Author: jennifer@interactwo.com

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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 10-15, 2025 (4 STUDIO DAYS)
Aspen Golann and Julian Watts
Carving Handheld Sculptural Objects

In this four-day workshop we will use both traditional and experimental carving techniques to create handheld sculptures that blur the line between functional objects and abstract works of art. Using spoon carving and brush making as a foundation, our process will explore abstract drawing, power carving, and more, with each student designing and carving their own unique interactive objects. We will also consider the performative possibilities of these unusual objects. Through this unconventional and open-ended approach, students will leave the class not only with carving skills and a deepened understanding of wood, but also an expanded view of what is possible at the intersection of traditional craft, art, and design. All levels. 

Aspen: studio artist; teaching: The Rhode Island School of Design (RI), Haystack (ME), Anderson Ranch (CO), Penland, Center for Furniture Craftsmanship (ME), Massachusetts Institute of Technology (MA); Maxwell Hanrahan Award in Craft, Mineck Furniture Fellowship; publications: Hyperallergic, Architectural Digest, Remodelista, American Craft, Elle, The New York Times, National Public Radio. 

aspengolann.com | @aspen_golann 

Julian: studio artist; teaching: Haystack (ME), Anderson Ranch (CO), California College of the Arts (CA); publications: Architectural Digest, American Craft, The Wall Street Journal, The Financial Times, The New Yorker; representation: Sarah Myerscough Gallery (UK), Curator’s Cube (Japan).

julianwattsstudio.com | @julianwattsstudio

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Aspen Golann, Woven Brush, bleached and ebonized maple, yellow heart, tampico fibers, 6 x 4 x 5-1/2 inches
Julian Watts, Carving Collection, bleached maple, walnut, oxidized walnut, dimensions variable
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Textiles B Summer Session 7

TEXTILES – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Angela Eastman
Vessels of Place: Basketweaving with Foraged Materials

Learn to harvest, process, and weave with the fibers that grow on Penland’s campus.The mature vines of wisteria, kudzu, bittersweet, honeysuckle, and other plants can be processed into material for creating strong and beautiful baskets. We will discuss both traditional weaving techniques and more sculptural designs as we work with this plentiful material. We will use our Penland-harvested vines in combination with pre-harvested material to explore a variety of basketry techniques. Students can expect to leave with several small samples and at least one completed basket. All levels. Second-floor textiles studio. 

Note: this workshop takes place in a second-floor walk-up studio that is made partially accessible by a stair lift.

Studio artist; teaching: Campbell Folk School (NC), North Bennet Street School (MA), Cranbrook Art Museum (MI), Woodcrest Farm and Forge (NC); residencies: Penland Core Fellowship, Haystack Open Studio (ME), Campbell Folk School (NC), Hambidge Center (GA), MASS MoCA (MA), Vermont Studio Center (VT), Woodstock Byrdcliffe Guild (NY), Sitka Center for Art and Ecology (OR), Talking Dolls (MI), Ragdale Foundation (IL), and SIM (Iceland), Nes (Iceland). 

flagmountain.studio | @flagmountain.studio

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Angela Eastman, Kudzu Boat, kudzu, spicebush, 18 x 5 x 3 inches
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Textiles A Summer Session 7

TEXTILES – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Nastassja E. Swift
Soft Sculptures: an Introduction to Needle Felting

In this playful, exploratory workshop, students will use the process of needle felting to create their own soft sculpture. We will focus on building and connecting shapes, when to use the different needle gauges, layering and blending different wool colors, and creating smaller embellished details that will come together to form an intricate wool sculpture by the end of the workshop. This will cover the basics of felting, and each student will have the opportunity to push the material as far as desired. All levels. Third-floor textiles studio.

