Drawing and Painting Workshops at Penland

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




SUMMER session 1

May 25 - JUNE 6, 2014


Michael Dixon, Settling Down is Hard to Do When You

Are Fading into Nothing, oil on canvas, 20 x 20 inches


Michael Dixon
Process, Paint, & Performance

The self-portrait has a long and rich history. In this session, we’ll create a series of self-portraits using contemporary methods in oil paint. We’ll cover the process of drawing the figure, oil painting techniques, color theory, mixing color, and composition. Our focus will be drawing and painting from observation. We’ll also create performances in the class as a method for generating images of ourselves and use these images to consider conceptual ideas and storytelling. All levels. Code 01D

Assistant professor at Albion College (MI); Puffin Foundation grant (NJ); residencies: Virginia Center for the Creative Arts, Holter Museum of Art (MT), Vermont Studio Center, Ragdale Foundation (IL); exhibitions: Durham Arts Guild (NC), Holter Museum of Art (MT), Tucson Museum of Art (AZ), Miami-Dade College (FL), The Art Foundry Gallery (CA), The Marwen (Chicago). Michael explores the personal, societal, and aesthetic struggles of belonging to both “white” and “black” racial and cultural identities while simultaneously belonging fully to neither. The work of artists such as Robert Colescott, Beverly McIver, Michael Ray Charles, Glenn Ligon, and Kerry James Marshall have informed his work. His recent portraits explore the bi-racial identity of Afro-turks in Southwest Turkey.

SUMMER session 2

JUNE 8 - 20, 2014

Marge Luttrell, The Fate of Ariadne, encaustic,

collage, string, pins, 20 x 20 inches

Marge Luttrell
Encaustic, Collage, & Monoprinting

Encaustic is the medium of the moment, but not everyone uses it to its full potential. We’ll experiment with this versatile wax medium to explore its myriad possibilities. This workshop will get you up to speed and then take your encaustic to the next level. We’ll cover basic application, tools, preparation, and safety, along with making your own paints. Collage techniques, transfers, layering, and other applications will jump-start your artistic journey. The workshop will include monoprinting on the hot box and instructions for building your own hot box. The goal is to enable students to embrace encaustic with a personal approach. All levels. Code 02D

Studio artist; fellowships: Fulbright, National Endowment for the Arts, National Endowment for the Humanities; exhibitions: Pennsylvania Festival of the Arts, American Council for Fine Crafts Show (NYC), Jersey Shore Fine Arts Festival (NJ), American Craft Council Show (Atlanta), Charleston Fine Arts Festival (SC).





SUMMER session 3

JUNE 22 - July 42014

Mary Ann Zotto, Rub-a-dub-dub, acrylic,

25 x 30 inches

Mary Ann Zotto
Narrative Life on the Page

In this workshop we’ll pursue revelatory images. This pursuit will be enhanced by wordplay, mythology, associative fantasy, exquisite corpse games, and collaboration. The aim is to remove pressured expectations while seeking an expanded narrative aesthetic. The impact of your images—whether representational or non-representational—will be improved by embracing your present mark-making style and imagination rather than trying to anticipate how you might draw or feel in the future. We’ll combine intense studio work with humor and a relaxed approach to finding a deeper involvement with the page. We’ll embrace brush work, dry mark-making, and mixed media. All levels. Code 03D

Studio artist and teacher at the University of North Carolina School of the Arts; other teaching: Weatherspoon Art Museum (NC), Tougaloo Art Colony (MI), Wake Forest University (NC); collections: United States Department of State Art Bank Project (DC), State of North Carolina, High Museum (Atlanta), Mint Museum (NC).







SUMMER session 4

July 6 - 18, 2014


Clarence Morgan, Rhythm Trance, acrylic, gesso,

collage, colored pencil, canvas over panel, 40 x 40 inches


Clarence Morgan
Painting in the Abstract

Students in this workshop will develop a personal visual language of form, color, and line to create paintings that have the potential to convey expressive content with a degree of independence from visual references or familiar realms. Our work will celebrate painting as a two-dimensional artistic medium that activates the imagination. We’ll explore minimalism, reductive painting methods, pattern, and repetitive systems. Students may work with water-based media such as acrylics, water-based oil paints, and gouache, as well as drawing media, templates, stencils, and collage. Intermediate/advanced: students should be familiar with the fundamentals of painting and be predisposed to working abstractly. Code 04D

Professor and head of drawing and painting at University of Minnesota; Pennsylvania Academy of the Fine Arts Distinguished Alumni Award; fellowships: McKnight Foundation (MN), Bush Foundation (MN), North Carolina Arts Council; work shown in more than 200 exhibitions nationally and internationally; recent exhibitions: Contemporary Art Editions Fair (London), Fairbanks Gallery at Oregon State University, Minneapolis Institute of Art, David Richard Contemporary (Santa Fe), Korea Cultural Service Center (Beijing); collections: Cleveland Museum of Art, Walker Art Center (Minneapolis), Minneapolis Institute of Art, Weisman Art Museum (Minneapolis).






