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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 14–19
Karen Hampton
Strip-Woven Storytelling

Everyone has a story and the act of storytelling is healing for both the teller and the audience. In this workshop, inspired by the Kenté cloth weavers of Ghana, we’ll blend storytelling and weaving using shapes and symbols on painted warps that will be woven into long strips and then sewn together to create beautiful, woven designs. We’ll create imagery and pattern on warps through painting, dyeing, printing, and discharge. We’ll conclude the workshop by hand-stitching our strips together. All levels. Lower textiles studio.

Assistant professor at Massachusetts College of Art; residencies: Michigan State University, Sacatar Foundation (Brazil), St. Mary’s Art Center (NV); exhibitions: Honolulu Museum of Art, Wellin Museum of Art (NY), Jack Bell Gallery (London), Gallery Fritz (Santa Fe). 

kdhampton.com | @k.d28

Karen Hampton, Memories, cotton, 35-1/4 x 30-1/4 inches
Karen Hampton, Memories, cotton, 35-1/4 x 30-1/4 inches
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Textiles A Summer Session 7

Textiles Summer Session 7
August 14–19
Stephanie Santana
Printmaking on Textiles

In this workshop we’ll transform fabric with relief printing, monoprinting, and screenprinting. We’ll lay the groundwork for this exploration with demonstrations and a survey of historical and contemporary textile and surface design applications. 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 applying artwork onto screens. Students can expect to leave with a portfolio of textile studies for reference or as components for other projects. All levels; beginners encouraged. Upper textiles studio.

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

stephaniesantana.com | @stephmsantana

Stephanie Santana, A Watchful Eye, screenprint appliqué, monotype, relief, hand embroidery, acrylic, machine quilting, left: 23-3/4 x 29 inches, right: 21 x 25-1/2 inches
Stephanie Santana, A Watchful Eye, screenprint appliqué, monotype, relief, hand embroidery, acrylic, machine quilting, left: 23-3/4 x 29 inches, right: 21 x 25-1/2 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 14–19
Reggie Pointer
Play with Clay

This workshop will help you get the play into your clay. We’ll go from creating musical instruments to crafting game pieces using the handbuilding techniques of slab, coil, and pinch along with making and using multi-part molds. Our finished work will be bisque fired and raku fired. Along the way we’ll introduce a number of clay games that are fun and also teach a lesson. You’ll leave the workshop shaking a rattle, blowing a whistle, or beating a drum, and you might be carrying a chess set, a new game, or maybe even a doll head or two. All levels. Lower clay studio.

Associate professor at Howard University (DC); other teaching: Duke Ellington School of the Arts (DC), Grambling State University (LA), 2015 Mid-Atlantic Clay Conference, 2016 and 2019 NCECA conferences; creator of the comic book The Clay H.E.R.O.S.

@rwpointer

Reggie Pointer, Working for Peace, stoneware, metal, plastic, 4 x 4 inches
Reggie Pointer, Working for Peace, stoneware, metal, plastic, 4 x 4 inches
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Clay A Summer Session 7

Clay Summer Session 7
August 14–19
Sunshine Cobb
Exploring Functional Pottery with Handbuilding


This workshop will motivate novice potters to experiment with new and old forms and construction methods. With a process-over-product mentality and an eye toward creative expansion, we’ll cover coil and pinch methods along with hard and soft slab construction to generate pottery components. I will talk about building surfaces throughout the making process and glaze and surface treatments. We’ll discuss how inspiration and abstract concepts inform work and how they can be part of your creative practice. Midrange stoneware; bisque fire only.
Beginning level; experienced students welcome. Upper clay studio.

