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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 1
May 25 - June 6
Linda Threadgill, Rosette Brooch No. 15-11,
brass, copper, polymer clay, 4 x 4 x 1G inches
Surface & Pattern
In this workshop students will design and make wearable or sculptural metal objects that have unique surface design as an important element. We’ll cover designing repeat patterns, the interaction of surface and form, and the influence materials and techniques have on ornament. Our technical approach will include etching, embossing, plating, color on metal, methods of duplication, making tools, and a variety of construction methods using textured metals. All levels. Code 01MA
Studio artist, adjunct professor at Institute of American Indian Arts (Santa Fe), professor emerita from University of Wisconsin-Whitewater; American Craft Council fellow, National Endowment for the Arts fellowship; exhibitions: Mobilia Gallery (MA), Patina Gallery (Santa Fe), SOFA New York; collections: Victoria and Albert Museum (London), Renwick Gallery (DC), Museum of Fine Arts (Boston).
Arline Fisch, Knitted Bracelets, coated copper wire,
machine knit, crochet edges, largest:
6 x 5 inches
Textile Structures in Metal
This intensive workshop will cover a variety of interlacing structures using thin sheet metals and small-gauge wires. Students will make small samples of a number of different structures. Each sample will be a complete unit with edges and surfaces finished in a manner appropriate to the process used. Students will then complete one or more fully realized pieces based on selected samples or techniques. Materials include silver, copper, brass, and aluminum. No prior fiber or metalworking knowledge required. All levels. Code 01MB
Studio artist; retired professor from San Diego State University; American Craft Council fellow and gold medal recipient, USArtists fellowship, four Fulbright grants, James Renwick Alliance Distinguished Craft Educator Award; collections: Museé des Arts Décoratifs (Montreal), Renwick Gallery (DC), Museum of Arts and Design (NYC), Victoria and Albert Museum (London), Museum of Fine Arts (Boston), Powerhouse Museum (Sydney).
Summer Session 2
june 8 - 20
Marjorie Simon, Dwelling, vitreous enamel on copper,
folded, stitched, fabricated, largest: 3 x 3 x 4 inches
Wet, Dry, Flat, Folded
Build a box or bowl and cloak it in a skin of glass! This workshop will explore simple folding and stitching techniques for creating three-dimensional metal forms to be enameled. Using liquid and sifted enamels, students will experiment with a variety of surface techniques while solving the construction issues involved in fabricating small objects or jewelry. We’ll make paper models to use as templates for possible multiples. All levels. Code 02MA
Studio artist; teaching: Haystack (ME), Arrowmont (TN), Peters Valley (NJ), Southwest School of Art (TX), 92nd St. Y (NYC), Rutgers University (NJ), Oregon College of Art and Craft; exhibitions: Velvet da Vinci (San Francisco), SOFA New York and Chicago, Sienna Gallery (MA), Aaron Faber Gallery (NYC), Mobilia Gallery (MA), Racine Art Museum (WI), Charon Kransen Arts (NYC).
Michael Good, Double Cuff Bracelet, 18k gold,
1J inches wide
Julia Woodman, Rabinovitch Hob
Nail Goblet, sterling silver, vermeilled,
8 x 3 inches
Michael Good & Julia Woodman
A series of exercises will lead students to a firm understanding of the technique of anticlastic raising: moving metal from a flat sheet into a three-dimensional form using only simple sinusoidal stakes and hammers. The result could be jewelry, small objects, or samples. Julia Woodman will co-teach for the first week. All levels. Code 02MB
Michael: studio artist; known as the father of anticlastic raising; teaching: Haystack (ME), Royal College of Art (London), Metalwerx (MA); exhibitions: National Ornamental Metals Museum (TN), Concepts (CA), Gallery Aurus (Paris); has been a goldsmith and teacher since 1969.
