The Enso Circle Exhibition Catalog 4

The

THE Enso ENSO CIRCLE

Circle

an invitational online artists’ residency created and led by michelle belto and lyn belisle an invitational online artists’ residency created and led by michelle belto and lyn belisle

CATALOGUE CATALOGUE

OF RESIDENTS’ FINAL EXHIBITION OF RESIDENT ARTISTS’ CULMINATING EXHIBITION JANUARY 2022 APRIL 2022 1

Copyright © 2022 by Lyn Belisle and Michelle Belto for The Enso Circle. All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher and the artists whose works are included except for the use of brief quotations in a book review.

Printed in the United States of America

The Enso circle symbolizes many things: the beauty in imperfection, the art of letting go of expectations, the circle of life, and connection-- the imperfections and contours are exactly what makes the Enso beautiful.

First Printing, 2022

The Enso Circle An invitational online Artists’ Residency Created and led by Michelle Belto and Lyn Belisle

theensocircle.com

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INTRODUCTION: THE ENSO CIRCLE I reread some of the early communications between Lyn and I from 2015 when we first began planning what would later become The Enso Circle. Back then, I was doing a lot of teaching on the road and Lyn had created a thriving art center. The original impetus, I think, came from wanting to continue and expand our collaborative teaching experiences into something more enduring. We continued to throw around ideas for the next couple of years, while life took us in different directions. The proverbial window opened when Covid forced us all into quarantine. Separated and isolated in our studios across town from one another, we had time and energy to design a focused experience based on connections-creative, collaborative and community—the opportunity we wanted for ourselves. The Enso Circle Artists Residency was born.

David Brooks, NYT columnist, wrote recently that 2021 has been a shapeless year.

He was speaking of the experience of isolation-fog, a weariness of spirit that comes with seemingly endless waiting as a Covid world marks time.

I am struck by the contrast of Brook’s experience to those in the Circle. During the last twelve weeks, I witness artists immersed in art making, shaping their weeks through personal goals and accountability to the community. Our Zoom meetings and Slack discussions are lively and engaging, often punctuated by laughter. There is a palpable excitement and a pride in accomplishment evident in posting of work in process. Requests for critique invite supportive discussions followed by new insights.

Yes, is so many ways, 2021 has been a shapeless year. Lyn and I are humbled to weave the fabric of the Enso Circle twelve weeks at a time.

The stunning work in this catalogue speaks to the professional and artistic growth of each participant. The variety of media and artistic expressions you see here has been a rich and exciting cross-pollination of ideas and resources. Thanks to each of these amazing artists for allowing Lyn and I to be a part of their life and their creative process.

Michelle Belto Co-Founder, The Enso Circle April 29, 2022

This is the fourth Enso Circle Exhibition Catalog. In my preface to the last catalog, I wrote, “The big surprise to me is how this Residency program has affected me personally, renewing my tattered sense of optimism and reviving my absolute faith in the creative force of community during uncertain times.” That thought is even truer at the conclusion of this fourth twelve-week term.

It’s a challenge to try and describe the amazing synergy this group puts forth with its generosity, its insights, and its trust in each other. I found a metaphor yesterday when I came across an article in The Atlantic about starlings. When starlings flock together, wheeling and darting through the sky in tight, fluid formations, it’s called a murmuration. The patterns they create as a group are mesmerizing, and yet each murmuration is made up of individual birds who know intuitively that their existence is enhanced by the group.

The Enso Circle is a murmuration of sorts, a murmeration whose wholeness depends on each starling’s willingness to complete the journey home. Each of the Resident Artists whose authentic, eclectic work graces these pages answered a call for a concept that had not been tried before – a virtual Art Residency based on a mutual journey toward fulfillment. Like starlings, we’ve inspired each other in creative, trusting ways, sometimes taking the lead, and always flying close to each other.

In their individual exploration of eclectic media, Enso Circle Residents have produced a compilation of work that analyzes and expresses personal struggles, celebrates overcoming difficulty, and revels in the absolute joy of nature. You’ll see powerful visual and descriptive examples of these authentic statements on every page of this catalog. I am grateful beyond words for each of the artists on the pages and stand in awe of their deep commitment to their art and to each other on our journey together.

Lyn Belisle Co-Founder, The Enso Circle April 29, 2022 4

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WHAT IS THE ENSO CIRCLE? The Enso Circle is an invitational art residency, a dedicated three-month time period in which you will join a community of creators for a specific self-chosen goal that is unique to you. The online residency provides the comprehensive artistic support that you need to focus and strengthen your work.

You will have access to workshop sessions, a private online library of resources, regular Zoom critiques and group discussions, and presentations with guest artists.

During the three months there will be opportunities to share your work in process, troubleshoot stuck points, get positive and supportive feedback, and meet one on one with Lyn and/or Michelle.

The residency culminates in a shared online exhibition and catalogue. This catalog showcases the work of the Current and Continuing Residents of The Enso Circle for the spring, summer, and fall terms of 2021 and the spring of 2022.

WHO IS THIS COMMUNITY FOR? Artists who are ready to focus on a conceptual goal in their studio practice. It could be a social theme, an exploration of media, a series of work that analyzes personal struggles or celebrates overcoming difficulty.

It’s also a space for those of us who feel stuck in our work, need the externally imposed order of a community of creative colleagues, and value the exponential wisdom of the group.

If you’ve felt a sense of isolation, this virtual three-month residency may be exactly what you need to re-connect to your art practice through synergy with others in The Enso Circle.

CURRENT ENSO CIRCLE RESIDENTS SUSAN BURTON MONICA DEVINE DIANA SHAY DIEHL LINDA MANNING VICKY MITCHELL LISA MORIARTY LEEANN RHOADES MARCIA ROBERTS KELLY THORSON LISA WALKER LEAH WILLINGHAM

If you feel the need for a balanced experience that encourages both personal creative time and guided encouragement from like-minded working artists, you will find a home in the Enso Circle with Lyn Belisle, Michelle Belto, and your fellow art Residents.

TO LEARN MORE ABOUT THE APPLICATION PROCESS, PLEASE VISIT OUR WEBSITE: WWW.THEENSOCIRCLE.COM

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MICHIGAN ALASKA CALIFORNIA TEXAS CALIFORNIA TEXAS MAINE TEXAS CANADA TEXAS GEORGIA

About the Artist & the Work

SUSAN BURTON “I have been and still am a seeker, but I have ceased to question stars and books; I have begun to listen to the teachings my blood whispers to me.”

Hermann Hesse THE CLEARING

My creative spark has patiently accompanied me through the maze of my life, especially when I was unable to recognize or embrace it. Art-making has become therapeutic, using mixed media as a vehicle to a greater sense of integrity.

MIXED MEDIA ON CRADLED BOARD 6X8 NFS

Initially, this series was inspired by an assortment of quotes and poems revolving around the common theme of acceptance. Midway through the residency, as part of the Ensights, I wrote a fairy tale using two distinctly different animals to represent myself as a child. The tale poured out of me and provided the basis for the three collages.

Working under the constraints of a series and documenting the process also evolved into welcomed insights. Although I am in the midst of processing this experience, I perceive my journey as a universal one, I befriend my creative self, and I treasure the Enso Circle for teaching me to follow the breadcrumbs.

(LEFT) THE DEBATE MIXED MEDIA ON CRADLED BOARD 6X8 NFS

(RIGHT) THE CAGE MIXED MEDIA ON CRADLED BOARD 6X8

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NFS

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About the Artist & the Work

MONICA DEVINE I am a writer and visual artist who exercises an eclectic approach to the creation of ideas. I use poetry and prose as a springboard for creating figures in clay while exploring the existential quandary of humans, animals and objects.

OPPOSITE PGE, CLOCKWISE

Observations and reflective thought on the natural world in combination with the juxtaposition of woman/ animal also provide robust subject matter. I love using my hands in direct contact with the clay to shape ideas that arise from both my heart and mind.

