Author: jennifer@interactwo.com

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Metals B Summer Session 2

METALS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Mallory Weston
Vibrant Color and Titanium Anodizing

Titanium anodizing will introduce a bold new color palette into your jewelry and metalwork. This workshop will be an introduction to reactive metals and the electrochemical process of anodizing. Students will learn several methods for adding color, pattern, and imagery to titanium components and how to integrate them into larger pieces of jewelry. We will discuss how other artists have used anodizing in their work and how to plan and problem-solve projects from beginning to end. Demonstrations will cover an array of anodizing techniques as well as jewelry making skills such as piercing, riveting, soldering, and hydraulic press forming. Students will make two prompt-based projects and have the opportunity to exercise their new skills in an open-ended project of their choice. All levels. Lower metals studio. 

Associate professor at Tyler School of Art and Architecture (Philadelphia); 2022 Art Jewelry Forum Young Artist Award; collections: Rhode Island School of Design Museum, Museum of Arts and Design (NYC), Dallas Museum of Art, Museum of Fine Arts Houston, Museum of Fine Arts Boston, Design Museum den Bosch (Netherlands), CODA Museum (Netherlands); representation: Sienna Patti Contemporary (MA). 

malloryweston.com | @_mallory_weston_
January 15 – Regular enrollment opens

Mallory Weston, Variegated Wormhole Necklace #2, anodized titanium, leather, cotton, 24 x 9 x 2 inches
Mallory Weston, Variegated Wormhole Necklace #2, anodized titanium, leather, cotton, 24 x 9 x 2 inches
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Metals A Summer Session 2

METALS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Melanie Eddy
Exploring Form: Design to Metal 

This workshop will use visual exploration and illustration to create concepts for sculptural jewelry forms. We will begin with observational drawing and sketching, learning to see and record in a way that supports abstraction. Through iterative design and illustration techniques, students will curate a small collection of jewelry forms and turn them into 3D explorations in wax before refining their ideas down to a select few to cast and hand finish. While the emphasis will be on working from concept to design and moving from 2D to 3D, students can expect to complete two or three pieces in metal. Some lost-wax casting experience will be helpful, but this workshop is open to all levels. Upper metals studio. Note: This workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Studio artist; teaching: Central Saint Martins College of Art and Design (UK), University for the Creative Arts (UK), Morley College (UK); Crafts Council Maker Trustee (UK), director of Association for Contemporary Jewellery (UK); collections: Victoria and Albert Museum (London), Spencer Museum of Art (KS), Goldsmiths Company collection (UK); US representation: Sotheby’s (NYC), Marissa Collections (FL), Mahnaz Collection (NYC); publications: Vogue, British Vogue, Forbes, Vanity Fair, New York Times.

melanieeddy.co.uk | @mne_eddy
January 15 – Regular enrollment opens

Melanie Eddy, Faceted Rings, Goldsmiths’ Company Collection, sterling silver, platinum, 1-1/8 x 7/8 x 3/4 inches
Melanie Eddy, Faceted Rings, Goldsmiths’ Company Collection, sterling silver, platinum, 1-1/8 x 7/8 x 3/4 inches
Wax
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Iron Summer Session 2

IRON – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Maegan E. Crowley
Inspiration + Material Exploration

This workshop is designed to help students expand their sculptural vocabulary in steel. We will begin with basic blacksmithing techniques, then move on to forging pipe/tubing, hot/cold sheet forming, and fabrication techniques. Along with group demonstrations, students will receive individual instruction to help them develop their own concepts. We will emphasize personal expression as students apply various techniques in creating their own sculpture. Inspiration, material exploration, scale, and metal finish will all be considered as each student works toward their finished piece. All levels.

Studio artist, owner of Iron Maegan Metalworks producing custom metalwork for residential, public, and commercial sites; teaching: Haystack (ME), Penland, Ox-Bow (MI), Peters Valley (NJ), New England School of Metalwork (ME).  

ironmaeganmetalworks.com | @ironmaegan
January 15 – Regular enrollment opens

Maegan E. Crowley, Divided, forged and fabricated steel, gold leaf, 60 x 24 x 5 inches
Maegan E. Crowley, Divided, forged and fabricated steel, gold leaf, 60 x 24 x 5 inches
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Glass B Summer Session 2

GLASS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Andrew Certo
Carefully Crafting a Heater

This technique-heavy workshop is all about what makes an intricate, first-quality pipe. We will focus on design, pattern making, and placing detail in just the right spots. Topics will include marbles, cabs, murrine, layering, sleeving, lathe work, color prep and much more. We will also cover complex assembly and everything else needed to construct a proper heater (a really nice pipe). If you want to step up your pattern work, this workshop is for you. Intermediate/advanced level: students must be comfortable with the basics of working with hollow tubing on the torch. Flameworking studio. 

