Glass Workshops at Penland
Penland offers 1-, 2-, and 8-week classes taught by visiting instructors in our well-equipped studios. Class topics include glass blowing, flameworking, glass sculpture, cold working, casting, fusing, and more. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
Enrollment for spring and summer 2017 workshops is currently open.
March 12 - May 5, 2017
Dean Allison, Water Bug, glass, paint, 36 x 14 x 10 inches
Glass: The Fantastic & Feared!
This workshop will accelerate your ability to work with glass. While primarily a casting workshop, we値l cover many approaches to using glass, including introductions to blowing and blow-molds. We値l duplicate positive forms, make molds, use kiln and cold-working processes, and experiment to achieve desired results. The first four weeks will introduce specific glass techniques and methods. In the second four weeks, you値l use these methods to expand your artistic language. Prepare to aim high, absorb, experiment, work through failure, work in teams, and share space. All levels. Code S00GA
Penland resident artist; teaching: The Glass Furnace (Turkey), Pittsburgh Glass Center, Arrowmont (TN), Bullseye Glass Center (OR); exhibitions: National Portrait Gallery (DC), SOFA Chicago, Scope Miami, Spartanburg Art Museum (SC), Muskegon Art Museum (MI).
Spring One-Week Session 2
April 9 - 15, 2017
Chuck Savoie, Zanfirico and Reticello Goblets, blown glass,
14 x 7 x 7 inches
This will be a hands-on workshop on making and using colored glasses and various way to opacify glass. The focus will be on practical glass melting and the chemistry behind it. Students will gain an overall understanding of how to make a spectrum of colored glasses and formulas that produce different effects. We値l cover the use of a color furnace, color charts and glasses appropriate for incalmo, multiple overlays, cane, and other glassblowing techniques. Some glass melting experience and a basic knowledge of the constituents of glass will be helpful, but this workshop is open to all levels. Code S02GB
Studio artist; teaching: University of Sydney (Australia), visiting lecturer at Bay Area Glass Institute (CA) and Cleveland Art Institute; Best in Show at Smithsonian Craft Show (DC), Judge痴 Choice Award at Philadelphia Museum Craft Show; exhibitions: SOFA Chicago and New York, Art Palm Beach (FL), Montreal Museum of Fine Art; collections: Renwick Gallery (DC), Museum of Arts and Design (NYC); representation: Okay Spark Gallery (VA).
Spring One-Week Session 3
April 23 - 29, 2017
Mark Peiser, Passage 1, hot-cast, phase-separated glass,
23-1/4 x 25 x 8-1/2 inches
Mark Peiser & Susie J. Silbert
The Glass Sommelier
Not all glasses are alike. Different kinds of glass encourage different processes and aesthetics. Some allow for complex detail work, while others are more suitable for large-scale castings. Structured like a cooking class and including lectures and discussions on the history of glass, this workshop will expose students to a breadth of glasses and give them information that will help them design glasses to their own tastes and needs. We値l mix ingredients, melt glasses, and sample the results. An interest in and enthusiasm for glass is required. All levels. Code S03GB
Mark: studio artist; Glass Arts Society Lifetime Achievement Award, North Carolina Award, Art Alliance for Contemporary Glass Lifetime Achievement Award; collections: Museum of Arts and Design (NYC), Tokyo Museum of Modern Art. Susie: curator of modern and contemporary glass at Corning Museum of Glass (NY); teaching: Rhode Island School of Design; exhibitions: UrbanGlass (NYC), Parsons (NY).
SUMMER session 1
May 28 - June 9, 2017
Ross Richmond, Outside Looking In, glass, 18 x 8 x 6 inches
Hot Glass Sculpting
The plasticity and behavior of glass lend themselves to sculpting, and this workshop will provide the freedom to explore the potential of this material. It will differ from a traditional glass sculpting class as we値l use various torches to create more detailed work. We値l discuss the advantages and disadvantages of using a solid or blown form and explore different methods of color application. Drawings will be an important step in visualizing final pieces; sketchbooks will be mandatory. Class discussions and demonstrations will help students get the most out of the material. Intermediate/advanced; two years hot glass experience required. Code 01GA
Studio artist; teaching: The Studio at Corning (NY), Pilchuck (WA), Pittsburgh Glass Center; has worked for William Morris, Jane Rosen, Dale Chihuly, and Preston Singletary; exhibitions: SOFA Chicago, Duane Reed Gallery (St. Louis), Thomas Riley Gallery (Cleveland), Habatat Galleries (FL, MI).
