Posted on

Metals B Summer Session 4

METALS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Pierce Healy
Engraving Escapades and Metal Tattoos

Ever since humankind crawled from the swamp to stand upright, we have been making marks and scratching and scaring the earth’s crust and our own skin, whether marking territory, adorning, or storytelling. Do you want to become a link in the chain of curious storytelling mark makers? The aim of this workshop is not just to develop a basic understanding of the tools, techniques, and materials of hand engraving but also to experiment and harness engraving creatively. Once you have a basic grasp of the tools, you will unleash them on copper and alternative materials: wax, wood, coconut, plastic, and anything else that will capture your designs and stories. We will also cover sharpening, geometry, holding devices, and image transfers. Students are welcome to bring materials and objects they would like to engrave. All levels, beginners welcome. Lower metals studio. 

Studio artist; teaching: Pierce Healy Studio (Dublin), National College of Art and Design (Dublin), K2 Academy of Contemporary Jewellery (London); residencies: SIM (Iceland), Arteles Center (Finland), National College of Art and Design (Dublin); exhibitions: National Craft Gallery (Ireland), The Scottish Gallery, Solomon Gallery (Dublin), Velvet da Vinci (San Francisco).

piercehealystudio.com | @piercehealystudio

A short Pierce Healy video

January 15 – Regular enrollment opens

Pierce Healy, Stable Meal, silver, copper, tin, found objects, 4 x 8 x 2 inches
Pierce Healy, Stable Meal, silver, copper, tin, found objects, 4 x 8 x 2 inches
Posted on

Metals A Summer Session 4

METALS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Helen Elliott
Drawn and Painted Marks in Liquid Enamel

This workshop will focus on the experimental use of liquid enamels on copper and porcelain-coated steel, encouraging creative risks and the use of playful, intuitive mark-making. Guided by daily demonstrations, fun exercises, and personalized attention, students will focus on the unique characteristics of drawn and painted marks in enamel. We will explore a variety of techniques—including sgraffito, printing, stenciling, and altering the surface of copper foil—to produce a series of fired explorations. These pieces can be mounted for presentation or finished later as jewelry. 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: Kent State University (OH), Towson University (MD); Pratt Fine Arts Center (Seattle), Arrowmont (TN), Enamelist Society, KVO Industries (CA); Ohio Arts Council Individual Artist Fellowship; collections: Arkansas Museum of Art, Crocker Art Museum (CA), Philadelphia Museum of Art, The Yale Museum of Art (CT).

More information about Helen Elliott

January 15 – Regular enrollment opens

Helen Elliott, Explorations 2023, steel, copper, enamel
Helen Elliott, Explorations 2023, steel, copper, enamel
Posted on

Iron Summer Session 4

IRON – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Andrew Meers
Damascus: Introduction to Pattern Welding

This workshop will cover basic forge-welding and patterning, including traditional and contemporary techniques for fusing and patterning carbon steel. Students will become familiar with basic forging operations as they set up and develop patterned materials that can then be shaped into Damascus objects. The workshop will encompass basic patterning styles, including twisting, laddering, and multi-bar composites. The focus will be on material and aesthetic pattern development; we will not cover knifemaking. All levels.

Studio artist, teaching: Penland, New England School of Metalwork (ME), Touchstone (PA); Master Bladesmith rating and B.R. Hughes Award from American Bladesmithing Society; residencies: Metal Museum (TN), Penland Resident Artist Program. 

andrewmeersstudio.com | @mr.meers
January 15 – Regular enrollment opens

Andrew Meers, Barn Owl, Damascus steel, gold, shibuichi, shakudo; inlaid and engraved, 3 x 3 x 1 inch
Andrew Meers, Barn Owl, Damascus steel, gold, shibuichi, shakudo; inlaid and engraved, 3 x 3 x 1 inch
Posted on

Glass B Summer Session 4

GLASS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Nisha Bansil
Embedded Pattern and Thick Forms

This workshop will be an investigation into embedding patterns in glass castings. We will experiment with different techniques for creating patterns, including vitreous enamel and powder printing. Using paper and clay as positives, students will create open faced molds for our patterned castings. We will also learn techniques borrowed from traditional pâte de verre. Students will leave with one hollow-form vessel and several thicker castings. Come prepared to play, experiment, and be inspired by the Penland campus. All levels. Kiln studio. 

