Metals Workshops at Penland
Penland offers 1-, 2-, and 8-week classes taught by visiting instructors in our well-equipped studios. Class topics include jewelry design and fabrication, metalsmithing, casting, working with pewter, setting stones, enameling, etching, forging, and more. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
Enrollment for spring and summer 2017 workshops is currently open.
March 12 - May 5, 2017
David Jones, Modern Cuff Bracelet, forged copper and silver,
3 x 3 x 3-1/2 inches
With a focus on traditional and sometimes inventive techniques and approaches, we’ll dive into the beautiful, limitless world of metal fabrication. Students will make jewelry and/or small-scale sculpture depending on individual interests. Techniques will include sawing, forging, soldering, forming, wire and sheet making, cold connecting, and stamping. The workshop will include information about the use of recycled metals and materials and where to source them. We’ll have ongoing demonstrations and critiques, and we’ll delve into the history of studio craft in the U.S. and abroad. All levels. Code S00MA
Studio artist; teaching: University of Georgia Cortona Italy Program, Thomas Mann Gallery IO (New Orleans); publications: Form and Function: American Modernist Jewelry, 1940–1970 by M. Schon, The Metalsmith’s Book of Boxes and Lockets (Brynmorgen Press); representation: Gravers Lane Gallery (Philadelphia), Thomas Mann Gallery (New Orleans), Velvet da Vinci (San Francisco).
SUMMER session 1
May 28 - June 9, 2017
Sondra Sherman, Rorschach Corsage Valeriana II, steel,
3-1/2 x 6 x 1-1/2 inches
Jewelry Talks: Thought to Form
In this workshop, we’ll create expressive works informed by an expansive concept of the language of jewelry and the context of the body/wearer. Design exercises, model-making, material tests, and personal inspiration will guide students in developing a vocabulary of shapes. We’ll cover multiple methods of taking shape to form. Fearless students will be assisted as they work experimentally with any/all materials and methods, which may include hollow fabrication, pattern forming, wire construction, cold joining, die forming, chasing and repoussé, and carving. Intermediate; sawing, filing, cold joining, and soldering skills required. Code 01MA
Head of jewelry and metalwork at San Diego State University; fellowships: Tiffany Foundation (NYC), Pennsylvania Council on the Arts, Fulbright Study Abroad; collections: Museum of Arts and Design (NYC), Metropolitan Museum (NYC), Los Angeles County Museum of Art.
Myra Mimlitsch-Gray, Something for the Table, silver,
2-1/2 x 12 x 8 inches
Sticks & Stones
We’ll explore the notion that tableware and hollowware forms can be described with sticks and stones—not literally, but in a structural sense: line and mass/volume. We’ll cover techniques such as forging, sinking, raising, tube-making, pattern-making, and various construction methods. During the first week, students will produce samples, studies, and collaborative design exercises. The second week will allow for individual projects. Function will be considered within the creative discourse. Abstraction will be encouraged. Intermediate; sawing, filing, and soldering skills required. Code 01MB
Head of metals program at SUNY–New Paltz (NY); fellow of the American Craft Council, United States Artists fellowship; solo exhibitions: Dorsky Museum (NY), National Ornamental Metal Museum (TN); collections: Metropolitan Museum (NYC), Renwick Gallery (DC), Victoria and Albert Museum (London).
SUMMER session 2
June 11 - 23, 2017
Angela Bubash, Fin #39, sterling silver, glass, dyed feathers,
vintage coral, 3-1/2 x 2-1/4 x 3/4 inches
Details, whether bold or subtle, make ordinary work memorable. We’ll push beyond mere ornamentation and develop innovative links and captures to expand and enhance your work. Students will bring a collection of personal artifacts to influence their designs. Using glass windows and metal frames to integrate found and natural objects, we’ll create our own “stones” or focal points for jewelry and small sculpture. We’ll cover basic and improvised settings, etching, roller printing and etched embossing plates, die forming, soldering techniques, and various tips and tricks. All levels. Code 02MA
Assistant professor at Longwood University (VA); other teaching: University of Georgia Cortona Italy Program, Arrowmont (TN), Appalachian State University (NC); exhibitions: Mobilia Gallery (MA), Alliages Gallery (France); publications: Art Jewelry Today 4 (Schiffer); former Penland resident artist.
Thomas Mann, Float Heart Brooch, silver, carved acrylic, brass,
bronze, 3-1/4 x 2-3/4 inches
Design for Survival: One-Off to Production
This master class, designed specifically for those participating, will provide the understanding and skills needed to launch a career as a jewelry or metal artist. Instruction will focus on deciphering a personal design vocabulary and inventing a production line based on what you discover. Explorations of professional practices, such as public relations, pricing, marketing, staffing, and materials management, will supplement the design and fabrication focus. This workshop will mix jewelry making, writing, and presentations. Students will be surveyed ahead of time so class material can be tailored to fit their needs. Intermediate/advanced level. Code 02MB
Studio artist, founder of Thomas Mann Gallery I/O (New Orleans); teaching: Arrowmont (TN), Peters Valley (NJ); publications: Metalsmith, Thomas Mann Metal Arts (Guild Publishing), author of Demystifying the Jeweler’s Saw (North Light Books).