FROM TOP LEFT: ARCTIC WOLF ENGOBE AND ACRYLIC ON LOW-FIRE CLAY 18” X 7” X 4” $425 OH, UKRAINE CLAY AND

Mythologically speaking, the Arctic Wolf is a keeper of the spirits, a sacred symbol that represents love and loyalty. Living in Alaska, I’m attuned to the flora and fauna of northern polar landscapes.

FOUND OBJECT 13” X 6” X 4” $325 TRIBE IMAGE TRANSFERS ON LOW-FIRE CLAY, PENCILS,

Oh, Ukraine: My heart breaks for the Ukrainian people who have endured a horrific war. May peace and hope prevail once more.

ACRYLICS 19” X 7” X 4” SOLD

VENUS ON THE

Tribe was inspired by my interest in tribal markings found in Indigenous Peoples world-wild. Some markings denote beautification; others reflect specific tribal meanings and traditions.

HALF-SHELL LOW FIRE CLAY, TWINE, ENGOBE AND ACRYLICS 17” X 6” X 4” $475

Venus On the Half-Shell was born in response to the spellbinding quality of Botticelli’s painting, “Birth of Venus 1484,” first viewed while on vacation in Florence, Italy. A sketch I made of her years ago kept re-visiting until she could no longer be ignored and found a life in clay.

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About the Artist & the Work

DIANA SHAY DIEHL It all starts with a photograph. One I snap during my many miles of wandering the Mojave Desert where I call home. Some say there is nothing here, just dirt and brown and rocks. But if you stand still and listen, observe with all your senses, you get to know her ethereal essence.

FAMILIA TRIUM HAND PAINTED PHOTOGRAPH, BEESWAX, OIL ON BOARD 6”X6” EXCLUSIVELY SHOWN AT OAK GALLERY-CARLSBAD, CA

I chose these pieces for my Enso experience because they are a visual representation of my dance within these desert lands. They also demonstrate my penchant for photographic methods, natural pigments, beeswax, and words as I transform the image made during an intuitive moment into a tangible representation. It is my attempt to create a bridge between my inner and outer landscapes.

I came to The Enso Circle seeking connection – with kindred spirits and with myself. I also needed much structural reorganization to clear my path so that I can be the full-time artist I’ve dreamt of being all my life. I found that and then some.

Thank you, Michelle and Lyn, and to all my sisters in creativity. To you, I will be eternally grateful.

TWO TOGETHER HAND PAINTED PHOTOGRAPH, BEESWAX, OIL ON BOARD 6”X6” EXCLUSIVELY SHOWN AT OAK GALLERY-CARLSBAD, CA

YUCCA DREAMS OF BEES BLEACHED THEN TONED CYANOTYPE, BEESWAX, OIL ON CRADLED BOARD 12”X12” IN PRIVATE COLLECTION

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About the Artist & the Work

LINDA MANNING I don’t like to be static in my work; I experiment, and I push boundaries. The ability to try something new holds me to clay as my chosen art form. It’s a journey I’m on and it’s fueled by curiosity and adventure….and trusting the process.

In this series I’ve chosen to work in the raku process.

Using bare clay with no glazes to add pattern or color, instead, I paint with fire, smoke, temperature, and time. The raku firing process has been around since the 1580’s.

One of its main characteristics is removing the clay piece from the kiln when it is at its firing height.

I see clay as a metaphor to life. It’s not just what I do that will determine an outcome. It’s the journey through the unknowns, the risks and the rewards, the learning and the understanding that will eventually show me a result for that moment.

Trusting the process….

Linda Manning

TOP ROW FROM LEFT:

BOTTOM ROW FROM LEFT:

REST IN FLIGHT

FRUITS OF THE RIVER

CERAMICS, SAGGAR FIRED, MIXED MEDIA

CERAMICS, SAGGAR FIRED, MIXED MEDIA 10” X 32” X 8”

12” X 40” X 8”

$1250

$1250

A LIFE ADRIFT CERAMICS, SAGGAR FIRED, MIXED MEDIA

FRUITS OF THE DESERT I CERAMICS, SAGGAR FIRED, MIXED MEDIA

12” X 40” X 8”

12” X 40” X 8”

$1250

$1250

A DAY ADRIFT

FRUITS OF THE DESERT II

CERAMICS, ONE STEP NAKED RAKU, MIXED MEDIA

CERAMICS, SAGGAR FIRED, MIXED MEDIA 12” X 40” X 8”

12” X 38” X 8”

$1250

$1250

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About the Artist & the Work

VICKY MITCHELL Daily meditative walks in nature are a major part of my photography practice. It is surprising how I always find new things to see on the same path. I am very aware of the light and shadows, variations of color and interesting compositions. I usually work with landscapes and flowers, so this project is a bit of a departure.

When I discovered The Enso Circle I had just begun to go through my archives of family photos. This has been a great opportunity to spend twelve weeks sorting through and choosing images to go with my photographs to create collages. These digital collages were created in Photoshop.

Although some of my loved ones are no longer here, I feel they are watching over me.

vickimitchellphotography.com

LEFT:

ABOVE:

GUARDIAN ANGELS

HOPE

DIGITAL IMAGE

DIGITAL IMAGE

6”X6” NFS

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6”X6” NFS

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About the Artist & the Work

LISA MORIARTY

The unique properties of encaustic medium; warmth, movement, and texture all captivate me. A repetitive meditative process has been central to my creative practice piecing together blurred, fragmented, and imprecise memories.

My process combines the free flow formation of encaustic monotypes along with the repetitive assembly of paper and fabric. Recurring themes reference water in all forms as a central source of inspiration and imagery in my work.

Color, texture, light, and many built up layers are utilized to communicate my love and fascination with California coastal elements and landscapes.

Waves, sunlight, sea smoke, sea foam, tide pools and fog are all sources of inspiration.

Layers of encaustic medium, beeswax, and pigments represent that what is seen, veiled, the unseen, and that which lies beneath and imagined.

OPPOSITE:

www.lisamoriartystudio.com

BREATHING SPACE ENCAUSTIC AND SILK 36” X 60” $6200

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About the Artist & the Work

LEEANN RHOADES

Nature is my muse and my teacher. My art is a conversation between my soul and these magnificent lifeforms. They are templates of design, color palettes, and story.

Any natural form that I find intriguing and amazing can become fodder for my exploration. This recent work came from my frequent walks in the forests and beaches of Acadia National Park in Maine. The studio is my playground bursting with many media and ephemera.

A sketch or photograph sparks my memory of how the subject captivated my interest; whether it be texture, color, shapes, lighting, or feeling. I intuitively begin a piece with simple shapes of paper, washes or random prepared backgrounds to which I add the media I sense will best capture the essence of the subject.

CLOCKWISE FROM LEFT: WINTER REFLECTIONS ACRYLIC, MARKER, COLORED PENCIL, CONTE

The juxtaposition and layering of many media create unpredictable magic and frustration. This process-oriented approach helps me relive the wonder of nature.

5” X 7” $170

POD DANCE WATERCOLOR 4 1/2” X 6” $150

MALLARD MELODY

www.leeannrhoades.com

WATERCOLOR, GESSO, MIXED MEDIA MARKERS, TISSUE TRANSFER, COLLAGE, STENCIL 6X8” $170

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About the Artist & the Work

FIESTA 2022, I

MARCIA ROBERTS

ALTERED PAPER COLLAGE ON POSTER BOARD 5”X7” NFS

How is a poet like a collage artist? Both work with fragments, moments, memory, and emotion.

I began making landscape collages, imagining the vast prairie where I grew up. Over time the collages became more abstract, depicting political issues and heart-breaking news. They are constructed on 5”x7”mat board with altered paper from The National Geographic Magazine.

