Wax Fusion - Fall Issue I: 2019

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Wax Fusion Susanne K. Arnold Patricia Baldwin Seggebruch Janise Yntema Bonny Leibowitz

Member Profile: Tian Xun Plus Information about Instructors from Around the World A digital publication of International-Encaustic-Artists.org 1

Board of Directors S. Kay Burnett President

Melissa Lackman

Michelle Robinson

Vice President


Paul Kline Secretary

Shary Bartlett

Rhonda Raulston Tech Director

Social Media Director

Flo Bartell Education Director and Grants Coordinator

Millie Ryan Development Director


From the Editors Welcome to the inaugural issue of Wax Fusion! Wax Fusion is a digital journal of International Encaustic Artists. We hope to bring you inspiration, highlight contributions to the encaustic community and serve as a resource for educational opportunities. To help us meet those goals for our first issue, we surveyed the work of several artists whose commitment and work had been brought to our attention through their application or nomination for IEA scholarships, grants and awards. We are excited to feature Susanne Arnold’s haunting Buried Voices, Patricia Baldwin Seggebruch’s flowing exhibit, Murmur, and Bonny Leibowitz’s tribute to encaustic instructors who have shared so much with The Encaustic Center's students. We hope you will be inspired by La Vendéene awardee Janise Yntema's ethereal paintings and environmental preservation efforts and enjoy meeting one of our new IEA members, Tian Xun of Shanghai. We have also included a review of the 13th Annual International Encaustics Conference in Provincetown, MA, a guide to upcoming exhibitions and a list of workshops and media resources. We thank our contributors for their enthusiastic responses to this first issue. We hope our IEA members will submit workshop, media and exhibition information for our next issue of Wax Fusion. Your needs and feedback will help us make Wax Fusion a stronger resource; we would greatly appreciate hearing from our members. Please contact us at WaxFusion@InternationalEncaustic-Artists.org with comments, questions, ideas, and suggestions. For submission guidelines, visit iea.wildapricot.org/Artist-Resources. While this journal exists to serve the needs of IEA members, it is also free and available to the public. You are welcome to share this journal with anyone interested or working in the visual arts, looking for information on encaustics or beginning to explore the world of encaustics. Flo Bartell
 S. Kay Burnett
 Paul Kline


Content Buried Voices


Susanne K. Arnold



Patricia Baldwin Seggebruch

Redefining Landscape


Janise Yntema

The Encaustic Center


Bonny Leibowitz

Artist Profile


Tian Xun

Provincetown Review


Melissa Lackman, Vicky Radel,
 Bettina Egli Sennhauser,
 Shelley Wuitchik

IEA’s Instagram Page




Exhibitions, Workshops and Books 
 Impermanence Now by Bonny Leibowitz
 Monotypes and alcohol inks on Masa paper
 Installation at M. David & Co.


Here all monuments of history confront us;
 past and present cry aloud together. Margaret R. Scherer — “Marvels of Ancient Rome”

Buried Voices Susanne K. Arnold The bones and artifacts of lost civilizations speak to me, sometimes louder than the voices of the living. When I looked out of my studio window into my backyard, I used to see digging children, stretched-out cats and encroaching ivy, as well as the ghostly images and artifacts of those who lived before. I have translated these images into painted and carved archaeological excavations. The process by which archaeologists excavate the past is not unlike the progression of memories and ideas that are unearthed as I create. By juxtaposing the non-living (bones, artifacts, ancestors) beside the living (excavators, cats, foliage, self-portraits), I want to suggest the coexistence of life and death, past and present. I use a translucent encaustic wax, oil paint and a dry-pigment technique on paper-covered panels and over carved, laminated polystyrene that alternately reveals and conceals the "bones" of each work—the markings and changes that are part of the creative process. Buried Voices Etruria III, 1988
 Encaustic, oil, dry pigment and charcoal on carved,
 laminated polystyrene, styrofoam and paper mounted on plywood panel
 84 x 60 x 16 in (3 piece ensemble)
 Photo by Taylor Dabney



Buried Voices Etruria is a series that combines painting and relief sculpture as an entity and was created between 1983 and 1990. This series is based upon my studies in Italy of excavated classical and Etruscan artifacts and the realization that my imagery needed to come out from the wall. Conceived as frontal, life-sized wall pieces, the reliefs are carvings of friends who reminded me of Etruscan funerary figures seen in Tuscany. The background paintings are based on photographs I took there, and together with the life-sized scale, they establish a spatial environment within a contemporary context. My vocabulary of images uses the antique. But if the antique provides inspiration, equally important is my encaustic technique, which enables me to merge content, medium and method. Detail, Buried Voices Etruria II, 1985-88, in process in studio
 Encaustic, oil, dry pigment, and charcoal on carved, laminated polystyrene 24 x 60 x 22 in Photo by Susanne K. Arnold


Detail of base, Buried Voices Etruria/Appalachia, Nos. 4
 Portrait of my aunt and my mother Photo by Taylor Dabney

My later series, Buried Voices Etruria/Appalachia, contains more autobiographical references, overlaying Etruria with Appalachia. Begun during my 1990 artist-in-residency in Southwest Virginia, it was inspired by the unique rock formations of a nearby Appalachian town and by the memory of my mother and her family. My colors are earth colors, Tuscan colors and those of Appalachia—coal, shale and rust-colored granite. All the carved figures are portraits of family and friends. The cats serve as contemporary witnesses. Next page, Buried Voices Etruria/Appalachia, Nos. 2, 3, and 4, 1990-1997
 Encaustic, oil, dry pigment and charcoal on carved, laminated polystyrene and paper mounted on plywood; 120 x 184 x 36 in installation (12 unit, 3-piece ensemble)
 Portsmouth Museum, Portsmouth, VA Photo by Taylor Dabney




My head has always been crowded with ideas and images, both ancient and contemporary. As a Virginian, it is no accident that images of past and present, memory and imagination overlap in my mind and studio. But it is my physical connection to my materials that gives voice and commentary to these images of transformation and renewal. My art begins and ends with the flotsam, the artifact, the remnant - be it a family photograph or the chunk of beeswax and jars of pigment I was first given in 1963.

That ours is an epoch of excavations —
 archaeological, psychoanalytical, philological — 
 which keep emptying into contemporary culture 
 the tombs of all the ages of man. Harold Rosenberg
 Art on the Edge: Creators and Situations About the Author A sculptor and painter, Susanne K. Arnold explores the overlay of cultural memory and personal experience in her work, utilizing a vocabulary of images and the ancient painting technique of encaustic. Currently, she is exploring encaustic monotype printing. Ms. Arnold has earned BFA, MA and MFA degrees from Virginia Commonwealth University and exhibits her work regionally and nationally. Honors include national grants from the Ludwig Vogelstein Foundation, Inc. and The Adolph and Esther Gottlieb Foundation. Solo exhibitions include The Virginia Museum of Fine Art, 1708 Gallery and Artspace, all in Richmond, and the Portsmouth Museum, Portsmouth, VA. Her lecture on “Ephemeral Figures in Wax,” was presented at the 6th and the 7th International Encaustic Conferences in Provincetown, MA, and later was published in the ProWax Journal, Issue 21, Fall 2018. 12

Her work is included in the R&F exhibition catalog, Encaustic Works 2012, the 3rd edition of Linda Womack’s Embracing Encaustic and in exhibition catalogs from the Adam Peck Gallery, Provincetown, MA. A retrospective of her artwork was held in 2013 at the McLean Project for the Arts in McLean, VA. Ms. Arnold has explored and taught encaustic since 1981. She has presented workshops throughout Virginia as an Artist-inEducation for the Virginia Commission for the Arts and has taught part time at Virginia Commonwealth University, the Virginia Museum Studio School and Westminster Canterbury Richmond. Her work was recently shown at the Conrad Wilde Gallery in Tucson, AZ, and Artspace, Richmond, VA. She grew up in McLean, VA, and lives in Richmond. Her work is available at www.skarnoldarts.blogspot.com and skarnoldart.com.

