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Penland Everywhere: Session 1

The hardest thing about not holding workshops this summer is knowing that so many of you are missing out on the incredible interactions and relationships and skill building that time at Penland fosters. We believe there’s no substitute for this intense, in-person learning. But we also know that, wherever they are, our instructors are a generous group with a lot to teach and share. So, in that spirit, we’re checking in with a handful of them who would have been here teaching at the start of our summer sessions. We hope their words, images, and short videos light a creative spark in you—may you nourish it until the next time we can be together in the studios again! #PenlandEverywhere

Susan Goethel Campbell

Session 1 Drawing—Investigations in Materiality


I miss being part of the creative community at Penland this year. Since the pandemic I have been printing, making short videos and bending branches around the corners of my studio. There is something about a stick at 90-degree angle that feels so wrong and unnatural that somehow feels right. Some days I am completely focused in the studio and know where I am headed. On other days I am restless, totally lost and wander from one project to the next.

Sometimes being stuck, however frustrating, is a good thing. I have been reflective about my work, humanity and how we are all connected. My agitation has kept me moving and I have gotten back in touch with what really drives my creative practice. Exploring new materials with no particular outcome in mind is one of those places. With exhibitions postponed and projects cancelled having time to play has been a gift.

Wishing everyone good health and abundant creativity.

Andrea Donnelly

Session 1 Textiles—Woven Cloth, Raw Material

Andrea Donnelly's studio

Right now I’m working on a series of three large-scale collages made from cloth I wove and dyed by hand. These works combine the slow, methodical and thoroughly planned process of weaving, which I use to create raw material for collage with the spontaneous and playful puzzle-like creation of the final piece. Because the handwoven cloth is so dense it has a real weight and presence as a material, and putting the cut pieces together truly feels like building or sculpting.

When I started this series (still working on the title), I had a few things in mind that have been guiding the work: landscape, mountains, language, atmosphere, air, ice and water, chaos and order. I began this work a few months before quarantine, with seven huge panels of handwoven cloth in whites and creams of seven different materials (cotton warp woven with: linen, alpaca, bleached cotton, natural cotton, mohair, silk, and merino), which I overdyed in seven colors. Those cloths were then divided for the three large collages: the one you see on the wall is the largest and only vertical of the three, the other two are landscape orientation. The second one is finished and partially rolled up on the table, and I’m about to start on the third from the remaining pieces!

Lynn Duryea

Session 1 Clay—Stretch the Limit

sculptural ceramics in Lynn Duryea's studio

This is an image of my work space at Sawyer Street Studios in South Portland ME, a ceramics facility I purchased and renovated with three other women artists in 1988. We’re still going strong after all these years! The work you see here is from my most recent firing. All of my pieces are slab constructed with glazes and slips applied in layers, fired to 04 in oxidation. My reference is to various kinds of structures, some as small as letters of the alphabet, others large scale architectural and industrial forms. The idea is to refer rather than replicate. Tarpaper is an integral part of my idea generation and working process, used as maquette, template and mold. The patterns you see in the back left help me to envision 3-D form. A visit to my website will show you closer images of pieces, most of which are primarily clay, but some incorporate other materials.

Christoph Friedrich

Session 1 Iron—From Technique to Ideas

In German usage, a metal designer is also called an artist blacksmith—that means blacksmith and art, or craft and design, or hand and head, or art and skill.

As an artisan, it is very important to me personally that I first make sure that I have the techniques to realize my ideas with my hands. So, on the drawing board, I already have certain steps of realization in mind. However, this is not always possible, especially if the idea is completely new. I first try to create the idea in a different, softer material and then use a metal model to get closer to the original. Many of my works were created as models before I made the original in the workshop.

I would have liked to follow this approach in my workshop at Penland: Get to know techniques and then create an idea from head to hand.

Jeana Eve Klein

Session 1 Textiles—Say It Softly

weavings with household objects by Jeana Eve Klein

In an alternate reality, right now I would be immersed in the intensity of studio practice, the richness of relationships, and the abundance of fantastic food that is Penland. I would be teaching Say It Softly, a workshop driven by my own studio work of the last three years. We would be translating words into physical textile forms with processes like appliqué, reverse appliqué, piecing, embroidery, and embellishment (with loads of sequins). Instead, I am making masks and preparing to teach weaving at Appalachian State University as it was never intended: online.

