Week Eleven: Honoring the Circle / Preparing for Exhibition
This week is both practical and celebratory. You’ll polish your artwork for the catalog, photograph it, and finalize supporting materials. Alongside these tasks, we’ll reflect together on the circle of growth we’ve traveled. Every frustration, breakthrough, and experiment has led to this moment. By week’s end, your work will be ready to share with others—and you’ll be able to honor the journey that brought it forth.
This week is both practical and celebratory. You’ll polish your artwork for the catalog, photograph it, and finalize supporting materials. Alongside these tasks, we’ll reflect together on the circle of growth we’ve traveled. Every frustration, breakthrough, and experiment has led to this moment. By week’s end, your work will be ready to share with others—and you’ll be able to honor the journey that brought it forth.
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4:00 CDT
MONDAY ZOOM: The first part of the zoom will be open for any questions you might have in regard to technical aspects of getting your work uploaded for the catalogue exhibition with its statement and correct labeling. In preparation for the zoom, look at the application and review the short video about photographing your art work. Lyn and I will be available during the week, but it would be helpful to have answers earlier for everyone to hear. The second half of the zoom is yours to share any thoughts you want to your zoom community. Our next week zoom will be the exhibition and will be recorded to be shared on the website, so this zoom is just for us. TO WATCH: Here's an interesting video, mostly for painters, but also useful for other media How to Price Your Original Art Here's another video on pricing your art with a suggestions about making limited edition prints: Artists' Problems: Pricing Your Art IMPORTANT - HOW TO SUBMIT YOUR WORK FOR THE CATALOG You will be submitting two forms. The first one, due as soon a possible but before May 23rd, is your headshot and bio. Here is that link. Here is an example of a 150 word bio in the first person - you may choose either the first person or the third person. Jane Smith I was born and raised in the wide, sunlit expanses of Nevada, and the spirit of the Southwest has shaped everything I create. Working with encaustic and clay allows me to honor the raw, elemental forces of earth and fire—materials that speak to both history and transformation. My encaustic pieces often reflect layered desert landscapes, while my ceramic work leans into organic, tactile forms that invite touch and contemplation. During my time as an Enso Circle Resident, I’ve been exploring the balance between permanence and impermanence—how nature and memory leave quiet imprints. My process is deeply intuitive, guided by the conversation between material and meaning. My work has been included in regional exhibitions and is held in private collections. I currently live and work in a small studio near the Nevada desert, where the land continues to inspire and challenge me every day. The second form, due by May 23rd, is your catalog submission and staatement about that piece as it relates to you and your work. Here is that link. Here is an example of a 150 word statement about a piece of work pictured in the catalog called Corvus Altar. Corvus Altar is part of my ongoing exploration into narrative assemblage and encaustic, where I weave together natural symbols and layered surfaces to evoke memory, myth, and meaning. The mirrored blackbirds and central dragonfly in this piece feel like ancient messengers—watchful, transformative, and quietly powerful. The elements at the top—a scroll, twigs, and knotted cord—suggest an offering, a kind of ritual or invocation. Lately, in my studio practice, I’ve been moving toward creating objects that feel like devotional artifacts—shrines to moments, questions, and thresholds. This piece reflects that shift. It’s more intuitive, more contemplative, and deeply personal. As with much of my recent work, Corvus Altar invites a sense of reverence for what’s been lost or overlooked. It fits beautifully into my larger body of work, but also marks a new chapter—one guided by presence, symbolism, and the quiet power of assembling fragments into story. You may upload up to three images for the catalog but generally one strong image makes the best statement. Ask Lyn if you have questions about the images, and please use the Help channel since others may want to ask the same question. :) TO READ: Photographing Your Art PDF (LB) In this downloadable PDF, Lyn de-mystifies the process of getting good photographs of your work with your phone without fancy backdrops and lighting. Photographing your art work - some easy hacks Storing and Labeling Your Images This short document provides a simple way to keep images of your work organized and easy to find on your computer. The last part of the document speaks to Pricing Your Work, especially as we move from a gallery-dominated model of marketing our work to online sales. The Continuing Residents Circle Your Journey After The Enso - some things to think about TO ACCOMPLISH: Exhibition Submission Due Post your Progress Report in the Progress report channel is Slack.
Title of Your Work
Price (You do not have to list your work for sale-Use NFS. If you do want the work to be available for purchase, list your price in US currency.) OPTIONAL RESOURCES: Photographing Your Work on a Black Background (This simple guide created from a Slack discussion by Enso Circle resident Wally Lafaiete solves an age-old problem for artists who want a museum-like black background for their work without using Photoshop. Photographing Your Sketchbook |
The Continuing Residents Circle
Your Journey After The Enso - some things to think about TO ACCOMPLISH: Exhibition Submission Due Post your Progress Report in the Progress report channel is Slack.
Title of Your Work
Price (You do not have to list your work for sale-Use NFS. If you do want the work to be available for purchase, list your price in US currency.) OPTIONAL RESOURCES: Photographing Your Work on a Black Background (This simple guide created from a Slack discussion by Enso Circle resident Wally Lafaiete solves an age-old problem for artists who want a museum-like black background for their work without using Photoshop. Photographing Your Sketchbook 
Week Eleven: Honoring the Circle-Preparing for Exhibition
Sixth Question: As you prepare your work to be seen, what part of yourself are you ready to stand behind? |
