Author: jennifer@interactwo.com

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Wood Spring Concentration

Wood – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Mark Melonas
Concrete: It’s Hard

This workshop is an exploration of the possibilities, challenges, and beauty of concrete. By using multiple moldmaking methods, mix recipes, and casting techniques, students will gain an understanding of this seductive material. We will create samples of many mix formulas to investigate color, texture, and particle placement. Students will explore modern artisan approaches and combine them to create their own language with concrete. Working backwards and forwards and back again, we will use design skills and problem solving to design objects and the molds used to make them. Possible outcomes include furniture, vessels, and hollow or solid sculptural forms. All levels. 

Designer, artisan, and owner of LUKE WORKS Studio (Baltimore) creating concrete, metal, and wood furniture, sinks, and objects for local and national clients; visiting artist: Virginia Commonwealth University, IYRS School of Technology & Trades (RI), Maryland Institute College of Art; teaching: Baltimore School for the Arts, Peters Valley (NJ), Workshop of Our Own (Baltimore), Arrowmont (TN), Penland.

markmelonas.net |  lukeworks.com | @lukeworks

Scholarship application deadline is August 15.
Regular enrollment begins October 2.

Mark Melonas, Loveseat, concrete, weathering steel, black locust, upholstery, 21 x 56 x 21 inches
Mark Melonas, Loveseat, concrete, weathering steel, black locust, upholstery, 21 x 56 x 21 inches
Mark Melonas, Nana Lamp, concrete, pigment, 6 x 7 x 7 inches
Mark Melonas, Nana Lamp, concrete, pigment, 6 x 7 x 7 inches
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Textiles Spring Concentration

Textiles – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Zak Foster
Narrative Quilt-Making

This workshop will focus on the storytelling qualities of quilts. Using a series of narrative prompts designed to draw out personal stories, beginning to advanced students will be guided through the process of making experimental quilts. Instruction will be geared toward hand-sewing techniques such as stitches, appliqué, embroidery, quilting, and finishing (sewing machines will also be available). Other topics will include color relationships, elements of composition, and visual storytelling concepts. We will work with repurposed cloth; thrift shop trips are on the itinerary. A willingness to mess up will be a definite plus. All levels. Upper textiles studio.

Note: This workshop takes place in a third-floor walk-up studio that is made partially accessible with a stair lift. 

Studio artist who draws on southern textile traditions using repurposed fabrics with an approach to design that is intuitive and improvisational; teaching: Tatter Blue Library (NYC), Sawtooth Center (NC), Madeline Island School of the Arts (WI); work featured in New York Times, Vogue, People, Paper, The Guardian, Wall Street Journal, High Snobiety, and other publications. 

zakfoster.com | @zakfoster.quilts

Note: Here is a set of videos Zak made demonstrating seven basic hand-sewing techniques. Check them out if you have time. If you need a review during the workshop, Zak will be happy to go over them again.

Scholarship application deadline is August 15.
Regular enrollment begins October 2.

Zak Foster, YES MORE PLEASE, repurposed textiles, 45 x 45 inches
Zak Foster, YES MORE PLEASE, repurposed textiles, 45 x 45 inches
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Metals Spring Concentration

Metals – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Adam Whitney
Persuading Metal

Explore the art of metalworking in this immersive workshop. Students will learn fundamental hammering techniques and then advance to creating intricate designs through raising, shaping, chasing, and repoussé. Engaging presentations will delve into holloware’s rich history. Individual guided projects will culminate in personalized pieces that showcase proficiency in metal manipulation. Specific techniques will include angle raising, Dutch raising, crimping, sinking, snarling, soldering, fabrication, and tool making. We will work with a variety of nonferrous metals and, as individual budgets permit, silver. Instruction will include how to protect your body, but students in this labor-intensive workshop will be doing a lot of hammering. This workshop will combine creativity with technique, providing students with a comprehensive skillset in metalcraft and holloware artistry. All levels. Lower metals studio

Studio artist; teaching: Penland, School of Arts & Crafts Santo Domingo (Colombia), Appalachian Center for Crafts (TN), Pocosin Arts NC), Metalwerx (NC); special projects realized for Harvard Art Museum (MA) and Getty Museum (CA); representation Penland Gallery.

aw-metalsmith.com | @awmetalsmith

Scholarship application deadline is August 15.
Regular enrollment begins October 2.

