Author: jennifer@interactwo.com

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Print & Letterpress X Summer Session 6

PRINT & LETTERPRESS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Adriane Herman
Mixed-Media Monoprint Mayhem

Feast on a buffet of additive and reductive techniques for transferring, repeating, layering, and juxtaposing images, marks, patterns, text, and textures. The path to press-preferring methods, such as painterly monotype, collagraph, pressure printing and chine collé, will be paved by press-free processes, such as trace monotype, that offer marks no other methods yield. We’ll generate repeatable matrices and stencils that can be combined to create one-of-a-kind works on paper, fabric, and other surfaces, plus variable editions and simple book structures. Equally suited for representation, abstraction, landscape, photographic, drawn/painted, or appropriated imagery, monoprint techniques are easily harnessed to yield cohesive series and sequences of truly unique prints. All levels. Printmaking studio.

Studio artist; teaching: Maine College of Art & Design; Kansas City Art Institute; Lunder Institute for American Art Fellowship; residencies: La Ceiba Grafica (Mexico), Kriti Gallery (India), Charlotte Street (Kansas City), Spudnik Press (Chicago); solo exhibitions: Adam Baumgold Gallery (NYC), Western Exhibitions (Chicago), Center for Maine Contemporary Art; collections: Bates College Museum (ME), Colby College Museum (ME), The Whitney Museum of American Art (NYC), Yale University Art Museum (CT).

adrianeherman.com | @listress

Adriane Herman, Wreckage Salad (Maelstrom), water soluble pastel transfer monotype on paper, 21 x 28-1/2 inches
Adriane Herman, Wreckage Salad (Maelstrom), water soluble pastel transfer monotype on paper, 21 x 28-1/2 inches
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Photography Summer Session 6

PHOTOGRAPHY SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Monty McCutchen
Wet-Plate Collodion

Students in this workshop will learn to use a historic photographic process to interpret the modern world using a visual syntax unlike any other. We’ll work with large-format cameras of various sizes and explore the full gamut of wet-plate collodion positives: tintypes, alumitypes, and ambrotypes. We’ll cover view camera use, mixing chemistry, pouring successful plates, exposure, development, hand coloring, and varnishing. Working with still-life, portraiture, and landscape imagery will give students access to a full range of expression. All levels. 

Note: the studio fee for this workshop is estimated at $250 per student.

Studio artist; senior VP at the National Basketball Association, former NBA referee; exhibitions: Soho Photo (NYC), Raid Our Gallery (CT), University of North Carolina-Asheville (NC). 

Read this article about Monty.

Monty McCutchen, Cally, wet-plate collodion tintype, 12 x 10 inches
Monty McCutchen, Cally, wet-plate collodion tintype, 12 x 10 inches
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Metals B Summer Session 6

METALS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Matthieu Cheminée and Tim McCreight
Building on Basics

Between us, we have been making jewelry for 80 years, each in our own way exploring basic materials and techniques that have been central to metalsmiths for centuries. In this workshop students will revisit basics: pouring ingots, making sheet and wire, and using forging, piercing, and fabrication to create original wearables and utensils. After making their own unique stamps, gravers, and chisels, students will make jewelry that captures the materials and moments of Penland. Through group demonstrations and one-on-one conversations, each student will merge material, technique, and process to chart a path that makes their work meaningful and distinctive. Intermediate/advanced level: basic sawing, soldering, and filing skills required. Lower metals studio.

