Author: Claire Jarvis

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Fall Weekend Photography

PHOTO FALL WEEKEND SESSION
October 20–22, 2023
Betsy DeWitt
Chemistry and Cloth

This workshop will meld the worlds of photography and textiles by using the cyanotype process to make prints on cloth. We’ll generate images using photograms (a cameraless process) and digital negatives, mix cyanotype chemistry, coat the fabric, then expose and develop our images. Once we have our blue beauties on fabric, we’ll cover simple sewing, embroidery, and fabric manipulation techniques to alter and embellish them. This workshop will give students a photo process and textile techniques they can practice in their own homes. All levels. Photography studio. 

Former photo/drawing and painting studio coordinator at Penland; exhibitions: Turchin Center for the Visual Arts (NC), Asheville Area Arts Council (NC), Vermont Center for Photography, Soho Photo Gallery (NYC), Rebus Works (NC), Leeds Gallery at Earlham College (IN), St. Andrews Art Gallery (TN).

Enrollment for this workshop will begin on May 1. 

Betsy DeWitt, Snack Bag, cyanotype on cotton, 13 x 13 inches
Betsy DeWitt, Snack Bag, cyanotype on cotton, 13 x 13 inches
Betsy DeWitt, Dazzle, cyanotype on cotton, 10 x 8 inches
Betsy DeWitt, Dazzle, cyanotype on cotton, 10 x 8 inches
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Fall Weekend Iron

IRON FALL WEEKEND SESSION
October 20–22, 2023
Andy Dohner
Forging FUNdamentals for the Kitchen

Students in this workshop will learn the fundamentals of forging while making functional kitchen utensils. While the focus will be on forging utensils from single pieces of steel, students will be able to explore other possibilities. We’ll cover conventional and unconventional techniques like drawing a taper, isolating mass, spreading, and various connection options. Be prepared to work with fellow students of varying skill levels in a fun, safe environment that will encourage creativity. All levels. 

Studio artist; teaching: Peters Valley (NJ), Touchstone (PA), Campbell Folk School (NC), Center for Metal Arts (PA), California Blacksmith Association, The Steel Yard (RI); exhibitions: Madison Morgan Cultural Center (GA), Metals Museum (TN), Penland Gallery.

@andydohnerstudio

Enrollment for this workshop will begin on May 1. 

Andy Dohner, Kitchen Set, forged steel, 12 x 10 x 2 inches
Andy Dohner, Kitchen Set, forged steel, 12 x 10 x 2 inches
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Fall Weekend Glass

GLASS FALL WEEKEND SESSION
October 20–22, 2023
Linda Sacra
Beads: Out of Round

Complete beginners and experienced flameworkers can explore the endless possibilities of bead making in this workshop: from one-color to multicolor, from round to asymmetric. After brief demonstrations, students will light the torches and make their own unique beads using soft glass and a variety of tools, stringers, and frits. The torch will ignite your creativity, and you’ll see that the best beads aren’t necessarily round. All levels. Flameworking studio.

Studio artist; teaching: Penland, workshops in her home studio; represented in galleries in the southeast including Sandpiper Gallery (SC) and Island Jewelers (NC). 

Enrollment for this workshop will begin on May 1.

sacra
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Fall Weekend Clay

CLAY FALL WEEKEND SESSION
October 20–22, 2023
Lisa Pedolsky
Contain Your Enthusiasm

This process-oriented workshop will focus on slab-constructed ceramics whose function is to contain: cups, bowls, plates. Students will be guided through the building process from drawings to paper patterns to assembling components in earthenware. We’ll incorporate various elements including feet and rims and will use familiar and unconventional tools for building and decorating. Topics will include slump and drape molds, sgraffito, and stencils. Students will leave with a number of fully-formed vessels, however, in this short time frame, we won’t be glazing or firing. This is a beginning level workshop that is also suitable for experienced students who want to learn new methods or hone their skills. Lower clay studio.

