Wax Fusion Fall Issue III: 2020

Wax Fusion Lyn Belisle Susana F. Blanco Anne Curran Andy DeWeerdt Alison Fullerton Angela Hansen Kathleen Kvern Otty Merrill Melissa Rubin A digital publication of International-Encaustic-Artists.org 1

Board of Directors S. Kay Burnett President

Melissa Lackman Vice President

Bonnie Raphael

Mary Jo Reutter

Secretary

Treasurer

Rhonda Raulston Tech Director

Michelle Robinson

Shary Bartlett

Exhibitions Director

Social Media Director

Paul Kline Member-at-large

Shari Lyon Member-at-large

Front cover, Don't Let Me Be Misunderstood by Alison Fullerton Encaustic on wood panel, 24 x 18 x 1 in 2

From the Editors This has certainly been a challenging year for everyone around the world. For me, it started in early January when I almost lost my collaborator in art and life. Against incredible odds, he had a miraculous recovery. And it was the little victories each day that kept us going.

We hope the articles in this issue will help you find hope in these dark times and inspire you to use art to heal. Each of the artists in this issue has a very unique style, voice, and perspective.

Lyn Belisle is using online learning to build a global art community. Susana F. Blanco is a passionate Spanish artist, who has embarked on a personal journey of discovery and growth in Saudi Arabia. Anne Curran uses cartography, markmaking, and collage to try to make sense of this unique moment in time. Andy DeWeerdt uses art to find joy in the midst of madness. Alison Fullerton uses visual anthropology narratives to reflect on the diversity of cultures. Angela Hanson turns to artmaking as a way to express the unexpressible. Kathleen Kvern reminds us that plans don't always turn out the way we expect. Otty Merrill is giving recycled items and unused art supplies new meaning and purpose. And Melissa Rubin used art to deal with her insomnia and Instagram to get a poetic response.

We hope you enjoy reading this issue of Wax Fusion. And we would love to get your feedback. Please contact us at WaxFusion@International-EncausticArtists.org with comments, questions, ideas, and suggestions.

IEA members are welcome to submit workshop, media, and exhibition information for our next issue of Wax Fusion. For submission guidelines, visit www.international-encaustic-artists.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.

S. Kay Burnett
 Paul Kline 3

4

Content Creating Together While Apart

6

Lyn Belisle

Artist Profile

16

Susana F. Blanco

Edge of Our Time

24

Anne Curran

Finding Joy in the Midst of Madness

32

Andy DeWeerdt

Visual Anthropology Narratives

42

Alison Fullerton

Spiritual Alchemy

52

Angela Hansen

Gratitude for Art in Difficult Times

62

Kathleen Kvern

Arise From the Ashes

72

Otty Merrill

A Virtual "Call and Response"

82

Melissa Rubin

IEA’s Instagram Page

94

Virtual Events, Workshops, Online Classes 96 Back Cover, Shining Through by Melissa Rubin Cold wax, powdered graphite, pastel on paper, 30 x 22 in Left, Happiest Place on Earth, by Andy DeWeerdt Encaustic, 24 x 24 in 5

Creating Together While Apart The Lotus Book Project Lyn Belisle In her introduction to Vignettes in Wax and Words, IEA’s first international-juried exhibition in digital magazine format, President S. Kay Burnett noted the eerie timing of the prepandemic call for work and the resulting “diverse and inspirational selection of entries that reflect this historic time we are living in: a shared voice using art and words that brings our global community together through art.”

It was my honor to receive a Juror’s Award in this exhibition, my privilege to be invited to write an article as a result, and my challenge to be inspired by this pervasive notion of a “shared voice” in this year of physical isolation from our creative community.

Teaching and artmaking have been twin passions in my life.

I’ve taught workshops from Truro to Santa Fe to Whidbey Island, but now felt a profound sense of isolation from my colleagues and students. When the virus crisis crippled our global cultural community, in-person teaching and gallery shows became unsafe and unrealistic. I lost a sense of personal communication and collaboration.

Original collage later cut into squares for lotus book covers Lyn Belisle 6

7

Initiatives such as Vignettes in Wax and Words presented a new digital model and inspired me to develop a different way to share what I taught. In May, I began seriously to explore the idea of putting my mixed-media workshops online, and by mid-June, I had learned enough to be able to offer several classes that fit my teaching objectives.

The development of a like-minded community had to be integral in these offerings. Workshops had to be affordable (or free) and available for all levels. They had to be technically accessible. And I dearly wanted to introduce the joys of wax to the wider mixed-media audience. After some research, I decided on the Teachable platform for my content delivery, although there is an amazing range of choices with more appearing weekly.

Lotus Book by Lyn Belisle

8

LOTUS BOOK An origami book-binding technique so named because the folded pages, adhered together and all facing the same way, open up like a lotus flower as the decorative covers are gently pulled apart.

Lotus Book by Carolyn Congrove, Tucson, AZ

The Lotus Book project came online in July. It is a free workshop, has a gentle introductory encaustic component, and is a no-fail fusion of simple book art and mixed media.

My goal was to teach a simple, elegant, useful non-intimidating project that did not require special proprietary products and could easily be made personal through the choice of materials.

The result had to be tangible and shareable.

9

Lotus Books by Carolyn Congrove, Tucson, AZ

In the online course introduction, I wrote, “I love teaching workshops, especially in times when it's uncertain and hard to keep in touch with each other. This workshop is a gift to you from me - all I ask is that you make a little Lotus Book as a gift to a friend. Keep the giving going!”

So far, over 200 artists have joined The Lotus Book workshop online. They consistently send comments like these: “Making art and learning new techniques and skills is keeping so many of us sane during these difficult times,” and “I’m obsessed with making your lotus books!! It is so much fun and such a creative outlet for me.” I truly did not realize how much people needed and appreciated creative encouragement in uncertain times.

Blessedly, as with all impactful workshops, the teacher learns as much as the student. Something that I discovered as I was making workshop examples is that I can reinvent old encaustic collages that were stashed in my “frustration pile” by cutting them into squares for lovely little Lotus Book covers. Dip the edges of the cut squares in wax, and the covers are ready to go.

Covers in progress by Lyn Belisle 10

11

Also, the size of the covers (4.5 x 4.5 in) encourages experimentation. It’s easy to be brave on such a small substrate. Even experienced encaustic artists can have fun trying experimental techniques on these little square surfaces without investing too much in time or expensive materials.

One need only to remember the impact of the late Nancy Crawford’s beautiful With Love and Gratitude series to see how eloquent a small encaustic work can be. These Lotus Books have a similar appeal.

While I miss in-person teaching, there are many advantages to sharing self-paced online classes for both the artist/instructor and the student. Students can work on their own schedule in their own space without intimidation, and they know that I am just an email away if they have a question.

For the artist/mentor, class size and geographical proximity are not limiting – inspiration can be shared with 200 as easily as with 20.

