes of bringing a new dimension to the paintings for “Emails From Paris,” an eBook I’m writing that uses emails, journal entries, and over thirty encaustic paintings to tell the story of six months spent in Paris in 1996.
When I first started painting in encaustics, I called it art therapy. I'd go into the studio and fill my palette with tins of colors that matched my mood. Then I'd find something interesting to play with like graphite or oil sticks or alcohol inks or wire or other collage elements. And I'd let intuition guide me.
After painting a dozen representational paintings with strong architectural details, I decided it was time to loosen up a bit. I looked at paintings by Picasso and Now I paint with intent. I do detailed designs in I still needed to Braque and Matisse. And the Stravinsky Fountain next to Centre Pompidou with all it’s whimsical see with new eyes. Photoshop, print reference paintings on card stock, and sketch outlines in watercolor pencil sculptures by Niki de Saint Phalle and Jean And I found my on the wood panels. Then I fill my palette with inspiration in an Tinguely. the colors needed for the design and start unexpected place. painting. They provided the inspiration I needed to design three or four paintings that I really like. But when I When I'm painting, I do listen to inspiration and stepped back and looked at them, I realized they still had make changes "on the fly." My paintings are never a mirror one thing in common with my current work – strong image of my designs, but you can tell they’re related. architectural details. I still needed to see with new eyes. And I found my inspiration in an unexpected place.
This method works well for detailed paintings with lots of architectural elements. But it doesn’t leave a lot of room for something playful or unexpected. So I decided it was time to let go of my straight line obsession long enough to actually paint a couple of pieces inspired by my son’s playful sketches. I knew it wasn’t going to be easy, so I convinced my son, Nathan, and my husband, Gerry, who's a digital artist and a musician/composer, to collaborate with me.
Our son took his first drawing and painting classes this year and had two pieces selected for the high school art show. At the show, I was drawn to a blue and orange face with elements of cubism. It was raw and bold and I was surprised to find the artist was our son. He was reluctant to share his art and I’d only seen a few pieces from his drawing class.
Opposite: From the Top of Notre Dame © S. Kay Burnett
I wanted to do a painting for “Emails From Paris” that was inspired by the Paris Opera House ceiling painted by Chagall.
Goats, sheep, cows, lovers, pirates, Pan, ballet, and opera. After lots of sketching and several layouts, we finally had a design for our line drawings. Our story begins with our young lovers embracing, surrounded by a joyful dancing goat in a tutu and a cow playing the bass. Then pirates come and steal Chloé away. At their camp, the pirates make Chloé dance for them until Pan comes to the rescue. Opposite the lovers are two ballerinas, because this is, after all, the ballet version of the story. This is followed by the fat lady singing (only our opera singer isn’t fat). Back to the joyful dancing goat and our lovers. After inking our line drawings onto the bowl, I filled my palette with prismatic colors, painted what I could see, and trusted the rest would come as each character told me who they really were.
RIGHT: Cubist Johnny Depp © Nathan Burnett LEFT: Hand Collage © Nathan Burnett
Something that played on the contrast of the old world decor with the ornate carved angels and the elaborate crystal chandelier hung against a brightly colored painting with playful sketches. It was the perfect candidate for our collaboration. We wanted the piece to be more dimensional, so Gerry and Nathan used a cradled wood panel, a wooden flat bowl, and a wooden knob to build the base for the ceiling and chandelier. The finished panel looked great, but I was feeling a little freaked out. No plan. No finished design. Definitely outside my comfort zone. Chagall based his painting on the luminaries of opera and ballet. We decided to base ours on the ballet performed at the Paris Opera the day the ceiling was unveiled – "Daphnis et Chloé" by Maurice Ravel. The ballet is set in early Greece where Daphnis herds goats, Chloé tends sheep, a rival suitor herds cows, and Pan is the god of shepherds.
ABOVE: The Herder’s Ballet © S. Kay, Gerry and Nathan Burnett
While there are still architectural elements in the painting, there are few, if any, straight lines. And the piece is definitely playful. Even the ornate carved angels have been replaced by carved cows and goats. In the original story, written by second century AD Greek novelist Longus, it’s Daphnis who gets taken by pirates, along with several horned cows. Chloé blows a herdsman pipe and the cattle jump into the sea and overturn the ship. The pirates drown, but Daphnis is saved by hanging onto the horns of two swimming cows. Definitely merits a companion piece with a sinking pirate ship, drowning pirates, swimming cows, and a lot more sculptural details. It’s too early to say how this will ultimately impact my way of painting. The whole process was kind of like improv – and l've never been very good at improv. I’ve already started redesigning a couple of the paintings planned for “Emails From Paris.” And I definitely think brighter color palettes, more sculptural details, a little more play, and a lot more improv are in my future. At least, that’s my plan.
ABOVE: Lunch at Museé D’Orsay © S. Kay Burnett BELOW: Shakespeare & Co. © S. Kay Burnett
S. Kay Burnett worked in the computer industry for thirty-four years. During that time, she worked as a scientific programmer, developed interactive software for children, and wrote online documentation. She’s published and presented scientific papers, been a guest artist at the CSU Summer Arts program teaching interactive creative writing, and taught several interactive multimedia workshops. Kay’s always looking for new tools for telling stories visually. In 2008, she took a workshop and fell in love with encaustic painting. In 2013, Kay began pursuing her love of art and creative writing full-time. She showed her first encaustic piece in 2013 and continues to show her work in juried exhibitions. She's currently working on “Emails From Paris,” a memoir/art book that includes over thirty encaustic illustrations. She's also collaborating on a digital interactive children’s story. You can see Kay's work at http://www.southofharmony.com/You can learn more about Gerry Burnett at http://www.southofharmony.com/about-gerry.
by margaret berry Â
Artist. Encaustic Promoter. Cultural Concierge. Greeter. Ambassador. Salesperson. Listener. Entertainer. Hotel Team Member. Representative of the Creative Class. Professional Hostess. Community Liaison. Educator.
in the arts and the distinctive encaustic process. However, when asked in one word why I should be selected, I did say “personality,” and that is important as well. I regularly put in 30+ studio hours and receive a $1,000 monthly stipend, complimentary meals in the associate dining room and a $500 monthly account for entertaining guests and patrons in the hotel’s restaurants. My final commitment as the artist in residence is to create a legacy artwork inspired by my year, which will be permanently displayed.