Adam Whitney, EVA Glove 001, fine silver, 24k gold gilding, 11-1/4 x 7 x 8-1/2 inches
Adam Whitney, EVA Glove 001, fine silver, 24k gold gilding, 11-1/4 x 7 x 8-1/2 inches
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Iron Spring Concentration

Iron – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Erica Moody
Balancing the Spoon:
Metal Craft and Studio Practice

With utensil making as the framework, students will learn the foundations of mid-sized metalsmithing and will explore how our craft can foster play and awareness of our surroundings. Through demonstrations and experimentation (with optional prompts), students will design and realize their own eating and/or serving utensils, which may be entirely practical or purely sculptural. We will work with raw materials and repurposed utensils, consider individual as well as batch production, collaborate, and discuss balancing life and a craft business. Using mostly brass, copper, and steel, instruction will include cold and hot forming (forging, sanding, cutting, sinking; hand hammering only), cold and hot connections (riveting, wrapping, silver soldering/brazing), finishing (sanding, hand filing/white smithing, texturing, coloring, burnishing), and combining different materials (wood, bone, scrap metal, etc.). The workshop aims to use this nice, long time frame to both upset and balance our practices as we inspire and support each other. All levels. 

Studio artist crafting serving utensils and custom hardware; teaching: Peters Valley (NJ), Haystack (ME), Center for Metal Arts (PA), Pocosin (NC), Center for Furniture Craftsmanship (ME), Massachusetts College of Art & Design, Harvard Graduate School of Design (MA); 2023 Maine Arts Fellowship; short-term residencies: Penland, Haystack. 

ericamoody.com | @ericaemoody

Scholarship application deadline is August 15
Regular enrollment begins October 2.

 

Erica Moody, Pressed Brass Moon and Ring Utensils, brass, charred maple, 12 inches long
Erica Moody, Pressed Brass Moon and Ring Utensils, brass, charred maple, 12 inches long
moody-portrait
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Glass Spring Concentration

Glass – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Aya Oki
Passionate Harmony

Embark on a transformative glassblowing journey at Penland with a focus that goes beyond technique to explore the connection between artist and material. The workshop will start by looking at the properties and behaviors of glass. Basic techniques will be introduced through guided exercises. Then we will move on to blowing, shaping, layering, moldblowing, coldworking, and other techniques. Throughout the session students will learn from their mistakes and engage in a dynamic dialogue with glass, fostering a sense of harmony that will shape their artistic consciousness. We will work to unlock new facets of creativity and personal expression. All levels. 

Studio artist; teaching: St. Paul’s School (NH), California State University San Bernardino, Pilchuck (WA), Tulsa Glassblowing School (OK), Pittsburgh Glass Center (PA), UrbanGlass (NY), The Studio at Corning (NY), Penland; residencies: Creative Glass Center of America (NJ), Murano Residency (Italy), Duncan McClellan Gallery (FL), Residence Together (Sweden), Martha’s Vineyard Glassworks (MA); collections: Museum of American Glass (NJ), Tacoma Museum of Glass (WA), Corning Museum of Glass (NY), Imagine Museum (FL). 

aya-oki.com | @ayaokidoki 

Scholarship application deadline is August 15.
Regular enrollment begins October 2.

Aya Oki, Bloom XI, blown glass, 15 x 15 x 15 inches
Aya Oki, Bloom XI, blown glass, 15 x 15 x 15 inches
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Clay Spring Concentration

Clay – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Michael Kline
Surfacing

This workshop will explore the possibilities of surface design on clay and its connection to form. Stamping, painting, incising, and scraping stoneware pots will bring layer upon layer of visual interest to the surface. We will also experiment with flashing slips, underglazes, wax resists, and glazes, firing to cone 10 in soda and gas reduction kilns. Numerous exercises will boost mark-making confidence. Forming techniques will include wheel throwing, altering thrown forms, and hump-molded forms. Handmade brushes and clay stamps will bring a unique touch to our marks. The convergence of practice, novel ideas, and refined technical skills will help students develop a signature body of work. We’ll work with stoneware and/or porcelain. All levels. Upper clay studio.