Lotus Books by Jessica Bowman, Mt. Shasta, CA

12

Lotus Books by Rebecca Ilgen, Snow Hill, MD

And while some may be working in isolation, there is a sense of community through a shared process.

Lotus Books by Diana Larsen, San Antonio, TX

13

As a life-long artist and teacher, this time of isolation has been a gift of sorts, giving me more studio time and more opportunities to develop small projects like the Lotus Book that, when shared, give back a thousandfold.

Lotus Book by Lyn Belisle

The Lotus Book Workshop: https://lyn-belisle-studio.teachable.com/p/the-lotus-book Links for Inspiration: Nancy Crawford, Even More Love and Gratitude, You Tube youtu.be/H1xEgJYrv3c Clara Lieu, Visual Artist, Adjunct Professor at RISD artprof.org/ courses/lotus-meandering-books/ About the Author Lyn Belisle is an award-winning teacher, artist, designer, and writer, who has taught a range of fine arts, humanities, English, and graphic design throughout her career. As an undergraduate, Lyn studied art at Trinity University in San Antonio and completed her MA at Texas A&M. She taught art in public schools after graduation and was a finalist for Texas Teacher of the Year in 2001 for her work with at-risk students. In 2004, she joined the faculty at the Computer Science Department at Trinity, teaching computer applications and design.

14

Lyn teaches mixed-media workshops at Lyn Belisle Studio in San Antonio, which she founded in January of 2013. She also teaches nationally, recently in Santa Fe, Provincetown, and Washington State, and also opened a suite of online mixed-media workshops at Lyn Belisle Studio on Teachable.

She has authored two articles for “Cloth Paper Scissors” magazine, a coloring book on the Folk Art of Mexico, and published four interactive eBooks. Her signature media are earthenware, paper, encaustic, and fiber. Lyn is an active member of the San Antonio Art League, the Fiber Artists of San Antonio, the San Antonio Potters' Guild, the Encaustic Art Institute, the International Encaustic Artists, and The American Craft Council.

Lyn has had six one-person gallery exhibits since 2011, and recently retired from the faculty at the Computer Science Department at Trinity University to work full time in her studio.

She has work at The Museum of Encaustic Art in Santa Fe, Marta Stafford Fine Art in Marble Falls, TX, and in the San Antonio Art League and Museum.

She is the Immediate Past President of the San Antonio Art League.

You can learn more about Lyn’s art and her workshops at http://www.lynbelisle.com 15

Our artist profile for this edition is about a passionate Spanish artist who has embarked on a personal journey of discover and growth in Saudi Arabia.

Susana F. Blanco Saudi Arabia

Hello everyone! I am Susana Blanco, a Spanish artist, now based in Saudi Arabia teaching design at Prince Mohammad Bin Fahd University.

I have always loved to paint, explore, learn, and create new things. I started drawing on the walls of my parent’s house, and after many years of failure and reinvention, I am now fulfilling my dreams.

I am currently in a stage of progression and evolution. It has been extremely difficult, but I am enjoying the journey. My heart tells me that this effort will be worth it.

16

Melting in Water, 2017 Encaustic on plywood panel 50 x 150 x 4 cm (20 x 59 x1.6 in)

After many years of exploring various painting techniques, I am now focusing on encaustic.

My paintings are for those who love bright and vibrant colors. I love to play with organic images of nature that relate to my own feelings and experiences with almost baroque contrasts and movements.

I have a bachelor’s degree in Fine Arts from Universidad Complutense de Madrid (UCM), a bachelor’s degree in Art and Design from Anglia Ruskin University (UK), and a master’s degree in Contemporary Art from Universidad Europea de Madrid (UEM).

17

Composition V, 2019 Encaustic on plywood panel 61 x 61 x 4 cm (24 x 24 x 1.6 in) Eroded Reliefs, 2017 Encaustic on plywood panel 60 x 50 x 4 cm (24 x 20 x 1.6 in) 18

I am currently working on a Ph.D. in Fine Arts from UCM on the subject: “Beeswax Used as a Material in the Arts.” I still have no conclusions, but there are a couple of things I have learned.

First, the use of encaustic is primarily concentrated in the US, where almost 90 percent of encaustic artists reside. The main reasons are easy access to the materials and the many workshops available to teach and learn various techniques.

Second, there is still a disparity of opinions regarding the term encaustics due to the wide variety of ways of using beeswax and the many names that are used almost interchangeably: wax painting, encaustic painting, cold wax, hot wax, encaustic sculpture, ceroplastic …. Some I believe are quite similar, although there are artists who feel there is a clear distinction in terminology.

Pliny the Elder, a first century (CE) author and philosopher, wrote The Natural History, in which we find the first writings about the use of beeswax and encaustics. From this period until the revival of encaustics in the 20th century, terminology for this medium continues to grow exponentially. For me, this is part of the medium’s charm. One must try it and draw one's own conclusions.

19

I like the game of hiding things in my abstract paintings that perhaps no one can see or each one interprets in a different way: How the same reality looks different when it passes through each one's soul filter. I also like to represent the human figure trying to mix it with nature as if it were a unique entity.

I believe it is important to paint with intent, but I don't want to overthink the process of painting and instead rely more on my feelings — using a more visceral or intuitive approach. These sensations are in the base of my work. I look for a synthesis between emotion and forms, or what I consider a species of synthesis of the vision.

Storm, 2019 Encaustic on plywood panel 60 x 90 x 4 cm (24 x 35 x 1.6 in) 20

Leaf, 2017 Encaustic on plywood panel 50 x 60 x 4 cm (20 x 24 x 1.6 in)

I feel the passion to watch, to love, to live, and to retain emotionally the observed and the loved thing. It is a memory of the nature done, not of arguments, but of dramatic jargon, an expressive memory.

I have great respect for drawing because it is a space builder, and its gesture can distinguish the work of each artist.

21

Come and Enjoy the Air, 2020 Encaustic on plywood panel 31 x 41 x 4 cm (12 x 16 x 1.6 in)

My painting is a cross between the representation of the reality and the pure construction of volumes: the heavy, round, rough, and smooth stones almost with tactile qualities.

The seas and skies at rare times are clean and blue, and when they are, it seems to be facets of an impossible color. They always have something of sadness and threat. The anxious and brave sea, yet sometimes at rest. Everything can happen in this immense contained force.

22

I paint out of necessity, an eagerness of communication. My greater expressive need is looking for the deepest communication. When I discover something interesting, I love to share it. It would be a crime for me to keep it to myself.

Perhaps this is one of the reasons why I like teaching.

I rediscovered encaustic three years ago and fell in love with this amazing medium.

And now I want to share what I’ve learned wherever I live.

I am passionate about the idea of a sustainable world, and one of my dreams would be to design and create a totally independent and sustainable artist studio ... perhaps impossible, but I would love to try.

For more information about Susana and her art, please go to 
 www.susanafblanco.com www.facebook.com/susanablanco.art www.instagram.com/susanablancoart

23

Edge of Our Time Anne Curran These are the times we live in, the places we inhabit, the news we hear, the lives we lead. Everything seems quite out of place; its not the same, we wait for news, hoping for better news. We are balanced on the edge, looking and observing our world.