I can only mentally justify my creative practice right now if it in some way gives something to others. Part of that drive has resulted in masks to give away (though certainly not at the same mass scale as so many artists right now), but a larger part has been modeling for my weaving students that the woven world is bigger than looms.

When my students at Appalachian State University left for spring break, their first major projects were almost finished on their looms. They had just started learning the language of weaving in January, and were ready to start speaking in visual sentences when their progress was halted. I promised to show them that weaving can happen anywhere and with anything, and so—in the last two months of the semester—I wove patterns (both complex and simple) throughout my home, using the obvious choices of fabric and yarn, but also things like tights, exercise equipment, spaghetti, and toilet paper in temporary installations. This practice was incredibly cathartic for me. It challenged that side of my brain that craves problem-solving and physical making, while providing what feels like meaningful examples to my students.

Now, I am preparing for the next iteration of weaving instruction, this time 100% online in a condensed five-week summer session. After teaching weaving on treadle looms for years, I am rethinking the entire woven world, and—for the first time—preparing instructional videos for my students. I am also considering how to respond to the incredible limitations of teaching and learning in this format: there is no direct physical interaction, there is no studio community, there is no yarn inventory. I am certain that the class will not be perfect, but I am also certain that my thinking and teaching about weaving will be forever changed.

My studio is a hot mess right now, with half-finished projects scattered everywhere and finished work layered on the walls, as daily reminders of canceled exhibitions. Fabric from my extensive stash is washed, ironed, cut, and/or sewn as it makes the slow transformation into masks. Yarn—from the scrap bin of the ASU fibers studio—blocks my path through the room as I obsessively, painstakingly disentangle and organize it to send off to my summer weaving students. I have no idea when “normal” will return, nor what my “real” studio work will look like when it does. For now, though, I am content to make a tiny contribution toward simply surviving this time, and am grateful to have the space and resources to do so.

Yuri Kobayashi

Session 1 Clay—Expedition to Curves

in-process and completed chair by Yuri Kobayashi

Music and chocolate keep spirits uplifted.
Muse and stupidity approach in the wee hours.
All the cards are held in my hand.
Playing with the game helps to shape the quality of my life.

Born and raised in Japan and now resident in the U.S., I am fascinated by the universality of human nature, on the one hand, and its unique individuality, on the other. My work inevitably reflects on my own personality, experiences, feelings, and beliefs. The discipline of Japanese ethics, aesthetics, and culture was embedded in me before I recognized it. Drawing on these cultural roots, my technical training, and decades of making, I seek to bridge the structure of the traditional craft and the freedom of contemporary art and design.

Whether I am channeling my inner chaos into an abstract sculptural form or a functional decorative object, the challenge is how to embed poetic qualities in work. Fabricating in wood with my own two hands is as essential to me as breathing. It is how I think, how I shape my life, how I relate to the world. In the hope of sharing compassion, encouragement, and inspiration, I play my hand as best I can.

Lindsay Oesterritter

Session 1 Clay—Innovation: One Pot at a Time

two pots by Lindsay Oesteritter, one with apples and one with her child inside

Recently my studio practice has slowed down as I ramped up watching my two kids full time. Catching a few hours each day has changed the way I have approached my creative time. Reading more poetry, working on pots for the garden, visiting ideas that have been on the back burner, and enjoying my kitchen pots even more. Unlike a lot of my colleagues, I am finding that because of the kids, I am away from the computer way more than usual. This means my emails take a little longer to get responded to and I am not synced into all the zoom possibilities, but I am engaging in my home space in a way that I have not since we moved here 5 years ago. Anyways, all this to say- I miss you and look forward to face to face connections soon. Be well. Lindsay

Holly Walker

Session 1 Clay—Stretch the Limit

Holly Walker in her studio

It’s so easy to assume that life will continue as we imagine it will. Maybe the challenge of our changing lives is to become more comfortable with the unknown. After a bit of a roller coaster ride, I feel my equilibrium and buoyancy returning. I seek solace in my studio, and feel so fortunate to have this life of clay already established, and a safe place to explore and imagine. Seeking beauty and working with color is especially uplifting. Daily rambles outside have led me to explore some of the old cemeteries in the area. I find the strolls peaceful, cementing relationships between the past, the present and the future. The two jars fronting this image are the first in a series responding to the grace and simplicity of grave monuments. The new memory I’m adopting is that this space between us all can hold humor, delight, surprise, new solutions, and thinking before action or words.

