encaustiZINE Winter 2018-2019

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BOARD OF DIRECTORS MELISSA LACKMAN, President (Nominated for Vice President) MELISSA RUBIN, Vice President MICHELLE ROBINSON, Treasurer PAUL KLINE, Secretary MILLIE RYAN, Membership & Chapters Director DEBORAH LAMBERT, Technical Director FLO BARTELL, Education & Grants Director KAY BURNETT (Nominated for President) SHARY BARTLETT, Board Member At-Large


DEAR MEMBERS Melissa Lackman, President




THE STUDIO VISIT Katharine Dufault





COVER IMAGE: Underpainting in Progress © KELLY MILUKAS

LISTINGS Exhibitions & Workshops 44 3

Dear Members, This will be my last letter to you as your President. IEA is now having elections to confirm the nominations of Kay Burnett as President and me as Vice President for two-year terms. It has been my privilege to serve as your President and I am confident that I will be handing over the keys to a strong leader in Kay. IEA Secretary, Paul Kline, has emailed a ballot to you all. Be sure to vote! The election closes March 1.

March 1 will also see the end of Melissa Rubin’s service as Vice President and the end of her time on the Board of Directors. IEA owes so much to her strength of leadership. I can say with confidence that if any step was taken to strengthen the value of your IEA membership since 2013, Melissa Rubin was an essential part of that step. As Education and Grants Director she originated the Grants program that now sees cash awards and scholarships to a number of artists each year. The artists who have benefited from this program have taken great strides in their careers as a result of those awards. As Vice President she continually assisted us to improve the value of your membership; and not least, she established and edited this beautiful membership publication, encaustiZINE©. Her energy and enthusiasm have been nothing short of amazing. And, if you were one of the exhibiting artists in the 2017 November/December Exhibition, HOPEFUL DARKNESS at Atlantic Gallery in Chelsea, Manhattan, you have Melissa Rubin to thank, as she identified the opportunity and did all of the extensive work on the ground to bring it to fruition. I will miss her greatly on the board; but I am sure I will remain in close contact with her as I have come to count her as a dear friend and colleague.

In tribute to Melissa’s unique creative contributions, this issue of encaustiZINE© will be the last under that name. Your Board of Directors wanted to honor Melissa by retiring the title so that her work as editor stands alone. Future membership publications will continue under a different name and style and Kay Burnett will be editing the next one. Be on the lookout for a call for contributions from her.

Wishing you all the very best, Melissa Lackman, President IEA 4

When I originally conceived of encaustiZINE©, back in 2015, my intention was to create a much needed newsletter for IEA members; a place to share news about our work, practice and exhibitions. Seven issues, and almost four years later, I realize this e-zine has become so much more. It has become a forum, a gathering place, a window where we have the privilege to peer into each other’s processes, struggles, successes and milestones as artists. In conceiving of, and requesting submissions for this issue, I felt I was finally realizing one of my original intentions for this publication: an honest and open view into the sacred space of every artist, the studio. STUDIO VISIT is just that: a visual telling of who we are as artists and a chance to visit some of our creative spaces. We are able to peer into studios in various geographical locations: from the West Coast, Southwest, and Northeast of the US, to Ireland, Brazil and a ‘pop-up’ studio in Mexico. One of our contributors, IEA member Shannon Amidon, shares valuable information with us on ways to create a more environmentally-friendly and sustainable studio. Shannon did a presentation on this subject at our retreat, FLUX, in Santa Fe this past fall, and I invited her to share her research and practice in this issue. Speaking of FLUX, we also hear from Kay Burnett, who is currently nominated for IEA President, on her reflections on the talks, demos, workshops and exhibition that took place in Santa Fe. We hear from guest contributor, Katharine Dufault, on the importance of studio visits. Katharine is a curator and artist, so she has a dual perspective on why an artist should regularly conduct these visits and great advice on how to prepare for one. Katharine also happened to be one of the judges for the 2019 LaVendeéne Awards, as well as having experience curating many exhibitions. In a sense, encaustiZINE© has kind of been my baby. But as with all babies, they do eventually grow up and the time comes to let them go. And so, this will be my last issue of encaustiZINE©. My term as Vice President of IEA is over at the end of February. I have made the difficult decision to end my time on the board, which has been since 2013, first in my role as Education and Grants Director, then as Vice President. It has been an honor to serve this organization and help grow it, with the implementing of our robust grants program, and also the conception and creation of this publication. I know there will be other great initiatives coming from the board, including a new publication, with a new name and format. I hope you have enjoyed encaustiZINE© as much as I have enjoyed creating it. All my best, Melissa Rubin Editor, encaustiZINE©: A Digital Publication of IEA Vice President IEA


The Studio Visit By Katharine Dufault

“One is unable to understand art deeply without understanding the time and place in which a work was created, and without having a proper introduction to the artist responsible to the work” Mary Gabriel, Ninth Street Women

THE studio visit is often where the “proper introduction to the artist” happens. The curator spends time with the artist and their work in the physical space where the work is created. The world the artist inhabits (or the world the artist has created) is revealed by viewing multiple works together. The artists’ personal history informs the work, whether consciously or subconsciously. How the artist and his or her work relates to the historical canon of art, 6

likewise, instructs (us in) the context of the work in the contemporary narrative. ¶ Being together with the work in the studio, and having undivided time with the artist allows a conversation to naturally flow. In the voice of the artist, the rhythm of their syntax, conscious or unconscious psychological influences can seep out through personal details, stories, and sometimes seemingly incidental events. This interaction can lead to

new interpretation or at the least provide details for deeper understanding of the artist and their work. It is usually a privilege to enter the private world which the artist inhabits inside their studio. The physical space has bearing on the work – huge and lofty, small and cramped? Windows or none? Natural light or artificial? Symmetry, organized chaos or just chaos? Does the artist work sequentially on a single piece at a time or work on multiple projects simultaneously? What medium does the artist use and how does this affect their creative vision? Even the way the artist physically appears and moves within their own space gives information. Some artists are more vocal about their work than others. Others may produce a lot of work but not talk much about it. They may say less and speak through their artwork alone. All these differences inform the curator. Artwork is subjective, and having time to sit (or stand!) and be present with the work allows one to ‘look’ as a viewer and simultaneously look through the eyes of the artist. Seeing a number of works together by the artist is an exciting and illuminating experience for the curator. Connections and dialogue between works become visible and the artist’s voice becomes stronger. This provides the curator with a greater appreciation which informs how the curator will describe, discuss and even display the work. Given my reflections above, I would like to offer the following: Some tips for the artist preparing for a studio visit: • Have your best work out – on the walls, or visible; or stacked/placed so they can be easily seen one by one. • Have the work at hand which the curator has inquired about, if already known. • If you work in series, have them grouped so they can be viewed together. 7

• Use it as an excuse to clean or tidy the studio! (I cover my paint spattered drop cloths with a clean one, to reduce visual interruption.) • Ensure the visitor can enter the studio unimpeded without having to step over canvasses, tools or equipment. • Choose a viewing wall with good light. Having two chairs, or stools at viewing distance from the work allows for a relaxed visit – not a necessity, but useful. • Have at hand a recent copy of your resume/CV, as well as press book of reviews, exhibitions, etc. (if you have it) • Refreshments are a nice touch – water at the very least! • Finally, relax – enjoy the visit. The curator/gallery owner enjoys making the visits too!

