Posted on

Metals A Summer Session 7

METALS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Xinia Guan
Origami-Style Metal Fabrication

This workshop will explore ideas and techniques for combining the ancient art of origami with modern metalworking. We will transform flat sheets of copper or silver into intricate and structurally complex, three-dimensional shapes. As students learn a bit about the history and evolution of origami and begin to apply its principles to metalwork, they will develop an understanding of metal properties, structural mechanics, and the technical aspects of cutting and folding metal. Techniques will include sawing, piercing, soldering, and finishing processes. Basic metalworking skills will be helpful but this workshop is open to all levels. Upper metals studio. Note: this workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Studio artist; teaching assistant at Savannah College of Art and Design (GA); recent exhibitions: Smithsonian Craft Show (Washington, D.C.), Philadelphia Museum of Art Contemporary Craft Show (PA); representation: Charon Kransen Arts (NYC).

xiniaguan.com | @xiniaguan.jewelry
January 15 – Regular enrollment opens

Xinia Guan, Flatland X, oxidized sterling silver, 23k gold, stainless steel, 2-1/2 x 2-1/2 x 1/2 inches
Xinia Guan, Flatland X, oxidized sterling silver, 23k gold, stainless steel, 2-1/2 x 2-1/2 x 1/2 inches
Processed with VSCO with al1 preset
Posted on

Iron Summer Session 7

IRON – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Gabriel Craig and Amy Weiks
A Love Letter to Grilles

Grilles have been used for centuries to enclose and protect, and they are the basis for a variety of forms, including gates, trellises, trivets, and fire screens. Blending pattern, form, and function, grilles are a potent vehicle for expression. In this workshop students will make small grillework that could be functional items or studies for larger work. We will cover tapering and scrolling before moving on to jig making to aid in creating repeated parts. We will cover collars, rivets, laps, and tenons and will introduce forge welding as a means of creating complexity in the grille components or frame. No matter where you are in your smithing journey, there will be plenty to assimilate. All levels. 

Metalsmiths, owners of Smith Shop (Detroit); teaching: Haystack (ME), Savannah College of Art and Design, Wayne State University (MI); residencies: Houston Center for Contemporary Craft, California College of the Arts, Warren Wilson College (NC); collections: Smithsonian American Art Museum (DC), Cranbrook Art Museum (MI), Mint Museum (NC). 

smithshop.com | @smithshopdetroit
January 15 – Regular enrollment opens

Gabriel Craig and Amy Weiks, Heirloom Trivet, forged and fabricated steel, 2-1/2 x 9-1/2 x 21 inches
Gabriel Craig and Amy Weiks, Heirloom Trivet, forged and fabricated steel, 2-1/2 x 9-1/2 x 21 inches
Posted on

Glass B Summer Session 7

GLASS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Rebecca Smith
Flirting with Fusing

This workshop will explore the vast possibilities of fused glass. We will begin by covering how to cut glass, touching on the fundamentals before diving into more advanced techniques such as on-edge strip construction and using the heat of the kiln to create faux murrine patterns with stacks. Then students will make glass of their own design while learning to manipulate glass stringers with heat and create imagery and pattern with glass powders. We will bring everything together as we create pieces that will become functional dishes or decorative wall art. Topics will also include coldworking, firing processes, and the behavior of glass. All levels. Kiln studio. 

Kiln forming coordinator and guest services at Pittsburgh Glass Center;  teaching: Pilchuck (WA), Penland, Pittsburgh Glass Center; exhibitions: Erie Art Museum (PA), Pittsburgh Glass Center, Pittsburgh Botanical Garden.

Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Rebecca Smith, On Edge, fused Bullseye sheet glass, 5 x 12 inches, 4 x 13 inches
Rebecca Smith, On Edge, fused Bullseye sheet glass, 5 x 12 inches, 4 x 13 inches
Posted on

Glass A Summer Session 7

GLASS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Boyd Sugiki and Lisa Zerkowitz
Refining Form

This workshop will focus on refining students’ skills by working on simple forms in clear glass: tumblers, cylinders, bowls, and bottles. Students will practice working efficiently, improving heat control, and surveying basic blowing theories. Instruction will be personalized to build on individual skills; one-on-one time will help you find simple solutions to common struggles. Intermediate/advanced level: at least two years of glassblowing experience required. Hot glass studio.

