Wax Fusion Erin Anfinson Lyn Belisle Lorraine Glessner Matthew Jones JuliAnne Jonker Lora Murphy Jodi Reeb Sheary Clough Suiter Yulia Mamontova Zabrodina A digital publication of International-Encaustic-Artists.org 1
Board of Directors S. Kay Burnett President
Melissa Lackman Vice President
Mary Jo Reutter
Rhonda Raulston Tech Director
Social Media Co-Director
Social Media Co-Director
Education Director and Grants Coordinator
Michelle Robinson Member-at-large 2
From the Editors 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. For this issue, we looked for artists who are reaching beyond the ordinary in their tools, their techniques and their subject matter. Each has a unique style and story. IEA Project Grant recipient Erin Anfinson creates encaustic and paper tallgrass prairies to raise awareness about the loss of native ecosystems. Lyn Belisle uses "shards" to honor society’s collective memory. Lorraine Glessner burns her worries into found wood. Matthew Jones goes into the wilderness to capture bridges and trails reclaimed by nature. JuliAnne Jonker shares her tools and techniques for creating extraordinary portraits. Lora Murphy takes us to a place in Ireland where nature, culture and creativity meet. Jodi Reeb creates sensory experiences with found objects and circular panels. IEA Project Grant recipient Sheary Clough Suiter uses dolls to challenge socialpolitical ideologies. And Yulia Mamontova Zabrodina uses her talents to benefit worthy charities. 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. Flo Bartell S. Kay Burnett Paul Kline 3
Content Present Absence
Shards, Relics and Beeswax
The (Un)Making of a Worry
Reclaimed by Nature
Dancing with Wax
Essence of Mulranny Studios
Rooted in Nature
I Never Played with Dolls
Sheary Clough Suiter
Yulia Mamontova Zabrodina
IEA’s Instagram Page
Exhibitions, Workshops, Books & Podcasts 74 View from the studio of Essence of Mulranny Studios Cover, Resurrection, by JuliAnne Jonker Cold wax, oil, 24 x 24 in 5
Present Absence Erin Anfinson The inspiration for this exhibition was originally sparked during the summer of 2014, when I was collecting research material for an animated-documentary project in central Iowa. While photographing the rural landscape, I happened to park my car in front of a small tallgrass prairie state preserve. The 8,000year-old remnant was an anomaly in a sea of corn and soybean fields and it completely captured my attention. I grew up in Iowa and realized that I had little connection to the native landscape. Before the mid-1800s, native grasslands covered over 80 percent of the state. The biodiversity that had once flourished was replaced rapidly by settlement and a near-total conversion of the land into an agricultural monoculture.
Echo, 2019 Encaustic, paper, LED lights 6’ x 35’ Installation Gadsden Museum of Art, Gadsden, AL
Today, less than 0.1 percent of tallgrass prairie remains in the form of small remnants scattered throughout the state. Consequently, my relationship with the manufactured landscape is paradoxical. My nostalgic idealization of the orderly, gridded fields coexists with a sense of alarm and loss for the disappearance of the native ecosystem. My experience with the prairie remnant stayed tucked away in my sketchbook for a few years, but I continued to think about it and made an effort to visit the site a few more times. Next page left, Detail of Panel 1, Echo, 2019 Encaustic, paper, LED lights Next page right, Detail of Panel 4, Echo, 2019 Encaustic, paper, LED lights 7
In 2017, I was awarded a National Park Service Artist-in-Residence at Herbert Hoover National Historic Site in West Branch, IA. I was thrilled for the opportunity because the park is home to an 80acre, reconstructed tallgrass prairie, where I spent most of my time during the six-week residency. In response to my experience, I initially created a three-minute animated film titled, In the Tallgrass. Following its completion, I was eager to return to my studio and explore a new body of work in encaustic and paper. I’m drawn to encaustic monotype because I enjoy many of its properties like translucency, layering possibilities, versatility for collage, and spontaneity. The nature of the medium, beeswax, is also an ever-present reminder about the importance of preserving native ecosystems like tallgrass prairies for pollinators who depend on them. When I was invited to have a solo exhibition at the Gadsden Museum of Art in Gadsden, AL, I decided to challenge myself to create large-format work that would be to scale of the actual height of the prairie plants I’d observed. The encaustic and paper collage works in the exhibition are an effort to create a sense of awareness about the diminished tallgrass ecosystem and an exploration of the process and consequences of division and removal of native environments to consumption by developers. Thanks to the support of a project grant from International Encaustic Artists (IEA), I could scale up the equipment and materials in my studio to create the resulting installation—Echo and 15 additional works on paper and board. The opportunity to experiment beyond my previous bounds created a seachange for my studio practice, and I’m grateful to IEA for providing the catalyst.
Previous page, Vestiges (Silphium Laciniatum), 2019 Encaustic, paper on board 24 x 18 in Top left, New Topographies 2, 2019 Encaustic, paper on board 24 x 18 in Top right, Platting 5, 2019 Encaustic, paper 16 x 12 in Bottom left, Platting 2, 2019 Encaustic, paper 12 x 9 in
About the Author Erin Anfinson is an Associate Professor of Art at Middle Tennessee State University where she teaches drawing and digital art courses in the Foundations Program. She earned her MFA from the University of Connecticut. During an undergraduate workshop course, Anfinson was introduced to encaustic paint and her fascination with the medium continues. Many of her encaustic-infused paper works are inspired by an interest in science, natural history, memory, and narratives of ecosystems in flux. Anfinson’s encaustic works and animated films have been exhibited nationally and internationally in a variety of film festivals and exhibitions. In 2017, she was awarded a National Park Service Artist-in-Residence at Herbert Hoover National Historic Site in West Branch, IA, and again, in 2018-19 at Stones River National Battlefield in Murfreesboro, TN. She has been the recipient of several awards and grants, including a recent project grant from International Encaustic Artists. In addition to her creative work and research, she also regularly teaches mixed media encaustic workshops at Arrowmont School of Arts and Crafts in Gatlinburg, TN. For more information, please go to www.erinanfinson.com www.facebook.com/erin.anfinson www.instagram.com/erinanfinson. To view In the Tallgrass go to https://vimeo.com/237101098. 13
My work has always been strongly influenced by the idea of “shards” as a metaphor for human communication across time. A shard can be a found fragment of clay, a rusty nail, a scrap of handwriting— any little clue that becomes a “secret handshake” between the maker and the discoverer. Relic 2045 AD Earthenware, beeswax, digital image, mixed media, found objects on canvas 24 x 12 in 14
Shards, Relics and Beeswax Lyn Belisle For decades I’ve worked with clay, fiber and paper in assemblage and collage to express non-verbal time-circle connection. When my friend Michelle Belto introduced me to the encaustic process in 2009, this new-to-me medium seemed the perfect companion for my most-loved materials. I briefly worked with encaustic medium on collage, but I began to understand that beeswax is a metaphorical material in itself, ancient as clay, versatile as paper, compelling as ivory and bone. One of my first forays into enhancing my collage/assemblages with encaustic medium was a piece accepted in the National Association of Women Artists’ Poetry Bleeds Rust, a juried show sponsored by International Encaustic Artists in 2014. The work titled Rune and Relic includes everything but the kitchen sink fiber, bone, beeswax and earthenware clay, and paper clay, all coated and infused with various proportions of beeswax and damar resin. Rune and Relic Clay, encaustic medium, found objects 14 x 18 x 4 in 15
