The Hotel Fair!

An in-house event, it's an opportunity for every conferee to show their work to their colleagues (and, as always, there is no fee for this). Just open your hotel room at the times noted below. Some artists create entire installations. Others approach the event more casually, placing work on their beds or on the furniture.  If you don't have a room at the Inn, not to worry; you can set up in the lobby.
 
2024 Timetable
9:30 to 11:00:  Rooms in the motel section--HarborSide, Cape Tip and Breakwater and the Lobby

11:00 to 12:30 Rooms in the two-story Inn section--Waterview Inn and Standard inn plus Waterview and Standard, Poolview too!

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Notes on the Hotel Fair
Please note that the nature of this Hotel Fair, or any hotel fair, is that exhibitors do not get to see the other exhibitors in their time slot. The only way to see everything is to be a viewer rather than an exhibitor. Or share your room so that you and your roommate can take turns venturing out to see what's being shown during your time slot. Some conferees prefer not to share their personal accommodations but are open to the idea of sharing the room for exhibition during the Hotel Fair. (Use the Message Board to pair up.)

Some views of earlier Hotel Fairs The History of the Encaustic Conference blog has a lot of good pictures. Once you're on the blog, scroll about one quarter of the way down the page (it's a long page) to find the Hotel Fair section. 

Can you sell out of your room?
Yes. Some conferees use electronic card readers to accept credit cards (though Wifi can be weak in the Cape Tip and Waterview Rooms). Others take checks, cash, or IOUs. And still others are open to trading. There are no rules, except that the business is between you and the person interested in your work. Neither The Encaustic Conference nor the Provincetown Inn assumes any responsibility for your transactions.

Is the Hotel Fair open to the general public?
Yes, The Hotel Fair is open to the public. Many gallery owners in town come and visit. We also invite a number of local and regional critics, curators, writers and publishers to attend the Conference specifically so that they may see what's going on in contemporary encaustic. We encourage them to attend the Hotel Fair, and many do.

Is there anything you can't do?
You cannot make holes in the wall with pins or nails. If you do and the Inn sees them, you will be charged a refinishing fee. However, there are temporary-tape picture hangers, and artists with light-in-weight work may use those. Others simply prop work on the furniture or the bed. Conferees have also used the bathroom to create displays and propped paintings on the outdoor areas of their rooms. Be inventive while being respectful of the limitations.

"What if I have registered only for Friday and Saturday night. I'm supposed to vacate my room by 11:00 am on Sunday. Can I participate?"
Yes! However, be prepared to vacate your room as soon as the Hotel Fair is over. You can leave your suitcases and/or wrapped art with the manager once you have checked out, but know that neither the Inn nor the Conference will assume responsibility for your belongings.

"What if I'm not staying at the Inn. Can I participate?"
Yes! The lobby is available for you to set up. Participants typically place work on the furniture in the lobby. Others have brought their own card table and chairs to set up. Again, be inventive without banging into the walls. And please be conscious of the amount of space you take, which you can gauge as others are setting up.
 
"What time can I start setting up in the lobby?"
Between 8:30 and 9:30. Please be set up by 9:30 when conferees will start to come through.

"Can I ship artwork to the Inn?" 
If you are staying elsewhere, no. If you are a registered guest at the Inn, yes. Eric, the event manager, will accept packages addressed to you. Add this at the bottom of your label: ATT: ERIC, ENC. CONF. Please know, however, that neither the Provincetown Inn nor the Encaustic Conference will assume responsibility for them. Please bear in mind if you ship your work,
Provincetown is at the very tip of the Cape, so UPS and Fed Ex typically arrive late in the day.

"How do I ship it back?"
. If you send packages to yourself, be prepared to send them back. That means contacting your carrier ahead of time to ascertain what you'll need to provide in the way of labels
. You will be responsible for storing the shipping boxes
. Make sure your carrier will pick up the packages for return delivery. If not, you will need to drop the packages off. Make sure you know where the drop locations are and when they are open
.Here's the link for the FedEx drop-off location in town

How to let conferees know where to find you
So that conferees know what room you're in, a large sheet of paper in the Lobby will be posted with all the rooms numbers. If you're participating in the Hotel Fair, write your name next to your room number so that people can find you easily. Also, use the Comments section below to note your name if you'll be participating. Feel free to include  a website URL, too.

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Introducing our Keynote Speaker: Petah Coyne

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This year’s Keynote Speaker is Petah Coyne!

Petah Coyne is a contemporary sculptor and photographer best known for her large-scale hanging sculptures and floor installations. Working in innovative and disparate materials, her media has ranged from the organic to the ephemeral. Dead fish, mud, sticks, hay, black sand, specially-formulated and patented wax, satin ribbons, silk flowers, shaved cars, and shredded trailers are a few of the things she has incorporated into her sculptures. More recently, she has worked with glass, velvet, taxidermy, cast wax statuary, and trees. Unafraid to confront a range of subjects or tackle contemporary themes, Coyne’s innate dualities are transposed in the dichotomous themes of her work: transformation and constancy; life and loss; beauty and darkness. In a 2019 New York Times article by Hilarie Sheets, Amy Gilman, director at the Chazen Museum of Art adeptly describes Coyne’s sculptures as “evocative in the way that great literature stays with you… Petah’s work exposes private things without being explicit, these deep wells of memory and meaning and relationship.”

Throughout her oeuvre Coyne has derived inspiration, as with her media, from diverse sources—from literature and film, world culture and the natural environment, to the artist’s own personal biography. Notably celebrated are under-recognized female authors and Eastern literary figures. Untitled #1379 (The Doctor’s Wife), 1997-2018, the centerpiece of Coyne’s 2018 solo exhibition in Having Gone I Will Return at Galerie Lelong & Co., New York, is titled after Sawako Ariyoshi’s novel of the same name. At 16 x 8 x 8 feet, this imposing installation piece is a mass of whorled folds of endless hand-sewn velvet, of inky blues, blacks, and teal. Most recently, Coyne has created Color of Heaven for the exhibition CRAZY: Madness in Contemporary Art at Chiostro del Bramante. This new body of work features nine hanging wax sculptures, all named after notable women, particularly artists and writers. In contrast with her large-scale black and white works, those featured in Color of Heaven are smaller in scale, and from underneath, they are brightly-colored. These works will be part of a much larger installation at the Pennsylvania Academy of Fine Arts, slated to open in 2023.

Coyne’s work is in numerous permanent museum collections, including the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Metropolitan Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Brooklyn Museum, Brooklyn; Philadelphia Museum of Art, Philadelphia; San Francisco Museum of Modern Art, San Francisco; Museum of Fine Arts, Boston; Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.; Denver Art Museum, Denver; Cincinnati Art Museum, Cincinnati; Kemper Museum of Contemporary Art, Kansas City; Museum of Contemporary Art Kiasma, Finland; Montreal Museum of Fine Arts, Canada; Museum of Contemporary Art of Montreal, Canada. 

Select awards include the John Simon Guggenheim Memorial Foundation Award, The Rockefeller Foundation Award, three National Endowment for the Arts Awards, Pollock-Krasner Foundation Award, The Joan Mitchell Foundation Award, Asian Cultural Council Award, New York Foundation for the Arts Award, Anonymous Was A Woman Award, Augustus Saint-Gaudens Memorial Foundation Award, Massachusetts Council on the Arts and Humanities Awards, the Art Matters Award, three Artists Space Awards, two International Association of Art Critics Awards, and the Southeastern Center for Contemporary Art Award in the Visual Arts.
 
Coyne has been reviewed by Aperture Magazine, Art in America, Artdaily, Artforum, Artnet, ARTnews Magazine, Artspace, Blouin Artinfo, BOMB Magazine, Chicago Sun-Times, Chicago Tribune, ELLE Italia, ELLE Taiwan, Frieze, Hyperallergic, Interior Design, Los Angeles Times, New York Magazine, Newsday, Sculpture, Tema Celeste, The Boston Globe, The Brooklyn Rail, The New York Times, The New Yorker, The Philadelphia Inquirer, The San Francisco Examiner, The Times (London), The Wall Street Journal, Time Out New York, Village Voice, Vogue Magazine, and the Washington Post.

Born in Oklahoma City in 1953, Coyne currently lives in New York and is represented by Galerie Lelong & Co., New York; and Nunu Fine Art, Taiwan.
 

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Postcard Show at the Inn

Conference 17:  Still Going Postal 

The Postcard show is back!

The Postcard Show is one of those glorious win/wins. Conferees--as well as friends of the Conference--donate postcards for show and sale. It's an exhibition for the artists donating, and every penny of the sale goes toward scholarships for the following year.

Each year will see a different group of artists receive the Conference Scholarship Grant, which offers a paid-for entry to the Conference. Additionally, the Scholarship Grant is a legitimate entry for your resume.

How to pack: The postcards will not be sent individually but in a padded envelope or other safe container. Please try to cut down on excessive packaging. Not only will the environment thank you, Stephanie--who will have to unwrap everything--will thank you as well. The flat lightweight-cardboard or padded mailers available at the Post Office or FedEx should be sufficient to protect your work. You might wish to interleave your postcards with glassine, and then sandwich the stack between two lightweight layers of cardboard--the type that comes in  a digital-print paper box--before inserting the whole thing into the mailer. For good measure, I'd write "Do not bend."

Please send to:
Stephanie Roberts-Camello
24 Stanford Hill Road
Pembroke, MA, 02359

Can you hand deliver? Unfortunately, no. Much as we'd love to have you do that, the postcards need to be received by May 15 so that Stephanie can prepare them for hanging before she arrives in Provincetown. An exception can be made for those of you coming from outside North America (email Stephanie if that's the case.)

USPO padded mailer and FedEx thin cardboard mailer, both about 9.5 x 12.5 inches work great. You can also use a less sturdy manila envelope if you sandwich the postcards with a thin sheet of cardboard top and bottom.

Postcard Guidelines

Basic parameters

. Size: postcard dimensions of 4x6 inches. Horizontal or vertical orientation is fine. Please keep your cards as close to the 4x6 size as possible so  they can fit into the plastic sleeves which will be provided

. Paper: People have used 300-lb watercolor paper to paint on, lightweight Japanese paper to print with, and everything in between. Other: Some artists have used  4x6" prepared panels, and others have used small stretched canvases or thin boards
. Dimension: Most of the postcards are two-dimensional, but who are we to cramp your style? Relief and three-dimensional works are entirely welcome

. Installing: We provide the archival poly bags. A small group of enthusiastic volunteers pins each poly bag to the cork walls around the room.  

. Materials: Most artists have incorporated wax entirely or in part, but we're open to your particular material expression

. Limit: There is no limit to the number of cards you donate or buy

. Getting into the room to buy: We'll have specifics listed on the schedule. The room will be open just for viewing prior to sale.

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The Vendor Room

Welcome Back To The Vendor Room in Provincetown!

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R&F Handmade Paints   
Kingston, New York

Founded in 1988 by artist and paint-maker Richard Frumess, R&F Handmade Paints manufactures two unique and heavily pigmented paint lines: our classic wax-based encaustic paint and linseed-oil based Pigment Sticks®. Located in Kingston, New York, R&F is committed to producing the highest quality paints with materials meticulously sourced from around the world. 

R&F Pigment Sticks® are oil paint manufactured with enough wax for the paint to be molded into stick form. They allow the painter to draw or paint directly onto a surface without brushes, palettes, paint tubes, or solvents. R&F uses only the basic traditional materials: natural wax (beeswax & plant wax), linseed oil, and pigment. The result is an oil stick with a lipstick soft consistency.

Pigment Sticks® have none of the additives, extenders, substitutes, or facilitators that are commonly used in industrial production. While the use of these adulterants can save time and reduce cost, they lower the quality of the paint. To do without them it is necessary to create a very precise balance of the ingredients. Consequently R&F's formulas are complex and manufacturing is labor-intensive, handmade in small batches, carefully milled and molded.

In addition to encaustic paint and Pigment Sticks, R&F offers encaustic medium, impasto modeling wax, heated 12” or 16” palettes, heat guns with adjustable temperature settings, palette cups, palette thermometers, heat gun nozzles, hake brushes, gesso, soy wax, damar, and beeswax.

R&F produces a range of educational resources from their blog Unique Color, to downloadable PDFs on safe working temperatures and ventilation to combining oil and wax and encaustic bloom. They have a YouTube channel with helpful demo videos and a weekly e-mail newsletter with tips, tricks, and introductions to artists around the world. For nearly 30 years, they have offered encaustic and Pigment Stick workshops in their Kingston facility. This past year, R&F launched Brown Pink - a rental space and artist residency program.

President Darin Seim and Dietlind Vander Schaaf will be in the Vendor Room this year where you will find both of R&F's paint lines at discounted prices, as well as limited edition colors and a raffle.

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Enkaustikos Wax Art Supplies  
Rochester, New York

Since 1996, Enkaustikos’ mission has been to produce the highest quality professional encaustic paint. To make the best paint we begin with the best ingredients. We only use Pharmaceutical grade beeswax, along with the highest quality damar resin; then after filtering we add artist-grade pigments that are lightfast, heat stable, and offer exceptional purity of color. We are proud to offer you a selection of 88 colors to choose from. 73 are single pigment paints that provide you with an opportunity to finely hone your color sensibility. Dan Sywalski, our paint maker for over 17 years, brings experience to the process. Dan uses modern milling technology to shear our pigment to its ultimate particle size. Each color has been formulated to achieve the maximum pigment concentration while maintaining good handling properties. Use either our original wax medium or XD to extend the pigment load to your satisfaction. Whether you want to make beautiful transparent glazes, apply thin veils of color or build thick opaque layers of color in your artwork, Enkaustikos paints has you covered.

Enkaustikos Paints

Enkaustikos professional paints are offered in several formats. At last years Encaustic Conference we brought a sampling of Wax Snaps to get your input, the feedback was tremendous and this year, we are excited to bring our full line of Wax Snaps. We also offer Hot Cakes (45ml) already in tins, our convenient Hot Sticks (13 ml) designed with direct application and printmaking in mind and our one ounce (29 ml) discs, sold in any size from 1 to 16 ounces, great for bulk purchasing and workshop settings.

We will bring all of our sundries and plenty of beeswax, damar resin and both our mediums available in bulk packaging for even greater savings.

Slotted and hog bristle brushes

In addition to our paints and sundries, we will have all of our Enkaustikos aluminum printing plates, Enkaustikos hog bristle brushes, and our custom made Hot Tools.  Our Hot Tools are handcrafted in solid brass. We offer unique brass bristle brushes that keep your encaustic paints liquefied until applied to the substrate, actually fusing while you paint. They come in a variety of different profiles so that you can create a wide range of applications from the smallest of details to painterly brushstrokes.

The Slotted Brush is designed to apply large, bold, textured strokes of wax color rapidly. The slotted design allows the hot air of the heat gun to flow through the brush, keeping paint fluid during application. The Enkaustikos Hog Bristle brushes are true work horses made from bristles originally chosen for masonry sign painters.

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Paper Connection
Providence, RI

In 1995, Lauren Pearlman Sugita founded Paper Connection International, LLC, a Providence-based importer and distributor of specialty art papers. Paper Connection has become an essential paper resource in North America, stocking mainly Eastern papers made from sustainable fibers. 

For more than three decades, Paper Connection has not only been providing high-quality papers but also expert technical assistance to the art and design world. We're here to help you navigate the world of paper and find the appropriate paper for your process and the best paper to tell your story! 

If you’d like to visit us, our showroom is conveniently located right off I-95 and is by appointment only. 

Contact us at (401) 454-1436 or email us at contactus@paperconnection.com for more details.

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Miles Conrad Encaustics

With over 30 years of experience mixing encaustic color, our paints showcase the translucency and luminosity intrinsic to the encaustic medium. Our lush encaustic paints are versatile enough for the master artist, yet affordable enough for the beginner.

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Shows Associated with the Conference

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Singularities - The Enacaustic Collage, Debra Claffey

Singularities--the Wax Monotype
Curated by Debra Claffey

Show Dates: May 28 - June 9
Tuesday through Sunday 
The Provincetown Commons

Artists include:

Laura Moriarty
Birgit Huttemann-Holz
Kay Hartung
Ruth Maude
Marcy Bergeron-Noa
Kathleen Cosgrove
Karen Bright

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Transparency, featuring works from 27 artists, seeks to investigate the concept of transparency in all its forms. Wax is a mutable material, capable of changing its form and adapting to its environment. Utilizing light, texture, form, and color, works in this exhibition play with the literal qualities of transparency, with pieces that are both ethereal or illusory and grounded in the physical world. Others explore the metaphorical dimensions of transparency, examining issues of trust, accountability, and communication. Through the works of a range of artists working with wax, the exhibition invites viewers to reflect on the significance of transparency in our society and explore its relationship to power, communication, and the human experience. Each piece in the exhibition offers a unique perspective on transparency and its many layers of meaning, creating a cohesive and thought-provoking narrative.

