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.
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).
SUMMER session 1
May 29 - JUNE 10, 2016
Lola Brooks, Etruscan Horse, bronze, nickel, copper, fine silver,
brass, 2-3/4 x 4 x 1/4 inches
Storytelling & Belt Bucklery
Buckle up! We’re embarking on a journey through the world of storytelling as a means of keeping our pants up. Exploring both traditional and nontraditional concepts of narrative, we’ll make belt buckles to tell all sorts of tales: tall, slim, dark, mysterious, sparkly—whatever suits your fancy. Techniques will include the basics of soldering, forming, fabricating, and finishing nonferrous metals, plus marriage of metals, various stone settings, basic leatherwork, and, of course, storytelling. All levels. Code 01MA
Studio artist; teaching: University of Georgia, Rhode Island School of Design, University of the Arts (Philadelphia), State University of New York at New Paltz (NY); collections: Yale University Art Gallery (CT), Museum of Arts and Design (NYC), Metropolitan Museum of Art (NYC); representation: Sienna Patti Contemporary (MA).
Demitra Thomloudis, Reconstructed: Red Necklace,
concrete, steel, pigment, fiber, resin, 3-1/2 x 4-1/2 x
Hollow Concrete Techniques for Jewelry
In this workshop we’ll create hollow, lightweight objects in concrete/cement and present them in the format of jewelry. We’ll also cover silicone mold making, small scale powder coating, resin, acrylic surface techniques, and metalworking techniques as needed. Research, process, and ingenuity will be key workshop themes. My aim is to spark individual directions within these specific materials or to spark inquiry into the endless supply of materials that exist. All levels welcome, although some metalworking skills will be helpful. Code 01MB
Assistant professor at Kent State University (OH); Houston Center for Contemporary Craft residency; exhibitions: 2013 Beijing International Jewelry Biennial, Museum of the Brazilian Object (São Paolo), Museo Franz Mayer (Mexico City); representation: Charon Kransen Arts (NYC), rose turk—o (VA), Alliages (France), Asher Gallery (Houston).
SUMMER session 2
JUNE 12 - 24, 2016
Ruta Reifen, Crown Gold Ring, 14k gold, rhodolite, rubies,
1/2 x 3/4 x 1 inches
Put a Ring on It!
Students in this wax-carving workshop will create a set of individually-designed rings using different carving and forming techniques. We’ll start with subtractive methods, carving wax with files, burs, and other tools. Then we’ll work additively with soft waxes and by using wax pens and other modeling tools. We’ll also cover alternative approaches to surface embellishment, casting cleanup, and polishing. In addition to technical skills, we’ll work to develop your personal formal language, reflecting on the field’s historic and contemporary practice. All levels. Code 02MA
Studio artist; teaching: School of the Museum of Fine Arts (Boston), Rhode Island School of Design, Pratt Institute (NYC), Shenkar College of Design (Israel), Bezalel Art Academy (Israel), Brooklyn Metal Works (NYC), 92nd Street Y (NYC); representation: Sienna Patti Contemporary (MA), Gallery Loupe (NJ), The Gallery Store (OR), DCA Gallery (Belgium), Eretz Museum (Israel).
Christine Clark, Weight (Kohler), cast iron,
steel, enamel, 120 x 50 x 12 inches
Installation Art & Sculpture
In this workshop we’ll create site-specific works and sculpture in various formats using found and created objects. We’ll emphasize wire as a connector to create structure and foundation. We’ll cover small-scale steel wire welding, wire weaving, rivets, jump ring and chain-making options, simple sewing with fabric, other cold connections, and hardware for found objects. Study will include creating volumetric forms, repetition, and an exploration of multiples with an openness to serendipity. Discussions will cover identifying sites on campus, historical and current installation art practices, and conceptual interpretation of artworks. All levels. Code 02MB
Professor and head of metals at Oregon College of Art and Craft; Oregon Arts Commission fellowship, residencies: Kohler (WI), Ucross Foundation (WY); recent public art commission at Eastern Oregon University; member of Nine Gallery, an alternative art gallery that specializes in experimental and installation-based work (OR).
SUMMER session 3
JUNE 26 - July 8, 2016
Boris Bally, Trussware, .925 silver, largest: 9-1/2 x 2-3/4 x 3/4
Seliena Coyle, Untitled, sterling silver, bog oak, steel wire,
2-1/4 x 3/4 x 2-1/4 inches
Boris Bally & Seliena Coyle
Artful Eating Utensils
Tired of using mundane utensils that ruin the poetry of your meals? This workshop will awaken your cutlery sets by recycling them into the tabletop crown jewels they were meant to be. Students will transform flatware using a variety of materials and techniques. Demonstrations will include fabrication, marriage of metals, cold joining, stonesetting, hinges, simple forging, and much more. Students may also design and create utensils from scratch. We’ll explore structure, design, and conceptual issues. We’ll share discussions and sources of inspiration with David Clarke’s workshop. All levels. Code 03MA
Boris: studio artist; teaching: Haystack (ME), Arrowmont (TN); collections: Museum of Arts and Design (NYC). Seliena: studio artist; teaching: Indiana University, National College of Art & Design (Ireland); exhibitions: National Craft Gallery (Ireland), Electrum Gallery (London).
