Special Workshops at Penland

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

Enrollment for summer and fall 2016 and spring 2017workshops is currently open. Workshops are filled on a first-come, first-served basis, and enrollment remains open until all class spaces are full or the workshop begins.

 


 

 

SUMMER session 5

July 24 - August 9, 2016


Mark Melonas, Angular Sink with Disappearing Drain, fiber

reinforced concrete, 5 x 36 x 24 inches

 

Mark Melonas
Concrete: Renegade Alchemy

Concrete is an elegant and useful material with a long history but a small representation in the craft and design world. Through individual projects, demonstrations, and a class project, we値l cover preparation of concrete molds, including wood, plastic, rubber, plaster, and fabric; color and texture; concrete mixes for various applications; and casting techniques including wet-cast and GFRC spray techniques. We値l discuss design, concrete as a surface material in the home, artists and craftpeople using it today, and practical concerns for using it in your studio. All levels: familiarity with hand tools and power tools for mold making will be helpful. Wood studio. Code 05W

 

Studio artist; designs and builds custom furniture in concrete, wood, and steel as director of Luke Works Studio (Baltimore); teaching: Baltimore School for the Arts, University of Massachusetts-Dartmouth.

 

 

 


 

 

SUMMER session 7

August 28 - September 3, 2016


Geoffrey Gorman, Occidentalis is Hungry, mixed-media, found

objects, 41 x 41 x 15 inches

 

Geoffrey Gorman
The Soul of Forgotten Materials

This workshop will cover innovative ways to create structures and forms using organic, found, and recycled materials. Students will learn to use photographs and sketches to design large sculpture. We値l carve rigid foam to make armatures, use wire for joinery, and create accents with old hardware. Materials might include canvas, bike tires, old metal objects, and anything students bring with them. We値l consider how to build something interesting while still creating objects with structural integrity. We値l use simple chemicals to create patinas on a variety of metals. All levels: experience with hand tools and small power tools will be helpful. Flex studio. Code 07TB

 

Studio artist; workshop teacher for ten years; exhibitions: Craft Alliance (St. Louis), Cheongju International Craft Biennial (Korea), Jane Sauer Gallery (NM); collections: Racine Art Museum (WI), University of Colorado.

geoffreygorman.com

 

 

 

 

 

 

 


 


Deborah Horrell, Ruby Throated Hummingbird, glass,

vitreous enamel, 5-3/4 x 5-3/4 x 1/2 inches

 


Tom Spleth, Pull My Finger, slipcast porcelain cup,

3-3/4 x 3 x 3 inches

 

Deborah Horrell & Tom Spleth
Small, Smaller

The faces of our phones are windows that look into the universe. Small is a fact of life today and how small makes and affects meaning is the kernel of this workshop. Whatever the medium, intense opportunities for art-making can arise when the first constraint is small. The goal will be to find out what makes an idea big when the modus operandi is small. Printmaking, mold making, and slipcast porcelain will be our methods and materials of choice as we make small objects and images. All levels. Lower clay studio. Code 07CB

 

Deborah: studio artist, workshop teacher; representation: Elizabeth Leach Gallery (OR); collections: Portland Art Museum (OR), Mint Museum (NC), Racine Art Museum (WI). Tom: studio artist; teaching: Alfred University (NY), Haystack (ME), Anderson Ranch (CO); collections: Kohler Co. (WI), Rhode Island School of Design.

deborahhorrell.com

spleth.com

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

Fall Concentration
September 25 - November 18, 2016


Rachel Meginnes, 100 lb, pulled thread embroidery, vintage

feedsack, various cotton fabrics, acrylic, India ink, 32 x 32 inches

Rachel Meginnes
The Thread Between

All aspects of life inform the work we make, and harnessing this knowledge is key to developing a clear artistic voice. Exploring everything in the textiles studio from woven structures to dyed and manipulated surfaces, students will have access to new methods and materials as they are guided through exercises that support artistic development. The workshop will include readings, writing, discussions, presentations, and one-on-one consultations. This class is designed for students eager to develop a studio practice and a serious body of work; artists working in other media who are interested in working with fiber are encouraged to enroll. All levels. Code F00TB


Studio artist; teaching: Earlham College (IN), Haywood Community College (NC), Haystack (ME), Arrowmont (TN), Penland; residencies: Jentel (WY), Glen Lake Arts Association (MI), Penland School resident artist; collections: Fidelity (NC), Cameron Art Museum (NC); representation: Blue Spiral (NC).

plainweavestudios.com

 

 

 


 


Daniel Essig, Icon, holly, mahongony, milk paint, handmade paper,

mica, printers type, Ethiopian and Coptic bindings, 9-1/4 x 7 x

2-1/2 inches

Daniel Essig
Books, Relics, Curiosities

This workshop will use wood to explore and honor elements of the book. After learning the basics of woodshop safety and tool use, we値l investigate the infinite possibilties of book-based sculpture. Techniques will include carving, turning, burning, sanding, altering, distressing, painting, and bookbinding. Students will be encouraged to collaborate and to explore alternative materials. They can expect to complete a series of book sculptures. We値l have daily demonstrations as well as discussions of historic and contemporary book forms. Everyone is welcome: book artists, woodworkers, curious beginners, etc. All levels. Code F00W


Studio artist; teaching: Anderson Ranch (CO), Arrowmont (TN), University of Georgia Cortona Italy Program, Penland; collections: Renwick Gallery (DC), Mint Museum (NC); representation: Vamp and Tramp Booksellers (GA); publications: The Penland Book of Handmade Books, Masters: Book Arts (both Lark Books).