Matthieu: Studio artist who learned jewelry making in New Mexico and West Africa, where he has been working with jewelers for the past 25 years; has taught at schools in Canada, Africa, Europe, and US as well as his own studio for 20 years; author of Legacy: Jewelry Techniques of West Africa, and The Art of Stamping. 

matthieucheminee.com | @matthieucheminee

Tim: professor retired from Maine College of Art & Design, author of 20 books of metalworking, senior designer and editor at Brynmorgen Press; teacher of workshops nationally and internationally; served as a trustee for Haystack (ME) and SNAG. 

brynmorgen.com

Matthieu Cheminée, Untitled, Sterling silver, 18k gold, diamonds, fire opals, orange sapphires, 2-1/2 inches diameter
Matthieu Cheminée, Untitled, Sterling silver, 18k gold, diamonds, fire opals, orange sapphires, 2-1/2 inches diameter
Tim McCreight, Round Brooch, fine silver, 18K gold, 2-1/2 inches diameter
Tim McCreight, Round Brooch, fine silver, 18K gold, 2-1/2 inches diameter
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Metals A Summer Session 6

METALS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Katja Toporski
Castables

This exploratory workshop will look at mold-making and casting alternative materials for jewelry making. We’ll cover various types of silicon molds along with low-tech materials like plaster and clay. We’ll use our molds to cast a variety of materials, including resin, concrete, wax, silicone, plaster, and reconstituted materials, resulting in non-metal components. Then we’ll consider ways of incorporating those castings into jewelry, including tabs and different prong settings using sheet metal. The emphasis will be on experimentation and understanding the language of different materials. Basic metalworking skills, such as piercing, soldering, filing, sanding, and polishing, will be covered. All levels. Upper metals studio. 

Studio artist; teaching: Baltimore Jewelry Center, Montgomery College (MD), Towson University (MD); recent solo exhibitions: Art Center East (Finland), A-Galerii (Estonia); representation: Charon Kransen Arts (NYC), A-Galerii (Estonia), Bayrischer Kunstgewerbeverein (Germany). 

katjatoporski.com | @katjatoporski

Katja Toporski, Dose of the Future, silver, eggshell, gelatin, 3 x 2 x 1/2 inches
Katja Toporski, Dose of the Future, silver, eggshell, gelatin, 3 x 2 x 1/2 inches
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Iron Summer Session 6

IRON SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Mike Rossi
Forged By Design

This workshop will use blacksmithing (hand- and power-hammer forging) and fabrication techniques (welding, riveting, bolting, etc) to create thoughtful sculpture and useful objects. We’ll start with introductory challenges, and then move into self-directed projects while participating in design exercises and discussions. We’ll also cover finishing techniques, including bringing color to steel surfaces. Throughout, we’ll consider the context of our work, and investigate the potential of blacksmithing in a 21st century studio practice. We’ll work hard, have fun, and create many new objects!  All levels.  

Studio artist; teaching: Haystack (ME), Ox-Bow (MI), Bryn Athyn College (PA), Kalamazoo College (MI), Penland; Windgate Artist in Residence at San Diego State University (CA) and Purchase College (NY); has an extensive personal library, two cats, and would like to get a dog. 

rossimetaldesign.com | @rossimetals

Mike Rossi, Ansible, inflated steel, 26 x 18 inches
Mike Rossi, Ansible, inflated steel, 26 x 18 inches
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Glass B Summer Session 6

GLASS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Jeff Heath
Patterns for Success

This workshop will be a survey of flameworking techniques used to create pattern. We’ll start with basic color application and work our way up to advanced pattern making, including Italian techniques such as zanfirico, reticello, and murrine. We’ll also cover basic flameworking techniques and explore how color and pattern can be used to add a signature style to jewelry, vessels, and sculpture. All levels. Flameworking studio. 

Studio artist; teaching: Flint Institute of Art (MI), Bergstrom-Mahler Museum of Glass (WI); residency: Illinois Wesleyan University (IL); exhibitions: Flint Institute of Art (MI), Pilchuck Gallery (Seattle). 

jeffheathglass.com | @jeffheathbar

Jeff Heath, Rainbow Murrine Goblet with Knot Stem, flameworked glass, 11 x 4 x 4 inches
Jeff Heath, Rainbow Murrine Goblet with Knot Stem, flameworked glass, 11 x 4 x 4 inches
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Glass A Summer Session 6

GLASS SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Nate Watson
The Transparent Self

Through a series of personal reflections and material inquiries, we’ll identify methods for making the stories that define us visible through glass. This workshop will examine the qualities that make glass such a powerful mode of expression and help students find an honest and natural relationship with the material. We’ll cover many techniques for creating glass sculpture, including basic glassblowing, adhesives and assemblage, color application, and basic coldworking. Traditional and nontraditional processes will help you access the expression that comes from a harmony between you and the material. All levels. Hot-glass studio. 