Studio artist; teaching: The Studio at Corning (NY); Bullseye Glass (CA, NY), Creative Glass (Switzerland); mount-maker for Metropolitan Museum (NYC) and American Museum of Natural History (NYC); residencies; Corning Museum (NY), Bullseye Glass Company (NY), Chrysler Museum (VA).

nishabansil.com | @nishabansil

Video of Nisha’s sound process.
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Nisha Bansil, Sound Mandala 1600 hz, glass, glass powder, sound, 20 x 20 x 1/8 inches
Nisha Bansil, Sound Mandala 1600 hz, glass, glass powder, sound, 20 x 20 x 1/8 inches
Posted on

Glass A Summer Session 4

GLASS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Jessica Jane Julius and Erica Rosenfeld
From Shop to Table

The glass studio and the dinner table both tell stories about craft, design, tradition, history, culture, and ritual. Both can be gathering places that create lasting communities. In this workshop, we will explore the potential of sculpture, installation, design, and video using glass, found materials, and food. Working in the hot and cold glass studios, we will experiment with blowing, hot sculpting, mold blowing, cane, cold working, and mixed-media processes. Lectures and demonstrations will present strategies for new applications of traditional techniques. We will focus on expanding our community and engaging larger audiences through a culminating, participatory art “dinner party” involving a glass installation made over the duration of the workshop. Please join us for an unforgettable experience. All levels. Hot glass studio.

Jessica: associate professor and head of glass at Tyler School of Art and Architecture (Philadelphia); co-founder of The Burnt Asphalt Family, an artists’ collective and performance group; residencies: Creative Glass Center of America (NJ), Museum of Glass (WA); exhibitions: Philadelphia Museum of Art, Museum of American Glass (NJ), MarketView Arts (PA).

jessicajjulius.com | @jessicajjulius

Erica: studio artist; co-founder of The Burnt Asphalt Family, an artists’ collective and performance group; teaching: The Studio at Corning (NY), UrbanGlass (NYC), Pilchuck (WA), Worcester Center for Crafts (MA); exhibitions: Museum of Arts and Design (NYC), Racine Art Museum, Kohler Arts Center (WI); collections: Museum of Arts and Design (NYC), Essex Peabody Museum (MA), Toledo Art Museum (OH). 

ericarosenfeld.com | @ericarosenfeld8
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Erica Rosenfeld & Jessica Jane Julius, Burnt Asphalt Family, Banana Dome, Around the Campfire performance at the Chrysler Museum
Erica Rosenfeld & Jessica Jane Julius, Burnt Asphalt Family, Banana Dome, Around the Campfire performance at the Chrysler Museum
Erica Rosenfeld, Around the Campfire, blown glass, neon, sporks, oranges, mixed media, dimensions variable
Erica Rosenfeld and Jessica Jane Julius, The Burnt Asphalt Family, Around the Campfire, neon blown glass, sporks, various dessert sculptures, mixed media
Posted on

Drawing & Painting Summer Session 4

DRAWING/PAINTING – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Janet Link
Perspective Drawing: Observed, Imagined, Remembered

In this workshop we will dive into the theory and methods of constructing pictorial space and form. Information will be presented in lectures and demonstrations and applied through exercises and independent projects using drafting tools to make mechanical and freehand perspective drawings. Students will create reference libraries of perspective techniques and drawings of observed, imagined, and remembered objects and spaces. We’ll consider perspective drawing as a design tool, a foundational element in an observational practice, and as an interesting end in itself. Whether you want to begin, refresh, or deepen your relationship with perspective drawing, you will learn to construct and visualize space and form more fluently. All levels. 

Studio artist; teaching: Arrowmont (TN), North Carolina State University College of Design, Meredith College (NC), Centre College (KY); residencies: al maqam (Morocco), Penland (NC), Spring Island (SC); collections: City of Raleigh (NC), University of Arkansas-Little Rock. 

janetlink.com | @janetlink
Jan 15 – Regular enrollment opens

Janet Link, Perspective Study, graphite, 16 x 16 inches
Janet Link, Perspective Study, graphite, 16 x 16 inches
Posted on

Clay B Summer Session 4

CLAY – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Alexander Thierry
Screenprinting and Soda Firing

This workshop will explore ways to add screenprinting to the surface of ceramic work through direct printing and transfers. We will cover image and screen creation, screenprinting with underglaze, layering, and how screenprinting can work with various surface and texture techniques. Demonstrations of throwing, handbuilding, and surface techniques will help students create whatever kind of work interests them: vessels, sculptures, etc. A soda firing will allow experimentation with the surfaces that can be created in an atmospheric kiln. We will make both bisqueware and fully glazed work with mid-range clay. All levels. Lower clay studio.

