Author: jennifer@interactwo.com

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Clay B Summer Session 1

CLAY – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Tina Curry
Creative Animal Sculpture

This workshop will cover the process of creating animal sculptures based on accurate anatomy and proportions. We will use photographs as reference, learning how to interpret them and how to make or find images that will be most useful. We will work with basic clay techniques: slab, pinch, and simple armatures and explore how to make skin, hair, and fur. The animal forms will require 2-3 weeks of slow drying before firing, so I will discuss finishing techniques and provide instructions for drying and firing at home. Students will also be able to create and fire some relief tiles. The workshop is designed for students new to sculpture and for teachers who wish to learn new sculpting techniques. Beginning level. Lower clay studio.

Studio artist; teaching: Arrowmont (TN), Campbell Folk School (NC), Village Potters Clay Center (NC); representation: Jeanie Edwards Fine Arts Gallery (NC), Southern Highland Craft Guild (NC), Highlands Craft Gallery (TN); collections: Arrowmont School of Arts and Crafts (TN), Foothills Ceramic Arts Museum (CA); publications: Ceramics Monthly.

curryoriginals.com | @tinasculptress
Jan 15 – Regular enrollment opens

sculpture by Tina Curry, African Wild Dog, stoneware; raku fired with underglaze and clear crackle glaze, 9 x 14 inches
Tina Curry, African Wild Dog, stoneware; raku fired with underglaze and clear crackle glaze, 9 x 14 inches
Portrait of Tina Curry with dog sculpture
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Clay A Summer Session 1

CLAY – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Wei Sun
Potter’s Wheel Magic

Discover the magic of wheel-thrown pottery in this four-day workshop. We will walk through the pottery making process step by step: wedging, centering, shaping, trimming, and decorating. At the end of the workshop, you will take home your own unique pottery pieces (unglazed). This workshop is perfect for beginners as well as potters with some experience who want to revisit basic skills. Join us for a fun and inspiring pottery adventure, and unleash your creativity at the wheel. Bisque fire only. Beginning level. Upper clay studio.

Studio artist; teaching: Raleigh Pullen Art Center (NC), North Carolina State University Craft Center; collections: Cedar Creek Gallery (NC), GreenHill Center for North Carolina Art, Grovewood Gallery (NC), Penland Gallery.

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

Wei Sun, Bamboo Steins, stoneware, slip, salt glaze, 6 x 3 x 3 inches
Wei Sun, Bamboo Steins, stoneware, slip, salt glaze, 6 x 3 x 3 inches
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Books & Paper P Summer Session 1

PAPER – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Heather Peters
Handmade Paper: Surface and Object

This workshop will begin by processing a variety of fibers to make Western-style paper. Using a Hollander beater to break down fibers, we will explore various ways to form sheets. This will be followed by an in-depth, practical analysis of drying techniques. Then we will dive into an exploration of pigments, natural dyes, and other color techniques both wet and dry paper. The outcome will be beautiful, individualized sheets and standalone paper art pieces with an ethereal, elemental presence. Looking at paper through a historical lens, we will talk about the importance of creating unique substrates and discuss ways of bringing papermaking into a variety of studio practices and set-ups. This workshop is perfect for new papermakers, and it will also be informative for those with experience. Beginning level. 

Studio artist; teaching: Magnolia Editions (CA), San Diego State University (CA), Palomar College (CA), ArtCenter College of Design (CA), Occidental College (CA); residencies: Kala Art Institute (CA), Wells College AIR (NY); collections: University of California Berkeley Environmental Design Library, Scripps College (CA), Lucid Art Foundation (CA); publications: Degrees of Innovations (San Francisco Center for the Book), Adaptation: Artist Books for a Changing Environment (UC Berkeley Environmental Design Library), Wings of the Mill (Super Classy Publishing).

hapeters.com | @society_of_hermits
January 15 – Regular enrollment opens

Heather Peters, Deckled Edges, details of handmade paper with chromatography experiments
Heather Peters, Deckled Edges, details of handmade paper with chromatography experiments
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Winter Residencies FAQ’s

Penland Winter Residencies Frequently Asked Questions

Applying and Making Plans

How long is a winter residency?
Minimum is 1 week and maximum is 4 weeks in all studios except clay; for residencies in our clay studios, the minimum is 1 week and maximum is 6 weeks.