I write poems on them, sew on them, add buttons, beads, and sliced geodes. My poetry and collages reflect daily life, but they show an interruption of what is happening in the world. You see joy, but you also see sorrow because an artist’s duty is to tell the truth.

San Antonio Fiesta 2022 I and San Antonio Fiesta 2022 II represent the grand yearly festival that could not be complete for two years, due to the pandemic.

This year’s full-fledged Fiesta goes on as Ukraine is being torn asunder.

FIESTA 2022, II ALTERED PAPER COLLAGE ON POSTER BOARD 5”X7” NFS

marciarobertspoet.com

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About the Artist & the Work

KELLY THORSON FAMILY CONSTELLATIONS

The Girl in the Green Coat Series is a memorial tribute to my daughter Niki, who ended her 20 year battle with schizophrenia in 2017.

ENCAUSTIC ON CRADLED PANEL 24”X18” $525

I had a feral child. She cared more for the pain of the world than she could bear Some knew her as the Girl in the Green Coat. Each painting in this series incorporates remnants of her green coat. Family Constellations speaks to how our ancestors experiences and traumas can affect future generations.

Composed of old family papers and the lining of the green coat, the patches and textures represent the culmination of our ancestors old wounds and experiences that contribute to our psyche.

The colorful background trails represent the threads of ancestral spirits that contribute to the fabric of who we are. All Ways has 20 patches of the green coat equating to the Angel #20 which reminds us to be diplomatic, considerate and kind to others.

The four sides of the square are symbolic of the four elements, earth, fire, water and air and ground us here in the physical realm.

ALL WAYS

Here on earth, everyone is fighting a battle you know nothing about. Be Kind. All Ways.

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ENCAUSTIC ON CRADLED PANEL $400

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About the Artist & the Work

LISA WALKER JOURNEY ASSEMBLAGE OF NATURAL, FOUND OBJECTS 31” X 22” X 14” $200

Finding treasures in Nature has been the inspiration for my life’s work, Landscape Design, and now, my art. I am in awe of each flower, twig, insect, rock and cloud as a part of the larger landscape.

Because so much data and stimulation come at us daily, this macro vision of Creation brings me peace, tranquility. I worked forty-plus years, drawing landscape plans in 2D format, and now I am ready to create art in 3D! The textures, lines and colors of the outdoors are visible in my material choices.

WALK IN THE WOODS MIXED MEDIA AND ENCAUSTIC ON CRADLED BOARD 18” X 29” X 1.5”

From my gathering of materials, I find the lines of a branch, stump, or leaf to be a beginning of a piece. These lead me to the next component, then the next, continuing to the competed piece.

$375

The media begins with Nature: wood, leaves, handmade paper, encaustic (beeswax and damar resin) and pigments.

The results bring me Peace out of chaos.

TENACITY BRANCH HANDMADE PAPERS AND ENCAUSTIC ON CARDBOARD 16” X 19” X 17” $250

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About the Artist & the Work

LEAH WILLINGHAM

I have always been a creative soul, but I have always struggled in thinking of myself as an artist.

My high school art teacher, Arlene Teare, watched me struggle with Art 101 which was basic drawing.

She was so kind and generous and helped me understand that being an artist is not tied to just one genre. Instead of discouraging me, she opened the entire world of art and creativity to me. I thank her on every project I start.

Today I am primarily an encaustic and cold wax/oil abstract painter. My journey in painting began when I saw a picture in a gallery that was a photograph covered in wax. Today I know that to be a photo encaustic but at the time I had no idea what it was and had never seen anything like it. I only knew that the beauty of painting, the depth, layers, and history called to me.

The smell of the wax, the fact that I can do no wrong on anything I paint because I can just add a new layer or scrape something off gives me a certain kind of freedom. Now I paint as a way to express myself. It allows me to bring the beauty that I see in the world around me and share it with those that experience what I create.

SQUARE BOXES COLD WAX/OIL WITH AN ENCAUSTIC POUR ON 8X8 PANELS MOUNTED ON FOUND WOOD SHERBET BOAT

10 X 40

ENCAUSTIC ON REPURPOSED WINDOW WITH COLD WAX/OIL ENHANCEMENTS WITH FOUND WOOD

$500

20 X 30 $500

BLUE BOATS ENCAUSTIC ON REPURPOSED WINDOW WITH COLD WAX/OIL ENHANCEMENTS 30 X 24 $650

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ABOUT THE CURRENT ENSO CIRCLE RESIDENTS

LINDA MANNING

WHO BEGAN IN JANUARY 2022

Clay came to me about 15 years ago and I can’t imaging my life without it. My curiosity in how things work has an endless challenge with clay as there are so many ways of expressing this medium. I have moved mostly to sculpture over the last five years and the voice it gives me has given voice to my experiences in life and those I observe around me.

SUSAN BURTON I have always been drawn to the arts—poetry, music, calligraphy, collage, and gardening. For twenty years, I was a high school English teacher, then developed a love for lettering, and eventually exhibited calligraphy at fairs in the Midwest. Ten years ago, I became obsessed with mixed media— and I still am. I love vintage ephemera, tea bags, inks, molding paste, gesso and charcoal pencils—to name but a few of my favorite materials.

It’s my journey to find an expression, a look, or a gesture in my female and animal sculptures; or to find just the right balance in color, line and texture with a more abstract form. Clay is my roadmap to find meaning and connection and give it a voice.

During the pandemic, I eventually came to a standstill, externally and internally. I literally did not know what to do next, “no direction home.” The Enso Circle appeared and provided a lifeline. I am profoundly thankful for the content and atmosphere of the group and the clarity that this experience

VICKY MITCHELL

has provided.

For as long as I can remember, I have been creating art. I graduated with a degree in economics from UC Santa Barbara, but I chose to continue on the artist path where I have been exploring and experimenting with photography, digital, and mixed media for

MONICA DEVINE

the last forty years.

For 27 years, I worked as a speech/language pathologist in Alaska and turned to art upon retirement. I’m a writer and figurative ceramist, and many of my pieces are in response to poetry and prose I’ve written over the years.

During this residency I have been going through historical family photographs and examining my relationship to them. I chose to combine them with my photography to create ethereal spiritual imagery.

Living in an environment where wild animals are ever-present, I take clues from their mythologies and often combine their figures with the human female form. The process of forming clay with my hands provides a direct interaction that is both malleable and meaningful as figures emerge from my imagination.

DIANA SHAY DIEHL

Lisa Moriarty is a native Californian, born and raised in the San Francisco-Bay Area. Lisa is largely a self-taught artist. What began as a therapeutic escape, her artistic journey evolved into a much needed and welcomed creative outlet, becoming a place of contemplation and self-expression.

After becoming fascinated by encaustic medium, she sought to learn everything she could.

Diana Shay Diehl is a former public education specialist who melds her teaching and counseling experiences with experimental photographic processes, words, and natural mediums. Having grown up on the east coast and Germany, she now lives at the southwestern edges of Joshua Tree National Park and has for over 35 years.

With a background in Occupational Therapy, Lisa has always been drawn to process and applies this focus to her creative practice. Her process focuses on regular playful experimentation and exploration, drawing much of her inspiration from the California coast.

She often travels the western US in a tiny, tiny home on wheels or on foot with a backpack to quiet and remote spaces in the wild. Nature has always been her muse.

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LISA MORIARTY

Photo by Richard Carpenter

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LEEANN RHOADES I am privileged to have grown up in a family of artists The happiest times were filled with art making activities, excursions to museums, and creative play. As a little girl I enjoyed creating greeting cards for friends and family. This love led to serious art study including a bachelor’s degree in art education and master’s degree in illustration. Later in life I earned several certifications in various approaches to intuitive artmaking. These studies satisfied my interest in art therapy.