Studio artists working independently and collaboratively as Two Tone Studio; teaching: The Studio at Corning (NY), Pittsburgh Glass Center, Penland, Pilchuck (WA); representation: Vetri Glass (Seattle), White Bird Gallery (OR). 

twotonestudios.com | @twotonestudiosglass
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Boyd Sugiki and Lisa Zerkowitz, Spiral Platter, glass, 4-1/2 x 18 x 18 inches
Boyd Sugiki and Lisa Zerkowitz, Spiral Platter, glass, 4-1/2 x 18 x 18 inches
Posted on

Drawing & Painting Summer Session 7

DRAWING/PAINTING – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Vessna Scheff
Radiant Watercolors and Luminous Drawings

In this exploratory workshop, we will experiment with intuitive mark making, movement-inspired activities, blind drawing, and drawing from observation—with the goal of self-expression and developing an understanding of light. Fun and playful approaches will build comfort with drawing and watercolor, reveal tools and techniques for refining work (it is actually possible to “erase” watercolor!), and provide prompts for seeing. This workshop is for beginning-to-advanced students hoping to find enjoyment and ease in mark making and watercolor painting and/or to enhance their skill in drawing/painting from observation. As an instructor/artist/person who values silliness and play as critical components of grounded artistic living, I look forward to diving in with you. All levels. 

Vessna Scheff creates poetic paintings, portraits, performances, sounds, and installations that use watercolors, movement, vocals, and projections as mediums of inquiry. Grounded in watercolors, her work reclaims a medium that is often described as “difficult” and “sketch” for its uncontrollable qualities, and conceptualizes the freedom of watercolor as an expression of Black liberation: always being, responding, and adapting despite the confines of oppression. Scheff’s works dance with time and fall to gravity; they blend, bleed, and bloom. They stretch, they resist, they flood, they drip, potent in texture, heavy in meaning, and rich in nuance.

vessnascheff.com/visuals | @vessnascheff
Jan 15 – Regular enrollment opens

Vessna Scheff, Knit Seeds in the Soil, watercolor and pencil on canvas, 60 x 72 inches
Vessna Scheff, Knit Seeds in the Soil, watercolor and pencil on canvas, 60 x 72 inches
Posted on

Clay B Summer Session 7

CLAY – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Elena Renker
Kurinuki

Kurinuki is an centuries-old Japanese handbuilding technique that involves carving the exterior form from a solid block of clay and then hollowing it out. This more sculptural approach allows for complete freedom in the shaping of vessels. We will explore various forms from tea bowls to bottles, vases, boxes, and large bowls. Kurinuki is also useful in making sculptural forms. Stoneware clay; bisque fire only. All levels. Lower clay studio.

Studio artist; teaching: Auckland Studio Potters (Australia) and workshops in New Zealand, India, and Taiwan; exhibitions: Form Gallery (New Zealand), Schaller Gallery (MI), Mungyeong Ceramic Museum (Korea), Sogo Department Store (Tokyo), Stratford Gallery (UK); collection: Mungyeong Ceramic Museum (Korea); work featured in Ceramics Monthly and Logbook. 

elenarenker.com | @elena_renker
Jan 15 – Regular enrollment opens

Elena Renker, Sake Bottles, wood-fired stoneware, tallest: 6-1/4 inches
Elena Renker, Sake Bottles, wood-fired stoneware, tallest: 6-1/4 inches
Posted on

Clay A Summer Session 7

CLAY – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Neil Patterson
Altered Forms

Discover your personal forms by learning to use the potter’s wheel as a creative tool. Continue the process by altering wheelthrown parts and developing off-round forms. Our focus will be on exploring process and discovering your voice in clay, not on making finished pieces. We will bisque fire only. Some throwing experience will be helpful, but this workshop is open to all levels. Upper clay studio.

Studio artist; teaching: Tyler School of Art (Philadelphia), Swarthmore College (PA), Saint Joseph’s University (Philadelphia), workshop teaching nationally; residencies: The Clay Studio (Philadelphia), Penland Core Fellowship. 

