Penland Spring 2014 One-Week Session 2

Classes are open to serious students of all levels unless specified in course description; beginners welcome.

Jim Adams, Looking Back, acrylic, graphite,

canvas, 60 x 48 inches

In this intensive one-week drawing and painting workshop, we’ll explore graphite and paper along with transparent acrylic colors. The workshop will help artists working in 3d media develop drawing and painting skills and it will help 2d artists explore new approaches to the blank page. Along with demonstrations and plenty of work time, we’ll spend one day making collaborative temporary installations using found materials and traditional painting and sculpting media to stretch our thinking about 2d and 3d work. We’ll consider the blur in our discussions and possibly frustrate each other toward greatness! Students of all levels and media interests welcome. Code s02d

Studio artist working in painting, drawing, blacksmithing, and sculpture; teaching: Jordan High School (NC), Grace School of Art (NC); Burren College of Art (Ireland) residency; demonstrator at International Stone Sculpture Symposium (IN); representation: Broadhurst Gallery (NC).

Sally Prasch, Blown Away, glass,

20 x 10 inches

This workshop will combine artistic and scientific flameworking techniques to create functional and sculptural glass pieces. Through demonstrations and lots of individual instruction, students will find personal expression through ideas, form, and color. We’ll also use the mighty Penland glass lathe to make shapes that can become part of larger pieces. Bring ideas and plan to work hard and have fun. All levels. Code s02gb

Studio artist and scientific glassblower; teaching: Pilchuck (WA), Niijima Glass Center (Japan), Urban Glass (NYC), Worcester Center for Crafts (MA); exhibitions: More Fire Glass Studio (NY), Brattleboro Museum (MA), Exhibit A (NY), Mint Museum of Craft + Design (NC).

Kerik Kouklis, Abandoned Nuke, Rancho

Seco, CA, gum over platinum print, printed

from digital negative made from

wet-collodion plate, 17 x 14 inches

We’ll start by making digital negatives with the QuadTone RIP program and Epson printers. Then we’ll use these negatives to make platinum/palladium prints, and we’ll cover the fundamentals of the gum bichromate process. Adding layers of gum bichromate to a platinum/palladium print can result in prints ranging from subtle to wildly colorful. Combining these processes allows you to use both the left and right sides of your brain to produce work that’s uniquely yours. Darkroom or alternative process experience helpful but not required. Students should have basic skills in Photoshop (adjustment tools, layers, etc.). Code s02p

Studio artist; teaching: Photographer’s Formulary (MT), Ansel Adams Gallery (CA), Project Basho (Philadelphia); exhibitions: Ansel Adams Gallery (CA), Taube Museum of Art (NC); collections: Museum of Fine Arts, Houston, Hoyt Institute of Fine Arts (PA).