Portrait of Susanne K. Arnold, Photo by John Henley, 2018 Š Susanne K. Arnold 13

Starlings fly in Murmurations. Groups held together in wondrous community not by a leader, but by each bird responding to the five or six alongside. Altogether this murmuring connectivity creates the awe-inspiring designs in the sky we humans look up to in amazement and delight. Surely they’ve done this for eons. And yet, here we are, experiencing them anew, in our YouTube


Murmur is my response to the visceral wonder of Murmurations. To recreate the emotions which watching a Murmuration evokes has resulted in

Murmur An Encaustic Installation

Patricia Baldwin Seggebruch 15


At the risk of disillusionment or removing the mystique of artistic creation, to believe an artist has a clear vision from the get-go and carries it on through to exhibit hanging is a fallacy. And to believe the process from inception to completion is easy, in the way of a flow state, is an absurdity. Bursting bubbles I may be, but in my effort to give definition and description to my show, Murmur, and all it has meant over the past two years of its development, I must dig deep and excavate. I still can't believe I painted 3,000 — 4 x 4 inch panels, fully trusting (okay, fully hoping and desperately trusting!) that something would come of them… They kept flowing, they kept multiplying, they kept “speaking” and needing to be heard, so I kept painting… It began, as I presume much idea-making does, as a quick “what if.” This idea, married to the desire to explore a theme, found me welcoming the UPS truck with the first of what would repeat 8 times over — big boxed art panel deliveries, begging for paint. From its inception, which has changed dramatically over the past two years, I have known deep down why I was creating what's become Murmur. Yet, the weeks and months producing these 3,000 panels, I asked myself frequently “What kind of crazy am I !?!” With no certain assurance of representation, no essential consideration as to how to install, nor any conviction that they would connect and sell to a collector, I forged ahead nonetheless.


Summer, autumn, winter, spring — for two years these 4 x 4 inch encaustic blocks were the bedrock of my studio work, as well as emotional and spiritual creative investment. I knew I had to keep at it so that the something that called me to begin it all would have the place of answering. Like a college student forging ahead to the day they'll hold the diploma in hand, with no certainty of job security, or more dramatically like Mary Magdalene remaining steadfastly at the foot of the cross, I, less dramatically and a whole lot more dubiously, kept at the production of these 3,000, earnestly returning to the initial prompt that began their creation.

Simplify. Add to this a fascination with repetition since adding four redheaded boys to the world over two decades ago and you have a marriage of themes that carried Murmur to creation. The grand idea began as large-scale, multi-unit rectangles, each exploring one repetitive element. This gave the work a starting place, a grounding. It began, and quickly transformed. Enter in what was really stirring in the call to create this collection. Community. Collaboration. Perhaps even, Commitment. Community, Collaboration, Commitment. Three ideas I've explored, pushed away, pulled in, ached for, and run from showing up through my medium of expression, as only they could.


From now on, wherever you go, and wherever I go, all the ground between us will be holy ground. And when he left I knew that he had revealed to me what community really means. Henri J. M. Nouwen
 Reaching Out: The Three Movements of the Spiritual Life


Enter in Frankie York, owner of New Editions and collaborator on my 2017 show, Poetry Wall. Frankie has proven the quintessential gallerist. If an artist's job is to create the work worth representing, and the gallerist to sell that work, Frankie bests her title hands down. Stepping alongside me for Murmur proved this even further. Transforming the geometric grids into my best expression of a murmuration and what it has come to mean to me, the two of us together jumped into the very collaborative commitment to bring this show to fruition. 20

New Editions, Lexington, has not yet seen an installation of this magnitude, and for us to pull this off, never mind engage collectors, was a hurdle we agreed to jump together. Collaboration was the only way it would come to be. Community was what it built upon and spoke to. Commitment was what it required.

“. . . an agony of gladness . . .� Frederick Buechner (phrase from Clack-Clack)




I am beyond grateful, in these last few swooping days before the reception. I stand in awe and wonder that, what I saw in my mind’s eye as it grew and changed, has been made real.
 I am gobsmacked that my youngest son is local and experiencing it with me, much the way he was with a similar vision I saw come to life, EncaustiCamp. I am thrilled with the community care, attention and delight it has fostered thus far thanks to Melissa's photos and the swift murmuration of social media! There is so much more that can be said of this amazing exhibit. It, like EncaustiCamp, like the heartbeat of the EncaustiCastle, like the birth of the books that have gone around the world to warm hearts and palettes to encaustic, Murmur holds life of its own, and I suspect — no I know — it will grow murmurs of its own.

To Creation. To Community, Collaboration, and Commitment. Murmur on. 24

I paint to express. To tell. To evoke. To invoke. To rise and flow emotion. To tell a story. Sometimes vaguely rendered. Sometimes explicitly stated. Sometimes not seen until everything comes together. Murmur: An utterance traveling from one to another. Passing on of a message; quickly, succinctly. Simply. Like Starlings, connect, commune, encourage, and in that, delight a greater something watching, feeling, sensing. Let’s get back to that. Make it simple. www.patriciabseggebruch.com www.pbsartist.com www.youtube.com/results?search_query=murmuration Š Patricia Baldwin Seggebruch Photos of Murmur by Melissa T. Hall 25


Redefining Landscape Janise Yntema Recently, I decided to work towards my master’s degree, a goal that for years had slipped off the radar. Applying to the program brought the necessity of critically reviewing my work, and in turn, certain themes became apparent. Though I’ve worked with many media over the years, from abstraction to realism and back, my work has continually been informed by the idea of landscape and environment. I was raised outside Newark, NJ, along the banks of a highly polluted Passaic River next to an “Industrial Park” of chemical factories where rain puddles reflected psychedelic rainbows of green/purple chemical transparencies. As a child, I remember crossing the Pulaski Skyway, enshrouded by theatrical clouds of grey smoke, billowing from an underground chemical fire that burned for more than 30 years. Landscape held mystery and power. My parents had a retail store off Route 46, and we lived in a few rooms in the back. My childhood years were spent exploring the woods and swamps along the highway, imagining I could leave my body and take animal form. When school began, reading and drawing nurtured an interior landscape. I am reminded of a line from Agnes Martin’s poem, “The Untroubled Mind,” when she wrote “... social development is contradictory to aesthetic development.” I can’t claim this to be the one truth, but I understand her words. The Low Tide, 2018
 Encaustic on photo mounted on panel
 54 x 47 in 27