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

Studio artist; residencies: Wassaic Project (NY), The Contemporary Arts Network (VA), MASS MoCA (MA), Vermont Studio Center (VT); fellowships: Center for Craft Artist Research Fellowship (NC), Virginia Museum of Fine Art Artist Fellowship, Virginia Commission for the Arts Fellowship; awards: Dr. Doris Derby Award (Atlanta), Art Matters Artist2Artist Award (NYC); recent exhibitions: Reginald F. Lewis Museum (MD), Boston University Art Galleries (MA), Carl Freedman Gallery (UK), Quirk Gallery (VA).

nastassjaswift.com | @nastassjaebony  

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Nastassja E. Swift, detail of Passage, when momma lets my braids flow down my back, wool, synthetic braiding hair, wood, plaster, resin, satin
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Print & Letterpress L Summer Session 7

PRINT/LETTERPRESS – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Cory Wasnewsky
I Can Print That!

Using the traditional materials of the centuries-old letterpress process, we will focus on experimenting and pushing the printed poster to the next level. Daily demonstrations will include safely printing unusual and alternative materials, safe manipulation of the press and type, and innovative processes that will expand your idea of what is possible with the letterpress process. Topics may include split fountains, press manipulation, pressure prints and masks, daredevil typesetting, textured and carved brayers and rollers, and using wax to manipulate type surfaces. Working primarily on cylinder presses in a poster format, students can expect to produce multiple experimental prints, and if time allows, one or two small editions. While letterpress experience will be helpful, this workshop welcomes students of all levels. Letterpress studio.

Studio artist; senior designer/printer/product development coordinator at Hatch Show Print (TN); teaching; Watkins College of Art (TN), Belmont University (TN), Hamilton Wood Type and Printing Museum (WI), Montgomery Bell Academy (TN); recent exhibitions: Cedarhurst Center for the Arts (IL), Cannon County Art Center (TN); clients: Wu-Tang Clan, Field Notes, Nissan, NFL, Sturgill Simpson.

ThreeCheersPress.com | @Threecheerspress

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Cory Wasnewsky, Chicago Poster, letterpress print from woodtype, carved wood block, and chipboard, 22 x 14 inches
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Print & Letterpress X Summer Session 7

PRINT/LETTERPRESS – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Leigh Garcia
Reductive Screenprinting

Spend this session investigating the magic of reductive screenprinting! We will start with the basics of screenprinting: paper preparation, ink mixing, registration, hand printing, and editioning. The remainder of our time will be spent producing editionable prints. While this process relies heavily on a paintbrush, screenfiller, and drawing fluid, it can often give the illusion of a reductive woodcut. This analog process is great for those who are interested in screenprinting at home, but don’t have access to photo emulsion equipment. All levels. Printmaking studio.

Assistant professor of print media and photography at Kent State University (OH); Gamblin Emerging Artist Award, Emerging Printmaker Award from the Southern Graphics Council International; collections: Cleveland Museum of Art, Madison Museum of Contemporary Art (WI), National Museum of Mexican Art (Chicago), Mexic-Arte Museum (TX), Zuckerman Museum of Art (GA), Ulrich Museum of Art, Wichita State University (KS).

jleighgarcia.com | @j.leighgarcia

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

J. Leigh Garcia, El Sueño Americano, screenprint, 14 x 18 inches
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Photography Summer Session 7

PHOTO – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Lindsey Beal
Cyanotype: Beguiling Blues

This workshop is an ode to the color Prussian Blue. Using cyanotype, a historical photographic process, students will create unique prints and three-dimensional works. We will start with a large-scale group project before moving on to individually printing on various surfaces such as fabric, objects, handmade paper, and machine-made paper. Students may bring objects, analog negatives, drawings, and digital images to convert into digital negatives. At the end of the workshop, we will depart from blue to cover natural toning of cyanotypes. Experimentation and collaborations encouraged. All levels, beginner friendly. 

Studio artist; teaching: Rhode Island School of Design, Massachusetts College of Art & Design; collections: Newport Art Museum, Rhode Island School of Design Museum, Duke University, Candela Collection, Center for Creative Photography.

lindseybeal.com | @mslenslover

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Lindsey Beal, Commonplace: Abstraction #16, waxed cyanotype on kozo paper, 11 x 8-1/2 inches
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Metals B Summer Session 7

METALS – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Shane R. Hendren
Fundamentals of Metal Engraving

This workshop will introduce you to the fundamentals of engraving metal. Working with several kinds of equipment, from hand engravers to pneumatic tools, students will execute engraving cuts on premarked brass plates. These practice plates will be laser marked with designs so that students can build engraving skills without the challenge of creating the initial artwork. Students will keep the plates for continued practice and future reference. This workshop is designed to prepare students for advanced classes and more in-depth practice in the future. It will accommodate students of all levels. Lower metals studio.

Studio artist; 2023 Maxwell/Hanrahan Foundation Award in Craft, named Artist of the Year four times by the Indian Arts and Crafts Association; representation: Sorrel Sky Gallery (NM), Wright’s Indian Art Gallery (NM), Heard Museum Gift Shop (AZ), Silver Sun Albuquerque (NM); collections: British Museum (London), Heard Museum (AZ), Museum of Indian Arts and Culture (NM); work featured on the cover of Native American Art magazine. Artist photo by Simone Button

shanerhendren.com | @shanehendren

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Shane R. Hendren, detail of Resilience Manifest (back side), sterling silver
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Metals A Summer Session 7

METALS – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Suyu Chen
Magpie’s Jar: Mixed-Media Brooch

Inspired by the intriguing behavior of magpies collecting shiny objects for their nests, students are invited to bring their own curated collections of found objects, from vintage toys to organic items, ready to be transformed into wearable pieces. Our main emphasis will be on brooch making using found objects. We will cover fundamental jewelry-making techniques, including fabrication, cold connections to secure objects, metal surface treatment, and a touch of soldering for pin mechanisms. We will also explore the use of adhesive on non-metal materials. All levels. Upper metals studio.

Note: this workshop takes place in a studio with stairs that compromise access. It is made partially accessible by a stair lift. 

Studio artist; teaching: Rochester Institute of Technology (NY); residencies: Baltimore Jewelry Center (MD), Haystack (ME), Penland Winter Residency (NC); exhibitions: Penland Gallery, American Craft Made Baltimore, NYC Jewelry Week, (Un)Avowable Secrets (Germany), Cluster Jewellery Art Fair (UK), Brussels Jewelry Week (Belgium).

suyuchen.com | @suyu_chen_

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Suyu Chen, Study of Snow Brooch, plastic pipe, sterling silver, resin clay, acrylic paints, enamel paints, stainless steel, 5 x 2 x 1-1/2 inches
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Iron Summer Session 7

IRON – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Lucas House
Forge and Flora

This workshop will delve into the fusion of nature and metalwork as students explore the intricate art of crafting botanical sculptures. From delicate petals to intricate leaves, students will bring their botanical visions to life using techniques such as welding, cutting, forging, shaping, and texturing. Through hands-on instruction and creative exploration, we will find a balance between organic forms and industrial materials. This workshop will create a vibrant space for beginning and experienced metalworkers to cultivate their creativity, connecting with nature through the enduring medium of metal. All levels.

Studio artist creating architectural, functional, and sculptural work; founder and director of ShopSpace (NC) offering metalworking classes and access to tools and studio space; teaching: Campbell Folk School (NC), Central Carolina Community College (NC), Penland, ShopSpace (NC). 

ironhouseforge.com | @shopspacenc

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Lucas House, detail of Vine, bronze
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Glass B Summer Session 7

GLASS – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Shane Fero
Nature and Imagination in Form

In this workshop students will draw on nature and their imaginations to make sculptures and vessels using tubes, rods, and powders–both clear and in colors. Working with both borosilicate and soft glass, we will cover point pulling, blowing, and solid sculpting to realize these forms. Expect many demonstrations and lots of practice. All levels.

