Category: Workshops by Session

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Metals B Summer Session 1

METALS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Sarah Doremus
The Stories We Tell

Much of art is about storytelling, and everyone has a story. This workshop will explore techniques for creating objects that express your story. You will start with a keepsake—a button, your child’s tooth, or a rock from a favorite place—that you will transform into something wonderful by integrating it into a piece of jewelry. We will work with copper, silver, and brass and employ cold connections, including rivets, tabs, prongs, screws, and resin. We will experiment with galvanic etching to transfer words and images to metal and use diamond drills to integrate stone and glass. Finished pieces do not have to be jewelry, but we will strive to create compositions that tell stories in wearable forms. Beginning level. Lower metals studio. 

Studio artist, elementary school art teacher; other teaching: Peter’s Valley (NJ), Arrowmont (TN), Metalwerx (MA), Idyllwild (CA), Penland; exhibitions: Reinterpreting the Kylix (traveling), Metal Museum (TN); collection: Arkansas Art Center; publications: Lark 500 series, Humor in Craft. 

sarahdoremus.com
January 15 – Regular enrollment opens

Sarah Doremus, Barbie Meets Sisyphus, sterling silver, Barbie hand, cubic zirconia, cork, 5 x 1 x 3 inches
Sarah Doremus, Barbie Meets Sisyphus, sterling silver, Barbie hand, cubic zirconia, cork, 5 x 1 x 3 inches
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Metals A Summer Session 1

METALS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Everett Hoffman
Sitting and Setting 

Explore all the ways that metal and nonmetallic materials can be used to create one-of-a-kind settings that will hold your precious materials—from gemstones to found objects. We will cover the basic steps for making prong, tab, and flush settings, as well as settings made with alternative materials. We will also explore ways to set odd-shaped stones and objects. Students will learn and expand on the techniques of soldering, cutting, and finishing, and will leave with one or two completed pieces. 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, curator, writer; teaching: Rhode Island School of Design, Appalachian State University (NC), Virginia Commonwealth University; residencies: Arrowmont (TN), Baltimore Jewelry Center, Penland Resident Artist Program; exhibitions: Virginia Museum of Contemporary Art, Contemporary Craft Museum (Pittsburgh), Soil Gallery (Seattle), Benaki Museum (Athens); writing published in Metalsmith and Art Jewelry Forum; work featured in Metalsmith and Jewelry and Metalsmithing Survey.

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

Everett Hoffman, I Believe in You, bronze, vintage rhinestones, light fittings, 12 x 12 x 4 inches
Everett Hoffman, I Believe in You, bronze, vintage rhinestones, light fittings, 12 x 12 x 4 inches
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Iron Summer Session 1

IRON – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Erica A. Meier 
Decorative Utensils for Daily Life

We use utensils every day; they decorate our homes, evoke memory, and are passed down as heirlooms. Using etched steel and brass sheet, along with basic forging and fabrication techniques, each student will create a pair of utensils for daily life. These may be spatulas, strainers, choppers, or sculptural utensils. We will cover many fundamental techniques including cold and hot forming (forging, sinking, basic sheet fabrication), cold and hot connections (riveting and brazing), and finishing (sanding, filing, texturing). Decorative, custom-etched steel plates will be provided for student use. This workshop will give you the foundational skills and confidence you need to work productively with steel and make quality objects. Beginning level.

Studio artist, faculty and tech/safety coordinator at University of Wisconsin-Milwaukee (WI); previous designer and frame builder at Waterford Precision Cycles (WI),  Rally America co-driver; residencies: Arrowmont (TN), Haystack (ME), Waterford Precision Cycles (WI); recent exhibitions: The Baconsin (NC), Innova Gallery (WI).

ericaameier.com | @ericaameier_artist 
January 15 – Regular enrollment opens

Erica A. Meier, Spill, etched steel, forged brass, 17 x 7 x 1-3/4
Erica A. Meier, Spill, etched steel, forged brass, 17 x 7 x 1-3/4
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Glass B Summer Session 1

GLASS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Wayne Strattman and David Wilson
Plasma, Neon, and Beyond

This workshop is for artists interested in creating neon and plasma light sculptures. We will start with basic theory and then dive straight into flameworking techniques geared toward making lighted sculpture. We will cover the basic glass working techniques with borosilicate, fill our sculptures with gasses, discuss plasma and neon power supplies, and provide vendor information for all the equipment. This workshop will not include traditional neon tube bending. All levels. Neon studio. 

