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 3 – April 26, 2024 (8 Weeks)
Ellie Richards
Freeform Furniture

Using furniture and functionality as our muse, this workshop will use traditional techniques to create compelling and imaginative objects that communicate ideas and feelings beyond their utility. We’ll cover traditional methods of processing, joining, bending, and carving wood to make sculptural furniture forms. A variety of surface explorations and wood finishes will be presented, and the use of alternative materials (leather, cork, felt) along with high-quality hardware will be encouraged. Through a cycle of playing and building, students will strengthen their voice while working to question convention, break free of archetypes, and explore the abstract. By the end of the session, Freeform Furniture will take on a shape all its own. All levels. 

Studio artist; teaching: Yestermorrow (VT), Appalachian Center for Craft (TN), Haystack (ME), Penland; residencies: Center for Art in Wood (ME), San Diego State University (CA), University of Wisconsin-Madison, former Penland Resident Artist; exhibitions: Mint Museum (NC), Center for Craft (NC), SOFA Chicago, Society of Contemporary Craft (Pittsburgh).

ellie-richards.com | @ellieinthewoods

Ellie Richards, New Heights, chainsaw sculpted, polychromed red oak, shellac, 48 x 44 x 24 inches
Ellie Richards, New Heights, chainsaw sculpted, polychromed red oak, shellac, 48 x 44 x 24 inches
Ellie Richards, Wishbone Bench V, sawmill offcut spalted maple, milk paint, 18 x 36 x 12 inches
Ellie Richards, Wishbone Bench V, sawmill offcut spalted maple, milk paint, 18 x 36 x 12 inches
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Textiles Spring Concentration

Textiles Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Andrea Donnelly
Weaving Alchemy

Delve deep into your personal artistic language through handwoven cloth and creating artwork with textile processes. After we cover basic weaving techniques we’ll be off to discover what magic we can make with the loom. We’ll experiment with nontraditional interventions such as unweaving and on-loom painting, explore the possibilities of immersion dyeing, and paint on thread and cloth. Off the loom, our woven cloth will become raw material as you learn to stabilize, layer, and assemble handwoven elements to create collage-style work. Come prepared to weave your booty off! All levels. Lower textiles studio. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift. 

Studio artist; teaching: Virginia Commonwealth University; exhibitions: Reynolds Gallery (VA), 1708 Gallery (VA), North Carolina Museum of Art, Mint Museum (NC), Museum Rijswijk (Netherlands); collections: North Carolina Museum of Art, Virginia Museum of Fine Art, Capital One (VA), Dominion Energy (VA); representation: Reynolds Gallery (VA).

andreadonnelly.com | @andreadonnellyart

Andrea Donnelly, Green Spaces, handwoven cotton, dye, pigment, PVA, cotton backing, 42-3/4 x 33-1/2 inches
Andrea Donnelly, Green Spaces, handwoven cotton, dye, pigment, PVA, cotton backing, 42-3/4 x 33-1/2 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 3 – April 26, 2024 (8 Weeks)
Lola Brooks
All You Can Eat: The Blue Plate Special

This workshop will be a feast of technical and conceptual investigation in the metals studio. Students will have the opportunity to explore a wide variety of techniques while working toward a deeper understanding of their own interests in making small objects and jewelry. Focusing on fabrication, we’ll whet our appetites by investigating hollow and wire construction, repetitive elements as structure, forming, mechanisms, and stonesetting. We’ll continue the tasting menu with a week of wax carving and lost-wax casting with guest instructor Suzanne Pugh. Finally for dessert, we’ll sample the delights of color as we explore the basics of working with vitreous enamel. 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.

This workshop takes place in a ground-level studio with compromised access. It is made partially accessible by a stair lift. 

Studio artist; teaching: University of Georgia, Cranbrook (MI), Rhode Island School of Design, University of the Arts (Philadelphia); collections: Rhode Island School of Design Museum, Yale University Art Gallery (CT), Museum of Arts and Design (NYC), Metropolitan Museum (NYC); representation Sienna Patti Contemporary (MA).

@dolorescanard

Lola Brooks, Narcissuses, stainless steel chain, 14k solder, mid-20th century shell cameos, coral, stainless steel, 14k gold, 2 x 2-1/4 x 1-1/4 inches
Lola Brooks, Narcissuses, stainless steel chain, 14k solder, mid-20th century shell cameos, coral, stainless steel, 14k gold, 2 x 2-1/4 x 1-1/4 inches
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Iron Spring Concentration

Iron Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Anna R. Koplik
Tongs, Hammers, and Other Slammers

This workshop will explore the self-sufficient nature of blacksmithing as students make a series of tools. Each tool will aid in the creation of the next and this series of projects will help develop basic forging skills. We’ll make hammers, tongs, top tools, power hammer tooling, bending forks and jigs, and more. The workshop structure will allow students to make tools to suit their interests, culminating in making functional or sculptural projects of their own design. Demonstrations will focus on refining forging technique, proper heat treatment, and finishing. We’ll work to understand how form and function go hand in hand. Expect lots of hand hammering, striking with sledgehammers, power hammer work, a welcoming and inclusive environment, and breaks for dance parties. All levels.