New England Wax is an active organization of artists from the six New England states whose shared goals are to provide opportunities to exhibit, to share technical information and aesthetic ideas, to promote excellence in fine art made with wax, to educate the general public about this medium, to increase interest in encaustic and cold wax in the art world, and to build community with other artists.

Wellfleet Preservation Hall is a vibrant cultural center that uses the transformational power of the arts to bring people together and impact positive change. It is a community center that celebrates people from all backgrounds and walks of life. Wellfleet Preservation Hall is located at 335 Main Street in Wellfleet, MA, 02667.

For current information about visiting the exhibition go to: www.wellfleetpreservationhall.org.

For additional information about New England Wax, visit www.newenglandwax.com, or

follow them on Instagram @new_england_wax.

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Juried Show

17th International Encaustic Conference Juried Show:

The theme of this years exhibition is: INSPIRATION

Juror: Barbara O’Brien

photo credit: Sara Risley

Barbara O’Brien, an independent curator and critic based in Milwaukee, is the former Executive Director of Kemper Museum of Contemporary Art. She is an elected member of AICA-USA, International Association of Art Critics. O’Brien has a longstanding interest in and commitment to the community of artists who incorporate encaustic into their practice, having twice presented the keynote address (2008 and 2013) at the International Encaustic Conference. Most recently, O’Brien was the juror for the FUSEDChicago national exhibition “Connections” which was presented at ARC Gallery.

 Her twenty years in Boston included positions as editor in chief of Art New England Magazine, Director of the Trustman Art Gallery at Simmons University, and Director of the Gallery and Visiting Artist Program at Montserrat College of Art.

DUE BY APRIL 1st

No larger then 24” in any Directions

“Inspiration” is the theme of this year’s conference exhibition, to be held at Truro Center for the Arts Gallery. The juror, Barbara O’Brien, is well-known to the community of artists who work in encaustic. This year’s keynote speaker, Petah Coyne, has taken inspiration from the myriad possibilities of working with wax to create sculptures of startling originality. Who or what inspires you?

Being a studio artist is often a solitary experience built upon years of education, ambition, and discipline. Returning to this place of creation (ranging from a kitchen table to a large warehouse) and then putting one’s creations out into the world takes a leap of faith. Motivation can come from looking at the work of a living artist, or exploring the lineage of an art historical movement. Insight can emerge from a connection to powerful social and political issues. The Muse can be found walking along the shoreline, across a wide field or through a crowded cityscape. I want to know what inspires you to find your voice, create art, and continue along a challenging path.

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Who's Coming to the Conference?

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Christine Aaron - New Rochelle, NY
Kyle Abbot - Rochester, MI
Karin Abromaitis - Quakertown, NJ
Jennifer Adams - Carborro, NC
Shanoa Allowitz - Heber City, UT
Ellen Anderson - Brewster, MA
Amy Bandel - Glenwood, MD
Kristin Barton - Hillsdale, NY
Barbara Bauer - Saint Paul, MN
Edith Beatty - Waterbury Center, VT
Dot Bergen - Little Compton, RI
Marcy Bergeron - Wenham, MA
Linda Bigness-Lanigan - Camillus, NY
Christina Brady - Saugerties, NY
Susan Brandt - Stamford, CT
Karen Bright - Oceanport, NJ
Hilary Bruel - Needham, MA
Andrea Carracedo Llanos - Girona, SPAIN
Debra Claffey - Bristol, ME
David A. Clark - Palm Spring, CA
Kerri Clyne - Providence, RI
Dorothy Cochran - Midland Park, NJ
Lisa Cohen - Watertown, MA
Priscilla Cornell - Greenwich, CT
Kathleen Cosgrove - Vancouver, WA
Valaree Cox - Port Hadlock, WA
Wendy Curtis - Huntington, NY
Susan Czernicka - Westport, MA
Susan DAntonio - Big Pine Key, FL
Huibrecht de Wit -
Vincent Delrue - Lille, FRANCE
Carolyn Dunford - Harwich, MA
Debbie Edwards - Salt Lake City, UT
Bettina Egli - Binnigen, SWITZERLAND
Connie Ehindero - Rochester, NY
Doreen Ellis - Sedona, AZ
Stanley Frankenthaler - Westport, MA
Richard Frumess - Kingston, NY
Isabelle Gaborit - County Clare, IRELAND
Misa Galazzi - Cranston, RI
Leslie Giuliani - Weston, CT
Kenneth Gold - Albany, CA
Diana Gonzalez Gandolfi - Philadelphia, PA
Sharon Gottula - Kenmore, WA
Jessie Haigh - Wellesley, MA
Amy Hannum - New London, CT
Kay Hartung - Acton, MA
Jeffrey Hirst - Chicago, IL
Marie Canaves - Brewster, MA
Patricia Hogan - Great Barrington, MA
Leslie Heck - Saratoga Springs, NY
Samara Johnson - Laramie, WY
Helda Klouth - Korenhoef, NETHERLANDS
Susan Lasch Krevitt - Thousand Oaks ,CA
Doreen LaScola - Winchendon, MA
Shana Laursen - Bend, OR
Cindy Lesperance - Lakemoor, IL
Dee Levang - St. Louis, MO
Michael Lynch - Bowling Green, OH
Megan MacDonald - Kelowna, BC, CANADA
Catherine Mansell - Westerly, RI
Joanne Mattera - Salem, MA
Thya Merz - Port Townsend, WA
Lynne Miller- Charolette, NC
Kelly Milukas - Tiverton, RI
Cherie Mittenthal - Provincetown, MA
Wayne Montecalvo - Kingston, NY
Laura Moriarty - Kingston, NY
Anne Munro - Ontario, CANADA
Liz Nania - Roslindale, MA
Nancy Natale - Easthampton, MA
Mindy Nierenberg - Medford, MA
Lynn Nimtz - Benton, IL
Ross Ozer - Newton, MA
Deborah Peeples- Cambridge, MA
Alida Perkins - Littleton, CO
Cynthia Peterson - Londonderry, NH
Amy Pressman - West Stockbridge, MA
Lisa Pressman - West Orange, NJ
Michele Randall - State College, PA
Lynda Ray - Richmond, VA
Jodi Reeb - Minneapolis, MN
Sholeh Regna - Sommerville, MA
Rhonda Reist - Kansas City, MO
Denise Richards- Snohomish, WA
Doris Roach - Newburyport, MA
Dale Roberts - Norristown, PA
Stephanie Roberts-Camello - Pembroke, MA
Paige Robertson - Charlotte, NC
Leslie Roy Heck - Saratoga Springs, NY
Kathy Sheffield - Florence, MA
Jan Spencer de Gutierrez - Saint Paul, MN
Sarah Springer - Lexington, MA
Erica Strzepek - Harwich, MA
Annette Swinkels-Wijers - Netherlands
Barbara Torrey - Boston, MA
Joanne Ungar - New York, NY
Leslie Volle - Sayville, NY
Nancy Whitcomb - Providence, RI
Kelly Williams - Portland, OR
Janet Wilson - Marietta, OH
Michele Wyman - Colts Neck, NJ
Lisa Zukowski - Lake Worth Beach, FL

If you do not see your name on this list before the conference, or your name is misspelled, please contact Marisa (marisa@castlehill.org)

Updated 4/16/2024

2024 Conference Schedule

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The entire conference takes place at the Provincetown Inn, NOT at Castle Hill in Truro!

Please Note:  This schedule is subject to updates and change, please check back in as the Conference dates approach!

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Registration opens in the Lobby at 8:30am
Vendor Room Opens at 9:00

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Friday, May 31st

9:30 - 10:30

TALK: Monotype and Encaustic
Deb Claffey
This talk is a survey of artists who work with monotypes and encaustic in complex and personal ways. It will cover artists who make encaustic monotypes, artist who use monotypes in other mediums with encaustic, and artists who use their monotypes to make mixed media 2- or 3-D work.

TALK: Print Installations
Jeffrey Hirst
This talk will cover contemporary artists working with print installations and a brief history of print installation work.

DEMO: When Wax Meets Paper: The Art of Skin Papers
Gabriela Sánchez
Dive into the captivating world of skin papers with encaustic in this one-hour demo. Discover how the ancient technique of encaustic painting, seamlessly melds with delicate, thin papers to produce mesmerizing art pieces.  From understanding the fundamentals of encaustic painting and the allure of skin papers to delving into intricate processes and creative techniques, this conference offers a comprehensive exploration of this unique intersection of materials and methods. 