Dissolution of Memory
Beeswax Felt Study
Wax Clay detail
I wanted to test the interaction of beeswax-based medium on various surfaces and tried using pure beeswax on fiber. In For Love of Virginia, exhibited in 2015, an anonymous photograph from 1921 is veiled with beeswax, then attached inside a salvaged drawer, which contains intimate objects represented by beeswax-infused silk ribbon and melted tulle. A packet of waxed mulberry paper suggests secret notes. With this piece, beeswax became an integral element rather than just a coating. It is a complex and powerful material which combines well with clay, paper, fiber, and wood. I continue to experiment with pure beeswax and clay. The impetus for my recent series, Unearthed, came from a local university’s archaeological investigation written in 1988, which I stumbled across by accident two years ago. It describes the research and excavation of 13 Archaic Period human graves from a burial site less than half a mile from where I live in South Texas. For Love of Virginia Mixed media, found objects, silk fiber, beeswax 24 x 18 x 6 in 16
Reading the archaeological report gave me shivers of recognition . . . “adults and children interred with a variety of offerings, including deer antlers, deer skull fragments, marine and freshwater shell ornaments, worked bone, ocher, a ground stone slab, and unaltered cobbles.” The shards of bone and artifacts found at the site strongly called to me, and I began to make sculptural pieces with clay, beeswax and found objects to honor a society’s collective memory in this repository. I am still actively exploring the combination of fired earthenware and beeswax, which makes a wonderful surface finish of endless variations. Unearthed 2 Earthenware, fiber, wood, wire, beeswax 19 x 8 x 5 in 17
Beeswax is a precious gift, so I wanted to honor the bees that provide this marvelous substance. I have designed an earthenware series with shards of clay fashioned into small dishes designed to hold little treasures. These have remained popular at the galleries where my work is shown, and a dollar of every sale goes to benefit The Honeybee Conservancy. Discovering serendipitous “shards” which inspire my artwork is a joy. Like most of us, I prefer to work alone in the studio, but I never feel that I am working in solitude. There are always secret handshakes of collective memories surrounding me.
Bee Keeper Earthenware, found objects, wax finishes 18 x 11 x 3 in
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 courses throughout her career. As an undergraduate, Lyn studied at Trinity University in San Antonio, TX. 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. Lyn teaches mixed media workshops at Lyn Belisle Studio in San Antonio, which she founded in January of 2013. She also teaches nationally, most recently in Santa Fe, Provincetown and Washington State. Her favorite media are earthenware, paper, beeswax, and fiber. Lyn has had six solo exhibitions since 2011. Recently, she retired from the faculty in the Computer Science Department at Trinity University to work full time at her studio. She has artwork 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 currently serves as the President of the San Antonio Art League. For more information about her art and her workshops, please go toâ&#x20AC;¨ â&#x20AC;¨ www.lynbelisle.com www.lynbelisle.com/ebooks.html www.earthshards.com/shards www.pinterest.com/lynbelisle www.etsy.com/shop/earthshards.
The (Un)Making of a Worry Lorraine Glessner Row by row, dot by dot, my worries are burned into the wood. Just like stitching, the repetitive act is contemplative, soothing and healing. I never measure, everything is done by eye as each row’s placement depends on the last. Just like the real worries these burns represent, sometimes they stay steady, go askew, grow larger, run wild, or fade out into nothing. I’ve been working on a series of found-wood sculptures off and on since 2011, when I held my first show at the Gallery at R&F Paints. I don’t talk about them much because they never seemed to have found a place in my routine painting repertoire. I started them as a therapeutic answer to dealing with the sudden and tragic loss of someone very close to me. Since then, I have only made 1 or 2 per year when the stresses of life mount, or when I receive a commission for one.
Good, Bad, Empty Encaustic, pyrography, Swarovski crystals, human hair on found wood (detail)
Because they are produced in limited quantity and are minimal in design compared to my paintings, they are mysterious to those who are familiar with my work and are quite (dare I say the word) precious to me. The word precious has become derogatory when it is used to reference artwork. These pieces are unusual, obsessive, distinctive, jewel-like, and fetish. Each piece starts with discarded wood taken from dumpsters, trash piles and abandoned buildings. In the wood are distressed markings—evidence of the human hand through use, age or environment. I respond to these markings with repetitive patterns, using the process of branding with tools and scorching with an open flame. To me, fire represents the complete cycle of life—it breaths, eats, grows, and dies. While it can be extremely destructive, fire can actually create the opportunity for new life through its cleansing of the land.
N, 2015 Encaustic, pyrography, human hair on found wood 2 x 3 x.75 in 22
Completing the connection to life, I incorporate my own hair, which is ironed, strand-by-strand, and transformed into lines placed side by side, crisscrossed into grids and finally embedded in encaustic wax. As they trace the form of the wood, these grid-pattern drawings create connections between landscape, architecture, one's body, and the history of the object. Four Weeks In Spring Encaustic, pyrography, human hair on found wood 4 x 3 x 3 in
M, 2015 Encaustic, pyrography, human hair on found wood 6 x .75 x 1.5 in 23
In the last year, I started including Swarovski crystals with the addition of my hair to augment the fetish quality. I have also started collecting bones, eggshells and other scarce objects in nature that speak to life and death. Through the repetitive process of constructing these pieces, I reflect on time, the tenuous nature of life and human relationships and my own mortality.
Good, Bad, Empty Encaustic, pyrography, Swarovski crystals, human hair on found wood 8 x 5 x 3 in 24
About the Author Lorraine Glessnerâ&#x20AC;&#x2122;s love of surface, pattern, markmaking, image, and landscape has led her to combine disparate materials and processes such as silk, wood, wax, pyrography, rust, paper, and more in her work. Lorraine is a former Assistant Professor at Tyler School of Art, Temple University, artist mentor, workshop instructor, and an award-winning artist. She holds an MFA from Tyler School of Art, a BS from Philadelphia University, and an AAS in Computer Graphics from Moore College of Art and Design. Her work is exhibited locally and nationally in galleries, museums, craft centers, schools, libraries, universities, and other sites. Like her work, Lorraine brings to her teaching a strong interdisciplinary approach, mixed with a balance of concept, process, history, experimentation, problem solving, and discovery. For more information about her art and her workshops, please go to â&#x20AC;¨ www.lorraineglessner.net www.youtube.com/watch?v=THxja9HwUhI www.facebook.com/lorraineglessnerartist www.instagram.com/lorraineglessner1.