Studio artist, pipemaker, owner of Certo Glass; teacher of workshops in home studio; winner of Bern Gallery Pipe Classic 14; has worked in studios across the US and Japan collaborating with other flameworkers and pipemakers; exhibitions: Stoked (CT), Piece of Mind (CA); galleries: Legacy (Minneapolis), Elev8 Glass Gallery (CO), High Class Glass Gallery (FL). 

@certo.glass
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Andrew Certo, Ghost Torch, borosilicate glass
Andrew Certo, Ghost Torch, borosilicate glass
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Glass A Summer Session 2

GLASS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Danielle Brensinger
To Infinity!

This workshop is for advanced beginners or more experienced students looking to refine their technique. Repetition is the key to refinement, and by focusing on the basics, we will re-examine our body movements to optimize our workflow and outcomes without overworking the material. Glassblowing is a team endeavor, and together we will break the process into parts and refine each step. Students will leave with a greater understanding of glass, heat management, and form refinement, setting them up for success. Advanced beginning level; at least one previous glassblowing workshop required. Hot glass studio.

Studio artist and fabricator at Second Best Studio (Los Angeles); teaching: Pilchuck (WA), California State University-San Bernardino, Salem Community College (NJ), UrbanGlass (NY); exhibitions: Robert and Frances Fullerton Museum of Art and Dutton Gallery both at California State University-San Bernardino, Pilchuck Exhibition Space (WA).

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

Danielle Brensinger, Sunset Nesting Bowls, blown glass, largest; 4-1/2 x 8-1/4 x 8-1/4 inches
Danielle Brensinger, Sunset Nesting Bowls, blown glass, largest; 4-1/2 x 8-1/4 x 8-1/4 inches
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Drawing & Painting Summer Session 2

DRAWING/PAINTING – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Kristy Deetz
Encaustic Painting

Encaustic painting uses pigment and warm wax applied to a variety of surfaces. Encaustic does not yellow; it repels moisture; it enhances surface texturing; it responds to continual reworking; and it lends itself to embedding images within multiple layers of wax. Students will apply encaustic to a variety of surfaces and learn a full range of additive and subtractive techniques, including fusing, scraping, casting, dipping, layering, and burnishing. We will prepare painting supports with materials such as encaustic gesso, handmade gesso, fabric, and gold leaf. This workshop will cover all the basics of encaustic painting along with experimental approaches such as collage, image transfer, stencils, and block-outs. All levels. 

Studio artist, professor emerita at University of Wisconsin-Green Bay; other teaching: Arrowmont (TN), Haystack (ME), Anderson Ranch (CO), Ox-bow (MI); SECAC Excellence in Teaching award; recent exhibitions: Alexander Hogue Gallery at University of Tulsa (OK), James Watrous Gallery at Wisconsin Academy of Arts and Letters, Stewart Center Gallery at Purdue University (IN); work published in Encaustic Art in the Twenty-First Century and Encaustic Art: The Complete Guide to Creating Fine Art with Wax.

kristydeetz.com | @KristyDeetz
Jan 15 – Regular enrollment opens

Kristy Deetz, The Great Being and Misshapen Ellipse, encaustic and oil paint on wood panel, 40 x 66 x 2 inches
Kristy Deetz, The Great Being and Misshapen Ellipse, encaustic and oil paint on wood panel, 40 x 66 x 2 inches
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Clay B Summer Session 2

CLAY – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Mathew McConnell
The Uncanny Surface

This mold-based workshop will concentrate on producing a series of small tiles, tablets, or low-relief sculptures to be displayed on the wall. I will share my techniques for constructing prototype forms with complex and rich surfaces using simple and widely available materials. After we build our prototypes, we will construct high quality, fiber-reinforced one-part plaster molds. Finally, I will share my method for layering casting slip within a press mold to transfer the textures of our forms into clay with an uncanny level of detail. This workshop will be great for anyone new to plaster mold-making or those looking to expand their repertoire of surface techniques in clay. Low-fire, electric. All levels. Lower clay studio

