Textiles Workshops at Penland

Penland offers 1-, 2-, and 8-week classes taught by visiting instructors in our well-equipped studios. Class topics include tapestry weaving, sewing, knitting, quilting, surface design, natural dyes, shibori, basketry, and more. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.

Enrollment for summer and fall 2016 and spring 2017 workshops 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 4

July 10 - 22, 2016

Michael Cepress, American Flag Vest, antique American flags

(cotton), brass buttons, buckle, 22 x 18 x 12 inches


Michael Cepress
Wearable Art & the Body

This workshop will focus on methods for studying the human figure and creating wearable art. We値l blend fashion, art, costuming, ethnic clothing, and body decoration to inspire a deeper understanding of how we celebrate and adorn the human body. We値l work with a live model and study the body still and in motion. We値l cover dozens of techniques for sewn structures and garment-making including machine- and hand-sewing methods applicable to wearable art designs. Students will leave with a vast collection of drawings, ideas, prototypes, or finished works. All levels. Code 04TA


Designer and owner of fashion label MC (Seattle); teaching: University of Washington; exhibitions: New Benaki Museum (Athens), Watermill Center (NY), dressed the Seattle Symphony for their performance at Carnegie Hall (NYC), publications: New York Times, Seattle Metropolitan, FiberArts, Dance.









Rebecca Mezoff, Emergence VII, hand-dyed wool and cotton,

45 x 45 inches


Rebecca Mezoff
The Thrill of Color

Tapestry weaving is not painting with yarn. Yarn reflects light differently than paint, and tapestry weavers need to know how to manipulate color within the constraints of our medium and weave structure. This workshop will focus on how to use tapestry techniques and color theory to create desired color effects. Through a playful exploration of color, students will learn to make intentional color choices that work for use in the medium of tapestry. Students will make samplers and may also be able to complete small tapestries. We値l use floor looms or students may bring tapestry looms with them. All levels. Code 04TB


Studio artist; teaching: founded online tapestry school, Michigan League of Handweavers, Convergence (RI), Southern California Handweavers Guild, The Recycled Lamb (CO); exhibitions: American Tapestry Biennial, Small Tapestry International, Coastal Fiberarts (OR); publications: Fiber Art Now, Tapestry Topics.







SUMMER session 5

July 24 - August 9, 2016

LUKE Haynes, [The American Context #68] Double Elvis,

used clothing, batting, thread, 71 x 60 inches


LUKE Haynes
Seams Legit: Reconstructed Quilts

We値l use fabric to create quilt geometries from textures and colors. We値l cover various ways to create quilts from patterns and ways of using fabrics to make quilts of your own design. We値l start with a few assignments and then design and make our own individual projects with help from me and the group. Be ready to create and think outside the usual. All levels. Code 05TA


Studio artist; residencies: Accuquilt (NE), Lower Manhattan Cultural Council (NYC), Handi Quilter (UT); solo exhibitions: Blu Dot (Los Angeles), Ohio University, Island Quilter (WA), Business of Art Center (CO), Folk Art Museum (NYC); collections: Brooklyn Museum (NYC), Seattle Art Museum, Duke University (NC), Bill & Melinda Gates Foundation (Seattle).







Carole Frances Lung, Factory to Factory: Cut and Sew, cast-iron

coverall pattern weights, handwoven knockoff of foundry coveralls


Carole Frances Lung
Structure & Form

The Bauhaus weavers attempted to 途enew a direct, manual contact with materials through the work at the loom. This statement is the point of departure for this workshop. We値l develop fabric structures while considering the form and construction of a wearable garment. We値l push the possibilities of handweaving, exploring yardage for cut and sew, the back strap loom and the body, and woven structures for garments. We値l use nontraditional materials and methods to create shape and stability as we design and make handwoven wearables. All levels welcome: some knowledge of weaving and garment construction will be helpful. Code 05TB


Studio artist, performance artist (as Frau Fiber); teaching: California State University Los Angeles; residencies: Bates College (ME), Kohler Arts/Industry Program (WI); solo exhibitions: Experimental Sound Studio (Chicago), James A. Michener Art Museum (PA).







SUMMER session 6

August 14 - 26, 2016

Lisa Klakulak, Collection of Non-Banging Bangles, wool fiber,

cotton thread, stainless steel wire armature, 4 x 5 x 1/2 inches


Lisa Klakulak
Small-Scale Tinkerings: Toying with Felt

Date the material. Learn its qualities, its preferences, its actions, and the reasons for these. Learn the wet process of making flat, hollow, and solid felt. Do you like it? Why? For its exterior qualities in presentation or its process of transformation or both? Is it flexible and comfortable? Does it play nicely with others? Explore thin, tight, smooth, thick, fluffy, textured, and stitched felt. Incorporate other fibers, yarns, fabrics, and encase nonfibrous objects. Is it felt you will take the next step with? This will be an exploratory workshop driven by small-scale studies in material, process, and technique. All levels: wet felting requires shoulder, arm, and hand strength. Code 06TA


Studio artist; teaching: Arrowmont (TN), Peters Valley (NJ), Mendocino Arts Center (CA); exhibitions: American Craft Council shows, Craft Boston, Kohler Arts Center (WI); publications: 500 Felt Objects, 500 Art Necklaces (Lark Books).






