Every year, the annual Core Fellowship Exhibition is a highlight of fall concentrations and an exciting opportunity to peek into the worlds of our core fellows as they explore new materials, ideas, and techniques across studios. This year’s, titled Everything Must Go, was certainly no exception. It featured the work of 2018-2019 core fellows Stormie Burns, Joshua James Fredock, L Gnadinger, Elliot Earl Keeley, Sarah Rose Lejeune, Corey Pemberton, Kento Saisho, Katherine Toler, and Devyn Vasquez. They curated and installed the show themselves in the Gallery North space of the new Northlight complex. The work ranged from delicate pâte de verre vessels to airbrushed paintings, with a strong unifying thread of experimentation and craftsmanship.
Congratulations on a beautiful installation, core fellows!
Everything Must Go will be on display through November 14, 2018. Viewing hours are Wednesdays noon – 3:00 PM, Saturdays noon – 3:00 PM, and Sundays: 1:00 – 4:00 PM.
This is Chelsea LaBate (a.k.a. Ten Cent Poetry) printing a series of short poems on a Vandercook printing press in the Fall Concentration taught by Beth Schaible (a.k.a. Quill and Arrow). Chelsea is a singer, songwriter, poet, and traveler, but she says, “letterpress is my new love.”
This is is the workshop’s studio assistant Celia Jailer (a.k.a. Afterschool Detective) making a pressure print onto a vellum press sheet. Pressure printing is an image-making technique in which a textured, flexible sheet is placed between the press sheet and the drum and then passed over a smooth, inked surface in the bed of the press. The image is transferred to the press sheet because it gets inked more heavily where there is pressure created by the textured sheet. It’s one of the many ways to work with these presses that Beth is covering in the workshop.
Wood instructors Wyatt Severs and Jack Mauch demonstrate how to glue up the legs and apron of a table. You only have about five minutes of time to work once there’s glue on the joints, so an extra hand or two really helps!
This year’s auction was a great success thanks to the hundreds of attendees, contributing artists, volunteers, sponsors, and Penland staff who gave their time, talent, energy, and more. It was a chance to catch up with old friends and make new ones, enjoy remarkable art, honor some important people in our community, celebrate Penland’s new Northlight complex, and relax in this beautiful mountain setting. Scroll through the photos above to relive a bit of the fun!
Here are a few facts and figures from auction weekend:
Outstanding Artist Educator: Woodworker and longtime Penland instructor Doug Sigler
Featured piece: 8 Bats 4 Seasons, a mesmerizing mirrored “portal” by Tim Tate
Fund-A-Need project: Renovating Morgan Hall to use as a communal house for Penland interns
Works up for bidding: 233
Total art sales: $340,622
Total revenue: $640,107
Net revenue generated for Penland programs: $462,294
Next year’s auction will be held August 9-10, 2019. Mark your calendars and join us then!
Last week, on our 2nd annual Penland Giving Day, this community blew us away. We asked all of you to help us generate support for our programs by making gifts for a 24-hour period on October 3, and you really delivered—not just with generous donations, but also with love and enthusiasm and photos and stories from your own times at Penland. Our theme for the day was #WeMakePenland, and you all showed us just how true that is. It’s all together, through the many diverse acts of sharing and attention and creativity, that this community remains so strong and vibrant. Thank you.
It was an exciting day by the numbers: in 24 hours you made 342 gifts to Penland (42 more than our goal of 300!) totaling $21,170. All of this money will go directly to supporting our programs, studios, scholarships, staff, and more. You also helped us share just what makes the Penland experience so valuable by posting over 200 stories to social media with the hashtag #WeMakePenland. The themes that emerged from these stories—a chance to explore and learn, an opportunity to develop skills and confidence, and an invitation to join a deep and connected community—were absolutely the most gratifying, inspiring, and affirming part of our Giving Day. We are so energized by the positive impact Penland has had on so many of you, and we are so grateful to be able to continue that impact thanks to your ongoing love and support.
“Nearly 10 years ago I became a resident artist at the Penland School of Crafts and my life changed… But, really, @penlandschool started changing my life 10 years before that when I took my first class. Since then Penland has given me time and space, community, beloved instructors, dear friends, and incredible conversations, and left an indelible mark on my heart.” —Amy Tavern, student, instructor, friend, and former resident artist
“One of my favorite parts about the 2 weeks that I spent teaching at @penlandschool was the event at the end where all of the students shared their work. There was such energy, excitement, pride in that room—the ecstatic exhaustion of the work of making.” —Aaron Cohick, Penland letterpress instructor
“Some of my favorite @penlandschool moments include walking back to my housing after working late into the night, feeling the best kind of tired, and passing the other brightly lit studios still active with people obsessed, just like me.” —Aalia Mujtaba, Penland student and metalsmith
“In 2008 I moved to @penlandschool to be a core fellow and it changed the trajectory of my life for the long haul. Penland is the place I learned to slow down. To work hard. To ask questions. To notice details. The place I worked alongside some of the most incredible people I’ve ever met. The place I was given the gift of time, to delve into my work in new ways. The place I met some of my best friends and my partner.” —Beth Schaible, Penland instructor and former core student
“@penlandschool is one of my favorite places on earth because its freedom, tenacity, inspiration, friendship, innovation, courage, and love. Every day spent there is a gift, and every trip there has changed me.” —Lauren Faulkenberry, Penland instructor and winter resident
Textiles instructor Tim Eads painting on fabric using a scoop coater, which is screen-printing tool designed for spreading photo emulsion onto screens. “You have to be OK with it being terrible,” Tim said. “Then if you’re lucky it comes out looking cool.” The fabric hanging on the line was painted with a contraption made from tin cans attached to a stick. Tim’s eight-week workshop is about surface design on fabric. The emphasis is on screenprinting and monoprinting with a lot of experimentation.