Associate professor and head of ceramics at University of Arkansas; other teaching: Ox-bow (MI), Greenwich House Potter (NYC), Ohio University, University of Iowa, University of Missouri; residencies: Archie Bray Foundation (MT), Greenwich House Pottery (NYC), CRETA Rome, Anderson Ranch (CO); exhibitions: Mindy Solomon Gallery (FL), Jane Hartsook Gallery (NYC), 108 Contemporary (OK), Eutectic Gallery (Portland, OR), Gerald Peters Gallery (Santa Fe). 

mathewmcconnell.com | @mathew_mcconnell
Jan 15 – Regular enrollment opens

Mathew McConnell, February February (4), earthenware, bone charcoal, graphite, 12 x 9 x 1 inches
Mathew McConnell, February February (4), earthenware, bone charcoal, graphite, 12 x 9 x 1 inches
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Clay A Summer Session 2

CLAY – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Linda Nguyen Lopez
Handbuilding with Colored Clay

In this workshop we will use handbuilding techniques and colored clay to create abstract ceramic sculptures. Through experiments and exercises, students will create an abstract visual vocabulary by investigating and translating the world around us. We will create a series of playful objects focusing on repetition, texture, and color. Demonstrations will focus on construction techniques and colored clay tests. The workshop will also include discussions of visual perception, color, and abstract ceramics. At the end of the workshop, each participant will have created a catalog of colored clay tests and a series of small abstract objects. Mid-range porcelain; electric firing. All levels. Upper clay studio. 

Associate professor at the University of Arkansas in Fayetteville; teaching: Haystack (ME), Ox-Bow (MI); exhibitions: Museum of Art and Design (NYC), Greenwich House Pottery (NYC), Craft Contemporary (Los Angeles); representation: Mindy Solomon Gallery (Miami), David B. Smith Gallery (Denver).

lindalopez.net | @linda__lopez

Jan 15– Regular enrollment opens

Linda Nguyen Lopez, Ombre Dust Furries with Detritus, porcelain, 3-1/2 x 3-1/2 x 3-1/2 each
Linda Nguyen Lopez, Ombre Dust Furries with Detritus, porcelain, 3-1/2 x 3-1/2 x 3-1/2 each
Portrait of Linda Nguyen Lopez working on sculptural piece
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Specials Summer Session 1

Specials Summer Session 1:
May 28 – June 9, 2017
Kaitlyn Becker & Daniel Clayman
Mold Making for Art & Science

Daniel’s studio practice includes more than thirty years of mold making. Kaitlyn is a mechanical engineer building soft robots using a plethora of molding materials and techniques. Daniel will teach a variety of “art” techniques, and Kaitlyn will teach ways to fabricate and animate objects using air bladders, tensioned cables, and simple hydraulics. We’ll use plaster, urethane and silicone rubber, plastics, etc. And we’ll cover a range of wax-working techniques suitable for many casting processes. The goal is for students to gain mold-making skills that will allow them to pursue three-dimensional projects on their own. For students of all levels who have a basic understanding of tools and materials. Code 01GB

Kaitlyn: mechanical engineering Ph.D. candidate at Harvard University (MA) designing and building robots for deep sea exploration. Daniel: studio artist; teaching: Pilchuck (WA), The Studio at Corning (NY); visiting critic at Rhode Island School of Design.

danielclayman.com

Kaitlyn Becker
Kaitlyn Becker, Soft Robotic Fingers for Gentle Grasping in Deep Sea, silicone rubber, polyurethane foam, nylon fabric, 3d printed plastic, Kevlar thread, each finger: 5 inches long
Daniel Clayman
Daniel Clayman, North 41.47º West 71.70º Gold, glass, copper leaf, 34 x 32 x 32 inches
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Wood Summer Session 1

WOOD – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Sarah Reagan
Can You Handle This?

This engaging, beginner-level workshop will teach you how to breathe new life into forgotten and cast-aside tools. Using a skillful blend of machinery and hand tools, we will use transformative techniques like joinery and bent lamination to turn everyday tools into eccentrically “useless” marvels or to restore their original function. Other topics will include milling, shaping, sanding, and finishing. Step-by-step demonstrations will guide you as you unlock your potential to create unique and expressive pieces. Join us for this transformative and hands-on experience bringing together alternative design, sculpture, and woodworking. Beginning level. 