NOTE: Students in this workshop should bring a laptop computer if they can. If you are enrolled and cannot bring a computer, please contact Nadia Massoud at studio_operations@penland.org.

Associate professor at South Carolina State University (SC); residencies: Penland Winter Residency Distinguished Fellow, M.A.K.E. Resident 2019 (Iceland), Summer Visiting Artist at Clemson University (SC), Summer Resident for Hampton County Arts (SC); exhibitions: Edwardsville Arts Center (IL), Peters Valley (NJ), Morean Center for Clay (FL), Foundry Art Centre (MO), Companion Gallery (TN), Artspace (NC).

alexanderthierry.com | @alexander_thierry
Jan 15 – Regular enrollment opens

Alexander Thierry, Smiley Cup, clay, underglaze transfers, glaze, 3-1/2 x 4-1/2 x 4-1/2 inches
Alexander Thierry, Smiley Cup, clay, underglaze transfers, glaze, 3-1/2 x 4-1/2 x 4-1/2 inches
Alexander Thierry, Plate, clay, underglaze transfers, glaze, 9 x 9 x 2 inches
Alexander Thierry, Plate, clay, underglaze transfers, glaze, 9 x 9 x 2 inches
Posted on

Clay A Summer Session 4

CLAY – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Lindsay Pichaske
Heads with Exquisite Surfaces

In this figurative sculpture workshop, students will sculpt animal or human heads with rich surfaces. We will explore the ways both pigmented clay and mixed-media additions can contribute to the texture, content, and personality of a face. Demonstrations will include solid sculpting and hollowing, rendering facial features, anatomical sculpting techniques, and surface development. While the focus will be on clay textures, the workshop will include testing and mixing our own pigmented clays, making test tiles, and experimenting with mixed-media materials. Low to mid-range electric firing. All levels. Upper clay studio.

Studio artist; teaching: Greenwich House Pottery (NYC), Penland, Santa Fe Clay, St. Louis Community College, Maryland Institute College of Art; Taunt fellow at the Archie Bray Foundation (MT), NCECA Emerging Artist Award; recent exhibitions: Daum Museum of Contemporary Art (MO), Fuller Craft Museum (MA), Blue Spiral (NC), Duane Reed Gallery (St. Louis), Greenwich House Pottery; representation: Duane Reed Gallery.

lindsaypichaske.com | @lindsay_pichaske
Jan 15 – Regular enrollment opens

Lindsay Pichaske, Souvenir, stoneware, porcelain, mason stains, hair, 32 x 28 x 17 inches
Lindsay Pichaske, Souvenir, stoneware, porcelain, mason stains, hair, 32 x 28 x 17 inches
Posted on

Books & Paper P Summer Session 4

PAPER – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Nicholas Cladis
Bark Fibers Transformed

This workshop will begin with processing raw bast fibers (e.g. kozo) into paper using Japanese sheet forming methods. Then we will explore alternative techniques and materials to use in tandem with bast fibers: we will pigment and dye, manipulate pulp with water, and use bark fibers for casting and dipping. Embracing the communal aspect of papermaking, we will concoct and experiment with pulp mixtures. There will be daily demonstrations, discussions of paper as an artistic and borderless medium, and ample time for play. We will also discuss the history and origins of Eastern/Japanese papermaking and its contemporary applications. Each student will walk away with an assortment of handmade papers and fiber-focused objects. All levels.

Lecturer at University of Iowa Center for the Book; other teaching: Fukui Prefectural University (Japan); visiting artist: Rhode Island School of Design, University of Wisconsin-Madison, University of Michigan (MI); Ishibashi Fellowship for Research in Japanese Art; recent exhibitions: Yamatoya Gallery (Japan), Public Space One (Iowa City, IA), National Craft Research and Development Institute (Taiwan); collection: Museum of Washi & Culture (Japan).

nicholascladis.com 
January 15 – Regular enrollment opens

Nicholas Cladis, detail of Terrain and Coil, kozo, willow dye, sumi, dimensions variable
Nicholas Cladis, detail of Terrain and Coil, kozo, willow dye, sumi, dimensions variable
Posted on

Books & Paper B Summer Session 4

BOOKS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Andy Rottner
Books and Enclosures

This workshop will provide a straightforward approach to making sewn-section, case bound books and the construction of four enclosure types. Students will first design and bind a 6 x 9 inch, 96-page book. Then they will design and build these four separate enclosures for that book: four-flap paper portfolio, slipcase, clamshell box, and lift-top box. We will use equipment such as the board shear, paper guillotine, and book press while learning techniques that include folding and piercing sections, sewing, forwarding, trimming, book cover construction, casing-in, gluing, measuring, cutting, and book and box design. All levels.

