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Fall Weekend Printmaking

Printmaking – Fall Weekend Session
October 22-24, 2021
Jon Lee
Printing Techniques and Baren Making for Japanese Woodblock Printing

This workshop will have two parts: We’ll cover printing techniques specific to Japanese woodblock printing. And students will learn how to make and maintain the traditional Japanese baren, an essential tool for this style of printing. We will not carve blocks in this short workshop, but pre-carved blocks will be available for practice. We’ll focus on technique rather than concept with a loose structure that will allow students to tailor the workshop to their needs. Although students with some experience will get the most out of this workshop, it is open to all levels. 

Associate professor at Trinity University (TX); master printer training at Tamarind Institute (NM); exhibitions: McNay Art Museum (TX), Art-Trophy Gallery (Russia). 

@sweet_relief_printmaking

 

This workshop begins at 5:00 p.m. on Friday and workshop activities will end at 5:00 p.m. on Sunday; students are welcome to stay through Monday morning. Monday breakfast will be the last meal provided; please plan to depart campus by 10:00 a.m.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Work by John Lee
Jon Lee, o1701, woodcut, 17 x 12 inches
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Fall Weekend Metals

Metals – Fall Weekend Session
October 22-24, 2021
Joanna Gollberg
Prongs

Using the Smith Little Torch and a special soldering board, we’ll make beautiful prong settings to secure your precious items—gemstones, natural materials, found objects—and use them in a piece of jewelry. We’ll discuss each aspect of the prong setting from start to finish: measuring, cutting, solder, cleaning, setting the stones, and finishing the prong ends. Students will be pleasantly surprised at how easy it is to make prongs and will leave this two-day workshop with finished jewelry. This is an intermediate workshop for jewelers: students must have soldering experience. 

Studio jeweler selling in galleries and craft shows throughout the US; teaching: Penland, Haystack (ME), Arrowmont (TN); author of four books on jewelry making; work published in Metalsmith, Ornament, 20th Century Jewelers, 500 Wedding Rings. 

joannagollberg.com | @joannagollberg

 

This workshop begins at 5:00 p.m. on Friday and workshop activities will end at 5:00 p.m. on Sunday; students are welcome to stay through Monday morning. Monday breakfast will be the last meal provided; please plan to depart campus by 10:00 a.m.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Jewelry by Joanna Gollberg
Joanna Gollberg, Covid Winter, sterling silver, gemstones, found objects, 4 x 3-1/2 x 1/4 inches
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Fall Weekend Drawing and Painting

Drawing and Painting – Fall Weekend Session
October 22-24, 2021
Lara Call Gastinger
Discovering a Landscape Through Drawing

How do you immerse yourself in and capture the beauty of a new landscape? This weekend workshop will delve into making discoveries and seeing plants with new eyes by drawing with a pen and using watercolor to enrich the drawings. Students will go home with a treasured accordion nature journal depicting the inspiring plants and landscape of Penland. The skills learned will be adaptable for use in any travel or perpetual journal. All levels. 

Botanical artist and illustrator; two Royal Horticultural Society Botanical Art Show gold medals (London); numerous American Society of Botanical Illustrators (ASBA) exhibitions; illustrations published in Flora of Virginia, Peterson’s Field Guide to Mushrooms, ASBA’s Botanical Art Techniques Handbook.

laracallgastinger.com | @laragastinger

 

This workshop begins at 5:00 p.m. on Friday and workshop activities will end at 5:00 p.m. on Sunday; students are welcome to stay through Monday morning. Monday breakfast will be the last meal provided; please plan to depart campus by 10:00 a.m.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Lara Gastinger, Fal Perpetual Journal, pen and watercolor on paper, 9 x 11 inches
Lara Gastinger, Fal Perpetual Journal, pen and watercolor on paper, 9 x 11 inches
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Fall Weekend Clay and Printmaking

Clay and Printmaking – Fall Weekend Session
October 22-24, 2021
Paul Andrew Wandless
Intro to Printmaking on Clay

This workshop will be an introduction to printing on clay using screenprinting, monoprinting, and relief printing techniques. We’ll put images onto a screen without a darkroom, carve relief blocks with gouges, and make multicolor images with these screens and blocks. We’ll also make clay monotypes on plaster bats using transparent and opaque underglazes. We’ll cover mixing and modifying underglazes for use with each printing method so you can continue to explore these techniques after the workshop. No firing. All levels; beginners encouraged. 