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Naming the Clay Studio

For decades, Bobby Kadis has been one of Penland’s greatest friends: a donor, an advisor, a board member (four terms!), and, above all, a student. Bobby has taken clay workshops at Penland every year for the past 43 years. After he made a substantial gift to the studio during the Preserve Penland Campaign in 2001, a decision was made to name the clay studio in his honor. However, he didn’t want his name on the studio while he was still taking workshops.

Following a number of years of treatment for gradually advancing cancer, Bobby recently decided that he no longer had the energy for clay workshops. Everyone at Penland was saddened by this news, and it also meant the time had come to formally name the Bobby Kadis Clay Studio. The naming was held on March 14, just before we all stopped traveling or gathering. It was attended by Bobby and his wife Claudia and their immediate family, plus a small group of Penland staff and neighbors.

After brief remarks, director Mia Hall removed a clay-stained towel to reveal a beautiful mosaic sign made by Penland’s clay studio coordinator Susan Feagin. The sign incorporates pieces from some of Bobby’s pots, including one with his signature. Many of Bobby’s friends were not able to be there, so we made this video to share the special afternoon with everyone who missed it.

To the Kadis family, thank you for your unending support for Penland. And to Bobby, a giant hug and a giant thank you for your wise counsel, for the time and energy you have invested in Penland and the whole North Carolina arts community, and for giving us all an example of how to live a creative life. We’re proud and delighted that our clay studio now wears your name.

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Photo of the Week: Since the Invention of Mud

Chalkboard drawing at Penland school

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).

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Creation to Celebration: 6 Cs of Winter Residency

Every winter, we begin the new year with a month of short, intense residencies at Penland. Winter Residency is a time when we invite artists to arrive with their own ideas and projects and bring them to life in our studios. There is no instruction and we don’t give assignments—we just ask that each resident dive in, explore, and connect with the energy and creativity of this community. It’s the best start to the year we could hope for.

Below, we highlight a few photographs and themes from this year’s residency. Find out more (and learn how to apply to join us next year!) on the Winter Residency page.

Creation

Mary Raivel at the bench in Penland metals

Winter residency is a time to create. It’s a time to actually work on those ideas that just won’t keep quite and see what’s really there when you give them a chance. Here, metals resident Mary Raivel is continuing a series of pieces that incorporate old lenses and watch crystals. She says, “I would never have managed to devote the necessary time to this new work on age and ageism using new (to me) materials, were it not for my time here.”

Concentration

Potter Ronen Yamin trimming a vessel

No meal schedules, no work-study schedules, no class projects, no daily slide talks. There is less structure to Penland’s Winter Residencies than there is to our workshop sessions, which means you can work how and when it works for you. It’s amazing how much our residents accomplish in just a couple weeks of deep concentration! Here, potter Ronen Yamin focuses while trimming a series of vessels.

Collection

Katie St. Clair working on a collection of paintings

With half as many people but just as much space, winters at Penland provide a quieter, more expansive atmosphere than the all-in exuberance of our summer workshops. Here, painting and drawing resident Katie St. Clair spreads out during the first two weeks of residency to put the finishing touches on a collection of paintings for an upcoming exhibition. Winter residency is the perfect time to take a step back from individual pieces and think about your work as a whole.

Challenge

a collection of spoons made by Penland winter residents

Mostly, it’s personal challenges that our winter residents set for themselves, but there are always a few fun group challenges, too. The annual Table in a Day competition is one we’ve written about repeatedly on the Penland blog (2020, 2018, 2017). This year, residents introduced a new one: Spoon Before Noon. Above are just some of the results from the morning in a variety of materials and even more styles!

