2011 Fall Issue

Russell Thurston

Margaret Berry

Karon Leigh

Rodney Thompson

Barbara Michener

Catherine Nash

Up Coming Events

Techne`

copy2011 OWNERSHIP OF DESIGN this information prepared by Encaustic Art Institute shall remain the property thereto and

shall retain all common law statutory and other reserved rights including the copyright thereto

Fall 2011

Portfolio

Portfolio

Portfolio

Portfolio

Portfolio

Book Spotlight

Events

Portfolio

EAI

EAI

For More Information about the Encaustic Art InstituteWebsite httpwwweainmcomBlog httpwwweainmblogspotcomFacebook httpwwwfacebookcompagesEncaustic-Art-Institute332917031347

FounderDouglas Mehrens mehrenseainmcom

Encaustic Art Institute Administration Douglas Mehrens FounderCEO

President Sherry Ikeda sherryikedayahoocom

Board of Directors Glenn Fellows Michael Allison Perry Lovelace Douglas Mehrens

Artist Board Russell Thurston Program Director Kari Gorden Membership Director Kate Palmo Education Director Linda Fillhardt Blog Coordinator Perry Lovelace Marketing Director Barbara Gagel Fund Raiser Coordinator Teena Robinson Graphics amp Computer Support Michael Phillip Pearce Carbon Vudu LLC Magazine Art Director

Cover art by Russell Thurston Tree (How the West was Won) 2010

The Encaustic Art Magazine is published by The Encaustic Art Institute 18 General Goodwin Road Cerrillos NM 87010-9779

Greek word meaning ldquoto heat or burn inrdquo (enkaustikos)

Encaustic

Happy Holidays

copy2011 OWNERSHIP OF DESIGN this information prepared by Encaustic Art Institute shall remain the property thereto and

shall retain all common law statutory and other reserved rights including the copyright thereto

Fall 2011

Portfolio

Portfolio

Portfolio

Portfolio

Portfolio

Book Spotlight

Events

Portfolio

EAI

EAI

For More Information about the Encaustic Art InstituteWebsite httpwwweainmcomBlog httpwwweainmblogspotcomFacebook httpwwwfacebookcompagesEncaustic-Art-Institute332917031347

FounderDouglas Mehrens mehrenseainmcom

Encaustic Art Institute Administration Douglas Mehrens FounderCEO

President Sherry Ikeda sherryikedayahoocom

Board of Directors Glenn Fellows Michael Allison Perry Lovelace Douglas Mehrens

Artist Board Russell Thurston Program Director Kari Gorden Membership Director Kate Palmo Education Director Linda Fillhardt Blog Coordinator Perry Lovelace Marketing Director Barbara Gagel Fund Raiser Coordinator Teena Robinson Graphics amp Computer Support Michael Phillip Pearce Carbon Vudu LLC Magazine Art Director

Cover art by Russell Thurston Tree (How the West was Won) 2010

The Encaustic Art Magazine is published by The Encaustic Art Institute 18 General Goodwin Road Cerrillos NM 87010-9779

Greek word meaning ldquoto heat or burn inrdquo (enkaustikos)

Encaustic

Happy Holidays

Fall 2011

06 Russell ThurstonPortfolio

10 Margaret BerryPortfolio

15 Karon LeighPortfolio

22 Barbara MichenerPortfolio

24 Catherine NashPortfolio

29 Michelle BeltoBook Spotlight

31Events

18 Rodney ThompsonPortfolio

26 Techne`

04 From the InstituteEAI

05 Calendar of EventsEAI

1Techne or techneacute the Greek word techneacute is often translated as craftsmanship craft or art It is the rational method involved in producing an object or accomplishing a goal or objective Techne resembles the implication of knowledge of principles although techne differs in that its intent is making or doing as opposed to ldquodisinterested understandingrdquo

Dear Readers

Welcome to the second edition of the Encaustic Arts Magazine the semi-annual free on-line publication from the Encaustic Art Institute

This issues cover image is of an amazing encaustic sculpture piece by Russell Thurston called ldquoHow the West Was Wonrdquo Be sure to read about it in his interview

In this issue we continue interviews with ldquohotrdquo artists who work with encaustic but many of whom started their art careers with other media Included are Nebraska artist Margaret Berry Arizona artists Karon Leigh and Catherine Nash California artist Rodney Thompson Idaho artist Barbara Michener and New Mexico artist Russell Thurston

Also Arizona artist Michael Pearce is featured in the magazinersquos ldquoTechnerdquo section discussing his use of encaustic with steel sculptures And letrsquos not forget the source of our materials our friends the bees Check out this issuersquos article on how bees make wax Yoursquoll BEE amazed

Be sure to mark your calendars and plan to attend one or both of the two encaustic conferences The Sixth International Encaustic Conference June 1-3 at the Provincetown Inn on Cape Cod preceded and followed by encaustic workshops and Sept 8-9 the International Encaustic Artistsrsquo ldquoencaustiConrdquo San Antonio

Have a creative 2012 to all

Douglas MehrensFounder and CEOThe Encaustic Art Institute

4Fall

wwwEAINMcom

From

the Institu

te

Douglas Mehrens

Dear Readers

Welcome to the second edition of the Encaustic Arts Magazine the semi-annual free on-line publication from the Encaustic Art Institute

This issues cover image is of an amazing encaustic sculpture piece by Russell Thurston called ldquoHow the West Was Wonrdquo Be sure to read about it in his interview

In this issue we continue interviews with ldquohotrdquo artists who work with encaustic but many of whom started their art careers with other media Included are Nebraska artist Margaret Berry Arizona artists Karon Leigh and Catherine Nash California artist Rodney Thompson Idaho artist Barbara Michener and New Mexico artist Russell Thurston

Also Arizona artist Michael Pearce is featured in the magazinersquos ldquoTechnerdquo section discussing his use of encaustic with steel sculptures And letrsquos not forget the source of our materials our friends the bees Check out this issuersquos article on how bees make wax Yoursquoll BEE amazed