SUMMER session 2
June 11 - 23, 2017
Joe BenVenuto, Black Sand Bottle, blown glass, 6 x 7-1/2 inches
David Walters, Radio Activi-tea, blown glass, enamel,
14 x 12 x 6-1/4 inches
Joe BenVenuto & David Walters
The B to Y of A to Z
One of the hardest parts of being an artist is reconciling the ambition of our imagination with the limits of our skill. However, artistic voice lies in our response to the dynamic between desire for control and the ability to turn limitations into creative opportunities. This rich terrain between A and Z is where we grow as artists. This workshop will begin with challenging assignments to assess your skills and identify areas for improvement. Daily demonstrations will concentrate on glassblowing and coldworking with an emphasis on form and design. Hand skills and the team approach will be central features. All levels. Code 02GA
Joe: studio artist, owner of a coldworking and sculpture assembly studio, shop manager and assistant to Preston Singletary. David: studio artist; teaching: Pilchuck (WA), Toyama (Japan); galleries: Traver Gallery (WA), Shantz Galleries (MA).
Lisa Beth Robinson and Kristin Thielking, Bones, glass,
9 x 12 x 1-1/2 inches
Lisa Beth Robinson & Kristin Thielking
Relief Kiln-Casting from Print Blocks
This class will focus on the intersection of text, image, and form by combining techniques from printmaking and low-relief pate de verre glass casting. After learning to carve and print from linoleum, we値l make molds from our print blocks and use these molds to create pate de verre castings. We値l explore how to strategically layer color, frits, powder, text, and imagery within the textured reliefs. We値l also cover screen-printing enamels and firing techniques for open-face molds. Students will produce a series of interdisciplinary works. All levels. Code 02GB
Lisa Beth: assistant professor at East Carolina University (NC); collections: San Francisco Museum of Modern Art, Yale University (CT). Kristin: professor at University of Wisconsin亡tevens Point; exhibitions: Bergstrom-Mahler Museum of Glass (WI), Gail Art Museum (Korea).
SUMMER session 3
June 25 - JULY 7, 2017
Nate Cotterman, Balloon Series, blown glass, tallest: 16 inches
Adam Holtzinger, KEEP Cane Globe, blown glass, brass
hardware, 12 inches diameter
Nate Cotterman & Adam Holtzinger
Back to the Drawing Board
Whether you want to be a studio artist, a production glass maker, or the fabricator of your own designs, the skill of bringing two-dimensional concepts into the third dimension will be integral to your success. This class will cover design basics and the tools needed to illustrate your ideas. We値l use hand drawing, schematics, scale drawings in Illustrator, and 3d modeling in Cinema 4d to previsualize and problem-solve before making. Using our drawings, calipers, and classic glassblowing techniques, we値l execute our ideas as close to scale as possible, look at them critically, and adjust designs as needed. All levels. Code 03GA
Nate: studio artist, designer; teaching/demos: Pittsburgh Glass Center, Pilchuck (WA), Cleveland Institute of Art. Adam: studio artist, partner in KEEP Lighting (NYC); teaching/demos: Pilchuck (WA), UrbanGlass (NYC), Corning Museum (NY).
Carmichael Jones, Untitled (U) from pedagogies of cultivation,
glass, steel, 23 x 18 x 9 inches
This workshop is for artists who want to execute their conceptual or design ideas in the flameworking studio. We値l cover sturdy, stable construction of both hollow and solid forms and combine multiples to work at a larger scale. Students will explore sculptural and functional forms and how context and treatment can change an object痴 identity. We値l cover custom jigs, geometric shapes, wearables, coldworking, and surface treatments including mirroring. Through demonstrations, creative and technical exercises, and individual work time, students will move from conceptual to actual. Bring a sketchbook. All levels. Code 03GB
Studio artist, fabricator; teaching: Tyler School of Art (Philadelphia), University of the Arts (Philadelphia); Creative Glass Center of America fellow (NJ); exhibitions: Vox Populi (Philadelphia), Icebox Project Space (Philadelphia); representation: Hive Contemporary (PA).
SUMMER session 4
july 9 - 21, 2017
George Kennard and Sally Prasch, Golden Egg, flameworked and
furnace glass, 18 inches high
George Kennard & Sally Prasch
From Flame to Furnace
This team-taught workshop will blend the arts of furnace and flameworked glass as we use the torch to form shapes and objects that will be incorporated into hot-worked glass. We値l cover fundamental flameworking and glassblowing techniques, pulling and using cane and murrine, drawing with cane, and placing flameworked shapes onto hot glass. This workshop is a special opportunity to make work using the resources of two fully-equipped studios. All levels; some knowledge of glass working will be helpful. Code 04GA
George: gaffer and narrator at Corning Museum of Glass (NY); teaching: The Studio at Corning (NY). Sally: studio artist, scientific glassblower; teaching: Pilchuck (WA), Niijima Glass Center (Japan), UrbanGlass (NYC); exhibitions: More Fire (NY), Mint Museum (NC), Brattleboro Museum (MA).
SUMMER session 5
july 23 - August 8, 2017
Devin Burgess, Alchemist Study, blown glass, tallest: 34 inches
Rough Out & Refine
In this workshop we値l explore forms and ideas in the hot shop and then hone the details in the cold shop. Through this process we値l learn to let go of the instant gratification of completing a form on the blowpipe. Instead, our hot-shaped pieces will be the beginning of new possibilities revealed through the coldworking process. This workshop will cover glassblowing skills and help students understand cold shop tools and execution including the use of stone- and diamond-wheel engraving. Intermediate; two years of experience and basic hot shop skills required. Coldworking skills are not required. Code 05GA
Studio artist producing designs for architectural firms and designers worldwide; Excellence in Glass Design award at the Smithsonian Craft Show; exhibitions: SOFA Chicago, Philadelphia Museum of Art Craft Show, Architectural Digest Home Design Show (NYC).
