Clay Workshops at Penland

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

 



 

 

 

SPRING CONCENTRATION

MARCH 8 - MAY 1, 2015

 


Cynthia Bringle, Bottle with Lid,

clay, 9 x 5-1/2 x 4 inches

 

Cynthia Bringle
Clay: The Next Level

This workshop will explore mostly wheelthrown pottery—from technique to design—with an eye toward raising each student’s skills to the next level. We’ll work with stoneware and porcelain and fire gas, salt, and soda kilns. The workshop will include field trips to area studios and discussions of studio practice and marketing. During a two-week visit, Jerolyn Morrison will introduce the ancient pot-making and cooking techniques of the Minoan civilization (3000–1485 BCE). Students will make and use Minoan-style cooking pots to create ancient flavors. Intermediate to advanced level; throwing skills required. Code S00CA


Studio artist and workshop teacher; fellow of the American Craft Council, North Carolina Award, honorary doctorate from Memphis College of Art; collections: North Carolina Governor’s Residence, Mint Museum, and many kitchen cabinets.

cynthiabringlepottery.com

 

 

 

 


 

SPRING session 2

april 5 - 11, 2015


Joy Seidler, Two Moon Journals, paste paper coptic binding,

9 x 12 inches, dust jacket journal with image sewn, 10 x 8 inches

Caverly Morgan & Joy Seidler
Mindfulness & Making

Our workshop will focus on discovering authentic personal entry points into the creative process. Together we’ll explore mindful participation with creativity and with life as we avoid the temptations of control and end-gain. We will use crafts—including pastepaper, journal making, clay work, and other forms—as a vehicle for the practice of presence and receptivity and for experiencing interconnectedness. We’ll also explore meditation, strategies for bringing mindful practices into your life, and the role of service in craft. And we’ll address questions such as, “What does it mean to be a vehicle for creative life force while being an object maker?” and “How can our creative processes assist us in being more awake in the world?” All levels. Code S02CB


Caverly: meditation teacher, Zen practitioner and founding director of One House of Peace.

 

Joy: studio artist, consultant, educator, trainer of teachers; 20 summers of pastepaper journal workshops in Massachusetts.

onehouseofpeace.org

 

 


 

 

spring SEssion 3

april 19 - 25, 2015

 


Pam Brewer, Grin and Bear It,

ceramic glaze test tiles, concrete 10 x 16 x 13 inches>

Pam Brewer
Mosaic: An Exploration

Students will learn a direct-application mosaic process and explore unique ways of seeing mosaics. While addressing both the art and craft of this ancient art form, we’ll consider the rules and how to break them—both literally and figuratively. Exploration will include exercises with a variety of forms, substrates (architectural or sculptural), and application techniques. We’ll interpret scale and scope and incorporate a variety of materials including artist-made tiles and reclaimed and found parts. All levels. Code S03CB


Studio artist, interior designer; teaching: Appalachian State University (NC), Odyssey Center (NC), Campbell Folk School; community/public art: The Free Clinic (NC), Appalachian State University (NC), Christ Church Episcopal School (SC), Watauga High School (NC)..

pambrewer.com

 

 


 

 

SUMMER session 1

May 24 - June 5, 2015

 

 


Chris Gustin, Vessel with Dimple #1305,

stoneware, anagama wood fired, 31 x 17 x 16 inches>

Chris Gustin
Wood Firing: Exploring Form & Surface

Wood firing offers numerous possibilities for the potter. This workshop will address different ways of approaching ideas and material in pottery using the wood kiln as a means for expression. We’ll discuss formal issues such as line, volume, and scale, as well as conceptual ideas concerning aesthetics, historical reference, and function. Students will be encouraged to explore form alteration and surface decorating techniques. We’ll work with stoneware and porcelain. Intermediate/advanced level: wheelthrowing or handbuilding proficiency required. No wood firing experience necessary. All levels. Code 01CA


Professor emeritus from University of Massachusetts-Dartmouth; 40-year retrospective traveling exhibition most recently at American Museum of Ceramic Art (CA); collections: Renwick Gallery (DC), Victoria and Albert Museum (London), Los Angeles County Museum of Art.

gustinceramics.com

 

 

 


 