Studio artist, bookbinder, publisher, educator; teaching: San Francisco Art Institute, San Francisco Center for the Book, Studio Art Center International (Florence, Italy); bookbinding clients: Internet Archive, Codex Foundation (CA), California College of Art; collections: Library of Congress Special Collections (DC), Harvard University (MA), Stanford University (CA), Columbia University (NYC), Smith College (MA); publications: Knuckles on the Ground: Fundamentals of Bookbinding (San Francisco Center for the Book).

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

Andy Rottner, Knuckles on the Ground: Fundamentals of Bookbinding, paper, binder's board, bookcloth, 5 x 5 x 2 inches, closed
Andy Rottner, Knuckles on the Ground: Fundamentals of Bookbinding, paper, binder's board, bookcloth, 5 x 5 x 2 inches, closed
Posted on

Wood Summer Session 3

WOOD – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Matthew Hebert
Digital Carving in Wood

This workshop will introduce the exciting potential of carving and shaping wood using a CNC router. We will start with the basics of 3D modeling and quickly develop designs for small sculptures or vessels that will be carved from wooden blanks. We will work with Rhino software and Penland’s Shopbot. After the CNC process is done, there will be time to explore finishes such as painting, patina, burning, etc. Demonstrations and discussions will cover contemporary techniques of digital design and manufacture ranging from surface modeling to photogrammetry (creating 3D meshes through photography). These processes can be useful for a range of materials and studio practices. All levels. 

NOTE: Students in this workshop should bring a laptop computer if they can. If you are enrolled and cannot bring a computer, please contact Nadia Massoud at studio_operations@penland.org.

Associate professor at San Diego State University (CA); residencies: Emma International Collaboration (Canada), Artifact Gallery University of California, San Diego (CA); exhibitions: Athenaeum Music and Arts Library (CA), Mingei International Museum (CA), Blue Spiral 1 (NC), Wayne Art Center (PA); collections: City of San Diego (CA), Athenaeum Music and Arts Library (CA). 

eleetwarez.net | @eleetwarez
January 15 – Regular enrollment opens

Matthew Hebert, Functional Abject: Atlanta Bowl, wood, steel, spray paint, 24 x 24 x 2 inches
Matthew Hebert, Functional Abject: Atlanta Bowl, wood, steel, spray paint, 24 x 24 x 2 inches
Posted on

Textiles B Summer Session 3

TEXTILES – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Rachel Meginnes
Rag Weaving and Material Meaning

Part concept-based, part technique-based, this workshop will layer the fundamentals of weaving on a loom with the deeper meaning materials hold. Taking a no-holds-barred approach, we will work with found materials such as paper, fabric, flora and more, and learn to ready these materials for weaving on a floor loom. We will discuss the way meaning embeds itself in material and explore how the act of collecting and reclaiming can embolden one’s work. Students should bring a collection of materials (old clothes, fabric, ephemera) as well as digital imagery they might like to play with. They can expect to leave with exploratory studies, finished weavings, and knowledge of how to warp and weave basic structures on a 4-harness loom. All levels. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Studio artist, creative coach; teaching: Earlham College (IN), MAIWA School of Textiles (British Columbia), Haystack (ME), Arrowmont (TN), Penland; residencies: Penland School Resident Artist Program, Jentel Foundation (WY); collections: Art in Embassies Collection (Amman, Jordan), Cameron Art Museum (NC), University of Arkansas at Little Rock; representation: Tracey Morgan Gallery (NC), Hodges Taylor (NC). 