Sandiandneil.com
Jan 15 – Regular enrollment opens

Neil Patterson, Black Flower Arranger, stoneware, 11 x 5 x 5 inches
Neil Patterson, Black Flower Arranger, stoneware, 11 x 5 x 5 inches
Posted on

Books & Paper P Summer Session 7

PAPER – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Jazmine Catasús
Experimenting with Pulp

This workshop will be guided by the materiality of handmade paper as students are encouraged to take an experimental approach and push the traditional boundaries of papermaking. Paper will be considered as a tactile medium like paint or clay. We will build imagery using the various textures, colors, and forms that paper pulp has to offer and use pulp to paint onto other surfaces, such as canvas. We will also cover preparing cotton fiber with the Hollander beater, small sheet forming, and stenciling. All levels. 

Studio artist; artistic director/master printer at EFA Robert Blackburn Printmaking Workshop (NYC); teaching: Pratt Institute (NYC), Dieu Donné (NYC), Recess Art (NYC) Center for Contemporary Printmaking (CT); residencies: Morgan Conservatory (OH), Bard Graduate Center (NYC); Hand Papermaking Board of Directors.

jazminecatasus.com | @jaz_arelis
January 15 – Regular enrollment opens

Jazmine Catasús, Emblem, paper pulp, gouache, red bole on canvas, 40 x 30 inches
Jazmine Catasús, Emblem, paper pulp, gouache, red bole on canvas, 40 x 30 inches
Posted on

Books & Paper B Summer Session 7

BOOKS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Rachel Mauser
Bookbinding: Simple to Complex

In this workshop, students will learn a variety of quick bookbinding structures and techniques that they can combine to create innovative forms for their own artist books. We will cover a variety of sewn and folded structures with daily demonstrations and hands-on instruction. This workshop will start with basic accordions and pamphlets and progress to more complex versions of these structures that can be used to bring a sculptural aspect to your books. Students are welcome to bring prints, posters, or paper ephemera to use as book content. They will leave with a variety of structures in their wheelhouse as well as mock-ups for combining them into unique forms. All levels.

Bookbinder, printmaker; co-founder and co-director of Steam Exchange Community Art Center (KY); teaching and curriculum development, screen print shop director (Louisville, KY); Kentucky Museum of Art and Craft teaching artist; Windgate Fellow, Windgate Project Grant, Penland Core Fellowship, Caldera Art Center (OR) residency; work featured in 500 Handmade Books Volume 2.

rachelmauser.com | @rachelmauser
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Rachel Mauser, Moment by Moment, Coptic binding with accordion book, letterpress printed, 8-1/2 x 5 x 1/4 inches
Rachel Mauser, Moment by Moment, Coptic binding with accordion book, letterpress printed, 8-1/2 x 5 x 1/4 inches
Posted on

Wood Summer Session 6

WOOD/MIXED MEDIA– SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Annie Evelyn
Interconnection: Not Just for Woodworkers

The wood class that’s not just for woodworkers! This introductory class is designed to help you incorporate a pre-existing object or material into a table or stool. Is it clay? glass? metal? wood? fiber? found object? Don’t have anything yet? We’ll find something when you arrive. The interconnection of two materials creates an exciting opportunity for creativity and problem-solving. You will learn to safely use the jointer, planer, table saw, bandsaw, mortiser, Festool Domino, router, and various hand tools. Class vibes: having fun, supporting each other, and celebrating accomplishments. All levels. Wood studio.