Pattie Chalmers, Reclining Listener,

clay, mixed media, 13 x 14 x 14-1/2 inches>

Pattie Chalmers
Animal, Vegetable, Mineral, & Me

In this workshop I will demonstrate the handbuilding techniques I use to construct earthenware figures and objects. Each student will build a clay self-portrait that includes an animal, a vegetable, and a mineral. Using images and memories as source material, you’ll create a sculpture inspired by both experience and imagination. The addition of animals, vegetables, and minerals will encourage meaning and narrative to emerge, perhaps resulting in an increased understanding of your self. All levels. Code 01CB


Sculptor and vessel maker; teaching: Southern Illinois University-Carbondale (IL), Santa Fe Clay (NM), Lawrence Art Center (KS); exhibitions: Society for Contemporary Craft (PA), Northern Clay Center (MN), The Clay Studio (PA), Scripps College (CA); work published in Ceramics and the Human Figure, Ceramics Art and Perception, Ceramics Monthly.

pattiechalmers.com

 

 


 

 

 

SUMMER session 2

June 7 - 19, 2015

 


Greg Daly, Evening Light,

luster glazed ceramic, 7 x 16 inches

Greg Daly
Exploring Form & Color

The first goal of this workshop is to develop students’ throwing skills so they can control and refine the final form of the work. A series of shapes and exercises will sharpen these skills and help students establish their own voice in regard to form. Students will develop their own base glazes and a palette of colors using different quick and easy blending methods such as line blends, square blends, and color blends. We’ll then apply these glazes to your work using a variety of glaze application techniques. We’ll fire stoneware to cone 9, both oxidized and reduction.Intermediate/advanced level: basic throwing skills required. Code 02CA


Head of ceramics at Australian National University; 37 national and international awards; 80 solo exhibitions throughout Australia; collections: Australian National Gallery, Victoria and Albert Museum (London); author of Glazes and Glazing Techniques, Developing Glazes, and Lustre (all AC Black)

www.gregdaly.com.au

 

 


 


Michael Keighery, Buddies,ceramic, 14 inches tall

Michael Keighery
Self-Expression through Clay

This workshop for novice to advanced students will engage in quick and productive creative strategies useful in exploring complex ideas in ceramics. We’ll start with exercises that cover a wide range of construction techniques including slab and coil construction processes. Students will research the differences and similarities of how we see ourselves and how others see us. We’ll work on tiles or sculptures and use a range of mark-making, drawing, and coloring approaches (such as colored slips and underglazes) to explore different ways of making marks on clay. All levels. Code 02CB


Studio artist; instructor and resident artist at Australian National University; former head of fine arts at University of Western Syndey (Australia); collections: National Gallery of Australia, National Gallery of Victoria (Australia), Powerhouse Museum (Australia), Taipei Fine Arts Museum, Fuping International Ceramics Galleries (China)

keighery.com

 

 


 

 

 

SUMMER session 3

June 21 - JULY 3, 2015

 


Linda Christianson, Basket,wood-fired

stoneware, 11 x 7 x 6-3/4 inches

Linda Christianson
Pots & Woodfire

Our ideas for pottery come from what we pay attention to. This workshop in making and wood-firing pots will focus on our own personal curiosities and on becoming comfortable with ideas, shapes, and methods that have eluded or are new to us. We’ll explore the making of functional pots through demonstrations, lively discussions, and plenty of individual attention. We’ll work with high-fire stoneware and/or porcelain, flashing slips, and glazes, firing our work in the wood kiln. Students may bring high-temperature bisqueware to help fill the kiln. All levels. Code 03CA


Studio potter; teaching: Truro Center for the Arts (MA), Haystack (ME), Anderson Ranch (CO), Arrowmont (TN), Hartford School of Art (CT), Carleton College (MN); NEA and McKnight Foundation fellowships; recent exhibitions: Craft in America Center (Los Angeles), Cedar Creek Gallery (NC), Tolne (Denmark), AKAR Design Gallery (IA), Baltimore Clayworks, The Clay Studio (Philadelphia).

christiansonpottery.com

 

 

 

 


 

 

 

 


