Textiles Workshops at Penland

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

 


 

SUMMER session 5


Aaron McIntosh, The Bear, shredded

gay erotica, crazy quilting, bedspread,

felt, velvet, plaster, wood,

63 x 34 x 31"

 

Aaron McIntosh
Piecework: Expanded Forms

This workshop catapults the quilt into expanded forms such as sculpture, architecture, installation, garments, performance, writing, and image-based media. After a crash-course in piecework, patterns, and quilting, we’ll learn about armatures, stuffed-work, and flat-patterning. We’ll also explore the possibilities of embedding images and narratives through appliqué, embroidery, and various DIY surface design techniques. Students will investigate their relationship to the quilt and respond with activations of surface, space, and time through a sustained project over the length of the session. All levels. Code 05TA

 

Teacher of fibers at Maryland Institute College of Art; recent exhibitions: “Queer Threads: Crafting Identity and Community” at Leslie-Lohman Museum (NYC), “Man-Made: The Masculine Aesthetic in Contemporary Quiltmaking” at Craft and Folk Art Museum (Los Angeles).

aaronmcintosh.com

 

 

 

 

 

 


 

 

No class in second-floor textiles this session. The studio will be used for Christina Shmigel’s workshop Getting to Audacity.

 


 

SUMMER session 6

August 9 - 21, 2015


Ann Coddington Exuviate, twined linen,

hand-knotted netting, 48 x 12 x 10"

 

Ann Coddington
Twining: Basketry as Sculpture

This workshop will approach basketry as a nonfunctional sculptural process capable of expressing ideas and carrying meaning beyond the utilitarian aspects of traditional twining. In addition to using waxed linen and spring twine, we’ll experiment with twined reed structures, netting, and open twining. Most importantly we’ll connect, interact, share, express, learn from each other, create, and have fun. All levels. Code 06TA

 

Associate professor at Eastern Illinois University; other teaching: Haystack (ME), Arrowmont (TN), National Basketry Organization; exhibitions: Weston Art Gallery (Cincinnati), Craft Alliance (St. Louis), 9th International Fiber Biennial at Snyderman Works Gallery (Philadelphia), SOFA New York.

 

 

 

 

 

 

 


 


Vicki Essig, Untitled, handwoven silk, antique text with

handmade paper and twigs, stitched, 12 x 12 x 2"

 

Vicki Essig
So Much to Say

In this weaving class we’ll use historical and personal artifacts to create stories in handwoven cloth, building a visual journal. Collected objects will be deconstructed, transforming memories and dialogue into materials for weaving. We’ll gather further ideas through journaling exercises and exploration of the Penland campus. And we’ll discuss weave structure and finishing techniques for individual projects. The combination of traditional weaving and alternative materials offers infinite possibilities for both beginning and advanced students.All levels. Code 06TB

 


 

Studio artist; teaching: Penland; exhibitions: Philadelphia Museum Craft Show, Baltimore and Atlanta ACC shows, Lark and Key (NC), Blue Spiral (NC) River Gallery (TN); collector’s choice award at Washington Craft Show, people’s choice award at Piedmont Crafts Fair (NC); collections: Fidelity Investments (Boston).

vickiessig.com

 

 


 

SUMMER session 7

August 23 - 29, 2015


Leigh Anne Hilbert, Purse, waxed canvas, india ink

on natural canvas, leather, brass hardware,

16 x 12 x 6"

 

Leigh Anne Hilbert
Accessories: Surface Design & Construction

Accessories play a vital role in fashion as both utilitarian and beautiful objects. In this workshop, students will work with a variety of materials to complete bags, belts, and scarves. We’ll experiment with pattern and simple color to create the surfaces we’ll use to build pieces from the ground up. Surface design techniques will include dyeing, painting, and stamping on fabric and leather with both traditional and found tools and materials. Construction techniques will include machine and hand sewing and hardware applications. All levels. Code 07TA

 

Studio artist, owner of Overlap Sewing Studio (NC) and The DryGoods Shop (NC); teaching: University of California-Berkeley theater and dance department, Creativity Explored (CA); costume design/build: San Francisco Opera, San Francisco Ballet; exhibitions: City Art (CA), CellSpace (CA), Southern Exposure (CA), The Budget Gallery (CA).

overlapsewingstudio.com

 

 

 


 


Adrienne Sloane, Line of Fire, knit wire,

74 x 79 x 55"

 

Adrienne Sloane
Knitting a Life

Students in this workshop will develop a personal language of form by experimenting with knitting fundamentals to uncover the enormous possibilities of three-dimensional knit. By manipulating stitches and solving knitting geometry, students will learn to think knit. We’ll cover ways to create shape and stability, including the use of wire and fiber stiffeners. We’ll start by expanding technical skills and then work on sculpting body forms. For inspiration, we’ll discuss the work of artists who use knitting as a means of creative expression. Students must be proficient in basic knitting techniques. Code 07TB

 

Studio artist; teaching: Arrowmont (TN), Haystack (ME), Split Rock (MN), North Country Studio Workshops (NH); collections: Philadelphia Museum, Goldstein Museum of Design (MN), American Textile History Museum (MA); publications: The Culture of Knitting by Joanne Turney, Knitting Art (Voyageur Press).

adriennesloane.com

 

 

 


 

Fall One-Week Session 2

October 18 - 24, 2015


Carol LeBaron, Spring Growth, resist-dyed wool, acid dye,

hand stitched, 48 x 96”

 

Carol LeBaron
Explore Shibori: Acid Dyes

This workshop will explore the limitless possibilities inherent in acid dyes. We’ll begin with simple immersion techniques, creating a base and adding layers with direct application. We’ll explore shibori techniques in the hot acid dye pot, which can cause wool and silk to hold the shape when dried. This week will be an investigation that will result in a rich assortment of samples and many techniques and ideas to follow up in your own work. All levels. Code F02TA


Studio artist; teaching: Haystack (ME), Arrowmont (TN), Campbell Folk School (NC), Peters Valley (NJ), East Tennessee State University; exhibitions: Nashville Airport, Textile Museum (DC), International Shibori Symposium (Hong Kong); work published in Surface Design Journal, Fiberarts Design Book Seven, 1000 Textiles (Lark Books).

carollebaron.com

 

 


 

Spring Eight-Week Concentrations

March 13 - May 6, 2016


Mary Zicafoose, Mountain for the Buddha: Caution,

wool, linen, weft-faced ikat tapestry, 60 x 60”

Mary Zicafoose
Artist & Weaver

This eight-week textile intensive will provide mentorship with the goal of igniting and focusing studio practice. Our main areas of emphasis are as follows: Developing personal voice at the loom: we’ll build tapestries in series using classic and slit tapestry techniques, surface design, compression and resist applications, stitching, and off-loom embellishments. Color: guest teacher Catharine Ellis will lead us in a dyeing workshop that will help students gain creative fluency with both synthetic and natural dyes. Professional practice: the workshop will include a strategic planning curriculum for artists: goal setting, statements, résumés, PowerPoint, social media, record keeping, promotion, exhibition, and more. Intermediate level: prior weaving experience required. Code S00TB


Studio artist; teaching: Arrowmont (TN), Penland, weaver’s guilds nationwide; recent exhibitions: World Ikat and Shibori Conference (China), Joslyn Art Museum (NE); work in 12 U.S. embassies worldwide.

maryzicafoose.com

http://ellistextiles.com