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Glass 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
Joe BenVenuto, Ochre Rust Terrene
Study, blown glass with hot attached
parts, 21 x 12 x 2H inches
David Walters, Pleasure Island Flyer, blown and
slumped glass, steel, rubber, mirror, 12 x 30 x 8 inches
Joe BenVenuto & David Walters
Some Assembly Required
This workshop will explore the relationship between the hot shop and the cold shop and the potential for their symbiosis. Designing work with the cold shop in mind, students may take blown elements, modify them in the cold shop, and then pick them up and assemble them back in the hot shop—or they may be assembled cold. Students in this workshop will be exposed to the cold shop in its entirety. Intermediate/advanced: students should have fundamental knowledge of the relevant tools and equipment and be well versed in the vocabulary of the hot shop. Code 01GA
Joe: studio artist, owner of a coldworking and sculpture assembly studio, assistant to Preston Singletary; teaching: Te Puia Workshop (New Zealand), Piko Gathering (HI), Edge of Glass (Seattle); exhibitions: History of the World (WA), Port Angeles Fine Arts Center (WA), Columbus Museum of Art (OH).
David: studio artist, assistant to Lino Tagliapietra; teaching: Pilchuck (WA), Toyama Institute of Glass Art (Japan); Museum of Glass (WA) residency; representation: Traver Gallery (Seattle), Schantz Gallery (MA).
Stacy Lynn Smith, Fragment (Yellow),
kilnformed glass, porcelain tile, powder printed,
36 x 30 x H inches
Stacy Lynn Smith
Collected Images: Powder Printing Code
This workshop will explore the powder printing method to create imagery and texture in kiln glass. This technique uses screenprinting methods—pressing dry glass powder, rather than ink, through a prepared screen. Students will learn image preparation, design possibilities, and firing options through hands-on projects, demonstrations, and examples. Building on this foundation, we’ll gather visual information and collect images, which can then be used in the production of finished work. Some images will be created digitally; laptops and basic computer skills will be helpful. All levels. Code 01GB
Studio artist, instructor at Bullseye Glass (Portland, OR); exhibitions: SOFA Chicago, Bullseye Gallery (Portland, OR), Sixth Street Gallery (WA), Washington State University; collection: Alliance for Young Artists & Writers (NYC).
summer session 2
june 8 - 20, 2014
Daniel Clayman, Small Circular Object 5,
glass, 30I x 30I x 2I inches
Questioning the Process
Kiln casting glass is a complex process that can be stripped down to a series of simple techniques. The techniques we’ll explore are focused on plaster investment molds. Students will experiment with an array of materials using an analytical method for problem solving. Using student work as a platform for demonstrations, the workshop will cover topics including mold recipes, firing schedules, wax-working, rubber molds, glass sources, and more. The goal is for students to leave with an ability to pursue their own ideas with this newly acquired, advanced knowledge base. Intermediate: while previous glass experience is not required, this class is for artists with a foundation in basic sculptural materials and methods. Code 02GA
Studio artist; teaching: Pilchuck (WA), The Studio at Corning (NY), UrbanGlass (NYC), Rhode Island School of Design; collections: de Young Museum (San Francisco), Museum of Arts and Design (NYC), Renwick Gallery (DC), Museum of Fine Arts (Boston), Corning Museum (NY), Milwaukee Art Museum; 2013 Artist in Residence at Tyler School of Art (Philadelphia).
Carmen Lozar, Shower,
flameworked glass, 19 x 6 x 6 inches
Sweet & Salty: Flameworking Ideas
This workshop will aim to balance skills and ideas while creating sculpture from flameworked glass. Using borosilicate rods and tubing, we’ll learn simple techniques to execute works that contain complex and visually exciting content. We’ll use found objects as inspiration—and they may also find their way into finished pieces if appropriate. We’ll have class discussions about the objects we’re making; idea development and experimentation will be encouraged. All levels, but some torch experience will be helpful. Code 02GB
Studio artist; teaching: Illinois Wesleyan University, Pilchuck (WA), Pratt Fine Art Center (Seattle); exhibitions: SOFA Chicago, Saunders Gallery (Chicago); residencies: Corning Museum (NY).
summer session 3
june 22 - july 4, 2014
Hyunsung Cho, Early in the Morning, glass, metal,
enamel, 7 x 24 x 7 inches
Small Objects with Big Stories
This workshop is an introduction to enameling on blown glass. Students will learn basic glassblowing and enameling techniques. The workshop will encourage personal expression as we strengthen hot glass skills and explore the endless possibilities of painting with enamel on blown glass. Students will develop and execute their original ideas for these materials. Intermediate: basic hot glass skills required. Code 03GA
Resident artist at Creative Glass Center of America (NJ); teaching: Hot Glass Studio (Seoul), Kyungnam University (Korea); exhibitions: Duncan McLellan Gallery (FL), Craft Alliance (St. Louis), Riverfront Renaissance Art Center (NJ), Third Degree Gallery (MO), Aldo Castillo Gallery (IL), Craft Hawk Gallery (OH); Best in Show at BIGG: Breakthrough Ideas in Global Glass (OH); representation: Pismo Contemporary Art Glass (Denver), Morgan Contemporary (PA).