British born Katharine Dufault is a New York Timesreviewed artist, curator and visual arts consultant. She has advised non-profit gallery boards, sat on visual arts panels and served as juror for several awards. Dufault graduated with honors from Columbia University, with a degree in painting and literature after studying visual arts, graphic design and photography at Anglia Ruskin University, Cambridge, England. She is affiliated with The Painting Center, Chelsea, NY; Artsy; The Rye Art Center; Pelham Art Center; Center for Comtemporary Printmaking, CT and Katonah Museum among others. Dufault lives and works in Westechester, NY. You can view more of Katharine’s work at: http://www.katharinedufault.com(fine art and curating) and also http://www.stateofthearthome.com (consulting and design)

Creating in an Environmentally Safe and Sustainable Way By Shannon Amidon

Natural Earth Pigments is a great way to add color to your encaustic medium.

Several years ago I received a grant to help my art practice become more environmentally resilient. The grant and program identified substitutes for toxic materials and evaluated my work space in order to reduce my carbon footprint. This program opened my eyes to the ways that art making can be harmful to the environment, and gave me tools to offset or eliminate the negative effects, all of which I use in my studio to this day. Three main areas to reduce your impact on the environment are: Materials & tools, energy use and waste & disposal.

Using a palette knife and a glass muller you can make your own oil paint by combining Earth Pigments and natural walnut oil.


Materials and Tools Many art materials are toxic and bad for the environment, but the good news is that there are alternative products available. A good place to start is checking out the “green” materials section on art supply websites (Blick, Jerrys Artarama, etc.). Also, read the labels of anything you buy and consider finding alternatives. If labels have warnings for people, then these chemicals are dangerous to the environment as well.

Remember you can reuse things like glass jars, food containers and packing materials. Energy Use Artists often don’t think about energy use. Lights, power tools, heat guns and computers all contribute to massive amounts of wasted energy. Conservation of electrical energy can help to lessen pollution and reduce greenhouse gas emissions (and save you money on your utility bill).

For panels, look for the FSC certification label. Forest Stewardship Council certified products have the most effective environmental standard for the protection of wildlife, soil and water quality in forests. If you make your own boards most lumber stores carry FSC wood. Ampersand boards are manufactured using a completely green process with FSC certified wood.

You can do this by: • Replacing all of your bulbs with LED light bulbs, which are 80% more efficient than traditional lighting. • Unplugging electronics when not in use. Vampire or phantom power is caused by electronics that are plugged in and continue to use energy and drain power, even when the equipment is turned off or not in use. Plugging multiple items into a power strip and turning it off when you’re not using the devices cuts the power so you don’t have to worry about leaking electricity.

For paper, Strathmore and Canson both make great recycled watercolor and other papers. For pigments, Earth Pigments and Natural Earth Pigments make natural mineral pigments that come from the earth with no synthetic chemicals. This is a great natural way to add color to your encaustic medium. You can also mix these with walnut or linseed oil to make nontoxic oil paint.

Waste and Disposal One of the biggest culprits for artists is that we create a lot of waste. A “Life Cycle Assessment” is a good way to help determine how you can lessen your carbon footprint. This entails examining all stages of your art practice from inspiration, planning, material choices, experimentation, prototypes, by-product waste, longevity

Finally, repurposing and recycling is both budget- and eco-friendly. Source used tools, equipment and studio items from Craigslist, freecycle groups and thrift stores. ABOVE: Use LED light bulbs and power strips to conserve energy in

your studio.


of tools, finished pieces, shipping, storing, and disposal - to identify how much you are using and wasting. Buying too much of any material is a leading cause of waste creation; limit yours by purchasing conservatively. Also, you can extend the life of your products and materials by storing them properly. Knowing how to properly dispose of your waste is very important. Never throw hazardous materials or supplies in the garbage. Examples of these include, oily rags, solvent wastes, paints, empty chemical containers, spray cans, propane or butane canisters. Go online to find your local Household Hazardous Waste Program, available in most cities. Then keep separate bins in your studio for garbage, recycling and hazardous waste.


Small steps equal big impact, we only have one planet and it’s important that we take care of it. Implementing even some of these simple steps can make a big difference in caring for the environment and lessening our impact on it. For more information on materials, safety and disposal visit www.shannonamidon.com/environment Currently residing in Portland, Oregon, Shannon Amidon creates mixed media encaustic artwork. Creating in a natural and environmentally safe way is very important to her. She has been featured in many solo and group exhibitions worldwide. She has been the recipient of several grants and awards including the Leigh Weimers Emerging Artist Award, SV Creates Artist Laureate, Awesome Foundation Award, and the Art Inspector Eco Art Grant and studio makeover. Shannon has been an artist in residence at The Ayatana Artistic Research Program in Canada, TechShop San Jose, Herhusid House Artist Residency in Iceland as well as the David and Julia White Artist Colony in Costa Rica. Corporate collectors include Genentech, Wells Fargo Bank, Imagery Estate Winery and Kaiser Permanente. You can view more of her work at: http://www.shannonamidon.com

RINAT GOREN: MY STUDIO My studio is the one space that is designated entirely and completely for me- it is where I work, mostly alone, where I talk to myself, where I create, where I debate, where I learn, where I play and where I breath in my own pace. It is my home inside my home. It is the space that is designed to serve my artistic physical and mental needs. I am very fortunate to have a studio on the second floor of my home (it is the only room on the 2nd floor in my home). It is located in the San Francisco Bay Area and I have a beautiful view looking east towards the bay and the East Bay shores and hills. What I see when I look out is mostly trees water and hills. There is plenty of light and air coming in all day from windows in each wall. The walls are covered with my own art. The pieces that hang on the walls are pieces in progress that need some time staring at, to decide how to proceed to complete them. They are hung on the walls until one day –and sometimes it takes a long time- all of a sudden I know what to do next. Other pieces are the result of explorations and playing with new techniques, new colors, and new depths. These pieces are hanging on the wall so I can remember the lesson they taught me. My tools - the encaustic paints, wax medium, my brushes and the torch - are all ready on my metal table for easy reach. I am lucky to have a space big enough Pieces that need ‘staring at’. © Rinat Goren


My storage system.

for a large table. The piece I am working on is placed under the lighting fixture between my hot palette and my torch and tools. My torch is always placed in a heavy cup so it does not topple over when it is hot. What else is on my worktable? When I work, I constantly clean my palette and keep all scraps of paints to mix new colors. I save them in silicon cup cakes molds. The encaustic paints that are shaped like cupcakes are those I mixed with left over scrapes; I love mixing them and achieving new hues. Everything else is stored in the cabinetry on the periphery of the studio. The cabinets are low, providing plenty of storage space for supplies and also a surface to lay things out and of course leaving enough wall space above them to hang art. 12

Colored paper organizer.