Artist fellow at Peters Valley (NJ), journeyman architectural blacksmith, tool and utensil maker; teaching: Penland, Touchstone (PA), Peters Valley (NJ), Haystack (ME), Center for Metal Arts (PA), Campbell Folk School (NC), Desert Metal Craft (AZ), Brookfield (CT), She-Weld (NY), Dragons Breath Forge (CT); recent exhibition: Penland Gallery.

annarkoplik.com | @arkoplik

 

Anna R. Koplik, Hammers and Tongs, forged steel, wood, dimensions variable
Anna R. Koplik, Hammers and Tongs, forged steel, wood, dimensions variable
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Glass Spring Concentration

Glass Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Granite Calimpong
Building a Strong Foundation

This workshop is about exploring functional forms as you build a strong foundation of fundamental glassblowing skills. Starting with simple drinking vessels, we’ll cover gathering, marvering, working on center, body position, and movement through the shop. From there we’ll move on to bowls, plates, vases, and other more challenging forms and work through more advanced techniques, including optic molds, color applications, bit work, and handles. This workshop will be about steady improvement that will enable you to produce functional objects for use and enjoyment. All levels. Hot glass studio.

Studio artist; teaching: University of Washington, Pilchuck (WA), Haystack (ME), Penland, Pittsburgh Glass Center; recent exhibitions: Traver Gallery (Seattle); The Jam Factory (Australia); residencies: Museum of Glass (WA), Pilchuck (WA), Northlands Creative Glass (Scotland), Pittsburgh Glass Center, Pottery Northwest (Seattle).

granitecalimpong.com

Granite Calimpong, Saltillo, glass, vitrolite, 12 x 10 inches
Granite Calimpong, Saltillo, glass, vitrolite, 12 x 10 inches
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Clay Spring Concentration

Clay Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Cynthia Bringle
Basics and Beyond

This workshop will be about starting from where you are and getting to the next stop along the way. Whatever your level of experience, it’s always good to review and learn more ways to make handles that function, lids that fit, and pitchers that pour. We’ll do lots of work on forms and options for decoration, including brushwork, glazes, and carving. We’ll work with stoneware, and together we’ll load and fire various kilns. Studio and gallery visits will give you a chance to see different approaches to pottery, studio set-up, and ways of selling. Guest instructor Julie Wiggins will add her perspective by leading the workshop for one week. The ability to center clay and pull a 6-inch cylinder will be helpful, but the workshop is open to all levels. Upper clay studio.

Studio potter and workshop teacher; teaching: Arrowmont (TN), Anderson Ranch (CO), Campbell Folk School (NC), Penland; fellow and trustee emeritus of the American Craft Council, North Carolina Award for Fine Arts, honorary doctorate from Memphis College of Art; collections: Mint Museum (NC), High Museum (GA), Gregg Museum (NC), Fuller Craft Museum (MA), Asheville Museum of Art (NC).

cynthiabringlepottery.com | @cynthiabringle

Cynthia Bringle, Fish Jar, stoneware, 20 x 12 x 12 inches
Cynthia Bringle, Fish Jar, stoneware, 20 x 12 x 12 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

Books Spring Concentration
March 5 – April 28, 2023 (8 Weeks)
Alex McClay
Form, Content, Book

In this workshop we’ll create meaningful and moving works of art by making books that merge form and content. We’ll begin by covering a plethora of bookbinding techniques, including one-page books, zines, pamphlet stitch, coptic stitch, drum leaf binding, case binding, and box-making. At the same time, we’ll practice creative exercises that will evoke your artistic voice and encourage content development. Then we’ll spend some time in the letterpress studio getting that content onto paper. You’ll learn to set type, make polymer plates, pressure print, and collagraph print, all while planning carefully for the book form. We’ll put it all together back in the books studio. Demonstrations, presentations, discussions, meditations, and exercises will enrich the workshop experience. Students will leave with a collection of handbound artists’ books and a working knowledge of bookbinding and letterpress printing. All levels. 

Studio artist; teaching: University of Cincinnati (OH), University of Georgia (GA); residencies: Tiger Lily Press (OH), Penland Core Fellowship (NC); exhibitions: Weston Art Gallery (OH), ArtSpace (NC), Haggerty Gallery (TX), Robert C. Williams Museum of Papermaking (GA).

alexmcclay.com | @raaalex

Alex McClay, Up and to the Right, book cloth, kozo, tracing paper, waxed linen thread, 4 x 5 x 1/4 inches