Among the many fine students who were part of our fall session was Hunter Bell, who was in the iron workshop. In addition to working with steel, Hunter can draw like mad, and he did several great chalkboards during the session, including this one outside the clay studio.
At the end of the session, he left this on the whiteboard outside the dining hall — a little tribute to the six fall workshops (clay, metals, iron, paper/printmaking, glass, textiles).
Last week, while we had visiting artists Cristina Córdova and Jaime Suárez working here on campus, we also had some other special guests: a film crew from the PBS documentary series Craft in America! The team was here to get footage of Cristina and Jaime for an upcoming episode themed around identity. This week, they all traveled to Puerto Rico to do more filming in the place that Cristina and Jaime call home.
We’ll share the episode when it premieres, because you may recognize a place or two in it! In the meantime, you can watch the “Community” episode of Craft in America, which also features scenes shot here at Penland.
Visiting artists are part of every spring and fall concentration at Penland. They help enrich our sessions by bringing new perspectives, skills, and approaches to our studios and sharing their experience with our students. This spring, we’ve been doubly lucky to have two visiting artists, Jaime Suárez and Cristina Córdova. They spent this week working side by side in the studio, pushing clay in very different directions.
In addition to their public lectures at Northlight, both Jaime and Cristina opened up their processes to the community through an afternoon of demonstrations. Jaime walked us through two of his recent experiments with making marks in clay. In one, shown above, he applied a watery clay slip to a crumpled sheet of paper. As the slip pooled and dried, it captured the topography of the paper surface in layers of clay, creating the possibility for a two-dimensional print of a three-dimensional surface. In another process, shown below, Jaime demonstrated how he creates monoprints with just a clay slab and water, altering the image by varying the moisture levels and the impressions on the clay. Like the clay paintings, these prints captured the data of the surface using the inherent colors and qualities of his material.
Cristina, for her part, focused on clay’s incredible sculptural potential. She gave a demonstration of her process for sculpting the human head, starting with a flat slab of paper clay that she formed into a cylinder and then refined. Over the course of half an hour, we watched with awe as the cylinder first took on the rough shape of a human head through pushing and paddling, then developed a ridge at the brow, cavities at the eyes, and protrusions for the nose and lips. To build up the features further and add unique expressions, Cristina built onto them with smaller additions of clay. All the while, she explained the shapes she keeps in mind to guide her sculpting—the egg shape of the head, the teardrop shape formed by the side of the nostril, the three different planes of the lips.
Even though none of our current workshops deal directly with figurative sculpting or painting or making prints, there is a lot of inspiration to be drawn from these demonstrations. We hope all the students who attended will return to their benches, their wheels, and their torches with ideas about how to take advantage of the inherent qualities of their materials to move them in new directions. Thank you, Jaime and Cristina, for being here and sharing so generously!
We’re in the final week of clay winter residencies, which means a flurry of glazing and firing and a lot of full tables. A quick visit to the upper clay studio yesterday revealed two very different approaches to surface decoration. Above, core fellow Eleanor Anderson goes big with color and pattern and waxes and underglaze. Below, winter resident Irvin Carsten keeps his cleanly angled forms a bit more muted.
If you’ll be around campus this Friday, February 16, stop by the clay studio at 5 PM for the final show and tell of ceramic work—this year’s residents have been prodigious!
Here it is, the summer 2018 workshop catalog!We’re thrilled to share our lineup with you in anticipation of another summer packed with creativity, energy, new friendships, and new ideas. We’re offering 102 unique workshops led by 116 talented artist/instructors, including favorites like encaustic painting and steel sculpture and special classes like brushmaking and skin-on-frame canoe building. Most workshops are open to serious students of all levels (beginners included!), and all give you access to the slide nights, dance parties, movement classes, scholarship auctions, and more that make a Penland session so special.
This year, summer registration will open to all students on January 8 at 9 AM EST on a first-come, first-served basis; we will not be using a lottery system. Applications may be submitted online, by fax, by post, or in person.
