Instructor:  Stephanie Hargrave
Wednesday - Thursday
May 28 - 29
10am - 4pm
2 sessions at the Main Campus 

This 2-day workshop focuses on 3-D objects.  We will be working mostly on fired clay, with an array of other porous materials on hand as we embellish and assemble small sculptures.  Using encaustic as an element to enhance each piece will be the primary focus, whether by incorporating flat fully pigmented color, transparent washes, rough texture, or a build-up of luminous softness.  We will be pushing the boundaries of how encaustic can be used, but also where it might be omitted leaving areas intentionally ‘dry’ or fusing it in deeply enough to make it nearly disappear.  Making decisions about surfaces that are near one another and being mindful of those transitions both visually and structurally will help us achieve the results we want. 

Stephanie Hargrave has been painting and working in clay since college, where she studied ceramics, color theory, sculpture, drawing, painting and writing. She has shown her work in Seattle, Minneapolis, San Luis Obispo, Santa Fe, Brooklyn, NY, Manhattan, Truro, MA, Atlanta and Stockholm Sweden. Her paintings are in several corporate collections including Seattle’s University House, Swedish Hospital and the University of Washington Medical Center, Barclays International in Texas, the Abri Hotel in San Francisco, the Woodmark Hotel in Kirkland, and Kaiser Permanente in Baltimore.  She has had 21 solo shows, participated in over 100 group shows, donates to auctions annually and has taught for 17 years.   In early 2020 she moved to Brooklyn, NY to work for celebrated encaustic artist Michael David.  Just after the pandemic shut-down, they co-founded The Yellow Chair Salon, an online critical thinking-based education series.  She was instrumental in facilitating discussions and mentoring artists and served as his director of virtual programming which included producing online exhibitions and running residency programs, all the while making and showing new work. After 3 years, she moved back to Seattle to focus on sculpture and reunite with her own kiln.  She has a studio in Pioneer Square’s Art District in the Tashiro Kaplan Building where she makes encaustic paintings, clay/encaustic sculpture and works on paper, all inspired, essentially, by biology. Her 25-year studio practice is her very nucleus.