Studio artist; teaching: Arrowmont (TN), University of Wisconsin-Madison, Virginia Commonwealth University; residencies/fellowships: The Wassaic Project (NY), Anderson Ranch (CO); exhibitions: Messler Gallery (ME), Coletivo Corrente de Ar (Lisbon), City College Art Gallery (San Diego), Studio Two Three (Richmond), Minneapolis International Airport.

sarahreaganstudio.com | @ahorasarah
January 15 – Regular enrollment opens

Sarah Reagan, Nail Biter, hickory, steel, found bent nail, 16 x 4 x 2 inches
Sarah Reagan, Nail Biter, hickory, steel, found bent nail, 16 x 4 x 2 inches
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Textiles B Summer Session 1

TEXTILES – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Lois Russell
Twined Sculptural Basketry

In this workshop students will use the ancient technique of twining to make contemporary sculptural baskets. Using colorful waxed linen thread, we will begin with the basics and build skills by designing patterns in multiple colors. Students will also learn several options for bases, a simple braided rim, and techniques for making lids and double-walled baskets. There will be daily sessions to talk about new ideas and find solutions to design and construction questions, and we will discuss what makes a basket “contemporary.” Students will set their own pace and be encouraged to follow their own imaginations. All levels. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Studio artist; teaching: Arrowmont (TN), Haystack (ME), North Country Studio Workshops (VT), National Basketry Organization; National Basketry Organization Lifetime Achievement Award; collections: Fuller Craft Museum (MA), Racine Art Museum (WI), Kamm Collection (KY); publications: 500 Baskets (Lark), Rooted, Revived, Reinvented: Basketry in America (exhibition and book).  

loisrussell.com | @loiejane
January 15 – Regular enrollment opens

Lois Russell, NZ, waxed linen thread, 7 x 4 x 4 inches; patterns inspired by indigenous art of New Zealand
Lois Russell, NZ, waxed linen thread, 7 x 4 x 4 inches; patterns inspired by indigenous art of New Zealand
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Textiles A Summer Session 1

TEXTILES – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
April Dauscha
Relics and Reliquaries: Embellishing Objects of Meaning

Exploring the theme of personal relics, students in this workshop will use embellishment techniques on tulle to create a reliquary that will house an object of meaning.The goal of the workshop is for each student to create a series of technical samples and one finished piece. Samples will include embroidery, beading, and needle-run lace techniques on tulle. Students should bring a variety of personal objects to choose from.These might include garments, dishes, shoes, jewelry, photographs, hair, linens, notes, toys, flowers, etc. We will take inspiration from museum collections, work by fiber artists, personal shrines, rituals, and performances as we develop project concepts, ideas, and sketches. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Head of the fiber program at Fine Arts Center, a performing and visual arts high school (SC); former board member for Surface Design Association; exhibitions: Fuller Craft Museum (MA), Tracey Morgan Gallery (NC), Mana Contemporary (NJ), and venues in Berlin, Cape Town, Jerusalem, and Belgrade; founding member of Tiger Strikes Asteroid Greenville (SC); representation: Page Bond Gallery (VA). 

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

April Dauscha, Matrimonial Stole, tulle, my grandmother’s mink stole, thread, glass beads, hanger, 32 x 27 inches
April Dauscha, Matrimonial Stole, tulle, my grandmother’s mink stole, thread, glass beads, hanger, 32 x 27 inches
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Books & Paper P Summer Session 2

BOOKS & PAPER SUMMER SESSION 2
JUNE 4–16, 2023
Jaz Graf
Handmade Paper: Strata, Impressions, Geometries

The workshop will explore the physical and conceptual characteristics of handmade paper. We will cook, macerate (by hand and machine), and form paper from natural fibers such as abaca, flax and mulberry. Techniques will include Eastern-style sheet forming using a flexible sugeta mould, pulp dipping, inclusions, and paper layering to generate imagery. Using a “bones to skin” approach, we’ll incorporate armatures, casings, and translucency. A combination of demonstrations and lots of experimental play time will result in sculptural paper forms, hybrid objects, iterative configurations of image/material designs, and paper as a supportive material substrate. All levels. Papermaking studio.

