Glass Workshops at Penland

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



SUMMER session 5

July 19 - August 4, 2015

Ben Cobb, Clove and Stomach,

blown glass, tallest: 31" tall


Pablo Soto, Carved Color Drop,

15 x 9 x 9"


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値l focus on fundamental shapes as building blocks to make anything you desire. We値l cover many techniques including color application庸rom basic methods to the more decorative, such as cane and incalmo. Each student should come with an idea or a direction to pursue. We値l 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"

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値l 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値l cover a variety of joining methods along with strategies for incorporating image, text, concept, and narrative. We値l think about what strengthens the visual impact and message of an artist痴 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" 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値l 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値l 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稚 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"



Kirstie Rea, Identity: The Swim, kilnformed

glass, shelf, 25-1/2 x 13-1/2 x 9-7/8",

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

Rather than focus on one specific technique, process, or material, we値l work through a series of kiln forming (mostly fusing and slumping) projects and cold-worked projects that each start with an idea. We値l 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"

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値l 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値l cover blown and solid forms with an emphasis on team work, and we値l 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", spider: 2 x 4 x 3"


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値l 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値l 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).




Fall Eight-Week Concentrations

September 20 - November 13, 2015

Rob Stern, Silver Windstar, blown,

etched, mirrored, and assembled glass,

24 x 24”

Rob Stern
Finding Your Way

This workshop will cultivate and develop skills and personal aesthetics to refine your identity as a glass artist. We’ll cover a wide range of techniques through demonstrations, slides, assignments, discussions, and field trips. Techniques will include blowing, mold blowing, solid and hollow sculpting, garage and torch work, cutting, grinding, polishing, sandblasting, carving, painting, and more—whatever we need to realize our goals. Experimentation and documentation will lead to repeatable practices that will allow students to refine a series of works. An emphasis on group dynamics in and out of the shop will make the most of our time in this exceptional environment. It will be the experience of a lifetime! All levels. Code F00GA

Studio artist; teaching: Pilchuck (WA), Bildwerk (Germany), The Glass Furnace (Turkey), University of Miami (FL), University of Texas; solo exhibitions: Art Basel Miami, American Fine Arts (Dallas), DM Glass Gallery (FL).




Fall One-Week Session 2

October 18 - 24, 2015

Linda Sacra, Moons of Triton, glass, sterling silver, 18” long

Linda Sacra
The Nature of Glass

Working in the flameworking studio with soda-lime glass, we will begin with basic shapes and then move on to more advanced shapes. We’ll use frits, enamels, fine silver, and etching to create surface depth and design. We’ll mix glass for a whole new palette and pull multi-color stringers and latticino for detail work. Daily demonstrations and one-on-one instruction will address the needs of students with different levels of experience. All levels. Code F02GB

Studio artist; teaching: Penland; representation: Glassworks (NC), Sandpiper Gallery (SC), Edward Dare Gallery (SC), Watson MacRae Gallery (FL), The Fat Cat Ltd. (NC).





Spring Eight-Week Concentrations

March 13 - May 6, 2016

Jeremy Bert and Jen Elek, Signal, chromed steel, blown glass,

enamel paint, incandescent lightbulbs, sockets, electric switch,

plug, each panel: 34-1/2 x 18-1/2 x 2-1/2"

Jeremy Bert & Jen Elek
Hot Glass & Electric Light

Most of us live within the glow of electric light—often protected or filtered by glass. This class will empower the nontechnically inclined artist to harness these omnipresent media by exploring the mechanics of glass and light while considering the potential for electric light in sculpture. Jen will teach the fundamentals of glass furnace work for the full eight weeks. Jeremy will join us for four weeks to cover the basic principles, vocabulary, and techniques of neon and other forms of electric light, including LED and incandescent. Artists ready to explore the combination of glass forming and electric light will find this workshop a great fit. All levels. Code S00GA


Collaborating artists; Jen has been a member of Lino Tagliapietra痴 team since 2002; Jeremy is a certified welder, crane operator, and sign electrician; teaching: Pilchuck (WA); recent collaborative exhibitions: Museum of Glass (WA), Pittsburgh Glass Center.






Spring One-Week Session 3

April 24 - 30, 2016

Sean Hennessey, Mother of Invention,

glass, paint, LED, 36 x 48

Sean Hennessey
Deep-Relief Powder Casting

Want to learn an economical and fun way to create relief castings with regular window glass? Of course, you do! In this workshop you will learn an easy and versatile method of kiln-casting glass to make bas-relief and deep-relief sculpture. Using found objects or fabricated forms, we値l layer images to create foregrounds and backgrounds by making simple press molds in plaster powder and slumping sheet glass in them. We値l explore a number of options for adding color, both in the firing process and after firing. For beginners or experienced glass sculptors, this incredible technique has endless fine art, public art, and architectural applications. All levels. Code S03GB

Studio artist; teaching: Washington Glass School (MD), Arlington Arts Center (VA); solo exhibitions: The Dunes Gallery (DC), Johns Hopkins University (MD), Touchet Gallery (MD); representation: Habatat Galleries (MI), William and Joseph Gallery (Santa Fe), Duncan McClellan Gallery (FL), Alida Anderson Project (DC).