Penland School of Crafts Textiles Summer 2010

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

Jerry Bleem, Evolving Nationalism / Scrambled

Allegiance, found stamps and Tyvek, aper, ink,

acrylic medium, 13-1/2 x 21-3/4

Flexible lines are the building component of many fiber forms, both flat and sculptural. Whether these lines are in the form of yarn, string, hair, wire, rope, weavers, or floss, they can be arranged into woven cloth, looped surfaces, and plaited or coiled shapes. This workshop will explore making lines from common materials and employ traditional fiber techniques to structure these lines for expressive and conceptual ends. All levels. Code 01ta

Artist, teacher, writer, Franciscan friar, Catholic priest; adjunct assistant professor at the School of the Art Institute of Chicago; five Illinois Arts Council fellowships, Arts Midwest/NEA fellowship; exhibitions: Chicago Cultural Center, Del Mano Gallery (CA), Mobilia Gallery (MA).

Amy Putansu, Cool Metal

Inclusion scarf, silk double-weave,

hand-dyed yarns, hammered

solder adornment, 15 x 72 in.

Multiple layers of cloth can be created simultaneously on the loom, interchanging and shifting layers to create sculptural and atmospheric cloth structures. Multi-layer weaving begins with traditional double-cloth techniques, and expands into three or four layers (or more). Students will consider cloth quality within the multi-layer structure and material exploration can include alternative “threads” that lend atmospheric qualities. Loom set-up and basic weaving skills required. Code 01tb

Instructor in the professional crafts program at Haywood Community College; has designed and woven cloth for upholstery, women’s clothing, and her own Putansu Textiles; exhibits work nationally.

Cathryn Amidei, Collapse

Sheath, cloque polyester/

cotton scrim with lycra cotton

underdress, cotton scrim and

polyester, laminated and

shrunk in a lye bath

This class covers the basics of sewn construction. Starting with a foundation of technical skills, we will address cutting, seaming, finishing, and techniques appropriate for various sewn applications. Then we will learn basic patterning and simple draping techniques as we explore garment conception and design. The goal is to build the skills necessary to allow for informed creative expression. All levels. Code 02ta

Associate professor at Eastern Michigan University; Jacquard Center (NC) residency, Costume Society of America university collection grant; exhibitions: ArtSpace (OH), Riverside Arts Gallery (MI), Slusser Gallery at University of Michigan.

Sarah Wagner, Christy Matson and

Jon Brumit, The Quantum Field,

handwoven conductive cloth,

thread, solar panels, sub-woofers,

booty shakers, mini-amps, wire,

vinyl banner, 40 x 8 x 8"

In this class we will create experimental cloth for creating sewn sculptural objects, which may be functional, nonfunctional, wearable, or otherwise. We will explore ideas of weaving, the handmade, patterning, sewing, and the power and humanity of creating one’s own cloth in contemporary culture. We will cover basic weave structures, supplementary wefts, double weave, drafting, patterning, and sewing. All levels, although some sewing skills will be helpful. Code 02tb

Studio artist; teaching: School of the Art Institute of Chicago, California College of the Arts; Pollock-Krasner fellowship; representation: Patricia Sweetow Gallery (San Francisco); exhibitions: de Saisset Museum (CA), Museum of Craft and Folk Art (San Francisco); collection: Microsoft Corporation (WA).

Malika Green, Sacha, leather, steel shank, size 8.5

women's

Learn shoe construction from the ground up. In this class you will practice the classic craft using traditional materials to make a pair of handmade leather shoes based on your own design. Learn all the steps—from design to finished construction—and create a wearable work of art. The only limit is your imagination. Sewing skills will be helpful but are not necessary. All levels. Code 03ta

Studio artist and designer; teaching: Make Workshop (NYC); Museum of Arts and Design residency (NYC); exhibitions: Museum of Arts and Design (NYC), Cranbrook Museum of Art (MI).

Sherri Lynn Wood, Color Study: Red

Wedge, quilt: hand-dyed cotton, glass

beads, machine- and hand-pieced,

hand-quilted, 52 x 68 in.

Tracking, sharing, and exploring the rhythm of attention is the goal of this workshop for educators and others interested in flow and the creative process. Mornings will be devoted to exploring—through group dialogue, chanting, stitching, writing, and drawing—topics on listening and engagement. We will move from theory into practice each afternoon by making improvised quilts without predetermined patterns. All skill levels. All levels. Code 03tb

Community artist, healer, quilt maker, and blogger; North Carolina Arts Council fellowship; residencies: MacDowell Colony (NY), Headlands Center for the Arts (CA), Blue Mountain Center (NY); collections: Asheville Art Museum (NC), University of North Carolina Law School, Duke Medical Center (NC).

Jason Pollen, Groundplay, canvas, thread, dye,

pigment, 48 x 48 in.

This class will be a lively exploration of collage and mark-making through projects that include two- and three-dimensional fusing and stitching techniques. We will create patterned, pigmented fabrics and papers and develop a visual vocabulary to achieve mood, rhythm, and expressive content. We will explore how harmony and dissonance affect the shifting relationships of perception and feeling. The collaboration between process and concept will encourage the production of unexpected magic. All levels. Code 04ta

Studio artist, teacher; has been on the faculty at the Royal College of Art (London), Parsons School of Design (NYC), Pratt Institute (NYC), and Kansas City Art Institute; fellow of the American Craft Council.

Suzie Liles, White Caps on the River, tencel,

40 x 80 in.