Kelley Knickerbocker, Aurora, stone, glass,
paper, 14 x 12 inches
Strata Various: Modern Mosaics in Mixed Media
After building and rigging durable, lightweight two-dimensional substrates, students will create highly textured “two-and-a-half-dimensional” mosaics of disparate hard materials—both natural and manufactured—using cement mortar as adhesive. We’ll explore and test the unique textural properties of each material and learn to recognize and exploit combinations of angle, height, size, and shape for various visual effects. Using stratification as a compositional framework, we’ll take what we’ve learned and combine/juxtapose stone, glass, metal, ceramic, and other materials into cohesive, visually pleasing, and topographically compelling mosaics. All levels. Code 03GB
Studio artist; teaching: Institute of Mosaic Art (CA), Seattle Mosaic Arts (WA), Artisan Glass (TX), Maverick Mosaics (VA); exhibitions: Museum of Glass (WA), Inscape Arts (WA), Clauiano Art Exhibition Gallery (Italy), Society of American Mosaic Artists (FL, WA), Fremont Jewelry Design (WA), Caffe Appassionato (Seattle); commissions: Hazel Miller Plaza (WA), University of Washington Applied Physics Laboratory; residency: Institute of Mosaic Art (CA).
summer session 4
july 6 - 18, 2014
Ethan Stern, Zebra Flag Coastline, blown
and wheel-cut glass, 18 x 3 x 3 inches
New Shape: New Surface
This class will investigate glassblowing techniques through a sculptural lens. Thinking out of the round, we’ll focus on form, scale, layering, and color application in the hot shop. We’ll shape the bubble with various tools informed by asymmetry, elements of balance, visual weight, and the optical qualities of glass. We’ll cover basic cold-working techniques and use them in tandem with the blowing process. Engraving and carving will be a means to explore texture, color, surface, and form. Students will be encouraged to research, draw, and experiment in strengthening concept, design, and skill. All levels, but a basic understanding of the material will be helpful. Code 04GA
Studio artist; teaching: University of Washington, The Studio at Corning (NY), Pittsburgh Glass Center, Pilchuck (WA), Appalachian Center for Craft (TN); exhibitions: Toyama Institute of Glass Art (Japan), Traver Gallery (Seattle), Chappell Gallery (NYC); collections: Museum of Glass (WA), Glasmuseet Ebeltoft (Denmark).
Liz Mears, Bowl of Autumn, flameworked glass,
sandblasted and etched, 5 x 12 x 12 inches
Repetition & Rhythm in Sculpture
We’ll explore repetition and rhythm as design elements for flameworked glass sculpture. The first week we’ll develop simple shapes that we can use as our lexicon. The second week, we’ll each choose one of those shapes to use in a repetitive, rhythmic manner to create an aesthetically pleasing sculpture. The challenge is to create complex objects from simple elements. All levels: beginners encouraged. Code 04GB
Studio artist; teaching: Washington Glass School (DC), Workhouse Arts Center (VA), Touchstone (PA), Pittsburgh Glass Center, Craft Alliance (St. Louis); exhibitions: SOFA Chicago, Chicago Cultural Center, Blue Spiral I (NC), Pismo Contemporary Art Glass (Denver); author of Flameworking: Creating Beads, Sculptures, & Functional Objects (Lark).
summer session 5
july 20 - August 5, 2014
Jen Elek, Crystal, blown glass, 28 x 25 x 12 inches
Furnace to Finish
This workshop will explore the foundations of furnace working. Through a focus on gathering and using the heat of the furnace, students will achieve greater efficiency of movement in the hot shop. Quick blowing exercises will give students a basic vocabulary of shapes to work with. Practice in punty transfer techniques for a wide range of situations, bit preparation and application, and finishing work in the cold shop will round out this experience. Working with clear glass will offer artists the opportunity to experience the optical truth of transparency. All levels. Code 05GA
Studio artist, member of Lino Tagliapietra’s glassblowing team; teaching: Pilchuck (WA), Seattle Glassblowing School, Toyama Institute of Glass Art (Japan); exhibitions: Traver Gallery (WA), Museum of Glass (WA), Priceless Works Gallery (Seattle), Houston Center for Contemporary Art, Bellevue Art Museum (WA).
