Metals Workshops at Penland

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



SUMMER session 1

May 24 - JUNE 5, 2015


Tara Locklear, Fresh Fancies I Earrings, mild steel, vitreous enamel,

cubic zirconia, gold leaf, 3 x 1 inches


Tara Locklear
Glass on Glass: Vitreous Enamel with Glass Decals

Color and imagery are two of the building blocks that will define this experimental enameling class. We値l explore various enameled surface techniques on lightweight steel, copper, and silver. We値l also use easy computer editing software to create custom glass decals to fire onto enameled surfaces. We値l cover metal manipulation processes and various jewelry fabrication techniques that will help you create finished, functional pieces. Some computer experience will be helpful, but this workshop is open to all levels. Code 01MA

Studio artist; teaching: Brooklyn Metal Works (NYC), Pratt Institute (NYC), Society of Contemporary Craft (Pittsburgh); exhibitions: ACC Baltimore, ACC St. Paul, Racine Art Museum (WI), Velvet da Vinci (San Francisco), J. Cotter Gallery (CO), Light Art & Design (NC), collections: Racine Art Museum



Carol Webb, Curve Pin,etched and patinated copper,

fine silver laminate, etched through copper,

22k gold, 3 x 2 x 1/4 inches


Carol Webb
3D Etching & Other Possibilities

Students in this workshop will have an opportunity to rethink their own visual language as they design and construct jewelry or small objects incorporating space, texture, color, and imagery. Students will make and etch copper-silver laminate to produce detailed imagery, and they will etch through nickel, copper, and brass. Other processes will include scoring, die forming, fold forming, coloring, riveting, soldering, and making metal dies to roll prints. We値l also discuss finishing and sealing techniques. Basic sawing, filing, and soldering skills required. Code 01MB


Studio artist; teaching: Revere Academy (CA), Houston Metal Arts Guild (TX), Arrowmont (TN), Denver School of Metal Arts, Peters Valley (NJ); exhibitions: Renwick Gallery (DC), Smithsonian Craft Show (DC), Society of Arts and Crafts Boston, National Ornamental Metal Museum (Memphis), Velvet da Vinci (San Francisco).






SUMMER session 2

JUNE 7 - 19, 2015


Simon Cottrell, Double Barreled Bud Bud,

Monel 400 alloy, stainless steel,

63 x 17-3/4 x 11-3/4 inches


Simon Cottrell
Building the Intangible

What might happen if we considered the wearer/viewer痴 perceptions of the jewelry object as the end point of our creative process? This workshop will critically explore the relationships between the material processes we use and the way we want our work to be perceived by others. Our goal is to unveil the fundamental priorities of each student痴 creative process. We値l focus on jewelry-scale metal construction as a means to evoke specific responses. Basic sawing, filing, and soldering skills required. Code 02MA

Lecturer in goldsmithing and silversmithing at Australian National University; representation: Sienna Gallery (MA), Gallery Funaki (Australia), Klimt02 Gallery (Spain), Gallery Wittenbrink (Germany); exhibitions: Studio 20/17 (Sydney), National Gallery of Victoria (Australia), SOFA Chicago.







All workshops in Session 2 will be taught by artists

from Australian National University.

The lower metals studio will be used this session for Gilbert Riedelbauch’s workshop 3D Design: Flat to Form (see Specials).




SUMMER session 3

JUNE 21 - July 3 2015


David H. Clemons, Pebble Necklace, mixed media, 10 inches 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値l explore alternative materials and the requirements of various jewelry formats. We値l 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, 鼎raft in America two-year traveling exhibition.


Jeffrey Clancy, Handsome Pitcher,

pewter, 12 x 7 x 4 inches


Jeffrey Clancy
Pewter: Tavern Mugs to Teaspoons

Often referred to as poor man痴 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値l 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 2J x 1/4 inches


Mi-Sook Hur
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値l cover line drawing, painting, elements of design, color properties, and color theory. Using basic shapes, lines, and colors, we値l 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 inches



Robert Ebendorf, Cornwall, silver, stone,

shells, and bone, 12 inches diameter,

Daniela Antonelli & Robert Ebendorf
Expanding Nature: Sculpture & Adornment

We値l create small sculptures and wearable pieces from interesting remnants of cultural materials and raw natural elements such as rocks, bones, feathers, and wood. We値l 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値l 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 inches


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 inches


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 inches


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 inches



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 inche


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).