An early impression from about the age of 4 or 5 was a trip to the Metropolitan Museum of Art in NYC. I was transfixed by the frenetic magic of Jules Bastien-Lepage’s Jean d’Arc. That large canvas created a space I could enter, a space different from the one that existed. I believe this was the moment I was bewitched by painting. I did my undergraduate at Parsons School of Design in NYC, and after graduation I was asked to join A.I.R. Gallery. My early works were large and dark. Looking back, I think I wanted to recreate that scale and mystery of the Bastien-Lepage painting that I had felt as a child. My paintings were artifacts of a postindustrial landscape with rusted iron, aluminum and tar added as color and texture to enshrine the detritus and demise of urban manufacturing. In the early 90s, I discovered encaustic wax. Working in encaustic has continued this environmental dialogue in my work, the fragility of the beeswax reflecting the fragility of our ecosystem. Through beeswax, I have become more environmentally active. These past years I have researched the changing environmental factors that affect not only bees, but all life forms on earth. This concern led to my developing lectures for The Annual International Encaustic Conference, in Provincetown, MA, on the politics that lies behind the bees, multinationals and the exponential effects of farming chemicals on the environment. In raising awareness, I have pledged to donate a portion of my art proceeds this year to 
 the environmental group, Extinction Rebellion (https:// rebellion.earth/). I’ve recently included photographic source material in my work: a landscape presented as cultural construct, a manipulation of nature. My aim is to bring awareness to the changing state of our intricate ecosystem in redefining the genre of contemporary landscape. 28

Morning Arrives, 2018
 Encaustic on photo mounted on panel
 55 x 59 in

Next page, Night Forest, 2018
 Encaustic on photo mounted on panel
 Diptych 48 x 75 in 29



Other Places, 2019 For Extinction Rebellion, an installation of 6 x 6 in paintings Dimensions variable Next page, A Sense of Place, 2019 solo show
 Installation from Cadogan Contemporary, London Portrait by Samantha Hunt Photography 32

Janise Yntema has been working exclusively in encaustic for over 25 years. She is represented in London through Cadogan Contemporary, Galerie Marie Demange in Brussels and Galerie Josine Bokhoven in Amsterdam. She has had solo exhibitions in New York, London, Amsterdam, and Brussels, as well as in numerous public and private collections throughout Europe and the United States. She is currently pursuing a master’s degree in the History and Philosophy of Art at The Paris School of Arts and Culture through The University of Kent. She received the 2018 La VendeÊnne Award for outstanding contribution to the encaustic arts. Born in New Jersey, she works and lives in Brussels. For more information, please go to www.janiseyntema.com



And then, an amazing thing happened . . .

The Encaustic Center Celebrating 10 years of guest artists/instructors sharing their beautiful techniques, knowledge and friendship.

Bonny Leibowitz Just over 10 years ago, as I contemplated the long-awaited availability of the space next door to my teaching studio - The Bonny Studio, a student of mine invited me to a show of artists using encaustic. I knew about encaustic and, of course, had seen the work of Jasper Johns, but I’d never used it. And I was really curious about working with the material. At the show, I was told to see Deanna Wood, who was part of this group, and I asked her to come give a workshop for my students (of course, the request included myself, and after the workshop, I was hooked). I quickly realized that to have ongoing workshops, I would need to pump up the electric, which I did, all the while learning everything I could about encaustic and the related processes. I had a couple more workshops, and people responded with great interest, and yet... I still wasn’t connecting encaustic workshops with the space next door. One day, after speaking with my landlord by phone, telling him I wanted the space that was finally available, and trying to brainstorm about offering more oil painting classes (or something else), I hung up the call. It was then that I heard this phrase or Gathering Hope by Cari Hernandez
 Encaustic, plaster, fiber, 108 x 50 in
 Beneath the Waters by Cari Hernandez
 Oil on canvas, 96 x 96 in
 Conspiracy for Hope installation 35

revelation: “The Encaustic Center!” And immediately I knew my purpose was to open The Encaustic Center. At the time, I had no idea of the vastness of the world of encaustic painting – and no inkling that this adventure would grow into so much more. Students were not only learning a new “fun” medium, but also being educated on safety practices, the history of encaustic, and the legitimacy of the art form. Over the past 10 years, I have witnessed an increased acceptance and familiarity with the medium, and I discovered galleries and patrons tend to look at the inherent nature of a work rather than how the medium is used. There was so much to learn: How to physically set up a work space, how much equipment is required, how to focus the workshops, and how and where to spread the word and communicate that each participant would have a fantastic learning experience and enjoy the encaustic work space. Also, more practical matters surfaced: What works, what needs refinement, what to charge for supplies included in the workshops, and how to handle artist fees, travel and lodging expenses, etc. In celebration of 10 fantastic years at The Encaustic Center, I would like to highlight some of the many artists and instructors who have taught and created wonderful art at the center. Each has shared images of their work along with links to their websites and social media, upcoming workshops, and images from workshops taught at the center. For all of these, I am honored and blessed with the many ongoing associations that have been forged. 
 About the artists: Completely impressed with her exuberant upbeat outlook, Kayla Barker not only does beautiful work of her own, but also, she freely shares her photography and encaustic processes with students.


Kayla first rented the studio to conduct a workshop for several people in the area. When I saw what she was doing, I immediately asked her about presenting workshops for my students, and thankfully, she's been doing so ever since. I’m thrilled she's here once a year offering two back-to-back one-day workshops. Equivocal Dreams, 2017
 Kayla Barker
 Encaustic, oil, film photograph
 10 x 8 in www.kaylabarkerfineart.com
 www.instagram.com/kaylabarkerphoto Pictures from Kayla Barker's workshop at The Encaustic Center

Michelle Belto offered a fantastic workshop in papermaking and encaustic. I remember it was unseasonably cold, and students had to work outside in the damp, windy weather with paper pulp and buckets of water. All were troopers who created such original and exciting art. If you’ve met Michelle, you know she is a dedicated and supportive educator. She is the author of Wax and Paper Workshop and multiple DVDs on encaustic techniques produced from Artful Gathering Retreats. Twilight on the Caprock
 Michelle Belto
 Encaustic, mixed media on paper and panel
 20 x 24 in www.michellebelto.com Pictures from Michelle Belto's workshop at The Encaustic Center 37

Kim Bernard's 2015 workshop dealt with working with dying and wax resist techniques. The work was ambitious and exciting. To this day, I have students, who come in with materials from that workshop to use in their work. In her workshop, Kim gave an important and well attended talk on professional practices. Her expertise and the quality of her work and instruction are simply impeccable. Kim will be returning to present her workshop, “Creative and Professional Practice,” scheduled for Saturday, January 18 and Sunday, January 19, 2020.

Go With The Flow by Kim Bernard
 Encaustic on shaped panel
 16 x 24 in www.kimbernard.com
 www.youtube.com/user/kimbernardart/videos Pictures from Kim Bernard's workshop at The Encaustic Center

Pamela Caughey is an incredibly thoughtful, knowledgeable, skilled, ambitious, and dedicated artist. Before the workshop, Pamela shared much relevant information about how to work with students and how to produce an active, cohesive color palette with strong composition. She has a generous spirit and wants participants to create strong work and develop tools for moving forward. I'm thrilled to have her here. Journey, 2015
 Pamela Caughey
 36 x 36 in www.pamelacaughey.com
 www.artandsuccess.com/p/pdpc (NEW online painting course)

David A. Clark is beyond amazing, sharing some very specific selfdeveloped techniques for using stencils and monotypes. He actually brought everything with him for the workshop in his truck. That alone was impressive! Participants walked away with a wealth of knowledge and wonderful work.

