Winter Park Sidewalk Art Festival 2013


I’ll have new work and new interpretations of your favorites in encaustic and mixed media this spring at the Winter Park Sidewalk Art Festival.

Located on Park Avenue & Central Park, downtown Winter Park, FL
I’ll be at Space 132 on the South Side of Park Avenue in the park across from Panullo’s

View the map

Friday, March 15th, 9 AM to 6 PM
Saturday, March 16th, 9 AM to 6 PM
Sunday, March 17th, 9 AM to 5 PM

More info:

2012 Winter Park Sidewalk Art Festival Winners

Jeff League was one of  four Winter Park Artists to win awards at the 2012 spring Winter Park Sidewalk Art Festival.

encaustic painting Global Vibration 42 x 42

Global Vibration 42 x 42 II, AWARD WINNER

The 2012 Best of Show, a $10,000 award, at the Winter Park Sidewalk Art Festival went to John Costin, of Tampa, for “Large Florida Birds”. The Morse Museum Award for a Distinguished Work of Art, $2,500, went to Jim and Shirl Parmentier, of Mars Hill, N.C., for “Greek Wall Vase”. Four Winter Park artists won awards, including John Whipple for sculpture, Patricia Karnes for jewelry, Jeff League for mixed media and Edson Campos for drawing and graphics.

via Winter Park Maitland Observer

Are you ready for the avian invasion?

While sitting at the Winter Park Art Festival this past weekend, Jeff and I hear countless chatter about the work:

Encaustic painting with photography of birds communicating on telephone poles. (Jeff League)

“Did you ever see Hitchcock’s The Birds?”

I’ve seen bits and pieces of the movie, but many people remember a scene that this piece reminds them of.

Our collective consciousness is tapped into the birds, like the flock of art-goers that sweeps down the street and in and out of the booths, chittering and chattering about the artists, talking back and forth wing to wing or squawking loudly across the street, landing for a conversation, pecking at the work.

Family tree of crows silhouette against encaustic painting of turquoise blue sky. (Jeff League)

One of our artist neighbors brought us a copy of the March 17 Wall Street Journal; it seems the avian invasion has begun and the fashion designers are infected:

birds decorate fashion in 2012

In Lesley M. M. Blume’s article, the feathered creatures in the spring collections are “well behaved and downright ladylike”. Unfortunately, some of the art festival visitors are not.

Reading fellow artist Chris Dahlquist’s blog this morning, reminded me to focus on those that get it.

After spending a long weekend shooing off people from photographing or touching the art, (it is wax after all – don’t poke your beak in it) Jeff received a somewhat long winded but poetic email from a visitor with the subject line “Your art touches people”.

Thanks Kimani, you definitely get it.

“Communication” Encaustic Photography 8 x 8 #55

Encaustic painting with photography of crows on power lines in vibrant turquoise sky (Jeff League)

Happy 2012!

This January we’re featuring several affordable small art pieces that you can buy directly through Arts on Douglas gallery in New Smyrna Beach, Florida.

See how Jeff makes these works using photography mixed with encaustic painting techniques.


Gorgeous Museum Catalog!

Imagine my surprise when I opened our mail and saw this!

Jeff League mixed media collaborative exhibition - Visual Unity 2

Last year I was invited by fellow artist Rocky Bridges to join what sounded like an interesting project – Visual Unity 2.  Rocky had previously organized a similar exhibition in 2009 with the Morean Arts Center in St. Petersburg.   The big idea –  organize the artists into teams and work together to create new art.  Rocky had secured the backing  of the Polk Museum of Art to organize a similar invitational exhibit on a larger scale.

Polk Museum executive director Daniel Stetson and curator Adam Justice got together with Rocky and cooked up some amazing artists teams – among them myself and Tony Eitharong.  Brave souls – this type of exhibition can be tricky for both the museum and the artist –  it adds an element of uncertainty for the museum to show previously unseen work, without being able to review and select ahead of time.  The teams were selected to create a diverse body of work, a creative mix of media and styles. Luckily, this was a great match.

