Special Workshops at Penland
Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
summer session 1
may 25 - june 6, 2014
Stacy Lynn Smith, Fragment (Yellow),
kilnformed glass, porcelain tile, powder printed,
36 x 30 x H inches
Stacy Lynn Smith
Collected Images: Powder Printing Code
This workshop will explore the powder printing method to create imagery and texture in kiln glass. This technique uses screenprinting methods—pressing dry glass powder, rather than ink, through a prepared screen. Students will learn image preparation, design possibilities, and firing options through hands-on projects, demonstrations, and examples. Building on this foundation, we’ll gather visual information and collect images, which can then be used in the production of finished work. Some images will be created digitally; laptops and basic computer skills will be helpful. All levels. Code 01GB
Studio artist, instructor at Bullseye Glass (Portland, OR); exhibitions: SOFA Chicago, Bullseye Gallery (Portland, OR), Sixth Street Gallery (WA), Washington State University; collection: Alliance for Young Artists & Writers (NYC).
Heather Allen Hietala, Voyage of Knowledge,
steel, gut, seeds, paper, linen, 5H x 17 x 4 inches
Heather Allen Hietala
Gut Containers: From the Inside Out
This exploratory workshop will investigate the container and containment—physically, metaphorically, and in any other way that presents itself. Students will create forms using wire, cloth, gut, handmade paper, and thread. Through a series of studies we’ll consider the properties of our materials: steel is hard, gut and cloth stretch, gut shrinks, stitches bind. We’ll employ basic tinkering and fiber construction techniques—including coiling, stitching, and twining—to construct vessel forms that we’ll enclose with skin. Students will keep journals to record the creative process, from idea to sketch to samples to objects. All levels, but moderate hand skill and dexterity will be helpful. Code 01TA
Studio artist; teaching: Arrowmont (TN), Haystack (ME), Warren Wilson College (NC), Haywood Community College (NC); fellowships: NEA Regional, Tennessee Arts Commission; exhibitions: Elder Gallery (NC), Blue Spiral 1 (NC), Oeno Gallery (Ontario); collections: Racine Art Museum (WI), Biltmore Estate (NC); representation: Blue Spiral (NC), Oeno Gallery (Ontario).
Elizabeth Alexander, Still Life With Gates (detail), paper, glue
Forms in Paper
This workshop will be an in-depth exploration of sculpting with one of the most versatile raw materials: paper. We’ll study contemporary and historical uses of this medium as we conduct technical exercises and develop our own language with paper arts. We’ll cover cutting, folding, forming, assembling, and pop-ups, as we create small sculptures, three-dimensional drawings, and, finally, paper installations. As the work evolves, we’ll have critiques and group discussions. This workshop welcomes anyone who enjoys experimentation, exploration of materials, and working with their hands. All levels. Letterpress studio. Code 01L
Studio artist; adjunct faculty at Lasell College (MA) and Montserrat College of Art (MA); Massachusetts Cultural Council fellowship; residencies: Vermont Studio Center, I-Park (CT); exhibitions: Jane Deering Gallery (CA), Boston Sculptors Gallery, Dana Hall Gallery (MA), Bromfield Gallery (Boston).
summer session 3
may 25 - june 6, 2014
Kelley Knickerbocker, Aurora, stone, glass,
paper, 14 x 12 inches
Strata Various: Modern Mosaics in Mixed Media
After building and rigging durable, lightweight two-dimensional substrates, students will create highly textured “two-and-a-half-dimensional” mosaics of disparate hard materials—both natural and manufactured—using cement mortar as adhesive. We’ll explore and test the unique textural properties of each material and learn to recognize and exploit combinations of angle, height, size, and shape for various visual effects. Using stratification as a compositional framework, we’ll take what we’ve learned and combine/juxtapose stone, glass, metal, ceramic, and other materials into cohesive, visually pleasing, and topographically compelling mosaics. All levels. Code 03GB
Studio artist; teaching: Institute of Mosaic Art (CA), Seattle Mosaic Arts (WA), Artisan Glass (TX), Maverick Mosaics (VA); exhibitions: Museum of Glass (WA), Inscape Arts (WA), Clauiano Art Exhibition Gallery (Italy), Society of American Mosaic Artists (FL, WA), Fremont Jewelry Design (WA), Caffe Appassionato (Seattle); commissions: Hazel Miller Plaza (WA), University of Washington Applied Physics Laboratory; residency: Institute of Mosaic Art (CA).
summer session 4
July 6–18, 2014
Hiroyuki Hamada, #76, painted resin,
46 x 37 x 31 inches
This is a mixed-media exploration into concept, process, and form for artists with an established creative path and way of working. Using simple materials and hand tools brought from their own studios or gathered from the local hardware store—plaster, wood, clay, foam, paper, etc.—students will explore and experiment while motivating and learning from each other. After a brief introduction to each person’s work, Hiroyuki will offer individual and group critiques and discussion.
