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Studio Visit: Will Lentz

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I’m up at the wood kiln if you guys want to meet…

said core fellow Will Lentz’s email. So we caught up with Will and the winter clay residents outside, joyfully unloading the kiln on a cold sunny day back in February. A long table was set out for the bounty.

Fast forward (about the length of three snows) when Will and I met to talk about the winter, which he spent–in part–working for former core fellow Jason Bige Burnett in Burnett’s Bakersville studio. Jason, Will noted, had been giving Will assignments, infusing Will’s winter with another space for intention and exploration. In particular, Will had been ruminating on box forms he’s been making–an opportunity for “release from the surface,” new design, and interconnectivity.
lentzBut Will’s winter wasn’t all about the box–he also dipped into vigorous making, testing out the possibility of producing a line of shapely ceramic mugs with a racer stripe. Café racers. As Will raced to unload the wood kiln, he chatted with the winter residents, thoroughly enjoying objects in the light.
 

Top photograph by Robin Dreyer. Photograph of mugs from Will Lentz’s Instagram account. Writing by Elaine Bleakney.

 

 

 

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Eleanor Annand at the Penland Gallery | April 4 – May 11, 2014

Penland Gallery’s first Focus exhibition of the year opens Friday, April 4, with Eleanor Annand: Drawing and Painting. Working on steel and paper, Annand makes paintings and drawings where the mystery of emotional experience is dispatched and–in keen marks scribed into layers of paint–intensely explored.

 

Eleanor Annand, Pyre,
Pyre, painting on steel, 36 x 30 x 1.5 in.

 

 

My process requires focus, time and presence, three things that in today’s world are not easy to come by. The works in this exhibition employ the use of repetition as a means to clear my mind and allow for focus. My intent is to translate complex emotions into marks on paper and steel that communicate raw honesty. Some of the pieces also use simplified symbols to reinforce these emotions. I believe, that though we do not encounter the same things in life, we do share similar experiences. These common themes create connections we can use to find deeper understanding in one another. In this work I am offering my honesty and rawness of emotion as an extended hand to my audience.–Eleanor Annand

 

Eleanor Annand, Pyre, detail
Pyre, detail

 

All works included in Eleanor Annand: Drawing and Painting are viewable and available for purchase online at the Penland Gallery.

 

Eleanor Annand, Failed Logic,
Failed Logic, painting on steel, 24 x 24 x 1.5 in.

 

eleanorannandEleanor Annand grew up on the southern tip of the coast of North Carolina. She received her Bachelors of Graphic Design from North Carolina State University where she focused on typography and letterpress. After a range of design and letterpress experience from IBM to Yee-Haw Industries, between North Carolina and Colorado, she landed in the Core Fellowship program at Penland School of Crafts. In the Core program Eleanor investigated printed, drawn, carved, and painted lines on paper, metal and enamel. In 2012 she relocated to Asheville, NC where works as an artist and designer. Her work is on display at Blue Spiral 1 Gallery in Asheville and Light Art + Design in Chapel Hill, NC.

 
 

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Studio Visit: Molly Kite Spadone

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Core fellow Molly Kite Spadone was in Penland’s cool lower clay studio this winter, making, among many other things, large porcelain fermentation crocks. (Part of the crock’s mold is pictured with Molly at right.) The crocks have a long, tissue-thin wall that feels impossibly solid.

Molly pulls out a bucket of slip to show us how she starts–and what her winter process has been.

We stick our fingers in the tense and smooth liquid. The chatter in my mind immediately dims. Molly explains “deflocculating” from the slip caster’s lexicon: breaking down and dispersing clumping particles.

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“Deflocculating” is the most beautiful word in the English language when you have your hand in a bucket of slip. Slip is the color of milky tea, air, maybe a gray rain cloud mixed in. I rinse my fingers off in the sink.

“You are making a membrane,” says Molly, explaining how she fills the mold with slip, hoping for a set form with no cracks.

All winter, Molly dealt with the rigors of membrane-making and the effects that duration can have in the process of slip casting. Under a light, she has spread the shards of broken membrane that she’ll reuse.

“I’ve been looking at the failures,” she says with a strange mix of affection and frustration as we tour the slip cemetery.

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How does the hairline fracture start? Molly’s at home with this question–winter has given her time for it. It’s her last winter as a core fellow at Penland, and she’s getting ready to move back to her native Maine with just enough time to unpack before she makes her way back to Penland to assist in David Eichelberger’s spring clay workshop. [Ed. note: she’s back now, and David’s spring workshop has begun.]

“I have such a sweet taste in my mouth for this place,” she says, looking around her as we take a last look at one of the finished crocks. No cracks.
View more of Molly’s work in clay this winter–including the crocks, featuring newsprint transfers of drawings by Molly’s friend and collaborator, Kay Kelley–on Molly’s blog.

 

Photographs by Robin Dreyer; writing by Elaine Bleakney