Studio artist, member of Related Tactics Collective, executive director of Public Glass (San Francisco); teaching: Sierra Nevada College (CA), San Francisco State University (CA), California College of Arts (CA), University of Washington (WA); 2022 Center for Craft Research fellow; residencies; KALA Institute (CA), Pilchuck Glass School (WA), Starworks (NC), Montalvo (CA); exhibitions: Crafting the Vernacular at KMAC (KY), Disclosure with RelatedTactics at Center For Craft (NC), Disclosure with RelatedTactics at Corning Museum (NY).

nate-watson.com | @2natewatson

Nate Watson, Untitled Funnel Study, Series 4, Object 1, sapphire, glass, steel 12 x 14 x 14 inches
Nate Watson, Untitled Funnel Study, Series 4, Object 1, sapphire, glass, steel 12 x 14 x 14 inches
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Drawing & Painting Summer Session 6

DRAWING AND PAINTING SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Morgan Thomas Shankweiler
Aleatory: Play as Process

This workshop will explore the use of chance, games, and play as points of departure for getting unstuck, experimenting with new ideas, and creating work with deep meaning. We’ll start each day letting games make creative decisions for us. Then we’ll create our own games to explore the intersection of chance and choice. We’ll focus primarily on drawing and painting and also explore collage and linoleum block printmaking. Our time will include demonstrations, discussions of historic and contemporary works, lots of game play, and time for individual and collaborative experimentation. Students can expect to finish at least one fully-realized drawing or painting, take home a spark-kit for future game creation, and contribute to large collaborative works with classmates. The emphasis will be on process, experimentation, and having fun in a supportive studio community. All levels. 

Studio artist, mural artist for Mural Arts Philadelphia and The Village of Arts and Humanities (Philadelphia); teaching: Philadelphia Museum of Art, Strath Haven High School (PA); residencies: School of Visual Art (NYC), DaVinci Art Alliance (Philadelphia), Penland winter residency; exhibitions: INLIQUID (Philadelphia), Second Street Gallery (VA), Hamilton Street Gallery (NJ), Fountain Street Gallery (Boston), A.I.R. Gallery (NYC).

morganthomasshankweiler.com | @morganthomasshankweiler

Morgan Thomas Schankweiler, Chosen Family; Making Sense of the Loose Ends and Tatters, ink and acrylic on paper, 22 x 30 inches
Morgan Thomas Schankweiler, Chosen Family; Making Sense of the Loose Ends and Tatters, ink and acrylic on paper, 22 x 30 inches
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Clay B Summer Session 6

CLAY SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Brooks Oliver
Playful Plaster Molds

In this workshop, we’ll rethink the plaster mold, celebrate experimentation, and reimagine the familiar functional vessel. We’ll explore both classic and innovative ways of creating prototypes and work with plaster to generate molds for slip casting and press molding. Students will playfully investigate multiple techniques for constructing and decorating unique vessel forms in high-fire porcelain and stoneware while conceptually challenging how and why we use utilitarian vessels. Expect to leave with a few finished pieces and new ways of exploring your process. Some experience with ceramics will be helpful, but this workshop is open to all levels. Lower clay studio. 

