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The Ocean’s Cool Depths in Hot Glass

Raven Skyriver will teach the hot sculpting class Asymmetry this April 22-28, 2018 in the Penland hot shop. Register now.

Raven Skyriver, “Strike” (marlin), 20 x 18 x 38 inches

Raven Skyriver’s pieces start out like most other pieces in the hot shop: a blob of molten glass on the end of a pipe, a bubble, the whole thing constantly rotating to remain on center. The glass moves from the bench to the glory hole and back; it gets marvered, colored frit is added. But somewhere along the way, the piece morphs into something different and truly impressive. For one thing, Raven works large—his off-hand sculpted pieces are often a full two or three feet long, some closer to four. For another, he succeeds at an impressive realism in his sculptures. The finished pieces are not simply a whale or a shell, but rather a sperm whale or an abalone shell complete with the coloration and subtleties of shape that distinguish one species from another.

“My work is almost exclusively derived from the marine ecosystem,” Raven explains. “I attempt to place the creatures back in their environment by capturing the fluid nature in molten glass and transferring it into the perceived weightlessness of a swimming creature. I always strive to imbue the work with a hint of life.” Indeed, each of his pieces is evidence of his keen and dedicated observation—from the detailed patterns and textures of a turtle’s back or the scales of a salmon to each creature’s movements and personality.

Raven Skyriver, “Gyre” (green sea turtle), 18 x 28 x 26 inches

There’s an intensity to Raven’s hot shop process quite in contrast to the serene beauty of his finished pieces. To make Gyre, his 28-inch green sea turtle, Raven worked with a whole team of skillful glass artists, each one spinning, paddling, rotating, holding, directing, and responding in concert. No fewer than three torches heat the turtle’s fins, tail, and neck while Raven, in the middle of it all, works with expert speed and skill to incise a crease here or elongate an eyelid there. The mounting tension is palpable as he meticulously draws out the turtles’s likeness from the molten glass. It becomes plain that Raven’s work really is a team effort, and any slip or misstep could send the whole endeavor crashing to shards on the floor. (Watch Gyre come together in this awesome video!)

“The nature of glassblowing is teamwork,” Raven states. “The process in the hot shop is my biggest passion.”

We’re thrilled that Raven will be at Penland this spring to share that process and his expertise in the hot shop with Penland students. His 1-week workshop Asymmetry will run April 22-28 and will give experienced glass students new insight into sculpting out of round, working effectively with a team, and addressing technical challenges. See the complete workshop description below and then register now to up your glass game.

Raven Skyriver, “Mother” (humpback whales), 27 x 46 x 14 inches

Asymmetry

Raven Skyriver
April 22-28, 2018
This hot glass workshop will be all about sculpting out of round. We’ll focus on team work, timing, and problem solving on the fly, giving students a foundation on which to build intricate asymmetrical forms and teaching them how to overcome technical obstacles. If you are someone who works on symmetrical forms and you want to change it up, or if you simply want to sharpen your hot sculpting skills, this workshop has a lot to offer. Advanced level: your application must be accompanied by a CV detailing your experience in glass and five images of your work. Send these to registrar@penland.org. Studio fee: $40. Code S03GA

Studio artist; teaching: Pilchuck (WA), The Studio at Corning (NY), Niijima Glass Center (Tokyo), Glass Furnace (Turkey), Aya Glass (Japan); exhibitions: Glasmuseet Ebeltoft (Denmark), Island Museum of Art (WA), Maryhill Museum of Art (WA), multiple solo shows at Stonington Gallery (Seattle).

ravenskyriver.com

Raven Skyriver, “Awaken” (iguana), 11 x 18 x 25 inches

 

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Sculpture with Fierce Intention

Installation view of “This City, Daily Rising” by Christina Shmigel, Bruno David Gallery

 

There’s a certain fearlessness to Christina Shmigel’s sculpture. Her pieces include traditional materials such as steel, wood, and paint, but they don’t stop there. From bright plastic pinwheels and cardboard to plumbing parts and found furniture, everything is fair game as a building block in her thoughtful, observant tableaus and constructions. Each finished piece is like a reflection of the world around her filtered through her keen eyes, skilled hands, and the particular quirks of her attention. There’s a fearlessness in that attention, too.

Christina comes to her sculpture practice with a particularly broad base of experience to draw on. Her BFA from RISD is in painting, and she followed it with an MFA from Brooklyn College that she describes as “more conceptual.” Later, she returned to school for a second MFA at Southern Illinois University-Carbondale, this time with an emphasis on technical skills like blacksmithing and casting.

