Karen Buttwinick

California, USA

There were so many magical moments at the Ireland IEA Wax Across the Water Celtic ConVergence Retreat, but what I’ll remember most were the lively conversations I had with other artists from around the world and learning from instructors, who were so incredibly generous sharing their knowledge, tips, and tricks.

Inspirational speeches given by Regina, Lora, and Cheryl were unforgettable as they set a welcoming tone and captivated everyone with their warmth, enthusiasm, and encouragement.

On the first evening of our retreat, we were greeted by beaming faces, glasses of champagne, and lovely flowers at the historic Mulranny Park.

IEA President Regina Quinn and past President Kay Burnett set a warm tone for our upcoming week together.

On daily walks to the Old Convent Studio from my B & B, I enjoyed seeing sheep grazing on the lawn of the Mulranny Park Hotel.

For local flavor, highlights included playing billiards during the Rugby final with my NorCal Wax IEA Chapter cofounder (and partner in crime), Melissa Stevens and listening to live music at Nevin’s Pub.

Being greeted by “Bella the Robot,” while Cónan Kilcoyne passionately bellowed out Irish ditties and a Tina Turner hit, while Tomás Mannion strummed the Irish bouzouki (mandolin) was a sight to see.

Witnessing Colum wildly jamming on the Irish spoons capped of the ideal evening.

Another high point was our Monday morning excursion. I awoke after our late pub night to a breathtaking sunrise, which reminded me of one of Regina’s glowing luminescent paintings. With no rain or gray clouds in sight, I knew the shamrock’s luck was shining on us as we had a full-day tour of Achill Island ahead with postcard perfect weather. The views of the dramatic rugged clifs and sparkling North Atlantic waters were stunning as Colum shared his deep knowledge of County Mayo’s history, while entertaining us with his lighthearted stories and witty jokes. It was the ideal end to a memorable retreat on the Emerald Isle.

Two Sheep overlook stunning views of Keem Bay

Taking Lora Murphy’s workshop was a genuine privilege as she shared her straightforward approach to portraiture by accurately measuring facial features from a center point on a photograph and transferring that information to a panel. This approach, coupled with the trick to apply specific colors for shadows, midtones, and highlights in a painterly fashion, like a sculptor carves a figure, gave me the confidence to paint portraits, something that had felt daunting up until now.

Linda Robertson’s demo was filled with useful tips ranging from new materials to tools such as an angled Niji tool found in linoleum carving sets. In the past, I have bought premade stencils and made my own, but often have been frustrated trying to cut certain shapes out of Duralar, a heat resistant acetate alternative, with an X-Acto knife or scissors. Linda showed us that 90 lb. card stock was a good alternative to Duralar as it’s easier to cut organic shapes, especially if you use a Fiskars fingertip detail knife or swiveled X-Acto knife. Even more importantly and surprisingly, the card stock won’t catch on fire when using a torch (I’m still pondering that one).

Isabelle Gaborit’s demo was eye opening and mesmerizing, not only because her method of laying down strokes using one’s full body, with arm extended, was the first time I had seen encaustic applied so freely and with such physicality, but her delivery was executed with pure joy and great humor. As she wrapped up, the packed room erupted in laughter when Isabelle proclaimed that “Indigo is the gateway drug to encaustic,” and we all nodded with agreement knowing we had found our tribe.

Getting the crowd going for her demo, Dietlind Vander Schaaf does her Uma Thurman impersonation from Pulp Fiction.

Janise Yntema lights up the room with her bright smile and alluring organic forms.

I often feel like I get too “tight” when working in encaustic (my left and right brain have a “love/hate” relationship), and I forget how forgiving the medium is and how it lends itself so beautifully to experimentation.

Demo after demo encouraged a curious and playful approach to our art practice and reminded us to have fun with the tools and materials and not to get too “precious” or preoccupied with the end product. Joanna Kidney was loose with her mark making, and I appreciated her mantra of “What’s possible,” which encouraged artists to take risks and be open to anything that can happen.

Inspired by Hawaii where she is from, Linda Robertson uses vibrant tropical colors in her luscious work.

The demo “Gods” were on Kelly Williams’ side when she created one of her mysterious sultry women.

Similarly, Kelly Williams' use of a tin Altoid box for her favorite R&F Pigment sticks was brilliant as it allowed for quick spontaneity and a painterly application. This focus on being more adventurous and intuitive will clearly impact my work.