Studio potter; teaching: Anderson Ranch (CO), Haystack (ME), Shadbolt Centre for the Arts (BC), Harvard (MA); collections: Islip Art Museum (NY), The Gregg Museum (NC), University of Tennessee Ewing Art Gallery (TN), San Angelo Museum of Fine Arts (TX); published in Tableware in Clay (Crowood Press), The Art of Contemporary Pottery and Functional Pottery (Krause Publications), Mastering the Potter’s Wheel (Voyageur Press); former Penland resident artist.

klinepottery.com | @klineola

Scholarship application deadline is August 15.
Regular enrollment begins October 2.

Michael Kline, Pitcher, wheelthrown stoneware; hand-painted with wax resist, soda glazed, 11 x 7 x 7 inches
Michael Kline, Pitcher, wheelthrown stoneware; hand-painted with wax resist, soda glazed, 11 x 7 x 7 inches
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Fall Visiting Artist

Fall Visiting Artist

Each fall and spring, Penland invites a visiting artist to join us for one or two weeks to engage with Concentration instructors and students. The intent is to add an invigorating presence to the session, enhancing the experience for everyone.

Tift Merritt

Tift Merritt is a singer and songwriter. In her nearly 20-year career, she has recorded seven albums of original material and earned a Grammy nomination. Tift is known for her short-story-style songwriting and her creative collaborations. She has shared the stage with bands as varied as Nick Lowe and Jason Isbell and was a member of Andrew Bird’s band, The Hands of Glory. In 2017, she designed a fabric collection for Bernhardt Design inspired by the guitar straps she makes with vintage ribbons. Most recently, she has been a regular contributor to the Oxford American, chronicling her tours with her young daughter Jean. The New Yorker called Tift “the bearer of a proud tradition of distaff country soul that reaches back to artists like Dusty Springfield and Bobbie Gentry.”

tiftmerritt.com

portrait of Tift Merritt
Image: Alexandra Valenti / Sacks & Co.
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Wood Summer Session 7

WOOD – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Julia Harrison
Carving Cottonwood Bark

The bark that is shed by cottonwood trees is an intriguing material for carving that offers dramatically unpredictable patterns, irregular shapes, and a soft but smooth texture. Bark responds better to strategy than to force and is a great material for beginners or those with lower hand strength as well as experienced carvers looking to build skill and sensitivity. Students will learn bark preparation, layout and roughing, tool selection, detailing, and finishing. We will primarily use hand tools but demonstrations will also cover some power tools and creating larger carving blocks. This process requires patience; expect steady but slow progress. All levels.

Studio artist; teaching: Penland, Haystack (ME), Arrowmont (TN), Pratt Fine Arts Center (WA), Snow Farm (MA), 92nd St. Y (NYC); grants: World Wood Day Research Grant, North Carolina Arts Council Artist Support Grant, Campbell Folk School Traditional Craft Mentorship (NC); residencies: Museum for Art in Wood (PA), Bunnell Street Arts Center (AK), Penland; collections: University of Arkansas, Tacoma Art Museum (WA), Mint Museum (NC), Museum for Art in Wood (PA).

juliaharrison.net | @byjuliaharrison
October 15 – November 15: Scholarship applications accepted
January 14 – Regular enrollment opens

Julia Harrison, detail of Third Season, cottonwood bark, 7 x 4 x 1 inches
Julia Harrison, detail of Third Season, cottonwood bark, 7 x 4 x 1 inches
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Textiles B Summer Session 7

TEXTILES – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Francisco Bautista and Laura Bautista
Zapotec Weaving

Students in this workshop will experience the beauty of crossing threads on a floor loom and creating motifs from the Zapotec culture of Mexico. The workshop will begin with some of the history behind our weaving traditions and techniques. Students will weave a traditional motif using various colors of their choosing. There will be daily demonstrations, discussions of historic and contemporary work, and some time for experimentation. We will also share how to make fringes. Although we will not be dyeing in this workshop, we will talk about our natural dyes. All levels. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Francisco is a fourth-generation master weaver; originally from Teotitlán del Valle in Oaxaca, Mexico, Laura and Francisco now work together in Oregon; exhibitions: Smithsonian Craft Show (DC), Salem Art Fair & Festival (OR), BAM Arts Fair (WA), Sun Valley Arts and Crafts Festival (ID), Art in the High Desert (OR). 