These are some of the roles I am playing in my year as the first Artist in Residence at The Lincoln Marriott Cornhusker Hotel in Nebraska. The hotel is celebrating its 90th year, and I am a part of its history as well as its present cultural innovation. Having worked there in college, I find myself coming full circle in an unexpected way.
Susan Madsen, general manager of the hotel, expressed her wishes for the program this way: “The artist-inThe hotel was purchased by the Marcus Hotels & Resorts, residence program is an exciting way to meld the local art which initiated the Artist-in-Residence program in 2009 in culture with The Cornhusker and give guests a unique the Pfister Hotel in Milwaukee, its flagship property. The memory of our hotel. Travelers have the opportunity to Pfister has welcomed eight visual artists and several walk up to the gallery and studio, be a part of the creation narrative writers. The creative initiative has also process and build a personal connection with been adopted by Marcus hotels in Kansas City the artist.” I am influenced by and Oklahoma City. Gayle Curry is a fellow viewer comments encaustic artist who recently finished her For me as the artist, it is the personal interaction and find them a residency at the Skirvin Hilton Hotel in with guests that leads to inspiration, arts sales significant source Oklahoma City. The New York Times included and other opportunities. Often, the three of inspiration and the Cornhusker in its September 20 article about accidents that led me to encaustic come up (a direction. the new hotel amenity artists are providing. collision with a red-light runner resulting in a recuperation period, a subsequent encounter with a The Cornhusker began its venture with a call for artists last librarian and a timely publishing date of Joanne Mattera’s fall, receiving applications and portfolios from 14 artists. book in 2001). What a privilege to exchange my story with Six finalists were chosen by influential art community those of hotel guests, conference participants, hotel leaders. The artists’ works were displayed in the lobby employees and businesspeople who work nearby. during a month-long voting process that encouraged Examples of studio visitors: community and guest involvement. The leaders met again, considering the popular vote, level of experience - the local bank CEO who shares his latest paintings and ties to the community, among other qualifications to - the London woman who purchased art as a souvenir ensure a successful first year. - the congressman whose office is within feet of the studio, who shows me photos of his beekeeper spouse I was pleased to be selected for this unique position and - the hospitality interns from the Philippines who come by attribute the honor to my previous experiences as an artist to learn about encaustic and create small works in residence for the Nebraska Arts Council, my leadership - the man from North Carolina who bought two paintings made in the lobby during the check-in champagne OPPOSITE: Art inspired by the Sower Sculpture atop the Nebraska State reception. Capitol. Presented to Mayor Beutler and Mr. Greg Marcus in celebration of The 150th year of the State of Nebraska. © 2016 Margaret Berry
As an artist, I am thrilled to have someone watch my process and then buy freshly made art. I am influenced by viewer comments and find them a significant source of inspiration and direction. Sometimes art is simply the expression of my own tremendous preferences, but it is an honor also to witness and absorb the preferences of guests. As the studio looks out onto the convention area, I am instantly involved with international audiences attending diverse events, such as the High Pressure Pasteurization Symposium, the American Council of Engineers, the Nineteenth Century Studies Scholars, the Dental Academy and the Water for Food Institute. The exhibits, signs and industrial materials of these events are all inspiration to me.
Visitors are also a handy crowdsourcing group for finding solutions to my artistic dilemmas. What more does this painting need? Is it finished for you? Which color most appeals to you? How should I finish the sides of this piece? What material from your industry could you see being used with wax? Then my thinking shifts and opens new avenues of expression, it all being spontaneous, generous and surprising.
ABOVE: Margaret Berry conducts a demonstration in the hotel lobby during ‘champagne check-in’. RIGHT TOP: Jason, manager of the hotel pub & grill, made a beer cap collage at the Associate Art Party event. RIGHT BOTTOM: Wax & Wine Wednesdays in the hotel atrium.
On the community level, I host gallery nights as part of Lincoln’s First Friday Art Walks, provide gift certificates for hands-on art experiences to non-profit auctions held at the hotel and have been featured on television and radio programs. As the former executive director of the Lincoln Arts Council, I am well aware of my fellow artists and promote them by providing a brochure rack for their exhibitions and events. 10
ABOVE: Greg Marcus, CEO of Marcus Corporation and hotel owner, joins Chris Beutler, Mayor of Lincoln, in visiting the studio.
ABOVE: Gallery wall in the studio.
On the international encaustic artist level, I explain and demonstrate several times a day. This leads many to sign up for Wax & Wine Wednesdays and Wax Weekend Workshops. Holding these in the hotel atrium allows passersby to catch a glimpse of our fascinating medium in progress and make inquiries later. Sometimes I make referrals to the exciting work of artist colleagues around the world and encourage follow-up studio visits in their own cities. Finally, it is a privilege to be part of something much larger. Carl Jung said, "All art intuitively apprehends coming changes in the collective unconsciousness." My residency at The Cornhusker Hotel is unusual access to that unconscious as thousands drift off to sleep here. I look forward to the remaining months of my residency â&#x20AC;&#x201C; channeling that collective wisdom into my work, seeding an appreciation for our versatile wax medium and pioneering a new role for encaustic evangelists in hotels.