I use paper cuttings in most of my pieces so I have the colored papers that I preselect on a regular basis organized by color for easy access. If I need blues I grab the blue shelf and select the right paper for my piece. When I flip through magazines or another paper source and find a color that I love I cut it and put in the right color shelf. Storage is always a challenge. My goal is to create an efficient system to store my art safely and out of the way and at the same time find a specific piece when I am looking for it. The storage area is constantly changing as pieces are shipped out to shows and other events and as new pieces are wrapped and stored. My system is definitely not perfect yet‌My studio is open for visitors (email for appointments) and I welcome visits from fellow artists as well as other friends and art lovers.

Collecting encaustic paint scraps

Exploring layering

Artists are often recognized through a certain technique or subject matter. The same is true for artist Rinat Goren. Goren’s work is identifiable by her techniqueencaustic collage and by her subject matter- mainly people as individuals, their thoughts and their values. Goren was born and raised in Israel and immigrated to the USA as a young adult. She was greatly influenced by American values such as individual rights, freedom, mindfulness and independent thinking. Growing up, Goren always created and observed art. Only as an adult she recognized art as her call. Collage making was a suitable way to convey her values. Starting with acrylics she later discovered encaustic and immediately made the switch. Beeswax turned out to be perfect for layering her work and creating depth and volume. Residing in Woodside, CA with her husband and three daughters, Rinat Goren appreciates California’s beauty and diversity. She loves the outdoors and there is no doubt that the California colors find their way into Goren’s art. Deep oranges, yellows and reds are the most common hues one would find in her art. Her inspiration - people around her who achieve fulfilled life through hard work and mindfulness. People who use their mind, through reason and choice are often the subjects of her work. Rinat Goren has been an encaustic artist since 2009. Her work is mostly abstract with some figures. She has participated in numerous juried and solo shows and her work can be found in residences and companies in the Bay Area and the US. You can find Rinat Goren’s art at: http://www.rinatgoren.com

My friend the torch


STUDIO VISIT: BRAZIL By Ana Carmen Nogueira

Multiple views of Ana Carmine Nogeuira’s studio in São Paulo, Brazil


My name is Ana Carmen Nogueira, I have a Bachelor’s degree in Fine Arts with a major in Special Education and Art Therapy, and a Master’s in Education, Art and History of Culture.

not see. Since then I've been researching encaustic painting. Working with wax is a passion: the more we discover the more we want to know. Encaustic painting charms our sight, invites our touch and provokes our sense of smell. We do not have full control of the material, but we learn to work with it. Wax is always the coauthor of our work: it has its own purpose, so we must respect it and appreciate where it wants to tread. Over time, we learn to express our creativity following the directions it gives us.

I worked for five years developing an art workshop for the visually impaired within the Access Project at the Brazilian Center for Specialized Instruction for the Visually Impaired, an NGO in São Paulo, Brazil. It was this contact with the visually impaired that prompted my search for new ways to understand art. As a result, I started researching encaustic. I wanted to find a method that would be tactilely pleasant for the visually impaired to explore the world of art when using their hands. I sought something that combined all five senses: hearing, sight, smell, touch, and taste. I wanted something that combined all the senses, not only sight or hearing, into one single aesthetic experience that everybody, including the visually impaired, could enjoy. In one of the projects I developed with my students, I worked with melted crayons and realized the outcome was very interesting for both people who could and could

ABOVE (top): Not being able to find encaustic paints in Brazil, I produce encaustic medium and paints for my own use and to sell to other artists throughout Brazil. ABOVE (bottom): My cats, Hannah and Philomena, are always with me in the studio— judging the merits of the art being produced!


Currently in my studio I teach people who want to learn this technique, and also people who seek personal development. Encaustic painting can be highly relaxing and capable of providing unique experiences, leading the mind to a state of suspension in which time is not felt. It makes the spirit light, removing the day-today burdens. It is also a wonderful tool for self-study, and undoubtedly a great inducer of self-knowledge. When there is freedom, with spontaneous flows of movement, we experience something magical, whether it is something new or that was just dormant. Observing the images that appear and the dialogue that arises between our creation and us is all we need.

Some of my finished work.

Encaustic is little known in Brazil. There is no literature on this technique and it is not possible to find any supplies in art stores. So when I became interested in this technique, I watched a lot of YouTube videos, bought books online, while also trying to get materials similar to the ones I learned about. Finally, I decided to produce my own encaustic recipe. After a lot of trial and error, I got it right! Today, I am sure that what I love about encaustic is knowing and performing all procedures. My encaustic recipe contains pure beeswax, carnauba wax and rosin resin. I decided to

substitute Damar resin with carnauba wax and rosin resin, because Damar is imported and thus expensive to work with. Both carnauba wax and rosin resin have a much higher melting point (80° to 90°C) than the beeswax which is 65°C. In addition, carnauba wax comes from the Carnaúba palm, a typical plant in the northeast of Brazil known as the tree of life, because every part can be used. Rosin resin is obtained from coniferous trees found in the south and southeast of the country. All together making a paint that is better suited to our climate and more self-sustaining.


A former garage is transformed into a captivating home studio for Tiverton, Rhode Island artist,



away from the building so the ground could dry out and foliage could grow. The forest and marshland now gently hug the studio, creating an almost utopian scene. In the larger studio, Milukas focuses on her pastel art, and has her office, a small heated kitchen, framing shop and storage located there. Movable furniture throughout the room, rolling carts, stools and tables for meetings and late night snacks, allows flexibility. Cedar planks, the majority of which were installed personally with her husband, line the walls and ceiling to complete the rustic look. The original oilcovered floors add an organic element to the refurbished space, and she acid-etched them herself. In 2012, Milukas added what she calls “The Hip: The Magic Room,” to serve as an additional gallery space and encaustic and sculpture workshop. It was important that this space visually complement the other. As you enter the room through a custom-made Dutch door, an aged glass display

Down a crushed stone path leading to an elegantly restored garage, this unassumingly magical place embraces a piece of history, as well as its current life as an art studio, workshop, and gallery.