Be sure to mark your calendars and plan to attend one or both of the two encaustic conferences The Sixth International Encaustic Conference June 1-3 at the Provincetown Inn on Cape Cod preceded and followed by encaustic workshops and Sept 8-9 the International Encaustic Artistsrsquo ldquoencaustiConrdquo San Antonio

Have a creative 2012 to all

Douglas MehrensFounder and CEOThe Encaustic Art Institute

4Fall

wwwEAINMcom

From

the Institu

te

Douglas Mehrens

5Fall

On going 2011-12Sep 9 to March 2012 Josie RodriguezLuminous LayersSan Diego International AirportTerminal Two East

December

2-11 Margaret BerryHOME The 2011 Birdhouse Interiors and Art ExhibitionBancroft Street Gallery 2702 South 10th StreetOmaha Nebraska httphomebirdhouseinteriorscom

2 - Jan 2 Larain MathesonEdgewater Gallery356 North Main StFort Bragg Californiawwwedgewatergallerynet 10 - January 7 Sharon Sperry BloomOpening ReceptionDecember 10 5 pm - 9 pm Corrales School of Art 4908 Corrales RdCorrales NMwwwcorrales-school-of-artcom

18 ENCAUSTIC ART INSTITUTEChristmas Party

January

Jan 4- Feb 25 Martha PfanschmidtOpening ReceptionJan 4 530-730 pmFactureBullseye Gallery300 NW 13thPortland OR 97209 wwwbullseyegallerycom

5 - 29 Michelle Belto Opening ReceptionJan 12 500-700 pmMarking Time New Encaustic Paintings and SculpturesLockett GalleryArt Center of Corpus Christi wwwartcenterccorg

7 - Feb 25 Kelly Wagner Steinke ampMolly GeissmanOpeningConrad Wilde Gallery 7th Annual Encaustic Invitational Exhibition 439 N 6th Avenue171 Tucson AZwwwconradwildegallerycom

10 - March 1 Margaret BerryBlazing the Wax TrailNebraska Encaustic ArtistsNorfolk Arts CenterNorfolk Nebraska wwwnorfolkartscenterorg

18 - Feb 26 Martha PfanschmidtOpening Reception Jan 18 500-800 pmThe Sum of the PartsWaterstone Gallery424 NW 12thPortland OR 97209wwwwaterstonegallerycom 27 - March 3 Kathleen WaterlooOpening Reception27 5-8 pm lsquoSolo ExhibitionrsquoCirca Gallery210 North 1st StreetMinneapolis MN 55401612-332-2386wwwcircagallerycom

February

7 - February 25 Molly GeissmanOpening ReceptionJan 7th7th Annual Encaustic InvitationalConrad Wilde Gallery439 N 6th Ave 171Tucson AZwwwconradwildegallerycom

29 - April 1 Martha PfanschmidtOpening ReceptionFeb 29 500-800 pmSo manyjust oneWaterstone Gallery424 NW 12thPortland OR 97209wwwwaterstonegallerycom

March

1-25 Patricia AaronOpening receptionMarch 9 600-900 pmSpark Gallery900 Santa Fe DriveDenver COwwwsparkgallerycom

4 Michael Phillip PearceOpening receptionMarch 4 1000 am - 400 pmCarbon Vudu2538 North Richland StPhoenix Arizonawwwcarbon-vuduus

29 - April 20 Patricia AaronOpening ReceptionMarch 31 11-1 pmTranslations Gallery1743 Wazee StreetDenver COwwwtranslationsgallerycom

April

13 - May 30 Kathleen Waterloo Opening ReceptionApril 13th 5-8 pmlsquoSolo ExhibitionrsquoAddington Gallery704 N Wells StChicago IL 60654312-664-3406wwwaddingtongallerycom

2012

wwwEAINMcom

Cale

ndar o

f Events

THE FEELING OF BEING THERE IN THE WORLD A Conversation With Russell Thurston

Santa Fe painter Russell Thurston has been working with the encaustic medium for more than a decade and has become one of the most innovative and accomplished encaustic artists in the country with numerous solo shows in Santa Fe Chicago and New York A founding member of the Encaustic Art Institute hersquos taught workshops all over the country He spoke about his work with Gretchen Reynolds a journalist in Santa Fe

Ru

ssel

l Th

urs

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Portfolio

Nerve Net 2011 encaustic oil and India ink on wood 49rdquo x 37rdquo x 2rdquo

6Fall

wwwEAINMcom

Gretchen Reynolds How did you ever start working with encaustic

Russell Thurston My art training was in photography and illustra-tion and I worked in advertising in Chicago after grad school Then I began doing illustration work for corporate clients and worked at that for a number of years It was an interesting time to be working as an illustrator since comput-er-based illustration was just becoming possible I still liked making everything by hand then eventually used the computer to facilitate the final art Then in the mid-1990s I moved to Santa Fe I loved living here but it was relatively remote in terms of corporate illustration work and everyone was starting to use stock so the market dried-up So for a number of reasons I decided to really focus on doing fine art and see where it would lead One day I was on Canyon Road which is lined with galleries and I saw some work in one that really attracted me It was some encaustic paintings by Betsy Eby I thought that they were so inter-esting and the surface was so beautiful that I decided I wanted to learn how to use that same medium

GR Did you know much about encaustic at the time RT Not really Irsquove always loved Jasper Johnsrsquo encaustic paintings the look of them the way he built up the surface letting all the brush marks and drips show But Irsquod never tried to use the medium myself and didnrsquot know anything about the techniques I took a workshop that was being taught by Paula Roland a terrific artist here in Santa Fe and I got hooked right away

