Glass Workshops at Penland

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




SUMMER session 1

May 24 - JUNE 5, 2015


Granite Calimpong, Grey Cups, blown glass, height varies


Boyd Sugiki, Silver Leaf Cups, 5-1/2 - 9-1/2 inches tall,


Granite Calimpong & Boyd Sugiki
Deconstructing the Goblet

By deconstructing the goblet into manageable sections, students will work toward becoming comfortable with each portion of the form before moving on to the whole. We’ll begin with the bowl or cup and build from there, introducing feet, transitional bits, stems, and using the garage for assembly. A systematic approach to refining the parts will aid in making the process more accessible. We will address teamwork, timing, movement through the shop, and heat management as they apply to goblet making. Intermediate/advanced: two years hot glass experience required. Code 01GA


Granite: studio artist; teaching: Schack Art Center (WA), Pittsburgh Glass Center; recent exhibitions: Pittsburgh Glass Center, Traver Gallery (Seattle). Boyd: studio artist; teaching: Haystack (ME), Pilchuck (WA), Pittsburgh Glass Center, The Studio at Corning (NY); collections: Museum of Glass (WA), Museum of Northwest Art (WA).

Amber Cowan, Peach Blow Away,

flameworked glass, mixed media, 7 x 8 x 6 inches



Amber Cowan
Flameworking & the Contemporary Context

This workshop will cover basic to advanced flameworking techniques using borosilicate, soft, and recycled glass. Class projects and group critiques will motivate students to step outside the box and create projects that break the traditional mold of flameworked glass. Mixed-media and alternative materials will be used according to each student’s aesthetic desires. Demonstrations and discussions will cover the process of flameworking, the history of the material, and the potential of glass in the context of the larger art world. All levels. Code 01GB



Studio artist and instructor at Tyler School of Art; other teaching: The Studio at Corning (NY), Pilchuck (WA), Salem Community College (NJ); Rakow Commission from the Corning Museum of Glass; recent solo exhibition: Museum of Craft and Design (San Francisco), representation: Heller Gallery (NYC).


SUMMER session 2

JUNE 7 - 19, 2015

Nadège Desgenétez, Il M’aime (Love Me),

blown glass, stainless steel,

51 x 51 x 3-1/3 inches


Nadège Desgenétez
Color x Form

This workshop will focus on the dialogue between form and color. Students will develop their skills and individual aesthetic languages as they consider the potential for color to enhance form, complement function, or convey meaning. Demonstrations will cover multiple overlays, incalmo, cane work, stuffed cups, and more. Lectures will introduce broad information about color and group discussions will foster idea development. Students will model in clear glass, develop color work skills, target muscle memory, adapt their projects to their individual skill level, and have lots of fun. Intermediate: solid hot shop skills required. Code 02GA

Lecturer at Australian National University; other teaching: Pilchuck (WA), Pittsburgh Glass Center, Pratt Fine Arts Center (Seattle); residencies: Museum of Glass (WA), Northlands Creative Glass (Scotland), Canberra Glassworks (Australia); solo exhibitions: William Traver Gallery (Seattle), Canberra Glassworks.




Richard Whiteley, Emit, cast glass, 14 x 14 x 5 inches


Richard Whiteley
Casting & Shaping Light

This workshop will focus on the kiln casting and cold shaping processes I use in my own studio. Detailed demonstrations will include mold making and casting as well as carving and shaping glass. We’ll also focus on developing each student’s working methodology by looking at creative strategies to develop an artistic practice. We’ll explore some of the same approaches we use at the Australian National University School of Art to bring out each student’s voice. Intermediate: this class is best suited to students who have some mold making experience. Code 02GB

Associate professor and head of glass at Australian National University; other teaching: Pilchuck (WA), Bullseye Glass (NM), The Studio at Corning (NY); solo exhibitions: Marx-Saunders Gallery (Chicago), Sabbia Gallery (Sydney), Bullseye Gallery (Portland, OR), Heller Gallery (NYC); collections: National Museum of Scotland, National Gallery of Australia, Corning Museum of Glass (NY)

All workshops in Session 2 will be taught by artists

from Australian National University.




SUMMER session 3

JUNE 21 - July 3 2015




Ché Rhodes, Untitled, glass, 29 x 4-1/2 x 10 inches

Ché Rhodes
Subtleties & Nuances

This workshop will pursue the development of an exceedingly thorough comprehension of the subtleties and nuances of working with hot glass. Students will expand their technical abilities and understanding of glass by combining an intensive, hands-on approach with sustained, continuous discussion and analysis of the materials and fundamentals of glassmaking. We will exploit the exclusive opportunity that a two-week intensive workshop environment provides to practice with the material, analyze the process, and share feedback and experience as a group. Students are advised that having fun will be a requirement for this workshop.All levels. Code 03GA


Associate professor and head of glass at the University of Louisville’s Hite Art Institute; recent exhibitions include “Clearing” (with Stephen Cartwright) at the Cressman Center for Visual Art (Louisville) and “South by Southeast: Masters of Studio Glass” at the Huntsville Museum (AL).