Wayne: studio artist, engineer, designer, author and owner of Strattman Design, the leading maker of plasma displays for museums, trade shows and movie companies worldwide; teaching: Pilchuck (WA), The Studio at Corning (NY), UrbanGlass (NYC), Penland; editor of the 4th edition of Neon Techniques; Handbook of Neon Sign and Cold Cathode Lighting, author of The Art of Plasma.

strattman.com | @strattman_design

David: studio artist with 40 years of glassblowing experience; teacher of multiple Penland neon workshops; producer of Glo-glass fluorescent glass; experimenter in neon and plasma combined with hot glass; also operates Atomic Solar Energy, a full service renewable energy company. 

Here’s a video of one of David’s plasma pieces in action.

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

Wayne Strattman, Mesmer #2 EM Color Fields, flameworked borosilicate glass, xenon gas, phosphors, 24 x 8 x 8 inches
Wayne Strattman, Mesmer #2 EM Color Fields, flameworked borosilicate glass, xenon gas, phosphors, 24 x 8 x 8 inches
David Wilson, David Smith, and students, Full-Spectrum Project at Penland, neon
David Wilson, David Smith, and students, Full-Spectrum Project at Penland, neon
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Glass A Summer Session 1

GLASS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
MiNHi England
Blow Your Mind: A Beginner’s Guide to Glassblowing

In this introductory workshop you will learn the fundamentals of glassblowing and gain the skills needed to create your own unique glass objects. We will start with the basics of gathering and shaping molten glass and then progress to blowing bubbles, adding color, and creating patterns. With hands-on practice and close instruction, you’ll leave with new skills and a new appreciation for the art of glassblowing. Beginning level. Hot glass studio.

Studio artist; featured in Season 3 of the Netflix series Blown Away; teaching: Pilchuck (WA), Ox-Bow (MI), Pratt Fine Arts Center (Seattle), Seattle Glassblowing Studio; residencies: Museum of Glass (WA), Hauberg Resident Artist Fellowship (WA), Pittsburgh Glass Center; recent exhibitions: Habatat Gallery (MI), Pittsburgh Glass Center, METHOD Gallery (Seattle), Seattle Art Fair, Pilchuck Exhibition Space (Seattle), Bellevue Arts Museum (WA).

minhi.com | @m.i.n.h.i
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

MiNHi England and Jesse England, Magnetic Growth, blown glass, copper wire, steel, magnets, 7 x 6 x 6 inches
MiNHi England and Jesse England, Magnetic Growth, blown glass, copper wire, steel, magnets, 7 x 6 x 6 inches
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Drawing & Painting Summer Session 1

DRAWING/PAINTING/BOOKS – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Hollie Chastain
The Mixed-Media Memoir

This workshop will explore the practice of visual storytelling using a range of mixed-media techniques. Each student will stitch a simple book and then fill it with stories as we explore different ways to represent them visually. We will cover illustration skills and visual composition as well as technical demonstrations of spray paint, mark making, embroidery, and layering techniques you can use to bring your memoir to life. When the workshop finishes, you will be on a path to continue working on your memoir. Bring materials from home to incorporate into the project. All levels. Drawing and painting studio.

Studio artist, Illustrator; publications: Create Magazine, Colossal, Gestalten Books, Smithsonian; teaching: Arrowmont (TN), Townsend Atelier (TN), San Diego Book Arts (CA), Cambridge Art Association (MA), Penland; exhibitions: The Arts Company (Nashville), Kentuck Art Center (Tuscaloosa); author of If You Can Cut You Can Collage (Quarto Press).

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

Hollie Chastain, Memoir Study 1, paper, mylar, pen, 18 x 9 inches
Hollie Chastain, Memoir Study 1, paper, mylar, pen, 18 x 9 inches
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Clay B Summer Session 1

CLAY – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Tina Curry
Creative Animal Sculpture

This workshop will cover the process of creating animal sculptures based on accurate anatomy and proportions. We will use photographs as reference, learning how to interpret them and how to make or find images that will be most useful. We will work with basic clay techniques: slab, pinch, and simple armatures and explore how to make skin, hair, and fur. The animal forms will require 2-3 weeks of slow drying before firing, so I will discuss finishing techniques and provide instructions for drying and firing at home. Students will also be able to create and fire some relief tiles. The workshop is designed for students new to sculpture and for teachers who wish to learn new sculpting techniques. Beginning level. Lower clay studio.