GR What was it about encaustic that hooked youRT I loved the seductiveness of the medium the luminous quality of it I also loved that you could see the hand of the artist in the work It was so different from the more impersonal slick

computer generated pieces that Irsquod been making and I liked that aspect

GR Did you find encaustic easy to work withRT (laughs) No Anyone whorsquos tried painting with encaustic will tell you that initially therersquos a steep learning curve You canrsquot paint with encaustic in the same way that you can with acrylic and oils You have to heat and fuse the layers and you have to work very quickly It can be pretty unforgiving At first I got frustrated a lot With some time and more research about the medium I learned to accept encaustic on its own terms and then I started getting the results I wanted in the paintings

GR What makes working with encaustic so unique do you thinkRT I love the properties related to the seductive surface the tactile feeling and the fact that you can manipulate it in so many ways So much of it involves heat and how itrsquos applied But it takes awhile to learn to control Thatrsquos not to say that you canrsquot make encaustic look like oils or other mediums but itrsquos harder to work with and for me the pleasure of encaustic comes from finding ways to use its particular strengths effective-ly instead of trying to make it perform like some other medium

GR Whatrsquos one of your favorite aspects or strengths of encausticRT I love that you can come back to an encaustic painting days weeks or even years after yoursquove first created it and work with the surface again Thatrsquos pretty hard to do with oils or acrylics Also itrsquos a bit like alchemy You transform the surface with heat and beautiful things happen on the surface and in the colors some of which you canrsquot control But if you know thatrsquos going to happen you can embrace the unexpected and incorporate it into the art GR Whatrsquos one of your least favorite aspects of encausticRT It wouldnrsquot be about working with the medium but about the realities of dealing with storage and shipping of encaustic work It can be fragile and accidents happen if you donrsquot take precau-tions Irsquove had a painting melt in the back of a hot car in the summertime Most encaustic artists could tell a similar story You do have to use a little more care in shipping and handling but Irsquove learned how to deal with it

GR In your work what do you feel are your main themes What are you trying to exploreRT I think my primary theme is the collision between science and nature or technology and nature Is technology going to save us or be our downfall Thatrsquos an issue that really interests me If I had to sum it up in one sentence it would be that my work is about the power struggle between nature and technology Irsquom also interested in visually depicting the things that are unseenmdashparticle physics String Theory interrelat-ed systems If I hadnrsquot been an artist I would have been a scientist but I couldnrsquot do the math

GR Are you aiming for realism RT No not really not in the sense of representation Irsquom more inter-ested in our place in the natural world my place in it our feelings

Ru

ssel

l Th

urs

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Portfolio

Tree (How the West was Won) Detail2010 Encaustic metal string tissue paper and wood 6rsquo x 3rsquo

7Fall

wwwEAINMcom

about it Irsquom not trying to portray the natural world per se but the sense or feeling that you have when yoursquore in naturemdashthe awe and the mystery of being engaged with nature or science My work reflects the world I see and am trying to make sense of Itrsquos a map of my feelings about the world rather than of the objective world itself

GR Do you start a painting knowing what you want it to beRT I tend to work very intuitively I always have a mental picture of the work in my head but it changes during the process of making it You have to kind of go with what the painting wants to be Itrsquos very much like a journey without a map There will often be two or three versions beneath the final painting that you wonrsquot even see I like knowing those other paintings are under there because I

can go back and liberate parts of them by scraping into the surface The work reveals its own history the story of how it was structured Therersquos an archaeology to the painting when you look down through the layers

GR How has your work evolved since you first started working with encausticRT When I first began with encaustic I was used to working with collage and mixed media so that aspect of encaustic seemed a natural extension of what Irsquod been doing Encaustic accepts collage and mixed media elements very readily So my first pieces were collages But as I became more comfortable with the medium I began to engage much more directly with encaustic itself

Ru

ssel

l Th

urs

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Portfolio

The Fountain 2010 encaustic tar mastic amp mixed-media on wood 49rdquo x 48rdquo x 3rdquo

8Fall

wwwEAINMcom

GR Could you describe how you made ldquoTree (How the West was Won)rdquo which is a remarkable sculptureRT I was invited to participate in ldquoPollinationrdquo a group show at the new Santa Fe Convention Center Gallery The show was part of the celebrations of the 400th anniversary of the founding of Santa Fe and centered on the theme of how cultures and ideas cross-pollinate one another I set out to explore the concepts of history Manifest Destiny and the conquest of the native peoples of New Mexico I wanted to reference old-fashioned anthropology exhibits with their staged dioramas that represent a very one-sided version of history The sculpture that resulted combines a dead cedar branch and an encaustic vessel containing wax ldquoghostsrdquo that can be seen through a viewing lens Technically this presented a challenge since it was like building a ship in a bottle

GR Does encaustic work well for sculptureRT In many ways itrsquos a great medium for 3D work because itrsquos very malleable You can carve it cast it or paint it on a 3D form But itrsquos also tricky because when you try to fuse it with heat it wants to run off down the sides

GR How do you see your work evolving going forwardRT Itrsquos interesting because itrsquos going in two different directions Irsquove begun some works on paper that are much simpler than what Irsquove done in the past just the encaustic and paper Theyrsquore mostly about mark making with different tools and trying to control the gesture in a more minimal way Basically Irsquom trying not to think too much and just get lost in the joy of painting Then there are these new sculptures Irsquom making that are very complex using wood lenses LED lights solar panels and all kinds of found objects Theyrsquore a return to some ideas I had in art school but are so labor intensive that I can only do a few a year

GR How do you get ideas for your paintingsRT I like what Leonard Cohen said when asked about his song writing His response was ldquoIf I knew where the good songs came from Irsquod go there more oftenrdquo Irsquom never sure where or when inspiration will come and thatrsquos OK as long as it keeps coming

Ru

ssel

l Th

urs

ton

Portfolio

Schematic 2011 encaustic oil and collage on wood 39rdquo x 49rdquo x 2rdquo

For additional information on Russell Thurston check out httpwwwrussellthurstoncomamp Represented in Santa Fe by Vivo Contemporary Art httpwwwvivocontemporarycom