A lot of my work involves using mapping, both archival images, abstracted markmaking, drawing, and collage. Here I am with my own language and trying to make sense of it all.

It is all happening at the same time and to many of us.

The feeling is what is next for me in Ireland and for people all over our planet. From these thoughts I emerged into my lockdown artworks.

24

Roundness Globes World series Encaustic monotype Ranging from 12 in to 8 in diameter

Initially, I had very limited parameters with my materials and no access to my studio. Ah, but these limitations I found powerful.

I embraced a serene approach to my work, starting with a pared-back color palette.

I found solace in the making of a series of encaustic coated-burnt drawings, known as the “Edge of Our Time� series. These are circular-collaged pieces using printing papers and Asian papers. I embedded some in white encaustic-painted wooden panels, and others I just left in their circular space. Some of the works are scorched and others not. The composition of the works was based on the deconstruction of the circle, and yet the unity of it, a conflict for me. What evolved was the circular, round-globe shape.

25

Split Encaustic coated diptych 15 in diameter

A piece called “Split,� a circular-encaustic-coated split board, was made with repeated acts of burning and drawing onto Asian paper and mounted onto the boards.

A meditative journey, conducted in silence.

26

The influence of the circular shape extended into more colored monotype pieces, drawing mapping shapes with graphite which were printed on my palette. Others were painted onto papers and collaged.

Here, I found a great dynamic by displaying them on the window of my porch at home to support all our healthcare workers.

City Circle, 2020 Encaustic mixed media 10 in diameter

Blue Planet, 2020 Encaustic-collaged monotype 10 in diameter

27

There is an expanded plan in my work using mapped spaces. I have made a series of 3D-sculptural installations of different places here in Ireland.

I am fascinated with archival images of maps, as they represent the past. I love the oldness of the marks. I’m moved by the changing of our streets, cities, and landscapes, and how we see the traces of disappearance of places.

I puncture these spaces with repeated acts of burning and create layers of simple ones and more dense ones.

I find cartography impossible to ignore: it is a part of my visual vocabulary. My approach is always changing around it, but yet, I am drawn to it. I love the simple fragility that is created with the layers, and I find this very fulfilling.

My practice also involves other areas of works influenced by climate change, where I am working with white paint and collage.

I’m extending into using more color, and I like working with these different projects side-by-side.

I believe I’m making art which I feel will resonate with our times.

I am always continuing to expand my practice with encaustic, a medium I fell in love with and will always be learning about its powerful outcomes.

Piece from Edge of Our Time series Encaustic-collaged drawing on panel 10 x 10 in

28

Presence, Absence, Layered Encaustic-coated-3D Map Installation 12 x 9 x 8 in

29

Anne working with her globes.

She uses incense along with pyrography-burning tools to make the small marks on the paper.

About the Author Anne Curran is a visual artist based in Co Wicklow, Ireland. Anne was born and grew up in Dublin and was greatly influenced by her father, who imported textiles and fabrics from around the world. From this influence is where her love of creativity began.

Anne graduated from The National College of Art and Design with Visual Arts Practice, where she was awarded The Grand Prize for her installation in her final year of sculpture in the graduate exhibition.

Her other studies have embraced sculpture, drawing, and most noteworthy encaustic painting. Currently, her practice is focused around paper sculpture, painting, monotype printing, and each of her disciplines involves encaustic.

30

Anne has exhibited in solo and group shows, and her most recent works that have been selected include The National Botanical Gardens in Dublin ,”Sculpture in Context 2020,” The Gallery of Modern Art, Waterford 2020, and has been preselected for the Royal Hibernian Academy’s Annual Exhibition in Dublin in 2020. Anne has also been selected for The Royal Ulster Academy of Arts’ 139th RUA Annual Exhibition in October 2020.

In 2020, Anne received an International Encaustic Artists’ scholarship to attend the International Encaustic Conference in Provincetown, MA. Anne is a recipient of a Juror’s Award for her entry, Old Layered Mapped in Vignettes in Wax and Words, International Encaustic Artists’ first international-juried exhibition in digital magazine format.

Anne is working on a number of collaborations, where her practice is expanding and evolving with new projects to be exhibited in 2021.

Anne's work is held in private and corporate collections across Ireland and Europe.

You can view Anne’s work at www.annecurran.ie www.instagram.com/annecurranartist www.facebook.com/annecurranartist

31

Man of Nature Encaustic, oil bar 48 x 48 in

32

Finding Joy in the Midst of Madness Andy DeWeerdt Going mad feels just like what it is — madness.

My dark times started before the pandemic and cultural turmoil of 2020.

I have a hereditary, terminal brain illness called Huntington's Chorea, which can be described as Alzheimer's, combined with Parkinson's, with a touch of bipolar disorder.

Symptoms such as anxiety, apathy, and the weakening of my body are my worst enemies and constant companions. As time passes, I see more doctors, take more medications, and lose more and more of who I am.

My work often reminds me of this, as when I saw a note I had scrawled on the back of one of my paintings — “before Olanzapine."

Sadly, I no longer get the "high" from painting that I once did.

But I once heard happiness defined as the ability to find joy in the midst of sadness.

And while most days, it is hard to find hope, when it comes in the form of a painting, I rejoice.

33

I started painting in encaustics almost by accident.

The local art store in our small town of Ashland, OR, stopped selling oil bars. Since these were one of my favorite media and my seasonal work in Stage Operations at the Oregon Shakespeare Festival would not start for several months, I decided that I would try making my own oil bars or develop a workable substitute.

Serendipitously, my wife had just found out that a coworker was a beekeeper. He sold his highest-quality waxes to candle makers, but at the end of each season he always had a quantity of wax that was unsellable because it contained too much dirt and other organic debris.

Since some of the earliest-known portraits were made with wax, I decided to develop my own encaustic paint. After a lot of heating, straining, and color experimentation, I succeeded in creating my own palette of colors.

Unfortunately, the composition and viscosity of the moldedwax "bars" was too different from oil bars to achieve the layers of texture I desired. But further experimentation with the encaustic paint in its liquid state produced exciting textures and effects that would have been difficult to achieve with slower-drying media.

I was subsequently thrilled with the results when I applied oil bar over the encaustic paint, which allowed me to build layers of color and experiment with additional textural effects.

An unexpected bonus was that the heated beeswax paint filled my studio and home with a succulent aroma akin to vanilla bean...a welcome comfort during the darkness of winter.

34

Happiest Place on Earth Encaustic 24 x 24 in

35

I have several distinct series that have endured over the years because I return to them when I need inspiration during difficult times. One of these I call "Mother and Child," and the paintings depict my wife and daughters.

Moppet Encaustic 24 x 24 in

36

Daughter of Icarus Encaustic 24 x 24 in

When I need to travel for work restoring churches, theaters, and other landmarks, I find myself filling my lonely apartments and hotel rooms with new portraits created from memory. 37

My "Character" series started as a way to honor the theater artists I worked with at the Oregon Shakespeare Festival. Their vocation is our entertainment.