LISA WALKER Like most people, my parents were big influences on what I like to do and what has meaning for me. My mother was a recognized, lifelong artist and a dedicated gardener.

My father raised us on a ranch where he was certain God existed all around.

While raising a son and daughter as a single mother, I taught K-12 art, waited tables, coached synchronized swimming and often wonder how I survived. Upon retiring from arts administration, I dedicate myself to finding personal voice in my art.

Here I am, an artist, a retired Landscape Designer, a life-long fan of nature, and instilled with a spiritual feeling and deep respect for her gifts. My art applauds, embellishes and sometimes rearranges nature’s gifts, into paintings and sculptures. Due to their rich colors, tactile, and transparent qualities, encaustic, oil and pastel are my dominant media.

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MARCIA ROBERTS Marcia Roberts grew up in South Dakota and has lived in many other places, including Spain, Maryland, California and Texas. She is the author of five books of poetry. Marcia has a bachelor’s degree in Spanish and a master’s in English, and she studied poetics at New College of California in San Francisco.

She began following her interest in visual art after moving to San Antonio and has taken art classes at Southwest School of Art and with the artist Lyn Belisle, Marcia lives in San Antonio with her husband Len. Artist’s Statement My poetry is collage – my collage is poetry. Narrative drives both, reflecting dreams, memories, love of nature and landscape. The joy of writing poetry and making collage comes from the discovery of what is found in the fragments/shards.

LEAH WILLINGHAM I am a self-taught painter focusing in encaustic and oil paint and cold wax medium.

Painting is my freedom, my outlet, my way to connect with the universe and all of the beauty that I find in it. The unpredictability of the wax helps me break out of the confines of my everyday life.

Through the layers of wax and color I work to create a method of expression and connectivity. I capture light and depth to bring the viewer into nature and the world around me as I see it.

KELLY THORSON Kelly Thorson is a painter from Penzance, Saskatchewan. She has been a practicing artist for over 30 years and had her first solo showing in 1992.

Kelly is excited to explore different mediums and techniques and enjoys the chemistry of making her own paints and substrates from raw materials and repurposing leftovers and previously used items. The past few years she has been focused mainly on painting with beeswax, resin and pigments. The history of encaustic as one of the oldest existing forms of art is in keeping with her passion for ancient art forms and she finds the tactile, luminous and spontaneous unpredictability of the fluid wax when fused with a torch challenging and intriguing.

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This group of Residents was incredibly prolific in their artmaking. On this page are some of the works done during this residency that were not chosen by them for their catalog but are nonetheless eloquent and masterful.

ENSO CIRCLE CONTINUING RESIDENTS THESE ARTISTS ARE COMPLETING THEIR SECOND, THIRD, OR FOURTH TERM FLO BARTELL - CALIFORNIA ANNE BOEDECKER - MASSACHUSETTS ANN BONESTELL - CALIFORNIA GAIL BYRNES - MASSACHUSETTS SUE CONNER - CALIFORNIA MARIAN MCKENZIE-CONE - NEW ZEALAND WALDINEI LAFAIETE - TEXAS ANN LEACH - MISSOURI VANESSA MARTIN-LANGONE - CALIFORNIA HARLEEN OSBURN - CALIFORNIA LEILA REYNOLDS - TEXAS INGRID TEGNER - CALIFORNIA HEATHER TINKHAM - MINNESOTA MICHELLE TRACHTMAN - MARYLAND SARAH TREANOR - OHIO STAN UNSER - TEXAS

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About the Artist & the Work

FLO BARTELL In one of several attempts to keep a journal, I abandoned my goal of writing everyday and began to draw. Realistic portraits gave way to abstracted objects and then to doodles. My process became meditative, revealing, and therapeutic.

I usually visualize a person or a concept, make one line that represents my theme, and let my hand lead the way while I send positive energy to my subject. My style of doodling shifts and has recently evolved into a maze of curves, circles, and spirals.

In Tribute, I began in a more intentional way. To honor the memory of my husband and to help me work through the adjustments that come with the passing of a loved one, I started with a contour sketch of him. I added important dates, names, places we have lived, and small items like books and a stethoscope.

I was gradually able to avoid holding any one line precious and freely moved forward to bring balance and pleasing resolution.

Creating Tribute led me on a path of pleasant memories while I considered my future.

TRIBUTE (DETAIL) 11X14” PEN ON PAPER NFS

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About the Artist & the Work

ANNE BOEDECKER My theme for this semester’s Enso Circle was Wintering, a fallow period where growth is hidden under the cold dark earth. This winter was for me a period of quiet isolation before, and recovery after, a much-needed back surgery.

I turned to comfort art – literally as well as figuratively.

I returned to playing with fabric and fell in love with the meditative process of slow stitch.

In the book Wintering, by Katharine May, she makes reference to sewing by hand, and how fabric must be pierced in order to be sewn. This became a metaphor for healing brokenness of body and soul.

These three pieces are the fruits of this healing journey.

They embody the transformative power of taking scraps of fabric and remaking them into an object of practical as well as aesthetic value.

WINTERING

Healing Waters lap quilt combines Kwandi and Kantha style quilting methods. Pieces of fabric were hand-stitched onto squares of an old fleece blanket and then bound into a finished quilt.

Wintering is a Boro-inspired quilted vest hand-stitched from scraps of Indian cotton sari fabric.

Reminiscence is a hand-stitched journal cover using vintage fabrics and lace.

I found my way to art later in life, after many years as a quilter and crafter. Expressive art facilitated growth and healing during a time of deep grief. Since then I have shared the transformative power of art through workshops and retreats exploring collage, altered books, art journaling and other modalities that lend themselves to free expression.

In most areas of my life I am a thinker, planner, organizer.

My creative life, however, has never run according to plan. I am learning to trust the process rather than try to control it. I have also learned to create from abundance – an abundance of time as well as materials.

My work is intuitive and spontaneous, arising from inner stirrings that find their way to the surface as time and space allows. It is a spiritual practice that sustains me through the vicissitudes of aging and the turmoil in the world.

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REMINISCENCE HEALING WATERS

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About the Artist & the Work

ANN BONESTELL My father was a lumberman, as was his father before him.

Grandpa manufactured maple components for the Irish linen mills.

Dad and his brothers operated a dry kiln and sawmill, processing the lumber that put food on our tables and roofs over our heads. From a young age I learned a deep respect and love for all things wood.

In 1987, when I first heard Laurie Lewis’ song The Maple’s Lament, I began instantly to see the trees in a much deeper way. This book was born from 35 years of pondering the lyrics, truly learning them “by heart.”

Offered now with profound love and gratitude for George Anthony Beckman, Charles Leo Beckman, Singer Songwriter Laurie Lewis, Michelle Belto, Lyn Belisle, The Enso Circle and, most of all, for The Trees.

The Maple’s Lament When I was alive the birds would nest upon my boughs And all through long Winter nights the storms would ‘round me howl And when the day would come I’d raise my branches to the sun.

I was the child of Earth and Sky and all the world was one.

But now that I am dead the birds no longer sing in me And I feel no more the wind and rain as when I was a tree But bound so tight in wire strings I have no room to grow And I am but the slave who sings when master draws the bow.

THE MAPLE’S LAMENT BOOK:

But sometimes from my memory I can sing the birds in flight

MIXED MEDIA, ENCAUSTIC, AND MAPLE TWIGS

And I can sing of sweet dark Earth and endless starry nights

OPEN: 27” X 18”

But oh my favorite song of all I truly do believe Is the song the sunlight sang to me while dancing on my leaves.

CLOSED: 6” X 18”

PLATFORM: 22” X 5” X 1”

www.BonestellStudios.com

SPALTED AMBROSIA MAPLE

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About the Artist & the Work

GAIL BYRNES Much of my childhood was spent roaming the woods where I felt deeply connected to the world of nature - tree and plant, river and stream, sky and cloud, sun and moon. The woods were my friend and where I spent most of my spare time exploring, mostly by myself. I brought my sadness, grief, and worries to the woods, and always felt comforted.