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

Rachel Meginnes, Night Bloom, handwoven deconstructed textiles, 38 x 29 inches
Rachel Meginnes, Night Bloom, handwoven deconstructed textiles, 38 x 29 inches
Posted on

Textiles A Summer Session 3

TEXTILES – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Libby O’Bryan and Jonnie Rettele
Capsule Wardrobe Design/Build 

Learn to build pieces of your dream wardrobe using the on-trend patterns from our company, Open Studio. Sewing and pattern-making techniques will build your skills in construction and fit, while a dialogue around labor, craft, and consumption will fuel your home sewing practice. We will start by making a class “uniform” that offers several variations. Then we will shift into a more independent direction, teaching how to hack Open Studio patterns to make garments just for you. We will help you discover your personal style through the most sustainable fashion choice—making your own clothes! All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Libby: owner and founder of the industrial sewing factory and design studio Sew Co and the clothing brand Rite of Passage; co-founder of Open Studio Patterns; exhibitions: Chicago Cultural Center, Knoxville Museum of Art, Southeastern Center for Contemporary Art (NC), Center for Craft (NC). 

wcsewco.com | @sew_co | riteofpassageclothing.com | @riteofpassageclothing

Jonnie: independent designer who began by producing her own menswear clothing line for the contemporary fashion market in 2009 then expanded into naturally-dyed quilts and interior soft goods for custom clients and large retailers; co-founder of Open Studio Patterns with industry peers Libby O’Bryan and Leigh Hilbert to empower home sewists to make their own clothing.

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

Open Studio Patterns, Bumper Jumper and Blouse, Size 6
Open Studio Patterns, Bumper Jumper and Blouse, Size 6
Posted on

Print & Letterpress L Summer Session 3

PRINT/LETTERPRESS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Andrew Rubin
Reductive Relief Class

Using Penland’s letterpress studio and its four Vandercook presses, students will plan and print two editions during this workshop. The first will be a four-color process print in perfect registration, which will familiarize students with the reductive process for making multi-color prints from a single block. For the second edition, we will loosen things up, work in different sizes, and add the possibility of chine collé, stencils, monoprinting, and blend rolls. These prints will become part of an exchange portfolio so each student will have a suite of prints from the session. Demonstrations will also include Vandercook press maintenance, troubleshooting, inking, and cleaning. All levels. Letterpress studio.

Instructor of printmaking at University of Wisconsin-Madison; former master printer for University of Wisconsin-Madison’s Tandem Press; has collaborated with more than 75 artists including Jim Dine, Alison Saar, Robert Cottingham, Ruth Weisberg, and Judy Pfaff.

andyrubin.com | @amrubin55
January 15 – Regular enrollment opens

Andrew Rubin, Monkey Man no. 4, Young Darwin, reductive woodcut, polymer etching, screenprint, 20 x 11-1/4 inches
Andrew Rubin, Monkey Man no. 4, Young Darwin, reductive woodcut, polymer etching, screenprint, 20 x 11-1/4 inches
Posted on

Photography Summer Session 3

PHOTO – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Jim Stone
View Camera Workshop

The view camera may seem daunting, but it is easily mastered. Its contemplative, methodical approach rewards users with photographs of the highest quality. We will learn to use the large-format camera, control focus and perspective, develop sheet film using a simplified zone system, make enlargements in a darkroom, and scan negatives for digital printing. Alternative and historic printing methods will be discussed but not practiced. It will be helpful if students are familiar with the rudiments of traditional black-and-white photography — exposure, film development, and darkroom printing — but this workshop is open to all levels.

Distinguished Professor of Photography at the University of New Mexico, 2016 Honored Educator at the Society for Photographic Education conference; author of six textbooks widely used for university-level photography courses including A User’s Guide to the View Camera; collections: Museum of Modern Art (NYC), Museum of Fine Arts Boston, American Art Museum (DC), Los Angeles County Museum of Art. 

jimstone.com
January 15 – Regular enrollment opens

Jim Stone, Steam Tractor and Owner, Canadaigua, New York, gelatin silver print, 20 x 24 inches
Jim Stone, Steam Tractor and Owner, Canadaigua, New York, gelatin silver print, 20 x 24 inches
Posted on

Metals B Summer Session 3

METALS/IRON– SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Sarah Holden
Steel for Jewelers: From Mild to Wild

Students in this workshop will explore steel at the scale of jewelry. Our first focus will be fabrication as we discuss the differences between soldering, brazing, and welding and experiment with all of them. Students will then be able to create sheets of patterned steel with wire and/or make jewelry and/or small objects from steel sheet. We will cover pattern development and material behavior and discuss creative linkages, surface design, preservation techniques, and incorporating steel into jewelry designs. All levels. Lower metals studio. 