Topics will include the link between process and materials, moving from idea into two-dimensional or three-dimensional form, allowing accidents in the studio, and techniques in seeing. Throughout the workshop, Hiroyuki will share his own experiences in making and showing work. Conversations will broaden to include the role of artists in society and the relationship between art and the art market. This class will plant seeds, through experimentation and discussion, that will continue to grow long after the class ends. The central theme is finding one's own voice in visual expression. All levels. Code 04CB
Studio artist; residencies: MacDowell Colony (NH), Virginia Center for the Creative Arts, Skowhegan School of Painting and Sculpture (ME); grants: New York Foundation for the Arts, Pollack-Krasner Foundation; exhibitions: Lori Brookstein Fine Art (NYC), Coleman Burke Gallery (NYC), Scope Miami, Scope Basel (Switzerland).
Timothy Maddox, Haybale Studio Sign, sheet metal,
enamel, 18 x 26 inches
The Sign Painter
This workshop will guide students through the traditional techniques of sign painting. We’ll learn to draft letters by hand, practice techniques with lettering brushes, develop casual and script alphabets, create patterns, study 23k gold gilding, and more. After a hands-on study of the basics, students will develop their own projects, at their own pace, in their own style. We’ll paint on any surface that needs a sign, just as a sign painter in the trade would. The history of sign painting will be revealed as we work through the materials and techniques of traditional sign painting. All levels. Code 04X
Studio artist, signmaker; teaching: Arrowmont (TN); Windgate fellowship (NC); exhibitions: Green Hill Center (NC), Converse College (SC), Herron School of Art and Design (IN); collection: Gregg Museum of Art and Design (NC).
Nathalie Miebach, O Fortuna, Sandy Spins,
data, reed, wood, rope, bamboo,
24 x 18 x 18 inches
This workshop will introduce students to basket-weaving techniques (twining, plaiting, coiling, random weave) that can be applied to contemporary sculptural explorations. Using open bases, multiple beginnings, integration of solid objects, mixing traditional and nontraditional materials, and using traditional weaving techniques as binders are just some of the ideas we’ll explore. The emphasis of this workshop is on play and using these sculptural approaches from the perspective of a tinkerer willing to take risks with materials and the outcome of work. All levels, but some sculptural experience will be helpful. Code 04TB
Studio artist; Pollock-Krasner award, TED Global Fellowship; residencies: Amherst College (MA), Fine Arts Work Center (RI); exhibitions: Craft and Folk Art Museum (Los Angeles), Fuller Craft Museum (MA), Museum of Science (Boston); collections: deCordova Sculpture Museum (MA), Spencer Art Museum (KS).
Nathalie explores the intersection of art and science by translating scientific data related to meteorology, ecology, and oceanography into woven sculptures and musical scores/performances. Her main method of data translation is basket weaving, which functions as a simple tactile grid through wich to interpret data into three-dimensional space.
summer session 5
JULY 20 - AUGUST 5, 2014
Jessica Brommer, Bast Derby, leather, size 8
Students in this workshop will make a pair of fully functional leather shoes, built on lasts customized to fit their feet, using only hand tools and century-old techniques. We’ll cover the basic concepts and skills of bespoke footwear, from fitting and last modification, materials selection, pattern tracing, clicking and skiving, sewing, carving the insole, lasting, inseaming, hand-soling, and finishing. Styles will be limited to the classic Oxford, Derby, and Mary Jane, but students will be able to do a great deal of customization through choices in materials and detailing. All levels, although good hand strength is needed. Code 05TA
Studio artist, designer, owner of Stalworth Shoes & Boots (NC); former painter who began making shoes after taking classes at Fashion Institute of Technology (NYC), and apprenticing to showmakers in New York and Oregon; exhibitions: Zeitgeist Gallery (TN), Turner Carroll Gallery (NM), Linda Durham Contemporary Art (Chicago); collections: New Mexico Museum of Fine Art.
summer session 6
AUGUST 10 - 22, 2014
Barbara Cooper, Shear,
wood, glue, 70 x 30 x 12 inches
Have you ever looked at a tree and wondered why it takes on the form it does? If a tree’s form is the sum of its experiences, what does the form tell us? What stresses did it overcome within its environment? We’ll explore how trees grow in response to their environment. We’ll examine connections between the growth patterns in trees and our own work and how that can become both form and content for sculpture or installations. Students will work with recycled/repurposed wood, veneers, and mixed media. Methods will be constructive and direct with a focus on improvisation, experimentation, and idea generation. All levels. Code 06W
Studio artist; teaching: School of the Art Institute of Chicago, William Rainey Harper College (IL), Anderson Ranch (CO); residencies: Vermont Studio Center, Kohler Arts/Industry (WI); exhibitions: Perimeter Gallery (Chicago), Bellevue Arts Museum (WA); collections: The Columbus Museum (GA), Museum of Contemporary Art (Chicago).