Assistant Professor at the University of North Texas; former long-term resident and current board member at Archie Bray (MT); NCECA Emerging Artist Award; exhibitions: San Angelo Museum (TX), Ceramics Park Mino Museum (China), Artstream Nomadic Gallery (CO), Dallas Pottery Invitational (TX), Lacoste Gallery (MA), Red Lodge (MT) Northern Clay Center (MN); representation: RO2 (TX), Rubinered Gallery (CA), Radius (MT), Archie Bray (MT).

brooksoliver.com | @brooksoliver

Brooks Oliver, Grinders, porcelain, 10 x 4-1/2 x 3 inches
Brooks Oliver, Grinders, porcelain, 10 x 4-1/2 x 3 inches
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Clay A Summer Session 6

CLAY SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Natalia Arbelaez
Modest to Monumental

This sculpture workshop will use basic techniques, including pinch and coil, to make small to large forms. These often overlooked techniques can be used to realize many ideas. For large forms we’ll use sectional methods that facilitate firing and shipping when faced with size constraints. We’ll also cover multiple surface techniques (glazes, stains, coldworking) that will bring color or subtlety. I will share the process of storytelling and research I use to create narratives full of symbolism. Low to mid-range firing. All levels. Upper clay studio. 

Studio artist; teaching; Clay Art Center (NY), College of New Rochelle (NY), Harvard University Ceramics Program (MA), Massachusetts College of Art and Design (Boston); residencies: Museum of Art and Design (NYC), American Museum of Ceramic Art (CA); representation: Mindy Solomon Gallery (Miami), Galerie Wolfsen (Denmark); collections: Everson Museum (NY), Fuller Craft Museum (MA), Institute of Contemporary Art (Miami). 

nataliaarbelaez.com | @natalia_arbelaez_

Natalia Arbelaez, Lucy Lewis, terracotta, majolica, 16 x 9 x 10 inches
Natalia Arbelaez, Lucy Lewis, terracotta, majolica, 16 x 9 x 10 inches
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Books & Paper P Summer Session 6

BOOKS & PAPER SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Akemi Martin
From Substrate to Substance: Dimensional Papermaking

This experimental, hands-on workshop will expand your concept of what paper can be. Beginners and veterans alike will explore how paper pulp can be manipulated into 3D forms. We’ll make and use various relief matrices (often used in printmaking) and rubber molds as we move from the subtleties of debossed sheets to relief casts made entirely of paper pulp. All the while, we’ll cultivate an understanding of basic papermaking techniques such as beating and pigmenting pulp and forming sheets. Students will have the opportunity to make relief plates and at least two rubber molds (and the resulting paper casts), and they are encouraged to bring molds and relief plates to experiment with. All levels. Papermaking studio.

Note: the studio fee for this workshop is estimated at $325-375 per student.

Director/master papermaker at Pace Prints (NYC); teaching: Cooper Union (NYC), Penland (NC), State University of New York Purchase (NY), Dieu Donné (NYC), Gowanus Studio Space (NYC); publications: Hand Papermaking.

Paceprints.com | @paceprints

Akemi Martin and Leonardo Drew, 31P, cast and pigmented handmade paper, 12-1/2 x 12 x 2 inches
Akemi Martin and Leonardo Drew, 31P, cast and pigmented handmade paper, 12-1/2 x 12 x 2 inches
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Books & Paper B Summer Session 6

BOOKS & PAPER SUMMER SESSION 6
JULY 30–AUGUST 11, 2023
Marianne Dages
Thinking in the Language of Books

A book is a place to hold thoughts. It could be a journal waiting to be written in or an artist’s book waiting to be read. This workshop will be about making books for your ideas. We’ll cover a variety of book structures for journaling or artist books with a focus on simple folded and sewn structures ranging from pamphlet to long-stitch to hardcover. We’ll also inset text or images onto covers and make simple folded sleeves and cases. As we’re making we’ll talk about how to generate ideas for books using chance operations and other fun exercises. Demonstrations will help students understand how book structures work so they can start experimenting and creating their own. All levels. Books studio. 