Margaret Berry is the first artist-in-residence at The Lincoln Marriott Cornhusker hotel. A former executive director of the Lincoln Arts Council and education director at the Lux Art Center, she is a full-time studio artist and traveling art workshop leader based in Lincoln, Nebraska. Margaret grew up on a farm in Wahoo, Nebraska, received her BA from Creighton University and completed a graduate degree at the University of Nebraska-Lincoln. When a truck ran a red light in 2000 and collided with her vehicle, Margaret spent her recovery learning about encaustic from a library book. She quickly became a charter member of the International Encaustic Artists and served on its Board of Directors. As exhibitions director, she organized and curated several IEA shows. Her art has been juried into exhibitions at numerous galleries and museums in 27 states. For more than a decade, she has served as an artist-in-residence in schools and communities with the Nebraska Arts Council and has been invited to give her innovative Hot Wax/Cool Artâ&#x201E;˘ workshops in places as far away as Florida and as close as Iowa.
A bird perched high on a branch; long electrical power lines covering a horizon; women looking within; such are elements throughout my work. These textured images take on a world of their own, an alluring subconscious structure within us. Images are layered, layered and complicated as each of us are in turn. I enjoy the wide range of possibilities working with encaustic. My work begins with photography, in which I shoot the work and transfer onto the surface of wax. I am drawn to the evocative and distressed tones, especially the additive and subtractive qualities that come along with the process.
the art piece is finished. My work tends to touch on topics such as maturation versus immaturity, self-improvement, redemption, and I attempt to illustrate how we may find our inner talents and way in this world. I am looking to connect viewers to these topics, open up a dialog, as well as to explore growth and personal development as seen in the imagery in my ‘Human Nature’ series. In this series, I photograph women holding onto hearts, which symbolize protection and growth; flowers, which represent prosperity; and books, which suggest introspection and development work. The women with dirt reference our past, whereas the ones shown with water depict cleansing. Additionally, the poses themselves are illustrative. Closed eyes mean introspection, and women being blown away, or caught in a whirlwind, are within the dynamic storms of emotional turmoil. I would say that these symbols are more or less communicated subconsciously, resulting in a fundamental human understanding with the viewer.
Early in my exploration as an encaustic artist, I researched ways to transfer photographs, and ultimately came upon transferring images into wax. In the transfer process, images are prone to rips and tears, not fully transferring 100%. Using wax gives images a faded, ethereal look that I like. I choose to make my own encaustic medium. I like that it I’m always trying to is an earth-friendly natural material, harvested in grow and improve a non-invasive sustainable way. I have a high certain aspects of respect for nature and our environment. I feel myself, and I hope inclined to respect our planet, all people, life and material. Anything that we take we should others can see that in my work. replace, because we initially do all coexist. I began my artistic career approximately twenty years ago as a photographer; my style often featured people in abandoned buildings. Back then, I just loved to go into abandoned buildings without knowing really why or putting much thought into it. They are basically time capsules, all abandoned at one specific time. It’s interesting to see what’s become of the building, how others have made their impression on it, plus how nature has taken over to run its course and recycle it. With my work, I have noticed a lot of times that I may not always be aware of why I am drawn to particular themes or aesthetics. My intention may not always be apparent until OPPOSITE: But Which Door Will it Be? © Nicole Fournier
Another aspect of my work is that I enjoy photographing trees, birds, insects and flowers, evoking a longing for us to be more connected to nature and the outdoors. I feel we are all connected to nature, period. Plus, nature is a symbol for growth within us. I’m always trying to grow and improve certain aspects of myself, and I hope others can see that in my work. These subjects are shown in my ‘Art of Nature’ series. The reason why I work in encaustic is because I was looking for a way to “distress” or age my photographs, without using a computer to do so. I love antique photography, such as daguerreotypes and tintypes, especially photos that have started to decay, or those in which the chemicals haven’t been properly fixed.
In my ‘Basis of our Grounds’ series, I show various tree silhouettes that feel both sacred and mysterious. I often photograph trees, and I find myself gazing up at them daily. Perhaps they remind us of ourselves, with their anthropomorphic features being greatly symbolic with their roots. Trees can be extremely poetic in their forms.
The technical aspects of the encaustic process can take years to master. I learned the process by reading books, watching videos, and meeting and speaking with other encaustic artists while participating in various art shows. I began taking lessons, and attended an encaustic conference, complete with various workshops with fellow encaustic artists from all over the world. I felt more proficient in my technique around 2010, however I continue to learn and pick up new techniques every year.
I suppose they also serve as a beckon or a messenger, to remind me of my drive for improvement, meditation, and for self-reflection. In addition, I feel trees are instrumental as “check-ins” to our current state of mind, much like a Rorschach test. I come from a family that has more of a Protestant background, yet I am more spiritual than religious (in a “striving for self-actualization” sort of way). In my ‘Devout’ series, Jesus and angels take the front seat in work that explore themes of hope, thoughtfulness, mourning, and introspection. I am not quite sure why I’m attracted to religious (specifically Catholic) icons and churches. Many years ago (before working in encaustic) a fortune-teller at a Renaissance faire said I was a monk in a previous life and that I tended bees...seriously. Perhaps it’s a desire for faith, or redemption from both internal and external conflicts.
ABOVE LEFT: Core Essence © Nicole Fournier ABOVE: Meritorious © Nicole Fournier
Working with encaustic is really appealing because not only does it allow me to combine photography with painting, drawing, and mixed media elements, it also allows for image transfers with the benefits of adding texture and mystery to a piece. The attractive allure of melting wax stretches further still as its smell blankets my studio with a sacred, cozy ambience. When I make my own encaustic medium, the smell in the studio is pretty heavenly and magnetic that bees actually come inside the studio if I leave the door open.