Ancient Histories #250, 2017
 Encaustic on Gampi
 42 x 39.5 in www.davidaclark.com/ Pictures from David A. Clark's workshop at The Encaustic Center


In 2010, Miles Conrad also joined the center early on. The announcement drew a great many people, and after his workshop was filled, many people wanted to come and pay just to watch! We did our best to allow as many people as possible and ended up with 16. Miles presents a calm demeanor and precise direction in 3D constructed forms and 3D work from hand-built molds. The workshop ran beautifully with some fantastic work being created. However, I’ve learned to limit all workshops to maximum number of 12. Miles will be returning in October 2019. Return of the Repressed, 2018
 Miles Conrad
 Encaustic on Paper, Foam, Wood, Fabric
 10 x 15 x 2 feet

Pictures from Miles Conrad's workshop at The Encaustic Center
 Day 1
 Day 2
 Day 3


Miles Conrad's upcoming workshop at The Encaustic Center


Michael David’s workshop, Photo Encaustic, was unbelievably amazing. More than simply a workshop, Michael engaged participants about the deeper meaning in their work and brought out the absolute best in processes and concepts. He gave great Powerpoint presentations and revealed some of his own fascinating history as well. I have the privilege of working with Michael on an on-going basis as Residency Director at his gallery in New York, M. David and Co., in which he curates some knock-out shows. Additionally, we have offered some Critical Thinking Master Classes here in Dallas. Working with Michael in discussing your work is mind expanding and opens up worlds of possibilities, all the while refining your focus.

Chorten Gold Blue Ochre (Hive)
 Michael David
 Encaustic on wood
 32 x 26 in www.mdavidandco.com/michaeldavid
 www.mdavidandco.com/ Michael David December Residency at M. David & Co., 2019 Michael David Residency Participants at M. David & Co. Michael David Residency Participants II at M. David & Co. Pictures from Michael David Photo Encaustic workshop at The Encaustic Center


Lorraine Glessner has presented two fantastic workshops, the first in 2013 and the other in 2018. Lorraine's work is incredibly beautiful. I see a great deal of generosity and compassion in her teaching style, and she shares her knowledge, materials and processes, which allow for personal growth and creativity. In one workshop, Lorraine brought just a tiny piece of Tyvek for us to play with, and fast forward six months, I was ordering rolls of Tyvek that I incorporated into my next series. Lorraine maintains a wonderful blog as well! Participants Within the Vast Imagination, 2018 Lorraine Glessner
 Encaustic, collage, pyrography on wood
 48 x 60 x 1.5 in www.lorraineglessner.net
 lorraineglessnerstudio@gmail.com Art Bite Blog lorraineglessner.wordpress.com/ www.instagram.com/lorraineglessner1/
 www.pinterest.com/lorigles/ Pictures from Lorraine Glessner's 2013 workshop at The Encaustic Center
 Pictures from Lorraine Glessner's 2018 workshop at The Encaustic Center

Jane Guthridge's upcoming workshop at The Encaustic Center is October 16 through 18, 2020 The Space Between triptych 11, 2014
 Encaustic and archival inkjet on layered translucent mulberry paper
 36 x 40 in www.janeguthridge.com


Leigh Harrison is doing an amazing job teaching one-day beginner workshops at The Encaustic Center on a regular basis. Melting Arctic Seas, 2019
 Leigh Harrison
 Encaustic and found objects on cradled board
 12 x 12 in www.instagram.com/ leighharrison2003/ Pictures from our on-going one-day workshops at The Encaustic Center

Cari Hernandez worked her magic with some incredibly beautiful 
 3D processes. This workshop was amazingly fun, and it was great having the opportunity to spend time with her. Cari’s work has taken on exciting new directions since her last visit in 2014. I really love the large 3D structures. Thank you for your many talents, Cari! Gathering Hope by Cari Hernandez
 Encaustic, plaster, fiber, 108 x 50 in
 Beneath the Waters by Cari Hernandez
 Oil on canvas, 96 x 96 in
 Conspiracy for Hope installation www.carihernandez.com Pictures from Cari Hernandez's workshop at The Encaustic Center


Jeffrey Hirst is an incredibly innovative artist working with silkscreen and encaustic. He creates fantastic 3D constructions that incorporate encaustic. For our workshop he made 12 silkscreen stations, one for each participant and shared a variety of approaches in printmaking. It was an exciting adventure, and it seems that whatever he dreams up, he’ll find a way to make the tool or figure out the right process; all the while, allowing for change as the work evolves.

Aqua III, 2018
 Jeffrey Hirst
 Encaustic and Oil on shaped panel
 59 x 45 in www.jeffreyhirst.com Pictures from Jeffrey Hirst's workshop at The Encaustic Center


Deborah Kapoor is a thoughtful, generous, deeply insightful artist working in a variety of media, including installation, video, encaustic, textiles and much more. She has an innate ability to use whatever materials speak to her concept while maintaining incredibly beautiful and inviting aesthetic qualities. For her workshop here in 2012, she had participants working in 3D, thinking about installation and spatial concerns, and gave several informative talks, one included in an exhibition here. The Center doesn’t often have exhibitions here, but Deborah’s was amazing! I enjoy the dialog we continue to share about our work, and she's in the process of writing a book on encaustic. Stay tuned! Deborah@deborahkapoor.com www.deborahkapoor.com
 deborahkapoor.com/video Pictures from Deborah Kapoor's workshop at The Encaustic Center
 Pictures from Deborah Kapoor's 2012 exhibition at The Encaustic Center

Luscious, 2019
 Deborah Kapoor
 Encaustic and fiber
 48 x 22 x 6 in 45

Ellen Koment shared some wonderful techniques including some beautiful experimental pours on paper! The combination of transparent and more opaque color produced some fascinating work. Ellen is a gifted and generous instructor. Sky Madness
 Ellen Koment
 Paper, wax, pigment
 30 x 44 in
 Photo by James Hart www.ellenkomentart.com
 www.nmencausticworkshops.com Pictures from Ellen Koment's workshop at The Encaustic Center

Leah Macdonald is creating some gorgeous work with photography and encaustic, and she captures a sense of beauty and mystery. Her passion for her work and her ability to share this intensity when she teaches is a great gift. Leah offers a variety of techniques and approaches in her workshops. Ladder by Leah Macdonald
 Encaustic Photo
 14 x 11 in www.leah-macdonald.com
 www.instagram.com/leahwax1 Leah Macdonald's upcoming Photo Encaustic Workshop at The Encaustic Center will be March 27 through 30, 2020


Atelier, 2019
 Skyler McGee
 Encaustic and collage on wood
 12 x 12 in

Skyler McGee's workshops are a wonderful blend of boldness, insight and experimentation. Skyler brings her unique energy to everything she does and truly connects with participants. A few years after she attended one of Lorraine Glessner's workshops, I invited Skyler to teach a one-day workshop as part of my Dallas Guest Artist Workshop series. Her workshop was fantastic, and I invited her back for more. Her last workshop was two days, and seeing the participants blossom is just wonderful. www.skylermcgee.com
 www.facebook.com/skyler.c.mcgee Pictures from Skyler McGee's workshop at The Encaustic Center 47

jerry+work, just me with a group of my larger pieces

Jerry McLaughlin is a dynamic and thoughtful instructor. One can't help but to be completely taken by his energy and enthusiasm for teaching and creating. Jerry and Rebecca Crowell co-authored Cold Wax Medium: Techniques, Concepts & Conversations, the winner of two international book awards, and Cold Wax Medium: A Video Workshop. The book and instructional video are available through www.squeegeepress.com

www.jerrymclaughlinart.com Pictures from Jerry McLaughlin's workshop at The Encaustic Center


