Summer Session 7: August 28 - September 3, 2016

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

 

Enrollment for summer 2016 workshops is currently open. Workshops are filled on a first-come, first-served basis, and enrollment remains open until all class spaces are full or the workshop begins.

 


 

 

books and paper

 


Yukari Hayashida, Folding Case and Book with Suminagashi,

papers, bookcloth, bone clasp, binder痴 board, thread, 8-1/2 x

6-1/4 x 1-1/4 inches

 

Yukari Hayashida
Japanese Binding & Decorative Papers

We値l start by binding traditional side-stitched, pouch-bound books and a sewn-through-fold book. We値l construct a folding enclosure for these books, and then we値l create decorative papers: suminagashi (floating ink), orizome (folded and dyed), momigami (crumpled paper). Materials and tools for these papers are minimal: washi (Japanese paper), ink, brush, water, and your hands. We値l also prepare our own bookcloth. Then what? You値l make unique books with your handmade materials. All levels. Code 07B

 

Studio artist, book conservator at Metropolitan Museum of Art (NYC); teaching: Center for Book Arts (NYC), Penland.


 


Leigh Suggs, Colored Shadows, silver Mylar tape and

fluorescent acrylic on paper, 50 x 54 inches

 

 

Leigh Suggs
Paper: Dot, Line, Grid, Form

Students will use simple tools to transform sheets of paper into sculptural forms by cutting, folding, weaving, and exploring a variety of 3d paper constructions. Our conceptual guide will be the action and idea of opening and closing, folding and unfolding, expanding and collapsing as we learn the structural properties of paper. We値l also investigate surface treatments such as collage and perforation and review archival techniques. We値l use paper as ground, medium, tool, and fiber in this workshop for artists of any medium who want to explore paper痴 wonderful and surprising possibilities. All levels. Code 07L

 

Studio artist; teaching: Virginia Commonwealth University, Penland; North Carolina Arts Council fellowship, QUIRK artist in residence (VA); exhibitions: Weatherspoon Museum (NC), Contemporary Art Museum of Raleigh (NC), Green Hill Center (NC); representation: LIGHT Art+Design (NC), Reynolds Gallery (VA).

leighsuggs.com


 

 

Clay


Kristen Kieffer, Pitchers, porcelain with underglaze and slip-trail

decoration, cone 7 oxidation, 9-1/2 x 9 x 5-1/2 inches each

Kristen Kieffer
Altered, Ornamented & Drawn: No Fear!

This workshop will focus on conquering anxiety and embracing play in our sketchbooks and on our pots. We値l alter wheelthrown or handbuilt forms and embellish them with an array of decoration techniques, from stamping and slip-trailing to sponging and resists. We値l draw and collage to fine-tune influences and ideas. Demonstrations will include throwing, altering and building off the wheel, darting, and decoration. Students will leave with new skills, confidence, and a better understanding of timing in clay. Bisque-firing only. Intermediate/advanced: wheelthrowing or handbuilding skills required. Code 07CA

 

Studio artist; ceramics instructor at Worcester Center for Crafts (MA); exhibitions: The Clay Studio (Philadelphia), Lillstreet Arts Center (Chicago), Odgen Museum (New Orleans); publications: Ceramics Monthly, Graphic Clay.

kiefferceramics.com

 

 

 


 


Deborah Horrell, Ruby Throated

Hummingbird, glass, vitreous enamel,

5-3/4 x 5-3/4 x 1/2 inches

 


Tom Spleth, Pull My Finger, slipcast porcelain

cup, 3-3/4 x 3 x 3 inches

 

Deborah Horrell & Tom Spleth
Small, Smaller

The faces of our phones are windows that look into the universe. Small is a fact of life today and how small makes and affects meaning is the kernel of this workshop. Whatever the medium, intense opportunities for art-making can arise when the first constraint is small. The goal will be to find out what makes an idea big when the modus operandi is small. Printmaking, mold making, and slipcast porcelain will be our methods and materials of choice as we make small objects and images. All levels. Code 07CB

 

Deborah: studio artist, workshop teacher; representation: Elizabeth Leach Gallery (OR); collections: Portland Art Museum (OR), Mint Museum (NC), Racine Art Museum (WI). Tom: studio artist; teaching: Alfred University (NY), Haystack (ME), Anderson Ranch (CO); collections: Kohler Co. (WI), Rhode Island School of Design.

deborahhorrell.com

spleth.com

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

Drawing and painting

Holly Roberts, Horse Resting, mixed media, 24 x 42 inches

Holly Roberts
Mix-Up: Paint & Collage

Working with collage and layered images, we can directly and quickly involve ourselves in the process of image making. Collage gives us immediate feedback and allows us to proceed with our process while identifying issues that are causing trouble. Expressive painting gives us an immediate and direct link to our creative selves. Working with acrylic paints and a variety of mixed-media, we値l cover image transfers, gluing techniques, painting techniques, surfaces, supports, media compatibility, and layering materials. Students will learn how the different media work together so they will understand what processes work best in combination. All levels. Code 07D

 

Studio artist; Ferguson Grant from Friends of Photography, two National Endowment for the Arts fellowships; residency at Hollins University (VA); work published in three monographs; exhibitions: Catherine Edelman Gallery (Chicago), Museum of Photographic Arts (CA), Tucson Museum of Art (AZ), Honolulu Museum of Art.