ABOVE: Torn © Nicole Fournier
Nicole Fournier's art is a combination of photography and encaustics. She transfers images directly into beeswax, and embellishes with colored wax mediums made from oil-based or powdered pigments. Nicole enjoys the wide range of possibilities inherent in this technique – the evocative and distressed tones, and especially the additive and subtractive qualities that come along with the process. Through her art, Nicole continues to express concepts of growth and awareness, and to promote the preservation of our external environment as well as the cultivation of our inner. Currently residing in Los Angeles, Nicole Fournier enjoys pursuing her art and photography career. Please visit her website for further information about her upcoming shows: http://nicolefournier.com. You can stay connected with Nicole via Instagram: https://www.instagram.com/nicoledorisfournier and Facebook: https://www.facebook.com/NicoleFournierART
ABOVE: Journal © Nicole Fournier
by flo bartell
For years I said that art was my therapy and that nature and the human form inspired me. I stated in my bio that the rich colors and depth I can achieve with wax helped me express my view of the natural world. Though abstract, my paintings did reference the sea, my garden, the vastness of the sky, and sometimes figures. But then at one of my exhibits, I suddenly felt overwhelmed by the strong emotion revealed there. Unintentionally I had painted secrets. My art represented my reaction to life events. I felt the unwitting power of my brush, and afterward, I worked with more intention, more awareness, and my art changed.
time passing and a neutral palette to reflect the colors of all things old, worn, or rusted; I wanted to show the richness time can render. At first my series featured me - my scars, my years, my life now. But as I progressed, I began to examine the influences that brought me here. What gave me this creative energy? Who shaped me? Why do I still work at my art with such drive? I don’t have to. On the other hand, I must. Why? Yes, my art is an escape and good therapy, but I felt something more pushed me. The answer came through mindfully creating art.
As I worked, I realized I was painting about family, so I read With new mindfulness, at age seventy-two, I began a body old essays I had written about my relatives. Struck by the of work I originally called “Time Worn” to examine what strength of those who came before, especially the women, I advancing age meant in my life and in my art. felt inspired by their determination to succeed Seventy-two! As I edged into my mid seventies, in their careers or accomplish life goals as well With new the enormity of those numbers shook me. What as their appreciation of the arts. mindfulness, at age would come after that? How long could I seventy-two, I began continue the art practice I began in childhood, First, my mother came to mind. That a body of work I then put on hold for family and a career in originally called “Time determined, single woman raised three girls, education and mental health, and began again making sure we were given the lessons we Worn” to examine in my late forties and then in earnest at sixty wanted (music, dance, and art for me) and that what advancing age two? Could I expect to have good health and we all attended college. She taught school to meant in my life and enough energy to do more in my art, in my support our family and, unimaginably, also in my art. life? earned a graduate degree when we were small, played her violin with a local symphony for over fifty years, I felt dread. But because I had more I wanted to say and do, and volunteered at her church. She cooked, and she sewed excitement, energy, and urgency to make art churned beautiful clothes for my sisters and me. She knitted. She inside me. As I painted, I began to reflect on the beauty embroidered. In retirement she began to paint and and patina of old objects and the complexity of continued until she was ninety. With passion, she studied accumulated years. Dread faded a bit, though facing violin again. She never sat idle and she shared her love of advancing years was and is, now at almost seventy six, still music and art. She valued accomplishments beyond life daunting. As I began to work, I wanted to show scars and necessities, even when circumstances made providing peeling layers. I attended a workshop with Michelle Belto to necessities difficult. learn how to include three-dimensional elements in my art. I considered my grandmothers and their work ethics, the I used encaustic with wire mesh armatures, plaster gauze, strength they showed through the Depression years, and fabric, organic matter, and wax to represent the effects of their emphasis on beautiful needlework. My crippled mater- OPPOSITE: Saving Stories © Flo Bartell, 22”x 18”
ABOVE: Bloodline Tryptych © Flo Bartell (each section approx. 48” L x 12”Hx 12”D)
nal grandmother designed hats at a milliners shop in the late 1800’s, a time when few women worked away from home. I learned to sew on my paternal grandmother’s old treadle machine. I stitched my fingers a few times, and I learned more than sewing.
before school, and I helped hang them on the line to dry. In another larger, knitted piece, I have tucked in bits of my stories and some of my mother’s violin music. And once again, my family legacy will be preserved in wax. I like that. I treasure the influence of my family on my art and in my life. That appreciation informs my work and encourages me to provide a similar influence for my grandchildren. I invite them to attend exhibits and receptions and offer them art and music lessons. They see me working in my studio, and I try to be sure that they make art and music with me. As my mother and grandparents did for me, I want to be an example for them.
The women in my family sewed basic clothing, even underwear, but they also made time in their lives - even in difficult years - to make beautiful dresses, hats, afghans, or bedspreads. Because of their influence, fiber has played a large part in my life: sewing my own clothes since junior high school, knitting, quilting, embroidering, and operating a needlework shop where I taught needle arts. Of course fiber needed to be included in “Bloodlines,” as I have now named my latest body of work. For a piece I completed early in the collection, I printed several of my stories on paper, then sewed and knitted them into a wall hanging that I dipped in wax. Since beeswax is preservative, I was “Saving Stories.” In that piece I also knitted in some clothesline because I remembered chilly mornings when Mother washed clothes
My curiosity about what else might be revealed through my art, the strong family programming that fostered in me a visceral need to create, my need to honor my family tradition, and my wish to share with others the influences of those who have shaped my life journey push me into the studio.
The “Bloodlines” collection will be on exhibit at San Luis Obispo Museum of Art , San Luis Obispo, California December 2, 2016 through January 29, 2017.