Studio artist, teaching: Arrowmont (TN), Penland; author of Transfer on Clay, 500 Print on Clay; co-author of Alternative Kilns and Firing Techniques; featured in the DVD Screen Printing on Clay with Paul Andrew Wandless. 

studio3artcompany.com | @studio3artcompany

 

This workshop begins at 5:00 p.m. on Friday and workshop activities will end at 5:00 p.m. on Sunday; students are welcome to stay through Monday morning. Monday breakfast will be the last meal provided; please plan to depart campus by 10:00 a.m.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Work by Paul Andrew Wandless
Paul Andrew Wandless, Numo and Jem, Creating, clay monotype, 9 x 13 x 3/4 inches
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Fall One Week Wood

Wood – Fall One-Week Session
September 19-25, 2021
Beth Ireland and Keun Ho Peter Park
Creating Stringed Instruments

In this workshop you’ll create a beautiful instrument that will wow your friends and bring you years of enjoyment. We’ll focus on making four- or six-string guitars as we cover the basic elements needed to create all stringed instruments, including scale, fretting, bracing, finishing, shaping, and set up. We have developed a method of making instruments based on the bandsaw box, which allows students to create a sculptural form for the guitar body. The instruments will be fun and playable. We’ll have daily demonstrations and lots of studio time in a safe, supportive atmosphere. We’ll cover the safe use of the bandsaw, sander, router, and a variety of hand tools as we complete the project. All levels.

Beth: owner of Beth Ireland Woodworking, specializing in architectural and artistic woodturning; part of the traveling craft project Turning Around America and the instrument project strumfactory.com; teaching: Arrowmont (TN), Port Townsend School of Woodworking (WA), Center for Furniture Craftsmanship (ME); three Windgate fellowships. 

bethireland.net | @thebethisyettocome

Keun Ho Peter: studio artist and teacher at University of the Arts (PA); other teaching: Peter’s Valley (NJ), Arrowmont (TN), Center for Furniture Craftsmanship (ME); Wharton Esherick Award at the Philadelphia Museum of Art Craft Show; Windgate artist residency at Indiana University of Pennsylvania.

studiospong.com | @studiospong

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

musical instruments by Beth Ireland
Beth Ireland, Cranium Guitar, birch (I planted when I was 12), Cranium game board, 32 x 10 x 10 inches
musical instrument by Keun Ho Peter Park
Keun Ho Peter Park, Ninja Guitar, walnut, plywood, bloodwood, 36 x 12 x 3 inches
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Fall One Week Printmaking

Print – Fall One-Week Session
September 19-25, 2021
Michael Ezzell
Copper Plate Creatures

Gods and monsters have been part of storytelling for centuries, and printmakers have always brought that fantastical imagery to life. In this workshop, students will explore introductory intaglio techniques to illustrate mythical creations and manifest their own stories. We’ll work through the stages of developing the copper plate, manipulating drypoint, hard and soft grounds, aquatint, soda bite, and multiple color plates. Finally we’ll print small editions to keep or trade. All levels. 

Studio artist; teaching: AS220 Collaborative Printshop (RI); exhibitions: Gallery 2052 (Chicago), World’s Fair Gallery (RI), Studio Sesh Arts (FL), Gutstein Gallery (GA); solo exhibitions: King Lens and Friends (RI), Sulfur Studios (GA); publications: The Hand Magazine, The Flagler Review, Juztapoz. 

mezzell.com | @eezzll

Here’s a video of Michael demonstrating soda bite.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

print by Michael Ezzell
Michael Ezzell, Fall of Atlantis, intaglio, 11 x 12-1/2 inches
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Fall One Week Photography

Photography – Fall One-Week Session
September 19-25, 2021
Cindy Steiler
Cyanotype on Fabric

Cyanotype is an inexpensive and versatile photographic process dating to the 1840s that produces rich, monochrome images. This workshop will explore the possibilities of cyanotype with fabric as our ground. We’ll cover chemistry, fabric selection, preparation methods, and optimizing digital negatives made from digital image files, scans, or film negatives. We’ll move beyond basic blue and experiment with bleaching and toning to alter color and mood. Students will gain the knowledge and skills needed to achieve a range of effects as well as set up their own practice. All levels. 