bautistaweaving.com | @francisco_laura_bautista
January 15 – Regular enrollment opens

Francisco Bautista and Laura Bautista, Eye of God Pillow Case, sheep wool, cotton warp, 14 x 18 inches
Francisco Bautista and Laura Bautista, Eye of God Pillow Case, sheep wool, cotton warp, 14 x 18 inches
Francisco Bautista and Laura Bautista - photographed for The Immigrant Story © John Rudoff 2021
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Textiles A Summer Session 7

TEXTILES – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Annabel Lowe Wrigley
Improvisational Quilts

This workshop is all about color and the emotions that come from working with it. Using interesting and intuitive color combinations, students will explore different improvisational piecing techniques to create meaningful compositions. We will leave quilting perfectionism and perfect points at the door and dive into the beauty of creating interesting shapes and curves. Working with a selection of solid colored fabrics, students will focus on combinations that create emotion while experimenting with different piecing and construction techniques. We will explore finishing techniques and facing options for hanging. The goal is for each student to complete one piece. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Textile artist; instructor of Creativebug online workshops (CA), teacher of workshops nationally and internationally; group and solo exhibitions at Almas RVA (VA); author of seven instructional sewing books including My Sewing Workshop and the We Love to Sew series.  

annabelwrigley.com | @littlepincushionstudio
January 15 – Regular enrollment opens

Annabel Lowe Wrigley, Study 13, 2022, fabric, thread, 38 x 43 inches
Annabel Lowe Wrigley, Study 13, 2022, fabric, thread, 38 x 43 inches
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Print & Letterpress L Summer Session 7

PRINT/LETTERPRESS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Alexander Lee Landerman
Letterpress Fundamentals

In this session students will explore the fundamentals of letterpress printing on the Vandercook press. We will delve into the essential elements: from typesetting and cleaning to blend-rolls and drying agents. Students will gain an understanding of typography and confidence in their ability to use movable type as they create evocative poster editions. They can expect to produce 2-3 small editions of letterpress-printed posters based on prompts generated by the group. All levels. Letterpress studio. 

Studio artist; lecturer in graphic design at Indiana University; residencies: Lawrence Art Center (KS), Alderworks (AK), Azule (NC), Porcupine Mountains State Park (MI), Petrified Forest National Park (AZ), Arrowmont Pentaculum (TN), Brush Creek Foundation (WY), Jentel Foundation (WY), Dorland (CA), Vermont Studio Center; representation: By Hand Gallery (IN), Quirky Fox (NZ), and Q Artists Cooperative (WI).

alexanderlanderman.com | @alexanderlanderman
January 15 – Regular enrollment opens

Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
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Print & Letterpress X Summer Session 7

PRINT/LETTERPRESS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Rashaun Rucker
No Press, No Problem

This workshop will be geared toward beginning printmakers and those who have enjoyed the medium but don’t have access to a press. We will cover linocut relief printmaking, monotypes, and monoprints using tools such as acrylic/gelatin plates, sponges, string, cotton swabs, brushes, and other fun things. All processes will be done with water-based inks, which can be used safely in many different spaces. Expect to finish two or three pieces during the workshop. All levels. Printmaking studio. 

Studio artist; Sustainable Arts Foundation Award, Harpo Foundation Visual Arts Grant; collections: Smithsonian Museum of African-American History and Culture (DC), Mott-Warsh Museum (MI), Detroit Institute of Arts (MI), California African-American Museum (CA), Wake Forest University (NC), University of Michigan-Ann Arbor (MI), Clark Atlanta University (GA); representation: M Contemporary Gallery (MI). 

rashaunrucker.com | @ruckerarts
January 15 – Regular enrollment opens

Rashaun Rucker, The Ancestors Cried Asé, linocut, 18 x 12 inches
Rashaun Rucker, The Ancestors Cried Asé, linocut, 18 x 12 inches
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Photography Summer Session 7

PHOTO – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Emma Powell
Creative Cyanotype Explorations

This workshop will explore the creative depths of the rich, blue, cyanotype process as students learn to manipulate the technique for their own artistic goals. Cyanotype is a light-sensitive, hand-applied emulsion that is painted onto paper or other materials. It does not require a traditional darkroom and can even be exposed outside in the sun. Together we will explore exciting approaches, such as photograms, creating digital negatives, printing on imaginative substrates, and toning. Cyanotype is a great starting point for experimenting with alternative photographic processes, and it has many applications for photographers and mixed-media artists. All levels. 

