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Photo(s) of the Week: Community Open House 2016

The following blog post is a photo slideshow. We recommend viewing it in an Internet browser.

Learning to blow glass is one of the most popular open house activities.
This blob of hot glass became a juice glass after a few minutes' work.
In the letterpress studio, visitors printed masks on the Vandercook press.
Cutting out eye holes in a freshly-printed mask
If you see one of these creatures around, it's probably been to the letterpress studio!
In the clay studio, visitors learned to throw on the pottery wheel.
All sorts of fun clay creatures being made at the handbuilding tables.
Getting clay pointers from one of our great volunteers
Making a clay mask while wearing a letterpress mask
In the iron studio, everyone got to try their hand at forging a J hook.
These two are adding a decorative twist to finish off the hook.
Visitors to the Ridgeway building decorated paste papers.
Sometimes, fingers are the best brushes!
Hands-on fun!
Who wouldn't want to join in on some whistle mania?
Visitors to the wood studio made their own train whistles.
The whistle process involved some precise sawing and drilling.
These two young visitors made a whistle—and it works!
In the flameworking studio, visitors made glass beads.
Here's a mother-daughter flameworking duo.
Each bead is formed by melting colored glass onto a metal rod.
The photo studio was all about crazy portraits.
This visitor is getting her photo taken as a tiger.
Edwina poses with her gold-sequined portrait.
Resident artist Jaydan Moore demonstrated his printmaking process to visitors.
In the metals studio, visitors learned pewter casting.
After the pewter is melted, it's poured into this two-part mold.
Unmolding the pewter revealed a tiny hammer and anvil!
Visitors to textiles learned to weave at the looms.
Everyone went home with a rag-rug coaster they wove themselves.
Visitors to the school store got to embellish Penland postcards
Thanks to the 700+ people who came out to visit us for the Community Open House!
And a big thanks to all our volunteers and staff!

 

This year’s Penland Community Open House was another big success! Over 700 people from the Penland community came up to try their hand at a new craft. Artists young and old alike were busy forging in the iron studio, flameworking beads in the glass shop, making colorful portraits in the photo studio, creating wooden whistles, and lots more. We’re grateful to all volunteers for helping us to share this fun day with our community, and to all the visitors who join us with such enthusiasm.

 

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An Artist on the Factory Floor

Tom Shields at Century Furniture
Tom Shields at Century with one of the tables he is working into a project. On the right is a stack of tables in progress on the factory floor.

 

During his time as a resident artist at Penland, Tom Shield’s studio was constantly filled with old, worn furniture. “I collect wood furniture from the trash and let it pile up in my studio until it slowly starts to work itself into groups,” he once explained. “In the course of a few weeks, I constantly move and cluster chairs around my studio in different bunches. Once the groups get narrowed I start letting them talk.” The sculptures that result from this process are marked not only by Tom’s hands, but by the hands of those who used the furniture before him over days and weeks and years.

As interesting as it can be, working with discarded furniture does have obvious limitations. “For me, it’s always been on my list of where I want to go as an artist to up the pedigree of my materials,” Tom told me recently. Thanks to a brand-new collaboration with Century Furniture, he now has the opportunity to do just that.

Tom is the inaugural artist-in-residence at Century’s case goods factory in Hickory, NC. Hickory has long been known as one of the furniture capitals of the world, and Century has established its own reputation as a producer of high-end, heirloom-quality furniture.

During his three-month residency, Tom has free reign over what he creates—and he also has free access to a whole new caliber of raw materials. “I get to use anything that’s a second,” he explains. That means dozens, if not hundreds, of brand new furniture pieces that are only slightly less than perfect. “I’m super thankful for the whole opportunity,” he says.

 

Tom Shield's table sculpture and detail
The beginning of Tom’s first project at Century. As he remarked, “Devil’s in the details.”

 

A quick scroll through Tom’s Instagram gallery shows that he’s already put the time and materials to good use. Since the residency began on October 4, Tom has been working on three different sculptures made from Century tables. Two are crafted from groupings of identical tables, while the third is made from a single piece. This one is a bit of a departure for Tom: he has cut the table in two, dropped one side down three-quarters of an inch, and shifted it over two inches. “Because the pieces are so new and so pristine, I barely have to change them at all to make them into something completely different,” Tom tells me. “Before, I felt like I needed to do more to put my hand in it and have the same impact.”

The new materials are not the only departure from Tom’s individual studio practice. As he describes it, “I’m making work right on the same floor as all the people who are making the furniture for Century.” A lot of those people have been in the furniture industry for thirty or forty years, and Tom wasn’t sure how he’d be received as the first studio artist in their midst. “It’s intense, and it’s definitely working under a microscope, but everybody has been super nice and really helpful,” he says. “I feel like half of my day is spent just talking to people, sharing ideas and approaches.” And, now that he’s getting comfortable with how everything works at Century, “I’m just going to start making crazier and crazier things,” he laughs.

 

Tom reimagined these Century tables as a stack.
From sketch to sculpture, Tom is transforming these five Century tables into a single piece.