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10:30 - 11:30 BREAK

10:45 - 11:15: Welcome and Orientation for Newcomers!
with Cherie Mittenthal

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11:30 - 12:30

DEMO: Encaustic Painting and the Faux Gilded Frame
Leslie Giuliani

The way a painting is presented can make ALL the difference. Using simple tools, Ampersand Encausticbords and gorgeous R&F metallic paints, we can create a gilded frame to showcase our paintings. This is a wonderful technique that can really set your work apart.

TALK: Mapping an Artist Family Tree
Patricia Miranda
A map, like an artwork, is a tool for locating and understanding. Mapping your artist family is a powerful exercise to place your work with its contemporary relations. Placing your work in context can locate the constellations of discourses in your work, clarify important themes and ideas, find other artists engaged in related conversations, reveal the spaces where we need to up our game, map where those conversations are taking place, and help point us to a professional path for the work. This participatory talk will introduce the ideas of the Artist family, along with some fun exercises to build your family tree, and discover how to use mapping to support your studio and professional practice.

TALK: Inspiration Meets Intent
Karen Bright
In building knowledge in methods and process, one can achieve greater meaning in their creative work. This knowledge base can be further augmented by constantly looking at both contemporary and historical work which, in essence, plant the seeds of inspiration driving the creative process forward. Examples of work that provides this for my own artistic vision, keeping me in ‘experimentation mode,’ will be shared and discussed.

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12:30 - 1:30 BUFFET LUNCH

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1:30 - 2:30

DEMO: Beginning Encaustic
Isabelle Gaborit

TALK: Fresco and Encaustic Synergy
Bettina Egli

TALK: Thinking Through Space
Christine Aaron

Are you working dimensionally and interested in shaping space with your work? Are you challenged and intrigued by site specific work and installation? This talk will feature artists who create sculpture and installation that utilize space to actively engage the viewer, and include insights into the evolution of the thinking process inherent in envisioning dimensional work in space. How these artists address space and use it as one of the elements integral to the success of the work itself, as well as consideration of scale, lighting, height, movement, placement and sound will be illustrated and addressed.

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2:30 - 3:00 BREAK

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3:00 - 5:00

PANEL: The State of Encaustic After a Generation

Joanne Mattera, Darin Seim, and Marla Rice
Moderated by: Cherie Mittenthal

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SATURDAY, JUNE 1

9:30 - 11:30: KEYNOTE SPEAKER, Petah Coyne

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11:30 - 12:00 BREAK

12:00 - 1:00 BUFFET LUNCH

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1:00 - 2:30

DEMO: Cold Composition in Encaustic Printmaking
David A. Clark
This demo is designed to show the viewer how to use the manipulation of heat, specifically working cold, in order to expand the possibilities of encaustic printing. Manipulating the encaustic printmaking process to “compose cold” and then introduce heat in order to activate the paint and then print the image can assist the artist with registration, composition and give the printmaker precious time to build an image and think through their ideas before committing paper to paint.

TALK: More Material Possibilities
Nancy Natale
We live in an era of sound bites and talking heads, nut grafs and pull quotes—in other words, a world in
which a lot of information must be presented concisely but cogently. A concise and well-crafted Artist Statement offers a pathway to your work. What makes an Artist Statement good (or bad)? How do you write a good one? Come and find out. This talk is for artists at any stage of their career.

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2:30 - 3:00 BREAK

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3:00 - 4:30

DEMO: How Far Can Color Go
Lisa Pressman and Richard Frumess
This will be a demonstration of different ways to build a color harmony starting with just one color and seeing how far it can go just by itself before adding another color and methodically building up a rich palette.
The demonstration will be done with Pigment Sticks.

TALK: SUMINAGASHI and Encaustic
Laura Moriarity

This will be a talk about how I have incorporated suminagashi into my art practice, how it appeals to my natural interest in process, and working with the materials and forces of nature. The talk will branch out to include a bit about my residency experience on Rabbit Island, and how that opened up my way of thinking about suminagashi as almost collaborating with nature. I will also share a short video that shows my method of working on suminagashi in the wild.

TALK: Curatorial Thinking
Joanne Mattera
There are many kinds of curators and many ways to curate. If you’re thinking about curating, I’ve got strategies and ideas to inspire and encourage you.

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4:45 Postcard Sale Opens! AND Book Signing.

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SUNDAY, JUNE 2

9:30 - 12:30 Hotel Fair, Postcard Show, Book Signing

12:30 - 1:30 Buffet Lunch

VENDOR ROOM CLOSES AFTER LUNCH!

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1:30 - 2:30

DEMO: Color Knowledge is Color Power
Jodi Reeb

Color is often the first choice you make when starting a painting and how you use color can change the content and message of your artwork. In this demo, you’ll learn how to mix any color and why tone is the most important factor in matching a color as well as how to mix a diverse range of hues.  Painting with a limited palette will improve your color-mixing skills and confidence.  We will explore translucent and opaque hues and the wonderful advantages of painting with wax!

TALK: Are You Exhibition and Press Ready?
Kelly Milukus
Your artwork is made, photographed, mounted or framed, and wired to hang, but are you press ready? This skill building session will provide tips, tools, and strategies that will help you organize media kits and websites,  provide compelling visuals, prepare for interviews, writing press releases and getting them read, and making a quality media lists to fit your needs. Timelines and processes will be shared, and cues to be warming up your e-mail list and social media fans months in advance.

TALK: Poke, Sew, Dip: Exploring the Possibilities of Paper, Thread and Wax
Milisa Galazzi
I will introduce the participants to the myriad possibilities of working with paper, thread and wax. In addition, I will share mages or actual works that I have created using these materials and techniques, provide information about types of paper as well as vendors who provide a multitude of options. I will also showcase images and information about other artists who also poke, sew and dip, and review a few different types of stitches that I have found work well when sewing on and through paper. Issues around installation and exhibiting works on paper as well as shipping and storing paper works which are sewn and which incorporate encaustic will be covered.

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2:30 - 3:00 BREAK

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3:00 - 4:00

DEMO: Unlikely Alternatives: Encaustic and Mixed Media
Wayne Montecalvo
This demo will address combining encaustic with various mediums. Incorporating acrylic paint, water color, India ink, powdered charcoal, stain block (house paint) are a few of the methods that will be demonstrated. 

Processes will include working with digitally printed imagery, monotype, and silkscreen prints, as well as other suitable collage materials. In addition to working on panels, alternative substrates (FoamCoat on foam panels, as well as encaustic and shellac on glass) will also be shown. The demo will address ways to manipulate images and to push the digital print into something unique. Mark making, re-assembling, distorting, and adding hand drawn elements will also be a focus of the presentation. Combining controlled “accidental” marks using India ink and alcohol on Japanese paper will be shown as an option for layering on top of, and underneath an image.

TALK: Use Artwork Archive to Organize Your Inventory and Improve Visibility
Michele Randall

How do you keep track of your artwork when it is moving from storage, to exhibition, to gallery and back again? Artwork Archive is an inventory database system that helps to manage, organize and track artwork. This presentation provides a broad overview of the systems and features including how to set up viewing rooms, create public and private files, monitor proposals and deadlines, and improve your overall business efficiency.

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4:15 - 4:30

Wrap up in Mayflower Room
Closing Remarks from Cherie and participants!

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sale

17th Annual International Encaustic Conference Registration

Sale Price:$550.00 Original Price:$600.00

Quantity:

Add To Cart

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Booking/Sharing a Room at the Inn

The Provincetown Inn has discounted rates for Conference Attendees.
Follow these steps for Booking (It’s easier than it sounds!):

Before booking go to www.provincetowninn.com and view the various room categories, descriptions and locations. 

• Visit https://provincetowninn.com/ and plug in arrival and departure dates

• Click on the “Book Now” button.

• You will see 3 boxes towards the top of the page.  The box on the left is the  Calendar  / Arrival  / Departure dates for the reservation.  Click ONCE on the Arrow “down”  and the calendar will pull up.  Find the arrival date and click ONCE.  Then find the departure date and Click ONCE again.  Please Double check that the dates are correct. 

• Next go to the  Room / Number of Adults / Number of Children Click ONCE on the arrow “down” button and enter the information.  

• Next go to Rate Options and click ONCE on the arrow “down” button.   A box will pull up with several different rate code boxes.  You will NOT see the Encaustic Conference listed.   Go down to Promotional  / Group Code box at the bottom.  Enter ENCC24  --  then hit Apply.  You will see  a Green box  appear and say Encaustic Conference 2024 Applied.  You will also see above that Encaustic Conference 2024 rate selection has been added with a check mark to the rate selection along with the others. 