Participants so enjoyed Shawna Moore’s workshop and came away with tons of techniques to take back to their studios and build upon. Shawna Moore taught some fantastic ways to get clean sheer surfaces, producing layers of depth and intrigue. Her passion, dedication, and living her art life are uncompromising. The subtle nuances and shifts in layers in Shawna’s work are truly beautiful! Of Edge State
 Shawna Moore
 Encaustic on panel
 42 x 42 in shawnamoore.com
 www.instagram.com/ shawnamooreart
 www.facebook.com/ ShawnaMooreArt/
 Instructional Videos Pictures from Shawna Moore's workshop at The Encaustic Center

Ahavani Mullen's upcoming Mixed Media Encaustic Workshop at The Encaustic Center will be March 12 through 14, 2021. Friendship with the Unknown № 4
 Ahavani Mullen
 Encaustic, charcoal and oil on shaped canvas
 11 x 16 x 4 in www.ahavani.com
 www.facebook.com/ahavani.mullen 49


The Girl from Clew Bay, 2019 Lora Murphy Encaustic, gold leaf 30 x 24 in

Lora Murphy possesses a force of energy; dedicated dynamic open energy! Lora conducted a portrait workshop producing some extraordinary results. Many workshop participants are used to group demos and talks at the beginning, but this isn’t Lora’s style. She immediately has everyone start working. Lora's teaching brings her from Denmark and takes her around the world to Ireland, Egypt and the USA. Fortunately for The Encaustic Center, she was our first international guest artist. www.loramurphypaintings.com www.facebook.com/lora.murphy.9 www.instagram.com/eomstudios/ www.instagram.com/lora_murphy_paintings/ Pictures from Lora Murphy's workshop at The Encaustic Center

Jean Pederson's upcoming Mixed Media Encaustic Workshop at The Encaustic Center will be May 8 through 10, 2020. Michael, 2019 Jean Pederson Oil stick on Yupo 20 x 26 in www.jeanpederson.com www.facebook.com/jean.pederson.5 www.instagram.com/jeanpederson


Lisa Pressman is a teacher who shows great energy and an intuitiveness for her media in her teaching style. Everyone loves the way she encourages experimentation, deeply cares for and respects her media and possesses a drive to create. Her first workshop here was in 2014, and I very much look forward to her workshop in 2020! Navigating 16, 2019 Lisa Pressman Encaustic 10 x 8 in www.lisapressman.net www.instagram.com/lisapressmanart/? hl=en Pictures from Lisa Pressman's workshop at The Encaustic Center

Sarah Rehmer did an amazing job showing participants how to rust materials, make impressions of that rust on paper and incorporate the work into their encaustic pieces. During the workshop we all went out to dinner one night, and due to our new found awareness of rusty bits, we were spotting rusty bottle caps and other detritus all over the parking lot to use the following day! She's a fantastic instructor, and participants in workshops create wonderful work. coded stories 2 (all the chatter), 2016 Sarah Rehmer Encaustic, paper, oil on panel 24 x 24 x 6 in www.rehmer-studio.com www.instagram.com/srehmer/ 52

Dale Roberts is a skilled draftsmen and painter and provides super clear instruction in his workshops. He's passionate about his work and teaching. Dale was first here in 2018, and I look forward to having him back in 2021. Pictures from Dale Roberts' workshop at The Encaustic Center Dale Roberts' upcoming Mixed Media Encaustic workshop at The Encaustic Center will be November 5 through November 7, 2021 Entrance Entropy Chefchaouen, 2016
 Dale Roberts
 Encaustic on Italian gesso panel
 37 x 47 in

His videos are available online at YouTube.

www.dalerobertsencaustic.com 53

Paula Roland. I can't thank Paula enough for trusting in me and coming to teach early on at the inception of The Encaustic Center. I remember we trucked in 12 HOTboxes™ and all of them sold to workshop participants. Who could resist? Paula is an amazing instructor, generous, knowledgeable, and so much fun to be with. It was thrilling to have her back for a second workshop, the Mark Making/Carbon Lab Mashup. And I hope to have Paula back again! Triple Optix, 2019 Paula Roland Assembled Encaustic Monotype 22 x 25 in www.paularoland.com www.rolandworkshops.com DVD: Encaustic Monotypes: Painterly Prints with Heat and Wax Pictures from Paula Roland's 2012 workshop at The Encaustic Center Pictures from Paula Roland's 2017 workshop at The Encaustic Center

My very first guest artist workshop was with Patricia Baldwin Seggebruch. Her clear instruction and personal touch inspired a lot of great work. You can catch her on Facebook and Instagram, and she’s doing some fabulous installations. Her latest installation, Murmur, is a feature article on page 14 of this issue of Wax Fusion. www.pbsartist.com www.patriciabseggebruch.com www.facebook.com/pbseggebruch www.instagram.com/pbsartist www.instagram.com/encausticastle www.youtube.com/user/pbsartist/videos Pictures from Patricia Baldwin Seggebruch's workshop


Dietlind Vander Schaaf's upcoming workshop, Metal | Metallic: Shimmer, Luster, Depth, will be at The Encaustic Center November 8 through 10, 2019. A Story, 2019 Dietlind Vander Schaaf Encaustic, pigment stick and 23 karat gold leaf on panel 30 x 40 in www.dietlindvanderschaaf.com www.instagram.com/dietlindvanderschaaf Dietlind Vander Schaaf Video

Elizabeth Schowachert has been a true inspiration. When she first came to The Encaustic Center, it was clear she had her own "look" and way of working. After some planning, we developed the Organic Fusion Workshop, which has been a great success and is held each year. When she began her extensive travels to Taiwan, she began her journey into working with inks, brush-making, and later, creating tools for monotype mark making. Elizabeth now sells many of these tools at her online store. Her explorations in this area lead to developing two new workshops that are also offered each year: In The Flow and Art of Tools. Wind Rider Elizabeth Schowachert Encaustic monotype/mixed media (alcohol ink) mounted to panel 21 x 16 in elizabethschowachertart.com Pictures from Elizabeth Schowachert's Organic Fusion Workshop Pictures from Elizabeth Schowachert's In The Flow Workshop Pictures from Elizabeth Schowachert's Art of Tools Workshop 55

Jane Cornish Smith is a fantastic artist conducting oneand two-day cold wax workshops on a regular basis at The Encaustic Center. We’re very pleased she's on board! Passing Through Year, 2018 Jane Cornish Smith Encaustic, paper collage on panel Diptych 48 x 72 in www.janecornishsmithart.com www.instagram.com/jcsart5555/ Jane Cornish Smith's upcoming Cold Wax workshops: Cold Wax Pure Abstractions Workshop Cold Wax Portrait Workshop Pictures from Jane Cornish Smith's Cold Wax Pure Abstractions Workshop Pictures from Jane Cornish Smith's Cold Wax Portrait Workshop Pictures from Jane Cornish Smith's Cold Wax Abstract Landscapes Workshop

Susan Sponsler conducted several one-day photo/photo transfer encaustic workshops. She's an extremely thoughtful artist working with richly expressed concepts in her work. Me and Mom, 2012 Sarah Rehmer Encaustic with photo transfers 23 x 24 in www.instagram.com/ susansponslercarstarphen/ www.facebook.com/susan.sponsler www.facebook.com/SusanSponslerArtist/ Pictures from Susan Sponlsler's exhibition at The Encaustic Center 56

Susan Stover gave a fantastic workshop working with textiles stamping, dying, pattern making and encaustic. Her work is inspired, and she conducts an exciting Textile Study tour to India, very tempting! Her expressive and encouraging teaching style is completely inviting and filled with valuable insights. Caisson, 2018 Susan Stover Fiber, encaustic, wood, metal 16 x 6 x 6 in susanstover.com www.facebook.com/susanstoverart www.instagram.com/susanstoverart www.twitter.com/susanstoverart Pictures from Susan Stover's workshop

Elise Wagner has developed unique printmaking techniques, which produce rich deep effects on paper. Her informative workshop dealt with scale, composition and abstraction; important concepts that students flourished in! Tributary Meridian Elise Wagner Encaustic and oil on panel 30 x 48 in www.elisewagner.com www.elisewagner.com/videos-2 www.instagram.com/ elisewagnerstudio/ www.pinterest.com/ewagart/pins www.elisewagner.com/blog www.elisewagner.com/workshops-1 www.patreon.com/EliseWagnerART www.elisewagner.com/shop-smallworks www.youtube.com/channel/UClCdcmdjIHeKhIxHaNMmk9A 57

A giant thanks to Deanna Wood, who has been teaching here from the start and who was my first teacher in working with encaustic. Traces Deanna Wood Collage, gouache, and encaustic on panel 18 x 18 in www.deannawood.com/ www.facebook.com/deannawoodstudio/ www.instagram.com/deanna.wood.art/

And to continue a bit more about The Encaustic Center: In 2012, I attended the International Encaustic Conference, Joanne Mattera’s brainchild, and I gave a talk and workshop there. It was a wonderful experience, getting to know so many artists, hearing so many great talks and seeing demos. Joanne Mattera’s book, The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax, is a staple for all artists with a desire to learn encaustic. Artist and Artistic Executive Director, Cherie Mittenthal now oversees the conference, which is sponsored by the Truro Center for the Arts at Castle Hill and is held in Provincetown, MA. In 2014, The Encaustic Center was nominated for the La Vendéenne Award, which is given by International Encaustic Artists (IEA). You can find out more at www.international-encaustic-artists.org/La-Vendeenne. Encaustic products by R&F Handmade Paints, Enkaustikos and Evans Encaustics are sold here. My associations with these companies have been an important part of my business, and I greatly appreciate the integrity and friendships. A wonderful thank you to Flo Bartell and Kay Burnett for asking me to write this article. 58

Impermanence Now by Bonny Leibowitz
 Monotypes and alcohol inks on Masa paper
 Installation at M. David & Co.

I hope readers will enjoy taking a look through all of the artists and exploring their links. If you’d like to be in touch with me and be included on the email list, please feel free to reach out: www.bonnyleibowitz.com www.theencausticcenter.com The Encaustic Center 580 W.Arapaho Rd. #271 Richardson, TX. 75080 bonny@theencausticcenter.com 214-405-5993 59

In each edition of Wax Fusion, we plan to include a short profile about one or two of our IEA members. For our first edition, we selected one of our newest members from the Artists list on the IEA website. We were fascinated by the images in her “studio-daily” album and wanted to learn more about her work process, what inspires her paintings and what it is like to be an encaustic artist in China.

Tian Xun Shanghai, China Hello, I am a Chinese artist who just joined IEA. My name is Tian Xun. My Chinese name is “天浔.” I have been painting with wax for several years. I don’t buy finished products. I like to make my own wax medium – it makes me feel the greatness of nature. I heat beeswax and damar resin, mix them and make a lot of finished wax blocks to store. When I’m ready to paint, I just need to add mineral [pigment] powder to the wax. I paint on wooden boards which I make myself. I like to use Austrian pine board as the main material because it is resistant to becoming damp and deformed.


Water in Sky, 2018
 Encaustic on wood panel 100 x 100 cm (approx. 40 x 40 in)

When creating a new painting, I start in a general direction. Sometimes I look for pictures or draw sketches in advance, but not with the sea. I draw the sea by memory. Every step is uncertain. Like an adventure, I never know where the exit of the labyrinth is from the beginning. The whole painting process becomes very interesting, but also challenging. Sometimes my choices result in a failure as I struggle with a painting. For example, the thicker the paint, the heavier the weight will be. But these are valuable lessons. 61

Above the Wave, 2017
 Encaustic on wood panel 100 x 100 cm (approx. 40 x 40 in)

It is nature that inspires my creation, especially water in nature. Where there is water, there is life. Our human body is mostly composed of water. Water is the origin of everything. The whole world should protect nature and cherish water. So, I want to show some water spirit - love in my work through my own feeling of water. Water contains all things, nourishes all things, carries the cycle of thousands of years, just like telling us the truth of love. We all need to learn to love just as water loves nature. 62

Being an artist in China is a very happy thing because everyone respects you. Chinese people love life. Although the city where I live is very busy for young people, they still pay a lot of attention to art. Every holiday there are Chinese art galleries and art-related exhibitions. Club halls are lined up, and in recent years more and more young people are beginning to collect works of art. This makes me proud to be an artist. I have two cats. They are lovely animals. I like the feeling of animals in my life.

Big Pie lives at home with Tian Xun

Panda lives in Tian Xun’s studio


13th Annual International Encaustic Conference Provincetown, MA
 May 31 – June 2, 2019 Each year artists from around the world gather in Provincetown, MA, to learn new techniques and best practices for working in encaustic, find new materials and inspiration, view exhibits of fine encaustic art, and network. The conference was founded by Joanne Mattera and is now owned and operated by Truro Center for the Arts at Castle Hill. We invited four IEA members to share their experiences of the 2019 conference. Melissa Lackman, USA – IEA Vice President This year I had the pleasure of attending the International Encaustic Conference in Provincetown, MA, for the fourth time. The kickoff to the Friday through Sunday conference was the Thursday afternoon opening of the conference exhibition, Anything but Flat, juried by Joanne Mattera. I was fortunate to be juried into the show. Stunning work from a variety of artists composed one of the most thoughtfully hung shows I have ever seen, with each piece placed in conversation with those around it. 64

Before Provincetown’s Friday Art Walk, that included exhibitions associated with the conference, I enjoyed dinner with IEA scholarship and grant recipients from the past year. In addition to Melissa Rubin, past IEA Vice President, there were Bettina Egli Sennhauser and Vicky Radel, Conference Scholarship winners; Sheary Clough Suiter, Project Grant winner; Janise Yntema, La Vendéene Award winner; Lorraine Glessner, La Vendéene Award finalist; and Dianna Stevens Wooley, Castle Hill Residency winner. This was a lovely time to celebrate the accomplishments of our members, and I felt I made several new friends. Each morning and afternoon, there were choices of demos to explore new materials or techniques and talks concerning professional practices and career building. Throughout, best practices were discussed, and artists were encouraged to maintain high-quality standards in their work and professional lives. Highlights of the conference were the Saturday morning keynote speech by Judy Pfaff and the Vendor Room. Our friends at Kama Pigments, Evans Encaustics, Encaustikos, R&F Paint, Vent-a-Fume, and Paper Connection International offered special conference prices and special edition colors. Sunday morning was the Hotel Art Fair, where conference artists opened their rooms to display and sell their work. It was wonderful to see the work of the other artists and to talk about my own work with those who visited my display. If you have never attended the annual International Encaustic Conference, I encourage you to do so. You will learn so much and make so many new friends and colleagues. Previous Page, Photos by Shelley Wuitchik 65

