Summer Session 3

Summer Session 3:
June 24 – July 6, 2018



We have eliminated the early-registration lottery. We will begin accepting registration for 2018 summer workshops at 9:00 AM EST on Monday, January 8. Registration for full-pay students will be on a first-come, first-served basis and will continue until workshops are filled. Spaces are reserved in each workshop for scholarship students. Scholarship applications are due by February 17.

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

Books & Paper Summer Session Three
June 24–July 6
Golnar Adili
Repetitive Deconstruction

This mixed-media workshop will push book arts toward architecture and sculpture through fragmentation. We’ll deconstruct images and find ways of reconstructing them, straddling two and three dimensions. This might take the form of topographical landscapes, an imposed grid, or applied patterning. We’ll push and pull surfaces, embed information, or layer the pieces to make a distorted whole. We’ll explore and reinterpret the fundamentals of crafting books including traditional binding methods and box making. Through hinging and accordions we’ll explore how movement affects book structure and the interaction between content and form. All levels. Code 03B

Studio artist; teaching: Elizabeth Foundation (NYC); Pollock-Krasner Foundation grant (NYC); residencies: Women’s Studio Workshop (NY), MacDowell Colony (NH); exhibitions: Lower East Side Print Shop (NYC), International Print Center (NYC), Craft and Folk Art Museum (Los Angeles).

Golnar Adili
Golnar Adili, "Pink Letter," transfer on paper, medical tape, board, 1-1/2 x 18 x 24 inches
Clay Summer Session Three
June 24–July 6
Karen Newgard
Carving on Pots: It’s Not All Black & White

This workshop will concentrate on the relationship between the thrown form and its decoration. Exploration of form, pattern, and individual narratives will progress through throwing projects and collaborations. We’ll focus on the sgraffito carving technique using terra sigillata, glazes, and flashing slips. We’ll work with porcelain and/or white stoneware and fire our work in the salt kiln. All levels; basic throwing skills will be helpful. Code 03CA

Studio artist; teaching: Odyssey Center (NC), Penland; exhibitions: GreenHill Center (NC), AKAR Gallery (IA), Mud Fire Gallery (Atlanta); collections: US Federal Reserve Bank (New Orleans), Jingdezhen Ceramic Institute (China), North Carolina Governor’s Western Residence; former Penland core fellow.

Karen Newgard, "Luncheon Plate," salt-fired porcelain, terra sigillata, 8 x 11/2 inches
Karen Newgard, "Luncheon Plate," salt-fired porcelain, terra sigillata, 8 x 11/2 inches
Clay Summer Session Three
June 24–July 6
Kelly O’Briant
The Ceramic (Still) Life

Students will build an intentional grouping of related objects inspired by their own lives and personal narratives. From organic sculptural forms to functional vessels, we’ll examine how clay records our actions and conveys them back into the world. Demonstrations will focus on coiling and pinching ceramic objects that range in size, shape, detail, and surface texture. We’ll work with glazed and unglazed surfaces and fire to cone 6. Discussions will include concept building, material choices, problem solving, and the technical aspects of process, presentation, installation, studio practice, and more. All levels. Code 03CB

Assistant professor at University of Dallas; NCECA emerging artist award; residencies: Pottery Workshop (China), Archie Bray Foundation (MT), International Ceramics Studio (Hungary); exhibitions: Penland Gallery, Windows Gallery (China), Houston Center for Contemporary Craft; former Penland core fellow.

Kelly O’Briant, "All the Good Things" (detail), porcelain, gold; bowls approximately 2-1/2 inches diameter
Kelly O’Briant, "All the Good Things" (detail), porcelain, gold; bowls approximately 2-1/2 inches diameter
Drawing & Painting Summer Session Three
June 24–July 6
Evie Woltil Richner
Experimental Drawing & Sketchbook Development

This workshop will focus on using a variety of sketchbook and experimental drawing exercises as a means for prompting idea development, visual curiosity, and creativity. Material explorations will include graphite, ink, watercolor, collage, and photography. We’ll do things like drawing blindfolded and making our own drawing tools while also engaging in more traditional methods. The unique setting and experience of Penland will be our starting point as we capture a sense of place through our drawings. Process, experimentation, and play will be the primary focus with a goal of revitalizing and energizing personal studio practice. All levels. Code 03D

Studio artist; teaching: University of Alabama at Birmingham, University of Florida, Penland; exhibitions: Verum Ultimum Gallery (OR), University Gallery (FL), Valdosta State University (GA), First Street Gallery (NYC), Manifest Gallery (OH).

