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Wood Summer Session 7

Wood Summer Session 7
August 14–19
Geoffrey Gorman
Finding the Soul of Lost Materials

This workshop will encourage students to experiment with innovative and intuitive ways of creating structures and forms using organic, found, and recycled materials. Employing unusual techniques developed by the instructor, each student will complete several forms. Students are invited to think about shapes and forms that hold particular interest for them and bring those ideas to the workshop along with some of their favorite cast-off materials. This workshop will be of value to beginners seeking an introduction to creating curious objects as well as experienced makers who want to reach the next level and break out of their comfort zone. All levels. 

Studio artist; teaching: Arrowmont (TN), