Back to Workshops by Studio
Textiles Workshops at Penland
Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
SUMMER session 3
JUNE 21 - July 3 2015
Justin LeBlanc, Love Without Boundaries,
mohair, printed cotton, black wool knit,
cotton jersey with latex treatment
(Photo: David Grant)
This workshop will be a fast-paced exploration of patternmaking, starting with basic principles and leading up to a more experimental approach, including volume exploration, material choices, darts placement, and silhouetting the garment. By the end of the workshop, students will have a basic understanding of the different techniques of patternmaking and be able to apply them to garments of their own design. Basic sewing skills required. Code 03TA
Assistant professor at North Carolina State University; Charleston Fashion Week People’s Choice Award, GlaxoSmithKline fellowship; publications: Marie Claire, Designlife, RedEye Chicago, Walter Magazine; finalist on Project Runway Season 12.
Andrea Donnelly, The Weaver’s Bench, cotton,
painted with textile pigment and woven, 130 x 192"
Painting with Thread
Explore the unique mark-making capacity of the hand loom from the dual perspective of painter and weaver. The possibilities of the collaboration between loom and artist’s hand will open your mind. You’ll learn a variety of on- and off-loom warp-painting techniques using both dye and pigment on a small and manageable scale. And you’ll gain insights that will help you go as big as you can imagine with these techniques. You’ll leave class with a completed personal project and a series of technical reference samples. Students must be able to warp a floor-loom unassisted. Code 03TB
Studio artist, owner of Little Fool Textiles; teaching: Virginia Commonwealth University; 2014 Brandford Eliot Award for Excellence in Fiber Arts; exhibitions: Quirk Gallery (VA), Center for Craft, Creativity, and Design (NC), Houston Center for Contemporary Craft, Taubman Museum (VA).
SUMMER session 4
July 5 - 17, 2015
Jason Pollen, Barrio, canvas, silk, pigment, dye,
thread, 42 x 42"
This workshop will focus on an experiential, practice-based approach to creating contemplative textile artwork. Our tools will be mark-making, painting with acrylics, monoprinting, and hand and machine stitching. Instruction, daily discussions, and critiques will emphasize the fundamentals of design, the enhancement of skills, and the clearing away of impediments on your creative journey. The aim is to open to a deeper, authentic, visual voice—one that is eager to communicate, to delight, to surprise, and to challenge. All levels. Code 04TA
Studio artist; former professor and chair of fibers at Kansas City Art Institute; Penland School Outstanding Artist Educator, president emeritus of the Surface Design Association, fellow of the America Craft Council; collections: Kemper Museum of Contemporary Art (Kansas City), Nerman Museum of Contemporary Art (KS).
Bhakti Ziek, Rain, silk, cotton, rayon, metallic yarn,
indigo dye, 64-1/2 x 81"
Learn to Weave
Weaving is an act of alchemy that transforms the chaos of individual threads into a pliable plane of fabric. This workshop will take you through the mysteries of using a floor loom, introducing you to a practice that can continue to evolve in an infinite number of directions. Whether you want to make functional cloth, art, or learn for the sake of curiosity, this class will give you a sound basis for all your weaving projects. Beginning level. Code 04TB
Studio artist; teaching: Art Institute of Chicago, Maiwa Textiles Symposium (Vancouver), Philadelphia University, Arrowmont (TN), Haystack (ME), Savannah College of Art and Design (GA); exhibitions: Fuller Craft Museum (MA), Bennington Museum (VT), Cranbrook Museum (MI), Aidron Duckworth Art Museum (NH), Woven Fiber House (PA).
SUMMER session 5
Aaron McIntosh, The Bear, shredded
gay erotica, crazy quilting, bedspread,
felt, velvet, plaster, wood,
63 x 34 x 31"
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).
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"
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"
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).
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).
Adrienne Sloane, Line of Fire, knit wire,
74 x 79 x 55"
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).
Fall One-Week Session 2
October 18 - 24, 2015
Carol LeBaron, Spring Growth, resist-dyed wool, acid dye,
hand stitched, 48 x 96”
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).
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.
Back to Workshops by Studio