Scholarships are available for every summer workshop, including full, partial, and work-study scholarships. Spaces will be held in each workshop for scholarship students. Scholarship applications are due by 11:59 PM EST on February 17.
We hope you find a few minutes over the holidays to pour over the Penland catalog and find the perfect workshop for you, wherever you are in your creative journey. Look out for full course descriptions on the website by the end of December, with printed catalogs to follow in early January.
The Penland Gallery presents Within the Margins: Contemporary Ceramics, an exhibition curated by Steven Young Lee, in the John and Robyn Horn Gallery. Seventeen artists are represented in the exhibition with mostly narrative ceramic sculpture in a wide range of forms and styles. The exhibition runs from May 30 through July 16 with a gallery talk at 3:30 PM on Saturday, June 3 and a reception to follow from 4:30 to 6:30 PM.
The group of artists is quite varied in terms of their cultural backgrounds and personal histories, and this is reflected in the content of the work. Shalene Valenzuela, for example, says of her bright-colored earthenware and porcelain sculptures: “My narratives explore topics ranging from fairytales, urban mythologies, consumer culture, societal expectations, etiquette, and coming-of-age issues.” Sculptor Sunkoo Yuh makes complex pieces that are often groupings of forms including plants, animals, fish, and human figures. He describes his process this way: “I draw images intuitively and spontaneously with ink and brush. I study my drawings and select a few to transform into three-dimensional clay sculptures. My work expresses my inner emotions, communications about life, and directly draws from mundane experiences.”
Curator Steven Young Lee is the resident artist director of the Archie Bray Foundation for the Ceramic Arts in Helena, Montana. He has lectured extensively in North America and Asia including at the Metropolitan Museum of Art in New York City. His work was recently featured as part of “Visions and Revisions: Renwick Invitational 2016” at the Renwick Gallery of the Smithsonian Institution in Washington, DC.
In describing his intent for the exhibition, Lee said, “The exhibition includes artists who, while residing within one set of perceived margins or another, are working from within to expand or redefine those boundaries, ultimately shifting the lines of ethnicity, race, gender, sexuality, cultural identity, or material association. Each artist is articulating a world view, and the most important aspect of their work is the sincerity of their investigation and quality of their execution. The title, Within the Margins, recognizes that while boundaries do exist, the mere fact of their existence invites—if not demands—that they be confronted, challenged and reshaped.”
Also on view, in the Focus Gallery, is a small-format exhibition of functional ceramics by Holly Walker. She specializes in handbuilt earthenware and approaches the surfaces of her pots as a painter, brushing colored slips over the clay surface and then layering them with multiple glazes. This exhibition is titled Abecedarium/Envisioned because it includes an installation of twenty-six plates whose designs are inspired by the letters of the alphabet. The gallery talk at 3:30 on Saturday, June 3 will include remarks from both Steven Young Lee and Holly Walker.
The Visitors Center Gallery has an ongoing display of objects that illuminate the history of Penland School, while the Lucy Morgan Gallery presents a selection of work by dozens of Penland-affiliated artists. On display outside the Penland Gallery is a monumental steel sculpture by Hoss Haley and two new stone installations by Carl Peverall.
The Penland Gallery and Visitors Center is open Tuesday through Saturday, 10:00 AM-5:00 PM and Sunday, Noon-5:00 PM; it is closed on Mondays. For more information call 828-765-6211 or visit penland.org/gallery.
The spring clay concentration has been busy preparing pieces for their first firing, and they haven’t been holding back on the scale or the drama. Here, instructor Nick Schwartz uses a torch to stiffen the most recent layer of clay on a sizeable pot he’s building. Below, two more large pots look on. They were collaborations between Nick and local potter Courtney Martin, whose signature geometric resist patterns you can see painted on both pieces.
And here, a fun and gratuitous flame close-up, just because: