We launched the videos for our second online demonstration this week! Participants have been following along as expert metalsmith David Clemons forms, welds, solders, and finishes an elegant pewter salt shaker. And this Saturday, 2/13, they’ll get to join David for a live Q&A to learn more about his process and get answers to their metalsmithing questions.
Barry Lopez, who died in late December, was a writer and thinker of great depth and clarity. He was known for writing about the relationship between the natural world and human culture and for his explorations of intimacy, ethics, and identity. His books include Arctic Dreams, which won a National Book Award, Of Wolves and Men, eight works of fiction, and his final collection of essays titled Horizon.
In the fall of 2011, Barry and his wife, writer/editor Debra Gwartney, spent two weeks at Penland as part of the Andrew Glasgow Writers Residency. He explored a number of studios, engaging with materials and tools, listening, and asking questions.
Barry gave a brilliant presentation—to a pin-drop-quiet, packed hall—about what he described as the “thorny problem” of how artists might choose to respond to social or political concerns. By way of examples, he read a short piece of fiction he wrote at the request of the climate change organization 350.org (available here) and a short essay on the subject of species diversity commissioned by the Kyoto Journal (available here). And he told a remarkable story about his involvement (along with potter Richard Rowland) in a project of reconciliation between the Comanche Nation and Texas Tech University.* It was an inspiring evening that will be long remembered by everyone who was there.
Near the end of the visit, Barry was interviewed by Penland’s communications manager Robin Dreyer about his time at Penland, his love of tools, and his writing process. We published a short excerpt from that conversation at the time. In honor of Barry’s passing, we’re sharing a longer version with you now.
Could you briefly describe what you did here?
I came with just a handful of ideas that I knew I would shape once I began to meet people and see what their interests were, and how I could participate here, how I could become a colleague of craftspeople and artists here. Those people with whom I developed some rapport were welcoming about me coming into their studios, and then at meals, having conversations with people, and having them say, “Well, why don’t you come by and see what we’re doing?” I know a little bit about some of these crafts and was eager to learn more, especially about iron work.
I had a terrific conversation one morning with [iron instructor] Vivian Beer and saw that a lot that was going through her mind was also going through my mind, but my thoughts had to do with writing. And that was a point of orientation for me; I realized that one thing I might be able to offer would be to talk about writing as a craft, and see how that might reverberate with what people were doing so it would be a mutually informing conversation. It seemed that a way I might make myself useful in this environment would be to provide another perspective about making. I know that in conversations people have here about printmaking, or metalsmithing, or woodworking, there are certain things that are shared, and one thing that we all share is we have an internal psychology or psyche and personal history, and we try to bring that to the work that we’re doing.
I think the last thing you want to do as a guest resident is stay locked up somewhere and have nothing at all to do with other people. If you’re going to come to Penland, part of the experience is geographical, part of the experience is aesthetic, and a third part of the experience is conversation with fellow makers.
In your book About This Life, you make a reference to the culture of hand tools. Could you talk a little bit about what you meant by that, and why you think it’s of value? Human beings, of course, have a very long involvement historically with tools and implements, and part of our sense of self-worth and sense of dignity as people comes from the skill with which we make and use tools. We make tools that are beautiful, we make tools that are useful, and often we make a useful tool that’s beautiful. That is a kind of calling to me, and certain tools suggest an intimacy with material that is the antithesis of an electronic involvement with material.
Part of what Penland seems to be about is people trying to stay in touch. By that I mean, through their tools, to stay in touch with the raw materials of the earth, with plants from which ink comes, with iron, with metals of other sorts, with stones, with the lead that’s in pencils, with all of these things that come up out of the earth and are used to keep going the idea that it is a good thing and probably fundamentally necessary for civilization to stay in intimate touch with the earth. That, for me, is a lot of what’s going on in craft.
When you see somebody in conversation with a piece of wood, in a conversation with metal or paper, the conversation is antiphonal. I think there is a way to imagine imposing your will on the material, but there is another way, and that is to have a conversation with the material. To, if you’ll permit the figure of speech, be asking the material what it wants; you know what you want. The part that’s very attractive to me about the crafts is the negotiation around a proposal, rather than a negotiation around an imposition. The difference would be instead of hammering on something to force it to be what you want, to work with something to find out what is within it.
What’s happening at Penland is people are maintaining a long history of using tools to stay in touch: with each other through the sharing of art, and with the materials that are used to make art and crafted things. I would say that Penland is a place that’s feeding the fire. There’s everything to feel good about at Penland because in addition to making all this beautiful work, it maintains a tradition of honest and good relationships with the earth.
Could you talk a little bit about your process as a writer?
It’s all intuitive. I don’t have a rigid schedule that I follow. The process is different in fiction than it is in nonfiction. When I’m trying to frame a piece of nonfiction, I’m always using my notebooks and, looking back, I seem to spend a certain amount of time collecting material—maybe years—and then there will be an intense period of reviewing all those notes, followed by a period of nonstop writing. In fiction, I’ll have a line in my head, maybe the first line of a story, and it’ll be there for an hour, or 25 years, and then I’ll pull on it, and I’ll start going, but I don’t have a process of preparation for writing fiction.
The keynote of the process for me is paying attention. I often say that the first rule of everything is to pay attention— the first rule of your marriage, the first rule of your work, the first rule of your spiritual practice is to pay attention.
Do you have a sense of what you might take away from being here?
Camaraderie. And another renewal of my commitment to a task that I see as fundamental to the preservation of a civilization. I think what goes on here, if we didn’t have this, the loss would be incalculable. I’m glad to have been a visitor, somebody just passing through, glad to be here.
*An account of the efforts at reconciliation between the Comanche Nation and Texas Tech University, written by Henry Chappell, can be found here.
Tomorrow, we’re marking a milestone in our new online programming initiative—our first live event! Renowned ceramic sculptor and instructor Cristina Córdova will hold a live Q&A session over Zoom for participants in her online demo, A Simplified Way to Make a Hollow Head. Cristina’s demo is a remarkable distillation of years of her own learning and discovery in the studio, and we’re thrilled to offer participants a direct window into her practice.
Here’s a quick look at Cristina’s transformative abilities with clay in three images. Each of these shots is a frame taken directly from Cristina’s hour-long demo.
3 minutes in—forming a flat slab into a hollow cylinder for the beginnings of the head
20 minutes in—using proportions as guides to establish the facial features
55 minutes in—experimenting with gesture before attaching the head to the neck
We’ve been holding this one in for a long time, and we’re thrilled to finally be able to announce: Penland is going online!
We are planning a series of online programming for you, including online demonstrations with Q&A sessions and immersive online workshops. Our goal is to give students who have never been to Penland an opportunity to experience our unique approach to teaching and learning in community and to give past students a chance to reconnect with the familiar rhythms and spaces of time at Penland. You’ll be able to enjoy the same studios, same expert instruction, and same generous and engaged peers—now in a new format that makes the Penland experience more accessible than ever!
We are not developing these online programs as stand-ins for our on-campus workshops. Rather, they are a way to seize this moment and bring the skill, creativity, inspiration, energy, and focus of a Penland session right to you. Wherever you are in the world, and wherever you are in your artistic journey, we hope you’ll join us to go a little deeper with Penland Everywhere.
Our first demonstrations and workshops will be available in January. Subscribe to Penland newsletters and follow us on Instagram and Facebook to get the details as we release them.
This project is funded in part by a grant from SouthArts with support from The Andrew W. Mellon Foundation.
This is Penland kitchen mavens Chad Mohr and Day Dotson filling to-go boxes with tasty lunches of burgers, fries, coleslaw, and fixings (vegetarian option available!). For several months, the kitchen staff has been making take-out lunch or supper available to the rest of the staff once or twice a week.
This is been a welcome development for everyone getting the meals, but what’s really going on is that the folks in the kitchen are working out methods for putting together a lot of take-out meals efficiently, which is what they will have to do when we welcome students back to campus. It’s going to be all take-out, all the time for a while.
This is just one of the ways our staff has been planning and preparing to bring back our workshop program–safely!
Every year, Giving Day is a celebration—of the creativity and exploration that thrive in our studios, the skills and materials that form the basis of our craft, and the community of makers/artists/friends at the heart of it all. It’s 24 hours for us to reflect on the techniques we’ve learned, the inspirations we’ve gained, and the connections we’ve made, and it’s 24 hours for us to express our gratitude by giving back!
Tomorrow, October 7, please add your gift and add your voice to the #WeMakePenland chorus. Our goal is to reach 350 gifts in just 24 hours—and to make the internet feel like one big Penland hug while we‘re at it!
Here’s how YOU can help:
Make a gift – Every donation gets us closer to our goal and helps support Penland studios, instructors, scholarships, staff, and more. (If you want to donate early and have it count, you can do that right here!)
Share your story–Use #WeMakePenland to share your favorite Penland photos and memories to social media. We want to hear about your first Penland workshop, your best studio buddy, or that project you’re working on now thanks to a long-ago Penland idea!
Tune in on Zoom – Join us at 8:15 PM on October 7 for a special Giving Day Gathering. We’ll kick off the event in everyone’s favorite campus hub, the Penland Coffeehouse! From there we’ll share some exciting news about what’s on the horizon at Penland, introduce you to our newest studio coordinator, and take you through a few of our favorite Penland moments over the years. Come with a warm beverage and a cookie or two* and get cozy! Zoom info below.
To each of you who has contributed your creativity and energy and love to Penland, thank you. You are each a vital part of what makes this community so vibrant, supportive, and inspiring. Together, #WeMakePenland.
*Penland’s baker, Alena Applerose, shared a couple of her favorite cookie recipes with us for the occasion. If you’ve been missing the Coffeehouse peanut butter cookies, this is your chance! Get the recipes here.
Here’s Jack Mauch going over the basics of the the CNC router with print and letterpress coordinator Adam Leestma and metals coordinator Nadia Massoud. This 5-by-5-foot ShopBot router was recently purchased with support from the Community Foundation of Western North Carolina. It is located in the wood studio, but our hope is it will be used by students working in other studios as well.
Jack is a former core fellow, a designer, and a woodworker who is helping Penland to integrate digital fabrication tools into our studios. He is currently collaborating with glass coordinator Nick Fruin to make wooden glassblowing molds using the router. We’ll share more on that in a future blog post!