Erika Tada, Rabbit with Cups, kiln-cast glass, 5 x 26 x 5 inches
Imagining the Inside
Hollow-core kiln-casting is a mold-making technique that expands your ability to create complex cast objects that are sculpted on both the exterior and interior surfaces. In this class, we値l emphasize learning the structures of core forms and making multi-part molds. This technique offers a special opportunity to visually and conceptually layer the inner and outer space of glass. We値l use inherent qualities of the material耀uch as magnification and depth葉o create unique objects. All levels; advanced students are welcome. Code 05GB
Instructor at Tokyo University of the Arts; other teaching: Rochester Institute of Technology (NY), The Studio at Corning (NY); residencies: Pilchuck (WA), Tacoma Museum of Glass (WA); best debut artist at SOFA Chicago from Vetro magazine.
SUMMER session 6
August 13 - 25, 2017
Jeff Ballard, Ripple Effect, blown glass, 3-1/2 x 20 inches
Commanding the Bench
The responsibility of the gaffer can be overwhelming, so this is a workshop that will help students get comfortable leading a team and deciding how to execute specific projects and ideas. We値l cover technique while emphasizing efficiency, preparation, and communication. Demonstrations and discussions of techniques擁ncluding cane work, encalmo, color fades, stuffing cups, garage, bit work, and advanced punties謡ill give students a wealth of knowledge to take with them. The why behind the how will help you understand the material. This fast-paced class will take your hot shop game to the next level. Intermediate/advanced; solid hot shop skills required. Code 06GA
Studio artist and gaffer; teaching: Royal Danish Academy of Fine Arts, The Studio at Corning (NY), Glass Furnace (Istanbul); residencies: Northlands (U.K.), Pilchuck (WA); collections: Museum of Glass (WA), Pilchuck (WA).
Joseph Cavalieri, Power of Pop, painted and screen-printed
kiln-fired enamel on stained glass, 27-5/8 x 23 x 2 inches
Kiln firing enamels onto glass dates back to medieval times. This workshop will cover modern techniques for creating imagery on glass, including hand painting, air brushing, pen and ink, and screen-printing, along with stained glass skills such as cutting, copper foiling, and soldering. Screen-print images will be provided for the class, plus students will be taught to make one screen of their own to use. Students can work from their own designs or trace existing images; painting expertise is not required. We値l start with sketches and end up with finished glass panels. We値l also cover 3D work for creating functional pieces such as boxes and lampshades. The workshop will include samples of how to frame and light your work and lectures on related topics such as artist residencies and marketing for artists. All levels. Code 06GB
Studio artist; teaching: Arrowmont (TN), UrbanGlass (NYC), Bild-Werk Frauenau (Germany); 12 solo exhibitions; Metropolitan Transit Authority Arts in Transit station installation (NY).
SUMMER session 7
August 27 - September 2, 2017
Michael C. Krupiarz, Thumbprint Cups, blown glass,
3-3/4 x 3-1/2 x 3-1/2 inches
Michael C. Krupiarz
This workshop is designed to equip students with the fundamentals needed to create blown glass forms. Instruction time will be divided between daily demonstrations and plenty of individual attention. We値l emphasize technique, good habits, problem-solving methods, and the importance of teamwork. We値l cover shop and tool functions, gathering glass, bubble setup, shaping, and color application. Bring your sketchbook, a positive attitude, and an open mind. Beginning level. Code 07GA
Studio artist, instructor at the North Carolina Glass Center; exhibitions and galleries: Asheville Area Arts Council (NC), Center for Craft, Creativity & Design (NC), GreenHill Center (NC), Asheville Art Museum (NC), North Carolina Glass Center; former Penland core fellow.
Kit Paulson, Bonnet (Eulogy for Ornament), borosilicate glass,
15 x 12 inches
Exquisite Structure: Building Complexity
While covering basic flameworking techniques, this workshop will meander through a compendium of strategies for building detailed structures in borosilicate glass. We値l emphasize small, simple motifs as units of larger, complex constructions. Students will build skills through exercises, technique samples, and demonstrations. We値l cover the construction of a piece from idea to sketch to full-scale drawing to armature to building a scaffold and bridging to finishing. All levels. Code 07GB
Studio artist; teaching: Southern Illinois University, Making Glass (IL), Chaos Glass (IL), Chicago Hot Glass; residencies: Tacoma Museum of Glass (WA), Rosen Residency at Salem State University (MA); exhibitions: Ken Saunders Gallery (Chicago), UrbanGlass (NYC); collections: Tacoma Museum of Glass; work published in New Glass Review.
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