SUMMER session 5

July 20 - August 5, 2014


Evie Woltil Richner, Untitled (Chicken),

ink, watercolor on digital print, 7 x 5 inches


Evie Woltil Richner
Experiments in Drawing & Printmaking

We’ll use the unique setting and experience of Penland as a starting point to explore making images through a variety of drawing and printmaking processes. We’ll begin with a focus on capturing a sense of place through drawing and observing the world of Penland. Then we’ll bring these collected drawings and experiences into the print studio to prompt our experiments in monoprinting, soft and hard ground etching, and combinations thereof. This workshop will collaborate extensively with Robert Mueller’s workshop in the print studio. All levels. Code 05D

Studio artist; teaching: University of Florida; exhibitions: Holland Project Gallery (NV), First Street Gallery (NYC), Manifest Gallery (Cincinnati), WARPhaus Gallery (FL), Focus Gallery (FL), 4Most Gallery (FL), Rosalux Gallery (Minneapolis), Pacific Art League (CA), Anderson Art Center (WI).







SUMMER session 6

August 10 - 22, 2014


Lara Nguyen, Related, charcoal on paper,

22 x 30 inches

Lara Nguyen
Charcoal: Burnt Sticks & Beyond

This workshop will emphasize the range of applications possible with charcoal in additive and subtractive drawing methods. From fluid gestural strokes to layers of smudges combined with fine hatch marks, students will gain experience with various forms of charcoal, learning when and how to combine powder, vine, willow, compressed, and pencil charcoal to achieve desired effects on a variety of paper surfaces. We’ll also address the use of erasers as drawing tools. We’ll work primarily from observation: constructed still lifes, the landscape, and models. Students may also pull imagery from other sources into their self-directed work. Demon-strations, critiques, and presentations of historic and contemporary art will accompany intensive studio practice. All levels. Code 06D

Professor at Warren Wilson College (NC), owner of Stone Cloud Studio (NC); other teaching: Indiana University, California State University-Long Beach; collections: Asian-American Arts Centre (NYC), Columbus College of Art & Design (OH), St. John’s Mercy Hospital (MO), Clare Care Clinic (IL); representation: Gallery Asheville (NC), Cinema Gallery (IL).

SUMMER session 7

August 24 - 30, 2014

The studio will be used for Nancy Blum’s class, Developing a Public Art Practice.




FaLL Concentration

SEPTEMBER 21 - NOvember 14, 2014


Jane Wells Harrison, Assume,

encaustic, collage, oil on wood,

10 x 10 inches

Jane Wells Harrison
Mixed Media with Encaustic

This workshop will cover all aspects of working with encaustic paint, with a special emphasis on combining encaustic with mixed media. Working in series, students will find several solutions to each assigned project. We’ll work on wood, paper, and other surfaces, and we may use watercolor, gouache, and oil paint with encaustic, as well as graphite, charcoal, and found objects. Although this class is centered on the combination of encaustic and mixed media, encaustic is not a requirement for all projects. All levels. Code F00D

Studio artist; teaching: Pocosin Arts (NC), Rocky Mount Arts Center (NC), Turchin Center (NC), East Carolina University (NC); exhibitions: Quirk Gallery (VA), Turchin Center (NC), Velvet da Vinci (San Francisco), Studio Fusion (London); work published in Metalsmith: Exhibition in Print and Enameling Techniques by Linda Darty.



Studio assistant position is available for this workshop


Spring Session 1

march 22 - 28, 2015


Katherine Amman Vellard, Dream,

oil pastels, graphite, 30 x 22 inches

Katherine Amman Vellard
Nature Series

We’ll work within a limited context, using restrictions not as an inhibiting factor but as a challenging format for discovery and expression. Each student will select an object from nature that reveals greater visual riches the more closely you examine (draw/dissect) it. That object will become the source for a series of drawings, beginning with several carefully observed life-sized graphite works and evolving into large-scale charcoal abstractions. It’s amazing to see what a rich portfolio can result from working with such a small, underwhelming source. The possibilities are endless! All levels. Code S01D

Professor at Louisiana Tech University; Louisiana Division of the Arts fellowship; exhibitions: St. John the Divine (NYC), Centre d’Arts Plastiques Albert Chanot (France), Barnwell Art Center (LA), Marin Museum of Contemporary Art (CA).








Spring Session 2

april 5 - 11, 2015


Tremain Smith, Sublime Creature,

oil and wax on panel, 48 x 32 inches

Tremain Smith
Encaustic Painting: Layers of Meaning

This workshop will cover the basics of encaustic painting: making encaustic medium and encaustic paint, fusing, substrates, equipment, materials, and safety. Once we cover these foundations, we’ll explore transparency and opacity, creating texture, building and removing layers, collage, branding, incising, glazing ,dry brushing, and surface manipulation. I will demonstrate my particular technique of using a template as a reference point for drawing, layering transparent wax, and adding color with oil glaze and collage. Students will use the techniques covered in the workshop to serve their own creative ends. All levels. Code S02D

Studio artist; teaching: Truro Center for the Arts (MA), K&F Handmade Paints (NY), Penland; exhibitions: Rosenfeld Gallery (Philadelphia), Paia Contemporary (HI), Darnell Fine Art (Santa Fe); collections: Metropolitan Museum (NYC), Pew Charitable Trusts (Philadelphia), Lancaster Museum (PA).







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.