Studio artist, curator; teaching: Colorado College, Iowa State University; exhibitions: Fox Talbot Museum (England), Seities Studio (Canada), George Eastman House (NY), Museum of Sleep (VA), Panopticon Gallery (MA), Colorado Photographic Arts Center (CO), Bell Projects (CO), Well Hung Curation (CO), Southeast Center for Photography (SC), Leeds Gallery at Earlham College (IN), Slow Exposures (GA), ArtWRKD (PA).

emmapowell.photo | @emmaobscura
January 15 – Regular enrollment opens

Emma Powell, Writer’s Block, cyanotype photogram and photograph on silk/hemp fabric, 16 x 16 inches
Emma Powell, Writer’s Block, cyanotype photogram and photograph on silk/hemp fabric, 16 x 16 inches
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Metals B Summer Session 7

METALS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Kirk Lang
Touch and Go

Would you like to add movement to your artwork? What if you could make an object that mimics the flapping wings of a bird, a flower blossoming, or a model of the earth rotating around the sun? Why imply movement in your work when you can actually make your work move! This workshop will explore the transformative power of motion and offer a unique perspective on how to generate movement in jewelry and small-scale sculpture. Students are invited to bring their own ideas, materials, and projects, but they will also be exposed to new project ideas and methodologies specific to kinetic mechanisms. Technical information will include wire work, riveting, tap and die, pressure fitting, machining, and soldering. Intermediate level: no experience with kinetic work is needed, but basic sawing, filing, and soldering skills are required. Lower metals studio. 

Studio artist; teaching: Metalwerx (MA), Lillstreet Arts Center (IL), Flux Metal Arts (OH), Danaca Design (WA); Artist Trust/Washington State Arts Commission Fellowship, Saul Bell Design Award; collections: Metal Museum (TN), Hallie Ford Museum (OR); representation: Facèré Jewelry Art Gallery. 

kirklang.com | @kirk_lang
Videos of Kirk’s kinetic work
January 15 – Regular enrollment opens

Kirk Lang, Constellation 9 (Pictor Minor), mixed metals, custom electronics, drawing easel component, 12 x 32 x 6 inches
Kirk Lang, Constellation 9 (Pictor Minor), mixed metals, custom electronics, drawing easel component, 12 x 32 x 6 inches
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Metals A Summer Session 7

METALS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Xinia Guan
Origami-Style Metal Fabrication

This workshop will explore ideas and techniques for combining the ancient art of origami with modern metalworking. We will transform flat sheets of copper or silver into intricate and structurally complex, three-dimensional shapes. As students learn a bit about the history and evolution of origami and begin to apply its principles to metalwork, they will develop an understanding of metal properties, structural mechanics, and the technical aspects of cutting and folding metal. Techniques will include sawing, piercing, soldering, and finishing processes. Basic metalworking skills will be helpful but this workshop is open to all levels. Upper metals studio. Note: this workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Studio artist; teaching assistant at Savannah College of Art and Design (GA); recent exhibitions: Smithsonian Craft Show (Washington, D.C.), Philadelphia Museum of Art Contemporary Craft Show (PA); representation: Charon Kransen Arts (NYC).

xiniaguan.com | @xiniaguan.jewelry
January 15 – Regular enrollment opens

Xinia Guan, Flatland X, oxidized sterling silver, 23k gold, stainless steel, 2-1/2 x 2-1/2 x 1/2 inches
Xinia Guan, Flatland X, oxidized sterling silver, 23k gold, stainless steel, 2-1/2 x 2-1/2 x 1/2 inches
Processed with VSCO with al1 preset
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Iron Summer Session 7

IRON – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Gabriel Craig and Amy Weiks
A Love Letter to Grilles

Grilles have been used for centuries to enclose and protect, and they are the basis for a variety of forms, including gates, trellises, trivets, and fire screens. Blending pattern, form, and function, grilles are a potent vehicle for expression. In this workshop students will make small grillework that could be functional items or studies for larger work. We will cover tapering and scrolling before moving on to jig making to aid in creating repeated parts. We will cover collars, rivets, laps, and tenons and will introduce forge welding as a means of creating complexity in the grille components or frame. No matter where you are in your smithing journey, there will be plenty to assimilate. All levels. 