Jerilyn Virden, Square Nesting Bowls,handbuilt earthenware,

6 x 14 x 14 inches

Jerilyn Virden
Handbuilt Pots for Food

Working with earthenware clay, students will use handbuilding techniques to explore the vessel both as functional container and aesthetic object. Students will use pinching, coiling, carving, slab work, and simple bisque molds to create utilitarian pottery that showcases the food it contains. We’ll make serving pieces as well as dinnerware. Our emphasis will be on form with functional glaze surfaces. We’ll view the food presentation as the decoration. All levels. Code 03CB


Studio artist; teaching: Arrowmont (TN), Santa Fe Clay, Odyssey Center (NC), Riverarts (VT); North Carolina Arts Council fellowship; former Penland resident artist; exhibitions: Signature Gallery (GA), Society of Arts and Crafts Boston, SOFA New York, SOFA Chicago, 18 Hands (Houston), Architectural Digest Home Design Show (NYC)

borealisstudios.com

 

 


 

 

SUMMER session 4

july 5 - 17, 2015

 


Kip O’Krongly, Turbine Teapot, hearthenware, slip, underglaze,

terra sigillata, stencil, 7 x 13 x 5-1/4 inches

Kip O’Krongly
Investigating Earthenware: Form to Surface

What makes a unique functional pot? How can surface and form blend to strengthen ideas? We’ll investigate questions like these with a bit of wheel work alongside slab and coil techniques, as we develop pots using templates, molds, and extruded components. After constructing a foundation of handbuilt forms, we’ll introduce the digital plotter cutter, which effortlessly translates drawings into stencils. By layering stencils with colorful slips, underglazes, sgraffito, and latex resist, we’ll create engaging, depth-filled surfaces at low-fire temperatures. We’ll also cover self-burnishing terra sigillata, the magic of paper clay repairs, single firing, and lots of helpful studio tips. All levels. Code 04CB


Studio artist; teaching: 18 Hands (TX), Arrowmont (TN), Baltimore Clayworks, Northern Clay Center (Minneapolis); Northern Clay Center resident artist and materials technician; McKnight fellowship.

kipokrongly.com

 

 


 

 

SUMMER session 5

july 19 - August 4, 2015

 


Silvie Granatelli, Swan Platter,porcelain, 3 x 14 inches

Silvie Granatelli
Exploring Forms for Presentation

This workshop will focus on wheelthrown and handbuilt porcelain pottery for the dining table, food presentation, and the development of one or two specific forms such as pouring vessels and wide-open serving forms. Through demonstrations, lectures, and hands-on experimentation, students will experience a wide range of altering techniques. We’ll explore surface design on clay during the leather-hard and bone-dry stages. We’ll fire in gas kilns to cone 9/10. We’ll also cover various studio, marketing, and professional practices. We’ll visit local studios and try to understand what makes one’s pottery uniquely one’s own. All levels. Code 05CA


Studio potter; teaching: Virginia Tech, Berea College (KY), Red Lodge Clay Center (MT), Arrowmont (TN), La Meridiana (Italy), Anderson Ranch (CO); exhibitions: AKAR Design Gallery (IA), Ogden Museum (New Orleans), Northern Clay Center (Minneapolis), Ferrin Gallery (MA)

silviegranatelli.com

 

 


 


Arturo Córdova

 


Cristina Córdova, Autorretrato como hombre en la noche,

ceramic, resin, steel, 60 inches tall

 

Arturo G. Córdova & Cristina Córdova
Sculpture in Motion

In this workshop each student will create an articulated ceramic sculpture and use it to develop a stop-motion animation sequence. Techniques will include general anatomy and ceramic construction as well as ways to combine ceramic elements with simple posable armatures. We’ll cover basic lighting and stop-motion animation systems focusing on the fundamentals of movement as we create short videos using Dragonframe software. All levels. Code 05B

 

Arturo: artist and stop-motion animator; professional experience: 9ZEROS Animation School production company (Barcelona), 10.30 animation collective (Mexico), Charged Studios (NYC). Cristina: studio artist; teaching: Haystack (ME), Santa Fe Clay, Anderson Ranch (CO); collections: Renwick Gallery (DC), Fuller Craft Museum (MA), Museum of Contemporary Art of Puerto Rico, Museum of Art of Puerto Rico.