Sarah Blood, Luna Fossil IV, flameworked glass, argon,

cement, sand, pigment, 24-3/4 x 24-3/4 x 4-3/4 inches

Sarah Blood
Where the Magic Happens: Light & Mixed Media

Using traditional and nontraditional neon-making techniques as a starting point, this workshop will look at the aesthetic and conceptual possibilities of combining light and mixed media. Students will develop experimental artworks with an emphasis on the tension between contrasting materials such as clay, paper, and found objects. The workshop will include presentations, discussions, technical demonstrations, and critiques, as well as a focused, experiment-based studio experience. All levels. Code 03GB


Assistant professor of glass and light at Alfred University (NY); residencies: Vicarte (Portugal), Cowgate (UK); recent exhibitions: Ball State University (IN), Glazen Huis (Belgium), Lumiere (UK), Museu do Vidro (Portugal); collections: Institute of Neuroscience (UK), Quennington Sculpture Trust (UK), Stag & Hare (UK).




SUMMER session 4

July 5 - 17, 2015



Jason Minami, Night And Day,

glass, bronze, steel, 24 x 28 x 12 inches


Jason Minami
Building Your Core

Your body’s core is essential to balance and stability. In glassblowing it may be hard to keep your balance in the fluctuating environment of the glass studio without a strong core of fundamental skills. In this workshop you’ll build your glassblowing core, creating a strong foundation for your future glass explorations. You’ll learn and practice the fundamentals with a core understanding of how glass works with heat and the forces of nature. You’ll acquire skills to efficiently blow primary shapes and forms, learning to problem-solve and adapt your process along the way.Beginning level. Code 04GA


Studio artist, instructor and studio manager at Glassroots (NJ), instructor at Hudson County College (NJ); exhibitions: Robert Lehman Gallery (NYC), City Without Walls (NJ), Kean University (NJ), J. Cacciola Gallery (NYC), The Arts at Marks Garage (Honolulu), University of Hawaii.



Matt Eskuche, Brittany Before Noon,

flameworked glass, oil paint, 17 x 74 x 10 inches


Matt Eskuche
Turning Wonder Bread into Brioche

In the first week of this workshop we’ll cover several methods of preparing tubing and blow basic forms at the torch. Then we’ll move on to more complex forms and combinations of blowing techniques as we practice and experiment. In the second week we’ll draw on ideas and concepts unique to each student and work through the technical approaches needed to bring these ideas to fruition as a small series of related objects. Also, we’ll make French toast. Some flameworking experience will be helpful, but this class is open to all levels. Code 04GB


Studio artist; teaching: UrbanGlass (NYC), The Studio at Corning (NY), Pittsburgh Glass Center, Glass Mouse (Tokyo); solo exhibitions: Racine Art Museum (WI), Society for Contemporary Craft (Pittsburgh), Sandra Ainsley Gallery (Toronto); collections: Kobe Lampwork Glass Museum (Japan), Philadelphia Museum of Art, Museum of Arts and Design (NYC).






SUMMER session 5

July 19 - August 4, 2015




Ben Cobb, Clove and Stomach,

blown glass, tallest: 31 inches tall


Pablo Soto, Carved Color Drop, 15 x 9 x 9 inches


Ben Cobb & Pablo Soto
A Cumulative Effect

The focus of this workshop will be problem-solving. Drawing and discussions of process will be our springboards. We’ll focus on fundamental shapes as building blocks to make anything you desire. We’ll cover many techniques including color application—from basic methods to the more decorative, such as cane and incalmo. Each student should come with an idea or a direction to pursue. We’ll emphasize teamwork and communication in the hot shop. Bring your sketchbook and your imagination. Intermediate: students should know how to gather, make basic shapes, and have an understanding of color application. Code 05GA

Ben: head glassblower at the Museum of Glass (WA) where he has worked with more than 300 artists. Pablo: owner of De Soto Glass Design; clients: Calvin Klein Home, Art Institute of Chicago museum shop; teaching: Haystack (ME), Pittsburgh Glass Center; NC Arts Council fellowship.