Assistant professor at Virginia Commonwealth University; development director and co-founder of Crafting the Future; residencies: Penland Resident Artist Program, Windgate Resident Artist at Indiana University of Pennsylvania, University of Wisconsin-Madison (WI), San Diego State University, Wornick Distinguished Visiting Professor at California College of the Arts; exhibitions: Center for Craft (NC), Tacoma Glass Museum (WA), Fuller Craft Museum (MA) Center for Art in Wood (PA).

annieevelyn.com | @annie_evelyn_furniture
January 15 – Regular enrollment opens

Annie Evelyn, Windsor Flower Chair, ash, glass vials, fresh flowers, 40 x 28 x 26 inches
Annie Evelyn, Windsor Flower Chair, ash, glass vials, fresh flowers, 40 x 28 x 26 inches
Posted on

Textiles B Summer Session 6

TEXTILES/MIXED MEDIA – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Kyoung Ae Cho
Mixed Media: Conversation with Nature

Paying close attention to the marks that time leaves behind in the environment, students in this workshop will explore ideas and expand their visual and conceptual language. We will use natural resources as well as found objects to create outdoor installations and objects in the studio. Through slideshows, discussions, demonstrations, and mini-exercises, students will be introduced to new ways of working and dealing with materials. Among other methods, we will use fiber handbuilding techniques such as looping, coiling, knotting, basketry, and stitching. This workshop is less of a how-to and more of an experience in discovery, questioning, and finding ongoing ways of working. All levels. Lower textiles studio. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Professor at University of Wisconsin-Milwaukee; other teaching: Kansas City Art Institute, Haystack (ME), Penland; Pollack-Krasner Foundation Grant, Wisconsin Arts Board Fellowship; exhibitions: Lynden Sculpture Garden (WI), Muskegon Museum of Art (MI), North Carolina Museum of Art, Gregg Museum of Art & Design (NC), Sheldon Museum of Art (NE), Tweed Museum of Art (MN), Kemper Museum of Contemporary Art (Kansas City), John Michael Kohler Arts Center (WI), National Museum of Modern Art (Korea).

kyoungaecho.com
Kyoung Ae Cho videos

January 15 – Regular enrollment opens

Kyoung Ae Cho, 
"Excess-Reworked" (detail), crabapple, burn marks, thread, canvas
Kyoung Ae Cho, "Excess-Reworked" (detail), crabapple, burn marks, thread, canvas
Posted on

Textiles A Summers Session 6

TEXTILES – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Lucille Junkere
Soulful Indigo Dyeing

In this workshop, inspired by sustainability and the instructor’s de-colonial, anti-racist practice, you will learn to use and maintain nontoxic, natural indigo dyes suitable for plant and protein fabrics. We will experiment with traceably-sourced, hand-woven fabrics and textile waste; indigo-resist dyeing; and hand-cut stencils of students’ own design, creating patterned swatches and transforming them into beautiful, hand-stitched and embroidered cushion covers. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Research-based studio artist/educator; teaching includes: William Morris Gallery (UK), Ditchling Museum of Art + Craft (UK), Oriel Myrddin Gallery (UK); residencies/fellowships include: Churchill Fellowship (Nigeria) Leverhulme Fellowship (Jamaica), recent exhibition: “Ancestral Libations: Allegories of Honouring and Remembrance” at 105a Studios (UK)

lucillejunkere.com | @lucillejunkere
January 15 – Regular enrollment opens

Lucille Junkere, Indigo-Dyed Cushions, cotton fabric, embroidery thread, natural indigo
Lucille Junkere, Indigo-Dyed Cushions, cotton fabric, embroidery thread, natural indigo
Posted on

Print & Letterpress L Summer Session 6

PRINT/LETTERPRESS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Val Lucas
No Pressure: Combining Hand-Set Type and Pressure Prints

This workshop will combine two very different processes on the Vandercook proof press: hand-set typography and cut-paper pressure prints. The ethereal, fuzzy quality of the pressure print process creates layered imagery full of depth and variation that will contrast with crisp, clean text printed from metal and wood type. Students will experiment with multiple layers of pressure prints to which they will add text. Our formats will be broadsides or folded books. We will cover the basics of setting metal and wood type, creating paper matrices for pressure prints, and printing editions on the letterpress. Expect to create multiple experimental prints as well as one or two small editions. All levels. Letterpress studio.