Reclaimed by Nature Matthew Jones My work endeavors to remind people that nature is out there. I travel to parks and document the ways we have constructed access to the wilderness. I use the bridges, trails, and structures that wind through forests and hills as a focal point to raise the question of what exactly our relationship is to nature. Most of these structures are slowly being reclaimed by nature as support for maintaining these sights dwindles. Through my processes, I attempt to bring a sense of how these spaces feel to the gallery. The physicality of the medium simulates the literal textures of the environment. It is my goal to make the audience feel immersed in these spaces, to lose themselves in the wilds. I want them not to just enjoy the experience, but to go out and visit these sites, to reestablish connections that were built before they were lost. Jefferson Gate, 2019 Watercolor, wax on cast paper 12 3/8 x 12 3/8 in 27
I think what drew me to wax arts is the versatility of the medium. I have always enjoyed the process employed in the creation of a work as much as the work itself. Over the years I developed a few distinct methods for working in wax. Cedar Ridge: Butterfly Gate, 2018 Encaustic on panel 18 x 18 in
First and foremost is my encaustic process. For those of you who use encaustic regularly, I doubt I differ too much from what you do. My medium is not beeswax though; I opted for a high-meltpoint microcrystalline wax, mixed with carnauba and damar resin. From what I can tell, it has a similar strength to traditional beeswax blends, but I gain a few degrees of heat resistance. Divisions Off The Horizon, 2018 Encaustic on panel 18 x 18 in 28
I wanted my watercolor works to have the same sort of depth and physicality that I achieved with my encaustics. To do this I carve my designs into a block of wax, creating a shallow negative. I then use the carved wax block as a mold, filling the recess with paper pulp. Once the mold has set up I will lightly compress it throughout the drying process. When it finally dries, I lift out a relief-paper positive from the block that will readily accept the watercolor. I finish the painting with a coat of wax. This evens out the colors and serves as a visual bridge between my encaustic and watercolor works. Palo Duro Canyon, 2020 Watercolor on cast paper 14.5 x 10 in
Wait And See v.2 (Hidden Vantage), 2019 Watercolor, wax on cast paper 12 3/8 x 12 3/8 in
Lost Pylons v.2, 2019 Watercolor, wax on cast paper 12 x 10 3/8 in
About the Author Matthew Jones has his MA and MFA from the University of Dallas. He is represented by Beaudry Gallery in Dallas, TX. His work has been exhibited at such notable institutions as Beatrice M. Haggerty Art Gallery in Irving, TX, Oak Cliff Cultural Center in Dallas, Art7 Gallery in Fort Worth, Art Room in Fort Worth, Morpho Gallery in Chicago, IL, and Royal Contemporary in Florence, CO. For more information, please go to instagram.com/MatthewJones.Art. 33
Dancing with Wax JuliAnne Jonker innovation 1) the introduction of something new 2) a new idea, method, or device Is there anything new under the sun? These days, I’m painting much as the ancients did — using encaustic wax and realism. Yet, I find myself innovating every day, finding new ways to make tangible the muse in my mind’s eye. This is the story of my dance with encaustic wax.
WAX I fell in love with the tactile feel of working with heated wax and shaping it with tools using “The Lost Wax Method" as I created a bronze sculpture. From that point on, I wanted to learn all I could about this wonderful medium. In a departure from the majority of my work, I found experimenting with abstract paintings allowed the focus to remain almost entirely on the feeling an artwork evokes. I enjoy laying in the abstract shapes and colors, living with the painting and witnessing the progressive evolution before deciding on a final direction. I find the canvases begin to whisper to me, almost asking to reveal the portrait hidden within. Transcendence Cold wax, oil 24 x 18 in 35
My first painted encaustic portrait, Allissa (Healer no1), was 30 x 30 inches involving over 200 hours of layering, fusing, scraping back, and blending with my sculpting tools until I was satisfied with the transitions and values. I couldn’t find anyone teaching portraiture with the realism I was desiring, so I bought Ezshwan Windings’s book and learned alone by trial and error. I later attended a class with Lora Murphy, thrilled to find others working in encaustic portraiture. I continued to experiment towards achievement of my goals — first fusing all encaustic layers, then glazing cold wax with oils on the top layer. Combining encaustic paint and cold wax in the same painting was unconventional at that time; yet, I found it a perfect compliment to encaustic.
Underpainting, Transcendence Cold wax, oil, 24 x 18 in Underpainting, Allissa (Healer no1). Pencil lines and first layers on encaustic
Allissa (Healer no1) Details of final encaustic painting
PHOTO ENCAUSTIC Innovation and experimentation are my familiar guides. For 25 years, I have been creating photographic and freehand portraits and teaching photographers alternative artistic techniques in my home studio. After playing with encaustic wax, I was soon sharing my discoveries. One of my methods, using tissue and watercolor paper, involves first digitally painting before printing. After applying layers of encaustic wax to the print, I glaze cold wax and oils over the surface. A more painterly image results, which delights my students. Numerous photographers fall in love with and completely transition to free-hand painting. This has been one of my greatest joys in teaching - helping others find and expand their potential as artists. Orlando Photo encaustic 11 x 14 in Photo by Connie Meyers
TECHNIQUE I was classically trained to paint at an atelier, and I usually approach my encaustic portraits from that foundation. I often draw/paint directly with a combination of graphite, walnut ink, colored pencil, pastel, encaustic paint, and charcoal. Alternatively, if I have a portrait commission, I typically begin with a graphite or charcoal drawing on paper which is transferred to the final substrate. This stage helps me work out drawing/compositional elements and lay in the value structure before starting the painting process. When the underpainting is to my liking, I layer with several coats of clear encaustic wax, scraping and fusing between each layer. I use a razor blade to achieve a semismooth surface before I continue. These monochromatic studies often stand alone as works of art, and I have sold them as finished paintings. Top, Underpainting, Allissa (Healer no2)â&#x20AC;¨ Walnut ink on board with encaustic layers Middle, Jimi, Pencil lines and first layers (detail) Bottom, Underpainting, Dr Ndely, Walnut ink, pencil on boardâ&#x20AC;¨ 39
Jimi, Encaustic on panel, 30 x 30 in
Jimi, Impasto layer (detail)
Starting with the darkest darks, I begin to lay in the values, simultaneously refining the drawing. I move on to the middle tones working with thin glazes of color and value. The highlights and fine transitions are my final layers. First fusing all encaustic layers, I may choose to glaze cold wax with oils on top. Various tools are used to move, scrape and alter the paint, sometimes revealing bits of the first layers as I go. I find these little excavated passages to be some of my favorites. The level of "finish" is unique to each painting. I usually end up incorporating a portrait or figure as my fascination with people and our connection to each other is a thread that has been in my work since my first drawings as a child.