Studio artist; teaching: Contextile Biennial (Portugal), 577 Foundation (OH); residencies: Prairie Ronde (MI), Jentel Foundation (WY), James Castle House (ID); exhibitions: James Castle House Museum, Espaço Campanhã (Portugal), Outer Space Gallery (FL), Foto Batalha Museu (Portugal), Zorka Rose Gallery (FL), Assemble Gallery (Seattle).

cindysteiler.com | @_steiler

Here’s a good interview with Cindy.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

photographs on cloth by Cindy Steiler
Cindy Steiler, detail of All Too Brief, cyanotype on fabric, industrial weaving bobbins 
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Fall One Week Metals

Metals – Fall One-Week Session
September 19-25, 2021
Tara Locklear
Conscious Connections

Cohesion,  Purpose, and  Function  are  critical  components  to making  jewelry  comfortable on the body.  During this one-week workshop we’ll embrace nontraditional materials to create well-designed wearable jewelry. Bring your materials of choice—wood, plastic, wire, glass components, beads—and we’ll transform our ideas into finished jewelry. We’ll discuss the function, purpose, and role of findings in the overall cohesion of our pieces. Through group and individual conversations, we’ll consider visual continuity and the design process. We’ll fill our sketchbooks and then make paper maquettes and wire samples, paying close attention to scale, composition, visual weight, and wearability. Then we’ll create finished pieces using a variety of metalsmithing techniques, including sawing, soldering, capturing, and forming. Depending on experience, students will make several pieces or a small, cohesive collection. All levels welcome, but metalsmithing experience will be helpful. Upper metals studio.

Studio artist; teaching: Haystack (ME), Brooklyn Metal Works (NYC), Pratt Institute (NYC), Society of Contemporary Craft (Pittsburgh); Excellence in Jewelry Award at Philadelphia Museum of Art Craft Show, American Craft Council Show Award of Excellence; exhibitions: Museum of Arts and Design (NYC), Velvet da Vinci (San Francisco), J. Cotter Gallery (CO); collections: Racine Art Museum (WI). 

taralocklear.com | @taralocklear

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

bracelet by Tara Locklear
Tara Locklear, Configuration Collection Line Links, reclaimed hand-carved skateboard, walnut, Gabon ebony, hand-fabricated, oxidized sterling silver findings, 8 inches long
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Fall One Week Iron

Iron – Fall One-Week Session
September 19-25, 2021
Elizabeth Brim
Basics of Forging

Students in this workshop will learn the basic techniques of forging through demonstrations and practice. Assignments will guide the development of skills needed to create expressive and well-crafted sculpture or functional objects in steel. We’ll use ancient, traditional ironworking techniques to produce unique, innovative, contemporary works in metal. All levels, beginners encouraged. 

Studio artist; teaching: Haystack (ME), Peters Valley (NJ); visiting artist at several universities and Cranbrook (MI); North Carolina Arts Council fellowship; Master Metalsmith at National Ornamental Metal Museum, Master Blacksmith at Fire on the Mountain 2021; solo exhibitions: North Carolina Museum of Art, Gregg Museum of Art and Design (NC); former Penland studio coordinator.

elizabethbrim.com | @halfroundbastard

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

steel sculpture by elizabeth brim
Elizabeth Brim, Talons, steel, 25 x 24 x 11 inches
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Fall One Week Glass

Glass – Fall One-Week Session
September 19-25, 2021
Joseph Cavalieri
Anime and Aesop in Glass

Students in this workshop will learn, practice, and perfect techniques to create precise imagery on stained glass resulting in a finished, multicolored 16 x 16 inch stained glass window plus many samples. We’ll explore anime figures and Aesop fable illustrations as possible inspiration, but students are encouraged to bring and share their own references. Each student will design and create an elaborate window using painting, airbrushing (using an atomizer), pen-and-ink, and sandblasting techniques. Enamel paints will be applied to the glass surface and then fired in a kiln. The final work will be copper-foiled and soldered together. No glass cutting, soldering, or expert painting/drawing experience needed; we’ll be tracing found images. All levels. 