 

 


 

 

glass

Chuck Lopez, Grace, blown glass,

stainless steel, 36 x 16 x 4 inches

Chuck Lopez
Cane, Murrine, Lines & Dots

In this workshop students will learn traditional cane and murrine and alternative ways of combining them. We値l cover color setup, gathering, effective cane pulling, and how to make murrine. Once we致e pulled enough cane and murrine, students will learn how to pick them up to make finished pieces, including proper setup and heating. We値l also cover simple approaches to common issues and problems related to working with cane and murrine. Intermediate/advanced: students should be able to gather, make two- and three-gather pieces, and assist a blow partner. Code 07GA

 

Glass studio technician at Pratt Fine Arts Center (Seattle); teaching: Pratt Fine Arts Center, Espace Verre (Montreal); Creative Glass Center of America fellowship (NJ), Artist Trust artist project grants (Seattle); exhibitions: Vetri Gallery (Seattle), Morgan Contemporary Glass (Pittsburgh), Kathryn Markel Fine Arts (NYC).


Jen Zitkov, Balance, glass, enamels,

1 x 1-3/4 inches

 

Jen Zitkov
Beads, Baubles & Doodads

In this fun-filled workshop, we値l use soft glass to focus on building the solid foundation of skills needed to bring your bead ideas to life. We値l begin with the basics and expand from there to develop your skills to create with confidence and consistency. This will include shaping the glass (and getting it to stay where you want it), surface designs and textures, embellishments, decorative canes, troubleshooting, and oh, so much more. All levels. Code 07GB

 

Studio artist; teaching: The Studio at Corning (NY), Pittsburgh Glass Center, Rochester Institute of Technology (NY), Wildacres (NC), Penland; exhibitions: The Atelier (Miami), Arnot Art Museum (NY), National Liberty Museum (Philadelphia), Bullseye Connection (Portland, OR).

 

 

 

 

 

 


 

 

iron

Daniel T. Beck, Spillover, painted steel,

20 x 12 x 7 inches

Daniel T. Beck
Steel Sculpture: Design, Draft, Model

Looking at the minimal, formalist aesthetic of sculptors like Isamu Noguchi, Richard Serra, and others, we値l begin this workshop by using drawing, paper, clay, and wire to conceive sculptural forms. We値l then work with mechanical drafting techniques to create scale drawings. These schematics will allow us to efficiently build small steel sculptures as scale models for larger works. This workshop will be exciting for artists new to metalwork as well as experienced metalworkers who want to experiment with a systematic approach to metal sculpting. Demonstrations will cover various forging and fabricating techniques depending on student designs. All levels. Code 07I

 

Studio artist, Penland iron studio coordinator; former Penland core fellow; teaching: Appalachian State University (NC); residencies: Haystack Open Studio Residency (ME), Kohler Arts/Industry Residency assistant (WI); exhibitions: Asheville Area Arts Council (NC), Foundry Art Center (MO), Cameron Art Museum (NC).

 

 

 


 

metals


Robert Thomas Mullen, T臧tsus, plywood, silver, lead, paint,

6 x 3 x 1 inches

 

Robert Thomas Mullen
Connections

Every material, old and new, has its own criteria for handling, shaping, and attaching. Students in this workshop will look for small details in the environment as they collect and combine dissimilar materials of their choosing. We値l cover whatever skills students need to connect these materials and incorporate them into finished pieces of jewelry or functional objects. This workshop is about exploring different materials and your surroundings through problem-solving, discussions, and thoughtful design. Demonstrations will include cold-joining techniques, stonesetting, woodcarving, hand fabrication, and mechanisms. All levels. Code 07MA

 

Studio artist; teaching: Craft Alliance (St. Louis), St. Louis Community College, Society for Contemporary Craft (Pittsburgh); representation: Society for Contemporary Craft, Asher Gallery (TX), Craft Alliance.

robertthomasmullen.com

 

 

 

 

 


 


Venetia Dale, Retain tag for reference, pewter, found tags,

8 x 6 x 18 inches

 