Dr Ndely Encaustic 24 x 24 in
Currently, I’m working on several commissions in an abstractrealistic style. 41
About the Author JuliAnne Jonker grew up surrounded by a family of jazz musicians and creatives, learning to operate within inspiration and improvisation from her earliest years. Her father, a jazz musician, died when she was very young. Despite three jobs, five children and limited resources, her creative mother still found the time and talent to transform their entire basement into a magical holiday boutique each fall with wares for sale, all created by her hands. These values shaped JuliAnne's creative life as she fluidly moved between disciplines â&#x20AC;&#x201C; drawing, painting, photography, sculpture, and now encaustic painting. Since childhood she was drawn to the human form and nature seeking to capture their spirituality and exploring the human ability to see and be seen. She has been trained in both classical and contemporary fine art, studying with master artists domestically and abroad. Throughout her career, she has enjoyed extensive recognition for her efforts. Her work has been featured in publications such as Fine Art Connoisseur and Encaustic Arts Magazine. JuliAnne most recently exhibited at the Wausau Museum of Contemporary Art, Wausau, WI, and the Chaffey Community Museum of Art, Ontario, CA. She is represented by 33 Contemporary Gallery, Chicago, IL, Grande Gallery, Edina, MN, and her work is included in the permanent collection of the Museum of Encaustic Art, Santa Fe, NM.
Always remaining committed to the interchange between artists, JuliAnne continues to share what she has learned and discovered, both as a speaker or through individualized instruction at her home studio in Apple Valley, MN. For more information about her art and her workshops, please go to â&#x20AC;¨ www.juliannejonker.com www.facebook.com/JuliAnneJonker www.instagram.com/jonkerportraitgalleryâ&#x20AC;¨ www.juliannejonker.com/page/16158/the-nest.
Essence of Mulranny Studios Lora Murphy Ireland is magical! Wild, raw and unpredictable, friendly and welcoming, no one leaves her shores untouched. Here at Essence of Mulranny Studios (E.O.M. Studios), in the farthest reaches of this lovely land, that magic is amplified. It is a place where Nature, Culture and Creativity meet. One becomes immersed in such a way that all three of these aspects inform your art, nourish your soul and deepen your connections in a powerfully positive way. The Essence of Mulranny Encaustics School offers week-long allinclusive stays with the best teachers of the medium working in our state-of-the-art studio! It is a long journey to Mulranny, often preceded by a flight to Dublin, a train ride across the country to Co. Mayo, and followed by a private bus for the short, last leg of the journey. 44
The long journey is what it takes to get to a place so charming and so inspiring, so that it becomes hard to leave when it is time to go. Surrounded by the scenic beauty of Clew Bay in front, mountains behind, amazing skies with endless Atlantic-driven clouds sweeping by, one cannot help but feel connected to a powerful force of nature that wraps you in her arms. Rising majestically across the bay, our sacred mountain, Croagh Patrick, glows in the ever shifting light and is a source of profound and mesmerizing connection.
Next page, Clew Bay with view of Croagh Patrick 45
Our lovely old Irish Goat
Sheep graze on the salt marsh below and Inca, the dog, makes sure they stay out of her garden when they are tempted in by the green grass lawns. Behind the house wild goats from the mountains can be seen browsing the roadside bushes. Their long history from an ancient Celtic past will be explained during your visit. There are only 400 people living in this seaside village. The old harbour wall has withstood a century of battering storms, and the hotel built in1895, has a new life after completing renovations not so long ago. Four pubs, one church and several B&Bâ&#x20AC;&#x2122;s keep the place going. In some ways the place has not changed over time. There is always a warm welcome from an encounter with the local people, their notable Irish charm peppered with curiosity about the visitors. 48
As part of the week-long experience, two bus tours are arranged with tour guide and sheep farmer, Colum Ginnelly. There is a story around every corner and he will delight in telling you in his engaging Irish manner. While much of the history of the west is tragic, and there are tangible reminders of the terrible past of famine ruins scattered throughout the area, healing and transformation is palpable. Acknowledgment is key and your presence here as witness and artist renew this very landscape. Holy wells and graveyards with lichen-covered headstones all have their stories. These historic markers are a reminder of the struggles the Irish have endured on their journey to becoming one of Europeâ&#x20AC;&#x2122;s most successful countries.
In the large spacious, well-ventilated studio, art work flourishes as these experiences are being assimilated. There is always a theme offered by a teacher, each bringing unique skills to the classroom. The studio is open at all hours, once class is over, providing freedom to work or walk or just sit and relax and drink wine. 50
Meals are provided except when on bus tours, and a healthy choice of vegetarian and meat dishes are offered buffet style. One thing you will notice is how the foods taste. Considering the cows eat real grass from natural green fields and the vegetables are mostly grown locally flushed with colour, the flavours full and real. Eggs with deep orange yolks from a village not far away, taken with the fresh homemade brown breads, give a healthy start to the day. Privacy on these types of holidays is important and everyone has their own bedroom. The lodgings have a choice of sitting rooms for gatherings or quiet reading, so there is always a place to go. Walking to the beach and then along the old Victorian causeway, passing through the incoming or outgoing tides, is an option for a brisk morning or relaxed evening excursion. Inca is happy to accompany you and guide you home. You might arrive tired after a long journey, but you leave a week later feeling rejuvenated and invigorated.
Your visit to E.O.M. is a coming home of sorts, even if you are not Irish. Nature, Culture and Creativity remind us what we are missing in our busy lives and how important it is to connect with these things. They are food for the soul and we invite you to join us on an Essence of Mulranny adventure and feast with us. About the Author Lora Murphy was born in Ireland and educated in Ireland, the United States and Italy. Lora earned honors degrees in both History of European Painting and Archaeology before training as an oil painter in a traditional atelier in Florence, Italy.
Hope Springs, Encaustic, collage on panel, 28 x 14 in
The discovery of encaustic changed her life, and she now works primarily in encaustic and mixed media. As she says, "Once I tried encaustic, I was totally hooked, and I have been fortunate to be able to apply my traditional knowledge of painting to the encaustic medium. And I found along the way that I just love teaching. I am so inspired by watching all of my students gain so much confidence and reach new levels with their work. Even those with no experience of either encaustic or portraiture can do amazing work.â&#x20AC;? After living and painting all over the world, Lora moved back to her Irish roots in 2018, and she created a vibrant and hugely popular art school in the West of Ireland, Essence of Mulranny (E.O.M.) Studios at Mulranny Co Mayo, where she welcomes visiting teachers and students from many countries. Lora teaches workshops in Contemporary Portraiture in Encaustic at E.O.M. Studios and online, as well as offering a yearly painting trip to Egypt. Lora sold her first paintings at 12years old and has shown her work since 1985. She has exhibited widely in Ireland, Denmark, Germany, Italy, and the United States, and she counts collectors from Europe, North America, Asia, and Africa. For more information, please go to www.loramurphypaintings.com www.essenceofmulranny.comâ&#x20AC;¨ https://vimeo.com/395782066. 53
I think art is a total thing. A total person giving a contribution. It is an essence, a soul… In my inner soul art and life are inseparable. Eva Hesse
Rooted in Nature Jodi Reeb Art has transformed my life since I was very young. At the age of 5, I created poster drawings using crayons on blue-lined newsprint and sold them throughout our neighborhood in North Dakota for a dollar. That’s when the idea was planted that I could make a living making art. This became my identity: I was an artist. I began developing my voice as an undergraduate printmaker at Minneapolis College of Art and Design. Since 1996, I have been a full-time artist and teacher. I feel incredibly lucky to support myself by sharing what I love to do. My work has always been rooted in nature, whether abstract or representational. I generally work in series, creating circular large-scale painting installations. To create for my viewers a physical sensation, my work oscillates between painting and sculpture in terms of both dimension and negative space. Ochre Fusion (side view), 2020 Encaustic, metallic paint on acrylic circular panels 40 x 66 x 2 in 54
Ochre Fusion, 2020 Encaustic, metallic paint on acrylic circular panels 40 x 66 x 2 in
I use found objects and circular acrylic panels as substrates, and paint with encaustic, acrylic and metallic finishes that form a patina. Combinations are discovered, explored, proposed, rejected, and accepted as part of the artmaking process. Through this approach, I discover relationships between the elements creating rhythms, patterns and visual textures. 55
I am also interested in site-specific, temporary sculptural installations and began exploring this idea during a week-long workshop at Truro Center for the Arts at Castle Hill. Taking over a corner of the studio, I created 8 sculptures using wire, newspaper, encaustic-dipped string, tape, and driftwood. I gave myself the freedom to work quickly and with simple materials. It was freeing to create a piece, tear it down, and create another. In 2018, I received the Artist’s Initiative Grant and was able to spend time developing a new body of work that incorporates my photographs printed on tissue paper and embedded in encaustic. I’ve always had an interest in photography, but don’t consider myself a photographer. For me, it is another image-making tool, one that I collaborate with to create a balance between painting and photography. My ideas concerning beauty, abstraction, nature, and art are given form through the media of encaustic, acrylic, printmaking, and sculpture. Tactile painting and repetitive mark-marking serve as a record of my experience. I hope my work is a sensory experience for those that view it. For me, it is an act of discovery, a “total thing,” one that encompasses, and is intertwined with, the entirety of my life.
