Penland Metals Summer 2010

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

Helen Carnac, Each Other (detail),

vitreous enamel on steel, drawn and printed base,

4 - 8 inches diameter, photograph David Gates

The world is full of marks. They may be left accidentally or made with a purpose. We might see them or they might go unnoticed. Through photography, drawings, or found objects, we will collect a range of marks found in the Penland landscape. These will be used as the basis for an exploration of nontraditional enameling processes. Through a series of demonstrations and studio work, we will explore a range of techniques including mark making, drawing, sgrafitto, collage, and the appropriation of found materials. All levels. Code 01ma

Studio artist and teacher; UK Arts Council Cultural Leadership Fellowship; representation: Velvet Da Vinci (San Francisco), Contemporary Applied Arts (London).

Myra Mimlitsch-Gray, Limbs, cast ductile iron,

24 x 10 x 9 in. each

This workshop will focus on sheet-metal forming techniques such as anticlastic and synclastic raising, sinking, and embossing. Students will use various gauges of nonferrous metals to explore form and develop ways to join multiple elements into whole objects. Outcomes may range from holloware to jewelry, with an emphasis on hollow-form construction. Basic sawing, filing, and soldering skills required. Code 01mb

Professor at the State University of New York/New Paltz; fellowships: Tiffany Foundation, NEA, New York Foundation for the Arts; collections: Smithsonian Institution (DC), Victoria and Albert Museum (NYC), Metropolitan Museum (NYC).

Douglas Harling,

Blessed Peach Brooch/Pendant,

enamel on silver, 22k gold,

14k gold, diamond

Color, texture, light, and line: this class will focus on drawing in precious metal. We will explore a variety of surface techniques for rendering imagery and enhancing form. We will emphasize historical precedents for contemporary applications. Technical processes will include fusion, inlay, diffusion bonding, marriage of metal, and applied color. There will also be a special focus on granulation in silver or gold. All levels. Code 02ma

Teacher at Kentucky School of Craft; NEA/Southern Arts Federation and North Carolina Arts Council Artist fellowships; touring exhibition: “Innovation/Tradition: Masterpieces of Southern Craft.”

David Clemons, The Trees We Construct

To Conceal Our Strange Fruit, mild steel,

sterling silver, fine silver, 14 x 8 x 8 in.

In this workshop we will take a mixed-media approach to exploring the concept of containment in sculpture or objects for the body. We will integrate ferrous and nonferrous metals as well as other materials. Techniques will include forging, sinking, raising, die forming, cold connections, brazing, and soldering. Some metalworking experience is recommended but this class is open to all levels. Code 02mb

Adjunct professor and head of metals at University of Arkansas/Little Rock; Arkansas Individual Artist Fellowship; exhibitions: Center for Craft, Creativity & Design (NC), RE/ACTIONS (MO); collection: Arkansas Art Center. m

Deb Stoner, Ball and Socket, gold plated brass,

steel, plastic lenses, 5-1/2 x 2 x 5-1/2 in.

Historically, jewelers were partners with opticians in the design and fabrication of eyeglasses. In this workshop, we will explore historical and contemporary spectacles through slides, samples, demonstrations, and hands-on work. We will learn how jeweler’s techniques are applicable to making eyeglasses. Learn tricks from the optical industry about holding lenses in frames, coloring lenses, and making screws and rivets, and explore inventive approaches to creating hinges and other mechanisms. All levels. Code 03ma

Studio artist, designer; teaching: Haystack (ME), Oregon College of Art and Craft, Appalachian Center for Craft (TN); designed eyeware for Anne Klein, Donna Karan, DKNY, and Polaroid; curator of the international traveling exhibition, “Op Art: Eyeglasses by Jewelers.”

Car bumpers, switches, DVDs, and disposable cutlery share more than the common name (plastic) we use to describe them. These strings of organic compounds were engineered to buffer, seal, and insulate us in ways that other materials could not. This workshop will press firm and flexible materials (in pre-formed and resin states) into the service of one-of-a-kind object making. We will cast, spray, dip, carve, and fabricate objects that exploit the color, translucency, and volume of plastics to make objects that might not succeed in metal, glass, or clay. We will transcend the reputation and leverage the potential of this vast material category. All levels. Code 03mb

Chair of metals/jewelry design at Kendall College of Art and Design (MI); more than 50 group exhibitions, numerous publications.

Marjorie Simon, Ring Candy, sterling silver,

22k gold/bi-metal, torch-fired enamel, embosses copper,

1-1/4 in. diameter

By planning ahead, students can enjoy the spontaneity of experimental enameling on copper with the confidence that comes from knowing how to create elegant settings with little or no soldering. We will design for the body with reusable paper models, create form and surface with the hydraulic press, and throw on a skin of glass through torch- and kiln-firing. We will also cover drawing with wire and the solderless pin back. All levels. Code 04ma

Studio artist, writer, educator; work exhibited nationally and internationally; two New Jersey State Council on the Arts fellowships; juror for 500 Brooches (Lark Books), collections: Mint Museums (NC), Racine Art Museum (WI).