Studio artist; teaching: Pilchuck (WA), The Studio at Corning (NY), UrbanGlass (NYC), Espace Verre (Montreal), Pittsburgh Glass Center, Bild-Werk Frauenau (Germany), International Glass Festival (UK), Scuola Bubacco (Italy), Chameleon Studio (Taiwan); 37 solo shows, over 500 exhibitions, work in 36 museum collections worldwide. 

shanefero.com | @shanefero

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Shane Fero, Marbleized Mabel, acid-etched flameworked glass, 4 x 6-1/4 x 3 inches
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Glass A Summer Session 7

GLASS – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Jason Christian
Reticello

This workshop will offer an in-depth exploration of the reticello technique. Students will learn the meticulous process for creating the intricate, lace-like patterns characteristic of this classic Venitian technique. This workshop is designed for glass artists interested in expanding their skills, learning about traditional glass art techniques, and incorporating intricate patterns into their work. Intermediate/advanced level; two years of hot glass experience required.

Studio artist: gaffer at Chihuly Studio (Seattle): teaching: Pilchuck (WA), Pratt Fine Arts Center (Seattle), Pittsburgh Glass Center, UrbanGlass (NYC), Tulsa Glassblowing School (OK); residencies: Pilchuck (WA), Corning Museum (NY), Museum of Glass (WA); exhibitions: Habitat Galleries (FL), Hawk Gallery (OH), Pilchuck Exhibition Space (Seattle), Vetri (Seattle). 

jasonchristianglassdesigns.com | @jasonchrisglass

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Jason Christian, Yo-Yo 1 and Yo-Yo 2, blown glass, largest: 18 x 18 x 5 inches
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Drawing & Painting Summer Session 7

DRAWING/PAINTING – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Sean Lyman
Still Life as Metaphor

This workshop will examine the meaning we attribute to objects and how we can use them to create narrative. We will look at the historical relevance of the still life, specifically the vanitas still life. Students will bring several objects from home that hold specific meaning for them and use these to set up their still lifes. We will begin with composition and lighting and then make preliminary sketches to work out scale and proportional accuracy. These will be transferred to the final drawing surface, and the last two days will be devoted to rendering our drawings to completion using a full range of values. We will work with charcoal and charcoal pencils on paper, assessing the drawings at the beginning and end of each daily session. All levels. 

Professor of painting and drawing at Missouri State University; collections: Nerman Museum of Contemporary Art at Johnson County Community College (KS), Kimmel Harding Nelson Center for the Arts (NE), Spencer Museum of Art at University of Kansas, Elvehjem Museum of Art at University of Wisconsin-Madison. 

seanmlyman.com | @sml427

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Sean Lyman, Jawbreaker/Mouthful, liquid graphite, 14 x 11 inches
Sean Lyman, Jawbreaker/Mouthful, liquid graphite, 14 x 11 inches
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Clay B Summer Session 7

CLAY – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Candice Methe
Historically Inspired Contemporary Forms in Clay

This workshop will look at historical ceramics from all over the world to inspire ideas for our contemporary practice in clay. Through play, experimentation, and imagination, students will explore the aesthetics of form and function in the handbuilt vessel. We will work with templates, soft and hard slab, coil, and pinching methods. Terra sigillata–a fine slip that has been used throughout the centuries–will also be explored as we discuss making “sig,” various applications, adding colorants, and troubleshooting. The workshop will culminate with a pit firing. Students will learn the various materials for firing and multiple ways to use pit firing in their practice. All levels. Lower clay studio.