danielessig.com

 

 

 

 

 


 

 

Fall One-Week Session 1
October 9 - 15, 2016


Alice Ballard, gift from Alex, charcoal, ebony pencil, conte,

22 x 20 inches

 


Alice Ballard, Quince, white earthenware, terra sigillata,

12 x 7 x 9 inches

 

Alice Ballard
Finding Your Form Through Drawing & Clay

In this process-oriented workshop, we値l move back and forth between clay and various drawing media, seeking inspiration from the beautiful Penland setting and the host of natural forms within that environment. Working inside and outside the studio, our ideas and materials will be our partners, and the creative process will lead us. Artists who are used to working in two dimensions and those who usually work in three will all benefit from the contrast and combination of these two ways of working. We値l use earthenware clay and have some electric firing for small pieces, and we値l make lots of drawings. All levels. Code F01CB


Studio artist; teaching: Francis Marion University (SC), Arrowmont (TN), Governor痴 School for the Arts and Humanities (SC); Fulbright Fellowship, two South Carolina Arts Commission fellowships; solo exhibitions: Eno Gallery (NC), Greenville County Museum of Art (SC), Sumter Museum of Art (SC); collections: Renwick Gallery (DC), Mint Museum (NC).

aliceballard-blog.com

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


 

 

Fall One-Week Session 3
November 6 - 12, 2016


Bryce McCloud, Our Town Together Heroic, large-scale stamps

stoneware, slip, 27 x 19 x 8 inches

 

 

 

 

Bryce McCloud
Analogue Social Media

This workshop will tap into the power of printmaking as a handmade social medium.Working with relief printing痴 ability to create multiple images, our mission will be to find novel ways to work together and interact with a community. Like playful scientists we値l create socially-driven printmaking experiments, imagine ways to involve people outside of our studio, and then use the community at Penland as our testing ground. We値l brainstorm and refine ideas that may be realized during the session or at other times and places. We値l cover relief printmaking skills and discuss other tactics for engaging the public with your work when you head home. Printmaking or letterpress experience will be helpful, but this workshop is open to all levels. Code F03L


Studio/public artist, founder of Isle of Printing, a letterpress and fabrication shop (Nashville); teaching: Watkins College of Art (TN), Brighton College of Art (UK); public art: Our Town Nashville (TN), Pinewood Social (TN), Invasion UK (Brighton, UK), South by Southwest (TX).

isleofprinting.com


 


 

 

Spring One-Week Session 1
March 26 - April 1, 2017


Joe Dinwiddie, Sandstone Retaining Wall, sandstone,

4 x 95 x 2 feet

Joe Dinwiddie
Drystone Masonry

This workshop will explore drystone masonry: design, tools, safety, and application. Students will develop a global perspective on the craft through multimedia classroom meetings, and we値l wrestle large rocks in the mud. Together we値l repair existing stonework on the Penland campus as a way to creatively apply the stonemasonry wisdom of those who have come before us. Most of our work will remain on campus, but we値l also explore the possibilities of carving rock for those interested in taking something with them. All levels. Code S01CB


Stone mason; teaching: Touchstone (PA), Campbell Folk School (NC), Warren Wilson College (NC), Pennsylvania Council on the Arts, Pennsylvania Humanities Council, Black Mountain Center for the Arts (NC), Olmsted Parks Conservancy (KY), Asheville City Schools (NC), Pine Mountain Settlement School (KY); commissions across the U.S and in Scotland.

drystonejoe.com

 

 

 

 


 

 

Spring One-Week Session 2
April 9 - 15, 2017


Erin Keane, Vignettes, journals with encaustic covers,

3-1/2 x 2-1/2 x 3/4 inches

Erin Keane
Encaustic Books: Wax, Paper, Thread

Wax nostalgic, wax poetic, wax philosophical, and wax creative. We値l explore the use of encaustic painting in the creation of books and journals. Thin wood panels will be transformed into richly-layered and textured book covers. Papers infused with beeswax, imagery, and words will become journal pages, and these pages will be bound into tactile, tantalizing books. Daily demonstrations in encaustic, journaling, and bookbinding (Coptic/longstitch) will guide experimentation. Your books can be thematic, conceptual, or simply full of creative meanderings. All levels. Code S02D


Studio artist; teaching: EncaustiCamp/OPENstudio (WA/KY), Campbell Folk School (NC), River痴 Edge Studio (NC); published in Encaustic Arts; collections: Mission Health (NC); representation: Southern Highland Craft Guild (NC), 310 Art Gallery (NC).

erinkeane.com

 

 

 


 

 

Spring One-Week Session 3

April 23 - 29, 2017


Bhavna Mehta, Gush (detail), paper, 60 x 48 inches

 

Bhavna Mehta
Cut, Fold, Sculpt

The flatness of paper will serve as an inviting platform for the transformation of ideas. Students will explore cutting, folding, sewing, and manipulating paper. We will begin with simple exercises that will start to expand the medium of paper into objects and stories. Paying attention to color, shape, pattern, and texture, students will learn to take an idea, drawing, or story and translate it into paper using various cutting techniques, with an emphasis on the personal and the collaborative. We値l discuss contemporary works and paper as a hot design medium. All levels. Code S03B

 

Studio artist; teaching: University of California San Diego Extension, San Diego Book Arts (CA), Lux Art Institute (CA); Creative Catalyst Grant, San Diego Emerging Art Prize; recent exhibitions: Oceanside Museum of Art (CA); collections: Geisel Library Special Collections (CA), public art commissions: Long Beach Transit Mall (CA).

bhavnamehta.com