Posted on

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
Posted on

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
Posted on

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
Posted on

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
Posted on

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
Posted on

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
Posted on

Spring Short Session Glass

Glass – Spring Short Session
April 28 – May 3, 2024 (4 studio days)
Wesley Fleming and Emilio Santini
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

Emilio: studio artist from a Venetian family with more than 500 years of glassblowing tradition; teaching: Pilchuck (WA), The Studio at Corning (NY), Pittsburgh Glass Center, Penland, Virginia Commonwealth University; collections: Corning Museum (NY), Ca’Pesaro Museum of Modern and Contemporary Art (Venice), Sheffield Museum (England), Chrysler Museum (VA).
santiniemilio.com | @emilio.santini.art.and.design

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
Emilio Santini, Perseus, glass, 19 x 4 x 4 inches
Emilio Santini, Perseus, glass, 19 x 4 x 4 inches
Posted on

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
Posted on

Wood Spring Concentration

Wood Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Ellie Richards
Freeform Furniture

Using furniture and functionality as our muse, this workshop will use traditional techniques to create compelling and imaginative objects that communicate ideas and feelings beyond their utility. We’ll cover traditional methods of processing, joining, bending, and carving wood to make sculptural furniture forms. A variety of surface explorations and wood finishes will be presented, and the use of alternative materials (leather, cork, felt) along with high-quality hardware will be encouraged. Through a cycle of playing and building, students will strengthen their voice while working to question convention, break free of archetypes, and explore the abstract. By the end of the session, Freeform Furniture will take on a shape all its own. All levels. 

Studio artist; teaching: Yestermorrow (VT), Appalachian Center for Craft (TN), Haystack (ME), Penland; residencies: Center for Art in Wood (ME), San Diego State University (CA), University of Wisconsin-Madison, former Penland Resident Artist; exhibitions: Mint Museum (NC), Center for Craft (NC), SOFA Chicago, Society of Contemporary Craft (Pittsburgh).

ellie-richards.com | @ellieinthewoods

Ellie Richards, New Heights, chainsaw sculpted, polychromed red oak, shellac, 48 x 44 x 24 inches
Ellie Richards, New Heights, chainsaw sculpted, polychromed red oak, shellac, 48 x 44 x 24 inches
Ellie Richards, Wishbone Bench V, sawmill offcut spalted maple, milk paint, 18 x 36 x 12 inches
Ellie Richards, Wishbone Bench V, sawmill offcut spalted maple, milk paint, 18 x 36 x 12 inches
Posted on

Textiles Spring Concentration

Textiles Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Andrea Donnelly
Weaving Alchemy

Delve deep into your personal artistic language through handwoven cloth and creating artwork with textile processes. After we cover basic weaving techniques we’ll be off to discover what magic we can make with the loom. We’ll experiment with nontraditional interventions such as unweaving and on-loom painting, explore the possibilities of immersion dyeing, and paint on thread and cloth. Off the loom, our woven cloth will become raw material as you learn to stabilize, layer, and assemble handwoven elements to create collage-style work. Come prepared to weave your booty off! All levels. Lower textiles studio. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift. 

Studio artist; teaching: Virginia Commonwealth University; exhibitions: Reynolds Gallery (VA), 1708 Gallery (VA), North Carolina Museum of Art, Mint Museum (NC), Museum Rijswijk (Netherlands); collections: North Carolina Museum of Art, Virginia Museum of Fine Art, Capital One (VA), Dominion Energy (VA); representation: Reynolds Gallery (VA).

andreadonnelly.com | @andreadonnellyart

Andrea Donnelly, Green Spaces, handwoven cotton, dye, pigment, PVA, cotton backing, 42-3/4 x 33-1/2 inches
Andrea Donnelly, Green Spaces, handwoven cotton, dye, pigment, PVA, cotton backing, 42-3/4 x 33-1/2 inches
Posted on

Print & Letterpress Spring Concentration

Printmaking Spring Concentration
March 3 – April 26, 2024
Jamaal Barber
Relief Printing

Dive into the beautiful world of relief printmaking! Learn to design, carve, and print expressive woodcuts and linocuts. Starting with single-color images, we’ll cover the basics of mark-making, tool safety, using the press, and editioning. Then we can build more complex images using multiple blocks, multiple colors, color gradients, laser cutting, and other advanced techniques. As we progress, we’ll discuss traditional and contemporary printmaking from Kathe Kollowitz and Picasso to Elizabeth Catlett and Steve Prince. Students can expect to finish two or three editioned prints, with the potential for many more print variations with experimentation and collaboration. All levels. Printmaking studio.

Studio artist, podcaster (Studio Noize); participant in The Exhibit on MTV and Smithsonian Channel; teaching: Atlanta Printmakers Studio, visiting lecturer at Georgia State University; exhibitions: Samford University (AL), Public Works (SC), Mint Gallery (GA), representation: ZuCot Gallery (GA). 

jbarberstudio.com | @jbarberstudio

Jamaal Barber, Something Wonderful, linocut, collage, 18 x 12 inches
Jamaal Barber, Something Wonderful, linocut, collage, 18 x 12 inches
Posted on

Metals Spring Concentration

Metals Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Lola Brooks
All You Can Eat: The Blue Plate Special

This workshop will be a feast of technical and conceptual investigation in the metals studio. Students will have the opportunity to explore a wide variety of techniques while working toward a deeper understanding of their own interests in making small objects and jewelry. Focusing on fabrication, we’ll whet our appetites by investigating hollow and wire construction, repetitive elements as structure, forming, mechanisms, and stonesetting. We’ll continue the tasting menu with a week of wax carving and lost-wax casting with guest instructor Suzanne Pugh. Finally for dessert, we’ll sample the delights of color as we explore the basics of working with vitreous enamel. 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.

