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Wood Spring Concentration

Wood Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Ellie Richards
Freeform Furniture

Using furniture and functionality as our muse, this workshop will use traditional techniques to create compelling and imaginative objects that communicate ideas and feelings beyond their utility. We’ll cover traditional methods of processing, joining, bending, and carving wood to make sculptural furniture forms. A variety of surface explorations and wood finishes will be presented, and the use of alternative materials (leather, cork, felt) along with high-quality hardware will be encouraged. Through a cycle of playing and building, students will strengthen their voice while working to question convention, break free of archetypes, and explore the abstract. By the end of the session, Freeform Furniture will take on a shape all its own. All levels. 

Studio artist; teaching: Yestermorrow (VT), Appalachian Center for Craft (TN), Haystack (ME), Penland; residencies: Center for Art in Wood (ME), San Diego State University (CA), University of Wisconsin-Madison, former Penland Resident Artist; exhibitions: Mint Museum (NC), Center for Craft (NC), SOFA Chicago, Society of Contemporary Craft (Pittsburgh).

ellie-richards.com | @ellieinthewoods

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

Ellie Richards, New Heights, chainsaw sculpted, polychromed red oak, shellac, 48 x 44 x 24 inches
Ellie Richards, New Heights, chainsaw sculpted, polychromed red oak, shellac, 48 x 44 x 24 inches
Ellie Richards, Wishbone Bench V, sawmill offcut spalted maple, milk paint, 18 x 36 x 12 inches
Ellie Richards, Wishbone Bench V, sawmill offcut spalted maple, milk paint, 18 x 36 x 12 inches
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Textiles Spring Concentration

Textiles Spring Concentration
March 5 – April 28, 2024 (8 Weeks)
Andrea Donnelly
Weaving Alchemy

Delve deep into your personal artistic language through handwoven cloth and creating artwork with textile processes. After we cover basic weaving techniques we’ll be off to discover what magic we can make with the loom. We’ll experiment with nontraditional interventions such as unweaving and on-loom painting, explore the possibilities of immersion dyeing, and paint on thread and cloth. Off the loom, our woven cloth will become raw material as you learn to stabilize, layer, and assemble handwoven elements to create collage-style work. Come prepared to weave your booty off! All levels. Lower textiles studio. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift. 

Studio artist; teaching: Virginia Commonwealth University; exhibitions: Reynolds Gallery (VA), 1708 Gallery (VA), North Carolina Museum of Art, Mint Museum (NC), Museum Rijswijk (Netherlands); collections: North Carolina Museum of Art, Virginia Museum of Fine Art, Capital One (VA), Dominion Energy (VA); representation: Reynolds Gallery (VA).

andreadonnelly.com | @andreadonnellyart

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

Andrea Donnelly, Green Spaces, handwoven cotton, dye, pigment, PVA, cotton backing, 42-3/4 x 33-1/2 inches
Andrea Donnelly, Green Spaces, handwoven cotton, dye, pigment, PVA, cotton backing, 42-3/4 x 33-1/2 inches
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Print & Letterpress Spring Concentration

Printmaking Spring Concentration
March 3 – April 26, 2024
Jamaal Barber
Relief Printing

Dive into the beautiful world of relief printmaking! Learn to design, carve, and print expressive woodcuts and linocuts. Starting with single-color images, we’ll cover the basics of mark-making, tool safety, using the press, and editioning. Then we can build more complex images using multiple blocks, multiple colors, color gradients, laser cutting, and other advanced techniques. As we progress, we’ll discuss traditional and contemporary printmaking from Kathe Kollowitz and Picasso to Elizabeth Catlett and Steve Prince. Students can expect to finish two or three editioned prints, with the potential for many more print variations with experimentation and collaboration. All levels. Printmaking studio.