Studio artist; teaching: Penland (NC), Shakerag Workshops (TN), Taos Clay (NM), San Juan College (NM), Plinth Gallery (CO); residencies: NCECA International Partners Program, Centro de Arte Curaumilla (Chile); publications: Studio Potter, Pottery Making Illustrated, 500 Vases (Lark Books); representation: Penland Gallery (NC), Diane West (CO); collections: Rosenfield Collection (TX), San Juan College (NM), Centro de Arte Curaumilla (Chile).

lisapedolsky.com | @lisapedolsky_twofishstudio
Process video

Enrollment for this workshop will begin on May 1. 

Lisa Pedolsky, Wonky Plates, slab-constructed earthenware, multiple glazes, longest: 7 inches
Lisa Pedolsky, Wonky Plates, slab-constructed earthenware, multiple glazes, longest: 7 inches
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Fall Short Session Textiles

TEXTILES FALL SHORT SESSION
SEPTEMBER 24 – 29, 2023 (four studio days)
Stephanie Santana
Printmaking on Textiles

In this workshop, we’ll transform fabric through relief printing, monoprinting, and screenprinting. With a focus on self-directed experimentation and play, students will develop their own motifs and textures by carving rubber blocks, manipulating paint on gelatin plates, and creating stenciled artwork for screenprinting. Students will leave with a small portfolio of textile studies for reference or to incorporate into other projects. All levels: beginners encouraged. Third-floor textiles studio.

Studio artist; founding member of Black Women of Print; teaching: Fabric Workshop and Museum (Philadelphia); recent exhibition: “A Contemporary Black Matriarchal Lineage in Printmaking” at Highpoint Center for Printmaking (Minneapolis); collections: Metropolitan Museum (NYC), Getty Research Institute (Los Angeles), Museum of Fine Arts Boston, Smith College Museum of Art (MA). 

stephaniesantana.com | @stephanie___santana

Regular enrollment will begin on May 1.

Stephanie Santana, A Watchful Eye, screenprint appliqué, monotype, relief printing, hand embroidery, acrylic, machine quilting, 23-3/4 x 29 inches (L), 21 x 25-1/2 inches (R)
Stephanie Santana, A Watchful Eye, screenprint appliqué, monotype, relief printing, hand embroidery, acrylic, machine quilting, 23-3/4 x 29 inches (L), 21 x 25-1/2 inches (R)
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Fall Short Print and Letterpress

LETTERPRESS FALL SHORT SESSION
SEPTEMBER 24 – 29, 2023 (four studio days)
Bridget Elmer
Engaging Ephemera

This workshop will explore the letterpress as a tool for creating engaging paper ephemera. We’ll cover the basics of letterpress, printing from handset type, ornaments, and printer’s cuts. Students will also learn one-sheet and accordion book structures that work well on the letterpress, giving them a lot of options to explore. Each student will produce an edition of letterpress-printed ephemera designed to encourage contemplation and inter/action. All levels. Letterpress studio.

Studio artist, printer; co-founder of Impractical Labor in Service of the Speculative Arts, co-owner of Print St. Pete Community Letterpress (FL), artist member of SPACEcraft (FL); teaching: Ringling College of Art and Design (FL), Colorado College, Florida State University, Ox-Bow (MI); collections: Brooklyn Museum (NY), Tate Britain (London), Yale University (CT), University of California-Los Angeles; published in Adventures in Letterpress (Laurence King) and 500 Handmade Books (Lark Books).

impractical-labor.org | printstpete.org | explorespacecraft.com
@flatbedsplendor @impractical-labor @printstpete 

Regular enrollment will begin on May 1.

Bridget Elmer, Y’all Means All, paper, ink, handset type, dimensions variable
Bridget Elmer, Y’all Means All, paper, ink, handset type, dimensions variable
PRINTMAKING FALL SHORT SESSION
SEPTEMBER 24 – 29, 2023 (four studio days)
Jessica V. Gatlin
Silkscreen Monoprints and Monotypes

Students in this workshop will create a series of quick, spontaneous prints. Using a combination of screenprinting and mixed-media techniques, we’ll build collaborative and individual compositions on the spot, reacting to each previous layer as we go and generating many unique prints. Technical information will include temporary stencils, photo emulsion, found objects, and watercolor/water soluble techniques. We’ll also discuss systems theory and other iterative practices. All levels. Printmaking studio.

Assistant professor at University of Maryland-College Park; other teaching: Ox-Box (MI), Tennessee State University, Penland; residencies: Wassaic Projects (NY), Ox-Bow (MI), A.C.R.E. (WI), Eugeniusz Geppert Academy of Fine Arts (Poland); exhibitions: COOP Gallery (TN), Co-Prosperity Sphere (IL), Seedspace (TN), The Holland Project (NV). 

jvgatlin.com | @blkshe

Regular enrollment will begin on May 1.

Jessica V. Gatlin, New Altars // New Praises // Ancient Among You (series), relief monoprint, 8 x 8 inches
Jessica V. Gatlin, New Altars // New Praises // Ancient Among You (series), relief monoprint, 8 x 8 inches
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Spring Short Session Wood

Wood – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Graeme Priddle
Sculptural Form and Surface

We’ll start this workshop by designing and developing small sculptural shapes using the bandsaw, carving tools (including chisels and grinders), and sanding equipment. These forms will then serve as canvases for surface embellishment techniques, including relief and textural carving with hand and rotary tools, burning/branding, and the use of acrylic and milk paints. These pieces could be finished works or experimental maquettes for later development into larger pieces. Those who wish to focus entirely on surface embellishment are welcome to bring turned/carved/fabricated/found wood objects to work on. All levels.

Woodturner, sculptor, workshop teacher known for his sculptural turnings/carvings reflecting the environments of his native New Zealand; teaching: Penland, Arrowmont (TN), Appalachian Center for Craft (TN), Campbell Folk School (NC), Johannes Michelsen School of Woodturning (VT); collections: Wood Turning Center (Philadelphia), Detroit Institute of Arts, Museum of Arts and Design (NYC), Renwick Gallery (DC).

graemepriddle.com | @graemepriddle

wood sculpture by Graeme Priddle
Graeme Priddle, I Raro I Te Moana (under the sea), poplar, acrylic paint, 8 x 5-1/2 inches
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Spring Short Session Iron

Iron – May Special Session
May 1-6, 2022
Peter Ross
Three-Legged Smith’s Helper

The smith’s “helper” is an unsung hero, the modest extra hand that’s available at just the right moment. Content to stay out of the limelight, the helper never complains and is always ready when needed. The smith’s helper is a tool, and we will start with two helper designs—one simpler, one more challenging—as we explore various approaches to creating adjustable height and to making tools that are both solid and interesting. Students will also be encouraged to incorporate their own designs and ideas. We may use forge welding, punching, tenons, upsetting, riveting, collars, slitting, scrolls, and assembly: many of the skills used in architectural work, but on a smaller scale. Our emphasis will be on forged components and traditional assembly rather than fabrication. Intermediate/advanced level: basic hand forging and forge welding skill required.

Studio artist; master of the blacksmith shop at Colonial Williamsburg for 25 years; specialist in reproduction 18th and 19th century hardware and tools; teaching: Haystack (ME), Penland, Campbell Folk School (NC), Touchstone (PA), Peters Valley (NJ), Tillers International (MI), New England School of Metalwork (ME); frequent demonstrator at ABANA conferences.

peterrossblacksmith.com

work by Peter Ross
Peter Ross, Three-Legged Smith's Helper, forged steel
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Spring Short Session Glass

Glass – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
David Naito
Essential. Shape.

How do you form hot molten glass into a desired shape? This workshop will help you understand how glass moves and behaves. You will be guided through the needed heats and how and when to tool the glass. With an emphasis on basic shapes, we’ll cover steps such as gathering, marvering, blowing, and tool use, and you’ll learn to combine them so your glass making will become more fluent. Teamwork and the importance of assisting will be predominant aspects of the workshop. Bring your ideas, sketches, and curiosity and be ready to shape glass. Advanced beginning level: students must have taken at least one glassblowing workshop.