Studio artist; teaching: Chicago Industrial Arts and Design Center, University of Wisconsin-Milwaukee, Evanston Art Center (IL), Lillstreet Art Center (IL); Illinois Arts Council Individual Artist Grant (IL); exhibitions: Fuller Craft Museum (MA), Specific Gravity (NY), Quirk Gallery (VA), Penland Gallery (NC); representation: Baltimore Jewelry Center (MD), Equinox Gallery (TX), Gallery 2052 (IL), Ombre Gallery (OH); collections: Mint Museum (NC), Racine Art Museum (WI). 

sarahholdenmetalsmithing.com | @holdensc
January 15 – Regular enrollment opens

Sarah Holden, Mother of Pearl, mild steel, sterling silver, 10 x 10 x 1/4 inches
Sarah Holden, Mother of Pearl, mild steel, sterling silver, 10 x 10 x 1/4 inches
Posted on

Metals A Summer Session 3

METALS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Jina Seo
Identity and Material Exploration

This workshop will explore ways of combining metal components with other materials to create wearable pieces that express your interests, identity, and representation of the body. We will explore deconstructing and constructing various kinds of materials: raw materials, industrial and domestic items, natural components, old and used objects, etc. Students are encouraged to bring materials from home. Technical information will include soldering, various pin mechanisms, and  cold connections such as rivets and tab settings. We will also cover the basics of photographing your work. 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 Missouri State University; residencies: Penland Winter Residency (NC), Arrowmont Pentaculum (TN), Smitten Forum at Pocosin Arts (NC); recent exhibitions: Gallery Baum (Korea), Baltimore Jewelry Center (MD), New York City Jewelry Week (NY), Contemporary Craft (PA), Penland Gallery; collection: Mint Museum (NC).

 jinaseo.com | @jinaseo_jewelry 
January 15 – Regular enrollment opens

Jina Seo, Mow the Lawn, shower cloth, enamel, copper, sterling silver, thread, 2-3/4 x 3-3/4 x 1-3/4 inches
Jina Seo, Mow the Lawn, shower cloth, enamel, copper, sterling silver, thread, 2-3/4 x 3-3/4 x 1-3/4 inches
Posted on

Iron Summer Session 3

IRON – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Eric A. Ryser
Contained

This workshop will focus on vessel forms as students design and construct objects that express their interpretation of the word “contained.” We will cover the fundamentals of layout, forging and fabrication, and surface decoration. Techniques will include hand- and power-hammer work, welding, sheet metal construction and joinery, hot and cold press operation, texturing, etching, coloring, and more. Individual creativity will be encouraged in the creation of both sculptural and functional objects. The workshop will fuse traditional and contemporary finishing processes. Group conversations and individual instruction will be an ongoing part of the workshop. All levels. 

Studio artist; teaching; Kansas State University, Southern Illinois University-Carbondale, Appalachian Center for Craft (TN), Penland; exhibitions: Nerman Museum of Contemporary Art (KS), Alice C. Sabatini Gallery (KS), Cranbrook Art Museum (MI), Metal Museum (TN), Fuller Craft Museum (MA).

ryserforge.com | @ericryser
January 15 – Regular enrollment opens

Eric A. Ryser, Better Off, forged and fabricated steel, acid-etched pattern, paint, 12 x 7 x 2-3/4 inches
Eric A. Ryser, Better Off, forged and fabricated steel, acid-etched pattern, paint, 12 x 7 x 2-3/4 inches
Posted on

Glass B Summer Session 3

GLASS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Amy Lemaire
Beyond Tradition

Venture beyond tradition and push the boundaries of jewelry making as you explore the versatility of glass for creating wearable sculpture. This workshop will introduce you to a world of endless possibilities where traditional methods serve as a solid foundation for exploring uncharted territories of experimental technique. After practicing essential skills such as material preparation for soft glass and borosilicate, color application, and sculpting solid and hollow forms, we will explore mixed-media elements, improvised blow molds, and unique surface textures. Expect to gain a fresh perspective on the possibilities of glass jewelry, a deeper understanding of flameworking practices, and a new collection of unique pieces that reflect your personal style. All levels. Flameworking studio. 

Studio Artist; teaching: Salem Community College (NJ), Pilchuck (WA), UrbanGlass (NYC); Teaching Artist Cohort Grant from Center for Craft (NC), Acquisition Award/MAD About Jewelry from Museum of Arts and Design (NYC); recent exhibitions: SARAHCROWN (NYC), Mahnaz Collection (NYC), Delaware Contemporary (DE); representation: SARAHCROWN (NYC); collections: Museum of Arts and Design (NYC), Ringling Museum (FL). 