Portia Encaustic, oil bar 48 x 48 in

38

Fairy Godmother Encaustic, oil bar 48 x 48 in

And I was drawn to the roles and performers that facilitated escape to the fantastical, where fairy godmothers, fools, hermits, and witches lived.

39

40

Joy Encaustic, oil bar 48 x 48 in

When my illness overwhelms me, I return to this series for the color, flamboyance, and illumination so bright you forget that the theater you sit in is enveloped in darkness.

And I emerge brighter.

About the Author I am a contemporary, narrative, figurative painter. My work explores the human condition through the series of work entitled — Virtues, Characters, Enlightenments, Spirituals, and Mother and Child.

Drawing is an important part of my work. Much of the work is done with large oil bars with very little brushwork. Each layer dries before the next layer is applied, allowing the color underneath to show. This gives me what I call an “antiqued” palette.

I also strive for the colors to look distressed or aged, which I became attracted to through my work in restoration, as well as with antiques and naturally-aged materials.

Andy is a recipient of a Juror’s Award for his entry Characters in Vignettes in Wax and Words, International Encaustic Artists’ first international-juried exhibition in digital magazine format.

You can view Andy’s work at zenfolio.page.link/F4Hto www.instagram.com/andydeweerdt 41

Visual Anthropology Narratives Alison Fullerton My work is built around visual anthropology narratives through portraiture. Each narrative is a study of a culture or a group of people and is meant to stimulate reflection.

My interest in anthropology began while working in consumer marketing. Consumer research began taking an anthropological approach around 2004-2005. We conducted “ethnographies,” observing people and how they lived. I worked for Mars Petcare, maker of Pedigree and Whiskas, and ethnographic studies gave us insight on consumer relationships with their pets. By 2015 I married, moved abroad, and as soon as I could, I hopped a train to Denmark to study encaustic portraiture with Lora Murphy.

While living overseas, I became fascinated with the diversity of cultures and how well they remain preserved, country to country. Hop a border, and people are suddenly different.

I joined a group of urban sketchers and I sketched people in cafes and museums when I traveled. My visual anthropology narratives come from these sketches or the work of street photographers who have captured the candidness and humanity I’m seeking to portray. The colorful Catalan dancers in Barcelona, the “smiling eyes” of the ever-friendly Irish, and the weathered faces of Greek fisherman in remote Peloponnese villages: these are some of my European Visual Anthropology Narratives.

42

Nyanga, African Spiritual Healer Encaustic on wood panel 16 x 16 x 1 in

“The Healers� portray the blending of eastern and western medicine. Chinese, Ayurveda, and spiritual healing have all played a role in my life alongside traditional western medicine.

43

The Healer Encaustic on wood panel 16 x 16 x 1 in

Chi, Chinese Healer Encaustic on wood panel 16 x 16 x 1 in

Upon moving back to the US in 2019, I researched indigenous Americans and discovered the untold stories of women warriors. Euro-American culture perpetuates a fictional “princess” stereotype of native women, yet many fought lockstep with men and became highly respected leaders. Native Women Warriors, and their stories of resilience, was my first American anthropology. My newest narratives are my Civil Rights protest singers from the 60s and 70s, in response to the current Black Lives Matter movement.

I’m drawn to encaustic wax because it’s unpredictable and draws me into experimentation. I’m not interested in rendering reality. The creative act is profoundly spiritual, and the unpredictability of encaustic reminds me to let the painting be the master. My best work is when I let my painting speak to me. As I grow, my work is becoming more expressive, more distorted, and less objective.

44

Panchakarma, Ayurveda Healer Encaustic on wood panel 16 x 16 x 1 in

45

46

“Native Women Warriors� honor 19th century indigenous women who fought alongside men to protect their people. Lozen was an Apache who learned the ways of the warriors and joined forces with Geronimo. Running Eagle was a highly-respected member of the Piegan Tribe of the Blackfeet Nation, and Buffalo Calf Road Woman, Cheyenne, was known for knocking Custer off his horse at the Battle of Bighorn. These true stories embody the resilience of indigenous American women.

Lozen Encaustic on wood panel 20 x 16 x 1 in Running Eagle Encaustic on wood panel 20 x 16 x 1 in

Buffalo Calf Road Woman Encaustic on wood panel 20 x 16 x 1 in

47

One Love, Protest Singers Encaustic on wood panel 24 x 18 x 1 in

Tangled Up in Blue, Protest Singers Encaustic on wood panel 24 x 18 x 1 in

The Black Lives Matter movement has many of us listening to the soundtracks of the 60s and 70s and realizing that too little has changed. Bob Marley, Bob Dylan, and Nina Simone.

Come senators, congressmen Please heed the call …

The battle outside ragin' Will soon shake your windows And rattle your walls…

Words just as relevant today as they were in 1964.

From The Times They Are a-Changin’ released January 1964.

48

49

50

Don’t Let Me Be Misunderstood, Protest Singers Encaustic on wood panel 24 x 18 x 1 in Nina Simone's civil rights anthems were banned in many cities. Willing to be controversial and take a stand, she refused to water down her music, knowing that would cost her professionally. Angered by racism, she left the United States in 1973. Don’t Let Me Be Misunderstood was written for and recorded

by Simone in 1964, but is more famous by other artists who covered it. Simone died in 2003 while living in France.

About the Author Fullerton has exhibited throughout Europe and the US. In 2018, she was awarded a scholarship to attend the International Encaustic Conference, a residency at Encausticastle, and was juried into the exhibition “Melting Pot, Melting Point” at the Museum of Encaustic Art. She was invited to be a member in Germany’s oldest artist guild, the Stuttgart Künstlerbund, c1898, and later the Nashville Artist Guild. In 2020, her work was juried into International Encaustic Artists’ digital exhibition Vignettes in Wax and Words, and was selected by ARTPOP Street Gallery to appear on ten Nashville billboards.

You can view her work at www.alisonfullertonart.com www.instagram.com/alison_fullerton www.facebook.com/AlisonFullertonArt Don’t Let Me Be Misunderstood is also featured on the front cover.

51

Overwhelmed and Consumed Encaustic, paper, polymer clay 20 x 20 x 3 in

52

Spiritual Alchemy Angela Hansen It is easy to find oneself mired in negative and anxious thoughts. But then I walk into my studio, turn on the lights, turn on the crock pot and hot palette, put on my apron, and turn up the tunes. Those negative, anxious thoughts fall away with the wonderful smell of beeswax permeating the air. It is my oasis and my peace. If I can’t get into the studio due to other things in life pulling me away, I will become cranky and depressed, and it has been this way for me and my artmaking as long as I can remember.

As children artmaking is fun, exploratory, spontaneous, and non-judgmental. For me, as a gawky and unpopular kid, it was something I clung to as my identity, the thing that made me different, and maybe even seen by my peers as something I was good at. I wore the moniker of “Art Geek” in high school with great pride.