When is the application due?
All applications are due September 15, 2016. There is a $25 non-refundable application fee paid through SlideRoom when you submit your application.

When will I be notified of my application’s status?
Penland will notify all applicants by October 14, 2016.

How do I apply as a collaborator or with a group?
Each member of a group must apply individually and on time to be accepted. If applying together, please choose a group name and indicate it on your application, so we’ll know to enroll you together. If you organize a group of five or more, your group organizer receives free studio/housing. (Hint: some groups choose to share this savings.)

What happens if my arrival is delayed due to weather?
If you cannot get to Penland due to inclement weather, you will receive a prorated refund for the days that Penland is also closed.

How do I get to Penland?
Driving: For driving directions, click the link below.

Directions and Map
Please note that Asheville is the closest place to pick up or drop off a rental car.

Flying: You are responsible for arranging your own transportation to Penland. The Asheville Airport is the closest airport to Penland and is about 1 hour and 20 minutes away. There are multiple shuttle companies that will transport you from the airport to Penland. These are a few that we use on a regular basis:

Harry Siegel (Asheville Airport Shuttle)
harrys8684@charter.net
828-231-1053

William (Billy) Paulk (Pegasus Airport Limousine)
pegasusairport@charter.net
828-281-4600

Joe Tandy (Grandy Co. Transportation)
joe3holly@gmail.com
828-691-0504

You can find a more complete list on the airport website:
flyavl.com/pages/passenger-services/transportation.php

If you fly into Charlotte, please be aware that it is 2 ½ hours from Penland, and it will be much more difficult to arrange ground transportation.

Staying at Penland

What are the housing facilities like and what basic amenities are provided?
Housing varies from dorm rooms (3 or more beds/room) to single private rooms with a private bathroom. You can decide which level suits your preference and request this on your application. Find examples of some of our rooms here:

About Penland Housing

All rooms are simple; linens, blankets, and towels are provided.

What common facilities do the resident artists share?
All studios and kitchens are communal. Some housing and bathrooms are shared; this depends on the housing you choose when applying.

What do residents do about meals? Are there dining facilities?
The Pines, our dining hall, is closed in the winter. Winter residents are responsible for their own meals. Each resident is assigned to a shared kitchen; each kitchen is equipped with basic cooking equipment, tableware, and cleaning supplies. Kitchen areas are communal and residents are responsible for kitchen clean up after each use.

Our Coffee House will be open from 9am-2pm, Monday through Friday. They have coffee, light snacks, sandwiches and soup available. We are hoping to extend these hours but for now, this is still TBD.

If I don’t have transportation during the residency, how will I get to local stores for food and supplies?
The closest town is only 10 minutes away and residents quickly make friends and carpool. You may also ask your shuttle driver (if you are flying into Asheville) to stop at Ingles Market in Burnsville on your way to Penland from the airport. The shuttle drives directly past it on the way to Penland.

Working in the Studio

How many resident artists will be in the studio at one time?
There will be a limited number of artists per studio, and each studio is a little different (in general there will be 5-7 residents per studio, a few more in clay studios). Expect enough people to provide conversation and creative camaraderie, but not so many that focused time in the studio is compromised.

Is there storage in the studio?
There are individual workstations and storage for residents in every studio. Find more detailed information about facilities and equipment in each studio here:

About Penland Studios

(Choose a particular studio from the menu at the top of the page.)

Is the School Store open during the winter?
Our School Store will be open from 10am-4pm, Monday through Friday.

Where will resident writers work?
Each writer will be given a simple workspace with a desk and chair in a shared, quiet studio equipped for writers only.

Will there be someone in the studio to assist with the equipment?
This is an independent residency, so you must be comfortable with the equipment you will need for your project. Studio assistants and studio coordinators will be available in the studios to orient residents and offer troubleshooting advice from time to time. Please note: they are not instructors; we expect winter residents are able and willing to work independently with only minimal assistance here and there.

How do I find out what equipment and supplies are available in the studios?
Studio Coordinators will email you a list of equipment and supplies available in the studio once you have been accepted. You can also find a list of equipment on our website:

About Penland Studios

There will be a studio fee for consumable materials used during the residency.