Little did they know that Tony and I were already a good team – we sometimes travel to shows together, eat lots of extra-spicy Thai food, drink beer, you know those things that artists do when they hang out.  Here’s a photo while at Tony’s studio,

Artist Tony Eitharong in the studio

In short, we’ve influenced each other over the years. So this was a great chance to actually work on something together, not just give each other feedback on our respective work.

Curator Adam Justice, “Collaboration means compromise. It can also mean association and coexistence. History has proven that by experimenting collaboratively, artists can either build a reciprocating relationship or become segregated rivals. But the potential toxicity of an unbalanced mixture of personality and ideas in an artists’ studio can often be remedied by its own nature; although two vehicles of creativity may forcefully collide, they will likely reconstruct one another into new and unexpected engines“.

View the Catalog:

Read an excerpt of the catalog for the “Visual Unity 2” collaboration between Jeff League and Tony Eitharong

Encaustic photography and mixed media collaboration by Jeff League and Tony EItharong

Tony Eitharong and Jeff League, Untitled, 2010, phototransfer, encaustic, watercolor, wood and action figure


Snap! Artists Q & A: Jeff League

From Snap! Celebrate the Photograph

Continuing our Q &A series with this year’s Snap! artists, we decided to talk technique and creative process with local artist Jeff League, whose images can be seen in Snap!’s HOMEGROWN Exhibit(local Central Florida photographers) at Orlando Museum of Art. Jeff’s artistic process is rare and complex with unique and striking results. Here’s what he shared with us…

Snap!: Your artwork is not straight photography, but rather, incorporates photographic elements in combination with the rare medium of encaustic painting. How did you come to this particular art style and process? What about it resonates for you?

JL: I was searching for another medium that would allow me to create my own imagery and be able to express more than I had with straight photography.  I saw a photo transfer demonstration and was intrigued. Building up the piece in multiple layers creates an atmosphere and depth, an almost three dimensional quality not present in my previous work.

Snap! Your images incorporate a lot of nature elements, with birds and trees appearing most often. What about those subjects most intrigues you?

JL: The crows I use in much of my work historically represented the messenger in many cultures; for example in Scandinavia, messenger to the Norse gods. In many pieces the theme involves communication or the relationship of the individual to the global society; the message has multiple interpretations. Like the crow, I want my audience to pay attention to what’s happening to the natural world around them.

Snap! Tell us a little bit about the process of creating one of your images. How does the work unfold from initial concept to the final image we enjoy on canvas?

JL: I start with my idea and pull together my photos, or take new ones for the different elements in each composition. The first layer on my boards is water color paper, or a scan of an antique map printed on watercolor paper. After painting my background in watercolor, I paint on a layer of encaustic medium (beeswax & tree resin, sometimes with pigment added). Next, I scrape and then flame the surface with a blowtorch to level it, then transfer and hand burnish the first layer of photography (photocopied & cut into the different elements so I can place them upside down). The photo ink transfers onto the waxy surface, and I peel the paper away.

Transferring a copy of my photo in reverse over the background and first layers of clear encaustic medium.

I repeat this process, building the image in layers, and painting in details by hand, sometimes adding metal leaf or oil stick:

Painting foreground with a mixture of beeswax, tree resin, and pigment.

I flame and polish the final layer of un-pigmented encaustic to a high sheen, giving it a glowing and translucent finish.

Snap! Your art is included in Snap!’s HOMEGROWN exhibit of local Central FL photographers (hosted at Orlando Museum of Art). What do you hope event attendees walk away with after viewing your work and the collective exhibit?

JL: Developments in technology have made a variety of photographic techniques easily accessible to a whole new generation.  Many artists go through an elaborate pre-shoot planning process, building sets and props, that the casual observer might not even be aware of. For the fine artist, photography is just one of many tools available to convey a message. But for the artist, the message, the story, is the most important part, not just the technique.

Snap!: What’s next for you and your work after your participation in Snap! Orlando?

JL: I’ve been sharing my message through photography, first in black and white, then Polaroid transfer, now in combination with painting. Next, I plan to continue the story by incorporating the photographic elements with glass. The story will continue, but become even more three dimensional and sculptural.