9Fall

wwwEAINMcom

Mar

gare

t B

erry

Portfolio

Happy Accidentshellip

Beeswax has a mind of its own and encaustic artists often talk about happy accidents in their work It turns out I came to the world of encaustic via a life-threatening car accident and a simultaneous accidental encounter with Joanne Matterarsquos newly published 2001 book

These events triggered a desire to return to studio art after years as director of an arts organization It also meant a return to wax as my medium A decade earlier I had been a successful batik artist so I was delighted to find in encaustic a more complex way to use beeswax and my Javanese tools I became a re-emerging artist

As poet Antonio Machado said ldquoI dreamt---marvelous error--- that I had a beehive here inside my heart And the golden bees were making white combs and sweet honey from my old failuresrdquo

Since that bittersweet turn in the road I have explored the breadth and depth of encaustic expression taught all levels of workshops served on the Board of International Encaustic Artists and been fortunate to exhibit with the most talented of our colleagues in this medium Here in the Midwest I have been able to blaze the wax trail as an artist-in-residence for the Nebraska Arts Council and to be the first to show contemporary encaustic at the Sheldon Museum of Art in 2007 It has been exciting to watch the encaustic movement catch fire and to be able to fan the flames in this part of the country

10Fall

wwwEAINMcom

Margaret Berry in her studio

Mar

gare

t B

erry

Portfolio

a natural born artisthellip Growing up on the prairie outside Wahoo Nebraska I had access to a great many natural materials and a generous view of the horizon I remember seeing the tails of tornadoes the green aura of approaching hailstorms and grasses taller than I waving in the wind As a child I converted the old chicken coop into an art studio welded old implement parts into sculptures and created miniature landscapes in the garden

There were no art classes or teachers nearby so it was just me the natural materials and my love of expression Yet today in another happy accident this early art scarcity drives my encaustic artist residencies It is a thrill to give access to a high level of art-making and exquisite materials not only to fellow artists but to such unlikely groups as girl prisoners visually impaired teens and elementary students in an international school

drawn to the landhellip

Land is a big deal in my life I am not only a child of the Great Plains landscape but also a steward of the homestead my ancestor pioneers plowed Humans come and go but the land remains layered with our stories making it infinitely rich for art-making Plains writer Willa Cather summed it up ldquoWhat was any art but a mold to imprison for a moment the shining elusive element which is life itself- life hurrying past us and running away too strong to stop too sweet to loserdquo

11Fall

wwwEAINMcom

Fields Series Germination Cultivation Ripening Harvest

Tall Grass

Red Harvest

Ogallala Aquifer

My encaustic images reflect these strong elusive elements in contrast with the enduring land horizons seasons weather patterns fertility cycles of growth and fruitfulness In some works there is tension between fluid sky and tended earth between free-form clouds and orderly parallel crop lines In others the tension is between flow and control of the wax sometimes between a painted surface and a poured one For example in the Fields series the skies are more than 30 coats of paint paired with all-or-nothing pours over the bamboo sticks depicting cultivat-ed land

On a larger scale my work hints of the man-versus-nature issues of our time pure atmo-sphere versus pollution sustain-ability versus adequate food and aquifers versus pipelines Currently there is much discus-sion about placing an oil pipeline through the Ogallala Aquifer the largest underground ocean in the world just below the Sandhills of Western Nebraska Aquifer series deals with both the layers of this discussion and with the real layers of sedimentary soils that filter precipitation In a democracy we form sediment of opinion that hopefully filters a result that is the best for man and for the land

see absorb forget createhellip

It was an epiphany when I finally connected my love affair with raked Zen gardens to the contoured fields of the Midwest The contracted form of a designed garden expresses the same peacefulness of repeti-tive curved lines and the same adoration of the land Even in my exploration of more whimsical subjects like candy soda bottles

Mar

gare

t B

erry

Portfolio

12Fall

wwwEAINMcom

Acres

For additional information on Margaret Berry check out httpwwwmargaretberryartcom

made of wax the embedded bottles stand like crops in rows Love of the land is one of the threads that pulls my work togetherPicasso said ldquoI put in my pictures everything I like So much the worse for the things ndash they have to get along with one anotherrdquo In a corollary to that I pursue in my work everything I like So much worse for the baffled ndash they have to accept that or miss the conversation completely

ldquoexploser fragmenter ramenerrdquo (explode break apart bring back) -Orlan

Even though I am rooted in the Great Plains my work is increasingly transnational Through Brush-strokesTV the online channel of a British media company my videos are watched in over 40 countries and accompanying DVDs and products are also exported

Contemporary encaustic has been mostly an American phenomenon to this point but ripples of interest are radiating around the world The next decade of the encaustic movement promises to be even more explosive and exciting I predict it will come full circle with exhibitions in the lands of its ancient roots An encaustic spring if you will The season of encaustic is only beginning around our world

Mar

gare

t B

erry

Portfolio

13Fall

wwwEAINMcom

Explore a variety of techniques using encaustic paint on paper in this fun informative DVD

wwwwaxworkswestcom

Kar

on L

eigh

Portfolio

Evid

ence o

f L

ife In A

Fossil

ized S

ample

Karon Leigh An ongoing examination of my surroundings and how I fit into the world has been at the forefront of my awareness throughout my life and is a main consideration in my artwork Nature teaches us that simplicity and complexity exists together in all things and that nothing exists inherently in itself I am fascinated and in awe of nature and inspired by weather light time of day and seasons as well as historical and geologi-cal time especially how it relates to landscape Although my art is mostly abstract and my process very intuitive and experimental landscape is often the subject if not an element in the painting