Others might have considered demolishing the rustic outbuilding that had been enveloped in overgrowth. But knocking down an old building to make way for a new one wasn’t in the plans for the Milukas family. Instead, what once was a severely dilapidated building now is Kelly’s ultimate art studio and gallery. Milukas’ father, a former lumberjack, flew out from U.P. of Michigan, and he was meticulous about how he thoughtfully brought the tree line up just enough and

PREVIOUS PAGE: View of the main studio; ABOVE (left): The priming table; ABOVE (right): The working encaustic table. All photos © Kelly Milukas


ABOVE (left): rack of wax colors. ABOVE (right): Hot plates and HotBoxes.

cabinet holds Milukas’ “Cabinet of Thoughts.” Here she displays works in progress and pieces of found objects for inspiration. Old pine boxes attached to the wall serve as shelving. To catch just the right light, Milukas has a large movable station for creating her encaustic works. A combination of ten hotplates and Roland HOTboxes allow large-scale works to be created.

the space is also important; she gifts the studio to a close friend for her to teach weekly art lessons. The studio is meant to be shared and full of creative spirit. It becomes a nest to the students and helps them be creative. The classes lovingly take up time and space here, which is important to Milukas. After years of requests, Milukas will begin teaching encaustic workshops for the first time this spring.

Nature continued to be part of her design with large forest-facing French doors and windows that create an ever-changing palette of colors through the seasons. To maintain as much natural lighting as possible, Milukas installed several skylights, floor to ceiling corner windows, and a wall, punched with several paned windows, to connect the two rooms and allow the sun to pass through.

Kelly Milukas is an award-winning multi-media artist whose practice includes sculpture, pastel and encaustic painting and fine art photography. Her “Keys to Cures” have been exhibited in many venues including The Ronald Reagan International Forum in Washington DC; the Museum at Palm Beach Photographic Centre, FL; and the Regenerative Medicine Forum in Berkley, CA, among others. Her art work is in national museum, international private and corporate collections, such as The Boston Group; Intarcia Therapeutics; Simpson Healthcare; and Wake Forest Institute for Regenerative Medicine, to name a few. She has served as a curator and juror and has presented talks in museums, arts and science forums, and arts organizations. She is a founding

Full of life, inspiration and plenty of room, the Bow House Studio contains more than artwork. This is a great place to member of the South Coast Artists, RI & MA, and the president of the Providence entertain. Milukas has parties for family and friends during Art Club. You can view her work at: http://www.kellymilukas.com summer ‘South Coast Artist’ open studio events. Sharing 19


“My custom made encaustic SHE-SHED”


little sanctuary for me and my family, a place to love and create. Some call this a life of hiding; I prefer calling it a life well lived, giving space and time for inspiration and creativity. A place and time to breathe. Before I owned my own studio, I used to work in my house. I loved this space; however, there was always something else to do, cleaning, washing, procrastinating, instead of working in the studio. I needed to get out. I researched a fair bit the various options available. Yet the idea of owning my own woman shed was really ticking all the boxes. I was I have been very busy in the studio the last few months and I count my blessings to be working in a place I can call mine. I cannot believe that three years ago, I finally realized my dream: build my own encaustic she-shed, away from the house, surrounded by the beautiful garden and close to the lake shores. We are very lucky to live in the wilderness in East Clare in Ireland, with the lake in our ‘garden’. I have lived in the countryside for years now; I will never consider going back to the craziness and distractions of cities and towns. The wilderness feeds my soul and inspires me. I have created this PREVIOUS PAGE: Isabelle’s ‘she shed’; ABOVE (top): My happy place; ABOVE (middle): Studio shelves with powdered pigments; BOTTOM: A beautiful mess. All photos © Isabelle Gaborit

ready to join the she-shed movement which was sweeping the world, where women everywhere created their own space, their own cave, spaces to create and relax…why should it only be a man thing? It had to look unique, bohemian and most importantly mine. It had to be custommade for the encaustic process and most importantly be safe and healthy to work in. I contacted a company based in Ireland and we discussed together the design of the 21 studio. I gave them the size and shape I needed. It had to

ABOVE (LEFT): Working on a new piece; ABOVE (right): A workshop in progress.

have 5 floor-to-ceiling large windows, facing South, the garden and lake shores, and a never ending source of inspiration in my work. The wait was excruciating, however, 3 weeks later it arrived. I could not contain my excitement. The men quickly put up the flat pack walls and roof in less than two hours and left. We were then left with an empty shell. However, I had a clear idea what was necessary to have basic set up for an encaustic studio. We started to work on it straight away to have a fully functioning encaustic studio.

I have been working, creating and holding workshops and art retreats in my studio for three years now and I could not be happier. I can be as messy as I like, day dream and spend time away from the hustle and bustle that life has to offer, plus it gives me the discipline I crave to go regularly to ‘work’ each day. So, join the she-shed revolution, it will only make In her studio located on the scenic shores of Lough Derg, Ireland, Isabelle Gaborit has rekindled the ancient painting process of encaustics, an immediate and tactile painting method using molten pigmented beeswax. The layering and transparency qualities of this medium allow her to capture the ethereal beauty of the wild Irish landscape. She is also experienced in conducting group workshops and art retreats and demonstrations where she introduces participants to the fascinating world of encaustics in a personal and intimate studio setting. Here is Two-minute film which portrays Isabelle’s encaustic practice and inspiration: https://youtu.be/akAaW9L7fm4

Ventilation was primary. Wax fumes can be toxic and should be treated with care. We bought one good quality silent extractor fan, which removes fumes by evacuation of the air and filtration. In sunny days and during the summer, I also do tend to leave the window or door open so a good draft goes through the studio and leaves the air fresh.

We also ended up custom making a few good size worktables (some folding) and plenty of shelving also necessary in order to keep hotplates, blowtorches, and other materials. This allows me to have enough workstations for my encaustic workshops participants.


Find Isabelle on social media: info@isabellegaborit.com Facebook: https://www.facebook.com/WildFireandWax/ Instagram: www.instagram.com/isabellegaboritencaustics/ To see Isabelle’s encaustic work visit: www.isabellegaborit.com

Creating Encaustic Art “On the Go” Has Changed My Art Practice!