Studio artist; teaching: Arrowmont (TN), Campbell Folk School (NC), Village Potters Clay Center (NC); representation: Jeanie Edwards Fine Arts Gallery (NC), Southern Highland Craft Guild (NC), Highlands Craft Gallery (TN); collections: Arrowmont School of Arts and Crafts (TN), Foothills Ceramic Arts Museum (CA); publications: Ceramics Monthly.

curryoriginals.com | @tinasculptress
Jan 15 – Regular enrollment opens

sculpture by Tina Curry, African Wild Dog, stoneware; raku fired with underglaze and clear crackle glaze, 9 x 14 inches
Tina Curry, African Wild Dog, stoneware; raku fired with underglaze and clear crackle glaze, 9 x 14 inches
Portrait of Tina Curry with dog sculpture
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Clay A Summer Session 1

CLAY – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Wei Sun
Potter’s Wheel Magic

Discover the magic of wheel-thrown pottery in this four-day workshop. We will walk through the pottery making process step by step: wedging, centering, shaping, trimming, and decorating. At the end of the workshop, you will take home your own unique pottery pieces (unglazed). This workshop is perfect for beginners as well as potters with some experience who want to revisit basic skills. Join us for a fun and inspiring pottery adventure, and unleash your creativity at the wheel. Bisque fire only. Beginning level. Upper clay studio.

Studio artist; teaching: Raleigh Pullen Art Center (NC), North Carolina State University Craft Center; collections: Cedar Creek Gallery (NC), GreenHill Center for North Carolina Art, Grovewood Gallery (NC), Penland Gallery.

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

Wei Sun, Bamboo Steins, stoneware, slip, salt glaze, 6 x 3 x 3 inches
Wei Sun, Bamboo Steins, stoneware, slip, salt glaze, 6 x 3 x 3 inches
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Books & Paper P Summer Session 1

PAPER – SUMMER SESSION 1
May 26-31, 2024 (4 STUDIO DAYS)
Heather Peters
Handmade Paper: Surface and Object

This workshop will begin by processing a variety of fibers to make Western-style paper. Using a Hollander beater to break down fibers, we will explore various ways to form sheets. This will be followed by an in-depth, practical analysis of drying techniques. Then we will dive into an exploration of pigments, natural dyes, and other color techniques both wet and dry paper. The outcome will be beautiful, individualized sheets and standalone paper art pieces with an ethereal, elemental presence. Looking at paper through a historical lens, we will talk about the importance of creating unique substrates and discuss ways of bringing papermaking into a variety of studio practices and set-ups. This workshop is perfect for new papermakers, and it will also be informative for those with experience. Beginning level. 

Studio artist; teaching: Magnolia Editions (CA), San Diego State University (CA), Palomar College (CA), ArtCenter College of Design (CA), Occidental College (CA); residencies: Kala Art Institute (CA), Wells College AIR (NY); collections: University of California Berkeley Environmental Design Library, Scripps College (CA), Lucid Art Foundation (CA); publications: Degrees of Innovations (San Francisco Center for the Book), Adaptation: Artist Books for a Changing Environment (UC Berkeley Environmental Design Library), Wings of the Mill (Super Classy Publishing).

hapeters.com | @society_of_hermits
January 15 – Regular enrollment opens

Heather Peters, Deckled Edges, details of handmade paper with chromatography experiments
Heather Peters, Deckled Edges, details of handmade paper with chromatography experiments
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Spring Short Session Wood

Wood – Spring Short Session
April 28 – May 3, 2024 (4 studio days)
J. Bud Smith
Woodcarving: A Cherokee Perspective

During this workshop students will learn the unique characteristics of the Cherokee style of carving, including technical, historical, and cultural information. We’ll cover safety; basic chisel, knife, and finishing techniques; Cherokee stylistic techniques; and the fundamentals of creating a wood sculpture from start to finish. The workshop will also include introductions to Cherokee carvers throughout history, giving students an understanding of the evolution of Cherokee woodcarving from meeting the utilitarian needs of the past to becoming a contemporary art form. All levels.

Studio artist and educator; teaching: Oakland City University (IN), Museum of the Cherokee Indian (NC), and at the high school level; exhibitions: Santa Fe Indian Market (NM), Heard Museum (AZ), Eiteljorg Museum (IN), Red Earth Show (OK), Cherokee Art Market (OK); member of the Eastern Band of Cherokee Indians. 

jbudart.com 

J. Bud Smith, The Kiss, buckeye, walnut, 30 x 8 inches
J. Bud Smith, The Kiss, buckeye, walnut, 30 x 8 inches
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Spring Short Session Textiles

Textiles – Spring Short Session
April 28 – May 3, 2024 (4 studio days)
Martha Clippinger
Intuitive Geometries

This quilting workshop will encourage students to use their intuition rather than planning and making a quilt with predetermined patterns and precise cutting. We’ll study our fabrics, noting their colors and textures, and consider potential arrangements. During the process of piecing, students will divide, add, split, shift, flip, and turn their compositions into new designs. The broken patterns and irregular symmetries of these intuitive geometries will produce quilts that are full of color, texture, and most of all, rhythm. Given the brevity of the session, students may want to create a wall hanging rather than a bed-sized quilt. All levels. Upper textiles studio. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift. 

Studio artist; teaching: Penland, Duke University (NC), Drew University (NJ), Fordham University (NY); collections: Columbus Museum (GA), Nerman Museum of Contemporary Art (KS), Truist (NC); residencies/fellowships: Kohler Arts and Industry (WI), Fulbright (Mexico), MacDowell Colony (NH); representation: Elizabeth Harris Gallery (NYC), Hodges Taylor (NC).

marthaclippinger.com | @marthaclippinger

Martha Clippinger, Spiral, machine-pieced and hand-quilted reclaimed fabrics, 69 x 62 inches
Martha Clippinger, Spiral, machine-pieced and hand-quilted reclaimed fabrics, 69 x 62 inches
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Spring Short Session Printmaking

Letterpress – Spring Short Session
April 28 – May 3, 2024 (4 studio days)
Jenn Graves
Printing, Books, and Boxes, Oh My!

This workshop will start by covering the fundamentals of letterpress printing on the Vandercook press, giving students an opportunity to set and print both metal and wood type. We’ll explore other matrices and techniques—linocuts, legos, pressure printing—and alternate substrates such as bookcloth. And we’ll learn folded, adhesive, and sewn book structures. Students can expect to complete several letterpress-printed books and, if time permits, construct a clamshell box. Experimentation and collaboration will be encouraged. All levels. Letterpress studio.

Studio artist; teaching: Otis College of Art and Design Extension Program (CA), International Printing Museum (CA); exhibitions: Love Letters Pride,Ink on Paper Letterpress Showcase (CA), Reverting to Type: Protest Posters at Standpoint Gallery (London); collections: Escalette Permanent Art Collection (CA), University of Washington Libraries (WA); residencies: The International Printing Museum (CA), InCahoots (CA).

scrapscollective.com | @jenngraves

Watch this process video about Jenn’s Vote.

Jenn Graves, Vote, letterpress-printed wood type on paper
Jenn Graves, Vote, letterpress-printed wood type on paper
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Spring Short Session Papermaking

Papermaking – Spring Short Session
April 28 – May 3, 2024 (4 studio days)
SR Lejeune
What a Relief: Techniques for Pulp Casting

Using experimental casting processes rooted in hand papermaking techniques and the distinct properties of different fibers, students will learn to record dimension, texture, surface, and form with paper pulp. We’ll begin with basics such as fiber processing in the Hollander beater and sheet forming and then apply these skills to a variety casting methods, such as embossing with the hydraulic press and vacuum table; laminate-casting of objects with high-shrinkage fibers; and packing low-relief, miniature, and found moulds. Through material exploration, this experimental workshop will emphasize the unique possibilities of various paper pulps as casting media. We’ll cover ways of working applicable to both professional and improvisational studio contexts. All levels. 

Studio artist; MFA in sculpture from Yale School of Art (CT); former Penland core fellow; teaching: Women’s Studio Workshop (NY), Dieu Donné (NYC); solo exhibitions: AS220 Reading Room (RI), Sculpture Center (Cleveland), Green Galleries at Yale School of Art (CT). 

sarahroselejeune.com

SR Lejeune, detail of A Floor for Laurel, cast handmade paper in cotton and abaca, complete installation: 135 x 140 inches
SR Lejeune, detail of A Floor for Laurel, cast handmade paper in cotton and abaca, complete installation: 135 x 140 inches
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Spring Short Session Metals

Metals – Spring Short Session
April 28 – May 3, 2024 (4 studio days)
Eliana Arenas
Pop, Pop, Pop!

Students in this workshop will experiment with nontraditional coloring techniques and create a wearable jewelry piece. We’ll embrace low-cost color treatments such as powder coating, flocking, spray paint, colored pencils, and alternative materials to create rich, engaging jewelry—no need for expensive equipment. Demonstrations will include sawing, filing, cold connections, soldering, and tab settings. All levels. Lower metals studio. 