Studio artist, podcaster (Studio Noize); participant in The Exhibit on MTV and Smithsonian Channel; teaching: Atlanta Printmakers Studio, visiting lecturer at Georgia State University; exhibitions: Samford University (AL), Public Works (SC), Mint Gallery (GA), representation: ZuCot Gallery (GA). 

jbarberstudio.com | @jbarberstudio

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

Jamaal Barber, Something Wonderful, linocut, collage, 18 x 12 inches
Jamaal Barber, Something Wonderful, linocut, collage, 18 x 12 inches
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Metals Spring Concentration

Metals Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Lola Brooks
All You Can Eat: The Blue Plate Special

This workshop will be a feast of technical and conceptual investigation in the metals studio. Students will have the opportunity to explore a wide variety of techniques while working toward a deeper understanding of their own interests in making small objects and jewelry. Focusing on fabrication, we’ll whet our appetites by investigating hollow and wire construction, repetitive elements as structure, forming, mechanisms, and stonesetting. We’ll continue the tasting menu with a week of wax carving and lost-wax casting with guest instructor Suzanne Pugh. Finally for dessert, we’ll sample the delights of color as we explore the basics of working with vitreous enamel. All levels. Upper metals studio.

This workshop takes place in a ground-level studio with compromised access. It is made partially accessible by a stair lift. 

Studio artist; teaching: University of Georgia, Cranbrook (MI), Rhode Island School of Design, University of the Arts (Philadelphia); collections: Rhode Island School of Design Museum, Yale University Art Gallery (CT), Museum of Arts and Design (NYC), Metropolitan Museum (NYC); representation Sienna Patti Contemporary (MA).

@dolorescanard

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

Lola Brooks, Narcissuses, stainless steel chain, 14k solder, mid-20th century shell cameos, coral, stainless steel, 14k gold, 2 x 2-1/4 x 1-1/4 inches
Lola Brooks, Narcissuses, stainless steel chain, 14k solder, mid-20th century shell cameos, coral, stainless steel, 14k gold, 2 x 2-1/4 x 1-1/4 inches
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Iron Spring Concentration

Iron Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Anna R. Koplik
Tongs, Hammers, and Other Slammers

This workshop will explore the self-sufficient nature of blacksmithing as students make a series of tools. Each tool will aid in the creation of the next and this series of projects will help develop basic forging skills. We’ll make hammers, tongs, top tools, power hammer tooling, bending forks and jigs, and more. The workshop structure will allow students to make tools to suit their interests, culminating in making functional or sculptural projects of their own design. Demonstrations will focus on refining forging technique, proper heat treatment, and finishing. We’ll work to understand how form and function go hand in hand. Expect lots of hand hammering, striking with sledgehammers, power hammer work, a welcoming and inclusive environment, and breaks for dance parties. All levels.

Artist fellow at Peters Valley (NJ), journeyman architectural blacksmith, tool and utensil maker; teaching: Penland, Touchstone (PA), Peters Valley (NJ), Haystack (ME), Center for Metal Arts (PA), Campbell Folk School (NC), Desert Metal Craft (AZ), Brookfield (CT), She-Weld (NY), Dragons Breath Forge (CT); recent exhibition: Penland Gallery.

annarkoplik.com | @arkoplik

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

 

Anna R. Koplik, Hammers and Tongs, forged steel, wood, dimensions variable
Anna R. Koplik, Hammers and Tongs, forged steel, wood, dimensions variable
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Glass Spring Concentration

Glass Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Granite Calimpong
Building a Strong Foundation

This workshop is about exploring functional forms as you build a strong foundation of fundamental glassblowing skills. Starting with simple drinking vessels, we’ll cover gathering, marvering, working on center, body position, and movement through the shop. From there we’ll move on to bowls, plates, vases, and other more challenging forms and work through more advanced techniques, including optic molds, color applications, bit work, and handles. This workshop will be about steady improvement that will enable you to produce functional objects for use and enjoyment. All levels. Hot glass studio.

Studio artist; teaching: University of Washington, Pilchuck (WA), Haystack (ME), Penland, Pittsburgh Glass Center; recent exhibitions: Traver Gallery (Seattle); The Jam Factory (Australia); residencies: Museum of Glass (WA), Pilchuck (WA), Northlands Creative Glass (Scotland), Pittsburgh Glass Center, Pottery Northwest (Seattle).

granitecalimpong.com

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

Granite Calimpong, Saltillo, glass, vitrolite, 12 x 10 inches
Granite Calimpong, Saltillo, glass, vitrolite, 12 x 10 inches
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Clay Spring Concentration

Clay Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Cynthia Bringle
Basics and Beyond

This workshop will be about starting from where you are and getting to the next stop along the way. Whatever your level of experience, it’s always good to review and learn more ways to make handles that function, lids that fit, and pitchers that pour. We’ll do lots of work on forms and options for decoration, including brushwork, glazes, and carving. We’ll work with stoneware, and together we’ll load and fire various kilns. Studio and gallery visits will give you a chance to see different approaches to pottery, studio set-up, and ways of selling. Guest instructor Julie Wiggins will add her perspective by leading the workshop for one week. The ability to center clay and pull a 6-inch cylinder will be helpful, but the workshop is open to all levels. Upper clay studio.