David Clarke, Yea Ha, Knocked Up, and Mind Your Back, pewter,
electroplated nickel silver, 4-3/4 x 4-3/4 x 3 inches
This workshop will explore the landscape of the table. We’ll start with our relationship to common objects—cups, bowls, jugs—and explore why they are important to us. Assignments will produce 3d sketches and samples. Materials including found objects, silver, copper, and pewter will be questioned and reformatted to reveal new possibilities. Students will follow their own lines of inquiry to make models, test pieces, prototypes, and finished work. This is a nontechnical workshop for students interested in developing ideas. We’ll share discussions and sources of inspiration with Boris Bally and Seliena Coyle’s workshop. Intermediate/advanced: sawing, filing, and soldering skills required. Code 03MB
Studio artist, visiting professor at Konstfack Sweden; collections: Victoria and Albert Museum (London), National Museum (Norway), Röhsska Museum (Sweden).
SUMMER session 4
July 10 - 22, 2016
Elizabeth Turrell, Pages for a Book, industrial vitreous enamel,
steel, 3 x 2-1/4 inches each
Mark Making & Tactile Surfaces in Enamel
By using sgraffito, a fluid and spontaneous technique of direct drawing and mark making through unfired enamel, one can achieve sensitive and delicate lines or bold and strong marks. These designs can be further enhanced by abrading the fired surface; it is possible to rub through layers of enamel to hidden levels, revealing subtle line, color, visual texture, and the thinnest layers of enamel, and creating a sensuous and tactile surface. We’ll also explore the development of texture through the inclusion of sands, earths, and metal oxides in the enameling process. All levels. Code 04MA
Studio artist, curator, adjunct professor at RMIT University (Australia); teaching: Haystack (ME), Arrowmont (TN), Tainan National University of the Arts (Taiwan); collections: British Museum (London), City of Frydlant Museum (Czech Republic), Musée de l’Eveché (France), National Museum of Scotland (Edinburgh).
Daniel DiCaprio, Ripening II, ebony, silver, stainless steel,
4 x 2-1/2 x 2-1/2 inches
This workshop will focus on woodcarving techniques with an emphasis on jewelry applications. We’ll use traditional and contemporary practices to create ornate, lightweight, wearable objects. The workshop will include some metal fabrication in the form of pinbacks, bales, and clasps. Students with previous metals experience will be able to incorporate carved wood into their work, but no metalworking skills are required. We’ll cover safe studio practices. All levels. Code 04MB
Assistant Professor of Metalwork at University of Louisiana; teaching: Arrowmont (TN), Society for Contemporary Craft (Pittsburg), Virginia Commonwealth University, Indiana University; exhibitions: Kobe Design University (Japan), Museo Nazionale di Villa Guinigi (Italy); publications: Metalsmith, American Craft, Ornament.
SUMMER session 5
July 24 - August 9, 2016
Suzanne Pugh, Repercussions, bronze,
8 x 6 x 3 inches
Breaking the Mold
Unconstrained by the size limitations of centrifugal and vacuum casting machines, we’ll explore larger work through a metalsmith’s approach to gravity casting. We’ll cast objects or vessels up to four pounds in various materials including sterling silver, bronze, and shibuichi. We’ll also cast elements to incorporate into larger pieces through soldering or cold connections, and we’ll cover some moldmaking techniques. Expect to finish two or three pieces; however, the emphasis will be on process, experimentation, and developing your work. There will be exchanges and possible collaborations with the electroforming workshop downstairs. All levels. Code 05MA
Associate Professor at City College of San Francisco; teaching: University of Georgia Cortona Program (Italy), Peters Valley (NJ), Metalwerx (MA); exhibitions: Five Pins Project (CA); HYART Gallery (WI); published in The Metalsmith’s Book of Boxes and Lockets and Chasing and Repoussé (Brynmorgen Press).