Venetia Dale
Introduction to Pewter Casting & Fabrication

Cast pewter figurines, thimbles, and souvenir spoons live in homes and stores and remind us that pewter is alive and well among objects in our material world. What about the handmade? Pewter has exemplary properties for manipulation via casting, fabricating, and forming. Students will explore basic pewtersmithing fabrication techniques and casting processes, applying these skills toward wearable, functional, and sculptural outcomes. All levels. Code 07MB

 

Studio artist; teaching: Massachusetts College of Art and Design; residencies: Kohler Arts/Industry Program (WI), Oregon College of Art and Craft; exhibitions: Find and Form Space (Boston), Harvard Ceramics Gallery (MA), Proteus Gowanus (NYC), James Watrous Gallery (WI), SOIL Gallery (Seattle).

venetiadale.com

 

 

 


 

 

Photography


Chris Peregoy, Reflecting Sentiment, digital transfer over acrylic

painting on wood panel, 11 x 14 inches

 

Chris Peregoy
Digital Art & the Alternative Print

This workshop will introduce you to various inkjet pre-coats and transfer films that will be used in conjunction with creative image capture and printing techniques to make unique photographic works of art. Techniques will include direct printing and transfers to fabric, wood, metal, acrylic, marble tile, and other interesting surfaces. Printing or transferring your images onto these materials greatly expands the possibilities for displaying them in innovative and creative ways. All levels. Code 07P

 

Studio artist; teaching: University of Maryland Baltimore County, Anne Arundel Community College (MD), Maryland Institute College of Art; National Endowment for the Arts InterArts grant and two Maryland State Individual Artist grants; exhibitions: Nexus Foundation (Philadelphia), Clos de l但bbaye (Paris), Koto-Ku Cultural Center (Tokyo), Soho Photo (NYC), Arts Institute of Medellin (Colombia).

chrisperegoy.com

 

 

 


 

 

Textiles


Katherine Diuguid, The Lake House (detail), digitally printed cotton

sateen and silk organza, cotton embroidery threads, metal

embroidery wires

 

Katherine Diuguid
Embroidering Impressions of Nature

Students in this workshop will learn the color theory ideas used by the Impressionist and Post-Impressionist painters and the color techniques of embroiderers throughout history. Both traditional and nontraditional embroidery techniques will be presented, and students will have the opportunity to interpret the beautiful surroundings of Penland, blending the painter痴 ideas with the embroiderer痴 tools and techniques. All levels. Code 07TA

 

Assistant professor at North Carolina State University; other teaching: Contemporary Arts Museum (NC); two Embroiderers Guild of America Legacy scholarships; exhibitions: Embroiderers Guild of America (TX, FL), Embroiderers Association of Canada; publications: NeedleArts, Embroidery.

katherinediuguid.com

 

 



 

 

Wood


Melissa Engler, Bound, poplar, milk paint, waxed linen

thread, 30 x 26 x 3 inches

 


Graeme Priddle, Tahi, Rua (One, Two),

matai, acrylic paint, 14-3/4 x 7-1/2 x 4 inches

 

Melissa Engler & Graeme Priddle
Living Texture: Surfaces with Soul

Students will create simple sculptural forms and enhance them with patterns, textures, and colors that have meaning and personal relevance. We値l develop quick, effective shapes using bandsaw and sanding equipment. These forms will serve as canvases for surface embellishments including relief carving, textural carving, wood burning/branding, and acrylic and milk paints. Daily design exercises will help students use their lives and personal experiences as inspiration for creating rich, textured surfaces. Pre-made sculptural forms and test boards are welcome. All levels. Code 07W

 

Melissa: studio artist; exhibitions: Green Hill Center (NC), Del Mano Gallery (Los Angeles). Graeme: studio artist; collections: Whangarei Art Museum (New Zealand), Museum of Arts and Design (NYC). Co-teaching: Cooroora Institute (Australia), Quarry Arts Center (New Zealand).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

SUMMER session 7

August 28 - September 3, 2016


Geoffrey Gorman, Occidentalis is Hungry,

mixed-media, found objects, 41 x 41 x 15

inches

 

Geoffrey Gorman
The Soul of Forgotten Materials

This workshop will cover innovative ways to create structures and forms using organic, found, and recycled materials. Students will learn to use photographs and sketches to design large sculpture. We値l carve rigid foam to make armatures, use wire for joinery, and create accents with old hardware. Materials might include canvas, bike tires, old metal objects, and anything students bring with them. We値l consider how to build something interesting while still creating objects with structural integrity. We値l use simple chemicals to create patinas on a variety of metals. All levels: experience with hand tools and small power tools will be helpful. Flex studio. Code 07TB

 

Studio artist; workshop teacher for ten years; exhibitions: Craft Alliance (St. Louis), Cheongju International Craft Biennial (Korea), Jane Sauer Gallery (NM); collections: Racine Art Museum (WI), University of Colorado.

geoffreygorman.com