Studio potter and workshop teacher; teaching: Arrowmont (TN), Anderson Ranch (CO), Campbell Folk School (NC), Penland; fellow and trustee emeritus of the American Craft Council, North Carolina Award for Fine Arts, honorary doctorate from Memphis College of Art; collections: Mint Museum (NC), High Museum (GA), Gregg Museum (NC), Fuller Craft Museum (MA), Asheville Museum of Art (NC).

cynthiabringlepottery.com | @cynthiabringle

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

Cynthia Bringle, Fish Jar, stoneware, 20 x 12 x 12 inches
Cynthia Bringle, Fish Jar, stoneware, 20 x 12 x 12 inches
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Spring Visiting Artist

Spring 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. This spring we are delighted to have two visiting artists.

Cristina Córdova

Cristina Córdova is a ceramic sculptor and teacher. Her awards include the USArtists Fellowship and the North Carolina Arts Council Fellowship. Her work is in the collections of the Renwick Gallery (DC), the Museum of Art of Puerto Rico, and the Museum of Contemporary Art of Puerto Rico. She has taught at Penland, Haystack (ME), Santa Fe Clay (NM), and Anderson Ranch (CO).

cristinacordova.com

Cristina will give a visiting artist lecture on Tuesday, April 2 at 8:15 PM in Northlight titled Manos abiertas: making from where you are. This event is free and open to the public.

“Many of the themes that ground my practice are rooted in the identity of someone from the Caribbean, from Puerto Rico. Amidst all the vantage points that catalyze creativity this one, time and time again, offers a clear stance from which images of weight emerge. And yet, having lived for years amidst the ebb and flow of Penland, this once impermeable identity now has softened boundaries that are in constant dialogue with all that is received and understood outside of the small, evergreen territory I still consider home. This lecture will speak to the influences that have shaped my creative practice and explore the emergence of themes tied to identity and displacement through the lens of figurative ceramics.”

Jaime Suárez

Jaime Suárez is a sculptor, ceramist, installation artist, set designer, draftsman, and teacher. His work has been collected by the Metropolitan Museum of Art (NYC), the Museum of Art in Colombia, and the Museum of Art of Puerto Rico. He is an associate professor in the school of architecture at the Universidad Politécnica de Puerto Rico.

Jaime will give a visiting artist lecture on Wednesday, April 3 at 8:15 PM in Northlight titled Clay Beyond Ceramics. This event is free and open to the public.

“Three experiences during the first year of architecture studies influenced my development as an artist: reading The Book of Tea by Kakuzo Okakura, a lecture by Louis Khan, and an investigation and paper on the work of Antonio Gaudi. An appreciation for nature and the passing of time, the inherent quality of materials, and the search for originality have shaped a diverse expression through clay which has extended to paper and concrete. Through the talk, I will share both conceptual concerns and techniques.”    

Cristina Córdova, "detail of Jungla," photographic polyptych, ceramic, resin, paper, glass, plastic, wood, 7 x 18 feet
Jaime Suárez, "detail of Tótem Telúrico," ceramic, concrete, granite, 40 feet tall
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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 13–18, 2023
Harold Greene
Hand Tools First

The goal of this workshop will be to strike a balance between the use of machines and hand tools while creating aesthetically pleasing small wall cabinets. The practice of using hand tools—planes, dovetail saws, chisels, marking gauges, etc.—brings a certain joy to woodworking as you master the use and care of these tools. We’ll pay special attention to hand-cut dovetails, mortise and tenon joints, sharpening, and the adjustment and use of hand planes. All levels. 