Studio artist; teaching: Red Clay Lodge (MT), Santa Fe Clay (NM), Anderson Ranch (CO), Penland; Archie Bray Foundation (MT) long-term residency; named 2013 Emerging Artist by Ceramics Monthly and NCECA; author of Mastering Hand Building (Voyageur Press).

sunshinecobb.com | @shinygbird

Sunshine Cobb, Garlic Boxes, ceramic, glaze, 5 x 4 x 6 inches each
Sunshine Cobb, Garlic Boxes, ceramic, glaze, 5 x 4 x 6 inches each
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Books & Paper P Summer Session 7

Books & Paper Summer Session 7
August 25-30, 2019
Jiyoung Chung
Joomchi! Why Not?

Joomchi is a traditional Korean method for making textured paper using water, mulberry paper, and eager hands. This workshop will cover its history, practice, and role in Korean society as well as the hands-on techniques and adaptations that have made it into a contemporary art form. Joomchi creates strong, textural, and painterly surfaces by layering and agitating Hanji (Korean mulberry papers). Its uses are diverse, and it can be incorporated into surface design, collage, drawings, wearables, unconventional body ornaments, or sculptural objects. All levels. Code 07PM

Studio artist; teaching: Arrowmont (TN), Sacramento Fine Arts Center (CA), Pacific Northwest Art School (WA), Rhode Island School of Design Continuing Education; exhibitions include 31 solo shows in the US and abroad; collections: Fidelity Corporate Art Collection (Boston), Museum of Arts and Design (NYC); author of Joomchi & Beyond.

jiyoungchung.com

Jiyoung Chung, "Whisper Romance III-VI," joomchi, handmade paper, paper yarn, 24 x 18 inches
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Books & Paper B Summer Session 7

Books & Paper Summer Session 7
August 14–19
Jeffrey Altepeter
Traditional Calf Bindings

In this workshop, students will create replica 18-century trade-style bindings. Daily demonstrations will provide a foundation of traditional binding methods as we produce structurally accurate historical models. The books will be sewn on cords laced into boards then covered in leather. Equal attention will be given to the period aesthetic through the use of historical staining recipes to create sprinkled, splattered, mottled, and marbled calf. We’ll add decorative tooling with period-accurate finishing tools. All levels. Books studio.

Head of bookbinding at North Bennet Street School (Boston); other teaching: Paper and Book Intensive (MI), Guild of Book Workers, Penland. 

handbookbinding.com

Jeffrey Altepeter, Eighteenth-Century-Style Panel Binding and Marbled Sample Plaquette, calfskin over boards, 5 x 7 inches each
Jeffrey Altepeter, Eighteenth-Century-Style Panel Binding and Marbled Sample Plaquette, calfskin over boards, 5 x 7 inches each
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Wood Summer Session 6

WOOD SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Vivian Chiu
Joinery for Wood Sculpture

Build, craft, create, and learn in this workshop focused on making small sculptural objects and using wood as a medium for creative expression. Working with kiln-dried lumber, students will become familiar with a wide variety of hand and power tools as well as heavy woodworking machinery. Although our main focus will be traditional joinery, we’ll also cover wood selection and preparation, carving, shaping, and finishing. This workshop will offer a nurturing and welcoming environment for students to grasp the basics or brush up on old skills. Beginning level; experienced students welcome. 

Studio artist, adjunct professor at Virginia Commonwealth University; American Craft Council Emerging Artists Cohort 2022, New York Foundation for the Arts Fellowship; residencies: Haystack (ME), Bemis Center for Contemporary Arts (NE), Anderson Ranch (CO), Sculpture Space (NY), Houston Center for Contemporary Arts, Penland Winter Residency; recent exhibition at Penland Gallery; collection: Center for Art in Wood; representation: FLXST Contemporary (IL). 

vivianchiudesigns.com | @viv_chiu

Vivian Chiu, Self V (Burr), poplar, vinyl, adhesive, 66 x 17 x 17 inches
Vivian Chiu, Self V (Burr), poplar, vinyl, adhesive, 66 x 17 x 17 inches
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Textiles B Summer Session 6

Textiles Summer Session 6
July 31–August 12
María Dávila and Eduardo Portillo
Weaving Ideas

Working with floor looms, we’ll investigate how textiles can transmit ideas and capture a sense of place. We’ll begin with weaving exercises, experimenting with different techniques and materials to understand their potential and limitations. Individual projects may take the form of weaving samples, drafts, or objects. The workshop will lay the groundwork for a body of woven textiles that students will be excited to continue exploring after they leave Penland. All levels. Lower textiles studio.

