11th Annual International Encaustic Conference

Presented by Truro Center for the Arts at Castle Hill

June 2nd, 3rd, & 4th, 2017

Pre-Conference workshops: May 30 - June 1
Post-Conference workshops: June 5 - 9

Stay tuned this fall for many more details!

Conference 10

June 3-5, 2016

See sidebar Index for all the new posts >



Click here to register for Conference  
Click here for Pre- and Post-Conference Workshops 

Event selection? If you are registered, you should have selected by now. Otherwise, contact 


Keynote Speaker: Mary Birmingham

We are pleased to announce that Mary Birmingham, curator at the Visual Art Center of New Jersey, will be our Keynote Speaker for Conference 10. Her talk will address such topics at the role of the contemporary curator, the artist/curator relationship, how a curator considers work for an exhibition she is developing, how she looks at gallery exhibitions and art fairs, and much more. A question-and answer period will follow Birmingham’s talk, and conferees are encouraged to engage with her.

Mary Birmingham directs an ambitious program of contemporary art exhibitions.  Since 2010 she has organized more than 35 group and solo exhibitions for the Art Center, which is the largest public institution in New Jersey devoted exclusively to contemporary art.  She began her career at the Whitney Museum of American Art and worked at the Montclair Art Museum from 1994-2003. She was Director of Exhibitions at the Hunterdon Art Museum from 2007-2010. 

Birmingham has an MA in Art History from Hunter College, with a concentration in American Modernism.  She is the author of Dynamic Impulse:
 The Drawings of Stuart Davis and co-author of Montclair Art Museum: Selected Works.  She has organized numerous exhibitions, and has written and lectured on a variety of topics in American and contemporary art.  

Of her talk she says, "I will focus on the idea of the artist-curator relationship with all its permutations and possibilities. "

On a more personal note, let me say that Birmingham, a Boston-area native, is not only highly regarded among her peers as a smart and visionary curator, but among artists 
as that rara avis who is approachable, generous and supportive. I am looking forward not only to her talk, but to the informal Q&A that will take place afterward.
-- JM

Above: Birmingham at the opening of Doppler Shift 
at the Visual Art Center of New Jersey last year


The Saturday Morning Panel: Navigating the Real Art World

“We're all living in the real world of mid-level gallery and artist success, and I don't think it needs to be a big mystery.” 

That's Wendy Haas in response to news about the gallery goings-on in the rarified world of the One Percent. With Wendy's down-to-earth comment in mind, I've put together a panel that will address the professional issues that real-world artists want to know more about: the artist dealer relationship (how to develop it, maintain it and, when necessary, repair it); pricing your work; finding or being a mentor; the value of a good crit, and more.

The panel is being designed to appeal to a broad range of conferees, from those who are at the beginning of their career to those who have been practicing professionally. It will include Dan Addington, owner of Addington Gallery in Chicago; Miles Conrad, owner of the Conrad Wilde Gallery in Tucson; Jeff Schaller, a successful studio artist based in Downington, Pennsylvania, who shows and sells internationally; and Wendy Haas, a private dealer who recently moved to Chicago and is learning to work in encaustic after years of representing artists who work in the medium. All of our panelists have served previously as panelists and presenters

Dan Addington, Miles Conrad, Wendy Haas, Jeff Schaller


Panels on Friday and Sunday, Too

In counterpoint to the single-presenter format of the demos and talks, the panel format brings together a number of voices and ideas. This year, in addition to the Saturday Morning Panel, which has been a fixture since Conference 1, we have two more: Standards and Practices in Teaching Encaustic, now in its fifth year, and a celebratory one-time event, A Living History of the Encaustic Conference. Here's a look at what to expect and who's participating

Friday: A Living History of the Encaustic Conference

Moderator: Nancy Natale, 10-time attendee

How many people can say that they attended all nine of the previous Encaustic Conferences? Our founder/director and several of the vendors have been here from the beginning, but there are only eight others who are this year attending their 10th consecutive conference as active participants: Binnie Birstein, Debra Claffey, Karen Fraser, Hylla Evans, Lynette Haggard, Lisa Pressman, Charyl Weissbach, and our moderator, Nancy Natale.

Here's Nancy on the panel she has organized: "To bring alive a Conference history, each of the panelists will recall particular events, talks, connections made, and accomplishments that helped us grow as artists. Although our recollections come from our own personal experiences, we will also share lessons learned so that others may maximize their own Conference experience. Why did we keep coming back? What have we learned from it that others may put to use?How were we able to maintain Conference connections throughout the year that would last over time? How did we put to use what we learned when we returned home to our studios? Did the Conference help us to create a new vision of our work and career?"

. . . . . . . .

SundayStandards and Practices in Teaching Encaustic-- 

Curriculum, Pedagogy, Critique

Panelists: Misa Galazzi, Sara Mast, Cherie Mittenthal, Toby Sisson

Our four panelists convene regularly through the year to plan for this event. Here's Misa's description: "We intend to create a Think Tank format, arranging small groups for discussion (as we did in 2014) with the goal of specific exploration in three areas: Curriculum, Pedagogy and Critique. We will present an overview of our past group sessions, from 2012-present, and set the stage for this year, which will have a particular focus on the Content area from the original Materials, Safety and Content discussion in 2012. This year, after a brief introduction, we will engage in group discussion using the format of our collective work in 2014. Our aim this year is to dive deeper into each of these three areas (Curriculum, Pedagogy, Critique) and collectively/collaboratively explore the range of approaches every artist-teacher may use to integrate these three areas of inquiry into their teaching--no matter the context for their instruction-- from individual studio workshop to academic classroom."

Misa continues: "We are, in effect, deepening the inventory started by Sara, Cherie and Toby at the 2012 Conference. We sustained and strengthened that conversation in 2013 and 2014, and we synthesized our investigations with data in 2015. In 2016, we would like to revisit these earlier conversations focusing on what actually happens in the teaching and learning environments when encaustic is being taught, no matter the location."


Schedule of Events

Here you will find the schedule of the Conference's three days of activities. Generally there are four events per hour. The new events are identified as such in red. But since we have new people coming to the Conference each year, and because conferees can select only one event per hour, there are a number of encore presentations. Also, as you look at the schedule, know that I have listened to your suggestions with regard to networking (there's a session allotted for it), the number of events (fewer, but fabulous), and the amount of time for informal socializing and shopping (longer: a two-hour Postcard Sale and Book Signing in the lobby, with plenty of time for Vendor Room shopping and hanging out before dinner).

A few suggestions 
. Click each page to make it larger for reading
. If you are new to encaustic, I urge you to take the the two Basic offerings on Friday morning and the demos that interest you
. However, even if you're new or intermediate in your level of technical expertise, do allow yourself the opportunity to select a few talks, which will broaden your perception of what's possible in the medium
. New to the Conference? Come to the orientation on Friday morning
. Want to network? While that goes on informally throughout the Conference, I've scheduled a session on Friday afternoon to get you started
. Scroll down to more info after the schedule pages

Click each page to enlarge for better legibility

Reading the schedule
. Except where indicated, the demos will offer something of interest to practitioners at all levels. I try to avoid the "intermediate" and "advanced" designations, because even those skilled in one area--painting, say--may be a relative newbie in printmaking, or interested in learning to work with wax more three dimensionally
. If concept or professional practice is what you're after, rather than technique, you'll find at least event one event per hour to satisfy you
. There are three panels, one each on day. The Friday afternoon panel, A Living History of the Encaustic Conference, acknowledges and celebrates our 10 years (!) as an annual international event. The Saturday Morning Panel, Navigating the Art World, offers more on professional issues:  And on Sunday afternoon, our continuing panel, Standards and Practices in Teaching Encaustic, will focus on Curriculum, Pedagogy, Technique. Except for the Saturday panel, which is designed to be a Conference-wide event, you have options to the panels
. There's plenty of break time built in, as well as an hour for lunch--which is provided


Demo and Talk Descriptions

Our demos and talks this year are broad and diverse, reflecting your range of experiences and interests. Some offerings are brand new. Others are back by popular demand, allowing you select an event you missed last time around. You'll select one event per event hour. Please choose carefully. We do not allow switching after registration, because room assignment is based on the number of conferees signed up for each event. Please note that Demos are in blue, Talks in fuchsia, Panels in purple, and Special Events in orange. Additionally, new or updated offerings are identified in red.

Keynote and Panels
Our Keynote, delivered this year by curator Mary Birmingham, is on Saturday evening.
There are three panels, one each on day.
. The Friday afternoon panel, A Living History of the Encaustic Conference,  acknowledges and celebrates our 10 years (!) as an annual international event

. The Saturday Morning Panel, Navigating the Art World, offers more on what you need to get your work out into the world
. On Sunday afternoon, our continuing panel, Standards and Practices in Teaching Encaustic, will focus on Curriculum, Pedagogy, Technique
Except for the Saturday panel, which is designed to be a Conference-wide event, you have options to the panels.
Demo Basics: Introduction to Encaustic
Deborah Winiarski
This demonstration is an evergreen for Conference first-timers who want to learn the basics, or who picked up the basics but want to learn them right. Deborah, who teaches at the Art Students League in New York City, will focus on the essentials of encaustic painting, as well as how to incorporate painting with wax into a studio practice. She'll address equipment and tools, medium recipes, pigmenting options, painting supports and grounds. Several fusing options will be demonstrated. Various techniques to create texture and line will be demonstrated, as well as ways to introduce imagery to a work with transfers and rice papers. Basic studio safety and ventilation will be discussed as well.If you are new to encaustic, you should select this offering, because the basic terms and concepts you learn here will not be explained elsewhere.
Talk  Materials, Methods and Process
Lorraine Glessner

Updated "Process," says Lorraine, "is defined as a specific, continuous action, operation or series of changes that produce development." Artists who use process in their work possess a strong sense of connection to their materials, yet there is always a struggle over control. In some instances, this struggle may serve as a catalyst for the discovery of new processes. This lecture, reprised from Conference 8 and updated for Conference 10, presents contemporary artists whose work utilizes alternative materials as well as process, and the repetition of that process to generate structure, form and content. The work of sculptors, painters, craft and fiber artists is grouped into process categories such as repetition of a single action, restriction by a set of rules, and restriction of use to one material and one process. The materials these artists use is as wide as it is varied and include found, household and recycled materials; Tyvek, hair, rubber, adhesives; stitch, fire and encaustic. The artists whose work you'll see will inspire, as they not only exploit the inherent properties of their materials but transform them 
Talk Advanced Techniques and Studio Practice
Alexandre Masino
This talk will reveal a wealth of information to advance and enrich one's painting approach and studio practice. This presentation will flow over and introduce numerous techniques and methods going beyond clichés of how the medium is supposed to be handled. Important points will be made between painting, monotypes and monoprints and how intertwining these disciplines can nourish ones body of work. The topics will include working with gold leaf, various brush techniques, the proper context of when to use the heat gun or various torches, working large, the advantages of the easel, iron and acetate techniques and much more!  
Demo Basic: Introduction to Monotype
Pat Spainhour
This demo might be subtitled HotBox Basics. What is a Hotbox? How do you create encaustic monotypes? What kinds of papers do you use? This class is for those who are curious about the basic process of creating a monotype on the Roland HotBox. The basics of printing on a Hotbox and a variety of techniques will be shown. This is an exciting demo for those new to encaustic, as well as those looking for ways to take their practice in a new direction or to the next level. 
Demo Layers, Stains, Wax & Pigment Sticks
Wayne Montecalvo
New This demo will show how paper can serve as a vehicle for collage in wax. Paper stained with rust, tea, coffee, ink and a few other materials will be layered onto a support using wax medium. Imagery from prints will also be combined as well as drawn images and markmaking techniques. The support will be wood panels and glass sheets. Working with pigment stick as an adhesive in a similar way will also be addressed.
Talk In the Eyes of a Curator: Demystifying the Curatorial Process
Deborah Kapoor
Deborah will share a video presentation of her interview with Andrea Karnes,  a curator at The Modern Art Museum of Fort Worth, Texas.  What are the responsibilities of a curator? How do curators select work for exhibitions? What is the process of acquisitioning works for a collection? What does curating entail? Aspects of the curatorial process will be demystified in this session, followed by a discussion about curating. Debroah's talk will pair well conceptually with our Keynote presentation.
Talk An International Look at Encaustic
Elena De La Ville

New In this slide talk, Elena will present introduce you to artists who work with wax who were born or live outside of the United States. She’ll focus on their latest work and offer insights into their artistic process. This international view of the medium--by a multilingual artist who has lived, worked and exhibited internationally--is perfectly suited to a Conference that continues to draw participants from around the world. "This will be a broad and significant look at the international encaustic scene which includes the work of Susan Bottom, Aganetha Dyck, Diana Gonzalez Gandolfi, Alexandre Masino, Janise Yntema, and others," says Elena. 
Demo Cold Composition in Encaustic Printmaking
David A. Clark

This one-hour demo is designed to show you how to use the manipulation of heat, specifically starting cold in order to expand the possibilities of encaustic printing. Manipulating the encaustic printmaking process to “compose cold” and then introduce heat to activate the paint and print the image can assist the artist with registration and composition. Additionally, it gives the printmaker precious time to build an image and think through their ideas without having to work fast, which is normally characteristic of printing with encaustic.
Demo The Perfect Pour

Sherrie Posternak
Sherrie's demo is back by popular demand. 
There are many reasons you might want a perfectly smooth surface. One useful application of a poured layer of encaustic medium is to prepare a smooth surface for accepting a detailed transferred image; another is to create a dimensional space in which objects or images are embedded. However you wish to use a smooth poured surface, Sherrie will explain and demonstrate the materials and techniques necessary to make it successfully. Whether you are a beginner or intermediate, creating a seamless pour is an invaluable technique.

.Talk   Thinking Dimensionally: Wax, Sculpture, and Installation
Christine Aaron
New Are you interested in leaping off the panel and out into space? Are the concepts in your work demanding a different presentation? Learn about artists who are incorporating wax in three-dimensional ways. Says Christine, "This talk will feature artists who make sculpture and installation using wax as an integral element related to the conceptual underpinning of their work." Insights into the evolution of their work will inspire dimensionally minded artists.
(Note: Don't be confused. This talk was formerly titled Off the Wall: Wax, Sculpture, and Installation)
Talk  From There to Here: Forty Years as a Feminist Artist
Nancy Youdelman 
The first part Nancy’s slide talk will include her experience as a student in Judy Chicago’s revolutionary feminist art class (the first in the nation) that she developed and taught at Fresno State in 1970-71 and continued to teach with Miriam Schapiro when they developed the Feminist Art Program at CalArts, 1971-73. “I have some fascinating images of artwork/performance we did from that time, including Womanhouse,” says Nancy. The second half of her talk will follow the process of evolution to her current work and her use of encaustic. (A personal note here: I found this talk to be so art historically compelling that I invited Nancy to give an encore presentation.)
You asked for it! Informal Networking
Joanne Mattera and Friends
New How do you find the people who are doing what you're interested in?  Come and meet others interested in finding regional colleagues, or those in any region who are interested in such topics as  Abstraction, Figuration, Mixed Media, and Forming a Crit Group. Once initial introductions are made, you will have the option of continuing in small groups on your own the 3:30-5:00 session, or to  decide among yourselves the best times to meet up again.
Panel  A Living History of the Encaustic Conference
New This is both a panel discussion and a special event, because it celebrates a decade of The Encaustic Conference with participants who have attended all 10 years. Moe than simply a reminiscence, however, it will offer you insights into lessons learned, connections made, 
 and how to grow as an artist. 
Read more here

Networking continued 
New A self-directed opportunity to continue the informal networking

Panel  Professional Practices: Navigating the Art World
New This is an opportunity for beginners to understand and envision what’s possible, and for more seasoned artists to forge a plan based on the professional advice offered.
Read more here.

Demo Portrait Painting
Lora Murphy
New Lora calls this talk "My enchantment with Fayum" and describes her demo this way: "Many people would like to try portraiture and/or figurative painting in encaustic but are unsure of where to start and how to proceed. This demo will take the mystery out of it (but not the magic!)."  Lora's step by step will show you how to approach a portrait or figure from the initial drawing to the final highlight. Working vertically on either canvas or panel, she'll demonstrate how to use the hot palette to create luminous skin tones, how to accurately draw the head, how to interpret the light, halftone and shadow and how to paint the features. Her education at a traditional atelier school in Florence has translated into working with Encaustic. She says, "We could not learn to read and write unless we learned the letters of the alphabet. The same principle applies to painting: Unless you have knowledge of tools, materials and their functions, you will find it difficult to express yourself. This Demo will give you the confidence to try."
Demo Yupo with Wax as a Plate for Printing
Dorothy Cochran
Updated "My goal is to excite and teach artists the possibilities of making printmaking plates with hot wax," says Dorothy, who describes her demo as "Innovative Printmaking with Hot Wax." Painting hot wax onto a nonabsorbent surface creates a printmaking plate that reveals brush and gesture in a direct way. The fluid nature of this encaustic collagraph technique is appealing for the diversity of images one can create with simple means. Objects coated in wax can be stamped or pressed onto the surface to create textural marks or layered wax can be carved, incised or heated to remove excess. Additional methods of waxing include the use of tapes, stencils and drawing for linear effects. What's new this year: Dorothy's use of Yupo, a synthetic paper, which makes the perfect plate surface. "It is economical, easily stored, recyclable and can be cut into shaped plates with scissors or knives," she says. "Finished plates can be printed as either relief or intaglio, layered with each other or combined with other print methods such as monotypes and drypoints. Examples of Yupo plates, prints and experiments will be part of this printing demonstration. Once again I will focus on hand printing the plates I create, with this innovative substrate."
Talk ArtZilla meets Miss Manners
Fanne Fernow
New Everyone is part of a community. You could be a member of an art organization, a critique group, or on Facebook. Some communities thrive while others have imploded. Some artists have much to gain by being in community. This will be a talk and discussion about communities of artists and how they can grow and prosper.  It will be about changing dynamics of groups and how to function effectively no matter what the size of the group or the issues that arise.  It will be about what artists often do for one another. It will be about learning to play well with others. The origin of a group does not matter. The situations that groups encounter are pretty much the same no matter what.  I will address questions about how to speak straightforwardly without someone taking umbrage and how to deal with a response you don’t like, even if you have solicited an opinion.  What are basic courtesies regarding referrals and other means of support? What do you do if you feel your work is being copied? How do you say, “No?” How do we establish a healthy combination of creative independence, ethics, and human kindness? 
Talk Color theory: Itten’s and Albers’s Interaction of Color
Pamela Blum
Pamela calls this talk, “How Colors Push Each Other Around Like Naughty Children on a Playground." The moment we perceive a color it begins to change. Perception of color is always relative, contextual.  Our eyes’ rods (value receptors) and cones (color receptors) vary in number. We can’t remember a color. So how do our eyes, brains and surface colors interact? This session will demonstrate how. The session is for artists who have not studied color interaction or who would like a refresher. An artist who understands color interaction finds it easier to get desired color results, to control color and the cost of paint. This session uses Itten’s color terms and Albers’ color studies to demonstrate color interaction. While looking at color interactions, session attendees will practice verbalizing the elements and principles of color interaction.
Demo Working with Cold Wax
Carol Pelletier

Carol will demonstrate how to make and store cold wax, using a few recipes and suspensions for the beeswax. She will also cover how cold wax can be used as a stand-alone medium on a variety of surfaces and how it can also be added to oil paint to create layers of depth and luminosity. Unlike encaustic, cold wax is used without heat and does not need to be fused. Cold wax also takes some time to dry and additives can be used to hasten the drying process while also providing flexibility. Basic environmentally safe studio practices will also be covered. [Note: Cold wax is not combined with encaustic and should not be used with heat. This demo is designed to expand your thinking about the ways you might work with wax.]
Talk A Current Pulse on Encaustic and Paper
Catherine Nash
New This talk will explore the growing focus of international artists who employ encaustic with paper, showing how the diversity of paper combined with the unique properties of wax offers unique ways of expressing ideas. Resulting from thorough research into current trends, this talk surveys powerful and poignant new artworks from 2014-2016, emphasizing 10-12 artists who work in collage, sculptural paper (either cast, formed or woven), monoprinting on paper, painting on paper, handmade and found papers, artist books, photography and installation. How and why have these artists utilized these combined media to emphasize their content? How does their studio process trigger innovative ways of manipulating technique and substrate? Catherine will present the work of international artists who push the boundaries of paper and encaustic while simultaneously creating a relevant contribution to the contemporary art world.
Talk More on Materials--the "Backstage Talk"
Richard Frumess

New "One of the things that always fascinates me about any of the arts is not just the performance, the exhibit, or the book but what goes on 'backstage.' What makes it tick?" says Richard. "The same question could easily be asked about the paint that lies around in our studios. So in addition to giving a promised follow up to the report I presented about tests we did on encaustic combined with different paint mediums last year at Conference 9, I thought it might be interesting to branch off from that into some of the technical thinking that goes into our color choices, our research, and our teaching. The format will be an informal give and take discussion based on questions posed by you to me and by me to you." 
Talk Process, Medium and Content: One Artist's Story
Joanne Freeman
"The co-dependent relationship of process, medium and content are the focus of my presentation," says Joanne, who first presented her talk at Conference 5.  "Using examples from my own painting history I will demonstrate how initial ideas germinate and expand with changes in process and medium. I have been concentrating on various wax surfaces since the 1980s and have produced a body of work that demonstrates how a personal visual language develops over time. Ideas surrounding purpose and content will be presented in conjunction with both contemporary and historical references, and will be backed up with examples of my work."
Everyone into the Lobby!
What some of you asked for was more time to relax. And what others asked for was more time to shop. Well, OK, I've scheduled something something a bit different this year by bringing all the activity (and non-activitiy, for those of you who need a breather) to the front of the Inn. In the lobby we'll have the Book Signing. In the Trawler Room we'll have the Postcard Sale. Nearby, the Vendor Room will be open until 6:00. For those of you who need some time out, the beach and pool are right outside. And if the weather is not all we hope for, you'll have time to go to your room to put your feel up for a few minutes. Oh, and the bar opens at 6:00.
Keynote The Role of the Contemporary Curator
New  Following some Vendor raffles, our Keynote speaker, Mary Birmingham will take the podium for a talk followed by Q&A.
Read more here.
1:30—3:00  This is a 90-minute session
Panel Standards and Practices in Teaching Encaustic: Curriculum, Pedagogy, Critique
New Milisa Galazzi, Sara Mast, Cherie Mittenthal and Tobi Sisson—two university professors and two school directors, artists all—meet for the fifth Conference in a row to address the issues of teaching encaustic.
Read more here
Talk The Co-op Gallery: Is being represented by a Commercial Gallery Your Only Option?
Nancy Azara and Darla Bjork
New format While our professional practice presentations often focus on the challenge of getting into a commercial gallery, there are other viable options for artists. Nancy and Darla, widely exhibited and reviewed, have each taken steps in their careers to create opportunities that put artists in control of exhibiting their work. They will discuss starting, running and participating in cooperative galleries, and the venerable history attached to such artist-run organizations.You have options!
Demo Creating Forms with Unconventional Armatures
Susan Lasch Krevitt
New This demo explores methods and materials for the creation, attachment and use of an armature as a supportive structure for building dimension into work in encaustic. A range of surprisingly unconventional materials will be used as well as paper, textiles and wood. 
Techniques for building outward from a wall hung wooden panel will be presented along with ideas for creating freestanding, self-supporting sculpture through the use of an armature.This is a new demo, expanding and adding to ideas from last year.
Demo Mixed Media Printmaking: Encaustic Collagraph, Photopolymer Plates and Chine Colle
Jeff Hirst
New info This demo combines mixing photopolymer plates and encaustic collagraph processes. Imagery created is an interesting mix of graphic photo-based work with more lyrical collagraph work. Says Jeff: "The demo covers multi-plate color printing using a magnetic system that I use in my teaching, which makes it easy for even the inexperienced printmakers to register multi-plate images.  The demo will also cover chine colle processes incorporating papers such as Kitikata and Gampi.  The process is entirely nontoxic." 
Demo  Lighten Up! Painting with Encaustic on Paper
Raé Miller
Back by popular demand: Painting on paper offers freedom to work quickly and lightly, whether you’re at a residency and don’t wish to be encumbered with the bulkiness of panels, or you simply want the option of painting with encaustic on a lighter substrate with the optical effect of many layers created from just a few. Working with translucent encaustic on watercolor paper, Raé will show how to use encaustic gesso to keep the wax from bleeding under the masked borders of a painting, how to make marks in the wax with handmade stamps and objects from nature to give depth to the layers, and how to fuse with a torch or a heat gun on paper. She’ll demonstrate methods of masking borders and layers. This is a way to achieve the visual depth artists are often seeking in their work—and it’s an approach you could translate to panel if you wish.

Demo Batik Tools and Mixed Media Encaustic Painting
Cat Crotchett

This encore presentation focuses on the using traditional Indonesian batik tools with encaustic and mixed media resulting in different types of techniques. Both use wax as an essential element but in very different ways.  Brushing, drawing and stamping with wax are all part of traditional batik processes–but the wax is never part of the finished work. The opposite is true when painting with wax using encaustic. The intersection of these two wax traditions offers dynamic artistic opportunities for the studio. This demonstration will show how to use these tools with encaustic painting, incorporating collage, dimensional effects, layering tool effects and mixed media.
Talk Science as Inspiration
Kay Hartung
New In recent years, many artists have begun to find inspiration from scientific imagery, research and data in fields such as biology, physics, chemistry, and earth science.  Advancements in scientific understanding have created opportunities for artistic exploration. Scientists have been looking to do collaborative work with artists as they seek creative outlets for their work. This talk will focus on artists working in a variety of media, who have found a connection to science. Artists to be included in this slide talk will include familiar names, such as Kim Bernard, Tracy Spadafora, and others from our Conference cohort, as well as others you may not know. Come and see who they are and how disciplines meet and merge
Talk Design Matters: Creating a Successful Brand

Jane Guthridge
The design of your website, business card, postcards, catalogs, packaging, and framing all play an important role in how your work is perceived. Learn how galleries, art consultants and museum curators consider your work. Says Jane: "I will show photos of exemplary presentations and then go into a bit of Design 101, talking about basic concepts of layout, typography and the use of common elements across various platforms to create a consistent look or brand. You'll leave with resources for good template-based designs for website and business cards that are easy to use. Finishing with how to determine when it is time to bring in the pros. I gave this presentation before at Conference 8. I know specifically that it helped several conferees create wonderful new websites. Learning from that experience, I will supply a handout  with resources and the pros and cons of each that I discuss in my talk."


Presenter Bios

Our ad hoc faculty and invited guest presenters are some of the most talented artists, teachers and entrepreneurs working in encaustic, and in the larger art world, today. As you would want from any instructor, most are degree holders with extensive teaching or lecturing experience, many at the university level. As a group they are gallery represented, critically reviewed, and museum exhibited. They are grant awardees. They are published authors and/or their work is included in other published volumes. Each is a master practitioner within the disciplines of painting, sculpture or printmaking, and within such medium-specific practices as book arts, collage, fiber, papermaking, photography and/or mixed media. Some are gallery owners, directors or curators as well

Click each presenter's name to access their website

Christine Aaron is a mixed-media artist whose work investigates themes of memory, time, and the fragility of human connection. She graduated with a degree in Education from Cornell University, and a Masters in Social Work from Hunter College. Her experience as a practicing social worker informs the content in her work and directly guides the selection of materials and techniques, which includes encaustic, photography and printmaking. Her work has been exhibited at Kenise Barnes Fine Art, Larchmont, New York; James Gallery, Pittsburgh; Westchester Community College and Iona College, both in Westchester County, N.Y, the Center for Contemporary Printmaking and Silvermine Guild of Artists, Connecticut; and the Hunterdon Art Museum, New Jersey. She lives and works in Westchester County. 

Dan Addington is an artist and gallery owner who has been working with wax since 1989 and exhibiting encaustic work professionally since 1992. His work has been featured in group and solo shows across the US, and is in numerous public and private collections. In 1996, as director of what is now Addington Gallery in Chicago, Dan curated the first in a series of exhibitions featuring encaustic painting which included such notable artists as Lynda Ray, Howard Hersh, Robin Denevan, and Kathleen Waterloo. Dan's own figurative work incorporates materials such as fabric, oil, wax, tar, gold leaf and various printed matter. The accumulation and layering of these materials echoes his interest in history and the relationships between the stratification of cultures and the layering of memory. In these constructed, overtly physical pieces, Dan seeks to engage the viewer through their own process of physical and spiritual excavation.  

Nancy Azara's sculpture is carved and painted wood, often with gold and silver/aluminum leaf and encaustic. Her collages include large rubbings, tracings and painted cutouts on Mylar scrolls. The wood, the paint, the layers that make up the sculpture and collage/scrolls record a journey of images and ideas from within memory, often using leaves, hand prints and tracings and rubbings as a metaphor. Nancy has shown in many artist-run galleries, such as AIR, and SOHO20 in New York City, the Warm Gallery in Minnesota, and Artemesia in Chicago. She has also shown at SACI Gallery in Florence Italy, The New Jersey City University; Harold B Lederman Gallery; St. Ann and the Holy Trinity Church in Brooklyn; and the Sanyi Museum in Taiwan among others.   

Binnie Birstein, originally from New York City, has exhibited nationally and in England and Japan. She has an MA from SUNY Brockport, and a BA from CCNY in studio art. Her work has been included in many prestigious exhibitions and invitationals, including the two incarnations of Swept Away: Translucence, Transparence, Transcendence In Contemporary Encaustic, at the Cape Cod Museum of Art in 2013 and Hunterdon Art Museum in 2014; the North American Print Biennial in 2013 at Boston University; Organic to Geometric: Investigations in Structure and Surface in 2015 at Endicott College, Beverly Massachusetts; as well as R&F’s 2010 Encaustic Works. Binnie has attended all of the International Encaustic Conferences, most years as a presenter.

Darla Bjork is a painter who has exhibited in the United States and Europe. Her work has evolved from abstract portraits that reflected her “other life” as a psychiatrist when she was working with people in mental institutions to her present abstract landscapes, influenced by her childhood in rural Minnesota and now by the view of the Catskill Mountains from her studio in Woodstock, New York. For the past several years she has worked almost exclusively with encaustic and oil stick. In 1984 she was a founding member of Ceres Gallery, a women-run, non-profit collective gallery in downtown Manhattan. In 1996 she left to join SOHO20, a women’s collective gallery founded in 1973. Darla has had several solo shows, participated in group shows, and served in administrative capacities in each of these galleries. Most recently she has served as chair of the SOHO20 Board of Advisors. Her most recent exhibition at this gallery is Torii /Gate in November 2015. 

Pamela Blum makes sculptures and paintings with encaustic paint. She has exhibited throughout the United States and in France. She has a BA degree in studio art and art history from the University of Pennsylvania and an MFA in Interrelated Media from Massachusetts College of Art and Design. Pamela has experience in diverse visual disciplines including drawing, color theory, painting, sculpture, installation, performance, architecture, physical planning and graphic design. She recently retired from many years of full-time teaching at the undergraduate and graduate levels. She was formerly Editor of F.A.T.E. in Review, the Journal of Foundations in Art Theory and Education, and a member of the Mid-America Art Association Board of Directors. Born in Boston, she grew up in academia. She lives in Kingston, New York, with her husband, Richard Frumess. She has traveled throughout the United States, as well as Europe and Canada.

Debra Claffey is a visual artist who uses encaustic, oil, and mixed media in her work. Raised in Connecticut, schooled in Massachusetts, she now lives and works in New Hampshire. She holds a BFA in Painting from the School of the Museum of Fine Arts in Boston and Tufts University and an Associate's Degree in Horticultural Technology from the University of New Hampshire. Debra writes a blog, Making Something Out of Nothing, and is the In Five Words editor for ProWax Journal, a quarterly online publication for professional artists working in the medium of encaustic. In 2013 she organized her first curated exhibition, Natura Viva: Flora, Fauna, and Us, at ArtCurrent Gallery in Provincetown for Conference 7. Two years later, she followed with a second curatorial exhibition, The Incisive Line, at Gallery 10 for Conference 9.

David A. Clark exhibits nationally, showing his work in recent solo and group shows at venues such as the Palm Springs Art Museum, the Cape Cod Museum of Art and Conrad Wilde Gallery in Tucson. David’s work is in the permanent collections of the Process Museum, the Hunterdon Art Museum and numerous corporate and private collections. His print work has been published and featured in Art in Print Magazine, Encaustic from Schiffer Publishing, Authentic Visual Voices: Contemporary Paper and Encaustic by Catherine Nash and Encaustic Works 2012 published by R & F Handmade Paints. David teaches encaustic printmaking nationally and internationally, most recently in the Netherlands. He lives and works in Palm Springs, California.

With longtime experience as an artist, educator and curator, Dorothy Cochran has developed innovative ways to work and layer substrates, creating prints of luminous quality. A two-time recipient of a N.J. State Council on the Arts fellowship, she has taught at Columbia University, City University of New York, Manhattan Graphics Center and is currently a faculty member at The Montclair Art Museum.  Recent exhibitions include the Art Museum of Southwest University in Minnesota and Franklin54 Gallery in New York City.  Her work is represented in private and public art collections throughout the United States including The New York Public Library and the Zimmerli Museum of Rutgers University. Dorothy holds an MFA from Columbia University and an MA, BA from Montclair State University.   

Miles Conrad is the founding director of the Conrad Wilde Gallery. Since 2005 his gallery has hosted innovative multimedia programs in Tucson, Arizona, and at international art fairs in Miami, New York City, and Los Angeles. Inclusion in his Annual Encaustic Invitational has been a milestone for many members of this community. Miles teaches and lectures on professional practices and gives individual career consultations to artists, which he describes as “a grad school style crit meets motivational coach meets accountability/ support group.” Miles holds an MFA from the San Francisco Art Institute. Read an interview with him which appeared recently in the Tucson-based Sonoran Arts Network

Cat Crotchett’s studio work focuses on painting characterized by layers of information interweaving Eastern and Western patterned references, painted in vibrant colors and textured surfaces. She has an extensive exhibition record including international and national solo exhibits and invitational and juried shows. Cat is the College of Fine Arts Roehrick Distinguished Professor at Western Michigan University and teaches painting, drawing and art appreciation in the Frostic School of Art.

As a photographer and painter, Elena De la Ville uses wax, resin, printed images and oil in her work. She has shown her work at the Museum of Contemporary Art, Caracas, Venezuela; the Kobalt Gallery in Provincetown; the A Gallery on Martha’s Vineyard; and Selby Gallery in Sarasota, Florida.  In 2011 she curated the exhibit, WOW: Women and Wax, and in 2015 she curated Ex Patria, showing work by four Venezuelan painters who are no longer able to work in their country, both exhibitions taking place in Sarasota.

Hylla Evans is paint maker for Evans Encaustics.  Her classes at past conferences have included several years of Color Theory and Copyright Law for Visual Artists.  She was Copy Editor of ProWax Journal issues one through seven.  After a career in broadcast advertising and music production, Hylla taught painting in New York, Connecticut, and California. Before the International Encaustic Conference, she hosted master classes at her Sonoma studio with Jeff Schaller and others.

Fanne Fernow introduced the concept of ArtZilla last year as a panelist for Conference 9. She studied ethics and theology at Episcopal and Harvard divinity schools and art at Hamilton and Mount Holyoke colleges and San Francisco Art Institute.  She has shown her work all over the United States and has been published in numerous publications. Conference 10 will be her fourth time as a conference attendee.  

Karen Frazer studied fine arts at the Maryland Institute College of Art and received a BS in Art Education from Delaware State University. Her work ranges from paintings to sculptures and has been described as complex, mysterious and self-narrative. While living in Wilmington, Delaware, she taught workshops at the Delaware College of Art and Design, The Delaware Center for Contemporary Art, and the Newark Art Alliance. Now living in the Piedmont of North Carolina, she has maintained a studio, organized shows and given private instruction. She is about to move to Ann Arbor, Michigan.  

Joanne Freeman received a B.S. in Fine Arts from the University of Wisconsin in 1976 and an M.A. in Studio Art from New York University in 1981. She has shown her work extensively since then in solo and group shows. Selected one-person shows include 490 Gallery, Brooklyn; University of Maine Museum of Art, Portland; Lohin Geduld Gallery, New York City; Bess Cutler Gallery, New York City and Santa Monica; the Queens Museum, Flushing; Marc Jancou Gallery, Zurich, Switzerland; and Galerie d’art, Casablanca, Morocco. In 2013 she curated the group show, Wit, which opened at the Painting Center in New York City, and in 2012 she co-curated with Kim Uchiyama the Color-Time-Space show, which opened concurrently at Lohin Geduld and at Janet Kurnatowsi Gallery in Brooklyn. Joanne has taught painting and drawing at New York University, The New School for Social Research. The Chautauqua School of Art, and at the Marie Sharpe Foundation in Colorado Springs, Colorado. She has been a visiting artist and lecturer at The New York Studio School, and the Massachusetts College of Art.

Richard Frumess has been manufacturing encaustic commercially since 1982. In 1988 he founded R&F Handmade Paints. In addition to developing a series of comprehensive tests on the properties of encaustic paint, he has been conducting workshops on the mechanics of color and paint and on the philosophy behind designing a paint line.

Milisa Galazzi holds an MA with Honors from the Rhode Island School of Design; there she researched the educational effectiveness of community-based art education settings, and her findings are published by Harvard University Graduate School of Education, Project Zero Press, 1999. In addition, Misa holds a BA from Brown University where she studied Studio Art with minors in Women’s Studies and Cultural Anthropology, all of which  informs the content of her artmaking. Misa's artwork highlights the interrelated forces of the physical world particularly when these connections are punctuated by physical distance or separation by time. She is best known for her three dimensional shadow drawings, printed works on paper, as well as her richly layered conceptual paintings. She is one of 45 included in Cape Cod Contemporary Artists on Abstraction, published in 2015,and her work is internationally held in public and private collections. Misa works fulltime in her studio in Providence, Rhode Island, and on Cape Cod in the summer months.

Lorraine Glessner is an Assistant Professor at Tyler School of Art, Temple University, and a private workshop instructor. She holds an MFA from Tyler School of Art at Temple University, a BS from Philadelphia University, and an AAS in Computer Graphics from Moore College of Art & Design. She has a diverse art background with skills that include painting, sculpture, graphic design, interior design, textile design, photography, and digital imaging. Among her most recent professional achievements is a Second Place award in Sculpture from Art of the State at the State Museum in Harrisburg, Pennsylvania; a recently completed residency at Jentel Foundation; and an acquisition by Kelsey-Seybold Cancer Center in Houston.   

Jane Guthridge has owned a graphic design business for 25 years and won over 100 design awards. She graduated from Kent State University with a degree in Fine and Professional Arts, majoring in graphic design and continued her studies in Switzerland with Armin Hoffman and Paul Rand, both groundbreaking forces in modern graphic design. Jane’s art is represented in galleries across the country and has been shown in solo, group and museum exhibitions. Her work is included in numerous corporate collections including the US Department of States Collection of American Artists.

Wendy Haas is a Chicago-based private art dealer and curator and has worked with the SOFA Chicago art fair. As director of Cervini Haas Gallery in Scottsdale Arizona, she worked with national and international artists and clients and exhibited at art fairs across the United States. Since moving to Chicago she has also worked for the SOFA Chicago art fair and is renewing her own studio practice.

Lynette Haggard holds a BFA in painting from Philadelphia College of Art. She has exhibited widely in over 70 exhibitions nationally. Her work can be found in many public and private collections including the New Britain Museum of American Art. Lynette has attended 9 conferences and been a regular presenter at the conference for several years.
She maintains her art practice in the Boston area.

Kay Hartung is an artist working in a variety of media who is inspired by the microscopic world. She has a studio at ArtSpace Maynard and lives in Acton, Mass. Kay has a BFA from Philadelphia College of Art and an MFA from Syracuse University. She was on the faculty of Bradford College in the Creative Arts Division from 1979-1999. Kay is represented by Fountain Street Fine Art, Framingham, Mass., and has been a recipient of grants from Somerville Arts Council, Malden Arts Council and the Ford Foundation. Her work has been exhibited nationally and is in many private and corporate collections. She has created specially commissioned work for both public and residential spaces.

Jeff Hirst, who has both a BFA and MFA in printmaking, has been exhibiting his work since 1987 and has shown extensively across the United States and Europe. Jeff’s work has been shown at The Minneapolis Institute of Art, the McKinney Contemporary in Dallas, Butters Gallery in Portland, Oregon, and Arte Internazionale in Matera, Italy. He is the owner of Hirst Printmaking, a printshop and teaching facility where research and exploration in experimental print ideas meld encaustic, printmaking and sculpture.

Deborah Kapoor is known for her mixed-media works and sculptural wall installations with strong conceptual elements about the distilled poetry within cultural markers. Her works have been exhibited at venues like the Trenton City Museum, New Jersey; the Ukrainian Institute of Modern Art, Chicago; Crane Arts Center, Philadelphia; and the Kimball Art Center, Salt Lake City. Her work has been published in Catherine Nash's Authentic Visual Voices, and The World Encyclopedia of Calligraphy, and will be in the forthcoming book, Encaustic. Deborah has taught at Columbia College, Chicago, and other institutions. She now teaches at Bellevue College in Washington. She earned her MFA at the University of Delaware, and BFA at the University of North Texas. You can see more of her work at ArtXchange Gallery, Seattle, and Conrad Wilde Gallery, Tucson. 

Susan Lasch Krevitt earned her BFA from the School of the Art Institute of Chicago. Exhibited in the United States, Australia and Europe since 1980, her tactile abstractions blur the line between sculpture and painting. The work explores structure, connection and transformation through the manipulation of materiality and process. Susan is the featured artist in the profile article, The Rhythm of the Hand, to be published in the Winter 2015 issue of Surface Design Journal. She  lives and maintains a studio in Southern California.

Alexandre Masino's practice has been devoted to encaustic painting for more than 15 years. He is known for his painterly approach, both in painting and monotype, using representation in dialogue with a subtle and expressive use of the medium. His works have been presented in more than 50 solo and group exhibitions in galleries and art centers across Canada, the United States and Europe. Alexandre regularly teaches at the Encaustic Conference and has also exhibited and taught at R&F Handmade Paint. You may follow his blog at 

Joanne Mattera works in a style that is chromatically resonant and compositionally reductive. Recent solo exhibitions took place at Conrad Wilde Gallery, Tucson, and Kenise Barnes Fine Art, Larchmont, New York. Joanne’s work is in the collections of the New Britain Museum of American Art, Montclair Art Museum, the U.S. State Department, and numerous collections, including a new 21-painting installation for a Norwegian Cruise Lines ship that will travel internationally. Joanne holds a BFA in Painting from Massachusetts College of Art and an MA in Visual Art from Goddard College. She is the author of The Art of Encaustic Painting and the Joanne Mattera Art Blog.  She is the founder and director of this Conference.

Raé Miller is an award-winning, mixed media artist who shows internationally. She was born in California, and in 2007, moved from the Bay Area to San Miguel de Allende, Mexico.  Rae’s work has been featured in exhibits in the United States and Mexico. The bilingual workshops in encaustic and mixed media in her studio are attended by artists from all over the world. She is currently at work on paintings for an exhibit at El Museo de Bellas Artes “El Nigomante”  in San Miguel de Allende for Winter, 2017.  

Cherie Mittenthal has her MFA from the State University of New York at Purchase and her BFA from the Hartford Art School at the University of Hartford. She is the Executive Director of Truro Center for the Arts at Castle Hill since 2002. Cherie serves on the board of Campus Provincetown, Provincetown Cultural Council, and partners with Highlands Center Inc. for the only wood-fired kiln on Cape Cod. Cherie’s paintings and work on paper are redolent of the meeting of sky, sand and sea, and sometimes animals from crows, to pigs and sheep. In her studio practice she works in pigment sticks, mixed media and encaustic. Her work is represented by Kobalt Gallery in Provincetown. She is the co-producer of the International Encaustic Conference in Provincetown.

Wayne Montecalvo holds a BFA from the School of Visual Arts in New York City. He has been an instructor at the State University of New York, New Paltz, and has taught classes and workshops in New York’s Hudson Valley, at Bard College, Annandale; Women’s Studio Workshop, Rosendale; and R&F Handmade Paints, Kingston.  Wayne has taken part in several residencies in the United States and abroad and has worked with performance groups that explore a range of artistic practice. His current body of work focuses on screen printed imagery combining encaustic paint, pigment sticks and other materials on a variety of surfaces.

Lora Murphy began her art studies in Ireland , where she received a Bachelors in European Painting. She then went on to train as a painter at a traditional Atelier School in Florence, Italy. This was followed by a Masters in Art Therapy and Jungian Psychology. Her practice was transformed in 2006, when she discovered encaustic, and she now paints almost exclusively in that medium, focusing on portraiture and figurative work. She lives in Denmark and exhibits and teaches in Europe and the United States.

A longtime resident of Tucson, Arizona, Catherine Nash is a visual artist who freely mixes media in her work to express her ideas. Catherine’s love of travel and different cultures has inspired her to live, exhibit, research and teach on four continents.  Nash recently published an e-book, Authentic Visual Voices: Contemporary Paper and Encaustic. She is greatly honored by receiving a peer-nominated and juried Lumies Artist 2015 award for Southern Arizona.  With a lifelong dedication and consistency in her studio practice, Nash creates mixed media images and sculptures that respond to and reflect on a spiritual and philosophical relationship with nature.