Studio Artist; teaching: Alfred University/New York State College of Ceramics, Anoka-Ramsey Community College (MN), UrbanGlass (NY), Penland, Punahou School (HI); visiting artist: Ball State University (IN), Tavastia Vocational College (Finland), Mass College of Art (MA); exhibitions: Design Museum Nuutajärvi (Finland), Foreman Gallery (NY).

davidnaito.com | @davenaito

glass work by david naito
David Naito, Kilta in Creme and Orange, blown and fused glass, 9-1/2 x 14 x 6-1/2 inches
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Spring Special Session Drawing and Painting

Drawing and Painting – May Special Session
May 1-6, 2022
René Marquez
Mixed-Media Memories/Personal Narratives

This concept-based workshop will explore the use of mixed-media drawing and painting to tell personal stories and explore individual narratives. We’ll emphasize the development and exploration of personal lexicons. We’ll work with dry and wet drawing materials plus acrylic paint. Students can paint on canvas, create drawings on paper, or try other formats. Bring photographs and other source materials to work with; these will be the point of departure for our work. All levels.

Professor of art and design at University of Delaware; other teaching: Haverford College (PA), University of Pennsylvania; residencies: Banff Centre (Alberta), Des Moines Art Center (IA), Vermont Studio Center, Duntog Foundation (Philippines); exhibitions: Cultural Center of the Philippines, Bronx Museum of the Arts (NYC), International Center of Photography (NYC), Delaware Art Museum, West Gallery (Philippines).

renejmarquez.com

René Marquez, Faerie Dogs, acrylic and oil on unstretched canvas, 72 x 96 inches
René Marquez, Faerie Dogs, acrylic and oil on unstretched canvas, 72 x 96 inches
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Spring Short Session Clay

Clay–Spring Short Session
April 30 – May 5, 2023 (4-studio days)
Hitomi Shibata and Takuro Shibata
Making and Place

In this workshop we’ll explore wheel-throwing, slab construction, and handbuilding to create simple utilitarian pottery: yunomi, mugs, bowls, and plates. We have been making handmade pottery with wild clay for many years, and we’ll share our approach to natural materials and how we combine our material ideas with traditional Japanese techniques. This workshop will inspire your creativity and help foster new ideas for your work. We’ll use cone 10 red stoneware and white slips. We will fire some of the pots to cone 10 test in a gas kiln to show the whole process and the results; the rest of the pots will be bisque-fired to take home. All levels. Upper clay studio.

Hitomi: studio potter; member of International Academy of Ceramics; teaching: Penland, Haystack (ME), Peters Valley (NJ), The Art League (VA), East Carolina University (NC); exhibitions: The Clay Studio (Philadelphia), Old Church Pottery Show (NJ); publications: Wild Clay (Bloomsbury).  

Takuro: director of STARworks Ceramics (NC); member of International Academy of Ceramics; teaching: Penland, Haystack (ME), Peters Valley (NJ), Longwood University (VA); residencies: Peters Valley (NJ), Cub Creek Foundation (VA); exhibitions: Blue Spiral 1 (NC), The Clay Studio (Philadelphia), Old Church Pottery Show (NJ); publications: Wild Clay (Bloomsbury).  

studiotouya.com | @studiotouya | @takuroshibataceramics

ceramic work by Takuro Shibata
Takuro Shibata, Flame, North Carolina clay, iron oxide, wood ash, clear glaze, cone-11 fired, 10 x 17 x 12 inches
ceramic work by hitomi shibata
Hitomi Shibata, Yunomi, North Carolina clay, iron oxide, wood ash, shino, clear glaze; cone-10 fired, 4-1/2 x 3-1/2 x 3-1/2 inches each
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Spring Short Session Books

Books and Paper – May Special Session
May 1-6, 2022
Brian Chan
Origami: Theory and Craft

Starting with traditional origami models such as the crane, frog, and iris, we’ll follow the progression of this art form up to the latest creations and techniques pioneered by modern folders. I’ll present my own work as examples and delve into the design process as we spend time understanding the geometry of origami crease patterns, exploring folding techniques, and learning about the use of different papers for different styles. Students will have the opportunity to design and fold their own models. All levels. Books studio.