ABOVE: Time Worn 10 © Flo Bartell, 52” x 36”
ABOVE: Inheritance © Flo Bartell, 61” x 42”
Flo Bartell lives in Los Osos, California and teaches in her studio and across the California Central Coast. She exhibits regionally and is represented by Art Central Gallery in San Luis Obispo. She currently serves as co-chair of the International Encaustic Artists Exhibition Committee, co-chair of the La Vendéenne Awards Committee, and is co-president of The Painters Group at San Luis Obispo Museum of Art.
intuitive painting & printmaking: my process Â
by dianne jean erickson
view comes later. Reevaluation is also a central part, adjusting and rebuilding until the final image is realized. My work comes from my subconscious memory and mind, and I don't sketch or do mock ups. The only time I consider the next piece is when I’m completing a series. In this instance, I have a feel for where I want to go, but I still keep all avenues open to possibilities.
I started working with encaustic about nine years ago after taking a couple of workshops with talented instructors. I enjoy working with this medium in many different ways, painting and printmaking in particular. I tend to take an intuitive approach and I’ve learned to trust the process, keeping open to creative insights along of the way. I’m looking for something in my work that I can’t put into words, but that satisfies me. Some pieces remain unresolved and that leads to new work over old.
Completing a series is difficult for me because I love to experiment with new ideas and materials. However, pursuing Freedom is the starting point, where all possibilities exist. a series pushes me to explore all possibilities within that Sometimes I have an idea of what I want to do, but usually I theme. When looking for a new series, I start with one or two start with an older painting that’s sitting in my “later to key pieces that show a possible direction for more work. I’m resolve” pile, as the basis for a new piece. When color seeps looking for something that ties the pieces together, a certain color or similar shapes, the intent or message, or just a through the layers or scraping away reveals feeling that they work together as a group. past images, the effect is one of memory and When color seeps spontaneity, something I couldn't have through the layers or My series titled “Working the White Space” is foreseen. scraping away reveals a good example. An exhibit of thirty-five past images, the effect paintings, the body of work includes nonThe second process is using a new substrate. I is one of memory and objective and abstract figurative pieces using apply a gesso or white wax layer, next apply spontaneity, something encaustic with the occasional addition of rust, splashes of colored wax, or collage papers. I couldn't have paper, charcoal and India ink. My limitation Again, adding layers of history adds to the foreseen. was to use white as a prominent color, narrative. Once the first few layers are done, I sometimes most of the background, as a take a chunky piece of charcoal and randomly draw lines, turning and viewing the substrate in all four cohesive direction for the series. The first piece is mostly a directions to see if any particular idea or direction stands out. scraping away of wax to hidden layers. If not, the process is continued, by adding more wax, collage or more mark making, until I see a direction to pursue. You The “Head Gear” series began in a very intuitive way. While can view some short videos of this process on my website applying wax on a new piece, a small face made an appearance. Here was the “Big Question” artists are so often http://www.dianneerickson.com/video.html. faced with, do I pursue this or move on? I decided to Non-objective and figurative abstract are the subjects that I continue with the face to see where it would lead, and I now work with, so I wait to see what develops, which direction to have several pieces. “Head Gear” is that first piece. I love take. I may think this piece will be non-objective but end up the unexpected craziness these paintings portray. While with a figure and visa versa. I try to let go of all my having a face, mostly the eyes, in each piece, the main elements are the colorful and whimsical head-pieces on dispreconceived ideas and see what happens. The critical reOPPOSITE: Flair © Dianne Jean Erickson, encaustic monotype, 20” x 16” framed
ABOVE: Working the White Space © Dianne Jean Erickson encaustic on birch substrate, 24” x 24” BELOW: Wanderer © Dianne Jean Erickson encaustic/shellac on birch substrate, 48” x 36”
ABOVE: Head Gear © Dianne Jean Erickson encaustic/India ink on birch substrate, 24” x 24” BELOW: Flirting With Blue © Dianne Jean Erickson encaustic monotype, 20” x 16” framed
play. I love the way this developed and took me in a direction I couldn't have imagined.
LEFT: Runaway © Dianne Jean Erickson encaustic on birch substrate, 30”x30” RIGHT: Girl With Checkered Past © Dianne Jean Erickson encaustic on birch substrate, 30” x 30”
My newest painting series contains five paintings so far. “Wanderer” was the first completed piece. It also developed very intuitively. It was going to be a non-objective piece, and then...it wasn’t! I have posted videos in the link on the previous page, showing the transformations.