My sketchbook was the place I could lay down all my hopes, fears, and tortured teenage emotions as I navigated the landmine-laced environment known as adolescence. When I was 6 years old, to my vast amazement, I discovered there was such a thing as art school; my attending became Plan A, B, and C. Thank goodness I got in!

From the moment I tried encaustic paint nearly 20 years ago, I was hooked. My creative voice was finally found during explorations with this incredibly diverse medium. From early on, my approach was of creative play and explorations of the medium itself as there was limited literature and information about encaustic back then.

53

Gaia Orchidaceae Encaustic, paper, twine 9 x 13 x 4 in

This immersion in process brought me back to that creative, childhood state of wonder, escapism, discovery, and a feeling of freedom as it was all so new. Even now, especially the last 5 or 6 years, as I have delved further into the world of encaustic sculpture, I am constantly playing and exploring, often in a process of trial and error pushing further into my imagination and innovation.

Gaia Fungi Encaustic, paper, twine, cotton 15 x 7 x 3.5 in 54

55

Detail, Irradiated Expellations II Encaustic, polymer clay, paper 20 x 24 x 3 in

Someone recently said I was “into art.” Yeah. Like I’m “into” breathing. I cannot live without it, and I mean this literally.

Artmaking for me is “Spiritual Alchemy,” as I work in the studio, time slips away, and often too does frustration, anxiety, anger, self-doubt, and sadness. And often too, these negative emotions are replaced with an inner calm, forgiveness, and happiness. I turn to artmaking as a way to express the unexpressible, to convey, to purge, to unload, to unleash, to void, to celebrate, to explore…for catharsis.

Organimorph 17 Encaustic, paper, twine 12 x 9 x 9 in 56

57

Studio photos by Deeper Image Photography

My process of sculpting with encaustic is a little like a cross between papier mâchÊ and clay work.

It involves the repeated dipping of paper or twine into the encaustic medium and manipulating it while it is still warm. The coloring and texturizing happen last.

58

Handmade tissue paper and natural twine

Dipping tissue paper in medium

Then all the components are composed on a wooden substrate, and the addition of more color or texture is applied to the overall piece.

The primary materials I use are handmade tissue paper, natural twines of varying sizes, cotton, dried natural materials such as leaves and seed pods, burlap, and cheesecloth.

I make my own medium, and my favorite commercial product is Enkaustikos’s XD Medium, which is what I use as my “glue� when joining or attaching individual pieces using a stylus.

59

60

Gaia Aquatica Encaustic, paper, twine 77 x 29 x 10 in

About the Author Angela Hansen is a Lake Country-based artist and high school art instructor. She completed her bachelor’s degree at the Emily Carr University of Art and Design and her bachelor of education degree from the University of Victoria. Angela’s primary medium is encaustics, and her work is recognized for its organic-inspired imagery, sculptural qualities, and use of texture. She is inspired by forms found in the natural world, the human psyche, memory formation, and, more recently, a growing interest in ecological and environmental art practices as a factor in cultural transformations. Having grown up on a farm, she feels very drawn to nature and all the microprocesses happening around us and is keen to eventually use her art as a form of environmental education.

In 2019, Angela was awarded an International Encaustic Artists Emerging Artist Grant, was a featured artist in Periheral ARTeries Biennial Edition 2019, and had solo exhibitions at Armstrong Art Gallery and Gallery Vertigo in Vernon and an encaustic art installation in Lake Country, BC. In 2021, Angela will have an encaustic exhibition at the Alternator Centre for Contemporary Art in Kelowna, BC, and will be included in a group exhibition at Texas A&M University Art Gallery.

For more information about Angela’s art and her workshops, please go to www.angelahansenart.com https://www.facebook.com/morphlings www.instagram.com/angelahansenart For information about Deeper Image Photography, go to deeperimagephotography.com 61

Gratitude for Art in Difficult Times Kathleen Kvern “…to fully engage in a life that doesn’t come with guarantees — these are risks that involve vulnerability and often pain.

When we lose our tolerance for discomfort, we lose joy.”

Brené Brown, The Gifts of Imperfection Everyone has a plan until you get punched in the mouth.

Mike Tyson On January 1, 2020, I booked a flight from Minneapolis to Amsterdam having just registered for a three-day-encaustic workshop for October in the Netherlands.

As an emerging artist, I had spent a good deal of time and effort in 2019 creating New Years’ goals around my artistic aspirations. Planning this trip on New Years’ Day seemed auspicious.

My goals reflected a deep desire that 2020 would be my year to connect more with fellow artists, advance my artistic skill and techniques, and get my art in front of collectors.

Kilmartin Valley Encaustic on board 24 x 18 x 1/2 in 62

63

Field Encaustic on board 18 x 24 x 1/2 in

Between January and March, I set up gallery representation, signed up for encaustic courses, and agreed to teach what would be my first encaustic workshop.

I had received an IEA Emerging Artist Grant that I used to register for the 14th annual International Encaustic Conference (my first time!) and was particularly excited to take a workshop by one of my absolutely favorite encaustic artists.

64

Wow! Plans and more plans.

Then COVID-19 gave the world a collective punch in the mouth.

Like the rest of the country, I tried to beat back fear while compulsively watching the news and living with uncertainty about what each new day would bring.

My best laid plans melted away. Classes were canceled, some retreats were rescheduled, while others not at all, travel to Europe was untenable, and my paintings hung in a gallery closed to the public for the unforeseeable future.

Initially, I felt too stunned to create. Making art seemed frivolous — buying art supplies absurd. People were losing jobs or their lives — not surprisingly a disproportionate number of BIPOC (Black, Indigenous, People of Color) people — in a matter of weeks.

It was hard to feel that my art had meaning in the midst of a global health, economic, and social crisis. So many were struggling with so much.

Thankfully, I’ve learned not to judge my feelings, to face discomfort, be grateful, and take action — always one step at a time. I realized that while I might not be making art for the moment; I wanted to help other artists.

Having a full-time job outside of my artistic practice allowed me to donate 100 percent of the sale of my paintings to an artist relief fund impacted by COVID-19. Every painting I sold over a three-month period brought me hope that art — my art — did make a difference.

65

Split Rock Summer 1 Encaustic, mixed media on board 10 x 10 x 1/2 in

66

Split Rock Summer 2 Encaustic, mixed media on board 10 x 10 x 1/2 in

67

Hope became inspiration, and eventually, I was back in my studio creating.

The new reality has set in—wearing a mask (not just when working with toxic materials), physical distancing, navigating Zoom, reengaging socially as we cautiously reopen, and letting go of what can’t happen.

Throughout this difficult time, I’ve continued to practice gratitude as a foundation of my artistic practice. I am grateful to be an artist and this, in turn, creates joy. Regardless of circumstances, I cultivate joy in making art.

So, 2020, that’s my plan.