This workshop takes place in a ground-level studio with compromised access. It is made partially accessible by a stair lift. 

Studio artist; teaching: University of Georgia, Cranbrook (MI), Rhode Island School of Design, University of the Arts (Philadelphia); collections: Rhode Island School of Design Museum, Yale University Art Gallery (CT), Museum of Arts and Design (NYC), Metropolitan Museum (NYC); representation Sienna Patti Contemporary (MA).

@dolorescanard

Lola Brooks, Narcissuses, stainless steel chain, 14k solder, mid-20th century shell cameos, coral, stainless steel, 14k gold, 2 x 2-1/4 x 1-1/4 inches
Lola Brooks, Narcissuses, stainless steel chain, 14k solder, mid-20th century shell cameos, coral, stainless steel, 14k gold, 2 x 2-1/4 x 1-1/4 inches
Posted on

Iron Spring Concentration

Iron Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Anna R. Koplik
Tongs, Hammers, and Other Slammers

This workshop will explore the self-sufficient nature of blacksmithing as students make a series of tools. Each tool will aid in the creation of the next and this series of projects will help develop basic forging skills. We’ll make hammers, tongs, top tools, power hammer tooling, bending forks and jigs, and more. The workshop structure will allow students to make tools to suit their interests, culminating in making functional or sculptural projects of their own design. Demonstrations will focus on refining forging technique, proper heat treatment, and finishing. We’ll work to understand how form and function go hand in hand. Expect lots of hand hammering, striking with sledgehammers, power hammer work, a welcoming and inclusive environment, and breaks for dance parties. All levels.

Artist fellow at Peters Valley (NJ), journeyman architectural blacksmith, tool and utensil maker; teaching: Penland, Touchstone (PA), Peters Valley (NJ), Haystack (ME), Center for Metal Arts (PA), Campbell Folk School (NC), Desert Metal Craft (AZ), Brookfield (CT), She-Weld (NY), Dragons Breath Forge (CT); recent exhibition: Penland Gallery.

annarkoplik.com | @arkoplik

 

Anna R. Koplik, Hammers and Tongs, forged steel, wood, dimensions variable
Anna R. Koplik, Hammers and Tongs, forged steel, wood, dimensions variable
Posted on

Glass Spring Concentration

Glass Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Granite Calimpong
Building a Strong Foundation

This workshop is about exploring functional forms as you build a strong foundation of fundamental glassblowing skills. Starting with simple drinking vessels, we’ll cover gathering, marvering, working on center, body position, and movement through the shop. From there we’ll move on to bowls, plates, vases, and other more challenging forms and work through more advanced techniques, including optic molds, color applications, bit work, and handles. This workshop will be about steady improvement that will enable you to produce functional objects for use and enjoyment. All levels. Hot glass studio.

Studio artist; teaching: University of Washington, Pilchuck (WA), Haystack (ME), Penland, Pittsburgh Glass Center; recent exhibitions: Traver Gallery (Seattle); The Jam Factory (Australia); residencies: Museum of Glass (WA), Pilchuck (WA), Northlands Creative Glass (Scotland), Pittsburgh Glass Center, Pottery Northwest (Seattle).

granitecalimpong.com

Granite Calimpong, Saltillo, glass, vitrolite, 12 x 10 inches
Granite Calimpong, Saltillo, glass, vitrolite, 12 x 10 inches
Posted on

Clay Spring Concentration

Clay Spring Concentration
March 3 – April 26, 2024 (8 Weeks)
Cynthia Bringle
Basics and Beyond

This workshop will be about starting from where you are and getting to the next stop along the way. Whatever your level of experience, it’s always good to review and learn more ways to make handles that function, lids that fit, and pitchers that pour. We’ll do lots of work on forms and options for decoration, including brushwork, glazes, and carving. We’ll work with stoneware, and together we’ll load and fire various kilns. Studio and gallery visits will give you a chance to see different approaches to pottery, studio set-up, and ways of selling. Guest instructor Julie Wiggins will add her perspective by leading the workshop for one week. The ability to center clay and pull a 6-inch cylinder will be helpful, but the workshop is open to all levels. Upper clay studio.

Studio potter and workshop teacher; teaching: Arrowmont (TN), Anderson Ranch (CO), Campbell Folk School (NC), Penland; fellow and trustee emeritus of the American Craft Council, North Carolina Award for Fine Arts, honorary doctorate from Memphis College of Art; collections: Mint Museum (NC), High Museum (GA), Gregg Museum (NC), Fuller Craft Museum (MA), Asheville Museum of Art (NC).

cynthiabringlepottery.com | @cynthiabringle

Cynthia Bringle, Fish Jar, stoneware, 20 x 12 x 12 inches
Cynthia Bringle, Fish Jar, stoneware, 20 x 12 x 12 inches