• Both the Rack Rate and your discounted rate will have check marks in the box.  Click off the Rack Rate box  so that only your rate is checked. 

• Next go to the Check Availability box and click on that.  This will take you to another page which has all the available room categories listed.  Click Select on the room category you would like and fill in the pertinent information.   You should be all set.

• If calling the reservation line (1-508-487-9500) or 1-800-942-5388,  when speaking with the reservation agent, mention you are booking for the ENCAUSTIC CONFERENCE  and the date.    That way you will receive the discounted rate.  .       

For Booking: Use the same online procedure listed above, or call the reservations line at 508-487-9500 and mention you are reserving for the Dune Crest resort for the pre Encaustic Conference workshops.    Phones are open 9-4 Monday to Friday.  Off hours or weekends you can leave a message they we will get back you asap.   Complimentary Continental breakfast is offered at the Dune Crest.    

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Cancellation Policy

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Please make sure you understand our Cancellation and Transfer Policies before registering for the Encaustic Conference or Pre- and Post-Conference Workshops. If you have any questions please contact the Castle Hill office.

ENCAUSTIC CONFERENCE:

80% of the total cost of registration will be refunded if Castle Hill is notified of withdrawal thirty days prior to the beginning of the Conference. This means that you must notify us of cancellation before May 10, 2023 in order to receive any form of a refund.
**If you notify Castle Hill of a cancellation after April 31st, 2024, your entire payment will be forfeited.  

PRE- & POST-CONFERENCE WORKSHOPS:

80% of the total cost of registration will be refunded if Castle Hill is notified of withdrawal thirty days prior to the first day of the workshop.
If you cancel your registration less than thirty days before the first day of the workshop, your entire payment will be forfeited.  

TRANSFERRING TO A DIFFERENT WORKSHOP:

If you would like to switch from one Pre- or Post-Conference workshop to another, a $25 processing fee will be charged. This fee will be waived if your previous workshop was cancelled.

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Presenter & Instructor Bios

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Christine Aaron is a conceptual and material focused artist whose work is exhibited nationally and internationally. She utilizes printmaking, wax, wood, metal and paper to create work investigating memory and the fragility of human connection. Aaron has received artist grants from ArtsWestchester/NYSCA, Surface Design Association and a residency and grant from Vermont Studio Center. She has received awards in printmaking and mixed media in exhibits at The Center for Contemporary Printmaking, Mamaroneck Artists Guild, Pen and Brush Gallery (NYC) and Silvermine Arts Center (CT). She has presented talks at The International Encaustic Conference in Provincetown, MA in 2016, 2017 and 2019. Aaron was invited to present her work at The New York Print Club in 2019. Her work has been exhibited in solo and group exhibitions in the U.S. and Europe. Exhibition venues include a solo exhibit at California Museum of Art Thousand Oaks, CA, and juried and curated exhibitions at The Hunterdon Museum (PA), Provincetown Art Association and Museum (MA), CIT Wandesford Quay Gallery, (Ireland), Fyns Grafiske (Denmark), Westchester Community College (Valhalla, NY), Castle Hill Gallery, College of New Rochelle, Iona College Gallery (both New Rochelle, NY), Silvermine Arts Center (New Canaan, CT) and Mamaroneck Artists Guild (Larchmont, NY). Aaron holds a BS from Cornell University and a Masters in Social Work from Hunter College. She lives and maintains a studio in Westchester County, New York.

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Working in the abstract, Karen Bright’s painting and sculpture derive from an innate focus on the natural world and concern for the environment. The ancient method of encaustic – a fusing of beeswax and damar resin with pigment added for color – is harnessed through a process of heating and cooling the temperature. This aspect of materiality connected to each work’s intent serves not only as the control behind each work but as the driving force. Exhibiting since 1981, Karen’s work has won numerous exhibition awards and project grants from a wide variety of organizations including: Urban Coast Institute, International Encaustic Artists, and Monmouth University. Artist-in-residency appointments include: Weir Farm National Historic Site, Petrified Forest National Park, and Hot Springs National Park. Karen Bright, Professor Emeritus, recently retired from Monmouth University after a 39 year career in academia teaching all levels of graphic and interactive design, typography, and traditional printmaking. Previous academic appointments include: Rutgers, The State University of New Jersey, Newark, New Jersey; Parsons School of Design, New York, New York. Professor Bright owns and operates Studio Bright in Newtown Square (Edgmont), Pennsylvania. Academic degrees include an MFA from Cranbrook Academy of Art, Bloomfield Hills, Michigan and a BFA with honors, from the University of the Arts, Philadelphia, Pennsylvania.

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Debra Claffey is a visual artist who uses encaustic, oil, and mixed media in her work. 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. Claffey recently received the Juror’s Award at the 2019 Anything But Flat exhibition at the 13th International Encaustic Conference. Claffey has curated three Conference exhibitions, the most recent being The Space Between Shadow and Light at Gallery X in June 2017. She is a founding member and a Past-President of New England Wax.

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David A. Clark teaches encaustic printmaking across the United States and beyond, most recently teaching classes at Zijdelings in the Netherlands, R & F Handmade Paints, the Palm Springs Art Museum and Idyllwild Arts. His work has attracted national attention for its technical innovation and soulful content and has been shown at OTA Contemporary Santa Fe, the Hunterdon Art Museum, Conrad Wilde Gallery, the Process Museum, the Cape Cod Museum of Art, the Provincetown Art Association and Museum and the Palm Springs Art Museum. 

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Dorothy Cochran is an accomplished printmaker, who pushes the boundaries of how to create works on paper. With long time experience as an artist, educator and curator, she has developed innovative ways to work and layer substrates, creating prints of luminous quality. She is best known for her expertise and broad command of multiple print methods. Her works are represented in collections such as The Zimmerli Art Museum, The New York Public Library, Memorial Sloan Kettering, The Museum of Modern Art Library to name a few. She has won many honors and awards for her work. In 2017 two print curators from The Metropolitan Museum of Art included six of her works in two separate International Print Exhibitions, in one she was given first prize out of 632 entries. She is a featured presenter at the International Encaustic Conference in Provincetown, MA and conducts workshops throughout the country and tri-state area including California and Maui. Locally she teaches at The Montclair Art Museum and Manhattan Graphics Center, NYC. Dorothy has an MFA from Columbia University.

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Richard Frumess has been manufacturing artist paint commercially since 1982 when he began making encaustic paint for Torch Arts Supplies in New York City. In 1988 he founded R&F Handmade Paints and two years later developed Pigment Sticks, R&F’s brand of oil sticks. In the intervening years, he conducted a series of comprehensive tests on the properties of encaustic as well as doing research into its history and contemporary use. Withdrawing from the running of the company in 2014, allowed him the freedom to investigate the underlying principles of the color line that had been developed intuitively over the years by him and R&F’s staff. The workshops that have evolved from this exploration are intended to ground color theory in the materials of color itself.

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Isabelle Gaborit is a contemporary artist, though her preferred medium of encaustic is ancient.

She graduated in 2006 with an honors degree in fine arts in Ireland. Since then, she has been exhibiting work extensively nationally and internationally in, among others, The United States, Northern Ireland, China and France. 

 Her creative process goes hand in hand with her daily sketching practice where she explores mark-making and gesture, as she absorbs her experience of her surroundings and visual memory of place: forms, colours, textures and patterns. This experience is transmuted into her paintings, not in an overtly conscious way, but as a result of the embodiment of her experiences in her hand and body. 

Isabelle is particularly interested in the geological processes built up in layers over time, that the harsh weather is slowly breaking down and revealing. Her art process echoes those geological processes. Like the natural forces that shape the landscape,  each painting goes through numerous stages of construction, destruction, growth, and decay. As the paintings go through the physicality of what could be akin to an archaeological process, layers of pigmented beeswax are built up, scraped back while cooled, scored, and shaped, creating highly tactile surfaces. Website: www.isabellegaborit.com

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Artist, Milisa Galazzi, is best known for her three dimensional hand sewn shadow drawings, her printed works on paper, and her richly layered abstract drawing and paintings - all of which explore the very nature of being human. Her work is held in private international collections as well as public institutions in the United States and her work is represented by, Miller White Fine Arts gallery on Cape Cod. She is an adjunct professor at Clark University - in addition she mentors artists internationally and teaches online courses with a worldwide following. Galazzi was 'boat schooled' as a child while she and her family traveled and lived aboard their thirty-one foot trimaran sail boat hand built by her father. She attended and graduated from Phillips Academy, Andover, followed by Brown University where she also studied art in Florence Italy and she holds a master’s degree with Honors in education from Rhode Island School of Design. Galazzi works full time in her studio near Providence, Rhode Island.