Something else happened during my time in the woods. I noticed light and shadows, coolness and heat. I saw what was clearly visible and what became visible when I was daydreaming. Faces and shapes appeared everywhere - in the clouds, in the swirling water, in the patterns of leaves, pine needles and animal tracks on the ground. The sound of birds, small animals and wind in the trees, the scent of flowers and of the earthiness of decomposing leaves, the taste of green grasses and leaves I chewed upon, the roughness of bark under my hands and the soft feel of a fuzzy leaf, awakened my senses, and shaped my ideas, thoughts, and creativity.

Work #1 CROSSROAD Driftwood, stick, paperclay, ephemera 9” x 8” NFS Work #2 MOTHER EARTH Driftwood, paper clay, shell, sea glass, encaustic wax 14” x 8” $150 Work #3 HOLDING THE SORROW Driftwood, paper clay, encaustic wax, found object 13” x 6” $125 BOUND 8”x 5” Sticks, fabric, paper clay, natural objects

My art making throughout the years has evolved into the creation of Spirit Dolls, most of which give expression to the natural world. I love to use sticks, driftwood, paperclay, found objects, encaustic wax and fabrics. My recent spirit dolls are simple and for the most part without a lot of detail.

Recently, grief and loss have once again been major companions, echoing a theme throughout my life. At this time, I also feel a collective grief and sadness; the unimaginable world-wide losses throughout the pandemic, grief about our disconnection from each other, as well as from our planet and the natural world. The Spirit Dolls I have made during these past few months have centered around grief. I used driftwood, a gift from the sea, as well as sticks, paperclay, encaustic wax, and found objects to express all that comes from deep within.

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About the Artist & the Work

SUE CONNER

(clockwise from top) Kuan Yin - Goddess of Compassion and Mercy Found objects, PanPastel and encaustic on paper covered packing material

I embarked on a three-month journey of creativity and discovery.

My guide – Spontaneity My roadmap – An intuitive voice My signposts – The serendipitous moments…

My journey began with an unexpected discovery, sparked by my fellow Enso Continuing Resident artist, Wally, that lead me down a fresh, new path uncovering the magical and profound stories found within the rich history of the Chinese people. Many pieces emerged in which the Chinese Goddess Kuan Yin became the subject – three are now complete and presented here. All three pieces pay tribute to Kuan Yin’s devotion to reduce world suffering – guiding us to attain profound knowledge and enlightenment – to fully open up to our spiritual gifts.

14x13x4 NFS

Kuan Yin - Protector of Sailors and Fisherman Found objects, PanPasteland encaustic on wood panel 5x10 $125

Kuan Yin - Hearing Our Prayers Found objects, PanPastel and encaustic on wood panel 6x8 $100

I created “Kuan Yin – Goddess of Compassion and Mercy” as I continued to explore three-dimensional construction of altars and shrines using discarded packing material, then covering the structure with mulberry paper and encaustic medium. This piece, along with “Kuan Yin – Protector of Sailors and Fisherman” and “Kuan Yin – Hearing Our Prayers” utilized the wax as a means to embed images, found objects, and tyvec paper to further enhance the message. …I followed the breadcrumbs.

I did not get lost.

I am home again. www.sueconnerartist.com

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About the Artist & the Work

MARIAN MCKENZIE-CONE

(CLOCKWISE FROM LEFT) BIRD GIRL

Chrysalis by Jacob Cone Grandson of Marian Mckenzie-Cone

FOUND OBJECTS,HANDMADE WITH ENCAUSTIC 70CM X 65CM

Imagine life as a chrysalis

NFS

You begin within a shell

BEGINNINGS

Transparent and hollow

ENCAUSTIC ON BIRCH PANEL

Bird girl: This piece of art embodies more of my story. Continuing to embrace family and pull together connections, that bring closer the memories one has of life as part of family. How from small incidental things that happen years before these can in later life be placed in ways that form a story that satisfies the inner thoughts of both the person that made the art and the viewer who views the art.

And slowly you grow

25CM X 25CM

To fill that shimmering prison

NFS

Both these pieces have nothing in common with the objects but find their own stories hidden within because of the new way of viewing them.

Dreams and things you think

Found objects have always held stories for me and this piece uses both made objects, the boxes, to house the found objects, old birds nests, a rusty horn, springs, feathers given up via the yearly molting of my parrot, turquoise beads from travels in India, an old lawn mower wheel part, as a stand represents the circle of life, placed on a piece of a 100 year tree root, saved from farming days at Waitohi.

But one day

April 2022

This led me to completing the sculpture by having it sit beside a representation of an old farm building made from foam board, and bread tags printed with a poem from my grandson housing more found objects and birds nests. Sculptures connecting old and new. Generations finding ancestors in common.

Beginnings My beginnings piece continues the family search with a photo of my youngest brother and myself at one of the youngest ages I can remember playing with him in the garden at Bathgate Road Waimate in about 1952 I have linked this with pansies to represent our mother who grew and loved pansies as she loved us. I have included a nest to represent the start of a new life hatched from a warm and secure place as being the best start for a life.

These pieces yet again brought me to a place of finding security and love from being held in a strong and secure family

When you grow big enough Your booming voice shakes

OLD SHED

The cage and you ask

ENCAUSTIC,BREADTAG TILES,GRANDSON POEM, BIRD NEST, MONARCH BUTTERFLY

Why you are trapped within the chrysalis

38CM X 55CM

Outside you see webs of gossamer

NFS

You’ll never touch Oceans of stardust You’ll never drink in You notice something You are growing so much The cage is breaking around you Crumbling like glass Pouring away like sand The chrysalis can’t contain One such as you anymore The glowing world, so alive Has so much to say to you You’re ready You’re of age You thought you were scared You thought you couldn’t make it But you grow And keep growing And you fill the oceans With your life And when you pass When your dreams Are fulfilled When your time is up Not frittered away Spent meaningfully You will look back At the start of your life At the little bits of the chrysalis Left within your satisfaction And you will laugh

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Because you made it

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About the Artist & the Work

WALDINEI LAFAIETE

My artwork focuses on turning discarded items into mixed media assemblages. I reuse and recycle everyday found objects. Growing up in Brazil I had to learn how to be resourceful at a young age. Nowadays my creative urge makes me see these forsaken objects as an opportunity to repurpose, relove and reinterpret. When all the salvaged items form a cohesive assemblage what often emerges is a visual narrative which conveys a sacred sense of rustic beauty.

My assemblage art often emulates many of the ancient relics that I have seen in my world travels. I have always been intrigued by ancient cultures and their art, particularly iconic Buddhist representations because they inspire enlightenment, convey a sense of impermanence and detachment from material things. I find the process of creating harmony out of chaos fascinating, especially when the new reality stimulates the viewer’s imagination and raises awareness about our delicate planet.

This new series that I have named “The Sacred Remanifestation” reveals my artistic quest to discover a way to bring old, damaged and discarded items together in a way that tells a new story. In homage to new beginnings, forgotten objects take a new artistic identity and a sacred remanifestation. www.creativesparks.art

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About the Artist & the Work

ANN LEACH

Born a Gemini, the sign of the twins, my young life found me easily adapting to the independent twin, a playful creator enjoying hours of solitary time writing stories or making up skits for my Barbie dolls to the collaborator twin who loved to join the neighborhood kids for a softball game after dinner every night.

I had no idea I was designing a creative life of my desire then that would become the template for life now, and one that embraced the title of ‘artist’.

My second Enso Circle term had me honoring more of my twin nature in both independent art making and collaborative creating as I followed a call of the heart idea: invite my fellow Circle makers to design traditional Ukrainian Motanka dolls with our individual spirit doll flair and auction them off with proceeds going to Ukraine citizens in desperate need of help.

