• San Miguel de Allende
  • Guanajuato

Transformation, Revelation, Mystery and Chance with Graceann Warn

Sugar Factory

Sugar Factory

Along with technical instruction that will cover using encaustic, making encaustic monotypes, cold connection of objects and various mark-making techniques, we will discuss the very important aspects of art making: intent and content. 

Cote 2 Graceann Warn

Graceann's workshops are intense and fun. Come prepared to work, think and laugh a lot!


October 5  Everyone arrives and will meet each other on the way in from the Leon airport. 

Each day, breakfast is served at the hotel, then we will meet in the studio at 9:30 to start our day with Graceann. We will break for comida (lunch) around 1:00  and then continue our day until 4:30. 

We'll also take a creative break to meet with our friend Hermes Arroyo and his merry band of mojigangas. You will love them all.

Mojigangas                                   Photo by Sean Reagan

Mojigangas                                   Photo by Sean Reagan

There will be two cooking classes during the week and a special farewell dinner at our friend Paco Cardenas's beautiful home. It's a spectacular ending to our trip. 

Paco's table setting.                     Photo by Sean Reagan

Paco's table setting.                     Photo by Sean Reagan

October 13, you will leave for the airport around 8:30 a.m. for the return trip home. 

This itinerary may change due to weather, new opportunities of the whim of the group.

Here's a second opportunity to study with Graceann Warn, this time in San Miguel de Allende where Graceann will weave her magic marrying wax, paper, wood and paint in an assemblage and encaustic Art Escape. 

There may be a few rusty bits involved, too.

The studio in Casa de la Noche will literally be buzzing with creativity as Graceann takes you into Transformation/Revelation/Mystery and Chance. 

In our workshop, we will explore ways to take materials and turn them into succinct and strong stories like this Contents series by Graceann. 

Contents Series Graceann Warn

One of our favorite cities to take artists to is San Miguel de Allende, a UNESCO heritage city that has been a home for artists since the 1930s. Cobblestone-lined streets, art galleries, colorful doors that open into mysterious courtyards, alleyways filled with beautiful plantings, centuries-old buildings and, of course, the bells of the pink Parroquia de San Miguel Arcangel in the Jardin. You never know what or who you will find in the Jardin, day or night. 

This Escape is Full. Waitlist has started.

This Escape Includes

  • 8 nights accommodation, double occupancy at Casa de Noche
  • beautiful studio to create in
  • aiport pickup/drop off at designated time at Leon airport
  • five days of workshops with Graceann
  • all meals except for one lunch and one dinner
  • Special class with local mojigangas master (the large puppets)
  • farewell celebration
  • two cooking classes
  • new art tribe

Price: $3,500, limited to 12 people based on double occupancy. A limited number of single rooms are available for an additional $500.

A $1,000 non refundable deposit is due upon registration with the final payment due April 1, 2018

Price does not include airfare to/from Mexico

Airport: Leon International Airport, Guanajuato, Mexico. Code: BJX  United's Flight 6247 is a direct flight from Houston that leaves at 2:30 p.m. and arrives in Leon at 4:45 pm. We will have a driver pick you up and deliver you to the hotel which will take about 1.5 hours. Return: We will leave at 9 a.m. on October 13 for the 12:45 pm United flight 6227 to Houston.

Casa de la Noche, a former bordello is owned by Barbara Poole, also an artist who supports the arts in San Miguel de Allende. Her beautifully renovated B&B is five minutes from the jardin. 

Litnay Box

Litnay Box

Graceann Warn

Graceann Warn

Although Graceann Warn’s academic background is in urban design and classical archaeology, she decided to take a leap of faith in 1985 to become a full time artist.  She started out as an oil painter but throughout the 1990s became best known for her assemblages. In 2,000, a 16-month long commission to design sets for a major opera production led to a shift in medium and scale in her studio work.  Since that time, she has primarily been painting on wood panels using oils and encaustic. The present work reflects the structural logic of her architectural beginnings as well as her abiding interest in archaeology and science. Her work has been exhibited nationally and internationally and is in the collections of Yale University, Museum of Art and Design, New York, NY,  US Embassies in Nairobi and Sarajevo, Pew Charitable Trusts and many others.