Currently, my work is focused on the Cairns and Standing Stones series. This series is inspired by my travels to Scotland, England, Ireland, and the North shore of Lake Superior, in which I explore my encounters with ancient rock formations, standing stones, and manmade monuments.

These ancient stones, often used as landmarks, burial mounds, and ceremonial purposes relating to astronomy are complex and compelling. Powerful yet delicately balanced, the structures are artistic and elaborate feats of engineering.

Through my process of representing cairns and standing stones, I’m connected to the mysteries of humanity while firmly assured of the connections we share across time.

Around Kilmartin Glen Encaustic on board 24 x 18 x 1/2 in 68

69

70

Around Kilmartin Glen 2 Encaustic on board 24 x 18 x 1/2 in

About the Author I started painting with serious intention when I was in my mid-40s because it’s never too late to pivot and lean into your passion! I’m primarily a self-taught artist, although I’ve had the great luck to work with artists and teachers whom I admire, inspire me, and help me to grow in my creative practice.

I mainly work in encaustic and mixed media. I’m interested in an ongoing dialogue between wax and collage — using tools to create marks, using fire to fuse, layering on bits of paper, using charcoal or oil sticks to draw, and making more marks.

Melting the wax creates distortion, loss, and imperfection.

Encaustic painting involves unpredictable outcomes. I find this reassuring.

I scrape away revealing what is underneath and then build back on top of what once was in a meditative, repetitive process. Altered but still bearing visible traces of its earlier form, the finished paintings are palimpsests of my own successive creations.

You can view Kathleen's work at www.kathleenkvern.com 71

72

Arise From the Ashes Otty Merrill Unusual times can cause us to re-focus and quietly reflect.

Vignettes in Wax and Words was my opportunity to do just that.

With a public studio that was shut down due to the epidemic, no places to go, or people to see, I became focused on what was right in front of me in my home studio.

The art supply store was off-limits. An old box of fiber clay lay at my feet, and I had plenty of time to play with it. I created Our Lady of the Recycling Center, along with a series of other sculptures. I am honored to have received the Juror’s Award for her.

I wrote a poem to go with my entry, my first ever, entitled “ARISE.” A haiku of sorts, that calls us to consider a new attitude in these strange and troubling times.

ARISE Arise from the ashes.

Repurpose your purpose.

By your bootstraps…

A new beginning.

Our Lady of the Recycling Center, 2020 Encaustic on fiber clay with found objects 22 x 11 x 8 in 73

I made a series of pieces during that time with fiber clay with encaustic wax as a finish.

A Heavy Lift, Covid-19 Encaustic on fiber clay with found objects 9 x 10 x 9 in

74

Miz Glitz Encaustic on fiber clay with found objects 19 x 5 x 5 in Marigold Encaustic on fiber clay with found objects 17.5 x 11 x 4 in

75

The wax sits nicely on this clay surface and is incredibly durable when air dried; it needs no firing. Just licking the surfaces with a torch makes for a smooth surface, which buffs up easily to a soft appealing sheen. The size range is 10 x 11 inches to 12 x 17 inches high, all made of unfired fiber clay, encaustic, and found objects.

I used rebar for the armature in most of the pieces, and I dipped fabric in hot wax to mold items of clothing onto the figures. I keep a mountain of rusty metals, driftwood, and old salvaged items in a corner of my studio and use them often for embellishment.

Salvaged sardine cans were used for the waistband in my piece entitled Our Lady of the Recycling Center.

Salvaged driftwood from nearby beaches

Salvaged metal pieces and “Sardine� can lids, vintage 1971

76

Otty’s studio in Tenants Harbor. An open-ended barn with great cross-ventilation.

Fragments of interesting molten metal pieces and cans are still being found along the shoreline near my studio, where the famous Port Clyde Sardine Factory exploded in 1971.

In addition to working out of a large artist studio complex in the city of Portland, ME, I am fortunate to have a second studio on the ocean in mid-coast Maine, just two hours north of Portland.

I live and work in an area which is popular with summer tourists, and it draws many artists. A dilemma of sorts exists among local artists such as myself regarding subject matter.

Artists who don’t instinctively paint sailboats, lobsters, pine trees, and rocky landscapes are not as popular as those that do.

77

Top left, Am I Masking Too Much?

Encaustic on watercolor on wood panel 10 x 10 in

Top right, The Clammer Acrylic 36 x 24 in

Bottom left, Blue Christening Dress Encaustic on wood panel 15.5 x 14 in

Bottom right, Stephanie’s Choice Assemblage, encaustic, found objects, cigar box 7 x 10 x 2 in

78

The buying public visits our local galleries wanting realistic art that reminds them of Maine. My encaustic work generally does not qualify, but I take occasional ventures “off the griddle,” particularly in the hot summer months, to paint large acrylic pieces that speak of things “Maine.” I find it fun to work large and in a different medium. It’s therapeutic and a break from the intensity of working indoors, over high heat, though I always come back to my first love, encaustic wax.

Inspiration comes to me from unexpected places. I contribute to my community of Tenants Harbor by serving on the St. George Solid Waste and Recycling Committee, which was perhaps my inspiration for Our Lady of the Recycling Center.

Recently, however, I found inspiration right under my nose!

Masks! I made several encaustic paintings incorporating masks for a local exhibit in Port Clyde this past summer.

I also love making assemblages using found objects with encaustic wax finishes.

Making art that sells is always good, but acknowledgment from my peers, from jurors, and member organizations, such as International Encaustic Artists, is truly the recognition I seek and appreciate. I am honored and encouraged by being selected to be in the Vignettes in Words and Wax exhibition and to be shown with so many accomplished wax artists.

We will all be different artists when we come out the other side of this pandemic. Art that we create now will hold signs of who we really are and what we care about. If we are kind and genuine, our contributions will help make this a better world.

We are all in this together.

79

80

No Entry Encaustic, found objects, oil pigment stick 20 x 16 in

About the Author Otty Merrill is an encaustic artist from both Tenants Harbor and Portland, ME, where she has lived for many years. Born in New Jersey, she started her career in advertising and commercial art in New York City and has become a fine artist over the past three decades.

She attended Endicott College in Beverly, MA and has taken graduate courses at the School of the Museum of Fine Arts, Boston, The DeCordova Museum School, Lincoln, MA, and Maine College of Art, Portland.

She has exhibited widely in the Portland and mid-coast Maine area and more recently in NYC and California. She is a member of New England Wax, a regional group of 36 professional encaustic artists.

Otty maintains a summer studio in Turkey Cove and is a studio member of a large artist’s cooperative studio on Anderson Street in Portland.

Otty is a recipient of a Juror’s Award for her entry, Our Lady of the Recycling Center in Vignettes in Wax and Words, International Encaustic Artists’ first international-juried exhibition in digital magazine format.

You can view Otty's work at ottymerrillart.com 81

82

A Virtual “Call and Response” An Unusual Instagram Collaboration Melissa Rubin In preparation for my 2019 solo show in Manhattan, I noticed my work had a dark quality, with glimpses of light, and subtle color popping through. While in the studio working on these pieces, I had a realization: I was documenting my struggle with insomnia.