What if I need to use multiple studios for my project?
Please give details in your project description if you will need to use more than one studio. There may be an additional fee if you require dedicated space or intend to work regularly in more than one studio. You will be prompted to select a “home base” studio for each week of your residency. Your “home base” studio is where you will have a desk, storage and access to studio equipment within that studio full time. The best way to work in multiple studios in to select which studio you want for each week of your residency. Example: Week 1 – Wood Studio, Week 2 – Print Studio, Week 3 & 4 – Upper Metals studio.

What processes can each studio support?
Drawing & Painting: encaustic painting (possibly restricted to specific sessions); oil, acrylic, and watercolor painting; drawing, collage, and mixed media; small to large scale

Textiles (Lower): weaving, tapestry, spinning, dyeing, basketry, embroidery, knitting/crocheting, hand & machine sewing

Textiles (Upper): natural, acid and MX dyeing; all surface design techniques including silkscreen printing, shibori, and marbling; leather working, hat making, sewing and construction, quilting, felting

Metals (Upper): casting, enameling, fabrication, soldering, die forming

Metals (Lower): raising, fabrication, soldering, die forming, acid etching

Photography: digital processes (archival digital prints, digital transfer processes, photo editing, photo book editing), studio shoots (strobe kits, hot lights, and flood lights for studio photography)

Printmaking: lithography (stone/plate), copper etching with ferric, silkscreen, relief, monoprinting

Letterpress: type setting (wood and metal type), photopolymer, pressure prints, engraving/lino

Books: all book structures, leather working, foil stamping, gilding

Papermaking: Eastern and western styles; sheet forming (max size 30 x 40″), sculptural papermaking

Wood: traditional/nontraditional furniture making, wood turning, carving, marquetry, CNC, steam bending, stack lamination, various surface treatments and finishing techniques, sculpture

Iron: various hot forging and sheet forming processes, blacksmithing, all welding processes, sheet metal fabrication

Clay (Upper): wheel throwing, hand building; firing: electric, gas reduction, salt, soda, raku, wood (restricted to specific weeks of residency)

Clay (Lower): sculpture, hand building, mold making, slip casting; firing: electric kilns

Glass: glass casting, fusing, flameworking, and coldworking (fees include glass); advanced glassblowing: if you are applying to blow glass, you must bring your own gaffer—the only additional cost for your gaffer is housing. Resident and gaffer must apply via SlideRoom separately, so we can make arrangements for both of you. We offer 8-hour slots per day for a minimum of one week; fees include glass.

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Former Resident Artists

Resident Artists, 1963 – 2017

Although we attempted to reach all former resident artists, some dates are still unknown. We welcome your feedback to make the list as accurate as possible.