Studio Artist: teaching: Arrowmont (TN), Winthrop University (SC), New Mexico State University, University of Texas at El Paso, Universidad Autónoma de Ciudad Juárez (Mexico): published in the Compendium Finale of Contemporary Jewellers, 500 Pendants and Lockets, 500 Earrings, 500 Necklaces, 1000 Rings, and 500 Paper Objects; representation: Ombré Gallery (OH), Baltimore Jewelry Center (MD).

eliarenas.com | @eliarenasjewelry

Eliana Arenas, Composition #2, oxidized sterling silver, brass, tin can, spray paint, rubber cord, silk thread, powder coating, 4 x 3 x 1/4 inches
Eliana Arenas, Composition #2, oxidized sterling silver, brass, tin can, spray paint, rubber cord, silk thread, powder coating, 4 x 3 x 1/4 inches
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Spring Short Session Iron

Iron – Spring Short Session
April 28-May 3, 2024 (4 Studio Days)
Addison de Lisle
Leaf it to Me: Botanical Candlesticks

Candlesticks are a great way to explore the sculptural potential of ironwork while keeping a toe in the functional world. This workshop will walk students through the process of forging botanical-style candlesticks that take advantage of the organic qualities of forged iron. Along the way we’ll get comfortable with using forge-welding to make visually exciting pieces from simple parts. Other blacksmithing techniques will include drawing down, bending, upsetting, hot cutting, and drifting. This workshop will be of use to beginners looking to develop their technique as well as experienced students interested in pushing their design skills. All levels. 

Studio artist; former professor of blacksmithing at American College of Building Arts (SC); workshop teaching: Haystack (ME), Appalachian Center for Craft (TN), Center for Metal Arts (PA), University of Southern Illinois-Carbondale; exhibitions; Metal Museum (TN), Institute for Contemporary Art (ME), Wayne Art Center (PA).

addisondelisle.com | @de_lisle_iron

Scholarship application deadline is August 15.
Regular enrollment begins October 2.

Addison de Lisle, Botanical Candlesticks II, mild steel, 15 x 5 x 5 inches
Addison de Lisle, Botanical Candlesticks II, mild steel, 15 x 5 x 5 inches
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Spring Short Session Glass

Glass – Spring Short Session
April 28 – May 3, 2024 (4 studio days)
Wesley Fleming
Bugs, Figures, Plants, and Beyond

Using soft glass, you will learn through demonstration, discussion, and practice to sculpt at the torch using the “Italian Technique.” We’ll show you how to create bugs, flowers, bodies, and fantastical objects without continuously reheating finished parts of the object, working from one side of your creation to the other as it cools. You will learn how to prepare components and assemble them cold in the flame without cracking. We’ll cover heat control, shaping, fine details, and proper annealing as we work through the meditative process that is flameworking. All levels. Flameworking studio.

Wesley: Studio artist; teaching: The Studio at Corning (NY), Kobe Lampwork Museum (Japan), Penland, Snow Farm (MA); collections: Corning Museum (NY), Racine Art Museum (WI), Tacoma Museum of Glass (WA); publications: American Art Collector, Make, numerous glass magazines, several Schiffer books.
wesleyfleming.com | @vetropod

Wesley Fleming, Yellow Star Grass, hot sculpted glass, adhesive, 1 x 3 x 7 inches
Wesley Fleming, Yellow Star Grass, hot sculpted glass, adhesive, 1 x 3 x 7 inches
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Spring Short Session Clay

Clay–Spring Short Session
April 28 – May 3, 2024 (4-studio days)
Liz Zlot Summerfield
Developing Depth with Handbuilt Slab Pots

This workshop will demystify working with soft slabs and offer the essential components for creating unique slab-built pots. Students will begin with simple functional forms and expand to include components such as lids, feet, and spouts. Surface techniques will include stamping, slip trailing, and stenciling in conjunction with terra sigillata, underglaze, and glaze. Students can expect to leave with many new skills, several unfired pots, and a set of finished tiles fired at low-fire and mid-fire temperatures. This workshop will provide one-on-one interaction in a supportive, positive environment where experimentation is encouraged and individual development is nurtured. All levels. Lower clay studio.

Studio artist; teaching: Mars Hill University (NC), Penland, Arrowmont (TN), Idyllwild Art Center (CA), Double Island Studio (NC); representation: Clay AKAR (IA), Schaller Gallery (MI), Penland Gallery; collections: Mint Museum (NC), Ceramics Monthly; publications: Beginners Guide to Hand Building, Terra Sigillata: Contemporary Techniques, A Studio Handbook; DVD: Hand Built Forms with Soft Slabs.

lzspottery.com | @lizzlotsummerfield

Liz Zlot Summerfield, Floral Cream and Sugar Set, earthenware, terra sigillata, underglaze, glaze, wire, 6 x 3 x 4 inches
Liz Zlot Summerfield, Floral Cream and Sugar Set, earthenware, terra sigillata, underglaze, glaze, wire, 6 x 3 x 4 inches