Left, Radiant, 2018 Encaustic, photo collage on birch panel 36 x 48 x 2 in
Bedrock, 2018 Encaustic waxed string 36 in x 14 ft x 1 in
Meandering, 2018 Newsprint, string, encaustic, wire, tape 13 ft x 6 ft x 20 in
Bridge, 2018 Encaustic waxed string 7 ft x 36 in x 15 in
Modern Series Encaustic, metallic paint on acrylic circular panels
About the Author Jodi Reeb lives in Minneapolis, MN, and has been a full-time artist and teacher for over 23 years. She has taught printmaking, acrylic and encaustic painting and book arts at numerous colleges and art centers including Haystack School of Mountain Arts, Arrowmont and Truro Center for the Arts at Castle Hill. Her artwork has been shown nationally, receiving numerous awards and in many private and corporate collections including Wells Fargo Mortgage, Target Corporation, UnitedHealthCare Group, and the Hilton Hotel, among others. She is the recipient of the Artist’s Initiative Grant awarded by the Minnesota State Arts Board in 2018. 58
She received a Bachelor's Degree in Fine Arts in Printmaking from the Minneapolis College of Art and Design (MCAD), where she taught printmaking for over 9 years in the Continuing Studies Program.Â Jodi is a CORE instructor for R&F Handmade Paints teaching monthly workshops in her studio as well as nationally.Â She's also an Artist Ambassador for Ampersand Artist Panels and teaches acrylic painting workshops as a GOLDEN Acrylic Paints Artist Educator. Jodi creates her mixed media paintings and sculptures in her studio at Traffic Zone Center for Visual Art in Minneapolis, where she has been a co-op member for 15 years. For more information about her art and her workshops, please go to www.jodireeb.com. 59
I Never Played with Dolls Moving from 2D to 3D
Sheary Clough Suiter I had already begun experimenting with moving my work off the 2D plane by playing with fabric, paper and encaustic to form-free hanging and 3D sculptures. In 2018, I applied for an IEA Project Grant, requesting funding to pursue a new artistic direction. A local gallery had given me carte blanche for a solo exhibition scheduled in 2019, showcasing an experimental body of work that would fill the entire gallery. At the time of the grant application, I had no idea what this installation would look like. As often happens, life takes unexpected turns when a lifechanging event occurs. My father passed at age 87 in August of 2018. The bedroom in my parentâ&#x20AC;&#x2122;s home, where I stayed for weeks before and after his passing, was filled with my mother's doll collection. While many family members expressed discomfort at sleeping in a room under scrutiny of so many eyeballs, I gave it no thought. After I returned home, I passed by a recycled craft supplies shop that had everything marked 50 percent off. I went inside and was drawn to a back corner with a mishmash of boxes full of porcelain dolls. Some whole, some parts. Knowing that porcelain accepts wax, I bought them all. 60
A short time later, I received word that I was awarded the IEA grant. Receiving this news gave me validation and incentive to spend studio time not painting, but plunging into the unknown. Soon after the dolls arrived, I awoke one morning from a dream and knew I had my show title: "I never played with dolls." And so, for the ensuing year, I indulged in relentless play to create a completely new body of work. No filters, no censoring. Nothing too wacky or politically incorrect. After a quarter century of making pretty paintings, I wanted to make art from my inner core. I wanted to create art that wasn't afraid to reveal my personal allegiances, which might raise questions about historical and social biases that shape our thinking and dictate personal identity. New directions sometimes require new skills. For the first time in years, I enrolled in non-painting workshops. A lot of them. I took a sabbatical from teaching during the summer of 2019 in order to increase my technical skills with the goal of using wax to make 3D structures. Kinetics Foundations (did I want my artwork to move); The Fabric of Fabrication (how would stitching, gluing and knotting play into my constructions); Out of the Box (could building structures with cardboard facilitate my content intentions); Foss Shape (maybe this synthetic fabric that hardens with heat and accepts wax could provide means for more organic shape making). I also took an extensive online marketing course, hoping to make a visible splash in a city not known for edgy art shows. I made a month-by-month schedule of PR to-do's outside my usual box of just showing up for the First Friday Opening Reception, to-do's that included the making of artist Q&A videos, intentional Instagram posts, targeted Facebook ads, and a Closing Party with an artist talk. 61
Opening night, installation view.â&#x20AC;¨ The exhibition combined wax with rusty wire, silk, cotton cloth and threads, tacks, horsehair, printmaking, table tops, stones, road-side and thrift store finds, and, of course, dolls.
â&#x20AC;¨ Installing the artwork, seeing the individual pieces come together in unison was on par with the excitement of creating the art.
Opening night, installation view.
From the beginning, I envisioned a â&#x20AC;&#x153;Living Dollâ&#x20AC;? wandering the gallery wearing a waxy costume of my own design, who would interact with the artwork and the public. As with my initial purchase of the porcelain dolls, it was through a series of unplanned, serendipitous circumstances that I connected with local actor/activist, Julia Green (www.juliagreene.me), who provided the opportunity to collaborate and expand that vision.