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Leslie Giuliani has an eclectic artistic background. Having graduated with a B.F.A. in drawing and painting, she continued her studies in esoteric art forms including fresco painting, Byzantine icon painting, gold leaf conservation, non-silver photographic processes, primitive rug hooking, digital embroidery and encaustic painting. Working at the Center for Contemporary Printmaking in Norwalk, CT, she has taught hybrid forms of printmaking focusing on its application in Encaustic painting. Currently, her work involves creating monotypes, embellishing them with Digital Embroidery and sewing the pieces together to form larger works.  Ms. Giuliani is the recipient of a 2008 Artist Fellowship Grant from the Connecticut Commission on Culture and Tourism for Craft and is the author of several published articles on rug hooking and cyanotype photography. Her work was included in the Farnsworth Museum’s show, “Beyond Rugs” and her work is in the permanent art collections of the Housatonic Museum of Art and the state of Connecticut. She has worked with well-known artists on special projects including the architect, Richard Meier and the Argentinian artist Liliana Porter.  

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Jeffrey Hirst has exhibited his work throughout the United States and Europe since 1987. He has his MFA from Louisiana State University and BFA from the University of Minnesota. His work has been showcased at national and international venues including the Minneapolis Institute of Art; Addington Gallery, Chicago, McKinney Contemporary, Dallas, and Bienal do Douro, Portugal.  Hirst is a recipient of the numerous grants and was awarded a fellowship at the Ballinglen Arts Foundation in Ireland where he has gone on four residencies. Hirst is represented by Addington Gallery in Chicago and Brandt-Roberts Galleries in Columbus, OH and his work is in numerous public and private collections in The U.S., Portugal and Ireland. In 2021, Hirst co-founded Catalyst Art Lab and teaches encaustic and printmaking workshops across the U.S. Canada, Mexico and Ireland. Jeff is a CORE instructor for R &F Handmade Paints.

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Susan Lasch Krevitt received her BFA from The School of The Art Institute of Chicago. She majored in Sculpture and Material Studies. Lasch Krevitt uses new and repurposed textiles, rubber, cardboard, encaustic and whatever it takes to build abstract, free standing and wall hung sculptural paintings. Her process driven work explores themes of structure, connection and transformation informed by observations in the natural world. Her work has been exhibited in galleries and museums internationally and throughout the United States since 1985. In 2016 she had work at the Cape Cod Museum of Art in Dennis, Mass and in 2018 at the Provincetown Art Association and Museum in Ptown. In 2021 her work was shown at the Riverside Art Museum in Riverside, California.

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In her almost five-decade career, Joanne Mattera has had 35 solo shows and participated in about 10 group shows annually, both national and international. Her most recent solo, From Dawn to Dusk, took place at Odetta Gallery in Manhattan in late 2019. Joanne’s curatorial projects include Textility in 2012 at the Visual Arts Center of New Jersey, Summit; A Few Conversations About Color at DM Contemporary in Manhattan in 2015; and Depth Perception in 2017 at the Cape Cod Museum of Art, Dennis, Massachusetts, which she curated with Cherie Mittenthal. Joanne’s work is in the New Britain Museum of American Art, Connecticut; Montclair Art Museum, New Jersey; Connecticut College Print Department; University Collections at the University of Albany; the U.S. State Department, Washington, D.C.; and numerous institutional and private collections. Joanne is founder and director emerita of the International Encaustic Conference and author of The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax.  Her memoir, Vita: Growing Up Italian, Coming Out, and Making a Life in Art, was published in 2019 by Well-Fed Artist Press in Manhattan.

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Kelly Milukas is an instructor, speaker, and art & science residency collaborator, an award-winning artist whose practice began as a sculptor and has expanded to multi-media painting including pastel and encaustic painting. Milukas’ solo exhibitions have been hosted at the Ronald Reagan International Forum, Washington, DC, the Museum at Palm Beach Photographic Centre, FL, and the Regenerative Medicine Forum in Berkeley, CA. Her artwork is in national museums, international private and corporate collections, and been visible at international art fairs such as Red Dot Miami, and Boston International Art Fairs. Her story and artwork have been featured in IAPS Globe 2021, ArtScope, Newport Life Magazine, Palm Beach Times, and The Pastel Journal, and in several books: “100 New England Artists”; ”Best of American Pastel Vol. 2”; “Artists Homes and Studios”, “A Woman’s Shed”; “The History of Little Compton, First Light: Sakonnet, 1660-1820”; and The Cortland Review. She’s served as a curator and juror, and her ability to communicate ideas has established her as a respected and sought-after instructor and speaker in, arts and science forums, universities, and corporate leadership programs. She is a juried artist member of the Salmagundi Club, NYC, the Connecticut Pastel Society & the RI Watercolor Society, she’s the founding President Emerita of the South Coast Artists, RI & MA, and a past President of the Providence Art Club, the 3rd oldest art club in the United States founded in 1880.

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Patricia Miranda is an artist, curator, educator, and founder of the artist-run orgs The Crit Lab and MAPSpace, where she developed residencies in Port Chester, Peekskill, and Italy. In 2021 she founded the Lace Archive, an historical community archive of thousands of donated lace works and family histories. She has received grants from the Ruth and Harold Chenven Foundation (2022);Northern Manhattan Arts Alliance (2021); two artist grants from ArtsWestchester/New York State Council on the Arts (2014/21); an Anonymous Was a Woman Covid19 Relief Grant (2021), and was part of a year-long NEA grant working with homeless youth (2004-5). She has been awarded residencies at the Constance Saltonstall Foundation, I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio, and been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah. Miranda has developed education programs for K-12, museums, and institutions, including Franklin Furnace, the Solomon R. Guggenheim Museum, the American Museum of Natural History, and the Smithsonian Institution. She is a noted expert on the history and use of natural dyes and pigments, and teaches about environmentally sustainable art practices. As faculty at Lyme Academy College of Fine Arts (2005-19) she led the first study abroad program in Prato, Italy (2017). Recent solo exhibitions include: the Olin Fine Art Center (Washington PA), 3S Artspace (Portsmouth, NH), Jane Street Art Center, Garrison Art Center (Hudson Valley, NY), ODETTA Gallery, and Maine Window DUMBO (NYC). Group exhibitions include Spartanburg Art Museum (Spartanburg, SC); Dunedin Fine Art Center (Dunedin FL); HV MOCA (Peekskill NY), The Lyman Allyn Museum (New London, CT), Northern Manhattan Arts Alliance (NoMAA), Williamsburg Art+Historical Center, The Clemente Center (NYC), The Alexey von Schlippe Gallery at UConn Avery Point, (Groton, CT). Her recent work has been featured in Art New England (2022), Hudson Valley One (2022) and Brooklyn Rail, (2021).

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Cherie Mittenthal, Director and Producer of the 14th International Encaustic Conference. She’s been working predominately in wax or encaustic paint while integrating tar, marble dust, pigment sticks, dry materials, graphite, collage and miscellaneous mediums. She 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’s the Executive Artistic Director of Truro Center for the Arts at Castle Hill since 2002. She serves on the board of Campus Provincetown, Provincetown Cultural Council, OCARC - the Outer Cape Artist Residency Coalition and is partners with Highlands Center & the National Seashore for the only Wood-Fired Kiln on Cape Cod. She won the 2019 Artist Fellowship award from the Arts Foundation of Cape Cod.

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Wayne Montecalvo received a BFA from the School of visual Arts in NYC. From 1998-2013 he worked in the Art Department at the State University of New York, New Paltz campus, and taught as an adjunct employee from 2010-2013. From 2014-2016, worked as a freelance artist from his own studio. From 2017-2022 Wayne worked as a prop builder for PRG Technologies, New Windsor, NY. Since the slow down of Broadway productions as a result of the Covid pandemic, he has spent more time teaching workshops on line from his own studio, while seeking other freelance options including teaching in other locations. 

Wayne’s awards and honors include the Awagami Artist-in-Residence Program at Awagami Paper Factory in Tokushima, Japan; NYFA MARK ’09; Two Full Fellowship Awards for residencies at the Vermont Studio Center, Johnson, VT; Two Residencies at the Frans Masereel Zentrum voor Grafiek, Kasterlee, Belgium; John Michael Kohler Foundation Arts/Industry Artist-in-Residence, Sheboygan, WI; Women’s Studio Workshop Artists’ Fellowship, Rosendale, NY., Residency at The Cill Rialaig Project, Ballinskelligs, Killarney,  Co. Kerry, Ireland, and an Artists At Work: New York State Council on the Arts.