Nine Enso Circle artists raised $3,670 in a 2-week online auction.

We worked independently under a full moon to create the dolls and collaborated on marketing the auction and cheering each other on as we watched the bids and donations climb. We shared support, stitching time, and wishes for the end of violence and peace to the innocent.

I’ve created other spirit dolls in this term, but my Motanka doll insists on being the only one featured in this catalog. She will always remind me of the importance of balance between solo art making with collaborative group support as I continue sharing the healing power of a spirit doll.

PEACE OUT

FABRIC, YARN, BEADS

6” X 10”

NFS: FROM THE COLLECTION OF DIANA KENNEDY

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About VANESSA MARTIN-LANGONE the Artist & the Work

With perceptive intuition, I keenly observe my inner experiences in reaction to what is going on in life. My art practice helps me to make sense of things and is a cathartic experience that infuses joy in my soul.

CLOCKWISE FROM TOP LEFT: DAMOCLES MIXED MEDIA ENCAUSTIC ON CRADLED WOOD PANEL 8” X 10” X 1”

FRIENDSHIP MIXED MEDIA ENCAUSTIC ON CRADLED WOOD PANEL 8” X 10” X 1”

HERE NOW MIXED MEDIA ENCAUSTIC ON CRADLED WOOD PANEL 8” X 10” X 1”

Being a mom to two amazing boys, my creative time is often during the “inbetween”. This time is precious and my spiritual, grounding anchor. Experimenting and learning is a constant and I create both abstract and symbolist mixed-media encaustic art.

RESILIENCE MIXED MEDIA ENCAUSTIC ON CRADLED WOOD PANEL 8” X 10” X 1”

The latter type of art I make is from an analytical, deconstructive part of me that wants to convey a story. It bubbles up from a quiet meditative place in my subconscious.

Some of my paintings include the ancient Ogham alphabet, as a nod to my Irish ancestry. My work is sealed with encaustic medium, mark-making and texture with pops of color to remind one to look for the magical moments in life.

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About the Artist & the Work

LEILA REYNOLDS “FORCE OF NATURE” COLD WAX AND OIL ON WOOD PANEL 18”X18”

Water is the essence of life. The natural world is dependent upon water for life and comprises about 71% of the earth’s surface and 60% of the human body. We begin life surrounded by water in the womb. “Breaking water” is the beginning of life, and without water, there is death. In many religious traditions water symbolizes cleansing, new life, salvation, hope. And, many myths and legends consider water as a connection to the spiritual realm.

$450.00

We use water to cook, to clean, to nourish, to heal, to heat, to cool, to play. As a child, I would play in the creek on my uncle’s farm: in spring to skip rocks, in summer to cool off, in fall to fish, in winter to ice skate and play hockey.

In dreams water symbolizes movement or resistance, emotions, feelings. Water evokes many emotions: gratitude for clean water; joy for rain; peacefulness when I walk along the beach and feel the sand oozing between my toes; calmness when I hear water trickling over rocks in a stream.

“OVERCOMING RESISTANCE” COLD WAX AND OIL ON WOOD PANEL 18”X18” $450.00

I chose the ocean for this series because it reminds me of the powerful forces of life over which we have no control. It is teaching me to “let go.” I feel a profound awe for the image of strength and power the ocean offers even as it pounds the earth. The waves recede and leave silence. And tranquility.

Still water restores my soul.

“TRANQUILITY” COLD WAX AND OIL ON WOOD PANEL 12”X12” $350.00

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About the Artist & the Work

INGRID TEGNER SMALL GLIMMER OF HOPE MIXED MEDIA ON PAPER 4” X 6” $50

My work focuses on memory, history, and place; emphasizing how we are all connected to one another.

Inspiration for my work comes from current and historical events which are woven together transforming and transcending timelines of the past into the present.

Still feeling the effects of the pandemic, along with the war in Ukraine, I feel uneasy when I think about my family in Europe. I am also learning to trust in this process of art making and trying new combinations. I am grateful to belong to grounding and connecting art communities. This residency was used to explore the formal elements of composition and scale.

CHAOS MIXED MEDIA ON PAPER 4” X 6” $50

Working with collage materials using water-based mediums and a variety of papers, I produced many experimental creations, to work out compositional problems and experiment with layers, textures and mark making. Choosing materials that harmonize with encaustic painting, this is an investigation which will inform the fabrication of future encaustic work.

DISAPPEARANCE MIXED MEDIA ON PAPER 4” X 6” $50

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About the Artist & the Work

HEATHER TINKHAM Journeys. Our lives are filled with them, from large to small.

Some are Journeys that stand out; they start and end with definite events, like graduations or marriages. Some are quieter, like funerals, major health changes, moves, or retirement.

As I face the decision to close the gallery that I opened over 9 years ago with two other women, I have struggled with the idea of retirement. If I continue my creative work as an artist, have I retired? Is that even a relevant concept for an artist? It has become a way of life for me, so I think not.

My Journey in running the gallery is coming to a close. It is a big transition to being an artist for my life’s sake rather than producing work specifically for sale. My work this term as a CR has been circling around the ideas of paths, transitions, stories, and what I choose to build my life out of.

Being reborn, whether out of a fire or the slush in a chrysalis, runs the gamut from deep grieving to joyous freedom.

In this nautilus shell of life’s experiences, cycling and ever changing, there is a richness to be savored if we have the courage to be vulnerable and open to it. If we can bring ourselves to use our voice.

I had been thinking in terms of being on one journey at a time, and have come to see that for the illusion it is. The journeys run in parallel, and continue even as some end.

JOURNEYS HAND STITCHED FIBER AND BEADING 16”X16” NFS

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About MICHELLE TRACHTMAN the Artist & the Work

For this, my second continuing residency my focus continued to be experimental, using hand stitching on fabric. This residency was all about the meandering needle and what it can produce.

Between the last residency and this one I took an online class with Gwen Headley and created this piece using fabric, paint, stitch, and beading. Although this can be quite a slow process it is also exciting.

Pictured here is my version of a Needle Meandering. The technique includes using muslin or any other thin fabric, cutting it into two pieces and then randomly painting over it with two colors of watered-down acrylic or fabric paint. One piece of the fabric is heavily painted while the other piece is painted lightly. The pieces are then randomly cut in length but of equal height.

The next step is to sew the pieces back together in a strip making connections through stitching. Then the stitch meandering begins with embroidery floss, as well as some applique. And lastly beading.to add texture. Each stitch was formed to connect mind, spirit, and body. The piece is then rolled on to an antique spool and set upon the table to be admired.

Because each section of the piece is different, everyone sees something different!

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About the Artist & the Work

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SARAH TREANOR As a child, I had a towering oak outside my bedroom. It felt like my own personal protector. As an adult, I still search out trees when I need to feel grounded.

This connection to the trees has always been with me, alongside the conflicting emotions of using such life forms for human consumption. Trees have always been part of my art. In my earlier work, I photographed them. In more recent works, I incorporated them into encaustic paintings.

These new pieces expand on that by using found objects to add new layers of depth and meaning. A powerful narrative emerged as I combined found objects with my photography for this series - a blending of sacred and desecrated.

There is both a peaceful reverence and a subtle discomfort created by the wood objects and tools used to surround each central tree image. It is a visual representation of our complex relationship with the trees.

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About the Artist & the Work

STAN UNSER Creating viewer involvement is my foremost purpose. My attraction to an image makes me want to share it. I do this through merging it with other images to create a story.

The story is inspired by the images but evolves through digital manipulation and photo transfer before finishing with oils. By opposing abstract and tumultuous environments with organized figurative elements I establish ambiguity to invite the viewer to create their own story.