Studio artist; teaching: State University of New York (Purchase), University of Notre Dame (IN), Caldwell University (NJ); West Bay View Fellowship at Dieu Donné (NYC), Salzberg Book Arts Residency at Jaffe Center for Book Arts (FL), Studio Award at Women’s Studio Workshop (NY); exhibitions: Newark Museum (NJ), Seager/Gray Gallery (CA), South Bend Museum (IN). 

jazgraf.com | @jazgraf

Jaz Graf, Vestiges of the Old World (detail), ceramic, paper, steel, wood, thread
Jaz Graf, Vestiges of the Old World (detail), ceramic, paper, steel, wood, thread
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Books & Paper B Summer Session 2

BOOKS – SUMMER SESSION 2
June 2-14, 2024 (11 STUDIO DAYS)
Coleen Curry
Manipulating Leather

This workshop will cover a variety of surface applications used to turn leather and suede into beautiful pieces of art that can be used for a variety of applications. We will begin by exploring a range of surface manipulations and finishes with adhesives, foil, paper, and textures, and also discuss the uses and limitations of different leathers and tanning processes. Then we will use the materials we have created to make contemporary book structures. Students will take away samples to use as references, a collection of unique leather materials to use for their own projects, and one or more finished books. The workshop will be dedicated to fun and experimentation and will benefit book makers and other artists who want to explore this medium. All levels. 

Studio artist; teaching, American Academy of Bookbinding (CO), San Francisco Center for the Book, Center for Book Arts (NYC), Paper and Book Intensive (MI); Helen DeGoyler Award for American Bookbinding; collections: Bainbridge Museum of Art (WA), San Francisco Public Library, Boston Athenaeum, Bridwell Library at Southern Methodist University (TX); representation: Seager/Gray Gallery (CA), Lux Mentis Books (ME), Oak Knoll Books (DE).

coleencurry.com | @book.thug
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Coleen Curry, Ce qui aurait pu demeurer silence, leather, suede, gold, 9 x 7 x 3/4 inches
Coleen Curry, Ce qui aurait pu demeurer silence, leather, suede, gold, 9 x 7 x 3/4 inches
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Print & Letterpress X Summer Session 1

PRINT/LETTERPRESS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Keiji Shinohara
Monotype

The monotype print is more akin to painting or drawing than to traditional printmaking. It is also a process that presents the artist with fewer technical difficulties than other printmaking methods. Students in this workshop will create images using various mediums and methods, including wood, plexiglass, paper, and textiles. We may also combine laser cutting and digital printing with drawing and painting. All levels. Printmaking studio. 

Studio artist; teacher at Wesleyan University (CT); exhibitions: DFN Projects (NYC), Montgomery Museum of Fine Arts (AL), Worcester Art Museum (MA), Fresno Art Museum (CA); collections: Legion of Honor (San Francisco), Cleveland Museum of Art, Fogg Art Museum at Harvard University (MA), Library of Congress (DC), National Museum of Asian Art (DC). 

keijiart.com 
January 15 – Regular enrollment opens

Keiji Shinohara, Memory of Wonder 3, monotype, oil-based ink, drawing, photo plate on Arches 88, 12 x 11 inches
Keiji Shinohara, Memory of Wonder 3, monotype, oil-based ink, drawing, photo plate on Arches 88, 12 x 11 inches
Portrait of Keiji Shinohara
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Photography Summer Session 1

PHOTOGRAPHY SUMMER SESSION 1
MAY 28–JUNE 2, 2023

Tokie Rome-Taylor
Cyanotype: Alternative Process Image-Making

This fun, experimental cyanotype workshop will use two photosensitive chemicals and light to make distinctly blue images on various materials—from paper to fabrics. We’ll create imagery with organic materials and explore how to make and print from digital negatives. And we’ll combine these processes by collaging negatives and objects. Further creative possibilities will be explored through the use of wet cyanotype on both wet and dry substrates. Bring digital image files along with any ephemeral items, like feathers and flowers, that you may want to incorporate. If time permits, we’ll also explore print embellishments. All levels.