Studio artist and writer; publishes as Huldra Press and Sistrum (PA); teaching: Tyler School of Art (PA), Pyramid Atlantic (MD), Common Press (PA); exhibitions: Print Gallery Tokyo (Japan), Center for Book Arts (NY) IPCNY (NY), Napoleon (PA) Swarthmore College (PA), PNCA (OR); residencies: Wells College (NY), Herhusid (Iceland), Beisinghoff Printmaking Residency (Germany).

mariannedages.com | @huldrapress

Marianne Dages, Rabbit. Rabbit. Regret., softcover book with Risograph printing and letterpress printed cover, 7-1/2 x 5 x 1/4 inches closed
Marianne Dages, Rabbit. Rabbit. Regret., softcover book with Risograph printing and letterpress printed cover, 7-1/2 x 5 x 1/4 inches closed
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Wood Summer Session 5

WOOD SUMMER SESSION 5
JULY 16–28, 2023
Elia Bizzarri and Eric Cannizzaro
Greenwood Chairmaking

Starting with a log, you’ll split and shave parts for a ladderback side-chair in the style of Jennie Alexander, who coined the term “green woodworking.” Then you’ll assemble the chair relying on the natural swelling of super-dried rungs to help lock the chair together. We’ll use hand tools, including the draw knife, the spokeshave, and the shaving horse. This workshop is open to students of all levels who enjoy long hours and physical work. 

Note: the studio fee for this workshop is estimated at $250-325 per student.

Elia: chairmaker, teaching: The Woodwright’s School (NC), Elia Bizzarri Studio (NC); produced numerous woodworking videos including DVDs for Popular Woodworking; featured on PBS’s The Woodwright’s Shop; work and articles published in Fine Woodworking, Popular Woodworking, Woodcraft, NC Travel Guide, Mortise and Tenon.

handtoolwoodworking.com

Eric: chairmaker: teaching: Arrowmont (TN), Campbell Folk School (NC), Arbutus Folk School (WA); residencies: Arrowmont (NC), Arbutus Folk School (WA); exhibitions: Wayne Art Center (PA), Bascom (NC), Delaware Valley Arts Alliance (NY), Blue Line Arts (CA) Master Woodworkers Show (TN); representation: Grovewood Inn Gallery (NC), Frog Hollow (VT).

ericcannizzaro.com | @eric.cannizzaro

Eric Cannizzaro, Two-Slat Ladderback Chairs, red oak, cotton webbing, natural dyes, milk paint, 18 x 18 x 34 inches
Elia Bizzarri, Aspen Table, walnut, oak, milk paint, 24 x 15 x 15 inches
Elia Bizzarri, Aspen Table, walnut, oak, milk paint, 24 x 15 x 15 inches
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Textiles B Summer Session 5

TEXTILES SUMMER SESSION 5
JULY 16–28, 2023
Sasha Baskin
Drawing with Bobbin Lace

Beginning with the basics of the “cross” and the “twist,” we’ll explore the limitless potential of bobbin lace as a pictorial medium. Through the careful construction of these standard, off-the-loom weavings, we’ll discover line, tone, texture, and pattern and begin to design our own creations. Students will learn to read bobbin lace patterns and to make their own bobbin lace value scales, patterning, and designs. Students may choose to work intuitively to create abstract explorations of texture and pattern or they might deconstruct images into value and shade to create analog pixel images in lace! This work requires close-distance vision; please come prepared. All levels. Second-floor textiles studio.