Finally, watching both Janise Yntema and Bettina Egli Sennhauser’s demos whetted my appetite to try my hand at working three dimensionally and rethink what might constitute a substrate. The materials and techniques they introduced were novel to me and incredibly seductive. I’m excited to experiment with frescoes as a base layer for encaustic and also think more deeply about the conversation that happens between “the wax and the underlying structure,” a concept Janise explored.

About the Author

I am a native Californian artist, who is captivated by the jewel-like luminous quality of encaustic and its endless creative possibilities. I’ve begun to experiment with cold wax and oils, and my focus is on mark making and color relationships. I integrate my own photographic imagery into my work as the starting point for a narrative, and my goal is to create layered meanings and a sense of history. I explore themes relating to the natural, built, and political environment, but also investigate social issues. The interrelationship and tension between humanity and nature always impact my creative process.

Karen’s photo of breathtaking Mulranny Loop is featured on the back cover

You can view Karen’s work at www.karenbfineart.com

Saudade, 2023

Encaustic mixed media on watercolor paper, 24 x 18 in

Selected for inclusion in Ephemeral/Ephemera IEA and Mulranny Arts Juried Exhibition 2023.

First, I am immensely GRATEFUL to have received this retreat scholarship and for the opportunity to learn about new encaustic materials, techniques, and processes in such a gorgeous setting! The entire retreat was absolutely perfect. And although I could itemize numerous specific tricks and tips, the broader takeaway for me was watching the presenters in the act of painting and listening to them explain the deeper content of their work.

First of, I was struck by Linda Robertson’s skill and advice with fusing and was filled with stenciling tips that could be incorporated into any working style.

I will always remember Melanie Williams for her fearlessness and zest for mixing an array of media. She also introduced us to a new encaustic vocabulary while she “whopped on” her wax to create “lumpy bits,” “drippy bits,” “holy bits,” and “flicky bits.”

Watching Lorraine Glessner’s signature branding technique was meditative and mesmerizing and seeing her examples was an added bonus.

Isabelle Gaborit’s passionate discussion about her mind/body approach to the land was very moving, as was watching her translate this physicality into one of her signature landscapes.

Joanna Kidney’s impressive array of mark-making tools and verbal prompts was a reminder to step out of my comfort zone and explore a truly endless array of mark-making possibilities.

Dietlind Vander Schaaf’s discussion on the luminosity of diferent pigments and the use of multiple transparent layers to create optical depth was enlightening… as was the thickness of her paintings.

Dietlind

Janise Yntema’s practice reflects her yearning for a kinder, gentler more environmentally-conscious world, and she showed me the importance of painting with more intention and understanding happy accidents in order to be the master of one’s work.

Lora Murphy’s willingness to use unusual colours and the iron in her portraits in order to convey a sense of play and something less predictable was a standout for me. So, too, was her humble nature.

Bettina Egli Sennhauser’s innovative approach of combining two ancient media was truly inspiring, as the first thing I did when I arrived home was order the materials for creating fresco-based works….something I plan to explore during an upcoming artist residency in February.

Regina Quinn’s painterly approach with R&F pigment sticks and inks and ability to create great luminosity in her work was also a standout, and this learning will definitely find a place in my future work.

Though this is just a brief overview of the various presentations, the learning has gone much deeper and will forever impact my painting practice. Thanks again for the opportunity to attend Celtic ConVergence, “Wax Across the Water,” and to share my thoughts with you!

View of Keem Beachon Achill Island

Voted one of the most beautiful beaches in Europe.

It’s All an Illusion, 2023

Encaustic mixed media on paper, 9 x 12 in

Selected for inclusion in Ephemeral/Ephemera IEA and Mulranny Arts Juried Exhibition 2023.

About the Author

Kathy Bradshaw is an award-winning Canadian encaustic and oil artist known for her dramatic prairie skies, light-filled forests, and soulful animal portraits.

Through the use of expressive mark making, colour, texture, and light, Kathy’s luminous landscapes convey a sense of escape and exhilaration, while her portraits focus on her subjects’ “inner landscapes” using gaze and gesture.

Bradshaw’s work is represented by galleries across Canada and is collected internationally.

You can view Kathy’s work at www.kathybradshawart.com/ www.facebook.com/kathybradshawart www.instagram.com/kathybradshawart