Work Small and Carry a Big Vision

By Lisa JonesMoore


For several years I have been traveling to Mexico to wake up my creative soul! San Miguel de Allende, a beautiful Spanish Colonial city and UNESCO World Heritage site in the heart of Mexico, is my “soul” place. The exquisite collision of Mexico’s artistic charm and Old-World culture is a sensory infusion–I am overwhelmed with the desire to CREATE the moment I arrive. There are some challenges that arise when creating “art on the go” in encaustic! Nevertheless, I’ve found some inventive ways to create art while traveling! Packing tips: I work small and carry a “big vision.” I pack my dSLR camera, large memory card and thumb drive—and

PREVIOUS PAGE: All packed, labeled and ready to go!; ABOVE (left): In my pop-up studio in a walk in closet in my rented apartment; ABOVE (right): Some of my improvised and hand-made tools for creating art ‘on-the-go’. All photos © Lisa JonesMoore

storage. I also carry a small sketchbook for moments of observation. It’s amazing how these sketches, combined with my photos, have sparked something wonderful! My number one rule is to make most art supplies and tools fit into my carry-on. For my paints, I pack Enkaustikos Hot Sticks and Wax Snaps, as well as 40ml R&F bars. All supplies and tools go into clear zip-lock bags, labeled in Spanish! If I need to go minimalist, I bring only clear medium, white encaustic and brushes. I supplement with mixed media supplies such as inks, soft oil pastels (Sennelier), watersoluble media, and graphite/pigment powders (for pigment “rubs”). For my substrates, Art Alternative’s 5mm MDF panels (4”–6”) are great for travel. I also work on 12x12” standard cradled panels, which fit nicely into my suitcase. My “go-to” encaustic hotplate is the R & F 12x12” heated pal24

ette. I pack this in my checked bag, along with sharp tools. I add a small Enkaustikos anodized aluminum plate and a pad of sumi paper for some encaustic monoprinting. Heatresistant stencils also come in very handy.

My Iwatani torch head is a MUST, and I buy butane canisters when I arrive. I pack a small quilting iron and a craft heat gun –no more than 750 watts! Using one in Mexico can blow a circuit faster than I can say “Buenos Dias.” I turn off all unnecessary electrical appliances prior to use and say a prayer to Mexico’s patron saint, the Virgin of Guadalupe! Setting up a pop-up studio: Ventilation, electrical outlets and the absence of flammable items are musts. If there is only one outlet, I use this for my encaustic hotplate and use the torch to fuse wax in a safe, ventilated area such as an outdoor balcony. I use foil and heat-resistant silicone pads in all work areas, and buy inexpensive oilcloth to cover the floors and tables. Gathering inspiration: Frequent “photo strolls” with my iPhone and sketchbook help me focus on surfaces, colors, patterns and textures! These “walk-abouts” are perfect for creative inspiration.

ABOVE: 45 Cruciforms, Reconstructed, 36” x 36”, encaustic and mixed media, forty-five 4” panels on three cradled panels © 2018 Lisa JonesMoore

Back in the “studio”: I post some favorite images on my laptop or iPad. Then, I reduce images of the day down to the essence. Less IS more! I work quickly on small panels, creating surfaces and textures with wax and alternative media. I set up my monotype printing plate and create some spontaneous and juicy encaustic prints, as well!

Lisa JonesMoore, a former graphic designer and “en plein air” painter, holds a BFA from Colorado State University. She is the founder of the group WOW! (Wax On Washington). She creates and teaches out of her studios near Seattle, Washington, and San Miguel de Allende, Mexico. Her inspiration comes from Nature, Latin American

Back at home: I assemble my small panels into what I call my tacTILE mosaics©. For instance, if I come back with twelve 6” panels, I might assemble them on a larger cradled panel that is 12x36”. I attach these with industrial glue, nails or screws. Occasionally, I add some mementos I picked up from my travels–such as rusty items or bottle caps. My monotype prints also spark wonderful ideas for future paintings!

culture, and her travels into the heart of Mexico. She is teaching her workshop, Vision & Touch: Discover the Textures & Colors of Mexico, in March 2019 in San Miguel de Allende. To find out more about her customized classes & workshops or to join her e-newsletter mailing list, contact her here: lisa@jonesmoorestudioart.com. www.JonesMooreStudioArt.com





By Carol Mell

When we moved to the Albuquerque area, I told the realtor I wanted a studio. “In your price range,” he said flatly, “you won’t find it.” We ended up with a half-acre of scrub surrounded by working folks who trade long commutes for affordable housing. On the back corner of the lot was a large double garage-sized, drive-thru steel outbuilding, a Quonset hut, that the former owner used for his four wheelers, motorcycles and a boat. It had a workbench with a can crusher, no electricity, and rain leaked under the walls and across the floor. I wondered if I could pay someone to haul it

That winter of 2014 I fixed up a 10 X 12’ bedroom for a studio. Almost every one of my encaustic pieces starts with a digitally edited photograph, so I painted the purple walls neutral gray to avoid a color cast on my screen. My computer desk fit in a corner by the closet where I removed the doors for art storage and a file cabinet. I replaced the shag carpet with vinyl flooring which is water and scratch proof.

PREVIOUS PAGE (TOP LEFT): The Quonset Hut studio sits below the house with a view of the Sandia Moutains, Albuquerque City Lights and frequent hot air balloons; (BOTTON LEFT): The studio is not winterized but in New Mexico I can work almost half the year there; (RIGHT): I need a lot of storage to keep my work space clear. Wire shelves and clothespins are a great combination. THIS PAGE: Garden fencing attached to bolts holds my bone collection, tools and paintings in progress. All photos © Carol Mell

For my worktable, I installed a board on two trestles for adjustable height and tilt. I put in a window exhaust fan, inexpensive wire shelves and a wire kitchen shelving unit with a mesh back for hanging tools. I got a rolling three-tier cart and two heavy duty extension cords for my hot plate, griddle, and heat gun. The hotplate gets plugged in the hallway to avoid tripping the fuse. The light is not the best


for painting with oil stick or pan pastels so I have an easel I can move around the house. Later, I put together a worktable from a kit for my large printer. By Spring of that first year I felt cramped and considered the Quonset hut anew. It was a waste of space we used for rakes and shovels. Birds and mice nested there. I got bids from contractors with the idea of making a year round studio but the price tag was out of reach.

that was perfect for journaling, day dreaming or watching the roadrunners, rabbits, coyotes, quails, lizards and a great horned owl that live in the arroyo that runs alongside.

ABOVE: Closed For Winter; In winter I work inside on creative photography edits and dream of spring.

