Posted on

May Special Session Wood

Wood – May Special Session
May 1-6, 2022
Jenna Goldberg
The Art of the Bandsaw Box

Bandsaw boxes are a simple way to make wooden box structures without complicated joinery. Students will learn the basics of how to cut, glue, and manipulate the material. We’ll also explore simple surface design treatments such as image transfers, color and painting techniques, texturing, and surface carving. The workshop will include demonstrations of the safe use of machinery as well as how to sharpen chisels and carving tools. Personal explorations of form, surface, and imagery will be encouraged. All levels.

Studio artist, teacher at Rhode Island School of Design; other teaching: Penland, Arrowmont (TN), Haystack (ME), Anderson Ranch (CO); work shown at galleries nationally; collections: Renwick Gallery (DC), Mint Museums (NC).

@jenna43215

Jenna Goldberg, Orange Jewelry Box, painted and carved basswood, screenprinted interior, 5 x 28 x 8 inches
Jenna Goldberg, Orange Jewelry Box, painted and carved basswood, screenprinted interior, 5 x 28 x 8 inches
Posted on

May Special Session Textiles

Textiles – May Special Session
May 1-6, 2022
Amanda Thatch
Handweaving: Foundations and Exploration

This workshop will explore both the practical and poetic aspects of creating unique cloth by hand, an activity that interlaces material, time, and attention. With an emphasis on creating samples, students will get comfortable with the skills of planning a project, winding a warp, dressing a floor loom, and weaving cloth. Along the way we’ll explore why handweaving is relevant in a world of fast fashion, learn about weavers who have come before us, and understand how color, material, and structure can create meaning. Our tools will connect us to the past, and through our work and ideas, we’ll discover the contemporary possibilities of handweaving. All levels; beginners encouraged. Lower textiles studio.

Note: this workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Textile, book, and paper artist; former textile studio coordinator at Penland; teaching: University of Wisconsin-Madison, Arrowmont (TN); fellowships: Winterthur Library and Museum Maker-Creator Fellowship (DE), Penland Core Fellowship; exhibitions: Ruth Davis Design Gallery (WI), Corr Gallery (MT), Turchin Center (NC), Centro de las Artes de San Agustín (Mexico).

amandathatch.com | @amandathatch

Amanda Thatch, Wait (Summer), handwoven cloth, silk, Tencel, natural dyes; warp ikat, 24 x 40 inches
Amanda Thatch, Wait (Summer), handwoven cloth, silk, Tencel, natural dyes; warp ikat, 24 x 40 inches
Posted on

May Special Session Printmaking and Writing

Printmaking and Writing – May Special Session
May 1-6, 2022
Stuart Kestenbaum and Susan Webster
Word and Image

We’ll make images that inspire writing, writing that inspires images, and work that combines the two. Activities will include daily writing and drawing prompts as ways to generate work. Students will learn various low-tech printmaking techniques including gelatin-plate process, direct stencil, and monotype drawing. And we’ll use a variety of tools and techniques, including drawing, painting, and collage, to make image and text components. Formats may include simple book structures and one-of-a-kind pieces. We’ll emphasize experimentation. All levels. Printmaking studio.

Stuart: poet, former director of Haystack (ME), poet laureate of Maine; visiting writer: Penland, Cranbrook (MI), Rhode Island School of Design, Virginia Commonwealth University; author of six published collections of poetry including the recent Things Seem to Be Breaking.

stuartkestenbaum.com | @stukestenbaum

Susan: studio artist; teaching: Haystack (ME), Penland, Center for Contemporary Printmaking (CT), Studio Artworks Center (Jerusalem); developed a model art program in the Maine prison system; exhibitions: Institute of Contemporary Art (Maine College of Art), Maine Jewish Museum.

susanwebster.net | @susanwebsterdeerisle

Stuart Kestenbaum and Susan Webster, Overflow, monotype, letter-stamped text, 22 x 15 inches
Stuart Kestenbaum and Susan Webster, Overflow, monotype, letter-stamped text, 22 x 15 inches
Posted on

May Special Session Metals

Metals – May Special Session
May 1-6, 2022
Ellen Wieske
Hold the Line

Wire is a wonderfully direct material. Using a few tools, it’s possible to make a variety of objects—from jewelry scale to architectural elements—from the same information. We’ll be working with black annealed steel wire, which most resembles a pencil line. Beginning with a brief look at how wire has historically been made, we’ll cover many techniques and highlight working methods based on Slovakian tinkering. 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 working in many materials, deputy director at Haystack (ME); worked in jewelry industry for 18 years as jeweler/stone setter/designer; teaches internationally.

dowstudiodeerisle.com

Ellen Wieske, Basket, steel wire, 5 x 5 x 24 inches
Ellen Wieske, Basket, steel wire, 5 x 5 x 24 inches
Posted on

May Special Session Iron

Iron – May Special Session
May 1-6, 2022
Peter Ross
Three-Legged Smith’s Helper

The smith’s “helper” is an unsung hero, the modest extra hand that’s available at just the right moment. Content to stay out of the limelight, the helper never complains and is always ready when needed. The smith’s helper is a tool, and we will start with two helper designs—one simpler, one more challenging—as we explore various approaches to creating adjustable height and to making tools that are both solid and interesting. Students will also be encouraged to incorporate their own designs and ideas. We may use forge welding, punching, tenons, upsetting, riveting, collars, slitting, scrolls, and assembly: many of the skills used in architectural work, but on a smaller scale. Our emphasis will be on forged components and traditional assembly rather than fabrication. Intermediate/advanced level: basic hand forging and forge welding skill required.

