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 2016 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.
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”
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.
Spring One-Week Session 3
April 24 - 30, 2016
Nick DeFord, Psychological Geology (Underneath It All),
hand-embroidery on photograph, 7.5 x 7.5"
The Altered Image: Mixed-Media with Photography
Photographs are perceived to be artifacts of truth – but truth can easily be distorted, embellished, and exaggerated. This class will use embroidery, collage, and drawing/painting techniques to physically manipulate photographs as a metaphor for the psychological dissection of truth, memory, and time. We will work on photos brought from home and found photos (both from the physical world, but also the cyber world). While students are welcome to shoot and print digital photos during the workshop, we will not be using the darkroom, and the emphasis of the class will be on manipulation and embellishment after the photo has been printed. All levels. Code S03P
Studio artist and Program Director at Arrowmont (TN); teaching: University of Tennessee, Arizona State University; exhibitions: William King Museum (VA), Vanderbilt University (TN), University of Mississippi, Coastal Carolina University; collections; City of Phoenix (AZ).
SUMMER session 1
May 29 - JUNE 10, 2016
Susan Brandeis, Forgotten Letters #6, hand embroidery on
heirloom linen napkin overlaid with nylon and silk organza netting,
9 x 10 inches
Stitching as Drawing
Drawing and stitching both involve making lines and marks. This workshop will explore ways to capture the quickness, spontaneity, and gesture of drawing through hand and machine stitching as we create expressive drawings on cloth. We’ll experiment with optical mixing, color effects, cross-hatching, stippling, contouring, detailing, shading, gradations, gestural marks, scribbling, working large and small, layering marks, and building texture on a variety of grounds. We’ll emphasize experimentation and developing a personal stitched-mark vocabulary. All levels. 01TA
Studio artist; recently retired professor from North Carolina State University; other teaching: Indiana University, Arrowmont (TN), Haystack (ME); three North Carolina Arts Council fellowships; collections: Renwick Gallery (DC), United Parcel Service (Atlanta), City of Toyama (Japan), White House Easter Egg Collection (DC).
Amara Hark-Weber, Rose Toe, leather,
ladies size 9
The Pegged Sole
In this workshop we’ll learn a historic method
of shoe construction: the full pegged sole. We’ll cover shoemaking fundamentals, including patterning for an oxford or derby, cutting, skiving, sewing, and finishing. Learning through demonstrations and one-on-one instruction, students will make and finish one pair of full leather shoes. All levels: a good attitude and some hand strength will be necessary. Code 01TB Note: this workshop will take place in the flex studio.
Bespoke shoemaker at Hark Weber Studio; teaching: School of the Art Institute of Chicago, Quest College (Canada), University of Wisconsin-Madison; awards: Jerome Foundation fellowship (MN), Next Step grant (MN), William Merchant R. French fellowship (Chicago); exhibitions: Landmark Center (MN), Minnesota Center for Book Arts, Saint Xavier University (Chicago).
SUMMER session 2
JUNE 12 - 24, 2016
Catharine Ellis, Cloth Horizons, wool, cotton, natural dye, 45 x 75
Catharine Ellis & Joy Boutrup
Natural Dye: Experiments & Results
This workshop will explore natural dyes for studio use with a focus on the science behind the art. We’ll investigate mordants for both cellulose and protein fibers, immersion and print applications, historical references, and lightfastness. We’ll use indigo in a traditional vat and for printing. Students will dye with extracts and fresh plants. Our discussions will include environmental and sustainability issues. Intermediate/advanced: experience with textile fibers and dyes required. Code 2TA
Catherine: studio artist; teaching: Arrowmont (TN), Haystack (ME), American Academy (Paris); exhibitions: Blue Spiral (NC), Textile Center (Minneapolis), Fuller Craft Museum (MA), Hong Kong Visual Arts Center. Joy: textile engineer and chemist, associate professor emerita at Design School Kolding (Denmark); teaching: Tilburg Textile Museum (Netherlands), Tama University of Fine Arts (Tokyo), Kansas City Art Institute.
