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Sound Mandala

The frequency of healing… in glass.

We are captivated by summer instructor Nisha Bansil’s Glass Mandala series, undertaken during her residency at the Studio of the Corning Museum of Glass.

Nisha writes:

This project was an investigation into Cymatics. In 1880 a German scientist named Ernst Chladni discovered that when you strike the edge of a metal plate covered in sand with a violin bow predictable figures appear.

These figures are created by the pressure waves of sound vibrating the material on the plate.  I was interested in capturing the resonant patterns of the vibration of sacred instruments. Lama Tsultrim and Lama Lordo from Karme Ling monastery played traditional instruments called Gayalings into a microphone which was connected to a modified speaker.

The speaker vibrated glass frit poured on top of thin glass plates.  I made 36, 16” x 16” glass patterns from that recording. I found that the patterns lined up in visual chords and the nodes intersected in such a way that the stacked plates began to reference patterns found in sacred geometry and Muslim architecture.

You can explore the art of embedding patterns in glass castings through a variety of methods this summer with Nisha in her Penland glass workshop:

“Embedded Pattern and Thick Forms”
Nisha Bansil
June 30-July 12, 2024 (11 STUDIO DAYS)

Registration opens January 15!

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New Chair from Old Porch

A lover of reclaimed materials, fall wood concentration student Johnny McCaffrey fell for a beautiful pile of weathered wood while here at Penland. Until recently the porch of Dora’s Place, one of Penland’s historic buildings, the tongue-and-groove pine decking had just been replaced. With the blessing of Penland’s facilities and grounds team, McCaffrey got right to work giving the wood a new life… with impressive results.

Said instructor Wyatt Severs,

I look at this beautiful piece and I feel a lot of presence and care for the material. I love the simplicity of the tongue and groove boards and the thoughtful way that Johnny made them sing. As a project, this was a full learning experience, taking things to the next level for Johnny, who brought a lot of skill and a great eye to the workshop. It was challenging to figure out how the joints would come together, but Johnny was able to trust the process and figure it out along the way. They really knocked it out of the park.

We hope you enjoy enjoy our short interview with Johnny McCaffrey below:

Johnny McCaffrey sits in “Doras.ext” at Show and Tell

Can you tell us a bit about the piece? 

I created this chair from sketches that were inspired by Martin Puryear’s sculptural work. I’m endlessly fascinated by organic forms, repetition, and texture. The chair is an experiment in the marriage of these fascinations. Reclaimed material is my primary medium. The opportunity to use the Dora’s House front porch tongue-and-groove decking as the exterior material of the chair felt like a magical thumbs up from the universe—as though the wood was meant to be in this new form as its next iteration.

Titled “Doras.ext,” this piece by Johnny McCaffrey was created using reclaimed pine, birch plywood, galvanized nails, and lacquer

What was something you learned through the process of making this chair?

This was the first time I explored the possibilities of burn finishes for a larger project. The burn finish was inspired by the Japanese wood-burning technique called Shou Sugi Ban. The process was mesmerizing because of the way the fire and heat revealed the swirling, organic grain patterns of the wood—it felt like alchemy. I learned that there is a wide range of finish possibilities by simply using fire. Utilizing this technique gave my chair sensual tactile qualities. The final finish is burned, brushed, and lacquered, making the chair a shape-shifter–at times seeming as though it’s made of leather or soft to the touch or glistening metal.


Students admire Dora.ext at show and tell

What was it like being in the wood studio for six weeks?

IT. WAS. AWESOME.

Every day felt like a gift. Our instructor, Wyatt, set the scene for us to be able to explore the edges of possibility in woodworking, which allowed me to feel expansive in my creative process. My classmates’ work and personalities offered a spectrum of skills, vision, and creativity that energized me to see my own visions through. The shop was an amazing space to actualize work, but the people–staff and students alike–made the space come alive with potential.

What’s next?