Still, the Quonset hut had positives. It didn’t leak from the top, so as long as things weren’t on the floor they would be safe. With both doors open it had great ventilation and light. You would think a metal building would heat like an oven, but the metal reflects. Even in triple digits, it is surprisingly comfortable, at least in the mornings and if there is a breeze. The previous owner left an extension cord that reached from the house though I had to have a circuit freed up so I wouldn’t blow out the refrigerator in the garage when I plugged in my heat gun.

I already had a large dining table that I installed across from the workbench, the legs on pallet pieces to make it a good standing height. I bought plastic shelves for supplies and used wire fencing on the exposed bolts inside to create painting walls, to hang tools and my bone collection. I used wood pallets to store painting panels off the floor. I built a red rolling cart from a kit and found another one at Goodwill. One day I even found a leather chair and stool on the street

The Quonset hut is where I make medium, mount and pour large pieces, keep paintings in different stages of dryness and store materials for shows and workshops. I’ve discovered that encaustic pieces don’t suffer in the heat or cold.

I’m learning to use torches and a camp stove. I’m thinking about a camp griddle next summer. I’m always sad when I close it up for winter but I retreat to my indoor studio and work on digital images, plan my next series and projects, print and play with smaller encaustic ideas and wait for Spring.

Carol Mell is a photographer, iphoneographer, encaustic and digital artist working in New Mexico. Her work, workshops and exhibits can be found at www.carolmell.com, Pinterest, and Instagram. A few of her very homemade videos demonstrating encaustic from the Quonset hut can be found on Youtube.



I escape to my studio to savor the fragrance of beeswax and the warmth and rhythm of my torch. My paintings and sculpture evolve, even when I try to plan. I build up layers and scrape them away. Then I add more wax. Sometimes I add fiber and paper or other found material to the mix. I experiment, construct, deconstruct, and re-do until my art says what it is meant to say. I excavate stories, scars, and symbols and give them form. I work with encaustic because I am drawn to the sensual, versatile, unpredictable, and preservative nature of the medium. The shaping and movement possible with hot wax and pigment is seductive and satisfying. I sculpt and paint with determination, passion, and with a spirit of exploration that I hope my audience can feel.


I have lived in our quirky little beach town on California’s Central Coast for almost sixteen years, and for most of that time I have been able to claim for my studio a roomy upstairs bedroom with a big closet and attached bath. Northwest facing windows provide good ventilation, excellent daytime light, and spectacular sunset views. Because of our moderate Mediterranean climate, until very recently I relied on our Pacific breeze and open windows to pull fumes away from my work space. Brisk cross ventilation and a box fan by my griddle were adequate and worked well for many years. I have just replaced the box fan with a window fan to pull air away from my griddle and out the window. I continue to take advantage of cross ventilation. My new system is working well, and our house no longer immediately announces that I paint with molten beeswax.

Electrical requirements increased when I began working in encaustics, and I overloaded circuits more times than I would like to count before finally rewiring the studio to accommodate griddles, heat guns, electric skillet for making medium, a fan, and abundant overhead track lighting. I no longer need to grope through the dark to find the electrical panel, thank goodness. I work best if my studio feels organized and I know where to find all of my supplies. So when I complete a large painting, sculpture, or a series, I spend time reorganizing, cleaning, and tidying before moving on. I enjoy the process and am thankful to have relatively plentiful storage. To kick off 2019 and a new series, I rearranged tables and supplies to improve access to materials I plan to use the most and, I be-

PREVIOUS PAGE: Working on a repair in the studio; THIS PAGE (Above left): The studio is also a place to relax; (Above right): Storage and inspiration. Š Flo Bartell


LEFT: A special ‘love note’; RIGHT: Garage storage space.

lieve, help students feel that they have adequate elbow room. I like the fresh, open look and know I am going to like being able move large panels or sculpture more easily. I display my work in the studio on a rotating basis, but I have long outgrown available wall space. My primary storage area is in the garage and is in a constant state of flux. It seems to need weekly attention as artwork moves in and out to workshops, galleries or shows. My resolution for the new year is to make my art storage need less maintenance. Over the years, I have collected artwork, love notes, and other mementos from friends and family; I enjoy having those special pieces in my studio to inspire my students and me or bring a smile to my face. My grandchildren have worked with me in the studio from the time they were toddlers and have provided some of my favorite treasures. These bits of inspiration and connection to others help make my space feel personal and welcoming. My studio draws me. 31

Even when I am not ready to work, I like to be there to exercise on the treadmill I have tucked in a corner or to read or strum in the chair I once used to rock babies. One ukulele stays in the studio to enjoy while my wax melts or a painting cools before the next step. My studio is my special place to At age ten, Flo Bartell began private art study in South Carolina. Though her passion for art continued, she pursued a career in education and mental health. After many years working in those disciplines, she opened a needlework business, taught needle arts, and designed children’s clothing, quilts, embroidery, and needlepoint. She also began to study art again. Moving to Los Osos, California in 2003, she continued her art study. Now Flo divides her time between family, music, creating, and teaching. She currently enjoys telling her story through the texture and intense colors possible with encaustic - wax, resin, and pigments. Flo’s art has appeared in numerous exhibits, on magazine covers, and some has been adapted for needlepoint. Her embroidery designs have appeared in an internationally distributed magazine, and her many essays have appeared in several South Carolina publications. Flo is a member of the San Luis Obispo Museum of Art, The Painters Group, Central Coast Sculptors Group, Morro Bay Art Association, and International Encaustic Artists. She currently serves on the IEA and TPG boards and is a gallery artist at Art Central Gallery in San Luis Obispo. You can view her work at: http://www.flobartell.com


Phyllis Bryce Ely, Anne McCune, Maureen Outlaw Church By Phyllis Bryce Ely


-umns. The three share display space in the rest of the studio that also includes a few back rooms, one with an etching press and another for storage.

PREVIOUS PAGE: ‘WeThree’: Anne McCune, Maureen Outlaw Church and Phyllis Bryce Ely in their shared studio at The Hungerford, Rockester, NY; ABOVE: Ely, McCune and Church (fr. To back)

Phyllis, Anne, and Maureen—who have come to call themselves as “we three” because they spend so much time painting, exhibiting and traveling together—share a lively workspace full of conversation, music, and mutual support. A seating area, sink, tea kettle, mini fridge, microwave, and private bathroom make it easy to spend long hours painting. “We like to have friends join us now and then, and have learned we are a four-griddle encaustic studio—more than one guest artist and we have to start unplugging things.” said Phyllis.