Dianne Erickson owned a graphic design and marketing business for twentyfive years in Silicon Valley. She and husband Patrick Wilson moved to Jacksonville, OR in 2001, and Portland in 2012. She has a Bachelor of Fine Arts (BFA) in Studio Art from Southern Oregon University in Ashland. An award-winning artist, Dianne won third place for ‘Orange Mohawk Man,’ one of two encaustic paintings juried in the IEA ‘Fusion’ exhibit in Santa Fe, NM. She also received First Place at Exhibitions West 2010, an all Western states competition at the Coos Art Museum in Coos Bay, Oregon. Dianne is a founding member of AMBUS Contemporary Art. For a number of years they had a co-op gallery in Jacksonville, then Medford. She was the Chief Business Officer of the International Encaustic Artists (IEA) from Feb 2012 - May 2013. She was also Board President for a number of years at the Pacific Art League of Palo Alto, CA before moving to Oregon. She is currently on the Board of The Geezer Gallery, a non-profit in Portland. You can view her work at http://www.dianneerickson.com/
A traditional printmaker for many years, the last few months I have been working on encaustic monotypes, with the series titled “Reckless Forms.” Using a hot plate, wax sticks are used to draw directly on the hot plate. As the wax melts it can be manipulated with tools. Printmaking, watercolor, or Japanese paper is laid over the print and using a brayer, gently rubbed over the back of the paper. The process is very intuitive in nature, and in most cases, the hand of the artist is very apparent. The prints have a fresh, spontaneous feel. Results can be surprising! I am very excited with this technique. This process of printmaking with encaustic, is a wonderful way to explore intuitive directions in my work. 23
by pam nichols
“We are all on a journey, a ride. We ride bicycles for many reasons; to feel free, clear our minds, build strength, visit friends, commute, connect to the environment, help reduce waste, or just simply to ride. As an artist, I scan the road ahead for bigger challenges. There are many obstacles in my ride that may divert my intentions, distract my vision or stop me cold. My spirits may dampen and my goals may be questioned yet I accept these challenges and use them to push harder and be stronger when I arrive. I know that during every ride I may fall or get detoured. Instead of quitting, I learn from the pain and suffering, sometimes even reaching out for support, knowing deep down I have the power to achieve my dreams. Whatever course you are on,
enjoy the ride.” OPPOSITE: An installation view of Pam Nichols’ exhibition RIDE
These were the words I used to describe my featured show this year at Art on Broadway Gallery in Beaverton, Oregon. My show was titled, RIDE, which included twenty-one 36” x 6” paintings, each interpreting a story someone told me about a memorable ride that happened in his or her life. The idea for this show was inspired when my husband “dragged” me to a book reading. It was a first for me. I wasn’t too enthusiastic about listening for two hours to someone whose books I hadn’t read. My husband had read most of Joe “Metal Cowboy” Kurmaskie’s insightful and humorous books about cycling and assured me I’d love it. I wasn’t so sure. So I couldn’t have been more surprised to find how engaging Joe was, and how I was drawn to listening to his every word. He made me laugh and even get teary eyed. Two hours flew by. I didn’t want it to end. FAR LEFT: Peddling Connections NEAR LEFT: Safari Ride NEAR RIGHT: Applause FAR RIGHT: Trial & Error All works 36” x 6”, encaustic with mixed media © Pam Nichols
ABOVE LEFT & RIGHT: Installation views of Pam Nichols’ exhibition RIDE
Within a week after the book talk, the idea popped into my head for my upcoming show as I sat in a meeting. I went with it. I asked many friends, and friends of friends that I didn’t even know that well, to share stories of rides in their lives. Not all the rides were about bicycles but they were all powerful. I went with the flow and interpreted them into my paintings. One of my goals with the project was to donate 20% of my proceeds to IRONITOUT, an organization Joe Kurmaskie founded to raise awareness about Hemochromatosis, an iron overload disorder that will lead to life-threatening diseases if left untreated (www.ironitout.org). I love the passion Joe has for making a difference in the world. It all starts with one person taking action. I believe our experiences in life inspire to create through knowledge and understanding.
Experiencing new adventures (like book talks!) can only intensify the spark of inspiration. But most important is the habit of listening to our intuition and taking action about what it tells us. I was inspired to make these paintings after listening to the Metal Cowboy, a bestselling author, performer, bicycle travel adventurer and writer, talk about his journeys. We all have a story to tell. What’s yours? Pam Nichols, born and raised in Oregon, is an accomplished professional artist. Her work in encaustic has been shown throughout the Pacific Northwest, Southwest and Australia. Since her introduction to the medium at Pacific Northwest College of Art in 2006, she has developed and produced several group art shows in the Portland area. She has served as the President of Portland Open Studios and is a member of the International Encaustic Artists and Art on Broadway. She teaches art classes in the Pacific Northwest and currently works and teaches private lessons from her studio in Tigard, Oregon. You can view Pam’s work at: http://pamlnichols.com/home.html. View Joe Kurmaskie’s Safari Ride story on https://www.youtube.com/watch?v=jnUWSSe69YI
finding inspiration in santa fe
by pam barrett hackett Â
As soon as I saw the announcement for the 2016 IEA/EAI Retreat, I knew I wanted to attend. But at that time I had no idea how I could possibly afford the cost of travel and retreat fees. I submitted work to the Making Your Mark exhibition anyway, and was accepted. When the scholarship was announced, I felt hopeful, and when I was chosen to receive one of the awards, I knew I would find a way to go. From that point, every force in the universe seemed to conspire to make this amazing trip a reality for me. With help from some of my biggest supporters, and the International Encaustic Artists scholarship, I was able to attend the retreat awards dinner, see the exhibit, meet juror David Limrite and many other artists, and take two invaluable workshops. Just before booking tickets to Santa Fe, I found out that I was accepted into another juried show in Alamosa, CO. The opening was Thursday, the night before the opening reception at Encaustic Art Institute. I would be able to attend both openings, and save money on airline tickets by flying into Denver and driving down. So I arrived in Santa Fe on Friday, in time to check in to the retreat, receive my gift bag, and head to the gallery for the Making Your Mark opening.
ABOVE: Examples of monoprints done at Demars workshop ÂŠ Pam Barrett Hackett
Walking into the EAI gallery, I was greeted by the rich, heady smell of beeswax, so familiar and exciting to an encaustic artist. I instantly thought how wonderful it is to have a gallery, and two organizations, committed solely to promoting the medium I love so much. The exhibit proved to be a fantastic collection of diverse styles and artistic aims, all created with encaustics. I felt an instant affinity with the juror, based on the work he chose to include; work with presence and heart, sensual mark-making and deft manipulation of hot wax and color. It was an honor to meet David, hear him talk about his jurying process, and especially to have the chance to get his feedback on my piece. I was impressed with the enthusiasm and commitment that he showed as a juror; his personable presence, and willingness to give each artist individual attention.
ABOVE: Desiree Demars demonstrates encaustic monoprinting at the IEA/EAI 2016 Encaustic Retreat.