Furniture designer/builder, founding member and teacher at Angels Gate Cultural Center (CA); exhibitions: City of Los Angeles Municipal Art Gallery, Craft Contemporary (Los Angeles); several public art projects on the Los Angeles waterfront; work published in Fine Woodworking.

haroldgreenefinefurnishings.com | @harold.greene

Harold Greene,Tokonomo Cabinet, pear, maple, elm, carob, cyprus, stone, 23 x 37 x 10 inches
Harold Greene,Tokonomo Cabinet, pear, maple, elm, carob, cyprus, stone, 23 x 37 x 10 inches
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Textiles B Summer Session 7

TEXTILES SUMMER SESSION 7
AUGUST 13–18, 2023
Tali Weinberg
Material Matters

This beginning workshop will take a playful, improvisational approach to weaving. Students will learn to wind a multi-colored warp, dress a floor loom, and be introduced to the fundamental skills and tools of the medium. Through hands-on experimentation, we’ll explore how color, material, structure, and density interact to allow for infinite design possibilities, even when limited to relatively simple patterning. Demonstrations will cover balanced, weft-faced, and warp-faced weaves while introducing relevant color theory, fiber properties, and the incorporation of alternative materials. Students will go home with a series of small pieces or samples packed with information for future projects. Beginning level. Second-floor textiles studio.

Studio artist; teaching: California College of the Arts, Textile Arts Center (NYC), Penland; Illinois Artist Fellowship, Serenbe Fellowship, Tulsa Artist Fellowship, Museum of Arts and Design Residency (NYC); exhibitions: Dreamsong (MN), Praxis (OH), Center for Craft (NC), 108 Contemporary (OK); collections: Berkeley Art Museum (CA), Georgia Museum of Art; publications: New York Times, onEarth Magazine, Surface Design Journal, Fiber Art Now, Ecotone.

taliweinberg.com | @tali.weinberg

Tali Weinberg, Water Bodies, hemp, plant- and insect-derived dyes, petrochemical-derived fishing line, 138 years of temperature data for the oceans, 50 x 35 inches
Tali Weinberg, Water Bodies, hemp, plant- and insect-derived dyes, petrochemical-derived fishing line, 138 years of temperature data for the oceans, 50 x 35 inches
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Textiles A Summer Session 7

TEXTILES SUMMER SESSION 7
AUGUST 13–18, 2023
Nneka Jones
Storytelling Through Eyes

In this embroidery workshop, we’ll explore the art of evoking emotions through the use of color, particularly focusing on the image of the human eye. Taking a nontraditional approach to embroidery, students will learn new methods for creating a realistic eye using a simple color palette and basic stitches. A step-by-step guide will simplify the embroidery process using a painterly approach. Students will learn how to analyze a photo, color block, and blend color to bring their story and emotions to life. All levels. Third-floor textiles studio.

Studio artist; work commissioned for Time Magazine cover (September, 2020), guest speaker at 2020 Adobe MAX conference; collections: City of Tampa (FL), Tampa Museum of Art (FL), Florida Craft Art Gallery (FL), Ferman Center for the Arts (FL).

artyouhungry.com | @artyouhungry

Nneka Jones, Yellow Light, hand embroidery and acrylic on canvas, 12 x 12 inches
Nneka Jones, Yellow Light, hand embroidery and acrylic on canvas, 12 x 12 inches
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Print & Letterpress L Summer Session 7

PRINT & LETTERPRESS SUMMER SESSION 7
AUGUST 13–18, 2023
Eileen Wallace
Ink, Paper, Wood

Using wood type and veneer, this workshop will develop a selection of letters, shapes, and images to create abstract compositions, modular designs, and/or text and image combinations. Wood type will be used for text but also to explore its potential to create patterns and shapes. We’ll cut our own designs in wood veneer, by hand and with the laser cutter, to be used modularly or in conjunction with wood type. The group will establish a set of individual and shared matrices that can be used in infinite combinations for broadsides and small prints. Instruction will include the fundamentals of letterpress printing. All levels. Letterpress studio.