Evie Woltil Richner, "Burying My Mother" (detail), gouache on digital print
Evie Woltil Richner, "Burying My Mother" (detail), gouache on digital print
Glass Summer Session Three
June 24–July 6
Shane Fero & Angus Powers
Hybrid Liquidity

This workshop will integrate flameworked elements into the hot glass studio. We’ll create a pop-up flameworking studio in the hot shop and make elements to be used with furnace glass as inclusions, attachments, graal, drawings, and any other experimental ways to combine the two skill sets into hybrid works. All levels; a basic understanding of flameworking and glassblowing will be helpful. Code 03GA

Shane: studio artist; teaching: The Studio at Corning (NY), Pilchuck (WA); three retrospective exhibitions; collections: Museum of Arts and Design (NYC), GlasMuseum (Denmark). Angus: associate professor at Alfred University (NY); exhibitions: Bergstrom-Mahler Museum of Glass (WI), Gent Glass (Belgium), Chrysler Museum (VA).

Shane Fero, "Imperial Pheasant," sandblasted, acid-etched, hot and flameworked glass, 19 x 9-1/2 x 9-1/2 inches; bottle gaffed by Pablo Soto
Shane Fero, "Imperial Pheasant," sandblasted, acid-etched, hot and flameworked glass, 19 x 9-1/2 x 9-1/2 inches; bottle gaffed by Pablo Soto
Angus Powers, "ABCDEFGHIJKLMNOPQRSTUVWXYZ," fused and drawn glass murrine, 2 x 2 x 2 inches
Glass Summer Session Three
June 24–July 6
Wesley Fleming
Local Flora and Fauna

Capture the buzz of summer in glass flowers and bugs! Our projects will be inspired by field trips on campus and nearby to explore forest, field, and stream for local endemic species. We’ll cover “off mandrel” sculpting techniques and improve your feel for heat control working with soda-lime glass. The workshop will consist of demonstrations followed by hands-on learning with assistance from the instructor. Go home with a bee that doesn’t sting and skills that can be applied to any kind of flameworking. A minimum of one year of flameworking experience is required. Code 03GB

Studio artist; teaching: The Studio at Corning (NY), Glasscraft (OR), Kobe Lampwork Museum (Japan), Snow Farm (MA); collections: Corning Museum (NY), Racine Art Museum (WI); publications: American Art Collector, Ornament, Glass Quarterly, Make.

Wesley Fleming, "Veronica Longifolia," flameworked soda-lime glass, 2 x 4 x 10 inches
Iron Summer Session Three
June 24–July 6
Roberto Giordani
Sculpture Project

This workshop in metal sculpture will begin with group work on a project designed by the instructor to help students understand sculptural forms and assembly systems. Working with paper and scale forms, students will learn to efficiently build larger works in steel and other metals, gaining knowledge of forging techniques and the design process for large sculpture. Demonstrations will cover different forging and assembly techniques depending on the nature of the group project and individual projects. Forging, layout, and metalworking experience required. Code 03I

Studio artist; teaching: Hereford College (UK), Center for Metal Arts (NY), Claudio Bottero School (Italy), Forja Viva (Spain); Cascadia Center for Arts & Crafts (OR); demonstrations: Artist Blacksmith Association of North America, Northwest Blacksmith Association, California Blacksmith Association.

Roberto Giordani, "Plastiche a Mare," stainless steel, 15 x 35 x 9-1/2 inches
Metals Summer Session Three
June 24–July 6
Melanie Bilenker
For Keeps

Looking to historic and current keepsakes, we’ll explore jewelry’s role in carrying memory. Basic fabrication techniques—including rivets, 
tabs, pegs, and various bezel settings—will enable students to incorporate their own personal mementos into jewelry. We’ll work together to problem-solve the unique challenges each material presents. Traditional Victorian hairwork—including hair flowers and palette-work, in which hair is glued down to a flat surface—will be demonstrated as well. Students can expect to create samples and one or more finished pieces. All levels. Code 03MA

Studio artist; fellowships: Pennsylvania Council on the Arts, Pew Fellowship (Philadelphia); collections: Renwick Gallery (DC), Philadelphia Museum of Art, Museum of Arts and Design (NYC), Metropolitan Museum (NYC), National Museum of Scotland, Mint Museum (NC); representation: Sienna Patti Contemporary (MA).

Melanie Bilenker, "Pin," hair, paper, gold, mineral crystal, 1-7/8 x 1-1/4 x 1/4 inches
Metals Summer Session Three
June 24–July 6
Erica Bello
Hollow Forms & Fabricated Vessels

This workshop will take students through various fabrication and soldering scenarios. Starting with simple hollow forms, students will work to perfect their torch skills and create three-dimensional objects from flat sheet. Then we’ll explore more complex forms through metal forming and scoring and bending. We’ll combine these construction techniques to craft a lidded/hinged vessel as a final project. Beginning level. Code 03MB

Studio artist; teaching: Baltimore Jewelry Center; Halstead grant for emerging designers (AZ), Society for North American Goldsmiths Early Career Artist; exhibitions: Quirk Gallery (VA), Jewelry Edition (online), Lillstreet Arts Center (Chicago), Mora Contemporary Jewelry (NC).