Peter Adams, 1979–1984
Adela Akers, 1968–1970
Vernon Allen, 1968–1969
Dean Allison, 2015–2018
Stanley Mace Andersen, 1979–1983
Ann Arick
Junichiro Baba, 1998–2000
Pamela K. Babcock,1989–1990
Dan W. Bailey, 1980
Bruce Bangert, 1965
Pat Bangert, 1965
Rick Beck, 1992–1994
Valerie Beck, 1992–1994
Vivian Beer, 2005–2008
Paulus Berensohn^
Katherine Bernstein, 1968–1970
William Bernstein, 1968–1970
Cynthia Bringle, 1971–1975
Edwina Bringle, 1969–1972
Ed Brinkman, 1963–1964
Judith Brinkman*, 1964
William Craig Brouillard, 1976–1978
Bill Brown, Jr., 1978–1980
Angela Bubash, 2004–2007
George Bucquet, 1985–1988
Jennifer Bueno, 2004–2007
Thor Bueno, 2004–2007
Devin Burgess, 2008–2011
Ron Burke, 1964–1965
Geraldine Calone, 1969–1972
Kathleen Campbell, 1988–1989
Ken Carder, 1984–1988
Alice Carroll, 1992–1994
David Chatt, 2008–2011
John Clark, 1986–1988
Margaret Cogswell, 2008–2010
Don Cohen, 1973
Cristina Córdova, 2002–2005
David Cornell, 1967–1970
Judith Cornell*^, 1969–1970
Cindy Cribbs,
Sondra Dorn, 1997–2001
J. Doster, 1995
Kathleen Doyle, 1979–1982
Fritz Dreisbach,
Rick Eckerd, 1988–1991
Stephen Dee Edwards, 1980–1983
David Eichelberger, 2011–2014
Rostislav Eismont, 1973–1975
Micah Evans, 2012–2015
Annie Evelyn, 2014–2017
Dustin Farnsworth, 2012–2015
Greg Fidler, 2001–2004
Maggie Finlayson, 2015–2018
Debra Frasier, 1980–1983
Steve Gamza, 1979–1983
Susie Ganch, 1999–2002
Ron Garfinkle, 1969–1972
Ruth Kelly Gaynes, 1974–1976
Terry Gess, 1995–1998
Seth Gould, 2015–2018
Kathryn Gremley, 1984–1987
Carmen Grier, 1994–1996
Deborah Groover, 1992–1994
Hoss Haley, 1997–2000
Douglas Harling, 1992–1994
Jane Hatcher, 1975
Andrew Hayes, 2014–2017
James Henkel, 1974–1976
James Herring, 1986–1989
Yoko Higuchi, 1989–1992
Martha Holt
Cynthia Fick Homire, 1969
Paul Hudgins*, 1966–1968
Miyuki Imai, 2001–2004
Shawn Ireland, 1996–1999
Tom Jaszczak, 2015–2018
Mercedes Jelinek, 2014–2017
Skip Johnson*, 1963–1965
Robin Johnston, 2011–2014
Cary Emile Jordan, 1984–1986
Mark Jordan, 1983–1986
Bart Kasten, 1989–1992
David Keator, 1975–1978
Matt Kelleher, 2005–2008
True Kelly, 1970–1971
Ann Marie Kennedy, 2001–2004
Alicia Keshishian, 1989–1990
Michael Kline, 1998–2001
Ebba Kosick–Hance*
James Lawton, 1983–1985
Jeong Ju Lee, 2009–2012
Anne Lemanski, 2004–2007
Cathy Lenox
Julie Leonard, 1990–1993
Rob Levin, 1976–1980
Suze Lindsay, 1992–1995
Marc Maiorana, 2002–2005
Daniel Marinelli 2009–2012
Sarah Martin, 2008–2011
James McBride
Rachel Meginnes, 2012–2015
Jenny Mendes, 2004–2007
Ellen Craib Mitchell, 1978–1980
Jaydan Moore, 2014–2017
Catherine Morony*, 1968
Harris Nathan, 1984–1987
Jack Neff*, 1972–1976
Joe Nielander, 1994–1996
Harold O’Connor, 1966
Hideo Okino*, 1970
Ed O’Reilly, 1978–1983
Marsha Owen, 1984–1985
Jill Peek
Jane Peiser, 1970–1973
Mark Peiser, 1967–1970
Meg Peterson, 1996–1999
Jennifer Price
Ron Propst, 1967–1970
IlaSahai Prouty, 2001–2004
Louise Radochonski, 1998–2001
Richard Ritter, 1972–1976
Pam Rockwell, 1989–1991
Sally Rogers, 1989–1992
JoAnn Schnabel, 1987–1989
Norman Schulman*^ ,1971
Tom Shields, 2011–2014
Christina Shmigel, 1993–1994
Randy Shull, 1989–1990
Ben Simmons, 1978–1982
Gay Smith, 1987
Rick Smith, 1991–1994
John Snyder, 1996–1999
Mark Stanitz
Cynthia Stone, 1996–1999
Evon Streetman, 1971–1975
Tom Suomalainen, 1967–1969
Amy Tavern, 2009–2012
Janet Taylor, 1983–1984
Shoko Teruyama, 2005–2008
George Thiewes, 1983
Travis Townsend, 2000–2001
Jerilyn Virden, 2001–2004
Eileen Wallace, 1999–2000
Jan Williams, 1976–1977
Jonathan Williams*
Phyllis Yacopino*, 1970–1973
gwendolyn yoppolo, 2011–2013
Suzanne Yowell, 1977–1980
Ed Zucca, 1969–1971

*Deceased
^Funded by the NEA as a special six–month residency

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Wood Spring Concentration

Wood – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Mark Melonas
Concrete: It’s Hard

This workshop is an exploration of the possibilities, challenges, and beauty of concrete. By using multiple moldmaking methods, mix recipes, and casting techniques, students will gain an understanding of this seductive material. We will create samples of many mix designs to investigate color, texture, and particle placement. Students will explore modern artisan approaches and learn to hybridize them to create their own language with concrete. Working backwards and forwards and back again, we will use design skills and problem solving to design objects and the molds used to make them. Possible outcomes include furniture, vessels, and hollow or solid sculptural forms. All levels. 