I am fascinated and in awe

of nature and inspired by

weather light time of day and

seasons

15Fall

wwwEAINMcom

Kar

on L

eigh

Portfolio

Geological Study 1

Since 2005 I have been painting almost exclusively with encaustic I am drawn to its versatility its luminous and rich color and the fast set up time which allows for very spontaneous creation Building up texture and moving the painting away from the tradi-tional 2-D surface I find to be an exciting benefit to working with encaustic As I consider myself

a mixed media artist I am often incorporating other medium into my work oil paints inks collage papers photographs found objects and also experiment with different substrates such as gypsum board Luann board fabric and papers The images shown here are from a series developed from

time discovering the landscape of Arizona observing the rocks and mountainous formations in the southwest always asking the ldquowhat ifrdquo questions ldquowhat if I could take a slice out of this or a sample out of that ndash what would that look like what story or history could it tell and how does that make meyou feelrdquo

16Fall

wwwEAINMcom

Kar

on L

eigh

Portfolio

Geological Study 2

Karon Leigh lives in southern Arizona with her dog Maggie where she teaches painting at her studio and digital support services in her community wwwKaronLeighArtStudiocom

17Fall

wwwEAINMcom

Rod

ney

Thom

pson

Portfolio

Developing a conceptual series using encaustic

by Rodney Thompson

ldquoThese are the Ceremonial Robes for the Priesthood of Shamans Magicians and Wizards of our timehelliprdquo

While most of my 2-D art is minimalist and relates to a sense of quietude depicting vast spaciousness and unrestrained possibilities when I indulge in sculpture it is often for social or political commentary This series of wall-hung sculptures is entitled ldquoCere-monial Robesrdquo Its origin like many of my sculptures began when an object ldquocalled to merdquo This is a phrase that comes to mind when I see some thing or material that evokes a deep emotional response within me I frequently do not understand the exact nature of my response initially but I recognize it as touching something important in my psyche I will save the object in my studio and live with it sometimes for years allowing it to speak to me and eventually it may find a new home in my art In this case it was a small package of electronic resistors hanging in a display at Radio Shack The neat rows of brightly color-banded beads on straight wires immediately caught my eye Their precious beauty intrigued me as they are usually hidden away inside boxes unap-preciated for their aesthetics I find fascinating how large numbers of small objects placed together transcend their individual nature and become a new material rich in texture The visual qualities of these resistors suggested beaded garments to me While taking objects out of context from their normal use and presenting them in new

Ceremonial Robe 3 Encaustic electronic parts teabag paper chop sticks hake brushes paper 49 frac14rdquo x 50rdquo

Ceremonial Robe 5 Encaustic electronic parts teabag paper coffee filters paper 48rdquo x 50 frac14rdquo

Ceremonial Robe 7 Encaustic electronic parts chop sticks paper 54rdquo x 50 frac14rdquo

CeremonialRobes

18Fall

wwwEAINMcom

Rod

ney

Thom

pson

Portfolio

forms for visual impact appeals to me so is using them in a way that has meaning relating to their original intent Thus the idea of an abstract representation of ceremonial costumes arose but specifically they would be the robes for the priesthood of the electronic industry I researched images of traditional costumes and cere-monial garments to develop my own personal amalgamation and synthesis of sartorial elements suggesting ethnicity without them being specific to any one culture or style My concept was a museum like presentation of a number of life size robes and smaller vestments collar pieces and breastplates that would represent our culturersquos obsessive fascination with technology and disposable electronic products The tiny packages of resistors at Radio Shack would have been too expensive to provide the amount of materials I sought Ultimately I found industry surplus resistors and capacitors for sale on Ebay at an accept-able price and I acquired reels and boxes of 1000-5000 units amassing a delightful palette of colors sizes and shapes My biggest hurdle was convincing the seller to display color images of the items not just their elec-tronic specifications I am interested in the contemporary social structures emerging around us While many profess devotion to tradi-tional religion I see true worship both in time and money directed toward the obsessive acquisi-tion and dependence on the burgeoning availability of elec-tronic devices The way people spend their days increasingly revolves around access to these devices The industry continues to infiltrate our lives with new products and then upgrade the technologies further strength-ening our bondage to them It is this phenomenon that fascinates me in its overwhelming social pressure for us to be involved

Ceremonial Robe 9 Encaustic electronic parts teabag paper coffee filters chop sticks cotton swabs 56rdquo x 62rdquo

19Fall

Ceremonial Robe 8Encaustic electronic parts paper 53rdquo x 48rdquo

wwwEAINMcom

in ways that parallel primitive societies where the priesthood dazzles and provides in ways that the common people do not understand yet remain enthralled and faithful It is the creators of our electronic wonders the magical boxes that entertain and pacify the populace insure domestic tranquility and influence our thoughts and lives that we pay homage to through the money we earn with our labors Computers cell phones music players video games digital televisions with hundreds of channels and other devices of electronic wizardry have come to dominate our quest for status and happiness As with ancient shamans and mystics only they truly under-stand the magic in these devices while in our awe and ignorance we spend precious hours on the phone waiting for the tech support acolytes to confer upon us their benevolent wisdom We revere and honor this Priesthood with our sacrifices and fealty What do we sacrifice We give up the hours we work to afford the products they create and the time we spend our minds locked into the Wizardrsquos programs instead of being mindfully aware of the beauty and wonder all around us in the natural world that is even more amazing and free

Breastplate 1 Encaustic electronic parts teabag paper chopsticks paper twine 23rdquo x 21rdquo

Breastplate 4Encaustic electronic parts chopsticks teabag paper cotton swabs coffee filters paper18rdquo x 18rdquo

Rod

ney

Thom

pson

Portfolio

20Fall

wwwEAINMcom

These sculptural works are constructed of modular wood panels using encaustic to apply color and to incorporate the elec-tronic parts paper and other materials common to everyday life These objects such as teabags coffee filters and chop sticks are considered dispos-able like our cherished electron-ics that are soon discarded to be replaced by the next version insuring our continued allegiance to the industry and a consump-tive lifestyle The parts of the robes are bound together by wax like the wings of Icarus also bound by wax imperma-nent and vulnerable to dissolu-tion when the next generation of wizards and shamans appear to usurp the present regime with newer mind controlling wonders yet unimagined I do not intend to condemn technology or the elec-tronic industry per se but rather I attempt to raise awareness of how we as a culture are responding to this new age I donrsquot deny being an active participant but it seems important for me to be cognizant of my role and my choices It is up to each of us to find the balance of mindful attention to life with the mind absorbing scripted input from electronic devices It seems fitting to this balance that such an ancient and natural material such as beeswax be used to offer this view of such a contemporary and technological phenomenon

