Encaustic Classes at The Foundry Studio: Oct 7-Dec19, 2015

Classes are starting in the new studio space! I’m so excited to share it with you.

I have a new studio in The Foundry Art Centre, and I want to share it with you. It has new dedicated electrical lines, large work tables, hot plates and heat guns, and enough supplies to start new work, or complete pieces in progress. There are both open studio times, as well as classes to refresh your memory of tools and techniques, or learn them in a professional studio for the first time.

The following classes are listed below (description, what to bring, cost):
Studio Images– Encaustic Open Studio (independent work time, or with instruction in 3hr blocks of work time)
– Encaustic Basics: 3 hr class
– Encaustic Basics II: 3 hr class
– Encaustic Intensive: 6 hr
__________________

Encaustic Open Studio
Oct 7 – Dec 19.
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 sisleyblinn@gmail.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 classes Nov 26 or 27.

Encaustic Basics: 3 hr class
Saturday: Nov 7 or Dec 5. 10am-1pm
New to encaustic? Learn the history of this beautiful, luminescent medium, studio set-up and safety, fusing with a heat gun, transparent and opaque painting techniques, creating texture, and layering collage materials. We will work small on a number of substrates. This overview will give you experience with the tools and medium, preparing you for more advanced classes.
Provided: All materials and tools
Bring: An open mind, and willingness to learn about a new art material
Age: Adult 18+. No prior art or painting experience required.
Cost: $65 cash or check
Email: Lisa at sisleyblinn@gmail.com to sign up for class. Limit 16

Encaustic Basics II: 3 hr class
Saturday: Nov 21 or Dec 19. 10am-1pm
Continue learning more techniques, refine your image creation, and work in a professional art environment. You will learn how to create hard and soft edges, create low relief areas and textures with stencils, include image transfers, inlayed-line, and use a hand held torch for shellac burn. We will work small on a variety of substrates.
Provided: All materials and tools
Bring: Personal tools, or encaustic paint colors that you may already have and love.
Age: Adult 18+.
Cost:$65 cash or check
Email: Lisa at sisleyblinn@gmail.com to sign up for class. Limit 16
Note: Must have taken Encaustic Basics class, or have knowledge of working safely with encaustic tools and materials.

Encaustic Intensive: 6 hr
Saturday: Nov 14 or Dec 12. 10am-4pm
Can’t wait to learn everything in the Encaustic Basic, and Encaustic Basic II classes? This 6 hour workshop is for you. Bring a snack/lunch and a small notebook for this incredible information download! All the information in the
Basics and Basics II class are covered, plus more about substrates (papers, tiles, braced boards), and how to do an encaustic pour over existing work (drawing, print, photo on absorbent paper).
Provided: All materials and tools
Bring: All materials included
Age: Adult 18+. No prior art or painting experience required.
Cost: $100 cash or check
Email: Lisa at sisleyblinn@gmail.com to sign up for class. Limit 8

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, and starter paint sets available.

Email me or come in and sign up for classes. Studio #7-8.
Lisa

The Foundry Art Centre
520 N. Main Center
St. Charles, MO 63301

New Studio at the The Foundry Art Centre, St. Charles, MO!

Last Fall I was juried-in as a new studio artist at The Foundry Art Centre, St. Charles, MO.  A double-studio on the river side of the building came available at the end of June. Updates to the sprinkler system were done in early July, and 6 days of electrical updates were completed last Friday.

IMG_01I started moving in 2 weeks ago: moving boxes by car, painting walls, cleaning the floor, assembling shelving units, laying out table placements on the floor with tape for the new electrical drop-boxes (thank you Foundry and city of St. Charles!!!). I am about 50% moved in. Next week I hope to make and install tables, move my large flat files, press, and the rest of the studio stuff.

The new space will start with:

  • 4, 36″x80″ work tables with dedicated hot plates, heat guns and support materials and tools for encaustic. (Tables can me moved as needed for bigger projects.)
  • 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.
  • 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
  • some bulk materials that can be ordered at discount (beeswax, damar crystals, papers, …) and available for purchase by class/workshop participants.

RiverI will start offering open-studio access in October, and a combination of class/workshops and open-studio time in November and December. I will be working on scheduling my classes, as well as WaxCentric (https://waxcentric.wordpress.com/) workshops and meetings next week. Tentatively, studio hours will be Tues-Sat., 10am-4pm (working around calendar holidays, and local events).

I am working on moving in through September, and will be in and out between 10am and 4 pm Tuesdays – Friday. Come see me in studio #7-8.
Lisa

Exhibit: Excerpt: #821 Selected for Invitational: Fantastical: Art of the Imagination

Excerpt: #821 was selected for the invitational Fantastical: Art of the Imagination. The exhibit will run from August 25-September 19, 2014, with a reception on Wednesday, September 3, 6-8pm. The exhibit is located in the Donald D. Shook Fine Arts Building, on the beautiful grounds of St. Charles Community College, 4601 Mid Rivers Mall Drive, Cottleville, MO 63376.

Excerpt: #821 Encaustic with Oil Stick on Cradled Board 36"x48"x2.5" 2014

Excerpt: #821
Encaustic with Oil Stick on Cradled Board
36 “x 48″ x 2.5”
2014

This painting is part of a larger series that explores the idea of excerpts or sections of a larger whole, slices of experience that carry meaning: planes of color-space, textural grunge layers, and energetic calligraphic marks convey feelings and clues to an ambiguous location.

Gallery Hours

8 a.m.-8 p.m.
Monday-Thursday

8 a.m.-4 p.m.
Friday

10 a.m.-3 p.m.
Saturday

Missouri Encaustic Artists Highlighted in MAC Article

Barbara MacRobie, Public Information Coordinator for the Missouri Arts Council, wrote a beautiful article about encaustic arti1sts in Missouri for the July 2014 online newsletter: Bees, Sticky Trees, and Blowtorches: Encaustic Painting Enthralls Missouri Artists (pdf).

The 15 page article showcases many of my WaxCentric members, as well as introduces us to new artists across the state. The following WC members who were interviewed by phone for the article include:

Sheri Goldsmith
Keith Kavanaugh
Mary Beth Shaw
Lisa Sisley-Blinn
Laura Skroska
Stella Spalt
Julie Snidle
Linda Wein

The article touches on each artists connection to the medium, as well as statements about inspiration, intent and process. A well written, up-beat overview of encaustic in general, and artists wielding torches and hot paint!

Solo Exhibit at St. Charles County Arts Council June 1-30, 2013

Join me for a solo exhibit at the Lillian Yahn Gallery, St. Charles County Arts Council. Over 40 works of art. Easy to find in Winghaven, O’Fallon, MO. 7443 Village Center Drive, 636-561-0028.

show card

Sisley-Blinn/Mixed Works
Paintings, Drawings, Prints
Solo Show. June 1-30, 2013
St. Charles County Arts Council

I will be at the gallery from 1-8 pm on Saturday June 8 for the reception. There will be an encaustic painting demonstration at 3pm.

Artist Statement

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.

Mixed Works: A Survey of Work in Various Mediums strives to cover several years of art creation that steps back and forth across the cusp of tangible and intangible interpretation. From minimal landscapes, abstracted bouquets, to distilled internal discussions dependant on color, texture, and pattern which create meanings and relationships. Over all, it is my hope that each piece offers a meditative space, a visual moment of contemplation.