Studio artist; teaching: Corning Museum (NY), Bezalel Academy (Israel), UrbanGlass (NYC), National College of Art and Design (Dublin); invitations to 17 residencies; collections: Museum of Arts and Design (NYC), Italian American Museum (NYC), Leslie-Lohman Museum (NYC), STAX Museum (Memphis); public commissions: MTA Arts for Transit (NYC), Church of Our Lady of Sorrows (Brazil). 

@Joseph_Cavalieri_Glass

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

stained glass by Joseph Cavalieri
Joseph Cavalieri, Two Nanny Goats, hand-painted, airbrushed, kiln-fired enamels on glass, steel frame, LED lights, 56 x 34 x 2 inches
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Fall One Week Drawing and Painting

Drawing and Painting – Fall One-Week Session
September 19-25, 2021
Hollie Chastain
Exploring Paper Art and Collage

Collage is a vast and playful medium with unlimited options for exploration. In this workshop we’ll experiment with a variety of substrates and adhesives and combine them with techniques such as painting and mark-making, adding embroidery and woven paper elements, and template building. You’ll leave with several finished pieces, but most of the time will be spent experimenting and gathering skills, inspiration, and techniques to carry forth into your own paper art and collage practice. All levels. 

Studio artist, illustrator; teaching: Arrowmont (TN), Squam Art Workshops (RI); exhibitions: The Arts Company (Nashville), Kentuck Art Center (Tuscaloosa); publications: Create Magazine, Colossal, Gestalten Books; author of If You Can Cut You Can Collage (Quarto Press); representation: dk Gallery (GA), Chauvet Arts (TN). 

holliechastain.com | @holliechastain

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

collage by Hollie Chastain
Hollie Chastain, Psychopomp 1, paper collage, 8 x 8 inches
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Wood Fall Concentration

Wood Fall Concentration
October 3 – November 12 (six weeks)
Liz Koerner
Designing in the Woodshop

This workshop will explore processes for generating and refining handbuilt wooden forms. We’ll experiment to discover options, analyze findings, and forge connections between making and designing. Demonstrations will include scale drawing, model-making, milling, joinery, shaping, finishing, and other techniques depending on student interest and needs. We’ll also cover 3-D design fundamentals and strategies for creative problem-solving. Students can expect to make a variety of small wood projects and one or two larger works that may be sculptural or functional. This workshop will provide a solid foundation for those new to woodworking and help experienced students expand their practice. All levels.

Studio artist; teaching: University of Central Arkansas, Indiana University of Pennsylvania, San Diego State University; fellowship/residencies: The Wood Center at Indiana University of Pennsylvania, Herekeke Art Center (NM), Warren Wilson College (NC), Penland Core Fellowship; exhibitions: Manifest Gallery (OH), Foundry Art Centre (MO), Vessel Gallery (CA).

liz-koerner.com

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Sculpture by Liz Koerner
Liz Koerner, Recurrent, Douglas fir, basswood, ash, vinyl, water, graphite, liming wax, 31 x 59 x 21 inches
Furniture by Liz Koerner
Liz Koerner, Martois, plywood, cherry, mixed veneers, paint, lacquer, hardware, 24 x 45 x 14 inches
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Textiles Fall Concentration

Textiles Fall Concentration
October 3 – November 12 (six weeks)
Amara Hark-Weber
Blue Suede and Beyond: Introduction to Lasted Footwear

Students in this workshop will design and build their own handmade leather shoes. Starting where all shoes start, we’ll measure feet, learn basic last alteration, and then move on to patterning, upper making, and various construction techniques, including cemented, pegged, lining-lasted-stitch-down, and hand-welted. We’ll use many types and colors of leather, and students can expect to make at least one pair of shoes with each of these constructions, resulting in a small collection. We’ll go over everything from start to finish to make lovely, lasted and lined shoes. With an emphasis on foundational skills, this workshop is open to all levels.

NOTE: Material costs will vary depending on the number of shoes made and what kind of leather is used, but are likely to average $250 per pair with an estimated 4-6 pairs over the course of the class, so a total of $1000-1500, depending on student designs.

Custom shoemaker; teaching: School of the Art Institute of Chicago, University of Wisconsin-Madison, Quest University (British Columbia), Penland; 2017 Rare Craft Fellowship from American Craft Council, Minnesota State Arts Board grant, Jerome Fellowship; exhibitions: St. Xavier University Chicago, Brooklyn Shoe Space (NYC), Dubuque Museum of Art (IA), Otis College of Art and Design (Los Angeles).

harkweberstudio.com | @harkweberstudio

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Boots by Amara Hark-Weber
Amara Hark-Weber, Black Boots, calf and salmon leather, rubber heel cap, metal shank, size 41
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Metals Fall Concentration

Metals Fall Concentration
October 3 – November 12 (six weeks)
Laura Wood
Foundations in Form and Color

This workshop will cover techniques that facilitate the development of a wide range of contemporary jewelry components. We’ll build a broad catalog of sculptural forms with methods including, but not limited to, sheet metal fabrication, brazing, and hydraulic forming. Enamel and powder coat will be our main color applications, and we’ll expand on these techniques throughout the workshop. We’ll focus on incorporating our creations into the brooch format, but students may also explore pendants, earrings, and other forms. We’ll cover several setting methods for traditional and nontraditional materials including prong, tab, and bezel settings along with fabricating findings for jewelry forms. Experimentation will be encouraged! All levels.

Studio artist; teaching: Arrowmont (TN), Southwest School of Art (TX), Metalwerx (MA), Penland; collections: Gregg Museum (NC), North Carolina State Permanent Collection, Racine Art Museum (WI); former Penland resident artist; publications: American Craft, Metalsmith, Cast a Book.

laurawoodstudios.com | @laurawoodstudios

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

Brooch by Laura Wood
Laura Wood, Space Between: Green + Green (brooch), enamel on copper, sterling silver, uvarovite, 3-3/4 x 2-1/4 x 1/4 inches
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Books and Paper Fall Concentration

Papermaking Fall Concentration
October 3 – November 12 (six weeks)
Radha Pandey
Paper Through Time

Focused on the history of papermaking, this workshop will trace the geographical spread of the craft. The first four weeks will be spent learning techniques from Nepal, Polynesia, Korea, Japan, India, and Europe. We’ll cover sheet forming along with the history, culture, and related craft traditions tied to papermaking of each region, including some tool making and natural dyeing. Students will then have two weeks to dive into their own projects expanding on the knowledge and inspiration gained from all the techniques covered. All levels.

Studio artist; teaching University of Iowa Center for the Book (IA), Princeton University (NJ), Cleveland Institute of Art, Women’s Studio Workshop (NY), Harvard Art Museums (MA), Leksands Folkhögskola (Sweden), Bomuldsfabriken Kunsthall (Norway), Museu Molí Paperer de Capellades (Spain); collections: Library of Congress (DC), Yale University (CT), Vassar College (NY), Metropolitan Museum (NYC).

radhapandey.com | @pandey.radha

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

paper by Radha Pandey
Radha Pandey, Naturally-Dyed Islamicate Papers, paper, dyes, 4 x 1 each
papermaking in process by Radha Pandey
Radha Pandey, Washi, kozo/paper mulberry, 11 x 14 inches
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Iron Fall Concentration

Iron Fall Concentration
October 3 – November 12 (six weeks)
Shawn HibmaCronan
Steel Sculpture: Set in Motion

This workshop will focus on creating activated sculptures intended to move, evolve, and interact with their environment. Beginning with the basics, we’ll cover a wide range of metal fabrication and assembly techniques along with many tips and tricks for problem-solving and working safely and efficiently with a variety of tools. Topics will include design for movement, layout, 3-D mockup, cutting, drilling, threading, mill and lathe machining, plasma cutting, MIG and TIG welding, basic tube/bar/sheet forming, and metal finishing. This workshop will be great for those new to metalwork as well as experienced students who are interested in broadening and refining their skill set. All levels.

NOTE: This workshop will not cover forging.

Studio artist; teaching: Crucible School (CA), Penland; student mentor at California College of the Arts; residencies: Autodesk Pier 9 Workshop (San Francisco), Oakland Museum of California; exhibitions: San Jose Institute of Contemporary Art (CA), Tokyo Metropolitan Museum of Art, commissions: Compass Books at San Francisco Airport, Lowe Enterprises, many private clients.

shawnhibmacronan.com | @shawnhibmacronan

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.
Most campus activities will return to normal operating procedures.