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Laura Moriarty makes prints, sculptural paintings and installations that resonate with the geologic. Laura’s honors include grants from the Pollock-Krasner Foundation and the Adolph & Esther Gottlieb Foundation, as well as participation in numerous artist residencies including The Cill Rialaig Project in Ireland, and the Baer Art Center in Iceland. Recent exhibitions include Resurfacing, a solo exhibition at the Hunterdon Art Museum, and Streaming, a site-responsive public art installation at Albany International Airport. She is the author of Table of Contents, an artist’s book published in 2012.

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Nancy Natale has attended all but one of the 14 previous International Encaustic Conferences and participated as an exhibitor, presenter, teacher and/or curator. Natale arrived late at a painting career after intending to become a writer and receiving a BA in English Literature from the University of Massachusetts. A BFA in painting from the Massachusetts College of Art and Design in Boston followed. Natale has received a Pollock Krasner Award, an individual grant from the Artists' Resource Trust, and several grants and awards for shows she organized about the history of place. She Natale has exhibited throughout New England and New York as well as in several western states. Her work is included in the Cape Cod Museum of Art and has been collected by more than 30 major corporations such as Fidelity Investments, Boston Medical Center and Delta Airlines. Natale lives and works in western Massachusetts.

www.nancynatale.net

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Lisa Pressman, an American abstract painter, was born in Elizabeth, New Jersey in 1958. She earned a BA in Art from Douglass College of Rutgers University and an MFA from Bard College. Recent exhibitions include Susan Eley Fine Arts in New York, NY; Addington Gallery in Chicago, IL; and Circa Gallery in Minneapolis. Others include: The Hunterdon Art Museum in Clinton NJ; The Cape Cod Museum of Fine Arts in Dennis, MA; and OTA Contemporary in Santa Fe, NM. In 2020 Lisa  will be having a solo show at the Mulvane Art Museum in Topeka, KS. Her work has been exhibited extensively throughout the U.S. and abroad. Numerous private and public collections feature her paintings. In addition to teaching hundreds of independent workshops and private mentoring programs, Lisa’s credentials include: R&F Handmade Paints Core Teaching Artist and instructor for Gamblin Artists Colors.  She is an annual presenter and educator at the International Encaustic Conference in Provincetown, MA.  Her teaching goal is to cultivate the visual voice of each student in the mediums of encaustic, oil and cold wax throughout the U.S. and Europe.

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Michele Randall is a visual artist and instructor. Her abstract and narrative work utilizes a range of mediums focusing on more traditional and process heavy techniques. She earned an MFA in printmaking at Penn State University. Her university teaching experience includes printmaking, foundations in drawing and foundations in painting. Currently she conducts group workshops and individual instruction in encaustic and cyanotype printmaking across the United States. She is represented by the Roaring Artist Gallery, https://www.roaringartistgallery.com/ and shows her work regularly in brick-and-mortar and virtual locations.

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Jodi Reeb has been a full-time artist and teacher in Minneapolis for over 20 years creating paintings and sculptures. She received a BFA in Printmaking at the Minneapolis College of Art & Design. Her work has been shown nationally and is in numerous private and corporate collections. She received the Minnesota Artist’s Initiative Grant in 2018, is a CORE Instructor for R&F Handmade Paints and teaches workshops in her studio and across the country.

www.jodireeb.com

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Marla Rice was born and raised in Brooklyn, New York. After attending SUNY New Paltz, she moved to Wellfleet (actually, she went to Wellfleet for a weekend and never left). Besides working at nearly every restaurant in town, she spent most of her waking hours teaching herself and finally mastering the art of woodturning. This led to her current career as the owner of the Rice Polak Gallery in Provincetown, MA. The gallery showcases a diverse collection of contemporary art by nationally and internationally acclaimed artists. The philosophy of the Rice Polak Gallery is one of collaboration and exploration. The gallery is not media specific and shows a wide cross- section of artistic approaches including paintings, works on paper, sculpture, photography and installations. These diverse works are often motivated by their artists’ interests in questioning established boundaries. In addition, she has an art consulting business where she work closely with large corporations, architects, interior designers and private collectors. Marla is married to Kevin Rice, a successful playwright and ED of Payomet Performing Arts Center. Together, they share a passion for traveling and make it an active part of their lives. Deep relationships with her family and friends, pickleball, walking on a daily basis, and a love of art all add up to a very fulfilling, and fun-filled life!

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Dale O. Roberts was born in Waterville, New York in 1959. Roberts is a painter, working primarily in the encaustic medium for over 35 years, as well as Silverpoint, gouache and egg tempera. Roberts graduated cum laude with a Bachelor of Fine Arts degree in painting and drawing from Tyler School of Art in 1982. He is represented at Gross McCleaf Gallery in Philadelphia PA, Blue Heron Gallery in Wellfleet MA, Marshall Gallery in Scottsdale AZ, the Gallery 1261 in Denver CO, Church Street Gallery in Westchester PA, and Art Nou Mil-Lenni Gallery in Barcelona Spain. He has paintings in many public and private collections including PECO, Cozen O’Connor law firm, Rutgers University Museum, Community College of Philadelphia Museum, The Wharton School of Business, University of Pennsylvania Hospital and Vanguard Investment Group. He has presented many workshops unique to his practice as a painter throughout the united states and Canada over the past 20 years. Roberts is a father of two sons, Benjamin and Joshua and lives with his wife Lisa of 33 years in Norristown PA.

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Darin Seim is the president and co-owner of R&F Handmade Paints in Kingston, New York. He studied painting and philosophy at the State University of New York at New Paltz. In 1996, he took a job making paint for R&F founder Richard Frumess. After a few years away from the company, he returned in 2005 to manage a rapidly growing production department and in 2014 he became president. Darin remains focused on R&F’s mission to create useful, unique, colors and tools in the realm of oil and wax through partnerships with artists around the world.

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Bettina Egli Sennhauser is a mainly self-taught visual artist born and living in Switzerland. She developed her practice working with different artsts at Art Schools in Switzerland, Germany, Austria and the US and is a recipient of scholarships from the Internatonal Encaustic Association and the Truro Center for the Arts at Castle Hill. In 2018 she was a founding member of the virtual European Encaustic Artsts Group (EEA). Together with New England Wax and Ursi Lysser she initiated Transatlantc Fusion 2021, a collaboration between New England Wax and the EEA. Betna is represented by the frontoficycle Gallery in Basel, Switzerland. Her work has been shown at several Group Exhibitons in Basel, at the ARTE Binningen, the Trevisan Internatonal Art Gallery in Bologna, Italy, and the Juried Exhibitons of the Internatonal Encaustc Conference in Provincetown and the Atlantic Gallery in New York. In 2020 she started to teach Encaustic at her studio "kunstreiraum” considered the first large Encaustic studio in Switzerland, and launched the frst and only comprehensive Encaustic Online Workshop in German. As of 2022, she will teach Encaustc at the "Kunstakademie Allgäu" and the "Kunstschule Musebrink" in Germany. She is a member of the Internatonal Encaustc Associaton and one of two listed R&F Encaustc Teachers in Switzerland.

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Kelly Williams’ background in social work influences both her art and teaching style and often takes on a psychological perspective. She is a Tier Instructor for R&F handmade paints and teaches both group and private sessions out of her studio. She has received multiple Project Grants from Portland’s Regional Arts and Culture Council to work with disenfranchised populations using art as a healing tool. She has presented at the International Encaustic Artists’ annual retreat, Portland City Hall and been interviewed in multiple publications and broadcasts. Kelly has taught at Arts & Communication Magnet Academy, and served on the educational committee of Sitka Arts & Ecology Center and the board of Portland Open Studios. Her work has been shown nationally, including the Museum of Encaustic Art, Portland Center Stage, Portland Center for the Performing Arts, and George Fox University. Her work can be found in many corporate and private collections and she is currently represented by Pearl Gallery in Portland, OR.

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Medical Emergencies

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No one attends a conference expecting to have a medical emergency, but if the unforeseeable happens, here's a rundown of what to do.

If you feel ill and the feeling doesn't pass but you don't feel it's an emergency, call the Outer Cape Health Services in Provincetown at 508-487-9395. Address is 49 Harry Kemp Way, about a mile from the Provincetown Inn. If you need a Covid Test Outer Cape Health Services can arrange that for you as well.