In the afternoon, I attended a workshop in Cold Wax Medium, taught by Jerry McLaughlin. Based on the subtle variations in color and atmospheric imagery I had seen in cold wax paintings, this is the process I really wanted to learn about. Jerry’s workshop was a great introduction to the materials and the process. He gave specific instruction on the use of various key tools, and on how the medium responds to different types of manipulation. He also worked with us individually, offering great insight from his expertise with the medium, and his experience as a working artist. I was happy to leave the workshop with eight small paintings, and the basic skills and inspiration to integrate cold wax into my studio practice. I will absolutely be making some cold wax paintings. The awards dinner Saturday night was my chance to gather with most of the IEA attendees, and chat with some artists whose work I had admired the night before. I really enjoyed
ABOVE: Artist Jerry McLaughlin demonstrates methods and techniques for using cold wax medium.
On Saturday, I took two workshops, each of them offering instruction and insight to an exciting new process. At 9am I joined Desiree Demars’s Encaustic Monoprinting class, where I spent three hours drawing on a hot plate with encaustic crayons, and rubbing the image onto a paper surface. I learned what types of paper are best for absorbing the wax, and how many layers the paper can hold. The instructor shared some beautiful images that she created using this process, along with drawing. I left the workshop with several of my own prints, which I will finish in the same way - by drawing into them.
ABOVE: Examples of works done with cold wax medium © Pam Barrett Hackett
LEFT: A view of the exhibit ‘Making Your Mark’ at the Encaustic Art Institute Gallery in Santa Fe. RIGHT: Artist Pam Barrett Hackett, with juror David Limrite, at the opening of ‘Making Your Mark.
sharing dinner with such a large group of people committed to encaustics, and feel grateful for the connections. Also, the dinner was delicious, and the restaurant, Gabriel’s, was thoughtfully located on a hill, offering a stunning view of the surrounding landscape from the outdoor lounge. I would like to thank International Encaustic Artists and the people who make up the core of the organization for extending me this opportunity. You made it possible for me to attend the retreat, and also to take a life-changing trip to a place I had never been. This trip opened so many doors in my artist-brain. I am expanded and inspired in so many ways that I don’t have the space here to explain it all. But the possibilities for my work (and my life) suddenly seem endless.
This scholarship initiated momentum that will define the next period in my career as an artist, and that has forever expanded my perspective. Artists need that. I thank IEA, again for the scholarship, for all the work the board put into executing a successful retreat, and for the work you do throughout the year to promote encaustics, and bring artists together. Pam Barrett Hackett is an artist living and working in the Greater Atlanta area. Using primarily encaustics, along with oils and mixed media, she paints internal landscapes. Her imagery is universal in nature, and placed in an atmosphere of layered texture and luminosity. She paints intuitively, exploring thresholds between the visceral and the visible. Pam teaches part-time at University of North Georgia, Atlanta Metropolitan State College and Brenau University. Her studio is in the home she shares with her husband, mother-in- law, son (18), and daughter (5). Her work is exhibited nationally. You can learn more at: http://www.pambarretthackett.com.
project grant report
by 2016 recipient josie rodriguez
I want to sincerely thank International Encaustic Artists organization for this wonderful award, which I felt so honored to receive. I am also grateful to R&F Paints, Bear Valley Middle School and California Center for the Arts Escondido for their support. Let me tell you about how I used this award that involved teachers, artists, students, museum curators and the community. As a local artist I was invited to show my artwork at the California Center for the Arts Escondido during Heated Exchange, a traveling exhibition sponsored by Virginia Commonwealth University Arts, Painting and Printmaking Department. Escondido is about 65 miles round trip from my home in San Diego. In a very synchronistic encounter I happened to meet one of the art teachers from Bear Valley Middle School in Escondido who invited me to collaborate with her students, helping to teach her and her students about the art of encaustic. She wanted to expose her students to the encaustic process, history and techniques with the goal of having her students also show their work in this national exhibition. Called
LEFT: Shifting Gears © Josie Rodriguez RIGHT: Industrial Bling © Josie Rodriguez
Beyond the Selfie, the goal of the project was to introduce the media of encaustic via art history and the Fayum Portraits. The students read about ‘Selfies’ in contemporary art and did personal research regarding the media. Excitement filled the room as 25 middle school students found their way through melted wax and pigment, heat guns, paper, and gold foil. National art standards were met through applying methods to overcome creative blocks, reflect on and explain important information about personal artwork in an artist statement, demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of art-making or designing, and finally collaboratively prepare selected theme-based artwork for display and formulate exhibition narratives for the viewer. ••• The IEA Artist’s Project Grant is a $1,250 award for mid-career artists, to be used to support the completion of a project or the creation and/or completion of a body of artwork. IEA awards two Project Grants per year. Learn more about IEA Awards & Grants here: www.international-encaustic-artists.org/Awards-&-Grants •••
photographs that were taken during the classroom experience and at the opening of the show. As other art coordinators from the area learned of this project there is the possibility of working with another school and another classroom using similar goals and ideas. I loved working with the middle school students and I know that they loved learning of this art form as one young girl age twelve said, “I learned that wax is beautiful when applied to pastel, I learned that a little bit of gold doesn't hurt, and I learned that by unifying my work using the bee and the hexagon I was unifying with others who used Encaustic art thousands of year ago.” That says it all.
ABOVE: The Flap of a Bee’s Wing © Josie Rodriguez
It was such a joy to see student’s excitement as they used the many encaustic materials, tools and equipment I provided for them. Their project was to work on an 8x10 inch wood panel with a selfie-type photo adhered to the panel. Using melted wax, pigment, pigment sticks, collage and assemblage each student created their own portrait in the Fayum style. Each student’s work was included on a very prominent youth wall at the museum for the Heated Exchange exhibition. The students and their parents were invited to the reception. Seeing proud parents at the opening reception observe their child’s art was a highlight of this project for me. In addition to the classroom experience and the exhibition at the Center for the Arts I was invited to give an encaustic demonstration for the public, which happened about 2 weeks after the opening reception. This type of creative long range project is something that is incredibly satisfying for me as an artist and I was thrilled to be a part of this opportunity. I am including
ABOVE: Students at Bear Valley Middle School eagerly participate in Josie Rodriguez’s encaustic workshop.