Marisela Gutierrez, Virgin and Child: The Annunciation,

wood, pewter, tin, egg tempera, semiprecious stones,

15 x 20 x 2 in.

This class will explore ornamental metalsmithing techniques used by Egyptians and monks to embellish and protect their icons. We will move step-by-step through the process of repoussé—using hammers to shape sheet metal from the reverse side. We will revel in the glorious possibilities of metal and create beautiful pieces that can be applied to various materials. All levels. Code 04mb

Studio artist; teaching: Louisiana Art and Science Museum, Penland; exhibitions: HYART (WI), Caffery Gallery (LA), Icons Gallery (Mexico), Los Incas Crafts (Toronto); Louisiana Art and Science Museum.

Marcia Macdonald, Better Places Than Here,

mixed media, 2½ x 4 x ½ in.

Creativity is sometimes assumed to be a wild, unfettered, unconscious process, but self-imposed constraints can enhance the creative process: think haiku, minimalism, Twitter. Using nature as a springboard for inspiration, we will create design challenges that address concepts such as stylizing, editing, limiting, and purging. We will work with metal, wood, paint, and found materials with minimal tool use. Lectures, demonstrations, and plenty of individual instruction. This class is for students who have learned the basics of jewelry fabrication and want to advance conceptually and technically. Basic sawing, filing, and soldering skills required. Code 05ma

Marlene True, Metamorphosis, recycled tin,

steel, 24k gold, fine silver, 3-1/2 x 3 x 3 in.

Who hasn’t been seduced by the colors, patterns, and images found on artfully designed tin cans? Specifically intended to lure, these elements are ripe for use in jewelry making. Studio work and discussions will focus on crafting unique solutions to alternative materials. Beyond the basics, demonstrations will include die forming, image transfer, basic stonesetting, hinges, and other techniques as needed to accommodate the interests of the class. All levels. Code 05mb

Studio artist; teaching: Arrowmont (TN), Southern Illinois University/Edwardsville; representation: Quirk Gallery (VA); collections: Enamel Arts Foundation (Los Angeles), Racine Art Museum (WI); work published in The Fine Art of the Tin Can (Lark Books).

Are you curious about what stands behind judgments of beautiful and ugly? Can you harness the power of the ugly to achieve interesting results in your work? Stepping out of our comfort zone is empowering, especially when we wish to transmit messages through our jewelry. Instruction will focus on idea generation, discussions, exercises, and making prototypes. We will cover basic metalworking skills and approaches to alternative materials. All levels. Code 06ma

Natalya: assistant professor at Virginia Commonwealth University; exhibitions: SOFA Chicago and New York.
Dana: assistant professor at Youngstown State University (OH); exhibitions: Bridge Art Fair Chicago and Miami.

Natalya Pinchuk, Brooch,

from the “Growth” series,

mixed media

Dana Sperry, First Person Shooter, looping video

projected onto a rear-projection screen,

installed into existing architecture

Marvin Jensen, Mokume Bowl, mokume gane,

7 x 9 in.

Angle raising is the technique of forming a seamless hollow form from a flat sheet of metal using a cross-peen raising hammer and a T-stake. As part of raising a vessel, students will learn sinking, crimping, stretching, bouging, and planishing. Demonstrations will include forming spouts, handles, and lids. The class will begin with copper; students may use silver in secondary projects. This is a technical class exploring the malleable properties of metal. All levels. Code 06mb

Studio artist; designer/fabricator of medical research equipment, furniture, mokume-gane vessels, and motorcycle parts; teaching: Purdue University (IN), Parsons The New School of Design (NYC); Asheville Arts Council Regional Project Grant (NC); collections: Mint Museums (NC), Rhode Island School of Design Museum.

Amy Tavern, Thicket Brooch,

oxidized sterling silver, thicket,

3 x 1-3/4 x 1/4 in.

Details, significant or subtle, can make jewelry stronger and more interesting as well as unique and personal. This class will focus on these details and how to create them while exploring various surface design techniques including hammer and file textures, rolling mill printing, and acid etching. We will also design and make complementary jewelry findings like earring wires and clasps. All levels. Code 07ma

Penland resident artist; teaching: Pratt Fine Arts Center (Seattle), Penland; exhibitions: Sienna Gallery (MA), Quirk Gallery (VA); representation: Sienna Gallery (MA), Studio Fusion Gallery (UK).

Kim Cridler, Urn with Bees, steel,

cast bronze, 70 x 35 in.

The architect Sim Van der Ryn described the entire physical world through only ten classes of patterns. Working with wire, we will investigate form and pattern—from the natural world to the language of ornament. Demonstrations of soldering steel, building forms, drawing, and tube-making will be supplemented with readings and assignments. This class is about looking close to home and working without hesitation. Soldering experience will be helpful but the class is open to all levels. Code 07mb

Assistant professor at University of Wisconsin; collections: Arkansas Art Center, California State University/Long Beach Art Museum, Chazen Museum (WI), Museum of Fine Arts Houston, Scottsdale Contemporary Museum of Art (AZ).

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).