Nancy Natale, currently of Easthampton, Massachusetts, received a BFA in painting from Massachusetts College of Art in Boston and a BA in English literature from the University of Massachusetts. She was awarded a Pollock Krasner grant in 1995 and a 2012 grant from the Artists’ Resource Trust. Her work is represented by Arden Gallery in Boston, and she also shows at Conrad Wilde Gallery in Tucson. She has attended all nine of the encaustic conferences and has actively participated in most of them, presenting talks, showing her work, and co-curating the exhibition Material Consequences in 2014 in Gallery X at Castle Hill Center for the Arts.

Carol Pelletier is the Chair of Fine Arts and Professor of Art at Endicott College, which is located on the north shore of Boston. She has exhibited in over 50 solo and group shows nationwide, including the Cynthia Winings Gallery, Attleboro Art Museum, the Huntington Museum of Art, the Oglebay Institute, Berea College and Marietta College. She has received three National Endowment for the Arts Grants, including a Fellowship grant to honor her achievement in the field of Fine Arts. She has also received a Mellon Foundation grant and is a Salzburg Fellow. Carol has completed artist residencies and offered workshops at the Vermont Studio Center, the Peabody Essex Museum and elsewhere. Her work has been in multiple publications including New American Paintings and Creative Quarterly: The Journal of Art and Design. She is represented by the Cynthia Winings Gallery, Blue Hill, Maine. At the Heftler Visiting Artist’s gallery at Endicott College, Carol recently curated the show Organic to Geometric, which represented 19 artists from around the country whose work incorporated wax within the areas of painting, sculpture and printmaking. Carol splits her time between the North Shore of Boston and Deer Isle, Maine, where she maintains her studio. 

Sherrie Posternak takes advantage of all of her life’s passions—making and teaching art, travel, learning about other cultures, becoming fluent in the Spanish language, and building her new business designing accessories. Everything involves communication and the integration of the variety of life’s disciplines. Within the context of the arts, Sherrie chooses whatever medium or technique is most appropriate to express her ideas—encaustic, photography, ceramic, glass, fiber. She began her encaustic practice 10 years ago and has had solo and group shows in the U.S. and Mexico. She self-published a catalogue on the topic of her art installatio, A Memorial for El Tomate. Images of Sherrie’s work are in the gallery section of the e-book, Contemporary Paper and Encaustic, by Catherine Nash.

Lisa Pressman earned her BA in Art from Douglass College, Rutgers University and her MFA from Bard College. Her work focuses on a visual synthesis of stored and personal memory. Lisa will be featured in a solo show, Passing Through, at Causey Contemporary, New York City, opening November 13th 2015. Her paintings have been featured in solo and group exhibitions, including The Hunderton Art Museum, Clinton, New Jersey; Butters Gallery, Portland, Oregon;  Susan Eley Fine Arts, New York City, Rosenfeld Gallery, Philadelphia; Palazzo Dell'Annunziata, Matera, Italy; and R&F Gallery, Kingston, New York. Lisa is a core instructor for R&F Handmade Paints and a workshop instructor for Gamblin Artists Colors. She is an ad hoc faculty member for the Conference. Lisa lives and works in West Orange, N.J.

Jeff Schaller holds a BFA from Arcadia University, has shown both nationally and internationally, in Chicago, New York, Switzerland, and recently The Coca Cola Museum in Atlanta. He is frequently published in magazines and newspapers, chosen for juried art exhibitions, and selected for special projects, commissions and murals. Jeff recently completed an art installation for PREIT and Main Line Health at the Exton Mall in Pennsylvania. He is named one of the Top 5 Most Influential Artists in Chester County by Business 2 Business. Schaller received a highly coveted fellowship from the Commonwealth of Pennsylvania and is also the recipient of the prestigious Philadelphia Museum of Art Purchase Award.

Toby Sisson earned herMFA from the University of Minnesota, Twin Cities, and is Associate Professor and Director of the Studio Art Program at Clark University in Worcester, Massachusetts. In addition to drawing, painting and printmaking, Toby's areas of specialization include communitybased service learning and collaborative public art projects. She has been the recipient of numerous honors for teaching as well as grants and fellowships for her studio practice. Her current research focuses on the development of dialogic critique methods for visual artists and creative pedagogy for non-artists. Sisson’s home and studio are located in Providence, Rhode Island, and she exhibits her work internationally.

Pat Spainhour is an artist and art educator. She teaches AP Art History at the Univ. of North Carolina School of the Arts, in Winston-Salem. Pat has a BFA degree, with concentrations in design and art education from the University of North Carolina at Greensboro, with graduate studies at Wake Forest University. She has over 30 years teaching experience. Pat developed an interest in encaustic painting at Penland School of Crafts, studying under Tremain Smith in 2006. Pat Spainhour was awarded the 2009 North Carolina Arts Council Regional Artist Grant. Pat’s paintings and prints have been exhibited nationally and are held in international collections.

Charyl Weissbach received a BFA in painting and art history from Massachusetts College of Art. Her studio/gallery is located in Boston's South End Arts District. Her artwork is in many private and corporate collections, including Brigham & Women’s Hospital and Winchester Hospital, both in Massachusetts, and the University of Pennsylvania. Images of her paintings are featured in Encaustic Works 2012: A Biennial Exhibition in Print, 100 Artists of New England, Boston Magazine's Design Home 2013, and in the upcoming book, Encaustic. She is represented by galleries and has exhibited at museums such as Danforth Art Museum, Duxbury Art Complex Museum, and the Andrews Art Museum.

Deborah Winiarski teaches at The Art Students League of New York in New York City. Her work has been exhibited at Denise Bibro Fine Art and Kouros Gallery, both in New York City, and at various venues across the United States. In 2015, Deborah curated the exhibition, Casting Shadows: Working in Dimension and Relief, at Julie Heller East Gallery in Provincetown as part of Conference 9’s Curatorial Program. Deborah is the Featured Artworks Editor for ProWax Journal, a quarterly online publication for professional artists working in the medium of encaustic. She also moderates ProWax Forum, an online discussion group where questions regarding encaustic materials, technique, and vision are answered.  Her work is currently represented by Denise Bibro Fine Art; Broadhurst Gallery, Pinehurst, North Carolina; and Elizabeth Clement Fine Art, Boston and New York City.  

Nancy Youdelman has been exhibiting her artwork since 1971. She has the distinction of having been part of the very first feminist art class that was taught by Judy Chicago in 1970 at California State University, Fresno. She continued her participation in the Feminist Art Program (1971—1973) at California Institute of the Arts, Valencia, where she participated in the internationally acclaimed project, Womanhouse (1972), receiving her BFA from CalArts in 1973 and her MFA with an emphasis in sculpture from UCLA in 1976.  Her extensive exhibition record includes many national exhibitions including a solo exhibition and teaching residency at Pennsylvania State University. She has been the recipient of numerous awards, including from the Pollock/Krasner and the Adolph and Esther Gottlieb Foundations.