Julia: studio artist; teaching: Spruill Center for the Arts (Atlanta), Chastain Arts Center (Atlanta); Fulbright scholarship; certified as master silversmith in Finland; collections: High Museum (Atlanta), Victoria and Albert Museum (London), Temple Sinai (Atlanta), Holy Innocents Episcopal Church (Atlanta), Cathedral of Saint Phillip (Atlanta), St. Thomas More Catholic Church (Atlanta).
Summer Session 3
june 22 - july 4
Tim Lazure, Untitled, silver, nail, tourmaline
Jen Townsend, Calla Lily Ring, 14k palladium white
gold, 18k yellow gold, diamonds
Tim Lazure & Jen Townsend
This workshop will offer a unique opportunity to see two very different approaches to ring making. We’ll cover a range of techniques from basic fabricating to lost-wax casting and make everything from understated bands to sculptural and flamboyant cocktail rings. We’ll also address object capture—whether this means a stone or some alternative material featured in the ring. We’ll discuss the meaning of rings throughout history and what these little pieces have to offer conceptually. Symbolizing love, status, affiliation, or commemoration, rings are small but potent. Come join the two-ring circus! All levels. Code 03MA
Tim: associate professor at East Carolina University (NC); collections: Mint Museum (NC), Gregg Museum (NC); shows his jewelry, silversmithing and furniture nationally and internationally.
Jen: studio artist; teaching: Southwest School of Art (TX), Rochester Institute of Technology (NY); collection: Imperial War Museum (London); work published in 500 Art Necklaces (Lark) 500 Gemstone Jewels (Lark), and Art Jewelry 2 (Schiffer); member of the SNAG board.
Kat Cole, L Dub Brooch, brass, found objects,
tin, steel, 3 x 1H x H inches
Found & Fabricated
This class will deconstruct, reconfigure, and seek new contexts for found and appropriated materials in jewelry. We’ll explore the familiar in new ways and use traditional techniques with unusual materials. The workshop will include demos on a variety of capturing and cold-connection methods. We’ll also cover simple fabrication, soldering, and jewelry findings. Design challenges and making samples will prepare students to complete a small collection of finished pieces. Beginning and advanced metalsmiths are encouraged to come explore new methods and materials. All levels. 03MB
Studio artist; teaching: Western Michigan University, East Carolina University (NC); exhibitions: Society for Arts and Crafts (Boston), Velvet da Vinci (San Francisco), Facere Art Jewelry (Seattle), Kathleen Sommers Gallery (TX), Equinox Gallery (TX), Imperial Center (NC); collection: Museum of Arts and Design (NYC); work featured in 500 Enameled Objects (Lark) and Art Jewelry Today 3 (Schiffer).
Summer Session 4
JULY 6 - 18
David Butler, Green Tourmaline Ring, sterling silver,
Setting Stones & Making Clasps
Advanced jewelry techniques, such as faceted stone setting and making hinges and clasps, usually come later in one’s technical development. Now is the time to take that next step! This workshop will cover different types of faceted stone settings, including bezel, channel, prong, and gypsy. We’ll also cover bead setting using gravers. Along with working with stones, we’ll focus on making hinges and clasps, especially box clasps. Making a bracelet with stone settings and a box clasp is fun, and just one of the possible results of this class. Basic sawing, filing, annealing, and soldering skills required; fabrication skills will be helpful. 04MA
Professor at Pratt Institute (NYC); other teaching: Arrowmont (TN), Peters Valley (NJ), Worcester Center for Crafts (MA); exhibitions: Mobilia Gallery (MA), Aaron Faber Gallery (NYC), National Ornamental Metals Museum (TN), Crocker Art Museum (CA), Mint Museum (NC), OXOXO Gallery (Baltimore), American Institute of Architecture (Seattle); representation: Mobilia Gallery (MA); work published in Metalsmith and American Craft.