Are you afraid to weave with linen? Do you love the qualities of woven lace? In this workshop, you will discover that linen is a wonderful, user-friendly fiber and learn the best techniques for warping, weaving, and finishing linen fabrics. We will start by threading four- and eight-shaft looms in various weights of linen yarns and, in round-robin fashion, explore Huck lace, Bronson lace, Swedish lace, various hand-manipulated laces, and bead leno. Then each student will design and weave projects using the techniques learned. All levels. Code 04tb

Studio artist; teacher of weaving workshops and seminars in U.S. and Canada; co-owner of Eugene Textile Center.

Elin Noble, Fugitive Pieces,

whole cloth quilt, itajime

cotton, discharge- and over-

dyed, machine-quilted with

hand-dyed silk and cotton

thread, 80 x 40 in.

We will explore what happens when color is repeatedly added and removed through sequential shibori techniques. We will produce cloth charged with luminosity, sophisticated color nuances, and visual complexity. We will use Procion MX fiber-reactive dyes and vat dyes, with thiox as the discharge. Once different pieces of cloth have been dyed, each student will have the option to design and construct a garment, quilt, sculpture or installation from the individual pieces. We will cover the basics of dyeing, construction, and design, as well as design ideas related to your work. All levels. Code 05ta

Studio artist; former lab manager at PRO Chem; author of Dyes & Paints; workshop teaching nationally and internationally; retrospective at New Bedford Art Museum (MA) in 2013.

Catharine Ellis, Circle Series, cotton, woven shibori

resist, various natural dyes, each 14 x 58 in.

This class will be an intensive exploration of weaving and dyeing. Using woven shibori to explore resists, we will focus on mordanting and natural dyes on protein and cellulose fibers and explore the science behind these processes. Students will handweave cloth and design fabrics to be woven on industrial looms at nearby Oriole Mill. We hope to bring together experienced weavers to investigate new directions and the potential for combining industrial production and natural dyes. Intermediate/advanced: students must have a good working knowledge of looms and woven structures. Code 05tb

Catharine: Studio artist and teacher; author of Woven Shibori.
Joy: textile engineer; teacher at Designskolen Kolding (Denmark).

Joan Morris, Study (Flow), 22k gold monoprint on

shaped, resist-dyed silk, 20 x 20 in.

Shaped-resist dying is a limitless art form. This class will focus on creating shaped-resist-dyed textiles using classical techniques as a jumping-off point for experimentation. We will derive color from natural sources: plant dye extracts, raw materials, and indigo. The class will emphasize safe and sustainable practices. By combining techniques and layering colors, we will create pieces that capture depth, volume, and movement.
All levels. Code 06ta

Studio artist; dyer for the stage at Dartmouth College (VT); designer and fabricator of textiles for The Lion King; invited artist at five International Shibori Symposiums; collections: Cooper-Hewitt National Design Museum (NYC), Rhode Island School of Design; Wadsworth Atheneum Museum of Design (CT).

Polly Barton, Cleave Blue, double silk ikat,

10 x 10 in.

This workshop will be inspirational for experienced and novice textile artists who are looking for a way to push their work to a new level of personal style, direction, and creative process. We will learn to dissect an ikat: single, double, compound, or pictorial. We will calculate, measure, wind, and dye ikat warps and wefts. By sharing dressed looms, each student will experience the artistic possibilities of each technique. Bring sketches, ideas, questions, and curiosity. Some weaving and dyeing experience will help, but this class is open to students of all levels. Code 06tb

Studio artist; exhibitions: William Siegal Gallery (Santa Fe), SOFA Chicago and New York; collections: Art Institute of Chicago, Museum of Fine Arts, Boston, Mint Museum (NC), Jack Lenor Larson (NY).

Mary Hettmansperger, Segments, fabric, pieced,

discharged, rusted and free-motion assembled with

metal embellishment, 32 x 28 in.

The addition of metal to art quilts can create dimension, interest, texture, imagery, and content. Students will learn a variety of low-tech metalsmithing techniques to achieve interesting surfaces. Using wire, mesh sheet metal, stitches, and found items on fabrics that have been altered, distressed, overdyed, rusted, and painted, students will make samples and design finished concepts. Simple quilting applications, such as free-motion quilting, hand stitching/mark making, and embroidery, will give students tools to help complete their designs. All levels.Code 07ta

Studio artist and workshop teacher; author of Fabulous Woven Jewelry; Wrap, Stitch, Fold, and Rivet; and Mixed Metal Jewelry Workshop (all Lark Books).

Stephanie Metz, Trio of Teddy Skulls

(Usulus mellitus, Ursulus queribundus

disneyus, Ursulus gasterpectus), felted

wool, steel stands, each approximately

4 x 5 x 6 in.

Learn how to use simple tools and techniques to manipulate wool fibers into free-standing, solid felt sculpture. Whatever your background, this innovative use of a humble material is sure to energize your artmaking. We will focus on sculpting with a felting needle and will include some wet felting and dyeing techniques. Note: feltmaking involves repetitive and vigorous hand and arm movements. All levels. Code 07tb

Studio artist; workshop teaching: California College of the Arts, University of San Francisco, Cabrillo College (CA), Kala Art Institute (CA); exhibitions: deSaisset Museum (CA), Fiberart International (PA), Penland Gallery; representation: Hosfelt Gallery (San Francisco and New York).

Mary Barringer, Stacked Bowls, handbuilt

stoneware with multiple slips and glazes,

each bowl 7" diameter

This class is for makers who want to infuse their writing with the sense of process, discovery, and juice they experience in the studio. We will learn to more comfortably and playfully handle the “tools” of language and to become better readers and listeners as well as writers. The class will include short free-writing exercises, time to read and respond to one another’s writing, and work on a longer piece of writing—either a work in progress or one begun here. All levels. Code 07s.

Studio artist, writer, and editor of Studio Potter; ceramic work exhibited nationally; lecturer and writer on the history of ceramics; teaching: Anderson Ranch (CO), Haystack (ME), Peters Valley (NJ).