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Metals Workshops at Penland
Classes are open to serious students of all levels unless specified in course description; beginners welcome.
SUMMER session 3
JUNE 21 - July 3 2015
David H. Clemons, Pebble Necklace, mixed media, 10" diameter
David H. Clemons
Body Embellished: Jewelry Suites
This workshop will investigate the relationship between personal aesthetics, the body, and adornment. Through the development of a cohesive suite of jewelry, students will treat the body as a landscape framed and accentuated by ornament. We’ll explore alternative materials and the requirements of various jewelry formats. We’ll consider design, material manipulation, mechanisms, and the purposeful integration of metals with other materials. Techniques will include cold connections, soldering, and material investigations including wood, paper, steel, plastic and others. All levels. Code 03MA
Artist in residence in metalsmithing at University of Arkansas; Arkansas Arts Council fellowship; exhibitions: Center for Craft, Creativity, and Design (NC), Craft Alliance (St. Louis), Ornamental Metal Museum (Memphis), Memphis College of Art, “Craft in America” two-year traveling exhibition.
Jeffrey Clancy, Handsome Pitcher,
pewter, 12 x 7 x 4"
Pewter: Tavern Mugs to Teaspoons
Often referred to as poor man’s silver, historic and contemporary pewter is rich in form, function, and expression. Salt and pepper shakers, tankards, ewers, candlestick holders, spoons, and jewelry can be fabricated, formed, and cast in pewter. We’ll cover a wide range of hollowware techniques and mold making as it relates to pewter casting. Students will be encouraged to work across different traditional, utilitarian, and sculptural formats. All levels. Code 03MB
Associate professor at University of Wisconsin-Madison; workshop teaching: Arrowmont (TN), Kutztown University (PA), San Diego State University (CA); exhibitions: “40 Under 40: Craft Futures” at Renwick Gallery (DC), Art Brussels, Art Rotterdam, National Ornamental Metal Museum, University of Arkansas-Little Rock; collections: Renwick Gallery (DC).
SUMMER session 4
July 5 - 17, 2015
Mi-Sook Hur, Feather No. 1 and No. 2 (brooches), copper,
sterling, enamel, 1-1/2 x 2 x 1/4"
Enameling: Design & Color
This enameling workshop will focus on fundamental approaches to design and color using a variety of enameling materials, particularly china paints. We’ll cover line drawing, painting, elements of design, color properties, and color theory. Using basic shapes, lines, and colors, we’ll work with simple and complex subject matter on enameled steel and copper surfaces using fine brushes, pencils, and pens. Finished pieces can be set in jewelry or framed. All levels. Code 04MA
Professor at East Carolina University; residencies: Kohler Arts Center (WI), Jentel Foundation (WY); Niche award, purchase award from Arkansas Art Center; exhibitions: SOFA Chicago, Tong-In Gallery (Korea), VicenzaOro II (Italy), Itami Museum (Japan); publications: Metalsmith, The Artful Teapot by Garth Clark.
Daniela Antonelli, Ouanga #1,tortoise shell, porcupine thorns,
string, stone, 14-1/2 x 17-1/3 x 6"
Robert Ebendorf, Cornwall, silver, stone,
shells, and bone, 12" diameter,
Daniela Antonelli & Robert Ebendorf
Expanding Nature: Sculpture & Adornment
We’ll create small sculptures and wearable pieces from interesting remnants of cultural materials and raw natural elements such as rocks, bones, feathers, and wood. We’ll have technical demonstrations and plenty of time for one-on-one attention to each student. Techniques will include sawing, carving, drilling, enameling, and avoiding the use of glue to connect materials. Together we’ll approach matters such as composition, equilibrium, and shape as we assemble diverse materials to create unique pieces. All levels. Code 04MB
Daniela: studio artist; visiting artist at East Carolina University (NC); solo exhibitions: Mercedes Viegas Gallery (Rio de Janeiro), Oscar Cruz Gallery (Brazil). Robert: professor at East Carolina University (NC); fellow of the American Craft Council; collections: Metropolitan Museum (NYC), Victoria and Albert Museum (London).
SUMMER session 5
July 19 - August 4, 2015
C. James Meyer, Spilla-Piuma, 18k gold, sterling silver,
mixed media, 3-3/4 x 3/4 x 1/4"
C. James Meyer
Subtracting & Adding:
Carving & Construction
This workshop will involve two investigations. Reductive: We’ll carve nonmetallic material into components that can be incorporated into jewelry. The materials could be wood, bone, plastic, or Richlite (recycled paper in resin). The reductive process leads to a different visual vocabulary. Additive: We’ll cover a number of metal forming and construction processes that can be used to embellish the carved forms and make them functional. We’ll explore forming through the dye press, stakes and hammers, small-scale forging, and construction. The end product may be jewelry or small-scale objects. All levels. Code 05MA
Professor emeritus from Virginia Commonwealth University; collections: Museum of Arts and Design (NYC), Racine Art Museum (WI), Georgia Museum of Art, Gregg Museum (NC), Nordenjelske Museum of Applied Art (Norway).