Phyllis Bryce Ely, Anne McCune, and Maureen Outlaw Church share Studio 303, a 1,250 square foot suite in a rambling old factory known as “The Hungerford” in Rochester, New York’s Neighborhood of the Arts. The building began life as the J. Hungerford Smith Company, maker of "True Fruit" flavored syrups, and the syrup for A&W Root Beer. Over the past few decades it has become home to four floors of fine artists, craftspeople, and every sort of creative entrepreneur. Studio 303 was once a chemistry lab and still features a soapstone lab table, built-in cabinets, a funky vintage air vent, and a beautiful coffered ceiling. Windows line the east and north walls of the studio and fill the space with light (and winter drafts) throughout the day. Each painter has a

ABOVE: Phyllis Bryce Ely preparing a board for a new painting


ABOVE (left): Anne McCune explaining encaustic painting to studio visitors on a Second Saturday; (right): Maureen Outlaw Church working on an encaustic monotype.

All three work in wax; Phyllis and Maureen also work in oil, and Anne in acrylic. Easels, griddles, torches, and heat guns are in action every day. “We are lucky. Enkaustikos at Rochester Art Supply is just a few miles up the street, so we make frequent shopping runs as if we’re going to the grocery store,” said Maureen. ‘I’m going to RAS, anyone need wax?...panels?’ is a regular question.” Rochester, NY has a vibrant encaustic wax community with many artists connecting through an informal “working with wax” group that gathers to share work, processes, and ideas. All are fortunate to connect with like-minded painters and an encaustic wax paint-maker nearby. “We know, and are friends with, the people who make our paint, so we can try new colors as they are launched, and discuss our needs as encaustic artists,” adds Phyllis.

Together, the three hold open studio hours with other Hungerford artists on First Fridays, Second Saturdays, and by appointment. “Opening our studio to artminded visitors twice a month is fun and intriguing...you never know who will walk through our door. We have made a lot of new friends and attracted many new patrons,” said Anne. “We usually work during open studios so we have demonstrated the encaustic process countless times to hundreds of visitors. Word is certainly out that encaustic painting is For more information about each artist: Phyllis Bryce Ely: http://www.phyllisbryceely.com (@pbryceely) Anne McCune: http://www.behance.net/annemccune (@anne.b.mccune) Maureen Outlaw Church: http://www.maureenoutlawchurch.com (@moutlaw4)



By Merry Ryding


than hunting. A couple of the relatives had used the space as a drug drop for their meth business before they were caught and thrown in prison. Every scrubbed window and coat of paint erased a piece of the past. After several months of work, I moved in storage furniture and equipment. A friend gave me kitchen cabinets torn out when they remodeled. I moved in an old cherry entertainment center to reuse as a display for bits of inspiration from other artists and fossils, shells, anything that speaks to me. I brought in a flat file discarded from a university. I got an old metal door from a railroad car for a work table—turns out it is a perfect working surface for encaustic. I put the door on a large cast-off table with heavy duty castors, also recycled. I found an old I am so lucky. The hunting camp across the road hadn’t been used in a long while and the owners finally agreed to sell. It was a stinky, dark, cluttered, disgusting mess. For 4+ months I hauled out junk, scrubbed, painted, pulled down the suspended ceiling (inhabited by many, many mouse nests) and completely gutted the interior. My husband helped reglaze windows. My son-in-law replaced the roof, installed a new door, replaced the ceiling and added new LED lighting. Those months of work gradually purged the ghosts of past occupants. They had been a contentious bunch, more interested in fighting PREVIOUS PAGE: Peeking through the studio window; ABOVE:

Studio towards the corner; RIGHT: Workspace: metal table-top.


small museum specimens chest to use for small tools and an old rack thrown out of a shoe store was perfect for books. Somehow, bringing together so many disparate items turned the space into a very friendly, workable space. I carried my materials, tools, framing equipment and many works-inprogress across the road and into the renewed space. I often work with bits and scraps of paper embedded in the layers of wax. I see landscapes as metaphors. This region is where I am, the bits and scraps are pieces of what I am. I’ve been working on a series “Chasing the Sun” which deals with my grandparents hopes when they crossed the ocean to start a new life. I usually work on several pieces at the same time. One piece I’m currently finishing is “Falling Apart October.” Embedded in this one are scraps of music scores, rubbings taken from old bottles, maps, shell imprints. Science is telling us that we carry in our microbiomes bits of every place we’ve been. Paintings carry clues as well. To visitors I’m sure it seems messy and there is still some work to do but most importantly the hunting camp stench has been purged. One more cast-off: Sylvia, a cat that had been thrown out of a car and left to fend for herself has joined me and taken up residence in the studio. It feels like home. LEFT (top): Studio towards the back; (bottom): Workshop table


Born on the edge of the Bering Sea, Merry Ryding spent her youngest years on the northwest coast of Alaska before the family moved to Connecticut and later Illinois. After beginning undergraduate studies in Illinois and finishing with a BA in Seattle, Washington she spent a couple more years back in her home village of Unalakleet, Alaska. Now living in northwestern Pennsylvania, she has been in one place for a long time, but looks for every opportunity to hit the road and see what’s out there. Ryding earned her MA in Vermont in combined Art History/Studio Art with an emphasis on the creative process. She has studied and explored ancient media, including egg tempera, woodcut printing, encaustic and paper collage. Currently her studio works is in encaustic and frequently incorporates collage elements. Ryding has shown locally and with the Encaustic Art Institute in Santa Fe, New Mexico. In addition to studio work, Ryding teaches Art Survey classes at the University of Pittsburgh at Bradford and directs the local artists’ cooperative ArtWorks on the Summit. You can view her work at: http://www.mrydingartworks.com




making methods. My web searches led me to Paula Roland’s encaustic painting and monotype workshop in Santa Fe, New Mexico using the Roland HotBox. My workspace contains two side-by-side HotBoxes, with a single anodized aluminum top, having a surface area that is 32”x22”; using HotBoxes at a temperature range of 160-185°F allows me the immediacy and the flexibility to draw, paint, and collage while working with encaustic paint. The HotBox can be my canvas or palette when utilizing silk tissue and miscellaneous Japanese papers (e.g. Kozo, Kitikata and Unryu rice papers). Other techniques, such as mark making, involve a wide range of kitchen, sewing and drawing tools on homemade graphite paper

I have always been lucky to have a room or a space to work and create—either a bedroom or a corner in the family room. Five years ago, with help from family and friends, we bought a 12’x16’ prefabricated shed; my studio, conveniently located in my backyard, is fully insulated with finished plastered walls, wood floors and electricity. Having the studio so close to home allows me the ability to create anytime I desire. I’m a printmaker by degree, getting my BFA from the University of Kansas in 1996. After graduation, I continued with my own personal studio work. Having the desire to expand my knowledge and further my print-

PREVIOUS PAGE: Collection of on-going encaustic monotype scrolls in a drawer; ABOVE: Front view of the studio; RIGHT: Unryu rice paper on HotBox- creating a monotype. All photos © Kimberly McDaneld


to transfer marks onto my monotype encaustic paintings. I’ve found that R&F and Evans Encaustic paints produce beautiful colors that are intense and rich –providing me the ability to mix and create unique palettes. Working with hand dipped wax, pieces become transparent and with the wax paper’s unique surface, allows the ability to draw, carve and reveal layers of color and transparency. Using multilayered patterns, textures, with varied mark-making tools and rich encaustic paint colors, the process creates a unique and beautiful textile surface design. My encaustic collage paintings contain monotypes, repurposed prints, found objects, fabric, and sewing notions. Everything gets used. What was a monotype exercise to loosen up before starting a specific encaustic piece has become a free-form expression that continually evolves and is infinite in possibility.