Maria Phillips, Seep, electroformed copper,
enamel, sterling silver, stainless steel,
5 x 1-1/2 x 1/2 inches
Like cherished “bronzed” baby booties, different materials and metals can be captured, enhanced, and rendered permanent through the process of electroforming. Within an electrically-charged copper chemical bath, layers of metal will “grow” onto a surface, producing forms that can be extremely delicate or dense and rigid. We’ll discuss potential pieces, cold connections, soldering, and surface applications for jewelry and small objects. Bring your tricks, your imagination, and your patience. There will be exchanges and possible collaborations with the casting workshop upstairs. All levels. Code 05MB
Studio artist; teaching: Rhode Island School of Design, Cranbrook Academy of Art (MI), California College of Art; residencies: Kohler Arts/Industry Program (WI), Oregon College of Arts and Crafts; collections: Museum of Arts and Design (NYC), Renwick Gallery (DC), Tacoma Art Museum (WA), Kohler Company (WI).
SUMMER session 6
August 14 - 26, 2016
Biba Schutz, Pooling Necklace, oxidized sterling silver, blown
borosilicate glass, 7-1/2 x 8 x 1-3/4 inches
One Is Not Enough
What do you do when you make a piece you love and you want to build on that idea without repeating yourself? We’ll share ideas and the creative process while building a body of work for multiples or editioned and one-of-a-kind jewelry. I will help students explore and problem-solve at their own skill level. Techniques and demonstrations will be introduced on an as-needed basis depending on individual projects, but will include soldering, constructions, attachments, connections, settings, and sawing. Experimentation encouraged. This is not a material-specific workshop; bring whatever teases your senses. All levels. Code 06MA
Studio artist; residency at Corning Museum (NY); collections: Museum of Fine Arts Boston, Corning Museum, Racine Art Museum (WI), Renwick Gallery (DC); solo exhibitions: Sienna Gallery (MA), Gallery Lulo (CA), Loupe Gallery (NJ), Lillstreet Art Center (Chicago).
Hiroko Yamada, Fall, silver, copper, mokume-gane, 3 x 2-1/2 x 1/4
Kiyoko Fujie, Untitled, brass, silver, 22k gold, 18k gold, 8 x 6 x 6
Kiyoko Fujie & Hiroko Yamada
Working with Traditional Japanese Metal Techniques
Students in this workshop will focus on basic forming and texturing techniques, beginning with an introduction to chasing and repoussé. Then we’ll progress to other processes, introducing Japanese surface decoration techniques including zogan (inlay with wire, sheet metal, or foil), engraving, and patina. We’ll explore Japanese alloys such as shakudo,
shibuichi, kuromido, and mokume-gane. Students will make some of their own tools. All levels. Code 06MB
Kiyoko: studio artist; teaching: Yamawaki Art College; exhibitions: Japan Traditional Art Crafts Exhibition, Art Exhibition of Kita-ku (Japan). Hiroko: studio artist, owner of HYART Gallery (WI); teaching: Kobe Design University (Japan), Haystack (ME), School of Arts and Crafts (Tokyo); exhibitions: SOFA Chicago, Patina Gallery (NM), Dan-Ginza Gallery (Japan).
SUMMER session 7
August 28 - September 3, 2016
Robert Thomas Mullen, Tähtsus, plywood, silver, lead, paint,
6 x 3 x 1 inches
Robert Thomas Mullen
Every material, old and new, has its own criteria for handling, shaping, and attaching. Students in this workshop will look for small details in the environment as they collect and combine dissimilar materials of their choosing. We’ll cover whatever skills students need to connect these materials and incorporate them into finished pieces of jewelry or functional objects. This workshop is about exploring different materials and your surroundings through problem-solving, discussions, and thoughtful design. Demonstrations will include cold-joining techniques, stonesetting, woodcarving, hand fabrication, and mechanisms. All levels. Code 07MA
Studio artist; teaching: Craft Alliance (St. Louis), St. Louis Community College, Society for Contemporary Craft (Pittsburgh); representation: Society for Contemporary Craft, Asher Gallery (TX), Craft Alliance.
Venetia Dale, Retain tag for reference, pewter, found tags,
8 x 6 x 18 inches
Introduction to Pewter Casting & Fabrication
Cast pewter figurines, thimbles, and souvenir spoons live in homes and stores and remind us that pewter is alive and well among objects in our material world. What about the handmade? Pewter has exemplary properties for manipulation via casting, fabricating, and forming. Students will explore basic pewtersmithing fabrication techniques and casting processes, applying these skills toward wearable, functional, and sculptural outcomes. All levels. Code 07MB
Studio artist; teaching: Massachusetts College of Art and Design; residencies: Kohler Arts/Industry Program (WI), Oregon College of Art and Craft; exhibitions: Find and Form Space (Boston), Harvard Ceramics Gallery (MA), Proteus Gowanus (NYC), James Watrous Gallery (WI), SOIL Gallery (Seattle).
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