Work by Shawn HibmaCronan
Shawn HibmaCronan, The Freedom Press, steel, bamboo, oak, cork, rope, paper, ink, 7 x 8 x 9 feet
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Glass Fall Concentration

Glass Fall Concentration
October 3 – November 12 (six weeks)
Jeremy Bert and Jen Elek
Illumination Projects in Glass

This workshop, designed for artists interested in the potential of illumination in their work, will focus on light and its relationship with glass. The workshop will center around the foundations of glassblowing and creating sculpture that explores glass’s ability to magnify, diffuse, and reflect light. Students will work with candlelight, LED, incandescent, and neon as sources of illumination. We’ll spend significant time in the hot-shop producing 3-D glass sketches with the specific goal of manipulating light. Jeremy will join the workshop for four weeks of work in the neon studio, beginning with the basics of standard neon tube production. Topics will include foundational forms in the hot shop, color techniques, cold working, basic electrical wiring, neon tube manipulation, and portable light projects. All levels.

NOTE: Because of the close contact involved in hot shop work, participation in this workshop will require proof of COVID-19 vaccination.

Jeremy: mixed media artist, licensed sign electrician, neon tube bender; teaching: Pilchuck (WA), UrbanGlass (NYC), Penland; exhibitions: Museum of Glass (WA); representation: Traver Gallery (Seattle).

Jen: studio artist; member of Lino Tagliapietra hot shop team for 15 years; teaching: Pilchuck (WA), UrbanGlass (NYC), Jam Factory (Australia), Penland; collections: Museum of Glass (WA), Toyama Glass School Museum (Japan); representation: Traver Gallery (WA); Pilchuck trustee.

jenelek.com | @jelekff

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.
Most campus activities will return to normal operating procedures.

Work by Jeremy Bert and Jen Elek
Jeremy Bert and Jen Elek, Thunder Mounds, glass, neon, transformer, QTO cable, switch, 22 x 8 x 8 inches, 11 x 18 x 18 inches
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Clay Fall Concentration

Clay Fall Concentration
October 3 – November 12 (six weeks)
Ben Carter
Low-Fire is Cooler

This workshop will focus on the rich history of low-fire ceramics with the goal of integrating surface design with both handbuilt and thrown/altered pottery. Students will use a variety of surface design methods—including  slip decorating, sgraffito, stamping, and transfer techniques—to create patterns that are steeped with meaning and personal resonance. During the workshop we’ll discuss aesthetic issues (proportion, color theory, etc.); making strong, functional pots at low-fire temperatures; and creative problem-solving in the studio. We’ll work with terracotta clay and fire in electric kilns. All levels.

Studio artist; host of the Tales of a Red Clay Rambler podcast; teaching: workshops in U.S., Canada, Australia, and New Zealand; residencies: Anderson Ranch (CO), Archie Bray (MT), Guldagergaard Research Center (Denmark); author of Mastering the Potter’s Wheel; representation: The Clay Studio (Philadelphia), Schaller Gallery (MI).

carterpottery.com | @carterpottery
talesofaredclayrambler.com

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

work by Ben Carter
Ben Carter, Swirl Pitcher, cone 03 earthenware, slips, underglaze, glaze, 12 x 7 x 6 inches
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Fall One Week Books

Books – Fall One-Week Session
September 19-25, 2021
Sarah Bryant
Exploring Long- and Link-Stitch

Long- and link-stitch bindings are structures grounded in the traditional bookbinding practices of Italy and Germany. They remain favorites among hand bookbinders today for their flexibility, durability, and the opportunities they offer for innovative pattern-making and design along the spine. In this workshop students will learn three traditional long/link-stitch bindings and then spend the rest of the week experimenting with alternate sewing and covering techniques. We’ll delve into a number of materials for the covers and spine pieces, including leather, handmade paper, wood, and nontraditional materials. All levels.