 

As a woodworker who has spent so much time with old furniture, Tom is intimately aware of what can bring a piece to the end of its life: the disposable design, planned obsolescence, and shoddy craftsmanship that are so common in much of today’s mass market furniture. Being at Century has provided a reassuring look at the other end of the furniture spectrum. “Every piece of furniture is touched by so many hands and created with such individual care,” Tom states. “I think people have this misconception now that there are CNC machines and other tools and you just put a bunch of wood in one end and it comes out as a piece of furniture at the other end. That’s not the case at all. So many different people are involved in every aspect of creating a piece.”

In fact, Tom revealed that the high level of craftsmanship at Century has actually changed the way he works with furniture. As he describes, “Normally I take everything apart by just banging on the joints. But at Century, I can’t get pieces apart. I’m having to learn to do everything I’ve been doing with all the pieces completely intact. It’s a whole new challenge, but it’s been an amazing opportunity.”

The opportunity was made possible by Ande Maricich, an active friend and supporter of Penland’s. Ande has deep ties to the furniture industry, and her husband served as Century’s CEO for a while. “Ande is really invested in both the craft world and furniture manufacturing,” Tom remarks. She had been excited by the partnership of artists and manufacturing facilities in the Kohler Arts/Industry residency and wanted to create a similar partnership at Century. When she saw Tom’s furniture sculptures a few years ago at the Penland Benefit Auction, she talked to him about the possibility of a residency at Century. Now that it’s become a reality, Ande would like to expand the program to include other artists and other factories and further strengthen the reciprocal ties between art and industry.

Reflecting on those ties, Tom points out that both he and the Century employees he’s working alongside are making things by hand. “I’m an artist, but they’re all artisans working on the floor, too—what’s really the difference?” he asks.

—Sarah Parkinson

 

After completing his residency at Century in December, Tom will be at Penland for the spring as the studio assistant to Raivo Vihman’s timber framing concentration. He was also just selected for a Kohler Arts/Industry residency—congrats, Tom!

 

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Timber! | Timber Framing Concentration with Raivo Vihman

studio, lincolnville, main
Detail of a timber-framed studio Raivo built in Lincolnville, Maine.

 

“My first frame was raised by hand with a group of a dozen friends, and by the end of the day limitless space was bounded by posts and rafters into the shape of a house. I was bewitched.” So Raivo Vihman describes his first experience constructing a timber frame.

Looking at the many timber frames Raivo has designed and built since, it’s not hard to see the appeal. His structures are at once graceful and solid, intricate and beautifully simple. Together, the wooden beams take the familiar shape of a house or a barn, but individually their knots and exposed grain still speak of nature. His structures are built with wood in the truest sense of the wordeach beam is unique, and each one gives something of itself to the frame as a whole. For Raivo, even after years of building, every new timber frame is an opportunity: “It’s still about the act of creation, the interplay between aesthetic grace and functional design, and the beauty hidden in the wood.”

 

farmhouse, buckwheat blossom farm
Raivo included these curving boards of live edge cherry as the attic collar ties in this farmhouse in Wiscasset, Maine.

 

This spring, Raivo will be here at Penland to share his craft—and his love of his craft—with students in Timber!, an eight-week timber framing concentration. Like all Penland workshops, Timber! will be an opportunity to gain technical skills, a deeper understanding of materials, and exposure to new ideas. What makes it extra special is that students in the workshop will come together to build an enduring structure on campus. The resulting timber frame will reflect each of the students who’s hands worked to build it, as well as the Penland landscape it will become a part of.

In fact, the structure has already been set into motion. In spring of this year, Raivo was at Penland preparing wood. He and his studio assistant (and former Penland resident artist) Tom Shields stacked dozens of fir, pine, and cypress beams under temporary roofs. The beams have been curing so that they will be ready to frame come next spring:

 

Raivo and Tom with timbers
Raivo (left) and his studio assistant Tom Shields with the beams they stacked in preparation for this spring’s class.

 

Raivo also cut a number of beams from the woods right here at Penland. He wanted the structure to include local trees, and he wanted to incorporate pieces into the design that have natural curvature to them. With the help of some eager Penland volunteers, those logs, too, are awaiting next spring:

 

tulip trees

volunteers
Volunteers during last spring’s concentrations pose with the large log they helped Raivo haul out of the woods. This red timber cart was the only one not smiling by the end.

 

“The class will be tailored to student interests,” Raivo says. He has structured it to introduce students of all levels—from complete beginners to experienced builders—to the details of timber framing. The workshop will move through the complete process of designing and raising a frame, from drafting plans and building models to working with hand tools and different species of wood. For anyone like Raivo who is fascinated by the potential for both beauty and function in this type of building, Timber! will be an invaluable eight weeks.

Register now for Timber!, which will run March 13 – May 6, 2016. Scholarships are available for the course. Scholarship applications are due November 28, 2015.

 

Timber!

Raivo Vihman – In this workshop we’ll delve into traditional carpentry as we cut, join, and raise a timber-framed structure that will become a permanent part of the Penland campus. We’ll explore various approaches to timber preparation, layout, joinery design and execution, and compound-angle joinery. We’ll also cover scribing techniques as we incorporate round logs into the structure of the frame. Students will begin by designing and building their own timber sawhorses and will leave the class with the skills needed to design and build their own timber frames. All levels. Code S00W

Carpenter, founder and proprietor of Haystack Joinery (ME); teaching: Waterfall Arts (ME), Miljandi Cultural Academy (Estonia).

haystackjoinery.com

 

Penland Spring Concentrations, March 13 – May 6, 2016
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