Vicky Radel, USA – IEA Conference Scholarship Recipient I feel changed. I am thinking differently. I notice I am looking at the world in a different way – seeing marks, lines, shapes, colors, and compositions more clearly – not just in art but in everything! The conversations created an insight into the underlying aspects of why we create art. I was impressed by the art of others. The demos and the classes gave great practical information on technique, color and composition. The gallery shows, postcards and Sunday Hotel Art Fair opened up new vistas of what is possible using encaustic medium and pigments to create art. The 3D work was so interesting, and the number of artists using paper in their work was surprising to me. The panels and conversations opened up perspectives and depths in creative expression that fed my artist’s soul. I met so many talented and generous artists from several countries, states and provinces, all sharing the bond of our love for hot wax and creative expression. I am grateful to IEA for my scholarship to attend the conference. I live in a rural area and have little exposure to other artists’ encaustic work. This was a dream come true. I am feeling nourished. Thank you to all who made the Bettina Egli Sennhauser, Jodi Reeb, and Vicky Radel conference and workshops possible. 
 I hope to return. 66

Color, Patterns and Papers Mixing Your Mediums Demo by Debra Claffey

Downtown Provincetown Gallery Show Photo by Vicky Radel

Postcards Photo by Vicky Radel

Demo by Joanna Kidney Photo by Shelley Wuitchik 67

Bettina Egli Sennhauser, Switzerland – IEA Conference Scholarship Recipient Coming from Europe where artists working with damar-based encaustic medium are scarce compared to the U.S., exchanging ideas with like-minded artists and having the chance to meet and discuss with the major vendors, who all were present with a vast selection of encaustic artist supplies, for sure were the highlights. Sourcing these materials in Europe can be pretty time consuming and cumbersome, as a lot of them are not available in art supply shops and others may not even ship to Europe. The representatives of Vent-a-Fume, for instance, kindly checked on shipping costs for their Vent-a-Fume and found the price would be double for their product. It seems for the time being we have no other choice than to be creative and develop our own solutions. All in all, I left the conference saturated and inspired and couldn't wait to get back in my studio to work on new ideas. I kind of failed in the Vendor Room, though. It simply felt like paradise to have all these supplies so readily at hand, and I went way over budget. But from what I heard from other artists, I was not the only one who happily traveled back to Europe with an extra piece of luggage.

Shelley Wuitchik, Canada – IEA Member I live on an island, and when I paint, I paint alone. I need to surface occasionally and especially need human contact with my tribe of fellow encaustic artists.


I last attended the conference close to 10 years ago when it was double in size and was held in Montserrat College, about 90 minutes north of Boston. I was a total newbie, everything was exciting and stimulating: The vendors, the keynote speaker, the presenters, and best of all I didn’t need to explain to anyone “what is encaustic?” A decade later I know a lot more about encaustic. I know it is translucent, vibrant, versatile, and unpredictable. I also know enough to know I have only scratched the surface of all that is possible. With spectacular coastal vistas, a festive and relaxing environment with inclusive people and amazing culinary delights, Provincetown is the perfect setting to inspire. Attending a conference is about the plethora of panel discussions, technical presentations and practical demonstrations, thoughtfully assembled by the staff of the Truro Center for the Arts at Castle Hill, under the capable leadership of Cherie Mittenthal. It is equally about the spontaneous discussions and generous sharing of resources that take place over meals. The gallery stroll, the juriedcurated show, the postcard scholarship fundraiser, and the artists who opened their rooms to showcase and sell their art were all highlights. Pre- and post-Conference were a juicy selection of intensive hands-on workshops to further enhance the experience. On my flight home, my head swirled with a kaleidoscope of visual possibilities.... I couldn’t wait to get back in my studio!


Showcase Your Art on IEA’s Instagram Page www.instagram.com/iea_encaustic/ Here at the IEA we LOVE Instagram. Primarily a visual platform, Instagram’s a perfect fit for showcasing your art – just add a few words about the inspiration behind your painting, drool about a new technique or tool you’ve just discovered or ask that burning question you’ve been wondering. Instagram makes a great photo diary of your creative process, too.

Images courtesy IEA Artists. All rights reserved. 70

Did you know Instagram has more than 1 billion active users every month? Why not add your creations so the world can see them? We’re giving our IEA Instagram page a new look and we want to share your art. Please join us! We have a dedicated team of volunteers ready to post your work and cheer you on. It’s easy and fun so, let’s do this! What to do next? 1. If you don’t already have one, set up your Instagram account here. It’s easy. Instagram’s Help Center is the place to learn more. Don’t feel intimidated if you’re new to social media. Instagram is simple and you can learn more about its features a little at a time. 2. Pull out your smart phone or camera, make sure your work is near a window or in good light and snap a clear shot. Edit and crop your photo so it is square and clear. Shoot your video in portrait position and edit it. Suggest an appropriate caption and hashtags, or we’ll do this for you. Please include @iea_encaustic and #iea_encaustic and #internationalencausticartists in your hashtags for a chance to be reposted on our profile! You can also send your images and short art process videos to: IEASocialMediaTeam@gmail.com. 3. Follow us @iea_encaustic and #iea_encaustic and #internationalencausticartists and on Facebook at International Encaustic Artists and please “like” our followers and their work. This is a great way to see what fellow IEA members and the global encaustic community are doing and to support each other in community. You’ll be inspired and make new friends. Many artists are even finding this forum a great way to sell their work online. See you on Instagram. We can’t wait to see what you’re up to in wax! 71

Exhibitions Old, New, Borrowed, and Blue Flo Bartell Art Central Gallery

1329 Monterrey Street, San Luis Obispo, CA

October 4 - 28, 2019 Opening Reception, Friday, October 4, 6:00-8:00 PM For more information, please go to artcentralslo.wordpress.com/ 2019/09/23/art-after-darkwth-flo-bartell/ A collection of Flo Bartell's favorite 2D and 3D encaustic pieces as well as new work in encaustic, mixed media and digital painting.