Studio Artist; teaching: Maryland Institute College of Art, Johns Hopkins University (MD), Stevenson University (MD), Campbell Folk School (NC); residencies: Arrowmont (TN), Jacquard Center (NC), Penland Winter Residency; lectures: George Mason University (VA), College Art Association (NY); exhibitions: Blue Spiral I (NC), Loyola University (MD), San Jose Museum of Quilts and Textiles (CA), Visual Arts Center (TX). 

sashabaskin.com | @sashbask

Sasha Baskin, The Martyr (Here for the Right Reasons), filet lace, cotton thread, fishing net, 33 x 33 inches
Sasha Baskin, The Martyr (Here for the Right Reasons), filet lace, cotton thread, fishing net, 33 x 33 inches
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Textiles A Summer Session 5

TEXTILES SUMMER SESSION 5
JULY 16–28, 2023
Alyssa Salomon
Print What You Sew

Print happiness by the yard! Using simple, eco-friendly methods, students will produce their own screenprinted fabric and turn some into easy textile projects: tea towels, tote bags, smocks, etc. We’ll develop formal repeat patterns as well as improvisational designs using cut paper, mark-making, technology, and forms from nature. We’ll mix custom ink colors, learn to screenprint, and then print and print and print. This workshop is for those interested in textiles and surface design whether the intent is to continue screenprinting, to use print-on-demand services, or just to have a great time with design inspiration. Basic sewing skills will be useful, but this workshop is open to all levels. 

Notes: This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift. The studio fee for this workshop is estimated at $225-275 per student.

Studio artist working as Blue Skies Workroom; teaching: Virginia Commonwealth University, Visual Arts Center of Richmond; representation: Penland Gallery, Candela Gallery (VA), Contemporary Craft (Pittsburgh), Artful Home (collaboration with Good Quilt Company); projects/awards/residencies: Form and Function Box (Alma’s Gallery), Pyramid Atlantic Denbo Fellowship, Made in Virginia Award, Artist in Residence at VCU School of Business.

blueskiesworkroom.com | @blue_skies_workroom

Alyssa Salomon, Choir Pants, screenprinted linen; quilt is a collaboration with Good Quilt Co.
Alyssa Salomon, Choir Pants, screenprinted linen; quilt is a collaboration with Good Quilt Co.
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Print & Letterpress L Summer Session 5

PRINT & LETTERPRESS SUMMER SESSION 5
JULY 16–28, 2023
Joanne Price
Wood Engraving: Mighty Detailed Prints

Victorian-era wood engraving technique combines the miniature, fine detail of metal engraving and the speed of relief printing. In this intensive workshop, you’ll learn to cut your own images with incredible detail and print them in limited editions. Process, printing, and experimentation will be prioritized with instruction covering specialty engraving materials, creating and transferring images, tool sharpening, engraving, hand printing, two-color printing, and historical and contemporary context. Expect to finish three to six individual images and explore post-printing image manipulation/assemblage, collaboration, and a print exchange. This technique requires close-distance vision; please come prepared. Drawing experience will be helpful but is not required. All levels. Letterpress studio.

Studio artist operating as Starpointe Studio; teaching: University of Kentucky, Highpoint Center for Printmaking (Minneapolis), Campbell Folk School (NC); president emeritus of Wood Engravers’ Network; collections: Guangdong Museum of Art (China), Museu da Casa Xilogravura (Brazil), Walker Art Center (MN), Yale University (CT). 

starpointestudio.com | @starpointestudio

Joanne Price, Firefly, three-color wood engraving with block shown for scale, 2 x 1-3/4 inches
Joanne Price, Firefly, three-color wood engraving with block shown for scale, 2 x 1-3/4 inches
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Print & Letterpress X Summer Session 5

PRINT & LETTERPRESS SUMMER SESSION 5
JULY 16–28, 2023
Charles Hancock and John Hancock
Relief and Screen Print Mashup

This workshop will encourage the mix and mashup, no-holds-barred creation of images. We’ll cover the basics of relief and screen printing with a sharp left turn, employing the spirit of experimentation, mistake making, and collaboration. Printing on wood, cloth, metal, and, of course, paper, our methods will run from the most traditional to as wildly experimental as you can stomach as we create things of beauty along with our worst nightmare desires. Making art is fun! All levels. Printmaking studio. 

Note: the studio fee for this workshop is estimated at $200-225 per student.