Senior lecturer in printmaking and book arts at University of Georgia; teaching: Penland, Haystack (ME), Monson Arts (ME); exhibitions: Ink on Paper, A Letterpress Showcase (CA), New Impressions (WI); former Penland Resident Artist; curator of Masters: Book Arts (Lark).

eileenwallace.com | @eileenwallace

Eileen Wallace, Untitled Modular Composition, letterpress printed from wood veneer, 15 x 12 inches
Eileen Wallace, Untitled Modular Composition, letterpress printed from wood veneer, 15 x 12 inches
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Print & Letterpress X Summer Session 7

Letterpress Summer Session 7
August 14–19
Heinrich Toh
High-Rolling Monoprints

In this workshop artists and image makers who want to create one-off pieces will discover opportunities for working on paper with the layered monoprint. We’ll balance process and content as we build layers using color, composition, and imagery. We’ll cover various applications for monotypes and inked-xerox image transfers (paper lithography). We’ll explore materials and methods for creating depth and space between background and foreground with texture, mark-making, and brushstrokes. Incorporating pattern, shape, and personal imagery from your photographs or drawings will further define your personal aesthetic. All levels. Printmaking studio.

Studio artist; teaching: Kansas City Art Institute, Arrowmont (TN), Pratt Fine Arts Center (Seattle), Oklahoma Fine Art Institute at Quartz Mountain; exhibitions: Wing Luke Museum of the Asian Pacific American Experience (Seattle), Bellevue Art Museum (WA); collections: Nelson-Atkins Museum of Art (Kansas City), Albrecht-Kemper Museum (MO).

heinrichtoh.com | @heinrichtoh

Heinrich Toh, Now That the Lights Are Gone, monoprint, paper lithography on Rives BFK paper, 35 x 47 inches
Heinrich Toh, Now That the Lights Are Gone, monoprint, paper lithography on Rives BFK paper, 35 x 47 inches
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Photography Summer Session 7

PHOTOGRAPHY SUMMER SESSION 7
AUGUST 13–18, 2023
Karen Navarro
Pushing the Boundaries of Collage

This workshop will introduce materials and techniques to push the boundaries of traditional collage. We’ll investigate the foundations of identity through portraiture collages. Students may work with their own archive or found images. The workshop will cover cut-and-paste techniques, digital manipulation and printing, painterly processes, and image appropriation. Materials will be provided, and students are also encouraged to bring their own collections of ephemera: photographs, magazines, wallpaper, cardboard, fabric scraps, etc. All levels. 

Studio artist; exhibitions: Contemporary Art Museum Houston (TX), Artpace San Antonio (TX), FAR Center for Contemporary Arts (IN), Big Medium (TX), Klompching Gallery (NY), Holocaust Museum Houston (TX), Houston Center for Photography (TX); representation: Foto Relevance (TX); publications: ARTnews, The Guardian, Observer, Rolling Stone Italia, Photo Vogue Festival Italia.

karennavarroph.com | @karennavarroph

navarro
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Metals B Summer Session 7

METALS SUMMER SESSION 7
AUGUST 13–18, 2023
Aminata Conteh
Over, Under, and Through: Experimental Metal Weaving

This workshop will explore the possibilities of using weaving and basketry techniques with metal materials. Using copper, nickel, steel, and silver, we’ll create a series of small woven samples culminating in final projects that will take the form of objects, adornment, or a mixture of both. We’ll have daily demonstrations as well as discussions of the historical and cultural contexts of the different techniques. Most importantly, this workshop will include plenty of time for experimentation. You’ll be encouraged to play! All levels. Lower metals studio. 

Studio artist; teaching assistant: Haystack (ME), Arrowmont (TN), Maine College of Art; Center for Craft Windgate-Lamar Fellowship, SNAG Early Career Artist Award; residencies: Indigo Arts Alliance (ME), Arrowmont Pentaculum (TN); exhibitions: Salon Design (NYC), Zero Station Gallery (ME), UNE Art Galleries (ME), Cove Street Art Gallery (ME).

aminataconteh.com | @aminomnom

Aminata Conteh, Untitled Lap Song, nickel, 13 x 13-1/2 x 10-1/2 inches
Aminata Conteh, Untitled Lap Song, nickel, 13 x 13-1/2 x 10-1/2 inches
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Metals A Summer Session 7

METALS SUMMER SESSION 7
AUGUST 13–18, 2023
Tara Locklear and Francesca Vitali
LINKED: Wood, Paper, Pins

Dive into the world of nontraditional jewelry by focusing on wood and its pulp (a.k.a. paper). We’ll begin by introducing paper folding techniques and then move on to simple wood shaping with hand and electric tools. Painting and staining both materials will add color, and rapid-fire class exercises will get your creative ideas flowing. We’ll focus on the brooch/pin format and use basic metalsmithing techniques with sterling silver, copper, brass and stainless steel. And we’ll investigate pin-back mechanisms as well as linkages for integrating brooches as necklace pendants. By the end of the workshop, each student will create a group of wearable pins/brooches. All levels. Upper metals studio.

