Special Workshops at Penland

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

Enrollment for spring and summer 2017 workshops is currently open.





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’ll wrestle large rocks in the mud. Together we’ll 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’ll 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.








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’ll 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’s Edge Studio (NC); published in Encaustic Arts; collections: Mission Health (NC); representation: Southern Highland Craft Guild (NC), 310 Art Gallery (NC).







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’ll 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).




SUMMER session 1

May 28 - JUNE 9, 2017

Kaitlyn Becker, Soft Robotic Fingers for Gentle Grasping in Deep

Sea, silicone rubber, polyurethane foam, nylon fabric, 3d printed

plastic, Kevlar thread, each finger: 5 inches long



Daniel Clayman, North 41.47º West 71.70º Gold, glass, copper

leaf, 34 x 32 x 32 inches


Kaitlyn Becker & Daniel Clayman
Mold Making for Art & Science

Daniel’s studio practice includes more than thirty years of mold making. Kaitlyn is a mechanical engineer building soft robots using a plethora of molding materials and techniques. Daniel will teach a variety of “art” techniques, and Kaitlyn will teach ways to fabricate and animate objects using air bladders, tensioned cables, and simple hydraulics. We’ll use plaster, urethane and silicone rubber, plastics, etc. And we’ll cover a range of wax-working techniques suitable for many casting processes. The goal is for students to gain mold-making skills that will allow them to pursue three-dimensional projects on their own. For students of all levels who have a basic understanding of tools and materials. Code 01GB


Kaitlyn: mechanical engineering Ph.D. candidate at Harvard University (MA) designing and building robots for deep sea exploration. Daniel: studio artist; teaching: Pilchuck (WA), The Studio at Corning (NY); visiting critic at Rhode Island School of Design.



SUMMER session 2

JUNE 11 - 23, 2017

Carmen Gambino, Cream Track Bike, double-butted chromoly



Carmen Gambino
Bicycle Design & Frame Building

Learn the art of bicycle frame building from start to finish. In this structured workshop, students of all levels will gain insight into design, drafting, material selection, and construction techniques. We’ll dive into various methods and schools of thought for every process. Each participant will have the opportunity to construct a road frameset from steel tubing using a torch to create fillet-brazed and lugged joints. This class will focus on traditional custom-construction techniques, effectively enabling the builder to create a bicycle frame with minimal access to industrial tools. All levels. Code 02I

Custom bicycle frame builder and teacher of welding and brazing; learned frame building from Kochi Yamaguchi and Joe Bringheli.








SUMMER session 3

JUNE 25 - July 7, 2017

IlaSahai Prouty, Paper Bag Test, screen-printed paper bags,

installation at 701 Center for Contemporary Art, Columbia, SC


IlaSahai Prouty
The Art of Experience: Facilitating Community-Based Art

Together we’ll explore how experience itself can be an art form. Using activity structures and concepts from experiential education and art as social practice—along with a range of material and processes, including screen-printing and clay—we’ll build art experiences for communities, groups, and individuals. We’ll discuss how to lead successful group art experiences and reflect on how facilitation itself is an art form. Take this workshop if you plan to work with art in community settings or you teach and want to deepen your practice. All levels. Code 03D

Associate professor at Appalachian State University (NC) teaching creativity and social practice; author/facilitator for Project Adventure, Inc.; exhibitions: Florence County Museum (SC), City College of San Francisco, Cape Ann Museum (MA); former Penland resident artist and core fellow.






SUMMER session 4

July 9 - 21, 2017

Matthew Shlian, When you are killing what you are meant to kill

there can be no remorse, Tyvek, 80 feet long


Matthew Shlian
Paper Sculpture

Students will explore the medium of paper as they create sculpture using paper engineering, kirigami, and paper craft as starting points. Using a combination of Tyvek and 100-lb text and 10-pt cover-weight stocks, students will learn the elements of paper mechanics and then apply them to books, collapsible structures, interactive kinetic design, and foldable sculpture. Techniques will include curve folding, pleating systems, and modular design. Students are encouraged to bring in their own imagery, photographs, technology, and other materials to work from. All levels. Code 04B


Studio artist, founder of Initiative Artist Studio (MI); teaching: University of Michigan, Arrowmont (TN), North Bennett Street School (Boston), Haystack (ME); clients: National Science Foundation, Ghostly International, Apple, Proctor and Gamble, Facebook, Levi’s, Sesame Street, the Queen of Jordan.







SUMMER session 5

July 23 - August 8, 2017

Vivian Beer, Dressed Up and Pinned, hydraulically-formed and

fabricated steel, automotive finish, 8 x 15-1/2 x 7 feet



Vivian Beer
Design & Fab-ulous

This workshop will focus on the relationship between digital design and physical making—specifically steel fabrication. We’ll cut digitally-designed parts with a computer-controlled (CNC) plasma cutter and assemble and further manipulate them through traditional metalworking. Topics include modeling in scale, digital scanning, basic computer-aided design (CAD) in Rhino, CNC plasma cutting, welding, jig making, using the hydraulic press, die building, sheet/plate/bar metal forming, and abrasives. Let’s see how the digital landscape can help us make our pieces fabulous in the physical world. Intermediate/advanced; basic metalworking skills required. Code 05I


Studio artist; teaching: Anderson Ranch (CO), Haystack (ME); Mineck Furniture Fellowship (Boston), Ellen Degeneres Design Challenge winner; collections: Smithsonian (DC), Museum of Fine Arts, Boston, Brooklyn Museum (NYC), Museum of Arts and Design (NYC).







SUMMER session 7

August 27 - September 2, 2017

Lisa Sorrell, Wild and Blue, kangaroo and alligator leather


Lisa Sorrell
Leather Inlay & Overlay

This is a workshop for learning to create art through inlay and overlay using fine leather, such as chrome-tanned kangaroo and calf. We’ll make several small leather projects and finish with an opportunity for each student to design and create a unique project of their own. All levels. Code 07TA

Bootmaker; teaching: Hiko Mizuno College (Tokyo), Penland; 2010, 2013, 2016 Gold Medal at the triennial International Shoemaker’s Days (Germany); work published in The Art of Leather Inlay and Overlay (Schiffer).