This became crystal clear to me while I was working on my piece Three A.M.. Using cold wax, powdered graphite, and pigments, I could see that I was painting what my eyes were perceiving as I lay awake at night: the patterns, light, and shadows that are projected on the walls, as I lay there not sleeping. This insight helped to re-energize my process, allowing me to grab hold of my inspiration, creating a large body of work, which I began to refer to as “NIGHT VISION(s).”

As I worked, I’d occasionally post to Instagram. I noticed another IG user, who I didn’t know personally, frequently “liking” my work. I always look to see who is liking and commenting on my work, and so I decided to see who this person was. Her IG handle, @pollywalshepainter, piqued my curiosity. I took a look at her feed. I discovered that Polly Walshe, who lives in Oxford, UK, is not just a painter, she is also a highly accomplished, award-winning poet and writer. I was impressed and deeply moved by her poetry.

Parasomnia, 2019 Powdered graphite, cold wax, marble dust, powdered pigment on paper mounted on birch panel 21 x 17 in 83

Three AM Polly Walshe For years I have been hoping For a message written in bright lines To pierce my sight And sometimes I glimpse it In the dark, or think I do.

I catch a glimmer of it, Snatch at a trail of meaning But at the vital moment, peering, Become distracted by the sense Of underlying texts, Almost erased, and peer at these Instead, until they vanish And I come away defeated.

This, I tell myself, this palimpsest, Must hold the wisdom of the trees That was lost long ago Or negligently thrown away But still burns through to us Through everything, In every corner of the world – That’s how it seems.

Three A.M., 2019 Cold wax, powdered graphite, pastel on paper 30 x 22 in 84

85

Installation of NIGHT VISION(s) at Atlantic Gallery, NYC Photo by Marianne Barcellona

As I continued to plan for my exhibition, I thought it would be an interesting concept if Polly were to view my work and write a poetic response to it. I initially envisioned using one poem as an introduction to my catalog, much in the same way critics comment on an artist’s work. When I contacted Polly about her responding in this way to my work, she eagerly agreed to it and urged me to email a few images. I was very excited that Polly accepted my invitation. I sent her images, assuming she would pick one to respond to. Within a few days, she sent me seven poems, all in response to each piece I sent her. Her poems were evocative, lyrical, and deep. I was thrilled! We continued back and forth, with me sending her images and her responding through poetry. I came to see what we were doing was akin to a “call and response.”

86

Mixed media collages Yupo, vintage wall papers, inks, watercolors, graphite 22 x 16 in framed

As the show approached, I knew I needed to make some decisions regarding which pieces I would include and which poems of Polly’s I would include. I decided twenty-four of my pieces would be hung for my show, NIGHT VISION(s), and eight of Polly’s poems would be included. The poems would be hung within the exhibition and be included in the exhibition catalog.

The over-arching poem titled Night Visions was hung in the entry of the gallery, acting as an introduction to the exhibition.

Interspersed among the paintings were four of Polly’s poetic interpretations of my artwork: all eight of Polly’s poems were included in the catalog.

87

Installation of NIGHT VISION(s) at Atlantic Gallery, NYC Photo by Marianne Barcellona

NIGHT VISION(s), which opened in September 2019 at Atlantic Gallery, was a success, with good foot traffic and even a very nice review from art blogger Carol Taylor-Kearney of whatsartblog.com. My one regret is Polly wasn’t able to come and see the exhibition, as the distance and life circumstances made it difficult for her to travel to New York City. I hope that one day we can meet in person, but I am so grateful to have met and collaborated with her virtually through Instagram. The NIGHT VISION(s) catalog, with my images and Polly’s poetry, is available on MagCloud.com.

88

Night Visions Polly Walshe Is nothing to be found behind daylight Or are bright splinters scattered in the air?

In the pocket of the night a dead field meets the eye At first, but then you sense a luminosity, A flickering. You glimpse a nitid trail, a flare, But soon Nothing returns; the dearth of light Makes certainty impossible, much as you try.

The something that is hidden here Inside the pocket of the night baffles the eye; Is it a residue, a ghost of light, Or spontaneity of mind born out of fear To soften nothingness? Or does the death of light Allow the beings who are always by Your side to glitter at you? Is it their prayers Born from the pocket of the night that greet your eye And touch your soul like rain? Reality Is deeper than a well, deeper than years; The Nothing that persists below the light Glides from the pocket of the night to meet the I.

89

90

Shining Through, 2017 Powdered graphite, cold wax, pastel on paper 30 x 22 in

About the Author Melissa Rubin, a NYC-based artist, was a recent participant with the Master Abstraction Residency at MASS MoCA. Her work has earned her a Pollock-Krasner Foundation grant and a New York Foundation for the Arts grant, as well as a Fulbright Teacher Fellowship to Japan. Melissa’s work has been featured in ARTnews Magazine on CBS This Morning, in Encaustic Arts Magazine, and has been used in performances and movie sets.

Her art has been exhibited in solo and numerous group exhibitions. The most recent venues to show her work include: ODETTA Digital; in New York City, Atlantic Gallery, John Molloy Gallery, Art on Paper Fair at Pier 36, the Museum of the City of New York; Pelham Art Center, Pelham, NY; Canal Street Gallery, Bellows Falls, VT; The Burgdorff Gallery of Southern Vermont College Bennington, VT; Cerulean Arts, Philadelphia; San Luis Obispo Museum of Art, SLO, CA. Her art is in the permanent collection of the Museum of Encaustic Art in Santa Fe and many of her works are in private collections in the United States and Europe. Melissa is a former IEA Board member (Vice President, 2015-19, and Education and Grants Director, 2013-15).

You can view Melissa’s work at www.melissarubinart.com www.instagram.com/melissarubinart Shining Through is also featured on the back cover.

91

Night Polly Walshe Between the lines of what we said I heard another dialogue That ended differently And during which I had not wept

About the Poet Polly Walshe was born in London and now lives in Oxford. She is a published poet and an exhibiting portrait painter. She studied Classics at Trinity Hall, Cambridge, where she specialized in Greek lyric poetry of the 6th century BCE. Her poems have been published many times in The Spectator magazine (London), and she has placed in national and international poetry competitions. She recently was appointed as a member of Oxford Art Society. Her first novel, The Latecomer (Random House, 1997), won a Betty Trask Award.

You can view Polly’s work at www.pollywalshe.com www.instagram.com/pollywalshepainter Night, 2018 Powdered graphite, cold wax, pastel on paper 30 x 22 in 92

93

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 is 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 also makes a great photo diary of your creative process.

Images courtesy IEA Artists. All rights reserved.

94

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. Suggest an appropriate caption, add hashtags, or we’ll do this for you.

Please include @iea_encaustic, #iea_encaustic and #internationalencausticartists in your hashtags for a chance to be reposted on our profile!