Studio artist; teaching: Anderson Ranch (CO), Pocosin (NC), Northern Clay Center (Minneapolis), Minneapolis Community and Technical College, Archie Bray Foundation (MT); residencies: Roswell Artist in Residence Program (NM), Archie Bray Foundation (MT), Red Lodge Clay Center (MT), SWOPA (Ghana); Warren MacKenzie Advancement Award (MN); exhibitions: Artstream Nomadic Gallery (CO), Blue Spiral 1 (NC), Old Church Pottery Show (NJ), Clay Akar (IA). 

candicemethe.com | @candice_methe

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Candice Methe, Double-Spouted Teapot, clay, terra sigillata, glaze, leather, 14 x 16 x 6 inches
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Clay A Summer Session 7

CLAY – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Birdie Boone
Color Me Cone 6

This workshop will be a structured exploration of color development in cone 6 oxidation glazes. Students will learn how to batch a glaze for testing and how to perform test sets for widely varied or more nuanced results. Once tests are fired, we will discuss the hows and whys of what we are seeing. Presentations and a comprehensive handout booklet will help students understand the information contained in our test tiles. This fun, informative workshop will benefit both novice and experienced testers: there’s always something to be discovered. We will use test tiles made from an iron-bearing clay with a white slip on one half, and we will fire as many times as we can. Whether you make pots or sculpture, you will have the information you need to gain control of your glazing practice. All levels. Upper clay studio.

Studio artist, educator; teaching: Arrowmont (TN), Haystack (ME), Anderson Ranch (CO), Taos Clay (NM), Penland, Idyllwild Hot Clay (CA), Worcester Craft Center (MA), Archie Bray Foundation (MT), Emory & Henry College (VA), Carroll College (MT), Potters’ Council in Nashville (TN)/Austin (TX); residencies: Archie Bray Foundation (MT), WVU/The Pottery Workshop in Jingdezhen (China), Starworks Ceramics (NC).

birdiebooneceramics.com | @birdiebooneceramics

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Birdie Boone, Calcium Matte Color Tests, glaze on test tiles, cone 6 oxidation
Birdie Boone, This or That Cup and Saucer Sets, cone 6 stoneware, tinted bisque slips, tinted glaze, 5-1/2 x 5 x 5 inches each
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Books & Paper P Summer Session 7

PAPERMAKING – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
Veronica Pham
Vietnamese Papermaking with Dó 

Dó (pronounced zaw in Vietnamese), a strong perennial shrub growing in the Northern Vietnamese mountains, has been used for 17 centuries in paper and textiles for its durability and texture. This workshop will make paper using dó and traditional Vietnamese techniques with the liềm seo (bamboo woven screen) and khung seo (two-part bamboo frame). We will also look at similar plants, such as gampi and mitsumata, to compare fiber length, sheen, and strength in sheet formation. We will work in various sizes and each student will build their own library of sample papers. Instruction will cover fiber preparation, hand beating, sheet formation, pressing, drying using traditional equipment, and demonstrations for dó lace and thread. Students will gain knowledge of the history and techniques of traditional Vietnamese papermaking while expanding their own studio practice. All levels. Papermaking studio.

Studio artist, educator, designer; teaching: Minnesota Center for the Book, Chazen Art Museum (WI), Fresh Press Paper (IL), Southeast Asian Studies Summer Institute at University of Wisconsin-Madison; exhibitions: Trúc Chỉ Gallery (Vietnam), Merwin and Wakely Gallery at Illinois Wesleyan University, Lyndon House Arts Center (Atlanta), Morgan Conservatory (Cleveland), Paper is People: Decolonizing Global Paper Cultures at San Francisco Center for the Book; publications: Hand Papermaking, Hand Papermaking Traditions in Việt Nam. 

veronicapham.com | @veronicaypham

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Veronica Pham, detail of The Line Along the Knot, mulberry, embedded nets
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Books & Paper B Summer Session 7

CROSS-MEDIA – SUMMER SESSION 7

AUGUST 10-15, 2025 (4 STUDIO DAYS)
IlaSahai Prouty
The Art of Experience: Facilitation Skills for Community-Based Art 

In this workshop we will explore how experience itself can be an art form and learn tools for building successful community-based art experiences. Using activity structures and concepts from the fields of experiential education and art as social practice, we’ll create art experiences for groups and individuals. Take this workshop if you work with groups and individuals making art, if you teach and want to deepen your practice, or if you plan to work with art in community settings. Strengthen your understanding of how to lead successful group art experiences and reflect on how facilitating art experiences is an art form in and of itself. We will work with a range of accessible materials and explore how they might function in community-based art. All levels. Books studio.