Collaborating studio artists; Smithsonian Artist Research Fellowship; residencies: Albers Foundation (CT), Praxis Fiber Workshop (Cleveland); exhibitions: Whitworth Art Gallery (UK), Museum of Arts and Design (NYC), Cooper Hewitt Museum (NYC), Textile Museum (DC), Foundation TAC (Venezuela), Longhouse Reserve (NY); collections: Whitworth Art Gallery (UK), Cooper Hewitt Museum (NYC),Toledo Museum of Art (OH), Long House Reserve (NY).

@mariadavilayeduardoportillo

Video about María and Eduardo

María Dávila and Eduardo Portillo, detail of Moon Code, silk moriche palm fiber, alpaca, metallic yarns, silver leaf, natural dyes
María Dávila and Eduardo Portillo, detail of Moon Code, silk moriche palm fiber, alpaca, metallic yarns, silver leaf, natural dyes
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Textiles A Summers Session 6

Textiles Summer Session 6
July 31–August 12
Tomoko Torimaru and Yoshiko I. Wada
Boro Transformed and One Needle, One Thread

In this dynamic workshop, we’ll reinterpret the Japanese folk tradition of boro (tattered, mended, patched items) and delve into the Miao traditions of stitchery and piecework. We’ll make a folded case to keep threads, learn basic stitches for ornament and reinforcement, and create intricate fabric mosaics and appliqués from scrap fabrics. Topics will include stitching, piecing, patching, mending, fulling, and strengthening fabric by dyeing it in an organic indigo vat. These processes will record the history of reuse, repair, and the time spent stitching, bringing boro’s imperfect beauty and hidden value to the surface. All levels. Upper textiles studio.

Tomoko: researcher, author, teacher; author of One Needle, One Thread: Miao (Hmong) embroidery and fabric piecework from Guizhou, China, co-author of Imprints On Cloth: 18 Years Of Field Research Among The Miao People Of Guizhou, China.

Yoshiko: studio artist, curator, author/co-author of books on shibori, kimono, boro, and contemporary textile art; teaching: Haystack (ME), Arrowmont (TN), National Institute of Design (India), Okinawa Prefecture Fine Arts University (Japan); honorary fellow of the American Craft Council, president of World Shibori Network, two Japan Foundation fellowships, co-chair of all eleven International Shibori Symposia. 

yoshikowada.com | @yoshiko_wada_

Yoshiko I. Wada, Boro Sample, various textiles, indigo
Yoshiko I. Wada, Boro Sample, various textiles, indigo
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Print & Letterpress L Summer Session 6

IRON SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Ingrid Ankerson
Experimental Typography

With an emphasis on play, experimentation, and embracing the unexpected, we’ll dive into Penland’s collection of wood and metal type to create one-of-a-kind typographic prints and collages. Students will start by learning the basics of letterpress printing and then expand on traditional methods with repetition, masking, overprinting, and cutting and pasting to explore the unique visual potential of typographic forms. We’ll set type in the composing stick, in an angle chase, and using daredevil furniture. All levels. Letterpress studio. 

Full-time faculty at Washtenaw Community College (MI); other teaching: University of Maryland Baltimore County (MD); exhibitions: Hamilton Wood Type and Printing Museum (WI); W. Keith & Janet Kellogg University Art Gallery (CA), Pearl Street Studios (MI); residency: InCahoots (CA).

ankerson.com | @ingrid_ankerson

Ingrid Ankerson, Untitled, letterpress printed from wood and metal type; collaged, 17 x 11 inches
Ingrid Ankerson, Untitled, letterpress printed from wood and metal type; collaged, 17 x 11 inches