Collar Piece 2Encaustic electronic parts teabag paper coffee filters paper 12 frac12rdquo x 12 frac14rdquo

Rod

ney

Thom

pson

Portfolio

For additional information on Rodney Thompson check out

httpwwwrodneythompsoncom 21Fall

wwwEAINMcom

Bar

bara

Mic

hene

rPortfolio

22Fall

wwwEAINMcom

Bar

bara

Mic

hene

rPortfolio

Life is a Salad Art BowlsFinding

I hunt in gift shops antique stores thrift shops and at garage sales Like a treasure hunt Irsquom delighted when I find a good quality unique wooden bowl They need to be large from nine inches round and larger thus the salad bowl reference I especially like the ones that are well used cracked with knots or patched with wire or glue

ConnectingI sand the wood down to a clean surface removing stains sealants or cooking oils reclaiming the woodrsquos original color Turning the bowl in my hands I study the grain and character of its shape As I consider it I think of the original artist that cut and ground a block of wood out of local trees and the hours spent to give it shape I think of the owner of the bowl how it was used and how it came to be discarded

RejuvenatingWith a pencil I draw lines on the wood where the wax will go following the grain complimenting its uniqueness Layers of colored wax are carefully painted on curved surfaces Sometimes stones beads plant materials or fabric are added Even snake skin jewelry and seeds have been used Furniture oil goes on last highlighting the handsome wood grain and color

IdentifyingIn comparing these bowls to the struggles and pleasures of humankind I suggest we not throw them away but give them another chance to show their beauty and character As an art piece they are a statement of our persistence of our connection to the earth through the wood and wax Each is named as a celebration of the potential of the human spirit

MaintainingAll that is required to care for these bowls is a soft dry cloth to remove dust and an occasional oiling of the wood They are best displayed on an easel or plate stand tipped up to show the interior of the bowl

For additional information about Barbara Michener check out httpwwwbmichenerartcomFor bowls and gifts wwwbamichenerartcom

23Fall

wwwEAINMcom

Cat

heri

ne N

ash

Portfolio

Catherine Nash New GrowthKozo paper cast into a lashed armature of willow branches and encased in white and amber beeswax dead tree with root ball and dried much found in the Rillito River ldquograftedrdquo found branch with waxed green gampi paper leaves80rdquoh X 33rdquo diam

Catherine Nash Sky NestCast gampi and abaca paper fibers into a lashed armature of creosote branches encased in encaustic oil stick white line transfer 7rdquoh X 13rdquow X 13rdquod

Catherine Nash Artist Catherine Nash has developed an exciting project Contemporary Paper amp Encaustic will bridge the visual arts worlds of paper amp encaustic Rather than a how-to publication Contemporary Paper amp Encaustic will present artists from around the world who integrate the two media in innova-tive and compelling ways Nash will focus on how media corroborates with the expression of ideas and content within this interactive e-book on DVD a brand new type of teaching tool formatted for use on the computer

Having curated for over a year from calls to artists internet research and word of mouth Nashrsquos project will not only include one work each of almost 100 visual artists in a gallery section but will feature the works of 28 international artists within a portfolio section Nash is traveling across the US through April of 2012 to conduct these 28 studio visits taping one-on-one interviews that will be embedded into their 4 page spread each as a clickable video

Contemporary Paper amp Encaustic will be available in DVD format by the summer of 2012 so that you can also experience and learn from these dynamic creative leaders in the field

24Fall

wwwEAINMcom

Cat

heri

ne N

ash

Portfolio

The 28 interviewed artists within the portfolio section of Contemporary Paper and Encaustic will include

Laura Anderson Barbata Mexico City Mexico amp NYC NY David A Clark Palm Springs CAGeorgia Deal University Park MD

Christel Dillbohner Oakland CA amp GermanyJessica Drenk Clemson SC

Joan Giordano NYC NY Valerie Hammond NYC NY

Cari Hernandez San Francisco CA Ann Holsberry Emeryville CA amp France

Deborah Kapoor Seattle WATatana Kellner Rosendale NY

Roberto Mannino Rome Italy (skype)Michael Marshall Atlanta GA

Alexandre Masino Montreal Canada (skype)George Mason Nobleboro MEDennis OrsquoNeil Alexandria VA

Maya Portner Honolulu HI (skype) Priscilla Robinson Austin TX amp Taos NM

Paula Roland Santa Fe NMMarybeth Rothman Tenafly NJ

Lynn Sures Wheaton MD Lisa Switalski Miami Beach FL

Rodney Thompson Redding CA Russell Thurston Santa Fe NM

Mona Waterhouse Peachtree City GA amp SwedenCynthia Winika New Paltz NYDaniella Woolf Santa Cruz CA

For additional information regarding this project

wwwunitedstatesartistsorgprojectcontemporary_paper_and_

encaustic_international_trends

Artist Lynette Haggard has also blogged about Nash her work and this project at

httplynettehaggardblogspotcom201111catherine-

nash-tucson-azhtml

About Catherine Nash A long time resident of Tucson Arizona Catherine Nash MFA is an artist who freely mixes media in her work to express her ideas Specializing in Japanese and Western hand papermak-ing encaustic painting and mixed media drawing Nash is a teaching artist who balances her studio work with artist-in-resident teaching lectures and workshops across the United States as well as in professional studios and universities in eight European countries Australia and Japan She has published 4 educational DVDs on the art of papermaking and is currently writing a book that surveys inter-national artists entitled ldquoContem-porary Paper and Encausticrdquo Her work has been included by invitation into numerous national and international exhibitions most recently in Japan Bulgaria Poland and Australia Her love of travel and different cultures has inspired her to live exhibit research and teach on four conti-nents

