Studio 7 & 8
I am drawn to the ideas of liminality, chaos and deeper order, and the subsequent visual constructions of atmospheric environments overlaid with ordered structures.
In other words, in the process of decoding the bombardment of daily information, I try to focus on key concepts of visually fascinating instances. To get to the essence, I strip away the social-cultural temporal interpretations, which leads me to a moment of defined introspection. A cusp between the representational and the knowable, and the less tangible properties of emotion and non-linear identification.
As an example, what may have started as the observation of a wintered field, becomes a recursive process of refining the visual planes, a study of the saturation and dispersion of coloration within the landscape space over time, and the reduction of extraneous noise, such as telephone wires and poles, cars and people, billboards and street signs. Eventually I come to a balance of the essential elements. The question of, “What is catching my attention about this scene?” is closer to being answered.
Often, a horizon line of trees that wind break one field from another may slide up or down the defining space of the painted rectangle. The decision of more sky or more field may result in the line of demarcation sliding off the edge entirely forcing a reevaluation of the newly created internal landscape dialog. Maybe I didn’t actually need the trees, field or sky. Perhaps it is the references that are constructed by light and shadow, texture and pattern that are the subject reinforced by the cool or warmth of the day, energizing scents of the woods, sounds of the birds. The divining out of the essential experience of the space pushes the composition across the cusp from realism to abstraction, from the knowable to the “less sure.”
This chaotic imagery of fluid color and implied movement can be disorienting. So superimposed systematic shapes, grids and restraining lines, repeated patterns and textures are used to create stability: structure over chaos grounding the visual experience. Like looking through a rectangular window frame at the blowing garden leaves and petals on a blustery day. These spots and flows of moving colors, patterns of light and texture, reveal the path of the wind, and perhaps our thoughts.
Encaustic Classes at The Foundry Studio: August-September
The summer is hot, and many of you are traveling with your families. So, to accommodate more schedules,Open Studio classes are on a “by appointment” basis through September.
Send me an email at firstname.lastname@example.org to set up work time. Set up as much time as you need, or set up a structured class. Let me know what you want to work on, how many are coming, and how much table space you will need. This is a great time to work on specific skills, or special projects!
Encaustic Open Studio
Need space to work? Access to encaustic tools and materials? Inspiration or assistance? Sign up for work time/space on open studio days. Blocks of 3 hours are available for you to work independently, or with
instruction. Sign up for 1 block of time, or several:
Wednesday, Thursday, Friday, and/or Saturday 10am-1pm
Wednesday, Thursday, and/or Friday 1-4pm
Wednesday, and/or Thursday 5-8pm
1, 3hr class, independent work: $36
1, 3hr class, with personal instruction: $45
4, 3hr classes, independent work: $125
4, 3hr classes, with personal instruction: $160
Choose your day and time. Email: Lisa at email@example.com to set up your class time.Bring: Materials and personal tools for new work you are starting, or work that you are completing.
Adults 18+. Limit 8
Notes: Participants must already have knowledge of working safely with encaustic tools and materials. No experience? No worries. A beginner’s class that covers safety, and foundation techniques can be scheduled.
*Provided for all classes: A professional fine art encaustic studio
– 4, 36″x80″ work tables with dedicated hot plates, heat guns, support materials and tools for encaustic.
– Up to 4 chairs per table, as needed for participants and projects
– a 24″x48″ press bed etching press for printing encaustic-plexi plate monoprints/monotypes as well as traditional etchings and collagraphs. (coming soon)
– a printmaking work bench for inking plates and rolling up Akua water-based inks
– a Paula Roland Hot Box for encaustic monoprints/monotypes
– a large drying rack for class/workshop projects.
– a double-high flat file for storage demo/work station
– storage shelves for the studio, as well as class projects in progress
– bulk materials (beeswax, damar crystals) are available for purchase by class/workshop participants.
– some fine art papers, boards, chip brushes