After just one day on campus, I knew I wanted more time at Penland, so I applied for the upcoming Core Fellowship! No matter the outcome, I am going to continue to find ways to be in relationship with craft schools to further my creative process and find community and spaces that can help me materialize my work.

I’m also going home to Washington State to spend time with my favorite person, my cat, Mooncat.

Check out the new porch at Dora’s Place.

Thank you, Johnny, for sharing your story!

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Marsha Owen Scholarship Fund Announced

A studio potter for over thirty-five years, Marsha Owen traced the origins of her career to a Penland workshop. Believing that “there is always something to learn from the clay,” she would return to Penland again and again to learn and to find inspiration.

In the wake of her untimely death, Masha’s friends and family have come together to found a Penland scholarship in her memory, celebrating her life and carrying on her legacy. The goal is to raise $100,000, creating an endowment which will fund the cost of a Penland clay workshop in perpetuity. We invite you to make a gift in Marsha’s honor.

About Marsha

Marsha Owen and friend and mentee Wei Sun created the mugs for the 37th Annual Penland Benefit Auction in 2022.

Marsha Owen took her first pottery course with John Givvines at the North Carolina State Craft Center. “I was a slow learner – I took the beginner’s course three times – but I knew almost immediately that this was work I wanted to pursue,” she said. 

Working as a self-employed potter for over thirty-five years, she concentrated on utilitarian pieces for everyday use. Marsha and her husband, Rick Moss, collaborated in their home studio in Raleigh, North Carolina where Marsha was the primary potter and Rick ran day-to-day operations for their business and contributed his handbuilding and relief carving skills to the work.

Marsha worked extensively with colored slips, stains, underglazes, various resist techniques, carving and texturing as well as the more common glazing techniques of dipping and spraying. Her work includes an impressive variety, all stamped with the Marsha Owen imprint.

“What many might not know about Marsha but was evident in her ceramics, is that she was an outstanding baker and cook,” said Kathryn Gremley, Penland Gallery Curator and friend of Marsha’s since 1984, when they were both residents. “Her work was beautifully designed for pairing with food— the forms and colors thoughtfully considered for what could be served from them, or how they would fit in the hand— always working to create the perfect dish that we would value for both its function and simple artistry.”

Marsha and Penland

Marsh Owen (right) and Elizabeth Brim (left) at a Penland Benefit Auction in the mid 1980’s. Marsha is holding one of her famous chocolate carrot cakes, made for the occasion.

Marsha first came to Penland as a student in 1978 with Rebecca Plummer and Jon Ellenbogen. “That was, without question, the class that gave me my career,” said Marsha. Following that initial visit to Penland, she attended numerous classes including concentration courses and summer workshops. Marsha was a Penland core student in 1981 and resident artist from 1984 to 1985. 

Penland helped start Marsha’s pottery career and continued to be an important part of her life. Over four decades, Marsha was a frequent student, visiting artist, and winter resident. Her pots have long been a staple of the Penland Gallery. “For Marsha, Penland was not only a teaching and learning place, but also a sanctuary where she could renew her connection to the ceramic community and find inspiration for her work,” said Wei Sun, Marsha’s close friend and colleague.

Marsha Owen Scholarship


Ice cream bowls created by Marsha Owen

A skilled potter with close ties to Penland, Marsha Owen passed away unexpectedly on July 7th, 2023. Because Marsha loved her work and sharing her knowledge, family and friends are championing the Marsha Owen Scholarship as a way to celebrate her life and carry on her legacy. With support from family, friends, and the community, the scholarship will be established as an endowment, covering the full cost of a workshop in ceramic studies to selected candidates every year.

If you would like to support the Marsha Owen Scholarship, please Donate Here.

Note: Many companies have gift matching programs which will double your donation. If you are interested in a gift matching program, please contact Wei Sun (weisunpottery@gmail.com) for details.

Learn more about Penland’s scholarship program HERE.
Find Marsha Owen’s obituary HERE.