Professor of art at Appalachian State University, teaching courses such as “Cultivating Creativity through Visual Art and Art for Social Change”; author and facilitator for Project Adventure, Inc, a nonprofit organization focused on disseminating experiential education techniques; co-author of experiential activity books; former Penland core fellow and resident artist; board member for Crafting the Future. 

ilasahaiprouty.com | @prootproot

November 15 – December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Ilasahai Prouty, Map of Maps Project
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Wood Summer Session 6

WOOD – SUMMER SESSION 6
JULY 27-AUGUST 8, 2025 (11 STUDIO DAYS)
Mark Tan
Gettin’ Digi With It

Dive into the exciting world of CNC machining, as we cover the fundamentals of computer-aided design (CAD) and computer-aided machining (CAM) to operate a CNC router. We will create 3D digital models using Fusion 360 and translate the data into Vectric V-Carve to cut out objects on the ShopBot CNC. With a primary focus on creating vessels and hollow forms, we will cover fundamental woodworking skills (both digital and analog) such as shaping, carving, gluing, sanding, painting, and finishing. Although this workshop does not require previous woodworking experience, students should be comfortable working with computers as we will not cover basic computer skills. 

NOTE: if possible, students should bring a computer with Fusion 360 installed (a free trial version is available). Students who cannot bring a computer should fill out this form. 

Assistant professor of sculpture at Arizona State University; grants/awards: Windgate Foundation (AR), Arrowmont (TN), Anderson Ranch (CO), USArtists; exhibitions: Mesa Contemporary Arts Museum (AZ), Hillyer Contemporary (DC), Fuller Craft Museum (MA), Wharton Esherick Museum (PA), Messler Gallery (ME) Aspen Art Museum (CO). 

@nintando

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Mark Tan, Vessels, wood, paint, tallest: 14 x 7 x 2 inches
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Textiles B Summer Session 6

TEXTILES – SUMMER SESSION 6
JULY 27-AUGUST 8, 2025 (11 STUDIO DAYS)
María Dávila and Eduardo Portillo
Weaving Ideas

This workshop will explore how textiles can communicate ideas. Fundamental questions will show the paths to follow in order to develop your textile project. Through experimenting with diverse weaving techniques and materials on floor looms, we´ll get closer to their potentials and limitations. Individual projects may take the form of weaving samples, sketches, or objects. Our goal is to lay the groundwork for creative research that students may continue at home. This workshop will frame questions; answers will come with practice and time. All levels. Second-floor textiles studio. 

Note: this workshop takes place in a second-floor walk-up studio that is made partially accessible by a stair lift.

Collaborating studio artists; Smithsonian Artist Research Fellowship; residencies: Albers Foundation (CT), Praxis Fiber Workshop (Cleveland), glass residency at Toledo Museum of Art (OH); exhibitions: Whitworth Art Gallery (UK), Museum of Arts and Design (NYC), Cooper Hewitt National Design Museum (NYC), Textile Museum (DC), TAC Foundation (Caracas), Long House Reserve (NY), Art Institute of Chicago, Albuquerque Museum (NM), Denver Botanical Garden (CO).