Studio artist operating as Bowerbox Press; teaching: Towson University (MD), various letterpress and bookbinding workshops; Mark Samuels Lasner Fellow (American Printing History Association); collections: Baylor University Library (TX), Rollins College (FL), Maryland Institute College of Art (MD), International Printing Museum (CA).

bowerbox.com | @bowerbox
January 15 – Regular enrollment opens

Val Lucas, Sumac (Maligned Plants #1), pressure print, hand-set wood type, 11 x 17 inches
Val Lucas, Sumac (Maligned Plants #1), pressure print, hand-set wood type, 11 x 17 inches
Posted on

Photography Summer Session 6

PHOTO – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
David Emitt Adams
Wet-Plate Collodion Photography

Developed in the 1850s, the wet-plate collodion process has achieved a revitalized presence in contemporary photography. This workshop will focus on using the collodion process with metal as a substrate. We will work with large-format cameras using studio and natural light to create unique images in the traditions of portraiture, still life, and landscape. Students will gain in-depth knowledge of the chemistry (mixing, replenishing, and caring for it), coating and sensitizing plates, exposure, and development. There will also be a demonstration of making tintype cases. Participants will leave with the confidence and knowledge to continue working in this method on their own. Cameras and equipment supplied by Penland. All levels. 

Studio artist; teaching: Art Intersection (AZ), Maine Media Workshops, Penland; exhibitions: Phoenix Art Museum (AZ), Crystal Bridges Museum (AR), Museum of Fine Arts Boston; collections: Center for Creative Photography (AZ), Santa Barbara Museum of Art (CA), George Eastman House Museum (NY), Ogden Museum (New Orleans); publications: New Southern Photography, The Book of Alternative Photographic Processes; representation: Etherton Gallery (AZ), PhotoEye Gallery (NM). 

davidemittadams.com | @davidemittadams
January 15 – Regular enrollment opens

David Emitt Adams, Offshore, Pascagoula, Mississippi, tintype on 55-gallon drum lid, 23-1/2 inches diameter
David Emitt Adams, Offshore, Pascagoula, Mississippi, tintype on 55-gallon drum lid, 23-1/2 inches diameter
Posted on

Metals B Summer Session 6

METALS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Logan Woodle
Raised and Formed Vessels

In this workshop students will explore raising and hammer forming in copper, brass, and pewter. We will begin by sketching on paper and in clay. Based on these designs, we will create templates and form metal vessels through sinking and symmetrical and asymmetrical raising processes. Other topics will include tool and hammer customization, exploiting the functional differences in a variety of metals, and delving into what it means to have a safe and sustainable studio practice. All levels. Lower metals studio. 

Associate professor and chair of visual art at Coastal Carolina University (SC); other teaching: Pocosin Arts (NC), Craft Alliance (St. Louis), Metalwerx (MA); exhibitions: Fuller Craft Museum (MA), Dairy Barn Arts Center (OH), Lander Fine Art Gallery (SC), Foundry Art Center (MO), “40 Under 40; The Next Generation of American Metal Artists” at Metal Museum (TN). 

loganwoodle.com | @LoganWoodleMetalsmith
January 15 – Regular enrollment opens

Logan Woodle, Pot Liquor Teapot, sterling silver, red brass, 9-1/2 x 9 x 5 inches
Logan Woodle, Pot Liquor Teapot, sterling silver, red brass, 9-1/2 x 9 x 5 inches
Posted on

Metals A Summer Session 6

METALS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Sun Kyoung Kim
Wire to Wire

In this workshop we will experiment with wire construction techniques as though we are line drawing in three-dimensional space. While exploring shapes and forms, students will create unique jewelry and small sculptures using different kinds of wire, including steel, copper, and silver. We will cover a range of techniques, including basic jewelry making methods, cold connections, color application, and soldering. Some metals experience will be helpful, but this workshop is open to all levels. Upper metals studio. Note: this workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Associate professor at Southern Illinois University-Carbondale; exhibitions: Museum of Jewelry (Italy), Marion Cage Gallery (New Orleans), Ingham Chapman Gallery (NM), Appalachian Center for Craft (TN), Morton J. May Foundation Gallery (St. Louis), Larson Gallery (WA), Leeds Gallery at Earlham College (IN), Wayne Art Center (PA), Hughes Gallery (IL), Signature Gallery (Atlanta).