Robin Muller, Double Weave Yardage, cotton, 36 x 108 inches


Robin Muller
Doubleweave on Eight Harnesses

Doubleweave allows the weaver to create two or more layers of cloth at the same time, using four or more harnesses. Eight-harness looms allow layers of cloth to intersect in patterns that can be altered by using different treadling, threading, and tie-ups. We値l rotate weaving on shared looms and set up individual warps to design and create a series of samples including checkerboard variations, optical illusions, differential shrinking, and four-layer cloth that intersects to create three-dimensional structures. Intermediate/advanced level: students must be able to set up and weave on a four-harness loom, change the tie-up, and read pattern drafts. Code 06TB


Professor at Nova Scotia College of Art and Design; residencies: Jacquard Center (NC), Lisio Foundation (Italy); collections: Canadian Museum of Civilization, Nova Scotia Art Bank; exhibitions: Nova Scotia Center for Craft and Design.







SUMMER session 7

August 28 - September 3, 2016

Katherine Diuguid, The Lake House (detail), digitally printed cotton

sateen and silk organza, cotton embroidery threads, metal

embroidery wires


Katherine Diuguid
Embroidering Impressions of Nature

Students in this workshop will learn the color theory ideas used by the Impressionist and Post-Impressionist painters and the color techniques of embroiderers throughout history. Both traditional and nontraditional embroidery techniques will be presented, and students will have the opportunity to interpret the beautiful surroundings of Penland, blending the painter痴 ideas with the embroiderer痴 tools and techniques. All levels. Code 07TA


Assistant professor at North Carolina State University; other teaching: Contemporary Arts Museum (NC); two Embroiderers Guild of America Legacy scholarships; exhibitions: Embroiderers Guild of America (TX, FL), Embroiderers Association of Canada; publications: NeedleArts, Embroidery.





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. Code 07TB Note: this workshop will take place in the flex studio.


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.










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).






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

Peg Gignoux, Wrap Scarves (detail), hand-dyed silk, textile ink,

13 x 72 inches

Peg Gignoux
Wrap Your Head Around It

Transform acres of silk into hand-dyed art scarves. Add in original poetry and patterns. Print, cut, stitch, and release! In this workshop we値l create about two hundred head wraps that will be given to women living with and surviving cancer. Together we値l consider the scarf as canvas, as talisman, as dialogue. We値l explore words and graphics funneled through basic dyeing, printing, and piecing techniques. And we値l talk about how pop-up studio practices can allow the artist to work in unconventional spaces and reach hidden communities. All levels. Code F01TA

Studio artist; teaching: Elon University (NC); community projects: Duke Hospital (NC), Mint Museum (NC), North Carolina Museum of Art, Chapel Hill Public Arts (NC), Greensboro Public Libraries (NC), North Carolina Public Schools; collections: Fidelity Investments; representation: Light Art + Design (NC).





Spring Concentration
March 12 - May 5, 2017

Tommye McClure Scanlin, Flight, wool, cotton, 60 x 52 inches


Bhakti Ziek, Sisyphus: Emoticons (detail), cotton, silk, metallic

yarns, 88-1/2 x 27-1/2 inches

Tommye McClure Scanlin & Bhakti Ziek
Weaving: A Dialogue

Taught by a tapestry weaver and a Jacquard expert, this workshop will focus on image making and storytelling through weaving. Advanced weavers and novices will be encouraged to learn from each other as they explore woven structures for ways to make images. The instructors have extensive knowledge of weaving in all its forms, and we値l explore everything (almost!) possible in a 努eaverly way. We値l work with tapestry looms and/or floor looms. Open to weavers and artists of all types at all levels of skill. Code S00TB

Tommye: professor emerita from University of North Georgia; other teaching: Arrowmont (TN), Peters Valley (NJ); Hambidge Center Fellow; exhibitions: American Tapestry Biennial. Bhakti: studio artist; teaching: School of the Art Institute of Chicago, Arizona State University, Haystack (ME), Arrowmont (TN); co-author of The Woven Pixel; collections: Museum of Arts and Design (NYC).






















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

Martha Clippinger, Licha, hand-dyed, woven wool, 72 x 48 inches


Martha Clippinger
Intuitive Geometries

Rather than plan and execute a quilt with precise cutting and predetermined patterns, students in this workshop will use their intuition. We値l study our fabrics, noting their colors and textures, and consider potential arrangements. During the process of piecing, participants will be encouraged to divide, add, split, shift, flip, and turn their compositions into new designs. The broken patterns and irregular symmetries of these intuitive geometries will produce quilts that are full of color, texture, and most of all, rhythm. All levels. Code S01TA

Studio artist; grants and awards: American Academy of Arts and Letters Purchase Award, Fulbright-Garcia Robles Research Grant (Mexico); residencies: MacDowell Colony (NH), Edward F. Albee Foundation (NY), Marie Walsh Sharpe Art Foundation (NYC); representation: Elizabeth Harris Gallery (NYC).