Penland Drawing and Painting Summer 2010

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

Matthew Lopas, Front Steps, oil on canvas, 38 x 47 in.

What happens when a painter represents all four walls in a room as well as the entire ceiling and floor? Or everything from their feet to the sky above and behind their head? We will paint panoramas that depict the entire 360 degrees we inhabit. We will paint in oil and work from life (indoors and out) using a technique based on measurements. Students should have some experience painting from life. Code 01d

Chair of the art department at Hendrix College (AR); solo exhibitions: Bowery Gallery (NYC), Ober Gallery (CT), Cantrell Gallery (AR); group shows: Albany Gallery (Wales), Arkansas Art Center, Timothy Tew Gallery (Atlanta).

This class will explore portraiture through mask-making and movement. Starting with our own faces as a platform for examining the movement of expression, we will first make masks and dances and then make giant faces that function as sculptural forms and as performance objects (i.e. puppets). We will pay particular attention to the intersection between sculpture and the performing body. For students of all levels who enjoy making things and moving. Code 02d

Clare: director and performer of canastoria, toy theater, outdoor puppetry, and stilt dancing; veteran of Bread and Puppet Theater.
Erica: choreographer and performer; creator of works that have been performed across the U.S.and internationally; faculty member at Second City (Chicago).

Clare Dolan, Green Man Mask, paper maché,

cardboard and paint, 4-1/2 x 2-1/2 feet

Erica Mott, from Discard

Celia Gray, Fever Dream,

encaustic and paper on wood, 20 x 20 inches

This class will explore the methods and possibilities of the ancient art of encaustic—a painting medium made of pigment and beeswax. We will begin with the basics, including tools and safety, making the encaustic medium, and fusing layers. We will go on to explore layered imagery and texture using traditional and alternative techniques. There will be demonstrations, discussion of historical and contemporary works, and lots of experimentation. Open to all curious minds interested in pushing the limits of this versatile material. All levels. Code 03d

Studio artist; teaching: Bookworks (NC), Asheville Art Museum (NC); Vermont Studio Center residency; work represented by Blue Spiral I (NC), Penland Gallery, and Rebus Works (NC); former Penland core fellowship student.

Bill Logan, Autumn, from the book,

The Old Meat Hunter, ink on clayboard, 7 x 10 in.

In a gleeful and hugely exploratory experience, we will do our inventive best to throw every notion of drawing and perception completely off balance. Days will be split between working in the studio and an evolving series of drawings done both out-of-doors and from the perspective of an increasingly engaged, broadened, and enchanted sensitivity toward scene and subject. These are the only stipulations: you will be working in ink and you must fearlessly make marks! All levels.
Code 04d

Artist, illustrator, writer, sculptor, teacher, and bug maker; has spent a lifetime covered in ink up to his elbows.

Arthur Gonzalez, Knot Hole,

oft pastel on paper, 22 x 30 in.

Drawing is a way of seeing our thoughts. Personal symbols are objects of meaning that potentize our work and hold a mirror to who we are. Through lessons in color and light theory, this workshop will explore visual ideas and devices that will further our ability to construct good drawings. We will also experiment with soft pastel and oil pastel, which are a bridge into the world of oil painting. Students need to have a steady, even if minimal, practice with drawing. Above all they must have an ability to invent, imagine, and execute through drawing. Code 05d

Professor at California College of the Arts; four NEA fellowships; more than 40 solo shows; residencies: Pilchuck (WA), Tainan National University of the Arts (Taiwan), Penland.

Curtis Bartone, Chosen,

graphite, 10 x 7 in.

This class will introduce students to a variety of drawing media; graphite, silverpoint, charcoal/conté, ink line, ink washes, colored pencils, and pastels. As each technique is introduced we will also discuss various papers and their properties. We will cover both additive and subtractive approaches to drawing. We will explore combined techniques and experiment. All levels, although some drawing experience will be helpful. Code 06d

Studio artist; teaching: Savannah College of Art and Design (GA), Harold Washington College (Chicago); 18 solo exhibitions, more than 75 group shows; representation: Byron Roche and Printworks (Chicago), Beppu Wiarda (Portland, OR).

Yoonmi Nam, Arranged Flowers (series),

sumi ink, mulberry paper, 38 x 26 in.

This class will focus on drawing and painting with sumi ink and brush. Although we will work from traditional Asian brush painting and calligraphy, we will take a contemporary and experimental approach to sumi ink. We will consider brush marks and lines as being descriptive, meditative, contemplative, introspective, expressive, performative, and collaborative. Students should bring an open mind and an experimental spirit. All levels. Code 07d

Associate professor at University of Kansas; Vermont Studio Center and Nagasawa Art Park (Japan) residencies; exhibitions: Beach Museum of Art (KS), Haydon Art Center (NE), Salem State College (MA), Maine College of Art, Kwanhoon Gallery (Seoul).

Stephen Sidelinger, Cloths of Heaven, gouache

and mixed media on paper, 18 x18 in.

All crafts at some point are easier with an understanding of pattern structures and methods—being able to see and think in repeats. This class will provide hands-on methods for creating 15 kinds of patterns. We will start with basic patterns: from block, brick, diamond, and step to geometric structures and free-form repeats. Then we will draw from the past: primitive ornament, Egyptian, Greek, and Asian patterns, manuscript illumination, William Morris, and Art Deco. No previous knowledge of pattern design needed. All levels.
Code 05ta
Third-floor textiles studio.

Faculty at Ringling College of Art (FL); author of Visual Language: A Guide to Finding Personal Style, and A Color Manual. stephensidelinger.com The second-floor textiles studio will be used this session for an exploratory workshop for artists in any media, titled All About the Why.

Christina Shmigel, Bamboo Window, bamboo,

plastic string, the city of Shangai, 24 x 28 in.

This is a workshop for makers in any medium who want to deepen their understanding of the wellsprings of their work. Through a series of riddles and explorations, using images, 3D sketching, book- and model-making, and materials different from, but parallel to, our customary ones, we will investigate what makes our work uniquely ours. With play and curiosity, we will explore ways of opening up our future work. All levels. Code 05tb
Second-floor textiles studio.

Studio artist in sculptural installation; former professor of sculpture at Webster University (St. Louis); solo exhibitions: St. Louis Art Museum, Laumeier Sculpture Park (St. Louis), Duolun Museum of Art (Shanghai).