SUMMER session 3
June 25 - JULY 7, 2017
Donald Friedlich, Aqua Series Brooch, glass, 22k gold, 18k gold,
14k gold, 2-1/2 x 2-7/8 x 3/8 inches
Industrial Resources for the Studio Artist
Most studio jewelers have a production line of more affordable work. Supplementing hand work by subcontracting to industry can expand options and increase production and profit margins. We’ll use hand processes to design and fabricate production prototypes. Then, through lectures, students will learn how to make creative use of available industrial processes, including casting, laser and waterjet cutting, commercial photoetching, etc. We’ll also explore alternative materials and coordinate some activities with Kristin Beeler’s class. Intermediate/advanced level: sawing, soldering, filing, and forming skills required. Code 03MA
Studio artist; teaching: The Studio at Corning (NY), Tainan National University (Taiwan); collections: Victoria and Albert Museum (London), Smithsonian (DC), Museum of Arts and Design (NYC). Museum of Fine Arts, Boston.
Kristin Beeler, Frostbite, steel, fine silver, quartz, ball: 4 inches
diameter, chain: 20 inches
Forget Me Knot
From tying a string around your finger to family heirlooms, jewelry and memory can merge to create meaning. Using interpretations of the locket as a starting place, we’ll explore jewelry as souvenir while incorporating techniques of the locket form, including hinges, using the hydraulic press, and etching. Readings and discussion will focus our thoughts about objects and memory. We’ll emphasize experimentation, skill building, and the development of form. Interaction with Donald Friedlich’s workshop is inevitable. All levels. Code 03MB
Professor at Long Beach City College (CA); visiting artist: University of Technology (Sydney), Cranbrook Academy of Art (MI), Kent State University (OH); solo exhibitions: Mesa Contemporary Art Museum (AZ), Velvet da Vinci Gallery (San Francisco); publications: 500 Lockets and Pendants (Lark Books).
SUMMER session 4
july 9 - 21, 2017
Attai Chen, Untitled (Compounding Fractions) Necklace, paper,
paint, glue, silver, 10-1/2 x 6 x 3-1/8 inches
This workshop will explore the fascinating and surprising field of paper jewelry. In recent years we have seen paper being used in architecture, art, fashion, design, and jewelry. We’ll explore the art of jewelry-making while putting paper at the technical and conceptual center of the work. We’ll start with an introduction to different types of paper and ways of working with it. Then we’ll investigate jewelry and its relationship to the human body, concentrating on helping each student develop unique ways to harness the potential of paper. Individual support in metalsmithing techniques will be provided as needed. All levels. Code 04MA
Studio artist; teaching: Bezalel Academy of Arts and Design (Israel), Shenkar College of Engineering and Design (Israel); collections: Museum of Arts and Design (NYC), Metropolitan Museum (NYC), International Design Museum (Germany), Israeli Museum of Art.
Lynn Batchelder, Split, steel, 18 x 4 x 1-1/2 inches
Jewelry + Drawing
This workshop will explore drawing as a method for thinking and making in the jewelry studio. Beginning with direct and experimental exercises and approaches to drawing, we’ll consider possibilities for translating line into metal through etching, embossing, roll printing, piercing, wire construction, and a variety of invented techniques. We’ll emphasize experimentation in the space between two and three dimensions, resulting in a range of samples, jewelry, and works on paper. All levels. Code 04MB
Assistant professor at SUNY–New Paltz (NY); teaching: University of Wisconsin–Stout, Peters Valley (NJ), Arrowmont (TN); 2016 Art Jewelry Forum Artist Award, Society of North American Goldsmiths Emerging Artist Speaker (SOFA Chicago); exhibitions: solo at Heidi Lowe Gallery (DE), Talente (Germany), “Shared Concerns” (NC, CA, Australia).
SUMMER session 5
july 23 - August 8, 2017
Anna Johnson, Felis Canis Necklace, coyote vertebra, cat
vertebra, Ethiopian white opals, black moonstone, pyrite, fine
silver, sterling silver, cast silver, 18 inches
A few basic skills can take you far and provide endless creative freedom. In this class we’ll explore casting found objects, simple wax carving, stonesetting, basic fabrication, and joinery. Using these techniques, students will be encouraged to create wearable samples and experiment with combining methods into thoughtful jewelry or small sculpture. Students can expect to create multiple pieces throughout the class and leave with a broad knowledge of basic skills in small metals. All levels. Code 05MA
Studio artist; teaching: Haywood Community College (NC); exhibitions: Mora Contemporary Jewelry (NC), The Smithery (OH), Heidi Lowe Gallery (DE), Baltimore Jewelry Center (MD), McColl Center (NC), Asheville Area Arts Council (NC).