Studio artist working in origami, illustration, digital sculpting, and 3D printing; teaching: MIT Hobby Shop (MA); special guest at origami conventions in Japan, Korea, Italy, Spain, Peru, and Bolivia; exhibitions: Origami House (Japan), Peabody Essex Museum (MA); diagrams published by Japan Origami Academic Society.

brianchandesigns.com | @brianchandesigns

Brian Chan, Oak Leaf, handmade Origamido paper, 6 x 3 x 1/2 inches
Brian Chan, Oak Leaf, handmade Origamido paper, 6 x 3 x 1/2 inches
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Fall Weekend Wood

WOOD WEEKEND SESSION
October 21 – 23, 2022
Dail Dixon
For the Birds

Birds enjoy a well-designed, well-built place to live, and we can all do our part to help. The first day of this workshop will alternate between demonstrations and making. With a little grit, you will complete a bluebird house ready for occupancy. On the second day, you can build another just like it or try a different style. Even better, you could consider a creative approach that adopts the elemental components of the birdhouse—volume, entry hole, and perch—to present an idea, an allegory, or a portrait. We’ll cover shop safety and basic tool use, and you will leave with new skills and homes for your feathered neighbors. Beginning level. 

Architect, woodworker; fellow of the American Institute of Architects; teaching: North Carolina State University, Penland; exhibitions: North Carolina Museum of Art, St. Johns Museum (NC), Duke University Museum (NC), GreenHill Center (NC), Light Art + Design (NC), Penland Gallery; architect for multiple Penland School projects. 

daildixon.com | @daildixon

Dail Dixon, Birds of Penland Series: Drawing Studio, poplar, colored pencils, kneaded eraser, spray primer, enamel, 5-1/4 x 5-3/4 x 10-1/8 inches
Dail Dixon, Birds of Penland Series: Drawing Studio, poplar, colored pencils, kneaded eraser, spray primer, enamel, 5-1/4 x 5-3/4 x 10-1/8 inches
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Fall Weekend Textiles

TEXTLES WEEKEND SESSION
October 21 – 23, 2022
Dail Dixon
For the Birds

Birds enjoy a well-designed, well-built place to live, and we can all do our part to help. The first day of this workshop will alternate between demonstrations and making. With a little grit, you will complete a bluebird house ready for occupancy. On the second day, you can build another just like it or try a different style. Even better, you could consider a creative approach that adopts the elemental components of the birdhouse—volume, entry hole, and perch—to present an idea, an allegory, or a portrait. We’ll cover shop safety and basic tool use, and you will leave with new skills and homes for your feathered neighbors. Beginning level. 

Architect, woodworker; fellow of the American Institute of Architects; teaching: North Carolina State University, Penland; exhibitions: North Carolina Museum of Art, St. Johns Museum (NC), Duke University Museum (NC), GreenHill Center (NC), Light Art + Design (NC), Penland Gallery; architect for multiple Penland School projects. 

daildixon.com | @daildixon

Dail Dixon, Birds of Penland Series: Drawing Studio, poplar, colored pencils, kneaded eraser, spray primer, enamel, 5-1/4 x 5-3/4 x 10-1/8 inches
Dail Dixon, Birds of Penland Series: Drawing Studio, poplar, colored pencils, kneaded eraser, spray primer, enamel, 5-1/4 x 5-3/4 x 10-1/8 inches
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Fall Weekend Books and Paper

Books and Paper – Fall Weekend Session
October 21-23, 2022
Ann Marie Kennedy
Paper and Light

Making paper by hand allows for an investigation into its material nature and the interaction between paper and light. Starting with natural fibers such as flax and abaca, students will learn how to create translucent paper from overbeaten pulps. We’ll cover sheet forming techniques, including the use of a deckle box, and add content via stencils, collage, and texture. All levels. 

Associate professor at Wake Technical Community College (NC); other teaching: Women’s Studio Workshop (NY), Paper and Book Intensive (MI), Penland; residencies: Penland Resident Artist Program; installations/exhibitions: Gregg Museum (NC), Light Art + Design (NC), Cantor Art Gallery (MA); collections: Yale University (CT), Library of Congress (DC). 

annmariekennedy.net | @paperhouse17

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

work by Ann Marie Kennedy
Ann Marie Kennedy, detail of Plant Page, abaca, 16 x 20 inches