Studio artists and masters of lo-tech printmaking also known as The Amazing Hancock Bros.; collections: Library of Congress (DC), Ft. Wayne Museum of Art (IN), Newark Public Library (NJ), Royal Museum of Art (Belgium), Academy Non Grata (Estonia), Billy Gibbons (Houston). 

@charleshancock7

Charles Hancock and John Hancock, Non Grata, mixed-media screenprint on wood, 12 x 12 inches
Charles Hancock and John Hancock, Non Grata, mixed-media screenprint on wood, 12 x 12 inches
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Photography Summer Session 5

PHOTOGRAPHY SUMMER SESSION 5
JULY 16–28, 2023
Robin Dreyer and Jeff Goodman
Photography in the 4th Dimension

From motion to memory, time has been a central medium and subject of photography. This workshop will explore a wide range of photographic techniques that employ time directly, including light painting, motion studies, flip books, pinhole cameras, view cameras, cinemagraphs, and stop-motion animation. We’ll use analog cameras, digital cameras, digital printers, and the darkroom, experimenting with making both still and moving images that play with—and celebrate—the most mysterious of dimensions. Students will go home with new images, new photographic skills, and maybe some new thoughts about the universe. All levels, beginners encouraged.

Jeff: award-winning instructor in the media studies program at Appalachian State University (NC); extensive experience leading workshops in photography, documentary video, and the relationship between art, science, and the creative process.

jeffgoodman.space

Robin: photographer, editor, communications manager at Penland; teaching: Penland; exhibitions: Asheville Art Museum (NC), North Carolina Museum of Art, Center for Alternative Photography (NYC); collection: Asheville Art Museum (NC), publications: American Craft, Our State, WNC, Garden & Gun, and numerous Penland publications. 

robindreyerphoto.com

Jeff and Robin’s workshop promo video (1 minute)

Jeff Goodman, Gulls, digital photograph
Jeff Goodman, Gulls, digital photograph
Robin Dreyer, Hay Bales (photographer shown for scale), gelatin silver print, 7 x 7 inches
Robin Dreyer, Hay Bales (photographer shown for scale), gelatin silver print, 7 x 7 inches
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Metals B Summer Session 5

METALS SUMMER SESSION 5
JULY 16–28, 2023
Douglas Pryor
Explorations in Sculptural Chasing

The art of chasing is a love language between illustration and sculpture. In this workshop we’ll integrate the best of both worlds as we explore detailed relief work in sheet metal. We’ll mix elements of raising, repoussé, and the Japanese technique of uchidashi to create a knowledge base of low- and high-relief work. Students can expect to complete at least two projects in copper. The first will be a structured follow-along design matched to the individual’s skill level. The second project, also a follow-along design, will be assigned to match each person’s interests. All levels. Lower metals studio.

Studio artist; teaching/demonstrations: Metal Arts Academy (CA), Appalachian Center for Craft (TN), Hereford College of Arts (UK), Art Students League (NYC), The Idea Foundry (OH); residencies: Buffalo Creek Art Center (NV), Light Grey Art Lab (Minneapolis); publications: Hephaistos, Artist Blacksmith, Anvil’s Ring. 

douglaspryor.com | @douglas_pryor

Douglas Pryor, Gecko on Pancakes, 1mm thick copper, 5-1/2 inches high
Douglas Pryor, Gecko on Pancakes, 1mm thick copper, 5-1/2 inches high
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Metals A Summer Session 5

METALS SUMMER SESSION 5
JULY 16–28, 2023
Aurélie Guillaume
Telling Stories in Cloisonné

In this workshop students will learn the technique of cloisonné enameling and explore its possibilities as a storytelling medium. We’ll begin by making samples and drawing in our sketchbooks to develop ideas, stories, characters, and patterns. These will serve as the basis for each student to create a fully-realized, one-of-a-kind cloisonné jewelry piece. The focus will be on learning cloisonné with opaque colors, but we’ll also cover techniques such as wet packing, inlay, using black or white overglaze and metallic lusters to add detail and play on the surface. Through multiple demos and sample-making, students will learn the secrets of cloisonné. Intermediate/advanced level; basic enameling and metalworking skills required.  Upper metals studio.