Catherine Nash MFATucson AZhttpwwwcatherinenashcom

25Fall

wwwEAINMcom

Michael Phillip PearceSteel + Encaustic

Making creating contriving and designing sculpture from steel with encaustic came from vast amounts of experimenta-tion and trial and error I am going to share with you what I have learned thus far In this article of Technersquo I use steel as a 3-dimensional sketching technique It enables my conscious mind to rest and encourages my unconscious to flow This form of personal listening to explore and investigate spatial rela-tionships of architecture without my conscious mind inhibiting what I perceive to be truth and fact I started using this method while I was studying Tor NorretrandersThe User Illusion when I was writing my architectural thesis

My process of 3d sketching -- I prefer to use steel instead of wood because it is very fast When you are in the moment there is very little time think rationally

To illustrate this process I have chosen to deconstruct a sculpture I call Piranha created back in 1998 It began as an architecture probe contrived from 3d sketching I came up with this fabrication process from studying architects and designers mainly Lebbeus Woods who was the main catalyst of my approach to building

The original Piranha was a horizontal cantilevered structure that was a model of a mixed use building It was a large urban space with many levels for living

dining and shopping However like life it changed throughout the years I would say in 2005 it turned into a vertical hanging sculpture and was no longer an architecture model The fragile model evolved into a rustic skeleton

Here is my process nnnnnnnnnnn

Techne`

Piranha 1999

Pir

anha D

onated t

o t

he E

ncaustic

Art Instit

utersquos

Permanent C

ollectio

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20

08

S

teel +

Encaustic

14

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4rdquoW

26Fall

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Steel + Encaustic

Techne`

I take some snips and just grab random scrap pieces of metal and cut them to an assortment of shapes This is my palette of steel in conjunction with some another found objects or remnants form other fabrication projects

Rough cut 22-25 gauge steel

I hammer out the steel and make most of them as flat as possible

Hammered out flat

I grab random pieces and just start welding them Usually I begin with a spine or centering object I normally work with a spine like that of mammal or animal it seems to be the organizing framework

Tack welding the 3 dimensional sketch

This is where I stop sketching and start refining the form I grindsand and re-weld to finalize the form and make it as clean as possible

Refining the edges

In the final stages I burn wax into the metal with Map Gas Map Gas gets much hotter than butane Sometimes the art will catch on fire

Encaustic burning

27Fall

wwwEAINMcom

Techne`

I can go through several variations of colors and textures but I try and cater to the audience who is going to be seeing it or its final resting place so to speak White burns the best into the steel and turns into a cobweb of wax Once the structure is hot it is easy to keep building or changing the color

Encaustic coloring

Layers of encausticI use a spray bottle filled with water for rapid cooling This quickly solidifies the wax Sometimes I use metal shavings mixed with melted wax to give it a molten look I found that some colors are very delicate and may wipe off by just touching it These are avoided because it defeats my purpose of the encaustic protective skin

For additional information please visitwwwcarbon-vuduusRefer to the Lab Tab and Deleted Scenes

Motherrsquos

Day

11

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X 1

4rdquoT

Pir

anha deta

il

28Fall

wwwEAINMcom

Wax + PaperTechniques for Combining Handmade Paper and Encaustic Paint

Many contemporary artists use paper wrapped over birch panels or paper as a collage element in their work In Wax + Paper Techniques for Combining Handmade Paper and Encaustic Paint Michelle Belto introduces us to hand paper making so that we can make our own dimensional supports for encaustic painting

This is a hands-on book with clear visual steps to making paper supports in the studio with inexpen-sive equipment The first half of the book explores the many ways paper can be wrapped glued stretched pulp painted and made into sculpture The second half of the book is full of techniques that can transform these amazing forms into works of art

For additional information about Michelle Belto check out httpmichellebeltocom

Mic

hell

e B

elto

Book S

potlig

ht

29Fall

wwwEAINMcom

Paula Rolandrsquosbull Encaustic Workshopsbull DVD Encaustic Monotypes-- Painterly Prints with Heat and Waxbull Anodized Aluminum Platesbull HOTboxtrade

THE ONE AND ONLY ROLAND ENCAUSTIC

HOTboxtrade

RolandWorkshopscom PaulaRolandcom

THE OPEN STUDIO LLC SANTA FE NM

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Store Hours Mon-Sat 9-6 Sun 12-5

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Enkaustikos Damar Resin and Waxes

The Encaustic Sourceof the Southwest

Art isan-SantaFecom

Events

31Fall

wwwEAINMcom

Events

Sunny Days Warm Nights at IEArsquos Portland Encaustic RetreatRefresh Replenish Reconnect Nurturing the Inner Artist This was the theme for the International Encaustic Artists retreat September 22-25 2011 in Portland OR The setting for the retreat was McMenamans-Edgefield a European style resort set on seventeen acres about ten miles outside Portland

Inspirational Voices Encaustic Masters Juried Show The Columbia River Gallery in Troutdale (owner Donna Erwin) was the perfect setting to showcase the awesome talent of our encaustic artists There were 70 artists in the exhibit and 158 images Best of Show went to Karl Kaiser 1st Place Andrea Schwartz-Feit 2nd Place Melinda Fellini 3rd Place Shaun Doll Honorable Mention Kanaan Kanaan Honorable Mention Karen Frey The two Saturdays after the retreat there were encaustic demonstrations at the gallery

32Fall

Presentation DayMelinda Fellini and Kelly

Williams gave moving personal stories about giving oneself to art Jef Gunn took us back into the minds of various artistsrsquo statements to help inspire our own work Kanaan Kanaan told his personal story of blending culture and religion together to create art peace and conver-sation Bridget Benton spoke on art as a communication ndash a way to move creatively through the process Shaun Doll answered questions about process especially when you want to branch out into three dimensional or mixed media work and Mark Rediske with his funny and fun stories all woven together with his art We all were inspired and recharged by their stories