@mariadavilayeduardoportillo

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

María Dávila and Eduardo Portillo, Friendship, spun silk, alpaca, indigo dye, gold leaf, 12-1/2 x 10-1/2 inches
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Textiles A Summers Session 6

TEXTILES – SUMMER SESSION 6
JULY 27-AUGUST 8, 2025 (11 STUDIO DAYS)
Kim Eichler-Messmer
Slow Color, Slow Stitch

This workshop will explore the mark-making potential of natural dyes in combination with slow stitching. Direct application techniques, including clay resist and indigo, mordant painting, dye paints, and discharge, will allow us to create complex, multi-colored textiles. Slow stitching practices, such as appliqué, embroidery, and sashiko, will add texture and dimension to our pieces. We will explore the possibilities of repeat patterns, improvisational mark-making, and planned compositions. Throughout the workshop we will practice patience, perseverance, and thoughtfulness. Expect to finish a series of small works, with an emphasis on process, experimentation, and learning. Experience with dyeing and/or hand-sewing will be helpful but this workshop is open to all levels. Third-floor textiles studio.

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

Associate professor at Kansas City Art Institute (MO); other teaching: Arrowmont (TN), Botanical Colors, Slow Stitching (ME), QuiltCon; exhibitions: Quilt National (OH), QuiltCon, Penland Gallery, Wayne Art Center (PA), Schweinfurth Art Center (NY); author of Modern Color: An Illustrated Guide to Dyeing Fabric for Modern Quilts. 

kimemquilts.com | @kimemquilts

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Kim Eichler-Messmer, Stitched Collages 1-4, embroidery on naturally-dyed fabric, 8 x 8 inches each
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Print & Letterpress L Summer Session 6

PRINT/LETTERPRESS – SUMMER SESSION 6
JULY 27-AUGUST 8, 2025 (11 STUDIO DAYS)
Rory Sparks
Ink Bling

Are letterpress inks too boring for you? Have you ever wanted gold ink to actually look like gold? Do you have a twinkle in your eye for twinkles? In this class, we’ll bling up our inks using several different methods including luster powders, botanical lake pigments, glow-in-the-dark pigments, graphite, thermography, metal foils, and much more. We’ll explore a spectrum of ink treatments from super sparkles and pearlescents to rich mattes and natural materials. Come with a lust for experimentation and an open heart to start thinking about ink conceptually as a vibrant material in your letterpress work. The workshop will also cover letterpress basics, including setting type and operating the presses. All levels. Letterpress studio.

Studio artist, edition binder, printmaker; teaching: Portland Community College (OR), Pacific Northwest College of Art (Portland), Oregon College of Art and Craft (Portland); co-founder of Produce (Portland), Working Library (Portland) and Em Space Book Arts Center (Portland); artwork in collections nationally. 

rorysparks.com | @rorysparks

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Rory Sparks, Ink Bling, Sparkle, letterpress with super sparkle mica powder, 4 x 6 inches
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Print & Letterpress X Summer Session 6

PRINT/LETTERPRESS – SUMMER SESSION 6
JULY 27-AUGUST 8, 2025 (11 STUDIO DAYS)
Erika Adams
Monotype, Yes!

Have you ever wanted to experiment with printing techniques? Yes! Do you want to print flat objects, paint directly on your matrix, transfer drawings, add a layer, and then another? Yes! This fun, experimental workshop will explore the various playful and intuitive possibilities of monotype and monoprint. We will explore unique prints as well as repeatable elements that build a series. Careful layering and happy accidents welcome! Techniques will include hand wiping, gradient rolling, transfers, stencils, chine-collé, trace monotypes, and multi-plate printing. All levels. Printmaking studio.

Associate Professor of Art at Concordia University (Montreal); residencies: Vermont Studio Center, Frans Masereel Center (Belgium), Penland Winter Residency, Djerassi (CA), AIR Serenbe (GA), Atelier Imago (New Brunswick), Nova Scotia College of Art and Design; recent exhibitions: Purdue Galleries (IL), Vietnam University of Fine Arts (Vietnam), Print Santa Fe (NM), Gallerie Alain Piroir (Montreal), Muskat Studios Gallery (MA). 

erikaadams.com | @eatingdogpress

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Erika Adams, Waterwaves II, monotype, 15 x 15 inches