Designer, artisan, and owner of LUKE WORKS Studio (Baltimore) creating concrete, metal, and wood furniture, sinks, and objects for local and national clients; visiting artist: Virginia Commonwealth University, IYRS School of Technology & Trades (RI), Maryland Institute College of Art; teaching: Baltimore School for the Arts, Peters Valley (NJ), Workshop of Our Own (Baltimore), Arrowmont (TN), Penland.

markmelonas.net |  lukeworks.com | @lukeworks

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

Mark Melonas, Loveseat, concrete, weathering steel, black locust, upholstery, 21 x 56 x 21 inches
Mark Melonas, Loveseat, concrete, weathering steel, black locust, upholstery, 21 x 56 x 21 inches
Mark Melonas, Nana Lamp, concrete, pigment, 6 x 7 x 7 inches
Mark Melonas, Nana Lamp, concrete, pigment, 6 x 7 x 7 inches
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Textiles Spring Concentration

Textiles – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Zak Foster
Narrative Quilt-Making

This workshop will focus on the storytelling qualities of quilts. Using a series of narrative prompts designed to draw out personal stories, beginning to advanced students will be guided through the process of making experimental quilts. Instruction will be geared toward hand-sewing techniques such as stitches, appliqué, embroidery, quilting, and finishing (sewing machines will also be available). Other topics will include color relationships, elements of composition, and visual storytelling concepts. We will work with repurposed cloth; thrift shop trips are on the itinerary. A willingness to mess up will be a definite plus. All levels. Upper textiles studio.

Studio artist who draws on southern textile traditions using repurposed fabrics with an approach to design that is intuitive and improvisational; teaching: Tatter Blue Library (NYC), Sawtooth Center (NC), Madeline Island School of the Arts (WI); work featured in New York Times, Vogue, People, Paper, The Guardian, Wall Street Journal, High Snobiety, and other publications. 

zakfoster.com | @zakfoster.quilts

Note: Here is a set of videos Zak made demonstrating seven basic hand-sewing techniques. Check them out if you have time. If you need a review during the workshop, he will be happy to go over them again.

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

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

Zak Foster, YES MORE PLEASE, repurposed textiles, 45 x 45 inches
Zak Foster, YES MORE PLEASE, repurposed textiles, 45 x 45 inches
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Print & Letterpress Spring Concentration

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

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

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

jbarberstudio.com | @jbarberstudio

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

Photo Spring Concentration
March 6 – April 29, 2022
Mercedes Jelinek
Processing Process

This workshop will take students on a journey through analog, digital, and hybrid photographic processes. We’ll cover large-format camera use, film development, and traditional darkroom printing. We’ll also scan film, shoot digitally, and use these files to make archival inkjet prints. From there, we’ll learn to further manipulate our photographs through collage and alternative photographic processes. This workshop will also cover basic and advanced shooting techniques, composition, framing, digital workflow, archiving, digital editing (with Lightroom or Photoshop), and more. All levels. 

Studio artist; teaching: East Carolina University Italy Intensives Program, Appalachian State University (NC), Penland; former Penland resident artist; exhibitions: Odgen Museum (New Orleans), SoHo Photo (NYC), Satellite Art Show at Art Basel Miami, Pingyao International Photo Festival (China); publications acquired by Museum of Modern Art (NYC), Guggenheim Museum (NYC), Metropolitan Museum (NYC), Whitney Museum (NYC), Library of Congress (DC), Aperture Foundation (NYC), Getty Institute (Los Angeles). 

 mercedesjelinek.com | @mercedes_jelinek

Mercedes Jelinek, Insomnia, archival pigment print, 22 x 17 inches
Mercedes Jelinek, Insomnia, archival pigment print, 22 x 17 inches
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Metals Spring Concentration