Challenging myself to go outside my comfort zone with this artwork resulted in an installation that received accolades and gave me both confusion regarding the future direction of my art and excitement beyond measure about baby-stepping into art activism. What began as a desire to stretch my artwork appears to have resulted in a desire to change the course of my art in an entirely new direction. Rather than considering myself an “Encaustic Artist and Instructor,” I am now considering the question of how to be an artist NOT in a gallery. How to be an artist who seeks to harness the power of art to encourage viewers to consider questions about their own social-political ideologies. How to encourage viewers to act on that awareness in ways that create positive change. About the Author I'm grateful to International Encaustic Artists for awarding me a 2018 “Artist Project Grant,” which not only provided financial support for this year-long art adventure, but also a measure of confidence to pursue a new artistic direction. For more information about Sheary and her art, please go to www.backdoordesigns.com. For videos of the opening night and interviews with the artist, please go to www.youtube.com/c/ShearyCloughSuiter. 65
Grapes Encaustic on wood panel Triptych 40 x 118 in
Our artist profile for this edition is about a fascinating new IEA member who sells her encaustic paintings to benefit worthy charities.
Yulia Mamontova Zabrodina Moscow, Russia
My origin is key to everything that has and is now happening to me in the field of art. Although my married name is Zabrodina, my ancestors are Mamontov, an old Russian mercantile and industrialist family well-known to the intelligentsia for their patronage of the arts. Inspired by my family’s history, I took the name Mamontov as a pseudonym. The most famous family member is Savva Mamontov, who purchased the Abramtsevo Estate in 1870, and founded an artist colony that became the center of artistic life in Russia. The center included some of the best Russian artists of the early 20th century—Ilya Repin, Viktor Hartmann Vasnetsov, Mark Antokolsky Vasnetsov, Valentin Serov, Mikhail Vrubel, Vasily Polenov, Konstantin Korovin, and Mikhail Nesterov. Now, it is my time to continue the traditions of my creative and brilliant family. 66
When I first picked up a brush, it was by instinct. I attended the Moscow State Academic Art Institute named after V.I. Surikov. While I was studying, I was always eager to try something else, to see something new. After my studies at the academy, I decided to study at the Central Saint Martins College of Arts and Design in London under Michel Major and Roger Gill’s patronage. After London, I studied at Otis College of Art and Design in Los Angeles, where I was grateful for the opportunity to study encaustic painting with Pamela Smith Hudson. I really enjoyed learning all the various techniques for painting with wax. I studied shellac-mixed-medium techniques with Melissa Lackman and appreciate her professionalism and love for encaustics. In the 1940s and 50s, Vasily Khvostenko and his daughter Tatyana revived the encaustic technique in Russia. But painting with encaustics in Russia is complicated and expensive and consequently unpopular. I am one of the few artists in Russia who is actively working in encaustics, but I would like this medium to become more popular. All my artistic creativity is a continuation, a unique weave of water with elements and riots of color. I am a yachtswoman and I’ve loved sports since I was a child. I travel when it is possible. And I always draw. Yachting is My Life Encaustic, shellac on wood panel 11 x 7 in 67
After taking a workshop from Lora Murphy, I started painting portraits that combine some of the various encaustic techniques I learned. Lora taught me about all the nuances of encaustics that she’s discovered.
Svetlana Romashina Encaustic on wood panel 16 x 16 in Svetlana Romashina is a Russian synchronized-swimming athlete, 5time Olympic champion, 21-time world champion, 10-time European champion, and a legend of a beautiful sport.
My series of encaustic paintings, called “Style icons,” is dedicated to successful people. Nothing can replace conversation. And a portrait is that link, that nexus which we lack in reality. A portrait is as if the two souls of the artist and her hero are united. A portrait is an indispensable tribute of respect and gratitude to the person with whom the artist has met, made friends and portrayed in painting.
Eugene Linovich Encaustic on wood panel 16 x 16 in Eugene Linovich is an amazing woman, has 4 children, is a designer, an actress, an owner of the Masterpiece clothing and jewelry brand. 69
Sonata of the Soul and Body Encaustic on wood panel Triptych 34 x 102 cm
When I learned from my close friends and acquaintances that I could help people in need with my art, I started doing work for charity. I began doing encaustic paintings in small format. The first painting I did for charity, “Sonata of the Soul and Body,” was a triptych sold at a charity auction in Moscow in 2015. All proceeds were donated to the Yuri Rozum International Charitable Foundation for comprehensive support of musically-talented children. In August 2019, my solo charitable exhibition, Honey Spas, was held to raise money for an operation for Yegor Kondratev, a talented scenarist, and one of my friends. The exhibition was held in the center of Moscow along with the charity fund “Life with Cerebral Palsy,” under the patronage of Russian actor Gosha Kutsenko. Many paintings were sold, and I was quite happy that it benefited a very good person. Charity is not just about helping, it is about caring for your soul and becoming a better person.
In November 2019, I organized a fund-raising exhibition at the Old World German Village in Huntington Beach, CA, to benefit Brighter Living Humanity. All the efforts of this organization are aimed at helping orphans who need money for food, medical care and other needs. The proceeds from the sale of my paintings were sent to children in Peru to help purchase school supplies and other necessities. I was happy to help children. Good deeds give me creative strength. I plan to continue to organize charitable exhibitions to benefit those in need. I feel lucky to be a member of International Encaustics Artists, where the adherents and real enthusiasts are gathered to promote this unique ancient technique presenting its brightness, richness and really lifeaffirming beginning. Yachts Encaustic on cardboard 12 x 12 in
For more information about Yulia and her art, please go to yuliamamontova.com/en/. 71
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. 72
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 and 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! 73
Exhibitions Double Vision Sheary Clough Suiter and Nard Claar Stephan Fine Arts Hotel Captain Cook, 939 W 5th Ave D Anchorage, AK 99501 June 5 – 30, 2020 Opening Reception, Friday, June 5, 5:30 – 11:00 PM For the latest update on show status, please go to www.facebook.com/pg/ stephanfinearts/events/? ref=page_internal or www.backdoordesigns.com. Original paintings from Claar's “Bicycle and Landscape” series and Suiter's newest figurative series, “Move!” Move #2 Sheary Clough Suiter Encaustic, mixed media 12 x 9 in 74
A Walk in the Park Jodi Reeb Silverwood Gallery 2500 County Road E, Saint Anthony, MN 55421 June 11 - July 31, 2020 Opening Reception, Thursday, June 11, 6:00 – 8:00 PM For more information, please go to www.jodireeb.com. A solo exhibition of my photo collage and encaustic paintings of pollinator-friendly plants taken on location at Silverwood park and beyond! Through the Trees Photo collage with encaustic on panel 30 x 40 x 2 in 75