Ndidi Ekubia, Sparkle Vase,
Britannia silver, 8O inches tall
Metalsmithing: Rhythm, Form, Flow, & A Touch of Sparkle
Taking inspiration from natural forms in the Penland landscape, students will create fluid and sensual pieces with sculptural identity and functional purpose. We’ll practice the traditional technique of hand raising. We’ll start with a lifeless, machined sheet of metal, beat it to shape on hollowed blocks and shaped anvils, anneal it at the hearth, and create rhythmic form. Next we’ll deploy an array of hammers to develop surface sparkle and texture, pushing the material to its limits and imbuing it with flow and vitality. We’ll work in copper or silver with a goal of displaying emotional response through the metal. All levels. Code 04MB
Studio artist; teaching: Greenwich Community College (UK), Richmond Community College (UK); exhibitions: Cooper Hewitt National Design Museum (NYC), Museum of Arts and Design (NYC), Armory Show (NYC), Milwaukee Art Museum, Sothebys (London), COLLECT (UK); collections: Victoria and Albert Museum (London), National Museum Wales, Winchester Cathedral (UK); senior fellow and trustee of the Bishopsland Educational Trust, freeman of the Goldsmiths’ Company of London.
Summer Session 5
JULY 20 - AUGUST 5
Lawrence Woodford, Sacred Stone,
Sacred Geometry, silver, wood,
earthenware, paint, glass, topaz,
gold leaf, 20 x 5 x 1H inches
Methods for New Materials in Contemporary Jewelry
As the visual language of jewelry changes, so do the methods and processes of making. This workshop will focus on fabricating jewelry and objects made from materials not normally used for adornment. Plastics, found objects, fabric, paper, paint, rope, porcelain, irregular stones, and metals will be sawed, pierced, riveted, filed, cemented, set, and assembled into constructed forms and finished pieces. The objective is to learn about innovative and exciting materials while problem solving and making beautiful art jewelry. The work made will enable the artist to think outside of the box, reinterpret process, and explore alternatives to traditional techniques in ornamentation. The work may also serve as a reference point for future endeavors.
Workload:Students will be expected to conduct research, make models, and gather materials. The class will have eight projects total. The first five projects will be an exploration in working with nontraditional and new materials. The final project will be to produce a collection of three narrative pieces that are conceptually connected. The last part of the workshop will be devoted to the execution of these pieces. All levels. Code 05MA
Studio artist; teaching: Sydney College of Art (Australia), Nova Scotia College of Art and Design; exhibitions: Metalab/Courtesy of the Artist (Sydney), Seeds Gallery (Nova Scotia), SOFA Chicago, Seeds Gallery (Nova Scotia), Lafreniére & Pai Gallery (Ottawa), Velvet da Vinci (San Francisco).
Liza Nechamkin Glasser, Hibiscus Flower, sterling silver,
2 x 2 inches
Liza Nechamkin Glasser
Chasing & Repoussé: A Comprehensive Survey
Chasing and repoussé have been employed around the world for centuries and continue to be used, despite the advent of mechanized processes, because of the special qualities they impart to fine metalwork. We’ll make jewelry-scale work and cover most aspects of chasing and repoussé, with an emphasis on comprehension of the process. We’ll cover preparing a pitch bowl and working with pitch, correct use of tools, design transfer, chasing decorative lines, high and low relief, direct and indirect repoussé, and chasing on small holloware pieces. Students will make several chasing tools to keep. All levels. Code 05MB
Studio artist, owner of a custom silver and restoration business and creator of Nechamkin Chasing Tools; former silversmith/chaser for Tiffany and Company (NJ); teaching: 92nd St. Y (NYC), Peters Valley (NJ), Appalachian Center for Craft (TN), Colonial Williamsburg (VA), Rhode Island School of Design, Touchstone (PA), Newark Museum (NJ); exhibitions: Chrysler Museum (VA), Jersey City State College; work published in Chasing and Repoussé: Methods Ancient and Modern by Nancy Megan Corwin.
