Penland runs well over 100 workshops every year, and this fast pace means it can be hard to fully appreciate the creative leaps and transformations that happen—quietly but powerfully—in each one. Before we move on to the exciting flurry of summer workshops starting this Sunday, we want to spend another moment or two taking in all the great things that came to life during our spring sessions, from new shoes to new furniture designs to new friendships. Below, we present a mini slideshow of eight photos, one from each of our eight-week concentrations and an extra one of the sweet moments in between. For more spring photos, including shots from our spring one-week workshops, head over here to view our longer album.
The beautiful thing about the Penland schedule is that it is simultaneously very regular and very unpredictable. We know that there will be seven 8-week concentrations and nine 1-week workshops offered in the fall and spring, but their content can vary dramatically from year to year—will textiles students be sewing quilts or making shoes? Will the iron studio be forging or pouring iron? Will the clay class be firing sculpture at cone 03 or pots at cone 10?
Today, we’re thrilled to answer these burning questions and reveal our Fall 2018/Spring 2019 workshop lineup! We’ve got classes programmed in each of our studios (including our shiny new paper and photography studios), and there’s something on offer for just about any creative interest. Get a peek at our Fall 2018 Concentration workshops below, or browse our workshops by studio or by session to see everything we have planned.
Clay – Red Clay Every Way with Maggie Jaszczak & Tom Jaszczak
Glass – Pattern & Texture with Benjamin Johnson
Iron – Forged & Filed with Seth Gould
Letterpress – Letterpress Possibilities with Beth Schaible
Painting – Color & Abstraction with Tonya D. Lee
Textiles – Surface Design: Fundamental to Experimental with Tim Eads
Wood – Seriously Messing with Wood with Stephen Proctor
Registration for Fall 2018 and Spring 2019 workshops will open Monday, May 21 at 11:00 AM EST on a first-come, first-served basis. Scholarships are available for all 8-week concentrations—apply by August 1 for fall and November 28 for spring.
And if you’re the type of person who just loves to leaf through our offerings in paper, don’t fear; the catalog is at the printer now and will be on its way to mailboxes across the country shortly!
Lavanya Mani, “The Emperor’s New Machine,” natural dye on cotton fabric, 6 x 9 feet
Some things just never get old, like the power of a good story or the draw of color and pattern. This helps to explain the enduring appeal of kalamkari, an intricate process of decorating and dying cloth that has been practiced in India and Iran for over 2,000 years.
This summer, we are thrilled to bring kalamkari to the Penland studios in a session 1 textiles workshop taught by Indian artist Lavanya Mani. What’s most exciting, perhaps, is the wide-ranging appeal of a process that seems quite specific at the outset. For weavers and natural dyers, there will be deep exploration of mordants, tannins, and natural dyes like madder and indigo and new insights into how to layer and combine them to create a vivid and expansive palette. For painters and storytellers, there will be the opportunity to use cloth as canvas and bring narrative to life through brush, block, and color. And for process nerds and material enthusiasts, there will certainly be new techniques to master and refine as Lavanya reveals the important sequence of steps used to build up a kalamkari cloth.
If kalamkari doesn’t sound familiar, then perhaps chintz does. The refined floral prints of chintz fabric that rose to such popularity in Europe in the 17th and 18th centuries started as kalamkari imported from India. But the process itself can be used to achieve a much wider array of results. Take Lavanya’s own work as an example: her pieces are much closer to paintings, saturated with color and thoughtful details rendered in an expressive hand. Many draw on themes from literature or Indian history to build insightful narratives that speak to power dynamics, the experience of womanhood, and more.
Lavanya Mani, “Signs Taken for Wonders,” natural dye and appliqué on cotton fabric, 9 x 11 feet
In her piece “The Emperor’s New Machine,” Lavanya sets up a Vaudeville-esque theater of saturated curtains and trimmings and places the sewing machine at center stage. The work includes entertaining circus-like details, but it also speaks to India’s independence movement and the role the sewing machine played in enabling India’s people to produce their own garments without relying on British imports. Another piece, “Signs Taken for Wonders,” mixes colonial and Indian imagery amid the lush flora and fauna of the Indian landscape.
For artists who would like to tell their own stories in color and pattern on cloth, we invite you to join Lavanya in the studios May 27-June 8 for two weeks of intensive kalamkari exploration. Students can expect to make samples, create an extensive dye card, and produce kalamkari pieces of their own. They will leave with a complete toolbox of steps and techniques to continue their kalamkari practice at home.
See below for the complete course description for Lavanya’s Kalamkari workshop. Other open workshops during session 1 include:
Lavanya Mani, May 27-June 8
This workshop will explore kalamkari, a traditional Indian drawing, printing, and dyeing process once known famously as chintz. Through lecture-demonstrations and hands-on application, students will learn how kalamkari was made historically, how it is practiced today in various parts of India, and how it can be adapted for the contemporary studio. We’ll create strong, vivid colors using classic dye. We’ll cover fabric selection and the procedures and techniques for preparing fabric so it is receptive to the dye, including scouring, and pre-treatment with tannins and mordants. All levels. Code 01TA
Studio artist; exhibitions: solo at Chemould Prescott Road (Mumbai), Victoria and Albert Museum (London), Kochi-Muziris Biennale (India), Galerie Pagoda (Paris), Pearl Lam Gallery (Shanghai).