Collaboration

Sasha Baskin screenprinting

When you get 80+ artists together in an open studio environment, there’s bound to be a lot of discussion, sharing, and building on each other’s ideas. Often, these interactions lead to new collaborations, such as this one between textiles residents Sasha Baskin and Alyssa Salomon. Together, they used Alyssa’s screenprinting knowledge to turn Sasha’s lace designs into prints on fabric.

Celebration

view of the final winter residency show and tell

To end it all, we ask everyone to participate in one of our oldest, most cherished traditions: Show and Tell. It’s a time to explore what everyone else has been up to while you’ve been head down in the studio, to catch up with old friends and say hi to new ones, and mostly to marvel at the sheer creative force that is the Penland community. Winter residents, you amaze us! Thank you for giving this month your all and sharing it so generously with us.

Want to see even more? Head to our Winter Residency Facebook album.

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Summer 2020 Workshops!

catalog cover showing a woman working at the anvil in the iron studio

We’re thrilled to announce our complete lineup of summer 2020 workshops! We’ve got 104 different offerings for you to choose from, each one an opportunity to learn from experienced makers and explore new materials and dream up new ideas and connect with other folks doing the same. Browse them all by studio, by session, or in our online catalog PDF (paper catalogs are at the printer at this very moment!).

Want a little taste of what you might find?

Books & Paper: large-scale sheet forming, cast paper sculpture, cut paper and pop-up books
Clay: ceramic tile, animated ceramic sculptures, building with paperclay, kurinuki
Drawing & Painting: abstract painting, observational oil painting, sketchbooks
Glass: glass painting, borosilicate sculpture, mold making, hot glass sculpting
Iron: metal furniture, forged utensils and vessels, sculptural steel
Metals: electroforming, Japanese engraving, sand casting, gold fusing
Photo: view cameras, poetic photographs, cameraless photography, hand coloring prints
Print & Letterpress: mokuhanga, screenprinting, typography on the press, lithography
Textiles: block printing with natural dyes, sculptural basketry, boro and indigo, intermediate weaving
Wood: curved forms in wood, timber framing, cork, sculptural spoon carving

…and dozens and dozens of other things, too.

Registration will open for all summer workshops on January 13 at noon Eastern time on a first-come, first-served basis. Scholarships are available for all summer workshops! Scholarship applications open January 1 and are due by February 17. Starting this year, scholarships have a reduced application fee of $10.

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Eight (Transformative) Weeks

Two women blowing glass in the Penland School of Craft hot shop

In a recent conversation with a student, she talked about her first time at Penland. “I was in a workshop in upper textiles. It was my introduction to screenprinting, and I was blown away,” she said. “Every time I walked up the stairs to the studio, I passed a poster that said ‘Penland changes lives.’ And every time I saw it, I smiled to myself like ‘Yeah, sure does.'”

It’s something we hear quite a lot, in fact: a workshop at Penland is a transformative experience that opens up new questions, new connections, and new paths.

A woman working at the anvil in the Penland School of Craft iron studio

Why not see for yourself? This March 8 – May 1, 2020 we’ll be offering seven different 8-week concentrations, each one an immersive dive into materials and techniques and ideas.

Clay: Parts Unknown with Jenny Mendes
Glass: Intentions & Inventions with Dan Mirer
Iron: Attention to Detail with Andy Dohner
Metals: Wunderkammer with Suzanne Pugh
Photo: Processing Process with Mercedes Jelinek
Letterpress: Print/Process/Production with Jamie Karolich
Textiles: Inside Out: Garment as Identity with Erika Diamond

Registration is open now, and scholarships are available for all spring concentrations. Scholarship applications must be submitted by November 28, 2019.

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Jaime and Cristina in the Clay Studio

Puerto Rican artist Jaime Suarez paints on a large piece of paper with watery red clay while students watch

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.

Artist Jaime Suarez giving a demonstration to a group of students on how to monoprint with clay and water

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.

Cristina Cordova sculpting a head from red paper clay while a ring of students looks on

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!

Cristina Cordova refines the features on the side of the clay head she is sculpting