Assistant professor at University of Alabama; other teaching: Wells College (NY), University of Georgia Cortona Italy Program, West Dean College (UK); collections: Library of Congress (DC), New York Public Library, Yale Arts Library, Thomas J. Watson Library at the Metropolitan Museum of Art (NYC).

bigjumppress.com | @bigjumppress

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.
Most campus activities will return to normal operating procedures.

books by sarah bryant
Sarah Bryant, Long- and Link-Stitch Bindings, leather, paper, veneer, cloth, thread, dimensions vary
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Wood Summer Session 7

Wood Summer Session 7
August 22-28, 2021
Brandy Clements and Dave Klingler
Handwoven Chair Caning

This workshop is an introduction to the craft of handwoven chair caning. Beginning students can learn the traditional six-way pattern. Intermediate weavers or ambitious beginners can weave new patterns such as the daisy or star, or they may want to make up their own pattern. We’ll also discuss structural issues, the history of chair caning, contemporary applications, and basically geek out on chairs of all kinds. Warning: if you take this workshop, you may become a chair nerd! All levels.

Note: Students can bring a chair (in good repair with the surface finished) with holes drilled around the seat frame, or instructors can provide chairs with advance notice. Students bringing chairs will be asked to e-mail a chair picture to the instructors ahead of time. 

Brandy: studio artist, educator, curator, historian, co-owner of the Silver River Center for Chair Caning (NC); teaching and lectures: Arrowmont (TN), Campbell Folk School (NC), Furniture Society conference, Seat Weavers Guild gatherings, Folk Art Center (NC), William King Museum of Art (VA), Blowing Rock Art and History Museum (NC), American Craft Council “Let’s Make” demonstrator. 

Dave: seat weaving expert, process analyst, educator, co-owner of the Silver River Center for Chair Caning (NC); teaching and lectures: Arrowmont (TN), Campbell Folk School (NC), Furniture Society conference, Seat Weavers Guild gatherings, Folk Art Center (NC), William King Museum of Art (VA), Island Farm (NC), American Craft Council “Let’s Make” demonstrator. 

silverriverchairs.com | @silverriverchairs

Work by Dave Klingler
Dave Klingler, Traditional Six-Way Cane Pattern on Restored Thonet Chair, wood, rattan, 34 x 18 x 19 inches
Work by Brandy Clements
Brandy Clements, Handwoven Chair Caning in Double Daisy Pattern, rattan, 18 x 16 inches
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Textiles B Summer Session 7

Textiles Summer Session 7
August 22-28, 2021
Hillary Waters Fayle
Plants: Muse & Material

In this workshop we’ll use plants and other botanical materials to explore the connections between nature and humanity. We’ll spend time looking at and learning about plants: taking guided walks, drawing, stitching, spinning, pressing, printing, painting, and studying botanical material. We’ll source plants, nuts, seeds and other material to brew our own inks and dyes for textiles and paper. We’ll also experiment with leaves and other plant materials as a substrate: woven, cut, knotted, stitched, collaged, etc. The workshop will blend art, science, and natural history as we create botanical collaboration. All levels. Second-floor textiles studio.

Assistant professor and head of fibers at Virginia Commonwealth University; exhibitions: Blue Spiral 1 (NC), Momentum Gallery (NC), Sager Braudis Gallery (MO), Pensacola Museum of Art (FL), Ellen Nöel Art Museum (TX).

hillarywfayle.com
@hillary.waters

circle of embroidered leaves
Hillary Waters Fayle, "Circular Meditations I & II," stitched and embroidered holly leaves, 
14 x 14 inches
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Textiles A Summer Session 7

Textiles Summer Session 7
August 22-28, 2021
Stephanie Metz
Felt: Fiber in the Round

This workshop will be a thorough introduction to the tools, processes, and possibilities of needle felting. Students will learn to manipulate wool into free-standing, solid felt sculptures using barbed felting needles to coax loose fibers into sophisticated shapes. We’ll explore solid and hollow form-building, armatures, and adding mixed-media. Felting particularly lends itself to representing organic forms, and students are welcome to bring source material. This innovative use of a humble, inexpensive material is bound to energize your art-making. Note: feltmaking involves repetitive and vigorous hand and arm movement. All levels. Third-floor textiles studio.

Studio artist; teaching: Arrowmont (TN), Yuma Symposium (AZ), California College of the Arts; recent exhibitions: Jack Fischer (San Francisco), de Saisset Museum (CA); collections: Triton Museum (CA), National Centre for Craft & Design (UK).

stephaniemetz.com
@stephanie_metz_sculpture

installation of large, textured pod sculptures
Stephanie Metz, "In Touch: Hanging Pods," wool, industrial felt, filler, cable, approximately 50 x 30 x 30 each