Caroline Gore, …mercurial silence…collide, reclaimed
cherry, jet, black spinel, silk, 18k gold, oxidized sterling silver,
tintype, brass, table: 24-1/2 x 49-1/2 x 33-3/4 inches
The Snake Paused
The Ouroboros is our structure—with a pause from daily introverted practice/habits, we’ll supercharge individual studio practices and move toward a reinvention through discussion, prompts, readings, and studio work. Through group ideation sessions, a sharp focus on material meaning, and a dedication to advancing participant’s technical methods of making, we’ll become limitless. This workshop is meant to provoke and offer guided support for new directions with traditional and nontraditional jewelry materials and techniques. Intermediate/advanced: for artists with a dedicated studio practice who want to push their ideas to the next level. Code 05MB
Associate professor at University of the Arts (Philadelphia); Peter S. Reed Foundation grant (NY); collections: Museum of Fine Arts, Houston, Racine Art Museum (WI); representation: Gallery Loupe (NJ).
SUMMER session 6
August 13 - 25, 2017
Marissa Saneholtz, The funny thing was that she wasn’t even mad,
copper, enamel, 14k gold, diamond, found objects, 3-3/8 x 2-1/8 x
Wet Hot American Narrative: Champlevé Enameling
Champlevé is the French term for a process in which enamels are inlaid into recessed compartments in metal surfaces. During this workshop, students will create these surfaces through etching and fabrication. They will then apply wet, powdered enamel and fire the pieces in a kiln. While fully immersed in these processes, students will be encouraged to create imagery by exploring personal narratives derived from a variety of brainstorming exercises. This merging of technique, narrative, imagery, and color will allow students to create a series of one-of-a-kind pieces of wearable art. All levels. Code 06MA
Instructor at Bowling Green State University (OH); other teaching: Appalachian State University (NC), East Carolina University Italy Program; collections: Bowling Green State University, Racine Art Museum (WI).
Michael Good, Curl, bronze, 16 inches tall
Julia Woodman, A Lady’s Pearls, sterling silver, glass,
12 x 4 x 1 inches
Michael Good & Julia Woodman
Anticlastic Raising & the Hydraulic Press
We’ll start with the principles of anticlastic raising using the simple tools of the trade. Then we’ll expand into the boundless potential of the hydraulic press! We’ll use anticlastic/synclastic methods and the press to create forms for sculpture, jewelry, three-dimensional tessellation, or whatever you can imagine. We’ll cover impression dies for multiples, deep-drawmaster dies, bracelet dies, and more. Individual instruction will help students explore and problem-solve at their own skill level. Techniques will be introduced daily and as needed. All levels. Code 06MB
Michael: studio artist; teaching: Royal College of Art (London); exhibitions: National Ornamental Metal Museum (TN), Gallery Aurus (Paris). Julia: studio artist; teaching: Campbell Folk School (NC); collections: Victoria and Albert Museum (London), Museum of Fine Arts, Boston.
SUMMER session 7
August 27 - September 2, 2017
Joanna Gollberg, Mod Blues Earrings, lapis, rough ruby, turquoise,
blue topaz, apatite, sterling silver, 1-1/2 x 1 inches each
Through fabrication methods and proper soldering techniques, students will learn to create secure settings that trap objects in their jewelry. We’ll discuss prong setting, tab setting, and bezel setting as ways to secure any kind of object. We’ll also learn a variety of soldering techniques using the Smith Little Torch, which will help students add surprising and delightful details to their work. Although this is a technique-based class, we’ll also discuss design, layout, and process. Tips and tricks will be shared throughout. Students can expect to finish several projects using their own designs. All levels. Code 07MA
Studio artist; teaching: Arrowmont (TN), Penland; exhibitions: Velvet da Vinci (San Francisco), Taboo Studio (San Diego); publications: Metalsmith, Ornament, 20th Century Jewelers, 500 Wedding Rings (Lark Books); author of four books on jewelry making.
Ashley Buchanan, Decorative Bangles, hand-cut brass, powder
coat, 3-1/2 x 3-1/2 inches each
Introduction to Powder Coating
In this workshop students will learn to create a clean, durable, and colorful finish on jewelry and other small metal objects through the industrial process of powder coating. We’ll cover basic methods of application, experiment with alternative processes, and discuss the equipment needed for a powder coating set-up. We’ll make pieces to play with, and students will be encouraged to bring finished pieces, unfinished projects, and lots of metal objects to powder coat. This workshop will provide a practical and accessible finishing option that can easily be integrated into any studio practice. All levels. Code 07MB
Studio artist; teaching: Society for Contemporary Craft (Pittsburgh), Love & Luxe (San Francisco), The Art League (VA); exhibitions: Smithsonian Craft Show, Philadelphia Museum, Turchin Center (NC), Museum of Arts and Design (NYC), LIGHT Art + Design (NC); publications: Ornament, Metalsmith, American Craft.
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