3. Follow us @iea_encaustic, #iea_encaustic, #internationalencausticartists, and on Facebook at International Encaustic Artists. It is a real benefit if you choose “Like” for 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.

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!

95

Live Virtual Events Painting Place Virtual Patricia Baldwin Seggebruch Zoom live virtual gathering every second Monday and third Thursday November 9 and 19 and December 14 and 17 from 12:00 PM - 2:30 PM EST. 2021 dates TBD. Cost: $35 to $120 To register, go to www.pbsartist.com/event/painting-place-virtualgathering-to-enhance-and-uplift-the-creative-practice/ Virtual Gathering to enhance and uplift the creative practice.

Each month will begin from a common theme or prompt and grow from there.

The intention is to gather virtually to grow individual practice through the energy and inspiration of the group gathering.

96

WinterWaxVirtual Patricia Baldwin Seggebruch Kathryn Bevier and Brenda Tassava Medina Zoom live virtual, January 11 – 15, 2021 from 12:00 PM - 3:00 PM EST Cost: $220 To register, go to www.pbsartist.com/event/winterwaxvirtual/ Join us for this fourth year of WinterWax! Virtually, rather than around the EncaustiCastle table, we gather to delve deep into the commitment to creativity and the integrity of artistic expression.

A new year comes with resolutions. How about using this new year to establish ones that lift your heart and set your creative spirit alight?

A week of invigorating and enlivening creative inspiration that carries your resolutions to fruition the entire year through.

Give yourself and your new year the gift of deliberate intuition to develop your creative lifestyle.

97

Workshops Encaustic + Paper: Collage, Dip Monoprint Dietlind Vander Schaaf Dietlind Vander Schaaf Studios 90 Bridge Street, Westbrook, ME November 7 - 8, 2020 Class size limited to 3 students.

For more information, visit www.dietlindvanderschaaf.com/ registration.

In this workshop, we will explore the way certain types of paper become pliable and translucent when saturated with wax, allowing us to manipulate them dimensionally. Using a variety of different types of paper and image transfers, we will create one of a kind collages. With our heated palettes, we will pull unique monoprints. Encaustic paint and Pigment Sticks will be used to finish work. This workshop is open to all levels. No previous experience necessary. Participants are welcome to bring their vintage ephemera and favorite handmade papers, but a variety of collage materials will be provided.

98

Metal | Metallic: Shimmer, Luster, Depth Dietlind Vander Schaaf Dietlind Vander Schaaf Studios 90 Bridge Street, Westbrook, ME March 20 – 21, 2021 Class size limited to 3 students.

For more information, visit www.dietlindvanderschaaf.com/ registration.

If you love old nails or collect small pieces of found metal and rust, learn how to incorporate these objects into encaustic. If you are drawn to things that glitter and reflect light, this workshop is for you. We will focus on combining metal and metallic paint with encaustic medium to create work that shimmers and has depth. Additional techniques include working with metallic foil and artificial metal leaf.There will be a demonstration of how to use metallic Pigment Sticks to add shine, enhance metal surfaces, and finish work.

99

Encaustic 101: Painting with Wax Dietlind Vander Schaaf Dietlind Vander Schaaf Studios 90 Bridge Street, Westbrook, ME March 27 – 28, 2021 Class size limited to 3 students.

For more information, visit www.dietlindvanderschaaf.com/ registration.

Encaustic, meaning “to burn in” in Greek, is an art form dating back to the 5th century BCE. Used as a contemporary medium, it is a versatile method of painting with a beeswax-based paint using a heated palette.

This hands-on studio course will introduce participants to safety, supports, and encaustic history while providing demonstrations and the opportunity to practice and apply 2D techniques. Students will learn about application, fusing, color mixing, etching, texturing, graphite and Xerox transfers, collaging, and working with R&F Pigment Sticks.

100

EncaustiCamp Patricia Baldwin Seggebruch Dumas Bay Centre 3200 SW Dash Point Rd, Federal Way, WA July 26, 2021, 3:30 PM PST through August 1, 2021, 10:30 AM PST Cost: $525 - $790 Accepting deposits now (refundable through March 31 dependent on state of the states). To register go to www.pbsartist.com/event/ encausticamp2021-10th-anniversary-year/ It’s time once again! Since we were unable to gather in 2020 for our 10th anniversary, we look forward to 2021!

Our rescheduled 10th anniversary will happen with great fanfare, enthusiasm, and anticipation.

101

Online Classes Artful Papers Michelle Belto Cost: $15 For more information, go to www.michellebelto.com To register, go to michelle-belto-studios.teachable.com/ Armed with a few simple art materials and household items, Michelle will lead you through multiple techniques to transform found papers into stunning collage materials that you can use for any number of mixed media projects. If you want to achieve luminosity and depth using layers of beeswax, then having an abundance of complex papers at the ready is a game changer. This class will show you how!

102

Snapshot to Heirloom Michelle Belto Cost: $39 To register, go to michelle-belto-studios.teachable.com/ Snapshot to Heirloom is a workshop for all levels designed to teach the basics of encaustic mixed media collage. With more that three hours of video instruction, Michelle adapts her popular Layers, Encaustic Mixed Media class to a project that will teach you how to take those family snapshots that no one wants and turn them into personal paintings that the whole family will beg to own.

103

See all of Jodi's workshops at www.jodireeb.com

Metallic Surfaces Jodi Reeb Cost: $25 for one hour of recorded video For more information, go to jodireeb.com/news.html To register, go to www.paypal.com/cgi-bin/webscr?cmd=_sxclick&hosted_button_id=4BDXP8M456JAS This one-hour recorded demonstration via Zoom is designed to expand your toolbox to combine metallic surfaces such as rust, copper, bronze, and pewter as an exciting element or layer to your encaustic paintings.

104

Encaustic with Photo Collage Jodi Reeb Cost: $55 for two hours of recorded videos To register, go to www.paypal.com/cgi-bin/webscr?cmd=_sxclick&hosted_button_id=KXP4NHV2VB57A Join me for two, each one hour, recorded demonstrations combining your photographs as collage with encaustic painting on Encausticbord

by Ampersand Art. Collage is one of my favorite layers that I can add to my paintings. Image transfers also will be explored! This process involves inkjet or laser printing photographs on light-weight tissue paper and embedding the image with encaustic medium, oil pigment sticks, and paints.

Textures and Translucency Encaustic Jodi Reeb Cost: $65 for two hours of recorded videos To register, go to www.paypal.com/cgi-bin/webscr?cmd=_sxclick&hosted_button_id=QQQ3GHY8A27TA Be inspired and push your work to new layers! In this exciting two, each one hour, encaustic demonstrations recorded via Zoom, you will explore creating translucent, textured-layered paintings only achieved with molten beeswax. You will learn many techniques to achieve these beautiful results and be encouraged to develop and expand your voice using this medium.

105

Hope is being able to see that there is light despite all of the darkness.

Desmond Tutu

A digital publication of International-Encaustic-Artists.org 106

Fall, Issue III:2020