Helle Rude Trolle, Three Woven Pillows, horsehair, cotton,
15-3/4 x 23-1/2 inches
Helle Rude Trolle
Weaving: All the Elements
In this workshop we’ll make eight-shaft weavings that bring together materials, colors, and finishing treatments. We’ll experiment with woven structures using manufactured fibers such as polyester and paper yarn and naturally occurring fibers such as cotton and linen. The interaction between these elements will result in experimental samples and finished textiles. We’ll begin with weaving theory, special techniques, surface treatments, and an introduction to the design process. Students will then develop their own ideas and make personal designs and projects using techniques that match their individual skill levels. All levels. Code 02TB
Workshop manager and instructor at Design School Kolding (Denmark); collections: Civic Collection of Fiber Art (Italy), Kunstforeningen af 14 August (Denmark), Odder Kommune (Denmark); exhibitions: Danish Institute in Rome (Italy), Biennial for Craft and Design (Copenhagen), Danish Textile Guild.
SUMMER session 3
JUNE 26 - July 8, 2016
Cathryn Amidei, Receptor, mercerized cotton,
polyester machine embroidery thread, rayon chenille,
36 x 31 inches
Woven Matrix: Weaving with the TC2
The TC2 is a hand loom that digitally controls every thread in the warp independently, expanding options for image, color, texture, and dimension. After an introduction to the loom, students will be guided through digital file development and weaving techniques. A communal approach will allow us to cover more ground as we explore multi-layer and multi-shuttle weaves, brocading, color blending, and experimental outcomes. Each student will develop samples and one finished piece. Students are encouraged to bring a computer with Photoshop installed. All levels. Code 03TA Note: this workshop will take place in the flex studio.
Associate professor at Eastern Michigan University; residencies: Digital Weaving Norway, Oriole Mill (NC); exhibitions: Fiber Arts VII (CA), Work Gallery (MI), Velocity of Textiles (GA).
Barbara Cooper, Mantle, wood, burl, 16 x 20 x 20 inches
Drawing on nature as a source of information and inspiration, this workshop will create 3d forms and develop ideas using fiber and sculptural processes. We’ll dissect and reconfigure found objects to understand the relationship between surface and volume. Then we’ll build by layering to create solid volumes that reveal the history of the form’s development. We’ll work with traditional, alternative, and repurposed materials. Our focus will be on experimentation and improvisation and how ideas can be developed. All levels. Code 03TB
Studio artist; residencies: City Museum of Copenhagen, Pilchuck (WA), Kohler Arts/Industry Program (WI), Vermont Studio Center, Hafnarborg Institute of Culture and Fine Art (Iceland); collections: Contemporary Museum (Honolulu), Cranbrook Academy of Art Museum (MI), Smithsonian National Museum of American Art (DC), Museum of Contemporary Art (Chicago).
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
Wearable Art & the Body
This workshop will focus on methods for studying the human figure and creating wearable art. We’ll blend fashion, art, costuming, ethnic clothing, and body decoration to inspire a deeper understanding of how we celebrate and adorn the human body. We’ll work with a live model and study the body still and in motion. We’ll 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
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’ll 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
Seams Legit: Reconstructed Quilts
We’ll use fabric to create quilt geometries from textures and colors. We’ll cover various ways to create quilts from patterns and ways of using fabrics to make quilts of your own design. We’ll 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 “renew a direct, manual contact with materials through the work at the loom.” This statement is the point of departure for this workshop. We’ll develop fabric structures while considering the form and construction of a wearable garment. We’ll push the possibilities of handweaving, exploring yardage for cut and sew, the back strap loom and the body, and woven structures for garments. We’ll 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
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
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’ll 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
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’s ideas with the embroiderer’s 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
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’ll 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’ll consider how to build something interesting while still creating objects with structural integrity. We’ll 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.
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