Metals – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Adam Whitney
Persuading Metal

Explore the art of metalworking in this immersive workshop. Students will learn fundamental hammering techniques and then advance to creating intricate designs through raising, shaping, chasing, and repoussé. Engaging presentations will delve into holloware’s rich history. Individual guided projects will culminate in personalized pieces that showcase proficiency in metal manipulation. Specific techniques will include angle raising, Dutch raising, crimping, sinking, snarling, soldering, fabrication, and tool making. We will work with a variety of nonferrous metals and, as individual budgets permit, silver. Instruction will include how to protect your body, but students should expect to do a lot of hammering. This workshop will combine creativity with technique, providing students with a comprehensive skillset in metalcraft and holloware artistry. All levels. Lower metals studio.

Studio artist; teaching: Penland, School of Arts & Crafts Santo Domingo (Colombia), Appalachian Center for Crafts (TN), Pocosin Arts NC), Metalwerx (NC); special projects realized for Harvard Art Museum (MA) and Getty Museum (CA); representation Penland Gallery.

aw-metalsmith.com | @awmetalsmith

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

Adam Whitney, EVA Glove 001, fine silver, 24k gold gilding, 11-1/4 x 7 x 8-1/2 inches
Adam Whitney, EVA Glove 001, fine silver, 24k gold gilding, 11-1/4 x 7 x 8-1/2 inches
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Iron Spring Concentration

Iron – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Erica Moody
Balancing the Spoon: Metal Craft and Studio Practice

With utensil making as the framework, students will learn the foundations of mid-sized metalsmithing and will exploring how our craft can foster play and awareness of our surroundings. Through demonstrations and experimentation (with optional prompts), students will design and realize their own eating and/or serving utensils, which may be entirely practical or purely sculptural. We will work with raw materials and repurposed utensils, consider individual as well as batch production, collaborate, and discuss balancing life and a craft business. Technical instruction will include cold and hot forming (hand hammering only), cold and hot connections, finishing, and combining different materials. The workshop aims to use this nice, long time period to both upset and balance our practices as we inspire and support each other. All levels. 

Studio artist crafting serving utensils and custom hardware; teaching: Peters Valley (NJ), Haystack (ME), Center for Metal Arts (PA), Pocosin (NC), Center for Furniture Craftsmanship (ME), Massachusetts College of Art & Design, Harvard Graduate School of Design (MA); 2023 Maine Arts Fellowship; short-term residencies: Penland, Haystack. 

ericamoody.com | @ericaemoody

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

 

Erica Moody, Pressed Brass Moon and Ring Utensils, brass, charred maple, 12 inches long
Erica Moody, Pressed Brass Moon and Ring Utensils, brass, charred maple, 12 inches long
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Glass Spring Concentration

Glass – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)

Aya Oki
Passionate Harmony

Embark on a transformative glassblowing journey at Penland with a focus that goes beyond technique to explore the connection between artist and material. The workshop will start by looking at the properties and behaviors of glass. Basic techniques will be introduced through guided exercises. Then we will move on to blowing, shaping, layering, moldblowing, coldworking, and other techniques. Throughout the session students will learn from their mistakes and engage in a dynamic dialogue with glass, fostering a sense of harmony that will shape their artistic consciousness. We will work to unlock new facets of creativity and personal expression. All levels. 

Studio artist; teaching: St. Paul’s School (NH), California State University San Bernardino, Pilchuck (WA), Tulsa Glassblowing School (OK), Pittsburgh Glass Center (PA), UrbanGlass (NY), Corning Museum of Glass (NY), Penland; residencies: Creative Glass Center of America (NJ), Murano Residency (Italy), Duncan McClellan Gallery (FL), Residence Together (Sweden), Martha’s Vineyard Glassworks (MA); collections: Museum of American Glass (NJ), Tacoma Museum of Glass (WA), Corning Museum of Glass (NY), Imagine Museum (FL). 

aya-oki.com | @ayaokidoki 

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

Aya Oki, Bloom XI, blown glass, 15 x 15 x 15 inches
Aya Oki, Bloom XI, blown glass, 15 x 15 x 15 inches
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Clay Spring Concentration

Clay – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Michael Kline
Surfacing

This workshop will explore the possibilities of surface design on clay and its connection to form. Stamping, painting, incising, and scraping stoneware pots will bring layer upon layer of visual interest to the surface. We will also experiment with flashing slips, underglazes, wax resists, and glazes, firing to cone 10 in soda and gas reduction kilns. Numerous exercises will boost mark-making confidence. Forming techniques will include wheel throwing, altering thrown forms, and hump-molded forms. Handmade brushes and clay stamps will bring a unique touch to our marks. The convergence of practice, novel ideas, and refined technical skills will help students develop a signature body of work. All levels. Upper clay studio.

