Wrapping up a day of plate-making, the clay lovers walked down to The Barns after dinner to talk shop.
Though both residents work in clay, their processes are very different. Daniel Garver is using his residency to refine and expand his use of slipcasting to create clean, geometric objects.
Daniel shared some of the secrets of his work, from the challenges of working with porcelain to his use of “deflocculent” in his process.
Daniel’s work is linear, organic, and colorful!
Fall Short Session instructor Andy Shaw was intrigued by Daniel’s unique use of molds
When students arrived at Sean O’Connell’s studio, he was busy carving wooden spoons.
Sean is mastering the use of the wood kiln and exploring organic, spontaneous surface design in his work.
Students had lots of questions, the most common one being, “How did you make this one?”
Making use of wax resists, multiple firings, and gestural embellishments, Sean’s work is a cornucopia of texture and color.
Penland is currently home to eight resident artists, working in different media. The residency is intended to be an opportunity to test ideas and take risks that will have a lasting effect on their work and lives. Penland Resident Artists live and work at Penland for 3 years. Both Sean and Daniel arrived at Penland in the fall of 2021, so we are looking forward to watching their practices evolve over the next two years.
You can visit Sean’s and Daniel’s websites to learn more about their work. If you’re in the area, don’t miss the opportunity to stop by for a visit!
Black Women of Print promotes the visibility of Black women printmakers via accessible educational outreach to create an equitable future within the discipline of printmaking.
(NOTE: If you are viewing this post as email, please click here to see this beautiful slideshow.)
The residency grew out of a conversation between Black Women of Print’s executive director Tanekeya Word and Penland’s creative director Leslie Noell in which Tanekeya mentioned that members of the group had dreamed of doing a residency together. Penland does not program a workshop for each of its 16 studios in every single session, and Leslie was developing a plan for short-term summer residencies that would use some of those available slots. When funding for six residencies came through, Leslie invited Tanekeya to curate a group to work together in the printmaking studio. At least one of the printmakers was interested in papermaking, and that studio was also available for this session.
We are looking forward to sharing some of the work created during this residency with you. We also welcome 2022 Andrew Glasgow Writer in Residence, Camille Johnson, who will be conducting interviews with each member of the group and doing other documentation of the residency.
The Penland Summer Residency Fellowship is made possible by a grant from the John and Robyn Horn Foundation. The awards are generously provided by the Windgate Foundation.
Decoy 1 is the first finished piece in a new series by Penland Resident Artist Adam Atkinson. Adam plans to create a number of carved, game bird “decoys” that may be interpreted in different ways by different communities. Introduced to hunting culture as a boy in Idaho, Adam’s work both embraces and subverts the visual language of this “masculine” pursuit. When it comes to the decoys, he is still unpacking their meaning as the series develops. “Who am I fooling, and for what reason… that is something I am still exploring,” he told us.
The figure of the goose has a special significance for Adam. As a child, his dad once encouraged him to harvest one by wringing its neck. “I couldn’t do it,” he said, “because I was scared and the goose was really angry.” Looking back, Adam sees this moment as a crossroads. “At that moment I sort of failed, maybe for the first time in a significant way, to prove my masculinity.”
Made from gorgeous cedar and representing over 40 hours of skilled carving, the two-headed goose will be featured this summer in the Penland Benefit Auction.
Currently halfway through a three-year residency at Penland, Adam is using the time to grow and explore. “I’m extending my knowledge of different processes,” he told us. “I’m studying enameling, doing more wood carving, and making larger sculptures.” Adam has also been able to build out his studio, investing in equipment that is kinder on the body. Decoy 1 is one of the first pieces created on Adam’s new wood bench, which keeps his work steady for carving. The wood bench is literally a big step up from working on the hard concrete floor and was purchased through a grant awarded by the North Carolina Arts Council.
Woodcarving has been an integral part of Adam’s art practice since he first explored sculpture at Boise State University as an undergraduate. “After I made my first wood carved sculpture (a carved face in wormy maple) I was hooked, and began using it in my jewelry and sculptural works,” he said. Learning through “a lot of trial and error,” over the past decade Adam has become a skilled carver. In addition to the “Decoy” series, Adam is also working on several larger-scale works that will make use of his growing skill and tools.
We invite you to support Adam’s work. Follow his journey on Instagram @adamatkinson, visit his website to explore more of his work, and find works for purchase in the Penland Gallery.
This fall, the Penland Gallery will host Tender Presence, a group exhibition co-curated by Adam and fellow Penland Resident Artist Everett Hoffman in the John and Robyn Horn Gallery.
Adam Atkinson is a metalsmith, curator, and educator. He received an MFA in metal design at East Carolina University and a BFA in interdisciplinary studio practices at Boise State University. Atkinson’s work documents relationships between gender and the body using adornment and small-scale sculpture as formats for exploration. His work has been exhibited nationally and internationally including the Wayne Art Center, Boone Art and History Museum, and Nagoya Zokei University, Nagoya, Japan, among others. He was awarded numerous residencies including the Emerging Artist Residency at the Baltimore Jewelry Center and is currently in a three-year residency at Penland School of Craft. He was faculty at Virginia Commonwealth University, Boise State University, and has taught workshops across the country.