 

Sculpture by Christina Shmigel
Christina Shmigel, “The City in Which I Love You: Da Shi Jie (Great World Sheathed)”

 

Despite this rigorous training, Christina’s sculptures are anything but precious. “I work in a very crafted, un-crafted way,” she says. “I’m interested in that place where you make something, and you solve the problem with enough elegance so it ‘works’—it’s a little sloppy, but it has beauty, too… How do I bring that incidental beauty into my work?”

A simple answer to that question would be to look at one of Christina’s larger undertakings, A Foreigner’s Cabinet of Chinese Curiosities. The piece is built into the sixty-seven drawers of an old Chinese medicine cabinet and is a visual journal/scrapbook/“memory palace” of the years she has spent living in Shanghai. Each drawer is full of incidental beauty, found humor, and the little puzzles of the everyday in a vibrant, adopted city: discarded trinkets, cardboard reconstructions of Shanghai’s ubiquitous air conditioners, the peculiar packaging of a Chinese detergent. Together, they paint a nuanced portrait of a particular city at a particular point in time, and they give us a view into the mind of the artist as she takes it all in.

 

close-up of drawers filled with mementos
Christina Shmigel, “A Foreigner’s Cabinet of Chinese Curiosities” (detail)

 

This spring, Christina will bring her keen observations and relentless inquiry back to Penland, where she will teach the eight-week concentration Sculpture with Fierce Intention. The workshop is for students with an ongoing studio practice who are eager to uncover the “why?” behind the work they make. It will take place in the Penland iron studio but will welcome a wide range of media based on student interest. Guest instructors Mike Rossi and John Watson will each join the workshop for a week to teach their specialties of steel and wood/plaster.

Sculpture with Fierce Intention will run March 11 – May 4, 2018. Registration is open now for all spring workshops.

 

Three sculptures by Christina Shmigel
Christina Shmigel, “The View in Fragments: Demolish” (left), “The View in Fragments: Nouveau Riche” (middle), “The View in Fragments: Green Sheath” (right)

 

Sculpture with Fierce Intention

Christina Shmigel—Who am I as an artist? What distinguishes me as a maker? How do I work beyond what I know? Develop a serious body of work in sculpture/installation while digging deep into what gives you pleasure, purpose, and meaning. Through a guided series of riddles and playful explorations, you’ll investigate the why. Technical demonstrations (as needed) will assist you with the how. Guest instructors Mike Rossi (steel) and John Watson (wood/plaster) will each join us for a week of material improvisation. Students may work in any medium in object- or space-based sculpture. Penland’s iron studio will be transformed into a sculpture studio for this workshop. For artists with an ongoing studio practice in any material. Studio fee: $275. Code S00I

Christina: Studio artist; former Penland resident artist; teaching: Webster University (St. Louis), frequent Penland instructor; exhibitions: Ukranian Museum (NYC), Duolun Museum of Art (Shanghai), Laumeier Sculpture Park (St. Louis), St. Louis Art Museum. Mike: principal of Rossi Metal Design (Philadelphia) making unique architectural works, furniture, and sculpture; teaching: Ox-Bow (MI), Haystack (ME), Bryn Athyn College (PA), Kalamazoo College (MI); Windgate Artist in Residence at State University of New York-Purchase. John: Studio artist: teaching: Webster University (St. Louis), Belmont University (TN); exhibitions: Vanderbilt University (TN), hemphill Fine Art (DC); co-author of Living the Dream…The Morning After Art School (Kendall Hunt Publishing).

shmigel.com

rossimetaldesign.com

 

REGISTER FOR SPRING CONCENTRATIONS
clay  |  letterpress  |  painting  |  metals  |  textiles  |  wood  |  sculpture
March 11 – May 4, 2018

 

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Contemporary Ceramics at the Penland Gallery

Ceramic work by Shalene Valenzuela, Jeremy R. Brooks, and Roberto Lugo.
Works from “Within the Margins.” From left to right: “Ironing Things Out: Various Notions” by Shalene Valenzuela, “(Altered) Young Man’s Fancy” by Jeremy R. Brooks, and “Basquiat and Celia Teapot” by Roberto Lugo.

 

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.”

 

Three ceramic plates featuring the letters E, F, and G
E, F, and G plates by Holly Walker from “Abecedarium | Envisioned.”

 

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.

 

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