Studio potter; teaching: Anderson Ranch (CO), Haystack (ME), Shadbolt Centre for the Arts (BC) Harvard (MA); collections: Islip Art Museum (NY), The Gregg Museum (NC), University of Tennessee Ewing Art Gallery (TN), San Angelo Museum of Fine Arts (TX); published in Tableware in Clay (Crowood Press), The Art of Contemporary Pottery and Functional Pottery (Krause Publications), Mastering the Potter’s Wheel (Voyageur Press); former Penland resident artist.

klinepottery.com | @klineola

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

Michael Kline, Pitcher, wheelthrown stoneware; hand-painted with wax resist, soda glazed, 11 x 7 x 7 inches
Michael Kline, Pitcher, wheelthrown stoneware; hand-painted with wax resist, soda glazed, 11 x 7 x 7 inches
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Drawing & Painting Spring Concentration

Drawing & Painting Spring Concentration
March 11-May 4
Holly Roberts
The Perfect Union: Paint, Collage & Transfers

Students will begin the process of combining media by experimenting with different ways of applying paint. Painted surfaces will serve as the core of the images to follow and will guide students in forming these images. Students will experiment with transfer processes, gluing and adhesive techniques, and using their own source material to build images onto their painted surfaces. The workshop will stress investigation, exploration, and risk in an attempt to marry disparate media such as print, text, photographs, and any other material students want to use. All levels. Studio fee: $170. Code S00D

Studio artist; teaches nationally and internationally; two NEA fellowships; monographs of her work published by Nazraeli Press and Friends of Photography; collections: Art Institute of Chicago, Center for Creative Photography (AZ), San Francisco Museum of Modern Art, Museum of Fine Art Houston, Los Angeles Museum of Contemporary Art.

hollyrobertsstudio.com

There are still work-study scholarships available for this concentration. Please contact the Penland registrar with interest at 828-765-2359 or registrar@penland.org.

Holly Roberts, "Snake Handler," mixed media, 29 x 40 inches
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Books & Paper Spring Concentration

Papermaking – Spring Concentration
March 2 – April 25, 2025 (8 Weeks)
Jo Stealey
Exploring Paper as Sculpture

Create small-scale objects or large-scale installations using handmade paper. The workshop will begin with fiber processing for paper pulp, including methods for beating fibers to create specific qualities in the paper: opaque/translucent, low or high shrinkage, thick/thin, delicate/strong, etc. Then we will cover sheet forming, pigmenting pulp, pulp painting, collage, stencils, casting into found molds and cloth molds, joining cast elements, armatures, draping, and other approaches to developing 3-D forms. After three weeks of experimentation, students will use their preferred techniques to create a new body of work. The focus will be on artistic concepts and personal vision for the materials. All levels. 

Studio artist; professor emerita of fibers at University of Missouri-Columbia; solo exhibitions: Windgate Gallery (AR), Cedarhurst Museum (IL), Havana Biennial (Cuba); collections: National Portrait Gallery (DC), University of Arkansas Fort Smith, Lamar Museum (FL), Sioux City Art Center (IA), Spring Art Museum (MO); co-curator and catalog author for the traveling exhibition Rooted, Revived, Reinvented: Basketry in America. 

jostealey.com | @jostealey.art

Scholarship application deadline is August 15.

Regular enrollment begins October 2.

alexmcclay.com | @raaalex

Jo Stealey, Dusters, overbeaten abaca and flax, river willow, waxed linen, 36 x 20 x 6 inches
Jo Stealey, Dusters, overbeaten abaca and flax, river willow, waxed linen, 36 x 20 x 6 inches