Tara: studio artist; teaching: Haystack (ME), Brooklyn Metal Works (NYC), Pratt Institute (NYC), Contemporary Craft (PA), Penland; exhibitions: MAD About Jewelry (NYC), Philadelphia Museum Craft Show, ACC Baltimore, Velvet da Vinci (San Francisco), New York Jewelry Week; collections: Racine Art Museum (WI), Arkansas Museum of Fine Arts, Mint Museum (NC); publications: Metalsmith, American Craft, Niche. 

taralocklear.com | @taralocklear

Francesca: studio artist; teaching: Pocosin Arts (NC), Museum of Arts and Design (NYC), Contemporary Craft (PA); residencies: Arrowmont Pentaculum (TN); exhibitions: MAD About Jewelry (NYC), Heidi Lowe Gallery (DE), New York Jewelry Week (NYC); representation: Baltimore Jewelry Center (MD), Pistachios (IL); publications: American Craft, Fiber Art Now, Vogue. 

francescavitalipaperjewelry.com | @francescavitalipaperjewelry

Tara Locklear, Aerial Field Study Brooch, hand-carved reclaimed skateboard parts, hand carved reclaimed Durat countertops, oxidized sterling silver, stainless-steel, 4 x 3-2/3 x 1/2 inches
Tara Locklear, Aerial Field Study Brooch, hand-carved reclaimed skateboard parts, hand carved reclaimed Durat countertops, oxidized sterling silver, stainless-steel, 4 x 3-2/3 x 1/2 inches
Francesca Vitali, MAD Museum Brooch/Earrings, recycled museum catalogs, stainless steel, 3 x 3 inches
Francesca Vitali, MAD Museum Brooch/Earrings, recycled museum catalogs, stainless steel, 3 x 3 inches
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Iron Summer Session 7

IRON SUMMER SESSION 7
AUGUST 13–18, 2023
Paige Hamilton Davis
Metal Works!

This workshop will demonstrate and apply basic forging techniques with a focus on sculpture. We’ll emphasize efficient work methods, simple tooling, and developing individual vision and design. Each student will be attended to and challenged according to their abilities. Bring your experience to Penland’s beautifully-equipped iron studio and make something new. All levels. 

Studio artist, designer; teaching: Haystack (ME), University of North Carolina, Penland; work in various collections including the Gregg Museum at North Carolina State University. 

paigehamiltondavis.wordpress.com

Paige Hamilton Davis, Boat on Stand, forged and constructed steel, 2 x 3 x 8 feet
Paige Hamilton Davis, Boat on Stand, forged and constructed steel, 2 x 3 x 8 feet
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Glass B Summer Session 7

GLASS SUMMER SESSION 7
AUGUST 13–18, 2023
Mike Raman
Pipegeist

This workshop will survey a variety of pipe forms, moving through the history of glass pipes over the past 30 years, covering both dry and water pipes, and taking note of how the forms have evolved. Although we will cover basic color application, our focus will be on shaping and assembling hollow forms rather than pattern work. Students can expect to leave with a greater understanding of hollow shaping and seals and a deeper appreciation for the history and significance of the glass pipe. Intermediate/advanced level: students must have some experience making hollow forms at the torch. Flameworking studio. 

Studio artist; teaching: Pilchuck (WA), The Studio at Corning (NY), DC Glassworks (MD), The Heat Base (VA), Tobacco Leaf Studios (FL).