Susan Taylor Glasgow, Bluebird On A Pedestal,

fused, slumped, flameworked glass, mixed media,

found objects, 8 x 8 x 8 inches


Susan Taylor Glasgow
Glass +

This workshop in glass and mixed media will focus on the serendipity of combined materials and embrace the discoveries of glass plus _____ (fill in the blank). We’ll work on three projects, each addressing different design and engineering considerations: an altered book with imagery and text on glass, a wall-hung project involving an open glass casting, and an enclosed glass vessel that includes imagery, text, and found objects. We’ll cover a variety of joining methods along with strategies for incorporating image, text, concept, and narrative. We’ll think about what strengthens the visual impact and message of an artist’s work while embracing happy explorations in creativity. All levels. Code 05GB



Studio artist; teaching: Arrowmont (TN), Pittsburgh Glass Center; Pilchuck Emerging Artist-in-Residence, Wheaton Arts fellowship, Pittsburgh Glass Center residency; representation: Heller Gallery (NYC), Habatat Galleries (MI), Tansey Contemporary Gallery (NM).






SUMMER session 6

August 9 - 21, 2015

Matt Urban, Purple Handles,

blown glass, tallest: 24 inches tall


Matthew Urban
The Mechanics of Making

This workshop will focus on traditional vessel making and concentrate on the mechanics of using your body and moving the glass. We’ll emphasize efficiency of production and economy of motion with the goal of performing multiple operations with each reheat. Demonstrations will be geared toward students’ interests. We’ll cover multiple methods of vessel assembly, feet, necks, handles, surface decoration, cane work, and murrini. This is a hot-working class, and if all goes well we won’t set foot in the cold shop. Bring images of work you like and your sketchbook. Some hot shop experience will be helpful, but this class is open to all levels. Code 06GA



Studio artist and gaffer for the Corning Museum of Glass; teaching: Pratt Fine Art Center (Seattle), Corning Museum of Glass (NY); collections: Museum of Art and Design (NYC).



Jiyong Lee, Cell Cube With Purple Manipulation,,

glass, 9 x 8-5/8 x 8-1/4 inches


Kirstie Rea, Identity: The Swim, kilnformed glass, shelf,

25-1/2 x 13-1/2 x 9-7/8 inches,

Jiyong Lee & Kirstie Rea
Between the Kiln and the Cold Shop

Rather than focus on one specific technique, process, or material, we’ll work through a series of kiln forming (mostly fusing and slumping) projects and cold-worked projects that each start with an idea. We’ll investigate ways of developing these ideas, explore processes and technical options along the way, and then survey the results. Demonstrations and discussions will be part of each day. The aim is for you to leave with more in-depth experience and with a wider range of ways to approach and realize your intentions in glass. All levels. Code 06GB

Jiyong: associate professor at Southern Illinois University-Carbondale; other teaching: Pilchuck (WA), The Studio at Corning (NY), Canberra Glassworks (Australia). Kirstie: studio artist; teaching: Pilchuck (WA), The Studio at Corning (NY), Pittsburgh Glass Center, North Lands Creative Glass (Scotland).




SUMMER session 7

August 23 - 29, 2015

Karen Willenbrink-Johnsen and Jasen Johnsen,

Hooded Gyrfalcon,blown glass, steel, 22 x 8 x 8 inches


Jasen Johnsen & Karen Willenbrink-Johnsen
Sculpting with Hot Glass

This workshop will be crammed full of information drawn from our lengthy experience in sculpting glass. We’ll present experimental ways of working glass so that our ideas can materialize. Demonstrations will include a variety of frit and powder techniques, torch work, and the use of customized tools. We’ll cover blown and solid forms with an emphasis on team work, and we’ll use the garage to construct with parts. Students will have time to work out their ideas daily. Plan to work hard and have a blast. Intermediate: two years experience sculpting glass required. Code 07GA


Collaborating studio artists; teaching: Pratt Fine Arts Center (Seattle), Pilchuck (WA), Eugene Glass School (OR), Red Deer College (Canada); exhibitions: SOFA Chicago, SOFA West, Habatat Galleries (MI), Museum of Northwest Art (WA), Tacoma Museum of Glass (WA); work in museum collections worldwide.

Wesley Fleming, Come Into My Parlour,flameworked soda-lime glass,

fly: 1 x 2 x 1 inches, spider: 2 x 4 x 3 inches


Wesley Fleming
Flameworking Natural Forms

Students in this workshop will learn techniques for sculpting soft glass in fine detail, off mandrel, through demonstrations and practice with direct assistance from the teacher. We’ll discuss the use of various tools and the application of sculpting techniques along with exercises for students to practice in order to improve their understanding of heat control and handling soft glass. We’ll also cover the steps for making insects, birds, fish, and other animals.Intermediate: two years of experience flameworking with borosilicate or soft glass required. Code 07GB


Studio artist; teaching: The Studio at Corning (NY), Snow Farm (MA), Worcester Center for Crafts (MA), International Society of Glass Beadmakers gatherings; exhibitions: Smithsonian Craft Show (DC), Pittsburgh Glass Center, Mobilia Gallery (MA); collections: Corning Museum (NY), Kobe Lampwork Glass Museum (Japan), Racine Art Museum (WI).