Metals Workshops at Penland

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



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値l 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値l cover a number of metal forming and construction processes that can be used to embellish the carved forms and make them functional. We値l 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"


Nicole Jacquard
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誕rt (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痴

studio, size 7


David Jones
From-Scratch Fabrication

Concentrating on jewelry, this workshop is designed to get you thinking of metal as a friendly medium. Using traditional and nontraditional techniques, we値l 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値l highlight ways to recycle/repurpose many types of materials, such as turning a sterling silver coin or spoon into sheet and wire. And we値l 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"


Kirk Lang
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値l explore the transformative power of kinetic motion. Whether you池e 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"



Rob Jackson
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"


Kim Cridler
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値l 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”

Jaydan Moore

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”




Tom McCarthy
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


Laura Wood
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値l 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値l 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)

Cat Bates
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値l explore sandcasting in the jewelry studio, replicating found objects in metal, and creating our own models to cast from. We値l 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).