The Annual Membership Meeting and BanquetChief Business Officer Margaret Bertrand talked about the highlights of the IEA year ndash membership more than doubled a great new web page two very successful exhibitions and so much more

Demonstration Day There were four creativity stations but the demonstrations never over-lapped That meant you could stay at a station and continue to make art or move from demo to demo and learn This went on all day with lots of materials provided to make as many projects as we could fit in Presenters were Linda Womack-Surface work with pastels and wax crayons Andrea Schwartz-Feit-Cold Wax Kimberly Kent-Monoprints Patricia Baldwin Seggebruch-Mixed Media Foundations Pam Nich-ols-Painting on Paper transfers and collage Karl Kaiser and Manuela Kalestiantz-Carving high and low relief Ellen Koment-Painting with dry pigments Richard Frumess-Pigment Sticks Binky Bergsman and Randi Harper-3-D Unconventional surfaces such as paper clay and metal Jef Gunn-Water Pigments Peter Rossing-Whatrsquos new in Encaus-tics The vendor tables were available all day and very lively Lots of new products and information

Lorna Strotz (Secretary) Lorna Kemp (Volunteers) and Margaret Bertrand (Chief Business Officer)

Patricia Baldwin Seggebruch demonstrating mixed media techniques

wwwEAINMcom

Events

Marketing DayModerator Robyn Andersen introduced the dayrsquos presenters and they gave an overview of their area of expertise The experts were Eileen Gold-enberg-Marketing for Artists Patricia Baldwin Seggebruch and Robyn Andersen-Publishing Giving BackGrantsHelping in the Commu-nity-Kelly Williams Galleries-Jason Horejs PRMediaWorkshopsFairs amp Festivals-Robyn Andersen and Judy Wise-Photographing Your Artwork Paul Bogardus How to Do a Video Aaron Kelly Packing and Shipping Larraine Seiden and Lisa Kairos Framing Donna Erwin Loose Ends

33Fall

Eileen Goldenberg giving her marketing presentation

Attendees presenters planners and vendors join together for a group photo

Workshops

wwwEAINMcom

EncaustiCon 2012We also learned about next yearrsquos event from Michelle Belto It will be held in beautiful San Antonio Texas September 6-9 2012 with an additional full week of post convergence workshops that will be held at the Southwest School of Art The encaustiCon official hotel is the historic El Tropicano Registration will begin around February 1 2012 This yearrsquos theme initiates an international conversation about the role of encaustic as a medium andor a modality For more information contact Michelle at educationinternational-encaustic-artistsorg with IEA in the subject line All of us are eager to reserve our place

The afternoon was filled with individual critiques in many topic areas so you could talk one on one about your work and where you want it to go Before and after the retreat were many workshops an opportunity to play all day with a topic andor technique

How Bees Make Wax

It all begins on a flower in a field Bees collect nectar from flowers and bring it to the hive where it becomes either beeswax or honey A beersquos diet consists primarily of honey and any honey not consumed by the bees or in the raising of brood is stored as surplus and is ultimately consumed in the winter months when no flowers are available However it is honeyrsquos other use that interests us its conversion into beeswax

The production of beeswax is essential to the bee colony It is used to construct the combs in which the bees raise their brood and into which they store pollen and surplus honey for the winter

Worker bees which live only around 35 days in the summer develop special wax-producing glands on their abdomens (inner sides of the sternites of abdominal segments 4 to 7) and are most efficient at wax production during the 10th through the 16th days of their lives From about day 18 until the end of its life a beersquos wax glands steadily decline Bees consume honey (6-8 pound of honey are need to produce a pound of wax) causing the special wax-producing glands to covert the sugar into wax which is extruded through small pores The wax appears as small flakes on the beesrsquo abdomen At this point the flakes are essentially transparent and only become white after being chewed It is in the mastication process that salivary secretions are added to the wax to help soften it This also accounts for its change in color

The exact process of how a bee transfers the wax scales from its abdomen to its mandibles was a mystery for years Itrsquos now understood to be processed in either of two ways Most of the activities in the hive are cooperative so it should be no surprise that other worker bees are willing to remove the wax scales from their neighbors and then chew them The other method is for the same bee extruding the wax to process her own wax scales This is done using one hind leg to move a wax scale to the first pair of legs (forelegs) A foreleg then makes the final transfer to the mandibles where it is masticated and then applied to the comb being constructed or repaired

Beeswax becomes soft and very pliable if the temperature is too high (it actually melts at 149 F) Likewise it becomes brittle and difficult to manage if the temperature is too low However honeybees maintain their hive at a temperature of around 95 degrees Fahrenheit which is perfect for the manipulation of beeswax not too hot to be drippy and not too cold to be brittle

A honeycomb constructed from beeswax is nothing short of a triumph of engineering It consists of hexagon shaped cylinders (six-sided) that fit naturally side-by-side It has been proven by mathematicians that making the cells into hexagons is the most efficient shape The smallest possible amount of wax is used to contain the highest volume of honey It has also been shown to be one of the strongest possible shapes while using the least amount of material

The color of beeswax comprising a comb is at first white and then darkens with age and use This is especially true if it is used to raise brood Pigmentation in the wax can result in colors ranging from white through shades of yellow orange and red all the way to brown The color has no significance as to the quality of the wax (other than its aesthetic appeal) Formerly wax was bleached using ionization sulphuric acid or hydrogen peroxide which resulted in the inclusion of toxic compounds Bleaching has now been abandoned by reputable candle manufacturers and other suppliers of beeswax

If beeswax has a medicinal smell chances are that it has been chemically altered or bleached Here at Beeswax Co LLC we only use North American beeswax that is 100 pure definitely not chemically processed Smell one of our candles for proof of its purity

by httpwwwbeeswaxcocomhowBeesMakeWaxhtm