Metalsmiths, owners of Smith Shop (Detroit); teaching: Haystack (ME), Savannah College of Art and Design, Wayne State University (MI); residencies: Houston Center for Contemporary Craft, California College of the Arts, Warren Wilson College (NC); collections: Smithsonian American Art Museum (DC), Cranbrook Art Museum (MI), Mint Museum (NC). 

smithshop.com | @smithshopdetroit
January 15 – Regular enrollment opens

Gabriel Craig and Amy Weiks, Heirloom Trivet, forged and fabricated steel, 2-1/2 x 9-1/2 x 21 inches
Gabriel Craig and Amy Weiks, Heirloom Trivet, forged and fabricated steel, 2-1/2 x 9-1/2 x 21 inches
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Glass B Summer Session 7

GLASS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Rebecca Smith
Flirting with Fusing

This workshop will explore the vast possibilities of fused glass. We will begin by covering how to cut glass, touching on the fundamentals before diving into more advanced techniques such as on-edge strip construction and using the heat of the kiln to create faux murrine patterns with stacks. Then students will make glass of their own design while learning to manipulate glass stringers with heat and create imagery and pattern with glass powders. We will bring everything together as we create pieces that will become functional dishes or decorative wall art. Topics will also include coldworking, firing processes, and the behavior of glass. All levels. Kiln studio. 

Kiln forming coordinator and guest services at Pittsburgh Glass Center;  teaching: Pilchuck (WA), Penland, Pittsburgh Glass Center; exhibitions: Erie Art Museum (PA), Pittsburgh Glass Center, Pittsburgh Botanical Garden.

Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Rebecca Smith, On Edge, fused Bullseye sheet glass, 5 x 12 inches, 4 x 13 inches
Rebecca Smith, On Edge, fused Bullseye sheet glass, 5 x 12 inches, 4 x 13 inches
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Glass A Summer Session 7

GLASS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Boyd Sugiki and Lisa Zerkowitz
Refining Form

This workshop will focus on refining students’ skills by working on simple forms in clear glass: tumblers, cylinders, bowls, and bottles. Students will practice working efficiently, improving heat control, and surveying basic blowing theories. Instruction will be personalized to build on individual skills; one-on-one time will help you find simple solutions to common struggles. Intermediate/advanced level: at least two years of glassblowing experience required. Hot glass studio.

Studio artists working independently and collaboratively as Two Tone Studio; teaching: The Studio at Corning (NY), Pittsburgh Glass Center, Penland, Pilchuck (WA); representation: Vetri Glass (Seattle), White Bird Gallery (OR). 

twotonestudios.com | @twotonestudiosglass
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Boyd Sugiki and Lisa Zerkowitz, Spiral Platter, glass, 4-1/2 x 18 x 18 inches
Boyd Sugiki and Lisa Zerkowitz, Spiral Platter, glass, 4-1/2 x 18 x 18 inches
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Drawing & Painting Summer Session 7

DRAWING/PAINTING – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Vessna Scheff
Radiant Watercolors and Luminous Drawings

In this exploratory workshop, we will experiment with intuitive mark making, movement-inspired activities, blind drawing, and drawing from observation—with the goal of self-expression and developing an understanding of light. Fun and playful approaches will build comfort with drawing and watercolor, reveal tools and techniques for refining work (it is actually possible to “erase” watercolor!), and provide prompts for seeing. This workshop is for beginning-to-advanced students hoping to find enjoyment and ease in mark making and watercolor painting and/or to enhance their skill in drawing/painting from observation. As an instructor/artist/person who values silliness and play as critical components of grounded artistic living, I look forward to diving in with you. All levels. 