Studio artist: exhibitions: The Wren’s Nest (Atlanta), APG Gallery (Atlanta), Carnegie Hall (NYC), Museum of Science and Industry (Chicago), Griffin Museum of Photography (MA); collections: Southeastern Museum of Photography (FL), Fralin Museum (VA), Museum of Contemporary Art of Georgia; representation: Amika Dawkins Gallery (Atlanta), Spalding Nix Gallery (Atlanta). 

tokietaylorstudio.com | @tokietstudio

Tokie Taylor-Rome, A Haint Between Here and There, cyanotype on cotton rag, 19 x 13 inches
Tokie Taylor-Rome, A Haint Between Here and There, cyanotype on cotton rag, 19 x 13 inches
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Metals B Summer Session 1

METALS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Sarah Doremus
The Stories We Tell

Much of art is about storytelling, and everyone has a story. This workshop will explore techniques for creating objects that express your story. You will start with a keepsake—a button, your child’s tooth, or a rock from a favorite place—that you will transform into something wonderful by integrating it into a piece of jewelry. We will work with copper, silver, and brass and employ cold connections, including rivets, tabs, prongs, screws, and resin. We will experiment with galvanic etching to transfer words and images to metal and use diamond drills to integrate stone and glass. Finished pieces do not have to be jewelry, but we will strive to create compositions that tell stories in wearable forms. Beginning level. Lower metals studio. 

Studio artist, elementary school art teacher; other teaching: Peter’s Valley (NJ), Arrowmont (TN), Metalwerx (MA), Idyllwild (CA), Penland; exhibitions: Reinterpreting the Kylix (traveling), Metal Museum (TN); collection: Arkansas Art Center; publications: Lark 500 series, Humor in Craft. 

sarahdoremus.com
January 15 – Regular enrollment opens

Sarah Doremus, Barbie Meets Sisyphus, sterling silver, Barbie hand, cubic zirconia, cork, 5 x 1 x 3 inches
Sarah Doremus, Barbie Meets Sisyphus, sterling silver, Barbie hand, cubic zirconia, cork, 5 x 1 x 3 inches
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Metals A Summer Session 1

METALS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Everett Hoffman
Sitting and Setting 

Explore all the ways that metal and nonmetallic materials can be used to create one-of-a-kind settings that will hold your precious materials—from gemstones to found objects. We will cover the basic steps for making prong, tab, and flush settings, as well as settings made with alternative materials. We will also explore ways to set odd-shaped stones and objects. Students will learn and expand on the techniques of soldering, cutting, and finishing, and will leave with one or two completed pieces. All levels. Upper metals studio. Note: this workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Studio artist, curator, writer; teaching: Rhode Island School of Design, Appalachian State University (NC), Virginia Commonwealth University; residencies: Arrowmont (TN), Baltimore Jewelry Center, Penland Resident Artist Program; exhibitions: Virginia Museum of Contemporary Art, Contemporary Craft Museum (Pittsburgh), Soil Gallery (Seattle), Benaki Museum (Athens); writing published in Metalsmith and Art Jewelry Forum; work featured in Metalsmith and Jewelry and Metalsmithing Survey.

everetthoffman.net | @everetthoffman
January 15 – Regular enrollment opens

Everett Hoffman, I Believe in You, bronze, vintage rhinestones, light fittings, 12 x 12 x 4 inches
Everett Hoffman, I Believe in You, bronze, vintage rhinestones, light fittings, 12 x 12 x 4 inches
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Iron Summer Session 1

IRON – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Erica A. Meier 
Decorative Utensils for Daily Life

We use utensils every day; they decorate our homes, evoke memory, and are passed down as heirlooms. Using etched steel and brass sheet, along with basic forging and fabrication techniques, each student will create a pair of utensils for daily life. These may be spatulas, strainers, choppers, or sculptural utensils. We will cover many fundamental techniques including cold and hot forming (forging, sinking, basic sheet fabrication), cold and hot connections (riveting and brazing), and finishing (sanding, filing, texturing). Decorative, custom-etched steel plates will be provided for student use. This workshop will give you the foundational skills and confidence you need to work productively with steel and make quality objects. Beginning level.

Studio artist, faculty and tech/safety coordinator at University of Wisconsin-Milwaukee (WI); previous designer and frame builder at Waterford Precision Cycles (WI),  Rally America co-driver; residencies: Arrowmont (TN), Haystack (ME), Waterford Precision Cycles (WI); recent exhibitions: The Baconsin (NC), Innova Gallery (WI).

ericaameier.com | @ericaameier_artist 
January 15 – Regular enrollment opens

Erica A. Meier, Spill, etched steel, forged brass, 17 x 7 x 1-3/4
Erica A. Meier, Spill, etched steel, forged brass, 17 x 7 x 1-3/4
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Glass B Summer Session 1

GLASS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Wayne Strattman and David Wilson
Plasma, Neon, and Beyond

This workshop is for artists interested in creating neon and plasma light sculptures. We will start with basic theory and then dive straight into flameworking techniques geared toward making lighted sculpture. We will cover the basic glass working techniques with borosilicate, fill our sculptures with gasses, discuss plasma and neon power supplies, and provide vendor information for all the equipment. This workshop will not include traditional neon tube bending. All levels. Neon studio. 

Wayne: studio artist, engineer, designer, author and owner of Strattman Design, the leading maker of plasma displays for museums, trade shows and movie companies worldwide; teaching: Pilchuck (WA), The Studio at Corning (NY), UrbanGlass (NYC), Penland; editor of the 4th edition of Neon Techniques; Handbook of Neon Sign and Cold Cathode Lighting, author of The Art of Plasma.

strattman.com | @strattman_design

David: studio artist with 40 years of glassblowing experience; teacher of multiple Penland neon workshops; producer of Glo-glass fluorescent glass; experimenter in neon and plasma combined with hot glass; also operates Atomic Solar Energy, a full service renewable energy company. 

Here’s a video of one of David’s plasma pieces in action.

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

Wayne Strattman, Mesmer #2 EM Color Fields, flameworked borosilicate glass, xenon gas, phosphors, 24 x 8 x 8 inches
Wayne Strattman, Mesmer #2 EM Color Fields, flameworked borosilicate glass, xenon gas, phosphors, 24 x 8 x 8 inches
David Wilson, David Smith, and students, Full-Spectrum Project at Penland, neon
David Wilson, David Smith, and students, Full-Spectrum Project at Penland, neon
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Glass A Summer Session 1

GLASS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
MiNHi England
Blow Your Mind: A Beginner’s Guide to Glassblowing

In this introductory workshop you will learn the fundamentals of glassblowing and gain the skills needed to create your own unique glass objects. We will start with the basics of gathering and shaping molten glass and then progress to blowing bubbles, adding color, and creating patterns. With hands-on practice and close instruction, you’ll leave with new skills and a new appreciation for the art of glassblowing. Beginning level. Hot glass studio.

Studio artist; featured in Season 3 of the Netflix series Blown Away; teaching: Pilchuck (WA), Ox-Bow (MI), Pratt Fine Arts Center (Seattle), Seattle Glassblowing Studio; residencies: Museum of Glass (WA), Hauberg Resident Artist Fellowship (WA), Pittsburgh Glass Center; recent exhibitions: Habatat Gallery (MI), Pittsburgh Glass Center, METHOD Gallery (Seattle), Seattle Art Fair, Pilchuck Exhibition Space (Seattle), Bellevue Arts Museum (WA).

minhi.com | @m.i.n.h.i
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

MiNHi England and Jesse England, Magnetic Growth, blown glass, copper wire, steel, magnets, 7 x 6 x 6 inches
MiNHi England and Jesse England, Magnetic Growth, blown glass, copper wire, steel, magnets, 7 x 6 x 6 inches
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Drawing & Painting Summer Session 1

DRAWING/PAINTING/BOOKS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Hollie Chastain
The Mixed-Media Memoir

This workshop will explore the practice of visual storytelling using a range of mixed-media techniques. Each student will stitch a simple book and then fill it with stories as we explore different ways to represent them visually. We will cover illustration skills and visual composition as well as technical demonstrations of spray paint, mark making, embroidery, and layering techniques you can use to bring your memoir to life. When the workshop finishes, you will be on a path to continue working on your memoir. Bring materials from home to incorporate into the project. All levels. Drawing and painting studio.

Studio artist, Illustrator; publications: Create Magazine, Colossal, Gestalten Books, Smithsonian; teaching: Arrowmont (TN), Townsend Atelier (TN), San Diego Book Arts (CA), Cambridge Art Association (MA), Penland; exhibitions: The Arts Company (Nashville), Kentuck Art Center (Tuscaloosa); author of If You Can Cut You Can Collage (Quarto Press).

holliechastain.com | @holliechastain
Jan 15 – Regular enrollment opens

Hollie Chastain, Memoir Study 1, paper, mylar, pen, 18 x 9 inches
Hollie Chastain, Memoir Study 1, paper, mylar, pen, 18 x 9 inches