Studio artist; teaching: Jewelry School of Montréal, Pocosin Arts (NC), Metalwerx (MA), Silvera Jewelry School (CA); collections: Museum of Arts and Design (NYC), Yale University Art Gallery (CT), Museum of Fine Arts of Montréal, Enamel Arts Foundation (CA); representation: Galerie Noel Guyomarch’. 

aurelieguillaume.com | @mlleguillaume

Aurélie Guillaume, Mon ami, sais tu que je t'aime?, enamel on copper, sterling silver, fine silver, cubic zirconium, stainless steel, glitter, 3-3/4 x 3-1/2 x 1/2 inches
Aurélie Guillaume, Mon ami, sais tu que je t'aime?, enamel on copper, sterling silver, fine silver, cubic zirconium, stainless steel, glitter, 3-3/4 x 3-1/2 x 1/2 inches
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Iron Summer Session 5

IRON SUMMER SESSION 5
JULY 16–28, 2023
Shingo Furukawa
It Moves!

This workshop will be a basic introduction to kinetic sculpture: it’s easy! Students will learn the fundamental principles of mechanical movement and use simple components to create sculptures that move. We’ll cover basic fabrication and welding, but this will not be a technique-oriented workshop. Instead we’ll explore movement as a tool for communicating ideas. All levels. 

Studio technician and occasional lecturer at University of Massachusetts-Dartmouth; exhibitions: Monique Rancourt Artisan Gallery (MA), Metalwerx (MA), Six Years Smitten (NM, NC, CA), I.M.A.G.I.N.E. Peace Now! (NC, MA), Rhode Island I.M.A.G.I.N.E.s.

Shingo Furukawa, Untitled (AB’s dandy-lion), brass, aluminum, steel, found object/materials, 8 x 7 x 8 inches
Shingo Furukawa, Untitled (AB’s dandy-lion), brass, aluminum, steel, found object/materials, 8 x 7 x 8 inches
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Glass B Summer Session 5

GLASS SUMMER SESSION 5
JULY 16–28, 2023
Daniel Clayman
Materials, Temperature, and Magic!

Working primarily with kiln processes in the glass studio, we’ll look at how the rigorous exploration of ideation and object making requires a strong technical foundation, great ideas, and a little bit of magic. Technical information will include mold recipes, mold-making techniques, firing schedules, annealing, casting, slumping, and ancillary skills like rubber mold making. We’ll also discuss choosing appropriate glass for specific uses. In addition to demonstrations, slide talks, and daily kiln firings, we’ll set time aside for critical discussions of what we make and why we make things. Beginning to advanced students can look forward to a busy session of making molds, firing kilns, and putting more tricks into their toolboxes. All levels. Casting studio.

NOTE: This workshop is expected to have a studio fee of approximately $600 per student. 

Studio artist; former Effron Family Endowed Chair at the University of the Arts (Philadelphia), visiting critic at Rhode Island School of Design; workshop teaching: Pilchuck (WA), The Studio at Corning (WA), Penland; residencies: Tyler School of Art (Philadelphia), Massachusetts College of Art and Design (Boston); collections: Corning Museum (NY), de Young Museum (San Francisco), High Museum (Atlanta), Museum of Arts and Design (NYC), Museum of Fine Arts Boston, National Geographic Society (DC), Racine Art Museum (WI), Renwick Gallery (DC), Toledo Museum of Art (OH).

danielclayman.com | @danielclayman

Daniel Clayman, The Landscape Project, glass, gold, white gold, copper leaf, 96 x 96 x 35 inches
Daniel Clayman, The Landscape Project, glass, gold, white gold, copper leaf, 96 x 96 x 35 inches