@mikeramanglass

Mike Raman, Pipegeist, black borosilicate glass, tallest: 15 inches
Mike Raman, Pipegeist, black borosilicate glass, tallest: 15 inches
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Glass A Summer Session 7

GLASS SUMMER SESSION 7
AUGUST 13–18, 2023
Jeff Mack
Hot-Forming Survey

This workshop will cover fundamental techniques of glassblowing, bit work, and hot sculpting. Demonstrations, focused projects, individual coaching, planning, and reflective discussion will help students build skills from any level of engagement. Central to the workshop will be practice making essential vessel forms and simple solid figures. Assignments will address important fundamentals for less-experienced students as well as nuanced technical hurdles that come into play for more advanced makers. Drawing on 30 years of problem-solving at the furnace, I will share lessons that will accelerate confidence and skill and help you take your hot-shop game to the next level. All levels. Hot-glass studio. 

Manager of hot glass programs at Corning Museum of Glass (NY); teaching: College for Creative Studies (MI), Pilchuck (WA), The Studio at Corning (NY), Toledo Museum of Art (OH), Oxbow (MI), Domaine de Boisbuchet (France); exhibitions: La Stanze del Vetro (Italy); Bergdorf Goodman (NYC); collections: Corning Museum (NY), Toledo Museum of Art (OH), Museum of Glass (WA); representation: Culture Object (NYC).

@kcamffej

Jeff Mack, Arrugginita, blown glass, oxidized steel, 21 inches tall
Jeff Mack, Arrugginita, blown glass, oxidized steel, 21 inches tall
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Drawing & Painting Summer Session 7

DRAWING AND PAINTING SUMMER SESSION 7
AUGUST 13–18, 2023
Dietlind Vander Schaaf
Encaustic: Layers, Translucency, and See-Throughs

This workshop will enable students to achieve greater clarity and translucency in their encaustic paintings. We’ll focus on building paintings from the ground up, covering what can be done directly on the substrate, between the layers of medium, and on the surface. We’ll discuss opaque and translucent color, how to create beautiful glazes, and working with various drawing materials: ink, charcoal, PanPastel, oil pastel, pencil, graphite and Pigment Sticks. Mark-making and writing exercises will help each student deepen their connection to their work. All levels. 

Studio artist; teaching: Haystack (ME), Arrowmont (TN), Castle Hill (MA), Snow Farm (MA), Zijdelings (Netherlands), Penland; instructor for R&F Handmade Paints; grants: Maine Arts Commission, International Encaustic Artists; exhibitions: Cape Cod Museum of Art (MA), Conrad Wilde Gallery (AZ), Fuller Craft Museum (MA), On Center Gallery (MA); representation: Portland Art Gallery (ME). 

dietlindvanderschaaf.com | @dietlindvanderschaaf

Dietlind Vander Schaaf, El Campo, encaustic, oil, 23K gold leaf on panel, 36 x 36 inches
Dietlind Vander Schaaf, El Campo, encaustic, oil, 23K gold leaf on panel, 36 x 36 inches
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Clay B Summer Session 7

CLAY SUMMER SESSION 7
AUGUST 13–18, 2023
William Baker and Caroline Douglas
Slow Clay for Fast Times

This workshop will use clay work as part of an attentive exploration of what we might mean by mindfulness or mindful awareness. Students will explore creative writing, journaling, meditation, and movement, and how these techniques can ignite our creativity and enliven our mood. We’ll also explore elements of the flow state as an additional way of understanding our creative practices and our relationships to them. Daily clay demonstrations will include various handbuilding and wheelthrowing techniques. Stoneware clay; bisque-fire only. All levels. Lower clay studio.

William: studio artist; teaching: Odyssey ClayWorks (NC), Castle Hill (MA); exhibitions: Blue Spiral I (NC). 

williambakerpottery.com | @williambakerpottery

Caroline: studio artist; teaching: Santa Fe Clay (NM), Penland, and in Morocco and Mexico; residencies: Glasgow School of Art (Scotland), Findhorn Foundation (Scotland), Red Lodge (MT); publications: 500 Animals (Lark Books), Dreaming Out Loud: An Artist in Clay Rebuilds Her Life.

carolinedouglas.com | @carolinedouglasart

William Baker, Rectangle Tray, cone 10 wood- and soda-fired handbuilt stoneware, 3 x 14 x 10 inches
William Baker, Rectangle Tray, cone 10 wood- and soda-fired handbuilt stoneware, 3 x 14 x 10 inches
Caroline Douglas, Lemur Tower, salt-fired stoneware, 18 x 14 x 7 inches
Caroline Douglas, Lemur Tower, salt-fired stoneware, 18 x 14 x 7 inches