Josie Rodriguez, visual artist from San Diego has worked with the medium of encaustic for the past twelve years. She received her B.A. degree from San Diego State University and M.A from University of San Diego. She belongs to the International Encaustic Artists Organization and the Encaustic Art Institute in Santa Fe, New Mexico. Josie received the 2016 IEA Project Grant award and was nominated for IEA 2016 La Vendéenne Award for Education, and 2014 IEA La Vendéenne Award for Artistry. She is represented by Front Porch Gallery, Carlsbad, and Kate Ashton Gallery Art on 30th, San Diego, CA Josie enjoys teaching others the art and process of encaustic from her home studio and venues on the west coast. She has been most proud of solo exhibits that combine her love of art and science: San Diego International Airport, San Luis Obispo Museum of Art, Hayward Shoreline Interpretive Center, Escondido Museum of Art. Her work has been published most notably in: •Embracing Encaustic: Mixing Media by Linda Robertson, Amazon ebook,Edition II. •Authentic Visual Voices: Contemporary Paper and Encaustic. Catherine Nash, 2013. •1000 Artists Books, Quarry Books Publishing. 2011. •San Diego Union Tribune •North County Times Josie believes that art is universal in its intervention for healing the spirit and has the capacity to change the way we view the world and ourselves in it. Whether, in her previous career as a clinical staff chaplain at the bedside of a hospice patient or mourning her own loss, she was keenly aware of how art was healing for others and for herself. Her art has been described as organic, unique and thought-provoking. Many of her pieces speak to the issues of communication, loss and remembrance. Josie moves between the importance of ideas, materials, and structure, always testing the boundaries of this wax-based medium. You can learn more about Josie’s work at: http://www.josierodriguez.com/ ABOVE: Students and teachers celebrate their work for the student exhibition.
IEA member benefits at-a-glance AWARDS & GRANTS http://www.international-encaustic-artists.org/Awards-&-Grants International Encaustic Artists is committed to the growth and development of its members and provides limited funding opportunities for members at all stages of their careers. IEArt DIRECT http://www.international-encaustic-artists.org/IEArtDirect IEArt Direct is an online Amazon-powered store designed to help you find encaustic fine art resources in a centralized, convenient location. We work with fine art materials suppliers to offer exclusive member discounts on select items. A portion of each sale made through IEArt Direct will go towards the continuation of IEA grants and scholarship funding through an affiliate program. If you're already purchasing your materials online, please consider doing it through IEArt Direct. CALL FOR ENTRY http://www.international-encaustic-artists.org/CallforEntry IEA sponsors multi-annual, juried exhibitions. Be sure to check this link frequently for information about the current Call for Entry. Open call for the ‘In Flawed Abundance’ exhibition at the New Art Center in Newton, MA is currently open, Miles Conrad as our esteemed juror, and the deadline for entry is January 7th, 2017. For full prospectus click on the link above. ARTIST RESIDENCY RESOURCES http://www.international-encaustic-artists.org/Residencies A listing of resources to help you locate residencies, both domestic and international. And be sure to check the Spring 2016 issue of encaustiZINE to learn about workshops abroad, conducted by our own IEA member artists. CAREER DEVELOPMENT RESOURCES http://www.international-encaustic-artists.org/Careerdevelopment A listing of various organizations designed to advance the careers of visual artists. CHAPTER LISTING http://www.international-encaustic-artists.org/Chapters Listing of national and international IEA Chapters with email links. MEMBER WORKSHOPS/EVENTS http://www.international-encaustic-artists.org/Memberworkshops See workshops our teaching members are offering. When you are logged-in as a member you may upload information about workshops you are offering. ONLINE MEMBER GALLERY http://www.international-encaustic-artists.org/Galleries Our online-gallery enables you to upload your work. You must be logged-in as a member to upload your images.
MEMBERS ONLY CONTENT Log-in, click on the ‘Membership’ tab and scroll down to ‘Members-Only Content’ to access the following benefits: ONLINE MEMBER PROFILE Once logged-in as a member click on ‘Membership’ (without scrolling) and you will be redirected to the Membership page. Go to ‘Edit Your Profile’ to add any updates. ARTWORK ARCHIVE Artists can get organized, get discovered, grow their business, and connect with buyers all on Artwork Archive. Exclusive discount for IEA members. Log-in to the Members-Only Content page for more information. ARTIST GREENBORD Artist Greenbord, who manufactures a painting substrate made with recycled wood and covered on both sides with a thin paper covering, has asked us to advise our teaching members that they would like to supply samples of their product for workshop use. If you would like to try this product in a coming workshop, please contact email@example.com and mention IEA in your email. In addition they have created a special competition for artists using their product. Log-in to the Members-Only Content page for more information. JOHN CALVER WOOD PANELS Offers our members a 10% discount on his list prices. Log-in to the Members-Only Content page for more information. SOHO MYRIAD Soho Myriad is a company that is looking for artists working in encaustic to be considered for projects for high-end hotels. Soho Myriad is one of the world’s leading Art Consulting firms. For the past 23 years, Soho Myriad has been advising and providing international art collections for the luxury hotel market. Working in tandem with interior designers and owners, Soho Myriad has delivered art packages to thousands of hotels around the world. Integrating art with design, we help elevate top-class hotel environments into memorable and valuable expressions of our client’s brand identities. They are particularly looking for work that is minimal, elegant, soft in color and perhaps floral. Log-in to the Members-Only Content page for more information. CONTACT US http://www.international-encaustic-artists.org/ContactUs Got questions, concerns, ideas to share or interested in volunteering? Shoot us an email!
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