Summer Session 6
AUGUST 10 - 22
Barbara McFadyen, Two Spoons…, enamel on steel,
paper, 1I x 1I inches each
Scratch & Sift: Enamel on Steel
Learn wet and dry enamel as you paint, scratch, draw, and layer your imagery on steel. Students will explore the use of color and texture, from sifting and stenciling to painting and sgraffito. We’ll also cover decal transfers, china paints, gold foil inlay, pencil and oxide underglaze painting, and acrylic, liquid, and watercolor enamels. The emphasis will be on small-scale wearable pieces or small objects (buttons, book covers, box lids). Traditional enameling on copper and silver with some setting techniques for wearable objects will also be demonstrated. All levels. Code 06MA
Studio artist; teaching: Peters Valley (NJ), Campbell Folk School (NC); exhibitions: Studio Fusion Gallery (London), Light Art + Design (NC), Cedar Creek Gallery (NC), Mindscape Gallery (IL), Sheila Nussbaum Gallery (NJ); work published in The Art of Enameling by Linda Darty, The Art of Fine Enameling by Karen L. Cohen.
Gary Schott, Wowzers!, red brass, copper,
espresso can, paint, patina, 12 x 5 x 5 inches
Students in this workshop will be introduced to simple mechanisms (levers, cranks, cams, linkages, gears, pulleys) and explore their endless applications and combinations. We’ll begin by discussing basics with the aid of videos and models and then move onto working samples using simple and affordable materials (wood, foam board, plastic, wire, mat board). The class will culminate with each student designing and creating a working prototype “plaything.” While metalworking is not a focus of this workshop, students experienced with metals are welcome to apply these skills to their final project. All levels. Code 06MB
Chair of metals at the Southwest School of Art (TX); Society for Contemporary Craft LEAP Award (Pittsburgh); exhibitions: Houston Center for Contemporary Crafts, Arkansas Arts Center, Scottsdale Center for the Performing Arts (AZ), Facere Jewelry Art Gallery (Seattle), Bellevue Arts Museum (WA).
Summer Session 7
AUGUST 24 - 30
Stacey Lane, Rabbit in a Thicket, sterling silver, 18k gold
This class will be an intensive introduction to the remarkable process of lost-wax casting. We’ll use soft waxes to create original models for jewelry and small objects and cast these objects in silver or bronze using a centrifugal machine. Along the way, we’ll experiment with stonesetting in wax, bi-metal casting, and approaches to working that minimize our impact on the environment. Seeking inspiration in jewelry’s rich history, we’ll explore what it might mean to making today. All levels. Code 07MA
Studio artist and Penland’s manager of community collaboration; former Penland metals studio coordinator; teaching: Arrowmont (TN), Penland; representation: Penland Gallery, Crimson Laurel Gallery (NC), The Bascom (NC), Mora Gallery (NC).
Amy Tavern, Sea and Land, Land and Sky,
sterling silver, 24 x 2H x 1H inches
A Complete Thought
Students will be challenged to think beyond traditional jewelry design to create a singular piece of jewelry that is both sculptural and wearable. We’ll look to other sources for inspiration: fashion, sculpture, installation. Through demonstrations, discussions, one-on-one sessions, and independent work time, students will create a one-of-a-kind piece of jewelry that is beautifully made and thoughtfully designed in all ways. We’ll focus on the details that make jewelry stronger, more interesting, unique, and personal. Technical demonstrations will include surface design, cold connections, bezel and tab settings, and pin mechanisms, as well as the use of alternative materials. Basic sawing, filing, and soldering skills required. Code 07MB
Studio artist; teaching: Arrowmont (TN), Penland; solo exhibitions: Velvet Da Vinci (San Francisco), Beyond Fashion (Belgium); lectures: California College of the Arts, Alchimia Jewelry School (Italy); work published in 500 Silver Jewelry Designs (Lark) and Metalsmith; former Penland resident artist.
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