Studio artist; master of the blacksmith shop at Colonial Williamsburg for 25 years; specialist in reproduction 18th and 19th century hardware and tools; teaching: Haystack (ME), Penland, Campbell Folk School (NC), Touchstone (PA), Peters Valley (NJ), Tillers International (MI), New England School of Metalwork (ME); frequent demonstrator at ABANA conferences.

peterrossblacksmith.com

work by Peter Ross
Peter Ross, Three-Legged Smith's Helper, forged steel
Posted on

May Special Session Glass

Glass – May Special Session
May 1-6, 2022
Sibelley
Blown to Fruition

This workshop will focus on figurative, hollow sculpting in flameworked glass. The goal is to develop characters from sketches into physical objects. Whether you are a beginner or have some experience, you’ll leave with a piece that speaks to you. Bring a sketchbook and ideas for your characters! All levels. Flameworking studio. 

Studio artist; flameworker for Neptune Glassworks (Los Angeles); upcoming workshop teaching: Pilchuck (WA), SnowFarm (MA), The Glass Furnace (Turkey); work marketed through Instagram; flameworking performances for various clients including Carhartt, Von Miller, and Flow Kana. 

sibelley.com. | @sibelley

Sibelley, Motoko: Ghost in the Shell, borosilicate glass, 23k gold luster; sandblasted, coldworked, 7 x 4-1/2 x 3 inches
Sibelley, Motoko: Ghost in the Shell, borosilicate glass, 23k gold luster; sandblasted, coldworked, 7 x 4-1/2 x 3 inches
Posted on

May Special Session Drawing and Painting

Drawing and Painting – May Special Session
May 1-6, 2022
René Marquez
Mixed-Media Memories/Personal Narratives

This concept-based workshop will explore the use of mixed-media drawing and painting to tell personal stories and explore individual narratives. We’ll emphasize the development and exploration of personal lexicons. We’ll work with dry and wet drawing materials plus acrylic paint. Students can paint on canvas, create drawings on paper, or try other formats. Bring photographs and other source materials to work with; these will be the point of departure for our work. All levels.

Professor of art and design at University of Delaware; other teaching: Haverford College (PA), University of Pennsylvania; residencies: Banff Centre (Alberta), Des Moines Art Center (IA), Vermont Studio Center, Duntog Foundation (Philippines); exhibitions: Cultural Center of the Philippines, Bronx Museum of the Arts (NYC), International Center of Photography (NYC), Delaware Art Museum, West Gallery (Philippines).

renejmarquez.com

René Marquez, Faerie Dogs, acrylic and oil on unstretched canvas, 72 x 96 inches
René Marquez, Faerie Dogs, acrylic and oil on unstretched canvas, 72 x 96 inches
Posted on

May Special Session Clay

Clay- May Special Session
May 1-6, 2022
Kurt Anderson
Don’t Sweat the Technique

This workshop will focus on surface decoration and various techniques used to give your pottery a rich and vibrant surface. Students will be encouraged to develop their own personal iconography through the use of mishima, sgraffito, and simple brush painting. We’ll also spend time exploring simple methods of creating plates, trays, and small platters, either through wheelthrowing or slab construction. A moderate understanding of ceramic processes will be helpful, but this workshop is open to students of all levels. Upper clay studio. 

Studio artist; residencies: Watershed (ME), Archie Bray Foundation (MT), Penland Winter Residency, Fergus Post-MFA Fellow at The Ohio University.

@kurtandersonpottery

Kurt Anderson, Oval Flask with Dog, stoneware, slip, underglaze, glaze, 12 x 7 x 3 inches
Kurt Anderson, Oval Flask with Dog, stoneware, slip, underglaze, glaze, 12 x 7 x 3 inches
Posted on

May Special Session Books

Books and Paper – May Special Session
May 1-6, 2022
Brian Chan
Origami: Theory and Craft

Starting with traditional origami models such as the crane, frog, and iris, we’ll follow the progression of this art form up to the latest creations and techniques pioneered by modern folders. I’ll present my own work as examples and delve into the design process as we spend time understanding the geometry of origami crease patterns, exploring folding techniques, and learning about the use of different papers for different styles. Students will have the opportunity to design and fold their own models. All levels. Books studio.

Studio artist working in origami, illustration, digital sculpting, and 3D printing; teaching: MIT Hobby Shop (MA); special guest at origami conventions in Japan, Korea, Italy, Spain, Peru, and Bolivia; exhibitions: Origami House (Japan), Peabody Essex Museum (MA); diagrams published by Japan Origami Academic Society.

brianchandesigns.com | @brianchandesigns

Brian Chan, Oak Leaf, handmade Origamido paper, 6 x 3 x 1/2 inches
Brian Chan, Oak Leaf, handmade Origamido paper, 6 x 3 x 1/2 inches