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

Amy Lemaire, Pollen Count III, mirrored borosilicate, sterling silver, stainless steel, 14 x 13 x 3 inches
Amy Lemaire, Pollen Count III, mirrored borosilicate, sterling silver, stainless steel, 14 x 13 x 3 inches
Posted on

Glass A Summer Session 3

GLASS – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Einar de la Torre and Jamex de la Torre
The Anti-Purist Rapture

This workshop is a two-for-one deal: a sculpting workshop in the hot-glass studio and a mixed-media workshop in the classroom. In the hotshop students will make new pieces using bit working, hot assemblage, torch working, and powder pattern pick-ups. In the classroom we will cover various adhesives and coatings used to construct mixed-media assemblages. Students should bring materials they are familiar with, including found objects, to inspire mixed-media work. Our aim is to collectively think outside the object-making box. We will encourage a questioning process to make sure that hot glass—or any other medium, for that matter—works for you, the artist, and not the other way around. Students should be interested in sharing an experimental environment. Some hot glass experience will be helpful, but this workshop is open to all levels. Hot glass studio. 

Collaborating artists making mixed-media/glass sculpture, installation, and public art projects; United States Artists Fellowship, Louis Comfort Tiffany Award; Joan Mitchell Painters and Sculptors Grant; 20 solo museum shows, including a touring retrospective under the Smithsonian’s National Museum of the American Latino; participated in five biennials.

delatorrebrothers.art | Facebook

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

Einar de la Torre and Jamex de la Torre ¡2020!, blown glass, cast resin, mixed media, 22 x 33 x 14 inches
DE LA TORRE; COLLIDOSCOPE; CHEECH; 2022
Posted on

Drawing & Painting Summer Session 3

DRAWING/PAINTING – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
Ian Brownlee
Narrative Drawing

This workshop will use the figure as a starting point for telling stories. Working with narrative requires us to remember something we knew in childhood: that art is a type of play. This idea will be balanced with instruction in technical drawing skills, including line, texture, shading, and perspective. We’ll draw from a live model with pencil, charcoal, and conté and then add acrylic paint and collage. Individual instruction will help each student find their own creative voice. Although we will cover technique, the emphasis will be on visual communication. Students will leave with one or more large drawings that tell their own stories. All levels.

Studio artist; teaching: Arrowmont (TN), Campbell Folk School (NC); large-scale murals in North Carolina, Tennessee, California, and Oregon; exhibitions: Blue Spiral I (NC), Asheville Art Museum (NC), Brevard College (NC), 311 Gallery (NC), Jack The Pelican Presents Gallery (NYC); work published in New American Paintings.

ianbrownlee.com | @ianbrownlee
Jan 15 – Regular enrollment opens

Ian Brownlee, Deep Forbidden Lake, gouache and pencil on paper, 7 x 11 inches
Ian Brownlee, Deep Forbidden Lake, gouache and pencil on paper, 7 x 11 inches
Posted on

Clay B Summer Session 3

CLAY – SUMMER SESSION 3
June 16-28, 2024 (11 STUDIO DAYS)
A. Blair Clemo
No Rules Mold Making

This approachable and beginner friendly workshop will demystify making and using plaster molds. With an emphasis on exploration and creative problem-solving, we will cover a broad range of techniques for making and using press molds while challenging expectations of what molds can do. A “no rules” approach will simplify mold making and result in versatile molds that can be combined with other forming processes (wheel, coil, slab) to make new and innovative forms. Demonstrations will focus on prototyping, mold making, and utilitarian pottery. We will work at cone 6 with options for oxidation and salt/soda firing. All levels. Lower clay studio.

Associate professor and head of clay at Virginia Commonwealth University; residencies: Northern Clay Center (Minneapolis), Da Wang Culture Highland (China), Zentrum für Keramik (Berlin), Jingdezhen International Studio (China), Archie Bray Foundation Invited Artist Program (MT), International Ceramics Studio (Hungary); work included in more than 130 solo and group exhibitions.

ablairclemo.com | @abcpottery
Jan 15– Regular enrollment opens

A. Blair Clemo, Bowls, cone 6 red stoneware, 4 x 8 x 8 inches each
A. Blair Clemo, Bowls, cone 6 red stoneware, 4 x 8 x 8 inches each