Erica Bello, "Faceted Bronze Vessel," bronze, 
2 x 1-3/4 x 1-3/4 inches
Print & Letterpress Summer Session Three
June 24–July 6
Jay Ryan
Identify Your Inner Stunt Pilot 
Through Screenprinting

This workshop will cover the basics of linework-based screenprinting on paper with acrylic inks. We’ll cut rubylith film and have the option of incorporating digital films including considerations for trapping. We’ll cover the use of gradients and layering transparent inks. We’ll indulge in making editions of highly detailed images with many screens. And we’ll encourage the diligent application of fun during the image-making process. All levels. Code 03X

Studio artist, owner of The Bird Machine (IL); co-founder of Flatstock poster show series; three collections of work published including No One Told Me Not To Do This (Akashik Books, 2016).

Jay Ryan, "In the Morning," five-color screenprint, 20 x 16 inches
Print & Letterpress Summer Session Three
June 24–July 6
Martin Mazorra
Woodcut & Letterpress Poster Workshop

This workshop will explore the relationship between text and image. The direct and immediate qualities of woodcut images combined with letterpress text will be used as the operative elements behind narrative, graphic statements. Students will gain hands-on experience in woodcut printing and the principles and process of typesetting and letterpress. All levels. Code 03L

Studio artist and founder of Cannonball Press (NYC); teaching: Parsons School of Design (NYC), Pratt Institute (NYC); USA Ford Fellowship from United Stated Artists, New York Foundation for the Arts grant; collections: Yale University (CT), Museum of Modern Art (San Francisco).

Martin Mazzorra, "Hearts Speak," letterpress-printed woodcut, 24 x 18 inches
Textiles Summer Session Three
June 24-July 6
Anna Toth
Denim: Fabric of Resistance

This workshop will focus on patterning and constructing a custom pair of denim jeans for each student. We’ll also reflect on the cultural and historical significance of the material. Students will leave with a pair of jeans made specifically to their measurements, as well as a booklet of instructions and sewn examples of the techniques involved. Students will have the opportunity to embellish their finished jeans using embroidery techniques, specialized hardware, etc. We’ll work with non-stretch blue and black denim. All levels; sewing experience will be helpful. Code 03TA

Studio artist, teacher, founder of Asheville School for the Apparel Arts (NC); Charleston Fashion Week Emerging Designer award and People’s Choice award (SC), featured designer at Ragtrade Atlanta; publications: Southern Makers (Princeton Architectural Press).

Anna Toth, "Sashiko Jumper," blue denim, cotton thread, zipper
Textiles Summer Session Three
June 24-July 6
María Dávila & Eduardo Portillo
Weaving Ideas

This workshop will investigate how textiles can transmit ideas and capture a sense of place. Working with floor looms, weaving exercises exploring diverse techniques and materials will get us closer to the properties of those materials and an understanding of their potentials and limitations. Discussions and recording of Penland’s environment, history, and daily life could be starting points for connecting textiles and meaning. Individual projects may take the form of weaving samples, drafts, or objects. Our intent is to lay the groundwork for work that students will continue at home. This workshop will frame questions; answers will come with practice and time. All levels. Code 03TB

Collaborating studio artists; 2017 Smithsonian Artist Research Fellowship; exhibitions: Whitworth Gallery (UK), Cooper Hewitt Museum (NYC), Textile Museum (DC), Foundation TAC (Venezuela), Longhouse Reserve (NY); collections: Museum of Arts and Design (NYC).

A short video about María and Eduardo’s fascinating process.

María Dávila and Eduardo Portillo, "Al Amanecer (At Dawn)," silk, moriche palm fiber, copper, natural dyes, 75 x 37 inches
Wood Summer Session Three
June 24-July 6
Matthew Hebert
Plywood on Parade

Ever wish you were a woodworker, an engineer, or a maybe a CNC router operator? In this workshop, you can work on becoming all three. In a whirlwind introduction to digital fabrication, each student will design and create a push-powered, kinetic sculpture from plywood, including mechanical elements designed in the computer and machined on the CNC router. Together we’ll aim for the Most Spastic award in the Penland 4th of July parade! We’ll cover 2d drafting with Rhino software, programming and operating the CNC router, and the use of hand power tools (routers, drills, jigsaws, etc.). All levels. Code 03W

Associate professor at San Diego State University; other teaching: University of Wisconsin-Madison, California Institute of the Arts, School of the Art Institute of Chicago; exhibitions: Museum of Contemporary Art San Diego, Milwaukee Art Museum, Museum of Craft and Folk Art (San Francisco), Core 77 (NYC).

Matthew Hebert, "Drawing Horses," bamboo plywood, 36 x 48 x 14 inches