Nicole Jacquard, Souvenirs II, galvanized
steel, silver, carved felt, thread, 9 x 3 x 1"
A Piece in a Day
How do I start? Where do I start? Creating work can be isolating and at times approaching the bench can seem daunting. In this workshop students will view the studio each day as a blank slate as they are challenged to create pieces within particular time frames. The workshop will combine idea generation, material studies, and technical demonstrations, as well as short readings for inspiration and an understanding of the creative process and a healthy art practice. Demonstrations will include a number of traditional mechanisms, alternative fasteners, and metalworking techniques as needed. All levels. Code 05MB
Associate professor at Indiana University; Fulbright fellowship; exhibitions: AIR Gallery (NYC), ARC Gallery (Chicago), Indiana University, Grey Street Gallery (Australia), Actuel’art (Paris), Ball State University (IN), 2nd International Biennial of Contemporary Metal Art (Lithuania), Taboo Studio (CA).
SUMMER session 6
August 9 - 21, 2015
David Jones, Nautilus Ring: After De Patta,
sterling, copper, stone from Margaret De Patta’s
studio, size 7
Concentrating on jewelry, this workshop is designed to get you thinking of metal as a friendly medium. Using traditional and nontraditional techniques, we’ll explore many facets of metal. Techniques may include, but are not limited to, sawing, soldering, forming, forging, cold connecting, filing, texturing, patinas, mixed metals, ingot pouring, jewelry findings, and stamping, to name a few. We’ll highlight ways to recycle/repurpose many types of materials, such as turning a sterling silver coin or spoon into sheet and wire. And we’ll discover the importance of tools and their many uses, which may cause a healthy tool addiction. All levels. Code 06MA
Studio artist; teaching: University of Georgia Cortona Italy program; exhibitions: Velvet da Vinci (San Francisco), OXOXO (Baltimore), SOFA New York; publications: Humor in Craft by Brigitte Martin, American Modernist Jewelry by Marbeth Schon.
Kirk Lang, Constellation 2 (Circinus),
titanium, aluminum, brass, steel, meteorite,
handmade clock parts, electronics,
14 x 6 x 5"
Touch & GO
What if you could make a flower that blossoms right before your eyes or a piece of jewelry that reconfigures itself at the touch of your fingertip? Why imply movement in your work when you can actually make it move? In this workshop we’ll explore the transformative power of kinetic motion. Whether you’re interested in jewelry or sculpture, this class will offer a unique perspective on how to generate movement in your artwork. Students are invited to bring ideas, materials, and projects but will also be introduced to new project ideas and methodologies specific to kinetic mechanisms. Intermediate level: basic sawing, filing, and soldering skills required. Code 06MB
Studio artist; teaching: University of Washington, North Seattle Community College; Artist Trust/Washington State Arts Commission fellowship; exhibitions: National Ornamental Metal Museum (TN), Gallery4Culture (WA), Velvet da Vinci (CA).
SUMMER session 7
August 23 - 29, 2015
Rob Jackson, Arezzo (brooch),
17th century Italian nail, 18k gold,
black diamonds, 2-1/2 x 1/2 x 1/4"
The Eloquent Nail
This workshop will introduce steel and iron fabrication in the jewelry format. Students will learn strategies for soldering steel with silver and gold solders as they incorporate antique iron nails and other found steel and iron objects into various jewelry forms, starting from the basic ring. Small-scale blacksmithing, forming, and joinery will further enhance the work. Intermediate level: basic silver soldering, piercing, and finishing skills required. Code 07MA
Professor at University of Georgia; exhibitions: Velvet da Vinci (San Francisco), 18 Karat (Toronto), National Ornamental Metal Museum (TN), Georgia Museum of Art, Appalachian Center for Craft (TN), Rocky Mount Art Center (NC), Nancy Sachs Gallery (MO); publications: New Rings by Nicolas Estrada, On Body and Soul: Contemporary Armor to Amulets by Suzanne Ramljak, 500 Brooches (Lark), 1000 Rings (Lark), author of a chapter in The Penland Book of Jewelry (Lark).