MY FAMILY PHOTO TRANSFERS, ACRYLIC, OIL, ON CANVAS. 24”X24” $265

I recently saw a picture of Janet Leigh’s shower scream from Alfred Hitchcock’s 1960 movie “Psycho” so I painted that. Later, I saw a Charlie Chaplin image so I started a Hollywood series.

“My Family” is a combination of a grandson’s drawings and my photos of hanging lamps at the San Antonio JW Marriot Resort.

stanunser.com

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CHARLIE AND THE SNAKE

PSYCHO

PHOTO TRANSFERS, ACRYLIC, OIL, ON CANVAS.

PHOTO TRANSFERS, ACRYLIC, OIL, ON CANVAS.

24”X24”

24”X24”

$265

$265

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ABOUT THE CONTINUING ENSO CIRCLE RESIDENTS WHO BEGAN IN JANUARY, MARCH, OR AUGUST 2021

GAIL BYRNES I inherited an old treadle sewing machine when I was 16, which began my passion for creating. I was an avid sewer for many years, and eventually did fiber arts, including weaving. I worked with clay for several years, and photography for a decade, having several solo shows. My work was

FLO BARTELL

largely about reflections and the macro world. More recently I have begun working with collage, and mixed media, and love combining different modalities. I have been an acupuncturist and shamanic

When I make art, I excavate stories, scars, and symbols and give them form with encaustic and mixed media. I work with encaustic because the smooth, glossy surface, the pleasant aroma, the

practitioner for many years and enjoy experimenting with light, energy, and flow in my art and my work.

soothing rhythm of my torch, the unpredictable and preservative nature of the medium, and the intense color and movement possible with hot wax and pigment are seductive and satisfying. I sculpt and paint with determination, passion, and with a spirit of exploration that I hope the viewer can feel in my art.

SUE CONNER The encaustic medium’s rich colors and sculptural qualities, for me, are intriguing and exciting.

ANNE BOEDECKER

I find satisfaction when I let the spontaneous nature of the wax guide me as I explore ways to

I have been on a journey towards the full expression of my authentic self through art for the past 20 years. I have explored collage, altered books, art journaling, watercolor, fabric art, assemblage and ink on yupo paper. I founded Art Heals the Soul in 2006 to share the power of art with others.

create textures, embed found objects, incorporate images, and integrate paper where the wax is

I retired from my psychotherapy practice in 2018 to devote more time to Art Heals the Soul and my own art and spiritual practice. The pandemic has limited what I can offer others, but given me the opportunity to focus on my own growth as an artist. I am currently working on a series of mixed media pieces to accompany poems about grief I’ve written over the past 20 years.

the lessons learned than in the final product itself.

ANN BONESTELL

the unifying factor. I have learned that life is essentially about the journey, what we encounter as we move forward, and how we choose to react. This is how I approach the creative process — I embrace my failed attempts and think more purposely about the process, deriving more value from

MARIAN MCKENZIE-CONE Inspiration for my work often comes in the form of poetry and I am particularly moved by the work of Sufi poets Rumi and Hafiz. Additionally, my collection of antique and vintage photographs often provides fertile ground for story. Often, a photograph will send me on a journey of exploration and research, a catalyst for the creative imagination.

I seek to work from an archetypal place, exploring ways to represent the things that we all know and feel. I like to probe the world of opposites, illustrating either a unified holistic vision or, conversely, one that describes a sense of separateness or isolation. I attempt to create a narrative in my pieces, whether simply in the language of color, texture and shape or, more elaborately, by suggesting a life, a place, a person, or a social statement.

I am a qualified pre-school and primary teacher who currently resides in Timaru, NZ. I believe that art is the freedom to explore ourselves and teach us who we want to become through trial and perseverance in the application of medium and never giving up when we think the world is against us.

For me it is about colour and imagination, feeling the color in ourselves and the world around us. I combine these two aspects and leave the viewer to decide what they see in the work.

It is my personal mission and commitment to do what I am able to add to the sum of beauty in the world.

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About the Artist & the Work

WALDINEI (WALLY) LAFAIETE Waldinei Lafaiete, aka Wally, has been working with Marketing and Communications for over 20 years. Wally moved to California from São Paulo, Brazil in the late 90’s and decided to follow his creative drive by enrolling in Graphic Design classes. This exposure to New Media Art gave him the initial inspiration to learn more about Photography.

In 2016 his photography skills led him to be invited to work for a magazine as its Creative Editor. He left his corporate job in San Antonio, TX to join the editorial board of the publication and simultaneously created Lafaiete Creative Productions, a marketing company that has been creating successful advertising campaigns for businesses in San Antonio. He is fascinated by making art that suggests subtle relationships and themes from objects not normally seen together.

LEILA REYNOLDS My journey in art began in with a search to “do something.” I joined a group of friends who gathered in a church hall to paint, with our baby sleeping in a basket in the corner of the room.

This journey was circuitous to where I am now. The many paths I took included oil, fiber arts, collage, acrylics, and now encaustic and cold wax and oil. Each path taught me how we are a global community through art as it transcends culture, class, language and race.

I find energy, excitement and connection by painting intuitively, letting the art piece speak to me as I interact with it. I believe abstract art allows the artist and the viewer discover a message or story of their own. That is my hope with each piece I create.

ANN LEACH I am a life coach/therapist and always use creativity as a

INGRID TEGNER

vehicle for expression as either a graphic recorder or doodler, creating visual maps of next steps for my clients. I have supported local artists for years as a volunteer locally but just began exploring my own creativity in 2011 after losing everything to the EF 5 tornado that hit my town. I was board president of the local arts center at the time and saw firsthand the power of the arts to heal.

My life shifted about ten years ago when I came back to California, living not far from where I was born. I left social work and finally completed my BFA. Now I work predominantly in encaustic and with materials that are compatible with this medium such as handmade paper, fiber, watercolor, and collage.

The processes I enjoy the most give me space for quiet meditation and reflection, essential elements for spiritual development. I like to explore connection and call forth beauty from the things that surround us all the time if we choose to see them.

I have been hooked on art journaling, collage, and spirit dolls as my mediums for personal healing ever since.

VANESSA MARTIN-LANGONE

HEATHER TINKHAM

An early memory from growing up in Ireland is being a little girl, painting at my grandmother’s table and feeling as happy as can be. Art and the act of creating continues to sustain me through these liminal times and I am so very grateful for it. The Enso Circle community is my North Star and I am so thankful to all of you for your guidance, support and encouragement.

“Be of good courage all is before you, and time passed in the difficult is never lost...What is required of us is that we live the difficult and learn to deal with it. In the difficult are the

I create fiber based mixed media art to express aspects of our deeply human experiences in their conflicting yet intimately integrated ways. These unique pieces are designed to intrigue and capture your imagination. My art challenges the labels we rely on so heavily, focusing on core essences and relationships, bringing more authenticity into our chaotic world.

Ideally, my pieces end up like drops of water at the intersections of a grand spider web, magnifying the heart of the matter and focusing our attention on questions that are not easily answered while drawing us close with their haunting familiarity.

friendly forces, the hands that work on us”. Rainer Maria Rilke

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MICHELLE TRACHTMAN

An important part of The Enso Circle is sharing our works in progress with the group on our Slack channel and trusting the feedback process from the group.

As a child I loved to sit and color and play with paper dolls! Eventually I craved doing something more creative. I fell in love with working with fiber and stitch. I learned to needlepoint, to make traditional hooked rugs, fabric collage/art quilts and art dolls.More

The Continuing Residents do this on a regular basis with their fellow aritsts.

recently I’ve wanted to connect more with Spirit through my artwork and started making spirit dolls. This series theme changed many times and ended up being about aging.

Creating this way is freeing and has added to my desire to work with natural elements, mixed media, and sculptural creations.