ABOVE: East wall showing HotBoxes; LEFT: Various kitchen and sewing tools to use with homemade wax graphite paper to transfer marks onto encaustic scroll: ravioli cutter; sewing serrated tracing wheel; pizza dough docker

I’m a printmaker by degree, getting my BFA from the University of Kansas, in Lawrence Kansas where I currently live and work at Hallmark Cards as a Sr. Production Artist since 1996. My artwork has always been influenced by my mother’s sewing room. As a small child I’d often spend time creating drawings under the large sewing table while my mother, an avid seamstress and skilled tailor, sewed. I grew up having a fondness for fabric and vintage dresses. Right after college I started my personal studio work and I wanted a unique name for my space. Thanks to the influence of my mother’s sewing room, Paper Dress Studio was created. My studio work consists of mixed media painting and collage using vintage clothing as my muse. Since 2009, I’ve been working in encaustic painting, monotypes on paper. You can view my work at: http://www.paperdressstudio.com


FLUX: An Encaustic Retreat A Collaborative IEA/EAI Event at the Artisan’s Materials Expo in Santa Fe, NM September 28th – 30th, 2018 A review by Kay Burnett with photos by Gerry Burnett

Francisco Benitez conducts an encaustic portrait-painting workshop

Whether you were a new encaustic painter attending your first art conference or an experienced encaustic painter well into your career, FLUX offered wonderful opportunities for expanding your skills, learning new techniques, showing your work, giving a presentation, meeting with the vendors, learning about new materials, and making new friends with likeminded artists. You could even get one-on-one time with Alyson Stanfield, aka the Art Biz Coach.

Paula Roland offered an all day encaustic monotype workshop.

There were at least 20 encaustic and cold wax classes covering topics like painting figuratively in encaustics, building non-traditional supports for encaustic painting, encaustic monotype, eco-printing, photo encaustics, the nature and allure of encaustics, getting started with cold wax, cold wax landscapes, and mixed media. And the instructors included Francisco Benitez, Paula Roland, Michelle Belto, Julie Snidle, Shary Bartlett, Micheal Billie,


Jane Cornish Smith, Catherine Trapani, Angel Wynn, Jorge Luis Bernal, and Jim Gautier. The presentations, talks, and demos also covered a wide range of topics including Instagram for artists, creating art in an environmentally safe and sustainable way, making encaustic medium, working with wet shellac and mica dust, encaustic accretion, encaustic relief, creating whimsical char-

TOP: Kay Burnett gives a talk on creating 3-D whimsical characters with encaustic; BOTTOM: Michelle Belto conducts an alternate substrate workshop.

acters, encaustic and mixed media, cold wax and mixed media, and methods for framing, packing, and shipping your work. One of the highlights for me was going to The Museum of Encaustic Art, MoEA, in Santa Fe for the opening reception of “Melting Pot/Melting Point”, which is a metaphorical reference to the American ideal of a society becoming more


TOP: Some of the workshops were on the outdoor patio; BELOW: Francisco Benitez gives opening remarks at the exhibition ‘Melting Pot/Melting Point at the Museum of Encaustic Art in Santa Fe.

homogeneous, with different elements fusing harmoniously together to create one common culture. And the wide range of encaustic paintings and sculptures selected by the distinguished juror, Francisco Benitez, resulted in a show that brought together many points of view and celebrated our differences as human beings and as artists. How often do you have the chance to see an entire museum filled with a wide range of encaustic paintings and sculptures? And meet many of the artists in person. The La Vendéene Awards Banquet at Gabriel’s Restaurant honored four amazing artists: the recipient, Janise Yntema, and the three finalist, Lorraine Glessner, Patricia Baldwin Seggebruch, and Michelle Belto. All four have made outstanding contributions to the advancement and practice of encaustic art. And I’ve been fortunate enough to have taken classes from two of them. We also honored the unsung heroes of IEA and EAI – the IEA board members (Melissa Lackman, Melissa Rubin, Michelle Robinson, Paul Klein, Janet C. Hickok, Millie Ryan, and Deborah Lambert) and the founder of EAI, Douglas Mehrens – who work to provide us opportunities for gathering at retreats like FLUX, showing our work in galleries and museums, taking classes from noted artists, applying for grants and artist residencies, and connecting with other encaustic artists. And our keynote speaker, Alyson Stanfield, aka the Art Biz Coach, gave excellent advice about what it takes to be a successful artist.

TOP: Julie Snidle conducts an all day workshop on various encaustic techniques; BOTTOM: Alyson Stanfield, aka the Art Biz Coach, gives her keynote speech at the La Vendéene Awards Banquet at Gabriel’s restaurant.

For me, FLUX was an opportunity for me to thank some of the teachers and mentors who helped me grow as an artist. And to give back by sharing my art and some of the techniques I use with other artists. It was also a chance to catch up with old friends, meet people I correspond with online, and make new friends. And for that, I thank everyone 43

EMAILS FROM PARIS: An exhibition of encaustic paintings and sculptures

By S. Kay Burnett February 1 – March 31, 2019 Opening reception: February 1 San Luis Obispo Museum of Art 1010 Broad Street San Luis Obispo, California 93401 805-543-8562 https://slom a.org/exhibition/em ails-from -paris/


EXPLORING THE FUNDAMENTALS OF ENCAUSTIC AT BOW HOUSE STUDIO Instructor: Kelly Milukas Where: Bow House Studio Tiverton, RI 02878 When: Saturday, April 6 & Sunday April 7, 2019 Time: 10am – 4:30pm Ages: Adults Class Size: Limited to 6 Applied and tooled with low-heat and highoctane instruments, and brushes from a molten wax palette, it is truly an outstanding journey in art making! This fast-paced workshop will introduce all the necessary skills and knowledge to make Encaustic part of your creative process. More Info www.kellymilukas.com



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