Portal 2
 Flo Bartell
 Encaustic with mixed media
 48 x 37 in


Changemakers Penny Gunderson Arts Commons Window Galleries
 205 8th Ave, Calgary AB, Canada

September 9 - December 8, 2019 For more information, please go to www.sparkdisabilityartfestival.com or www.facebook.com/ SPARKDisabilityArtFestival/ Penny Gunderson’s encaustic, mixed media on fabric and paper two-part installation, Anger Flows and Green Hills, addresses the subject of becoming a “Changemaker” in the disabled community while coping with personal health issues related to chronic illness and disability. The journey from despair to a new reality inspired this two-part installation. The concept in which the human form becomes landscape, presenting the idea of chronic illness and the slowing pace of a body being the same as the slow development of nature’s seasons. They express the journey from anger, frustration and grief that comes with the impact of a disability, into an acceptance of a chronic illness and the coming to terms with the reality of its relentless effect on a life. Green Hills
 Penny Gunderson
 Encaustic on Encausticbord 
 6 x 24 in 73

SWFL WAX Exhibitions of 
 Encaustic and Cold Wax Art Southwest Florida Wax (SWFL WAX) is a chapter of IEA. Each of the following exhibitions include the work of SWFL WAX members and cover a varying range of styles in both hot wax and cold wax. All the exhibitions are sure to be inspiring for those art aficionados who love encaustic art and for those who would like to learn more about this exciting medium. Curator: Madeline Sugerman

Paintings by (left to right) Sherry DeGenarro, Trish Tinsley, Christine Reichow, Beverly Yankwitt, Sherrie Adam, Carol Lutgen, Marquelynn Raposa, Madeline Sugerman, and (next page) Deborah B. Kristoff


The Whole Ball of Wax Presented by SWFL WAX and The Norris Center of Naples, FL
 755 8th Ave S., Naples, FL 34102

November 1 - 30, 2019

Cold and Hot Presented by SWFL WAX and The Bonita Center for the Arts, Visual Arts Center
 26100 Old 41st Road, Bonita Springs, FL

December 9, 2019 - February 9, 2020


Making Our Mark in Wax Presented by SWFL WAX and The FINEMARK NATIONAL BANK and TRUST
 800 Laurel Oak Drive, Suite 10
 Naples, FL 34108

March 5 - 13, 2020
 Call for hours 239-963-0700

Exploring Encaustic Art Presented by SWFL WAX and The ACSWF COCO Art Gallery
 Coconut Point Mall
 8074 Mediterranean Drive 
 Estero, FL 33928

March 17 - 31, 2020


Workshops Just Gather: Encaustic Retreat Residency Patricia Baldwin Seggebruch EncaustiCastle

Lexington, Kentucky February 16 - 23, 2020 Space for six adults available. Cost: $350 This is a non-instructional week. There will be conversation, inspiration, tips and tricks - as they flow. For more information, please go to www.pbsartist.com/event/. A gathering of six spending time sharing space, inspiration, resoluteness, and vision all to grow personal confidence and conviction when we are ‘out there’ on our own. Enroll and experience what working outside of your comfort zone with all of its distractions, routines, rhythms - can manifest with a company of artists.


Encaustic Printmaking Workshops Victoria Foster Harrison Curly Girl Art Studio

889 53rd Street, Port Townsend, WA. 98368

Beginning Encaustic Printmaking October 26 – 27, 2019 Class size limited to 5 participants ages 18 and up. All supplies provided in $380 fee. For more information, please go to www.curlygirlartstudio.com/ workshops-schedule/twoday-10-26-2019 or contact Victoria at artist@CurlyGirlArtStudio.com. Create encaustic one-of-a-kind prints with pigmented beeswax and paper on a professional heated aluminum palette. This free flowing and fluid technique results in beautiful abstracts, patterns and representational images. There are no prerequisites, and the workshop is designed for artists who want to learn the medium, for artists who want to loosen up and for those who want a unique experience. Demos and hands-on experiences will be presented throughout the workshop.


Exploring Landscapes & Plant Forms November 2, 2019 Class size limited to 5 participants ages 18 and up. All supplies provided in $185 fee. For more information, please go to www.curlygirlartstudio.com/ workshops-schedule/landscape-11-2-19 or contact Victoria at artist@CurlyGirlArtStudio.com. This advanced encaustic printmaking class includes playing, fiddling and exploring by printing landscape compositions and tree-plant-floral forms, concentrating on these compositions and images. A minimum of a one-day encaustic printmaking class required (by me or another instructor). Includes demos and mainly hands-on experiences.

Yummy Papers November 3, 2019 Class size limited to 5 participants ages 18 and up. All supplies provided in $200 fee. For more information, please go to www.curlygirlartstudio.com/ workshops-schedule/yummy-11-3-2019 or contact Victoria at artist@CurlyGirlArtStudio.com. This advanced encaustic printmaking class includes printmaking galore using a variety of specialty papers, including Kozo, Kitikata, Masa, and a handful of specialty Asian papers from Japan, Thailand, and upcycled paper ephemera. A minimum of a one-day encaustic printmaking class required (by me or another instructor). Includes demos and mainly hands-on experiences. 79

Encaustic Encounter Workshop Madeline Sugerman and Sherry DeGennaro Naples Art Association

585 Park Street, Naples, FL 34102 February 10, 2020, 9 AM-4 PM Fee is $185. Donor fee is $150. $50 supply fee due to instructors for all materials. To register go to reg130.imperisoft.com/naplesart/ProgramDetail/ 3732343937/Registration.aspx Are you curious about encaustic art and working with hot and cold wax? Join this exciting introductory workshop where you will learn the techniques of both art forms, including creating texture and experimenting with the use of stencils and collage papers. With plenty of demonstrations, explanations of tools and materials, and hands-on work to create your own paintings, students will explore cold wax in the morning and hot wax in the afternoon.


Cold Wax Workshop Madeline Sugerman Naples Art Association

585 Park Street, Naples, FL 34102 February 17 - 19, 2020, 9 AM-4 PM Fee is $335. Donor fee is $300. A supply list will be provided to each student for the workshop. To register go to reg130.imperisoft.com/naplesart/ProgramDetail/ 3732363238/Registration.aspx Experience an exciting art form using cold wax medium. This medium is a beeswax paste used at room temperature with oil paints, no fusing with heat is required. Basic tools, surfaces and techniques will be explored. The use of pigment sticks, cold wax and oil paint will be discussed. We will begin each day with a wet-onwet painting on oil paper and progress to painting with layers on boards. Please feel free to contact the instructor with any questions at madeline@madelinesugerman.com


Encaustic, Paste Papers and More! Josie and Al Rodriguez 2KatStudios
 Prescott, AZ

March 28 - 29, 2020, 9 AM-3 PM Class size limited to 12 participants ages 13 and up. For more information, please go to 2katstudios.com/encaustic-andpaste-papers-workshop/. In this beginning encaustic workshop, you will learn how to make beautiful and unique paste papers that can be used with encaustic painting. Students will also explore the world of encaustic painting through the discussion of safety, use of equipment and tools, building smooth and textured surfaces, photo transfer, layering, and collage. In addition, each participant will make a small encaustic artist book and a personal portrait in the Fayum tradition. There will be opportunities to learn many different techniques, and you’ll leave with many examples of your own work.


Books Emails From Paris S. Kay Burnett South of Harmony Productions Released November 29, 2018. Digital memoir/art book with over 30 encaustic illustrations. Available on Apple Books at books.apple.com/us/book/emails-fromparis/id1445096930 In 1996, S. Kay Burnett had the fortunate opportunity to work and live in Paris. Email was a fairly new means for communicating, and she used it to send a series of newsletters she entitled “Emails From Paris.� She intertwines excerpts from her emails and journals with encaustic paintings to convey the emotions and magic of living in Paris. A story about being open to new experiences, coping with expatriate angst, surviving a long distance relationship, falling in love, and embracing the joy of living (joie de vivre). 83

Remind humanity of the simplicity of life. Remind humanity of the joy of community. Remind each other of the delight of everyday wonder.

Make It Simple! Patricia Baldwin Seggebruch

A digital publication of International-Encaustic-Artists.org 84

Fall, Issue I:2019

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