SARAH TREANOR Ten years ago, when I lost my fiance in an accident, I made a promise to myself to leave my corporate life behind and make art. I’ve kept that promise. I create in a variety of mediums like photography, encaustic, ceramics and writing every day. Making things has helped me to build meaning and purpose into my life, especially in times of grief or transition. I continue to explore my own personal journey in my artmaking process, while sharing the things I learn that help me along the way. My hope is that I can help others see their own creativity as a tool for healing and transformation.

STAN UNSER I’ve been making artwork since my retirement in 2015 and am influenced by multiple class instructors including Michelle and Lyn at the Enso Circle. One class taught me to photo transfer using dissolving paper. After learning oil painting, I started using that to finish over the photo transfers. Now I use Photoshop, a larger printer, and various mixed media processes including encaustic which I learned from Michelle.

Note: HARLEEN OSBORNE is an integral and cherished part of this Circle but is not represented in the catalog this term.

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STUDIO SHOTS: HOW WE CREATE IS A VARIED AS WHERE WE CREATE. HERE ARE SOME STUDIO PHOTOS FROM ENSO CIRCLE CONTINUING RESIDENTS.

ENSO CIRCLE FOUNDERS LYN BELISLE TEXAS MICHELLE BELTO TEXAS

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About the Artist & the Work

MICHELLE BELTO In elementary school we played a game called, Two Steps Backward. I was reminded of that game this Spring when in a funk, I asked advice from artist friends about getting unstuck. Each in their own way suggested that I revisit my old work. With nothing to lose, I two giant steps back to 2008.

RETURNING TO THE SOURCE ENCAUSTIC, MIXED MEDIA ON PAPER 15X15X1” (FRAMED 18X18X2”) $425

At the time, new to encaustic, I had begun building dimensional supports using lightweight materials and my own handmade paper. I was intrigued with these two organic materials, paper and wax, but It took me several years to harness this medium in service of the stories I wanted to tell.

During this residency I have been steadily reworking older paintings by first taking them back to their original handmade paper support. Once stripped or covered over, I was able to think past its original intention. Using the structure of what came before added a satisfying sense of history to the new work.

In this reiteration, I moved from the original neutral palette to color. Since the original forms were dimensional, I aimed to incorporate the raised areas as a voice in the story. “The Beauty of What Remained” grew out of my recent explorations with cold wax while “Returning to the Source” became a celebration of taking two steps backward to a confident step forward.

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THE BEAUTY OF WHAT REMAINED ENCAUSTIC, MIXED MEDIA ON PAPER 15X15X1” (FRAMED 18X18X2”) $425

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About LYN BELISLE the Artist & the Work

Times are not normal. And I doubt they ever will be again, because “normal” means a way of thinking of the future and interacting with others that doesn’t exist anymore. We are more cautious, lonelier, less secure in our routines and less secure about the future in general. We are scarred by the last three years in ways that we probably don’t yet fully realize.

And yet, we have discovered a resilience and an optimism that persists. There is an innate desire to create that overcomes despair. Perhaps that is why my work these past three months keeps returning toward the small, spiritual, sculptural figures that come into existence almost unconsciously, like a poem I know by heart.

WHITE ANGEL FIRED CLAY AND MIXED MEDIA 10X22”

I am not a conventionally religious person, but this work seems for me to be a form of prayer and meditation. In Barb Kobe’s wonderful book, The Healing Doll Way, she writes, “In fact it is now known by neuro-physiologists that art, prayer, and healing all come from the same source in the body, they all are as-sociated with similar brain wave patterns, mind body changes and they all are deeply connected in feeling and meaning.

THE LISTENER 8X12” FIRED CLAY AND MIXED MEDIA

None of these small figurative pieces is particularly profound or important in a commercially artful way, but there is something about them that makes me smile because my universe would be incomplete without them. I’m grateful for being at a point in my life where I can unapologetically create the art I love to do.

This is what The Enso Circle is about – finding a personal path as an artist and following it with sure steps, knowing that there is deep connection between one’s practice and the support of one’s creative community.

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THE CALLING FIRED CLAY AND MIXED MEDIA

THE GATHERER FIRED CLAY AND MIXED MEDIA

12’X25”

10” X 16” PRIVATE COLLECTION

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MICHELLE BELTO My best work has always had components of image, story and dance. Without the immediacy of live performance, I’ve had to wrestle with the limits of the visual form.

How was I to merge narrative in my work or give a sense of movement in what is basically, a two-dimensional static image? My questions and my ensuing study led me to paper and wax as mediums of choice.

“Knowing the teacher and knowing I needed to reach out to a like minded group of people to keep me focused on producing more art and this seemed like a dream place at the right time. (It was)!

It became a place of refuge for me I just couldn’t wait for the next ping on my Slack site, the community built from this residency is more than I could have ever thought possible, the organization behind the scenes has been enormous I know, but such a smooth outcome and beautiful group of ‘found’ friends.”

Marian McKenzie-Cone, Two-term Resident

LYN BELISLE Human faces, ancient or contemporary, fascinate me as summaries of life stories in the moment.

Clay, paper, beeswax, and fiber are my instinctive, beloved media but mark-making through abstract painting challenges me to develop my own language of expression and translation.

When I first read about The Enso Circle, I was so excited. An opportunity to work with Lyn and Michelle – I couldn’t apply fast enough! Little did I know that I would be joined by a group of wonderful women, sisters in spirit. All these artists are talented and blessed with generous hearts and a giving spirit.

a mysterious way, and the more I take note of them, the more understanding I gain about the

The residency has brought focus and a purpose into my art practice and dear friends into my life. I’m already planning for the next three months in the Circle as a continuing resident. Oh, and did I mention how much fun it is!

purpose of my art as basic human communication, both to myself and to the viewer.

Holly Osborn, Three-term Resident

The more aware I am of the little day-to-day things that capture my attention by calling to me in

Congratulations to the Residents of the Enso Circle for an excellent exhibit!

We are so grateful to you for your creativity, courage, and diversity!

The entire experience of the ENSO Circle has been so good for me on so many levels.

It has pushed me to try new things and experiment with some kinds of making that I’ve wanted to do for years. It has encouraged me to let go of expectations and experiment more openly.

Through the residency, I’ve been able to take the time and space to concentrate on some deeply personal work that has allowed me to work through some emotions in a very cathartic way. It has helped me to feel more supported and like I have a “crew” I can talk to about art things who “get it”.

Michelle Belto is a multi-faceted artist and teacher, whose work as an artist, educator and author spans more than forty years, three continents and multiple publications. She holds degrees and certifications in Fine Art, Theater and Expressive Arts. Michelle’s teaching schedule includes instruction in her signature work with paper and wax (Wax and Paper Workshop, Northlight Press 2012) and her life’s work developing an insightful process for deciphering meaning and purpose from the art we create. Her work is in private, corporate and museum collections.

Michelle is a R&F Teir Instructor for R&F Paints and an adjunct faculty at Southwest School of Art where she teaches a variety of encaustic painting courses.

Lyn Belisle is an award-winning teacher, artist, designer, and writer, who has taught a range of fine arts, humanities, English, and graphic design throughout her career. Lyn teaches mixed-media workshops at Lyn Belisle Studio in San Antonio. She also teaches nationally, recently in Taos, Santa Fe, Provincetown, and Washington State. Her signature media are earthenware, paper, encaustic, and fiber. She has had six one-person gallery exhibits since 2011, and recently retired from the faculty at the Computer Science Department at Trinity University. Lyn is an active member of the San Antonio Art League, the Fiber Artists of San Antonio, the San Antonio Potters’ Guild, the Encaustic Art institute, the International Encaustic Artists, and The American Craft Council.

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And lastly, it also helped me embrace parts of my process I have struggled with for years by giving me new perspectives.

Sarah Treanor, Three-term Resident

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FOR MORE INFORMATION ON THE ENSO CIRCLE: WWW.THEENSOCIRCLE.COM

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