Kim Cridler, Field Study: Thicket,
steel, bronze, silver, hematite,
78 x 32 x 32"
Steel as Descriptive Line
Architect Sym Van der Ryn wrote of ten patterns that make up the physical world at all scales: spheres, nests/mosaics, lattices, polyhedra, spirals/helixes, meanders, branching patterns, waves, symmetry, and the fractal. Using steel wire as a descriptive line, we’ll make structures that investigate pattern: from the natural world to the decorative arts. Technical demonstrations include soldering with steel, building symmetrical forms, and cool things to do with wire. This workshop is about starting where you are with the materials at hand and working without hesitation. All levels. Code 07MB
Studio artist; teaching: University of Wisconsin-Madison, Arizona State University, San Diego State University, solo exhibitions: National Ornamental Metal Museum (TN), Lisa Sette Gallery (AZ), Racine Art Museum (WI), Museum of Wisconsin Art; collections: Arkansas Art Center, Kohler Art Center (WI), Museum of Fine Arts Houston, Racine Art Museum (WI).
Fall Eight-Week Concentrations
September 20 - November 13, 2015
Jaydan Moore, Traces, found silver-plated platters,
24 x 24 x 5”
This class will focus on mining materials from the scrap heap, second-hand shops, and other sources. We’ll study and solve the technical challenges that come with each material and the concepts that are evoked when we work with found objects. How is it different to work with materials that have a history? Each student will explore the ideas conveyed by the objects, images, and materials they are drawn to, and how those ideas can be incorporated into their work, which may be jewelry, sculpture, or functional objects. We’ll cover sawing, many soldering techniques, cold connections, forging, raising, sheet fabrication, and more. All levels. Code F00MA
Penland resident artist; teaching: Virginia Commonwealth University, Houston Community College; American Craft Council Emerging Voices Award; Houston Center for Contemporary Craft residency; exhibitions: Fuller Craft Museum (MA), Visual Arts Center (VA), Museum of Craft and Design (CA).
Fall One-Week Session 2
October 18 - 24, 2015
Tom McCarthy, David Brooch, sterling,
18k gold, pearl, 2 x 3/4 x 1/2”
Shake Hands with Hammers
This is an introductory workshop in metalwork that will focus on forging—the directional stretching of metal with hammers—which is an excellent way to include dimension and gesture in your designs. We’ll emphasize jewelry applications including rings, bracelets, and brooches. Also in the plan are spoons and possibly even small bowls. This workshop is designed for the beginner, but those with prior experience will have plenty to engage them. Students will work in copper and sterling silver. All levels. Code F02MB
Studio artist; teaching: Arrowmont (TN), Campbell Folk School (NC), Penland; State of Florida artist fellowship; exhibitions: Florida Craftsmen Gallery, “Tradition/Innovation: Masterpieces of Southern Craft and Traditional Art” (traveling), Lighthouse Center for the Visual Arts (FL); representation: Michelle Tuegal Contemporary (FL); author of a chapter in The Penland Book of Jewelry (Lark Books).
Spring Eight-Week Concentrations
March 13 - May 6, 2016
Laura Wood, Lines Necklace, sterling silver, brass,
phantom quartz, powder coat, 2-1/2 x 4 x 2”
Make, Show, Repeat: Cross Training for Jewelers
This workshop will introduce a variety of metalsmithing techniques and material exploration to use as a launching pad for new work or to enrich a jewelry-making vocabulary. We’ll engineer components, embellish surface structures, and hone finishing skills. Other highlights will include mold making, powder coating, etching, stone setting, and idea generation. A progressive timeline will guide the structure of the class to encourage fast development. We’ll share our growth in its various stages through pop-up exhibitions. Basic metalsmithing skills will be helpful but this workshop is open to all levels. Code S00MB
Studio artist; teaching: Southwest School of Art (TX); visiting artist: Western Michigan University, New Mexico State University; gallery representation: Mora Contemporary Jewelry (NC), Signature Gallery (GA), Quirk Gallery (VA), Society for Contemporary Craft (PA), Gallery 360 (MN), Heidi Lowe Gallery (DE), Gallery Store (OR).
Spring One-Week Session 2
April 10 - 16, 2016
Cat Bates, Ingot Necklace, brass, tarred nylon,
6 x 1/2 x 1-1/2" (30" cord)
Sandcasting for the Jeweler
Sandcasting is an ancient technique that is still commonly used in industry to create a wide variety of metal parts, from frying pans to engine blocks. In this workshop, we’ll explore sandcasting in the jewelry studio, replicating found objects in metal, and creating our own models to cast from. We’ll also cover pertinent finishing techniques, including sawing, filing, chasing, and brazing, enabling students to bring castings from raw metal to finished, wearable pieces of jewelry over the course of the week. All levels. Code S02MB
Jewelry designer; teaching: Maine College of Art adult education department; residencies: Haystack Open Studio Residency (ME), Pace House (ME); representation: Esqueleto (CA), Portland Museum of Art Store (ME), New Era Gallery (ME), Quercus (NC), Portland Dry Goods (ME), Gravel and Gold (CA), Industrious Life (CA), Papa Wolf Supply Co. (NH).
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