Vessna Scheff creates poetic paintings, portraits, performances, sounds, and installations that use watercolors, movement, vocals, and projections as mediums of inquiry. Grounded in watercolors, her work reclaims a medium that is often described as “difficult” and “sketch” for its uncontrollable qualities, and conceptualizes the freedom of watercolor as an expression of Black liberation: always being, responding, and adapting despite the confines of oppression. Scheff’s works dance with time and fall to gravity; they blend, bleed, and bloom. They stretch, they resist, they flood, they drip, potent in texture, heavy in meaning, and rich in nuance.

vessnascheff.com/visuals | @vessnascheff
Jan 15 – Regular enrollment opens

Vessna Scheff, Knit Seeds in the Soil, watercolor and pencil on canvas, 60 x 72 inches
Vessna Scheff, Knit Seeds in the Soil, watercolor and pencil on canvas, 60 x 72 inches
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Clay B Summer Session 7

CLAY – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Elena Renker
Kurinuki

Kurinuki is an centuries-old Japanese handbuilding technique that involves carving the exterior form from a solid block of clay and then hollowing it out. This more sculptural approach allows for complete freedom in the shaping of vessels. We will explore various forms from tea bowls to bottles, vases, boxes, and large bowls. Kurinuki is also useful in making sculptural forms. Stoneware clay; bisque fire only. All levels. Lower clay studio.

Studio artist; teaching: Auckland Studio Potters (Australia) and workshops in New Zealand, India, and Taiwan; exhibitions: Form Gallery (New Zealand), Schaller Gallery (MI), Mungyeong Ceramic Museum (Korea), Sogo Department Store (Tokyo), Stratford Gallery (UK); collection: Mungyeong Ceramic Museum (Korea); work featured in Ceramics Monthly and Logbook. 

elenarenker.com | @elena_renker
Jan 15 – Regular enrollment opens

Elena Renker, Sake Bottles, wood-fired stoneware, tallest: 6-1/4 inches
Elena Renker, Sake Bottles, wood-fired stoneware, tallest: 6-1/4 inches
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Clay A Summer Session 7

CLAY – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Neil Patterson
Altered Forms

Discover your personal forms by learning to use the potter’s wheel as a creative tool. Continue the process by altering wheelthrown parts and developing off-round forms. Our focus will be on exploring process and discovering your voice in clay, not on making finished pieces. We will bisque fire only. Some throwing experience will be helpful, but this workshop is open to all levels. Upper clay studio.

Studio artist; teaching: Tyler School of Art (Philadelphia), Swarthmore College (PA), Saint Joseph’s University (Philadelphia), workshop teaching nationally; residencies: The Clay Studio (Philadelphia), Penland Core Fellowship. 

Sandiandneil.com
Jan 15 – Regular enrollment opens

Neil Patterson, Black Flower Arranger, stoneware, 11 x 5 x 5 inches
Neil Patterson, Black Flower Arranger, stoneware, 11 x 5 x 5 inches
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Books & Paper P Summer Session 7

PAPER – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Jazmine Catasús
Experimenting with Pulp

This workshop will be guided by the materiality of handmade paper as students are encouraged to take an experimental approach and push the traditional boundaries of papermaking. Paper will be considered as a tactile medium like paint or clay. We will build imagery using the various textures, colors, and forms that paper pulp has to offer and use pulp to paint onto other surfaces, such as canvas. We will also cover preparing cotton fiber with the Hollander beater, small sheet forming, and stenciling. All levels. 

Studio artist; artistic director/master printer at EFA Robert Blackburn Printmaking Workshop (NYC); teaching: Pratt Institute (NYC), Dieu Donné (NYC), Recess Art (NYC) Center for Contemporary Printmaking (CT); residencies: Morgan Conservatory (OH), Bard Graduate Center (NYC); Hand Papermaking Board of Directors.

jazminecatasus.com | @jaz_arelis
January 15 – Regular enrollment opens

Jazmine Catasús, Emblem, paper pulp, gouache, red bole on canvas, 40 x 30 inches
Jazmine Catasús, Emblem, paper pulp, gouache, red bole on canvas, 40 x 30 inches