sunkyoungkim.com 
January 15 – Regular enrollment opens

Sun Kyoung Kim, Finger 03, sterling silver, 2-1/4 x 2-1/4 x 2 inches
Sun Kyoung Kim, Finger 03, sterling silver, 2-1/4 x 2-1/4 x 2 inches
Posted on

Iron Summer Session 6

IRON – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Pat Quinn
Pizza Box Stool

Explore the process of forging and threaded joinery while making a stool that will pack flat into a large pizza box. We will cover some basic forging and joinery techniques and use those techniques as parameters for design and construction. Students will begin by making samples based on demonstrated techniques. Then they will present conceptual and construction/joinery ideas and make samples based on them. Once these have been refined, students will design and build their stool. This workshop is for students who are excited by the project and are interested in power-hammer forging, making hardware, and being challenged by design possibilities and limitations. Some forging experience is strongly recommended, but this workshop is open to all levels. 

Executive director and teacher at Center for Metal Arts (PA); other teaching: Hereford College of the Arts (UK), Penland, The Haystack (ME), and The Adirondack Folk School (NY); Niche Award; exhibitions: Museum of the City of New York, Metal Museum (TN).

@handforgedinvt
January 15 – Regular enrollment opens

Pat Quinn, Untitled, steel, copper, 8 x 22 x 6 inches
Pat Quinn, Untitled, steel, copper, 8 x 22 x 6 inches
Posted on

Glass B Summer Session 6

GLASS/DRAWING/PAINTING – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Suzanne Head
Drawn to Glass

This workshop will examine methods of drawing and painting within layers of fused glass. We will begin with demonstrations of drawing with Bullseye powders (frit), using high-fire enamels with brushes and dip pens, and sifting frit through stencils to make repeatable patterns. This will be followed by a short class project using these techniques. Once students are comfortable with the process, they will begin self-directed projects, outlining a plan for each layer of glass, testing ideas with experiments and samples, and learning the kiln schedules needed to make it all happen. Students may focus on abstract or representational imagery and may cut stencils or trace to aid in creating their designs. All levels. Kiln studio (glass).

Studio artist; teaching: UrbanGlass (NYC), Cleveland Institute of Art, Gage Academy of Art (Seattle), GlassRoots (NJ); demonstrations: Pilchuck (WA), Tyler School of Art and Architecture (Philadelphia); exhibitions: Pilchuck Exhibition Space (WA), Blue Rain Gallery (NM), Whatcom Museum (WA), Schack Art Center (WA), Bullseye Projects (OR), HEDGE Gallery (OH), Society of Illustrators (NY), Matzke Gallery (WA); representation: Museo Gallery (WA).

suzannehead.com | @suzanne_head
Jan 15 – Regular enrollment opens

Suzanne Head, detail of Knot, fused glass powder drawing, 23 x 35 inches
Suzanne Head, detail of Knot, fused glass powder drawing, 23 x 35 inches
Posted on

Glass A Summer Session 6

GLASS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Ché Rhodes
Reheated and Plated

This workshop will use the fundamental processes associated with pastorale plate and graal blank pickups as a starting point for developing traditional and experimental glass objects in the hotshop. Rather than focusing on working directly and immediately from the furnace, this workshop will be about preparing components and then heating or reheating them in the hotshop to create finished forms. We will first address traditional approaches to cane, murrine, and graal techniques and then move into the possibilities of working with experimental parts, flat glass, commercial and recycled glass, and even found glass objects in the hotshop. We will also consider what it might look like to work in the hotshop without immediate access to a furnace. All levels. Hot glass studio.

Associate professor and head of glass at University of Louisville; other teaching: Pilchuck (WA), The Studio at Corning (NY), UrbanGlass (NYC), Scuola del Vetro (Venice), Penland; demonstrator at three Glass Art Society conferences; James Renwick Alliance Distinguished Educator Award; Penland trustee; collections: Smithsonian American Art Museum (DC), Speed Museum (Louisville).