Surfaces: Structure + Connection Jodi Reeb and Dietlind Vander Schaaf Kolman & Pryor Gallery 1500 Jackson St, NE, #395, Minneapolis, MN 55413 June 27 - September 5, 2020 For more information, please go to www.kolmanpryorgallery.com. Moving between two- and three-dimensional forms, the work is constructed while developing scale, geometry, spatial relationships, texture, and color. The work challenges the visual properties of sculpture, translucency and the painted surface. Strong physical elements come from layering and incising the encaustic, while manipulating the image with oil pigments and viewing the elevation from the wall. Spring Series, 2020 Jodi Reeb Encaustic, metallic paint on acrylic panels 40 x 64 x 2 in 76
Nature’s cycles are also a theme in the artists’ work where the paintings are deconstructed and abstracted to create structure and connection. These works juxtapose geometry with the softness found in nature. These works challenge the visual properties of translucency and structure. Jodi’s work identifies with the obvious references to the round shape-centered, wholeness, sphere, etc. However, she is attracted to the negative space that a circle or sphere evokes through shadow and space. She appreciates the fact that a circle is both an organic and a geometric shape. Dietlind’s work is primarily a translation of inner and outer landscapes, felt experiences of being in the world that are dreamlike and referential without being representational. Whitagram, 2020 Dietlind Vander Schaaf Encaustic, oil pigment stick, 24 karat gold leaf on panel 12 x 12 in 77
Painting as Sculpture Jodi Reeb Traffic Zone Center for Visual Art 250 3rd Ave N, Minneapolis, MN 55401 July 7 - August 30, 2020 Opening Reception, Thursday, July 9, 6:00 – 8:00 PM For more information, please go to www.jodireeb.com. In this new series of sculptures, I am creating works that emulate seed shapes that oscillate between painting and sculpture. Soldered annealed wire, clay with encaustic paint and acrylic panels that resemble seeds scattered in the wind. To me, they are threedimensional drawings in space, and I am captivated by the idea that the microcosm within seeds contains everything necessary to grow into a plant. Oxidized Series, 2020 Encaustic, rust, varnish, graphite, metallic paint on acrylic panels 78
Vignettes in Wax and Words IEA Juried Exhibition In Digital Magazine Format Deadline for Entries: Friday, May 15, 2020. For information about how to enter, go to www.internationalencaustic-artists.org/ CallsforEntry. Vignettes in Wax and Words will be available August 1, 2020, at www.international-encausticartists.org/Vignettes-in-Wax-andWords/. The “vignettes in wax” can be a painting, sculpture, assemblage, installation, etc. that includes wax (encaustic, cold wax, or any other waxbased medium) as a primary element of the piece. The “and Words” should be an evocative description that describes or enhances the art. It can be a poem, a story, a journal entry, or a feeling put into words. We’re delighted to have internationally-acclaimed contemporary portraiture artist and educator, Lora Murphy, as our juror. In 2018, Lora created a vibrant and hugely popular art school in the West of Ireland, Essence of Mulranny (E.O.M.) Studios at Mulranny Co Mayo, where she welcomes visiting teachers and students from around the world. 79
Live Virtual Workshops Rust and Metallic Surfaces Jodi Reeb May 7, 2020, 2:00 PM - 3:00 PM CST Cost: $25 To register, go to https://www.paypal.com/cgi-bin/webscr?cmd=_sxclick&hosted_button_id=4BDXP8M456JAS. This one-hour demonstration via Zoom is designed to expand your toolbox to combine metallic surfaces such as rust, copper, bronze, and pewter with your paintings and sculpture. I will demonstrate how to create metallic surfaces in your work using surfaces and solutions sold by Sophisticated Finishes. These materials contain real metal particles such as iron, copper and bronze. I will also cover different substrates like Ampersand Encausticbord and acrylic panels. These finishes create beautiful, rusted and patina affects on many surfaces such as encaustic and acrylic paint. I will also show how a variety of surface treatments, including powdered graphite and metal leafing, can be layered or be the final finish. The metallic paints bind on porous and non-porous surfaces. You will receive a complete list of supplies after registering as well as the Zoom link for the meeting! After the session, you will receive a link to the recorded video to reference at any time! Everyone is welcome to join! 80
Photo Collage with Encaustic Jodi Reeb May 14 â&#x20AC;&#x201C; 15, 2020, 2:00 PM - 3:00 PM CST Cost: $55 To register, go to https://www.paypal.com/cgi-bin/webscr?cmd=_sxclick&hosted_button_id=KXP4NHV2VB57A. Join me for two one-hour demonstrations via Zoom over two days on how to combine your photographs as collage with encaustic painting on Encaustibord. Collage is a favorite layer that can add to any painting! This process involves inkjet-printing photographs on light-weight tissue paper and embedding the image with encaustic medium and paints. Image transfers will also be explored. Beautiful, translucent layers are created by adding oil pigment sticks above or below for color and depth. Also, how to print photographs with editing software and apps will be demonstrated. After registering, you will receive a complete list of supplies and the Zoom link to join the meeting. Once the workshop has ended, there will be a link to the recorded sessions for viewing at any time! Everyone is welcome to join! 81
Workshops Surfaces: Structure + Connection Jodi Reeb and Dietlind Vander Schaaf Kolman & Pryor Galleryâ&#x20AC;¨ 1500 Jackson St, NE, #395, Minneapolis, MN 55413 June 26 - 27, 2020, 10:00 AM - 4:00 PM Cost: $350 To register, please contact Jodi at email@example.com. This workshop will be co-taught with the amazing R&F Core Instructor Dietlind Vander Schaaf, coming all the way from Maine and will coincide with the opening of our twoperson show at Kolman & Pryor. It will explore our interest in two- and three-dimensional forms with an emphasis on surface pattern, layering, color, composition, narrative, and drawing. Learn how to work with a variety of non-traditional materials while creating work that involves layering and incising, as you develop scale, geometry and texture. 82
Exploring the Landscape Through Encaustic and the Mark Lorraine Glessner Wild Rice Retreatsâ&#x20AC;¨ 84860 Old San Rd, Bayfield, WI 54814 July 12 â&#x20AC;&#x201C; 16, 2020 Class size limited to 12 participants ages 18 and up. For more information, please go to www.wildriceretreat.com/ retreatsearch/lorraine-glessnerexploring-landscape-throughencaustic-2020 or visit www.lorraineglessner.net/ workshop-intro for a listing of all 2020 workshops. The mark of nature combined with encaustic creates timeless works which reference memory, change and time. Utilizing the natural luminosity, textural and layering possibilities of encaustic, participants will experiment with innovative materials, drawing and marks to depict the spirit and essence of the land. Daily journaling, meditation, readings, and expressive mark-making exercises. Combined with leisurely walks exploring the lush, verdant areas and trails at Wild Rice Retreat. Discover the inspiration to explore ideas for series-based work, while also developing your personal artistic voice. 83
Exploring the Landscape Through Encaustic and the Mark Lorraine Glessner Essence of Mulrannyâ&#x20AC;¨ Mulranny, Ireland August 1 â&#x20AC;&#x201C; 8, 2020 Class size limited to 12 participants ages 18 and up. For more information, please go to www.essenceofmulranny.com/ lorraine-glessner-1 or visit www.lorraineglessner.net/ workshop-intro for a listing of all 2020 workshops. Utilizing the natural luminosity, textural and layering possibilities of encaustic, participants will experiment with innovative materials, drawing and marks to depict the spirit and essence of the land. Easy to moderate grade hikes that allow the exploration of rugged coastal areas of Mulranny are led by Lorraine. Along with daily journaling, meditation, readings, and expressive mark-making exercises, these immersive hikes will provide the inspiration to explore ideas and provide areas of focus for series-based work, while also developing your personal artistic voice. Group discussions of ideas and progress take place daily, as well as individual discussions focusing on each participant's needs. 84