Kim Harty, Spectral Cinema, glass, video projection,
120 x 120 x 120 inches
Charlotte Potter, Cellular Reliquary,
SiO2, ash, bone, dust,
30 x 216 x 48 inches
Kim Harty & Charlotte Potter
Glass + Video: Optics of the Lens
This workshop will introduce the properties of hot glass and investigate this material through the optics of the lens. Students will make lenses of various sorts from hot glass, and then make periscopes, kaleidoscopes, and other optical devices. We’ll use these as props and/or filters to create videos that explore differing perceptions of the world around us. We’ll cover basic glassblowing, basic optical science, video capture and editing, and we’ll place glass within the larger context of contemporary art. Projects could include performances, environments, installations, projections, sculptures, and more. All levels. 06GA
Kim: studio artist interested in the intersection of craft, technology, and performance; teaching: Ox-Bow (MI), University of Wisconsin-Madison; Pilchuck Emerging Artist Residency (WA), BOLT Residency at Chicago Artist Coalition.
Charlotte: glass studio manager at Chrysler Museum (VA), teacher at Old Dominion University (VA); exhibitions: Corning Museum (NY), American Museum of Glass (NJ), S12 (Norway), Oklahoma City Museum of Art, Toledo Museum of Art; collections: Chrysler Museum (VA), Museum of Jurassic Technology (Los Angeles).
summer session 7
AUGUST 24–30, 2014
Nancy Blum, Hypocycloids, stainless steel,
sandblasted cast concrete
Developing a Public Art Practice
This workshop will explore the transition from private studio practice to public art practice. Students will be exposed to the possibilities of the field through lectures, conversations, and exercises tailored to each individual’s creative work. Through group and individual discussions, students will gain insight into how their own strengths as makers can be used to address public art opportunities. The workshop will be helpful to artists at any level interested in learning about public art. For those with a developed art practice, it will address the specific possibility of seeing their art exist in public spaces. All levels. Code 07D
Studio artist; grants: Pollack-Krasner Foundation, Peter S. Reed Foundation; exhibitions: Brooklyn Botanic Gardens (NYC), Boise Art Museum (ID), Museum of Contemporary Art (Scottsdale, AZ), Rosamund Felsen Gallery (CA), Reynolds Gallery (VA); public art commissions: Arts for Transit for artwork at the MTA train station in North Ferry Station (NY), Central Corridor Light Rail Transit for integrated artwork at three stations in Minneapolis/St. Paul, San Francisco Arts Commission for a 110-foot-long art glass installation at San Francisco General Hospital, city of Seattle for 50 hatch covers in the streets.
Joe Dinwiddie, Penland Steps and Retaining Walls,
sandstone,salvaged stone from existing steps and
retaining walls, 180 x 72 x 72 inches
Dry Stone Masonry
This workshop will cover the methodology of shaping and setting stone in the landscape without mortar. We’ll discuss tools, safety, design ideas, and global traditions in stonework. We’ll disassemble and then rebuild existing stonework on the Penland campus. All levels. Code 07L
Stone mason; teaching: Pennsylvania Council on the Arts, Asheville City Schools (NC), Campbell Folk School (NC), Black Mountain Center for the Arts (NC); certified as a mason and masonry instructor from the Drystone Walling Association of Great Britain.
Michael Janis, In the Evening Twilight, kiln-formed glass,
glass power, steel, 12H x 12H inches
Compelled by Metaphor
In this workshop we’ll create fused images on sheets of glass. Using glass frit, powders, high-fire enamels, iron-oxide decals, and more to make drawings and images, we’ll develop a vocabulary of items to be used in final projects. With the fired parts, we’ll explore how to make glass artworks that have both visual and spatial depth created by layering and fusing sheets of glass with overlapping elements, producing juxtapositions of imagery that play on light, color, and sequence. All levels. Code 07GB
Co-director of the Washington Glass School (DC); teaching: University of Sunderland (UK), Glass Furnace (Istanbul), Bay Area Glass Institute (CA); Fulbright Scholarship, Saxe Fellowship (CA); exhibitions: Maurine Littleton Gallery (DC), solo show at Fuller Craft Museum (MA); collection: Art Institute of Chicago.
spring session 2
april 5 - 11, 2015
Joy Seidler, Two Moon Journals, paste paper coptic binding,
9 x 12 inches, dust jacket journal with image sewn, 10 x 8 inches
Caverly Morgan & Joy Seidler
Mindfulness & Making
Our workshop will focus on discovering authentic personal entry points into the creative process. Together we’ll explore mindful participation with creativity and with life as we avoid the temptations of control and end-gain. We will use crafts—including pastepaper, journal making, clay work, and other forms—as a vehicle for the practice of presence and receptivity and for experiencing interconnectedness. We’ll also explore meditation, strategies for bringing mindful practices into your life, and the role of service in craft. And we’ll address questions such as, “What does it mean to be a vehicle for creative life force while being an object maker?” and “How can our creative processes assist us in being more awake in the world?” All levels. Code S02CB
Caverly: meditation teacher, Zen practitioner and founding director of One House of Peace.
Joy: studio artist, consultant, educator, trainer of teachers; 20 summers of pastepaper journal workshops in Massachusetts.
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