Shane Fero, Sallie, flameworked glass,
16H x 6H x 6H inches
Flameworking the Figure Fantastic
This workshop will focus on the figure in solid and blown glass sculpture, drawing inspiration from the fantastic in art history: the figures of Bosch and Brueghel and also avian, aquatic, animal, vegetal, and mythical hybrid forms. We’ll learn solid sculpting using rods and glass powders and also work with tubes— pulling points and using those points for blown sculpture. We’ll integrate these techniques into mixed-media installations, possibly using found objects, to realize conceptual and personal statements. We’ll work with borosilicate and soda-lime glass. The workshop will include slide talks illustrating historic aspects of figurative sculpture. Intermediate: basic flameworking skills required. Code 05GB
Studio artist; teaching: Pilchuck (WA), The Studio at Corning (NY), Bild-Werk (Germany), Scuola Bubacco (Italy), Pittsburgh Glass Center (PA), University of Michigan-Ann Arbor, Eugene Glass School (OR), UrbanGlass (NYC), Pratt Fine Arts Center (Seattle); collections: Asheville Art Museum (NC), Glasmuseet Ebeltoft (Denmark), Arizona State Museum, Mobile Museum of Art (AL), Museum of American Glass (NJ), Museum fur Glaskunst (Germany).
summer session 6
August 10 - 22, 2014
Kim Harty, Spectral Cinema, glass, video projection,
120 x 120 x 120 inches
Charlotte Potter, Cellular Reliquary,
SiO2, ash, bone, dust,
30 x 216 x 48 inches
Kim Harty & Charlotte Potter
Glass + Video: Optics of the Lens
This workshop will introduce the properties of hot glass and investigate this material through the optics of the lens. Students will make lenses of various sorts from hot glass, and then make periscopes, kaleidoscopes, and other optical devices. We’ll use these as props and/or filters to create videos that explore differing perceptions of the world around us. We’ll cover basic glassblowing, basic optical science, video capture and editing, and we’ll place glass within the larger context of contemporary art. Projects could include performances, environments, installations, projections, sculptures, and more. All levels. 06GA
Kim: studio artist interested in the intersection of craft, technology, and performance; teaching: Ox-Bow (MI), University of Wisconsin-Madison; Pilchuck Emerging Artist Residency (WA), BOLT Residency at Chicago Artist Coalition.
Charlotte: glass studio manager at Chrysler Museum (VA), teacher at Old Dominion University (VA); exhibitions: Corning Museum (NY), American Museum of Glass (NJ), S12 (Norway), Oklahoma City Museum of Art, Toledo Museum of Art; collections: Chrysler Museum (VA), Museum of Jurassic Technology (Los Angeles).
Kate Rothra Fleming, Licuala Neckpiece, flameworked
glass, oxidized sterling silver, 4 x 2 x 18 inches
Kate Rothra Fleming
Multiples of Abundance: Designing Jewelry in Glass
Students will bring three favorite wearable pieces from home, glean color themes from them, and use these as a starting point for designing customized jewelry made from soda-lime glass. Students will learn traditional flameworking techniques as they explore strategies for creating multiple components in the flame and integrating color and texture through etching, dichroic glass, and surface decoration. Discussions on the use of glass and design in historic jewelry will help us create designs focused on the work as a whole rather than the individual components. All levels. Code 06GB
Studio artist; teaching: Spruill Center for the Arts (Atlanta), art teacher in the Peace Corps (Botswana); exhibitions: SOFA Chicago, Pismo Contemporary Art Glass (Denver), Corning Museum (NY); Charlston (SC) Fashion Week runway collaboration with Vartika Vikram; work published in 500 Beaded Objects (Lark) and 1000 Glass Beads (Lark).
summer session 7
August 24 - 30, 2014
Junichiro Baba, Investigation
for The Memory of Shadows, sand-
cast glass, concrete, 11 x 9 x 4H inches
The Essence of Sandcasting
The workshop will begin with an introduction to the fundamentals of the sandcast-glass process. After this, we’ll discover the expressive possibilities of the technique. Daily demonstrations will cover a variety of methods. Students will be encouraged to complete several small pieces while continuing to experiment. Bring a sketchbook and be ready to discover more than you ever imagined was possible in glass. All levels. Code 07GA
Studio artist; teaching: Appalachian State University (NC), Joshibi University of Art and Design (Japan), Meisei University (Japan), Tokyo Glass Art Institute; exhibitions: Blue Spiral 1 (NC), Heller Gallery (NYC), SOFA Chicago; former Penland resident artist.
Michael Janis, In the Evening Twilight, kiln-formed glass,
glass power, steel, 12H x 12H inches
Compelled by Metaphor
In this workshop we’ll create fused images on sheets of glass. Using glass frit, powders, high-fire enamels, iron-oxide decals, and more to make drawings and images, we’ll develop a vocabulary of items to be used in final projects. With the fired parts, we’ll explore how to make glass artworks that have both visual and spatial depth created by layering and fusing sheets of glass with overlapping elements, producing juxtapositions of imagery that play on light, color, and sequence. All levels. Code 07GB
Co-director of the Washington Glass School (DC); teaching: University of Sunderland (UK), Glass Furnace (Istanbul), Bay Area Glass Institute (CA); Fulbright Scholarship, Saxe Fellowship (CA); exhibitions: Maurine Littleton Gallery (DC), solo show at Fuller Craft Museum (MA); collection: Art Institute of Chicago.
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