Hours:
Monday-Friday:  8:00am to 7:00 pm
Saturday: 9:00 am to 5:00 pm
Same day appointments may be available

If you feel you are having a medical emergency, whether it's an accident, an allergic reaction or any kind of serious health problem, call 911. The Provincetown Rescue Squad will respond, take your vitals, and determine a course of action for you. That might be a trip to the local Outer Cape Health Services in Provincetown or, for a more serious issue, the Cape Cod Hospital in Hyannis. You will be responsible for getting there if the ambulance doesn't take you.

If you have an accident at the Provincetown Inn, the same information applies. Don't feel embarrassed about "making a fuss" if you need to call 911. Make the call. Be sure to talk to a manager so that you can fill out an accident report as soon as possible after the incident.

If you have an accident at Castle Hill, the same information applies. The Castle Hill staff are here to help you!

Pharmacies
. Outer Cape Health Services has a Pharmacy
. The Stop & Shop on 56 Shank Painter Road also has a full-service pharmacy: 508-487-3738.
The pharmacy is open seven days a week; hours vary

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Traveling to Provincetown

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If you are coming to Cape Cod this year, please travel safe, be kind, and respect the policies and Covid-19 protocols of local businesses!

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Traveling to Provincetown:

Provincetown is located at curled fingers of the flexed arm of Massachusetts. There are many ways to get to P-town. If you're new to the Conference, these are your travel options: 

• 20 minutes via Cape Air from Logan International Airport

• 90 minutes via ferry from Boston Harbor

• 2.5 hours driving from Logan Airport in Boston to the Provincetown Inn

• 2.5 hours driving from T.F. Green Airport in Warwick, R.I. (near Providence), with less traffic than from Boston

Fly from Boston to Provincetown: Cape Air

• Plan on around $350 round trip. Check website for latest schedule and rates

• Some conferees have found it cheaper to book their flight directly to Provincetown via Jet Blue, which partners with Cape Air. You'll still change planes at Logan, but through-booking should offer a better price.

• If you wish to rent a car, Enterprise at the Provincetown Airport has cars available--but you must reserve as a limited number are typically available.

Ferry from Boston to Provincetown: Bay State Cruise Company & Boston Harbor Cruises

• Check websites for latest schedule and fares

• One caveat: A crossing can be a bit unpleasant if the bay is rough. Come prepared with anti-nausea medication if you are prone to seasickness.

• If the company determines that the crossing will be too rough, you will board a bus and be taken directly to McMillan Wharf in Provincetown, where the ferry normally disembarks

• Provincetown Inn is at the very end of Commercial Street, at the left side of the map above. Look for the lighthouse icon with the arrow that says "Wood End." Next to it is "First Pilgrim Park." That's where the Inn is located. You will be staying exactly where the Pilgrims first landed in the New World!

• Ferry: McMillan Wharf, where the ferry arrives, is just above the "E" in PROVINCETOWN. There are always taxis and pedicabs at the wharf to meet arriving passengers. It's about a mile from the Inn

• Cape Air: Look for the airplane icon at the top of the map, just under the second "T" in ATLANTIC OCEAN. The Inn is a two-minute taxi ride from the airport.

Thinking of renting a car in P-Town? Enterprise is the franchise, and you have to reserve. You'd pick up the car at the airport. But unless you are planning to drive around the Cape, it's actually cheaper and far more convenient to take a taxi when you need one and walk the rest of the time. Besides, with so much taking place at the Inn, your car will sit in the parking lot. A car will come in handy if you are taking workshops at Castle Hill, but we can work with you for Pre- and Post-Conference to hook up folks with cars to those who need a ride. 
 

*If you are looking to share a ride, visit the message board or try the Facebook page to link up with other travelers!

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FAQ's

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FREQUENTLY ASKED QUESTIONS

We plan on being back in Town for Conference 16!
This year in 2023, we are planning our conference in person. We will ask all to be vaccinated to come to Provincetown to the Conference, and highly recommend testing for Covid prior to your arrival.

Will there be any virtual component to the Conference this year?
Sorry, no, we will not be recording the sessions this year. All talks and demos are going to take place in person over the weekend!

Is there an orientation for those of us who are new to the Conference? 
Yes, on Friday morning after the first session! Cherie will chat about all things conference, and answer all of your questions!

What if I want to register for just one day of the conference?
We very much prefer for you to sign up for the full event.

What if I don't like the event I've selected. May I switch rooms?
You will be asked to choose one session for each time block, later in February you will be sent a link to make your selections.

What's the procedure for the Hotel Fair?  
We ask everyone to bring work to share in there hotel room (Like Art Basil!) and sell work at affordable prices, support your friends and expand your art collections! This happens on Sunday Morning! Its very fun!

Are post-conference workshops included in the conference price?
No, there is a separate fee. AND this year lots of really great options! Workshops take place in Truro, not NOT in Provincetown.

Do I need to bring materials for the conference demos or workshops? 
Conference demos are strictly demonstration, so you do not need to bring materials. The Pre- and Post-Conference workshops are different. Teachers will provide either a list of supplies that you may bring with you, as workshops will be both virtual and or in-person, though most in person! Castle Hill or the specific teachers will contact you if you're signed up. Also, it's important to note that our wonderful vendors donate a large amount of paint, medium and materials for you to try.

Could I register only for the Pre or Post-Conference sessions?
Sure. But you'll miss a great conference!

What if I decide at a later date that I wish to register for a Post-Conference workshop? Possible?
Sure. If there is space, you can register even during the conference if you wish. Please know, however, that the workshops tend to fill up quickly and due to Covid the size of the on campus classes will be reduced from 10 to 8, unless things change.  Occasionally a spot may open at a late date, but it's not recommended to plan on that as a registration strategy.

What are the hours of the post-conference workshops, and where do they take place?
The workshops that are in person run from 10:00am to 4:00pm with an hour for lunch as determined by the instructor. Informal events are planned for some of the evenings. All on campus events take place at Castle Hill in Truro and or at Edgewood Farm, the next town over. We have two campuses in Truro - the specific location will be listed on your materials list.

I see you have multiple-day workshops. Is there any chance I could take just one day of, say, the three-day workshop so that I may take different workshops on other days?
Nice try, but the point of multiple-day workshops is to have the opportunity to explore one area in depth with one teacher and the same group of equally committed participants. I listened and there are many new and exciting 2 & 3 day workshops!

Where can I find a map of Provincetown?
Click here for a fully printable map of Provincetown.

What about transportation to and from Provincetown?
Getting to and from the Conference is your responsibility. Information about buses, taxis, etc. will be posted on the blog. Having a car is best.

How soon can I arrive?
If you don't have a room at the Inn and wish to come early, check out the Alternative Accommodations page and or there may be rooms at Edgewood Farm to stay. It's a great way to take advantage of what P-town has to offer in June: the beach, biking, kayaking, exploring the shops and galleries, the Provincetown Art Association and Museum, whale watching, fishing, and satisfying your seafood cravings at fried clam shacks as well as upscale restaurants.

Where can I find information about the Provincetown galleries?
Encaustic-specific info will be posted to the blog when it has been finalized. Gallery Guides should be available at the Inn.

What's the weather like in Provincetown?
Normally, the temperature range in early June is is in the high 60s to low 70s during the day, and in the low 60s to high 50s at night. But that's an average. It can get hotter or colder. And the weather can turn on a dime. As the town meteorologist :-), Cherie guarantees it will be perfect!

So how should I dress?
Bring a light jacket or a sweater, a turtleneck, a t-shirt and a tank top; pants and shorts; sunglasses and an umbrella. In other words, dress for New England weather, which encompasses a meteorological range. You can safely leave the boots at home, however: The only thing you don't have to plan for this time of year is snow.

Is there a dress code?
Nope. Wear what you like, whether it's a sundress, jeans and a t-shirt, a suit, or cutoffs. Your choice.

Does the Conference provide food?
If you are staying at the Inn, breakfast and lunch is provided. If you are not staying at the Inn, then the conference provides lunch.

Can I purchase paint or paper or panels from the vendors?
Yes, the vendors will sell lots of stuff from the amazing Vendor room at the Provincetown Inn.

What is your Refund Policy?
We offer refunds before 30 days of the workshop or conference, after 30 days no refund. If you can not come to Cape Cod for the Pre or Post Conference workshop because the state has closed it’s borders to your state, then we will refund you 100% back or if you test positive for Covid. (proof will be required)

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