SUMMER session 6

August 9 - 21, 2015


Janne Hieck, Three Vases, stoneware,

Korean kaolin, ash glaze, salt fired, 12 x 4 inches each

 


Gregory Hamilton Miller, Jar for Memories, paddled

and salt-fired stoneware, 7-1/2 x 6 x 6 inches

 

Janne Hieck & Gregory Hamilton Miller
Salt- and Soda-Fired Ceramics

This workshop will offer an opportunity for a focused exploration of salt- and soda-firing techniques for wheelthrown and sculptural ceramics. Students will explore the practical relationships between clay bodies, forming techniques, slips, glazes, kiln design, and raw and bisque firing. We’ll develop trajectories and inspiration for further individual development. We’ll work with stoneware and/or porcelain. All levels. Code 06CA

 

Janne: German master potter. Gregory: apprenticed to Japanese national living treasure Shimaoka Tatsuzo. Together they established the Nordic Network Ceramic Studio Exchange Project, the Scandinavian Ceramic Conferences, and Tolne Gjaestgivergaard, an international center for ceramics in Denmark.



Hiroe Hanazono,Luncheon Set,,porcelain slip, plate:

1/2 x 8-1/2 x 8-1/2 inches

Hiroe Hanazono
By Design: Prototyping and Mold Making

Students in this workshop will develop methods of working with plaster to make models and molds. The emphasis will be on the development of original designs and forms rather than found objects. Students will begin by designing an object on paper and then learn to create a prototype using plaster, clay, and wooden materials. Each student will be guided through the process of making one-piece or multiple-piece molds. These will be used to make slip-cast objects. Demonstrations will cover diverse approaches to prototyping, mold making, and the slip-casting process. All levels. Code 06CB


Studio artist: teaching: The Clay Studio (Philadelphia), Greenwich House Pottery (NYC), Maryland Institute College of Art (Baltimore); residencies: The Clay Studio, Guildagergaard International Ceramic Research Center (Denmark), Archie Bray Foundation (MT); exhibitions: Society of Arts and Crafts Boston, Santa Fe Clay, J Fergeson Gallery (VA)

hiroehanazono.com

 

 


 

 

SUMMER session 7

August 23 - 29, 2015

 


Jeff Oestreich, Soy Bottle,thrown, cut, and joined, soda fired,

4 x 5 x 3 inches

Jeff Oestreich
Altering the Thrown Form

This century finds many potters stretching the boundaries of wheelthrown pots. In this workshop you’ll learn to take a wheel-formed piece and alter it through a variety of techniques, from faceting and darting to cutting and joining. We’ll have daily assignments on how to gather source material from within and from our immediate surroundings with the goal of incorporating these thoughts and images into our work. Paying attention to details will be our mantra. We’ll have discussions on topics related to pottery making as well as talks on how to sustain oneself over the long haul. Bisque firing only; we’ll work with wet clay until the close of the workshop. Basic wheelthrowing skills required. Code 07CA


Studio potter; trained at the Leach Pottery in England; teaching: Anderson Ranch (CO), Peters Valley (NJ), Archie Bray Foundation (MT); collections: Ichon World Ceramic Center (Korea), Cooper-Hewitt National Design Museum (NYC), Renwick Gallery (DC), Los Angeles County Museum.

oestreichpottery.com

 

 

 


 


Lana Wilson, Covered Jar,porcelain paper clay with colored slips,

8 x 8 x 5 inches

Lana Wilson
Handbuilding Plus Color

Make three layers of colored slip, add sgraffito, and then roll it out to spread the colors. Make these painterly slabs into bowls, cups, etc. Try a box with a workable drawer and a niche with stamped imagery. More demos: use a sink mat for a grid pattern and add stamped marks, making intricate stamps, multi-level tiles, handles and feet, sculptural teapots, and more. We’ll work with cone 6 functional paper clay and get in at least one glaze firing. The workshop will include a fat packet of handouts. All levels. Code 07CB


Studio artist; teaching: Arrowmont (TN), Peters Valley (NJ), Baltimore Clayworks, Odyssey Center (NC), Greenwich House Pottery (NYC), and in Canada, Israel, New Zealand, Australia, and South Africa; recent exhibitions: Schaller Gallery (MI), Mingei International Museum (San Diego), Crimson Laurel (NC), Charlie Cummings Gallery (FL).

lanawilson.com