 Cherhodes.com
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Ché Rhodes, Flex, cast and blown glass, 8 x 5 x 5 inches
Ché Rhodes, Flex, cast and blown glass, 8 x 5 x 5 inches
Posted on

Drawing & Painting Summer Session 6

DRAWING/PAINTING – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Michael Dixon
Storytelling as Identity: Process, Performance, and Paint

The self-portrait has a long and rich history. In this session, students will create a series of self-portraits using contemporary methods of oil painting. With a focus on drawing and painting from observation, we will cover basic drawing techniques, drawing the figure and the face, composition, color theory, and mixing color. We will also play with performance as a method of creating images and use these images to think about concept and storytelling. All levels. 

Professor at Albion College (MI), residencies: Yaddo, Virginia Center for the Creative Arts, Grant Wood Fellowship at University of Iowa, Sharpe Walentas Studio Program; Pollock Krasner Foundation Grant; recent exhibitions: Scottsdale Contemporary Art Museum (AZ), PlatteForum Annex Gallery (CO), Stamps Gallery at University of Michigan; representation: David Richard Gallery (NYC). 

michaeldixonart.com | @michaeldixonpainter
Jan 15 – Regular enrollment opens

Michael Dixon, Passing, oil and graphite on canvas, 40 x 50 inches
Michael Dixon, Passing, oil and graphite on canvas, 40 x 50 inches
Posted on

Clay B Summer Session 6

CLAY – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Kensuke Yamada
Figuring Out

Working with stoneware clay and using coil building and other handbuilding techniques, students will construct sculptures combining multiple figures or objects, working with form and surface to create narratives. We will discuss anatomy, proportion, posture, and gesture. Facial features, hands, feet, and clothing will be added to animate the figures. Surfaces can be enhanced by texturing and detailing. We will explore glazes with test tiles. Electric firing. Basic handbuilding will be helpful, but this workshop is open to all levels. Lower clay studio. 

Assistant professor at University of Arkansas Little Rock; residencies: Archie Bray Foundation (MT), The Clay Studio (Philadelphia); visiting artist: Tyler School of Art and Architecture (Philadelphia), University of Arkansas Fayetteville, Chihuly, Inc. (Seattle); exhibitions: Duane Read Gallery (St. Louis), Blue Spiral I (NC), Catherine Person Gallery (Seattle); collections: Missoula Art Museum (MT), Bellevue Club (WA). 

kensukeyamada.com | @kensuke_yamada
Videos! 
Jan 15 – Regular enrollment opens

Kensuke Yamada, Frankenstein, ceramic, 42-1/2 x 21 x 8 inches
Kensuke Yamada, Frankenstein, ceramic, 42-1/2 x 21 x 8 inches
Photo by Benjamin Krain —01/05/21— UA Little Rock ceramics professor Kensuke Yamada will present a demonstration of how he creates his clay figures at the 2021 NCECA national conference in Ohio.
Posted on

Clay A Summer Session 6

CLAY – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Matt Jones
Thrown and Wood-Fired

This workshop will investigate the wood-firing aesthetic as we make pots to fire in Penland’s multi-chambered wood kiln. Although the effects of wood flame and ash are often described as accidental and unpredictable, we will strategize to take advantage of them. Wheelthrowing demonstrations, instruction, and discussions will address the needs and interests of beginning to advanced potters. Loading will be a full day of work, and firing will take two days with students on shifts to stoke around the clock. While the kiln is cooling we will visit area potters and/or have additional demonstrations. Students are encouraged to bring bisqued pots to give us a jump-start on loading this rather large kiln. Stoneware clay. All levels. Upper clay studio. 

Studio artist; apprenticed with Todd Piker (CT) and Mark Hewitt (NC); has taught nine apprentices; presentations: North Carolina Wood-fire Conference, Mint Museum (NC), North Carolina Pottery Conference, South Carolina Pottery Conference; collections: Asheville Art Museum (NC), Mint Museum (NC); most work sold at his home-studio kiln openings. 

jonespottery.com | @mattjonespotter
Jan 15 – Regular enrollment opens

Matt Jones, Two-Handled Blossom Jug, wood-fired stoneware, cobalt brushwork on Mitchfield White glaze, 15 x 9 x 9 inches
Matt Jones, Two-Handled Blossom Jug, wood-fired stoneware, cobalt brushwork on Mitchfield White glaze, 15 x 9 x 9 inches