Approaches on Paper: Encaustic Printmaking & the Book Lorraine Glessner Elise Wagner Studioâ&#x20AC;¨ Portland, OR September 24 â&#x20AC;&#x201C; 26, 2020 Class size limited to 8 participants ages 18 and up. For more information, please go to www.elisewagner.com/summer-2020/ lorraine-glessner-workshop or visit www.lorraineglessner.net/workshopintro for a listing of all 2020 workshops. In this experimental workshop, participants will create dynamic surfaces using the natural luminosity, textural and layering possibilities of paper and fabric in combination with encaustic collagraphs and monoprints. Participants will experiment with a wide variety of innovative processes and materials such as suminagashi, powdered graphite, charcoal, graphite bars, horsehair, pyrography, and stitch. The use of translucency and layers is further explored through simple, yet versatile, book bindings to create unique personal journals through the alternative book form. Optional individual critiques with Lorraine will be offered to all participants. 85
Dipped and Saturated (+ carbon) Paula Roland Paula Roland Art Studioâ&#x20AC;¨ 1570 Pacheco St, Suite D-1â&#x20AC;¨ Santa Fe, NM 87505 This workshop is being rescheduled. For new dates, please check the website rolandworkshops.com or write firstname.lastname@example.org. Paula will soon announce video demos and online workshops. Sign up for email notices on rolandworkshops.com. Dipped and Saturated Paper (+ carbon) create paintings on unique object-like substrates by first dipping paper in vats of encaustic multiple times, so that it becomes rigid with beautifully irregular edges. Or dip thin Asian paper in beeswax for layered translucency. Complete your works with encaustic paint, oil paint sticks, graphite and ink techniques, etc. We also create juicy, saturated, encaustic monotypes that stand alone or may be drawn on with mixed drawing media while heated, thus sealing and protecting the drawing. Small objects may also be dipped in wax and used for wall installation. The possibilities are endless!! All materials provided.
Navigating the HOTbox: Comprehensive Encaustic Monotype and Paper Paula Roland Paula Roland Art Studio 1570 Pacheco St, Suite D-1 Santa Fe, NM 87505 This workshop is being rescheduled. For new dates, please check the website rolandworkshops.com or write email@example.com. Paula will soon announce video demos and online workshops. Sign up for email notices on rolandworkshops.com. Learn many freeing and spontaneous approaches to encaustic monotype printmaking. We create images and transfer them to paper without using a press! Multiple passes add depth of color and translucency. Or prints may remain strikingly simple with open areas of calligraphic-type marks. Complete your works with mixed media drawing on warmed prints, scrolls, options for freehanging paper, and much more. Encaustic prints are easy to handle, ship and store. Learn to use the Roland HOTbox efficiently in all your encaustic work. Leave with an armload of prints, inspired and confident to continue on your own!
Mark-Making / Carbon Lab / Monotype Mash-Up Paula Roland Paula Roland Art Studio 1570 Pacheco St, Suite D-1 Santa Fe, NM 87505 September 25 - 28, 2020 Adults. Class limited to 8 participants. Conditions will be evaluated one month in advance of the workshop. For more up-todate information, please email Paula at firstname.lastname@example.org. Paula will soon announce video demos and online workshops. Sign up for email notices on rolandworkshops.com. Develop your personal visual language and "capture" some carbon! We will work with encaustic painting, encaustic monotype printmaking and exploratory mark-making using encaustic, ink and graphite. Our activities are inspired by Zen philosophy and are designed to help you create outside of your habitual ways of working. Activities include engaging the whole body using big brushes and mops with India ink on body-size paper; making personal tools for unique marks; explorations of personal expression; composition and design; and discussions of carbon’s historical and environmental implications in times of climate change. 88
Books WAX & WORDS Lyn Belisle Released September 2018. An all-level workshop video eBook. Available on the Lyn Belisle Studio website at www.lynbelisle.com/ ebooks.html. And on Etsy (with reviews) at www.etsy.com/listing/639848999/waxwords-workshop-an-interactive-ebook?ref=reviews. An exploration of asemic writing, words, markmaking, and images enhanced with beeswax encaustic layers and gold foil. With 9 hands-on videos and 80 pages of instruction and photographs, this is an eBook you will go to often for mixed media and collage inspiration. Interactive PDF, $18.
Beeswax, Clay, Paper and Fiber Talismans Lyn Belisle Released January 2017. A Lyn Belisle workshop eBook with videos. Available on the Lyn Belisle Studio website at www.lynbelisle.com/ ebooks.html. And on Etsy (with reviews) at www.etsy.com/listing/528054591/ workshop-ebook-beeswax-clay-paper-and.
This interactive eBook, which you can download, takes you through the process of making an enchanting personal talisman, which includes paper beads, beeswax, ribbons, and adornments. Along the way, you’ll learn other mixed media techniques for unique projects. It includes 9 instructional videos that are fun and easy to follow as well as numerous resources for materials. Interactive PDF, $18. 90
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 â&#x20AC;&#x153;Emails From Paris.â&#x20AC;? 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).
NIGHT VISION(s): Recent Work by Melissa Rubin with a poetic response by Polly Walshe Released September 2019. Exhibition Catalogue; 28 pages: recently on view at Atlantic Gallery in New York City’s Chelsea Art District, September 3 – September 22, 2019. Available on MagCloud at www.magcloud.com/browse/issue/1636034. NIGHT VISION(s) is a visual exploration of the nocturnal, tonal world, informed by the artist’s struggle with insomnia. In this series of artworks, Rubin delves into her cycle of sleeplessness, emphasizing the repetition of evenings awake, of light diffused yet shining through the darkness, creating a muffled luminosity through her use of mixed media, which includes graphite, wax, metal leaf, powdered pigments, and oils. Within the exhibition and catalogue, there is a dialogue between Rubin’s works and the writing of British poet Polly Walshe. Walshe expresses her response to the artworks through a series of poems: Word and images are combined to give voice to the ambiguous space between night and day, between consciousness and restorative sleep. 92
Podcasts An Uncharted Journey Interview with Paula Roland The Messy Studio Podcast, Episode 109 Released February 1, 2020. Podcast is 41 mins, 18 secs. Available at https://messystudio.fireside.fm/109.
Artist Rebecca Crowell interviews Paula Roland about her inspiration as an artist and the life events that have shaped her career. For more information about Paula Roland, please go to www.PaulaRoland.com. Encaustic monotype collage, 2020â&#x20AC;¨ Paula Rolandâ&#x20AC;¨ 12 x 18 in
Is there anything new under the sun? These days, I’m painting much as the ancients did — Using encaustic wax and realism. Yet, I find myself Innovating every day, finding new ways to make tangible the muse in my mind’s eye. JuliAnne Jonker
A digital publication of International-Encaustic-Artists.org 94
Spring, Issue II:2020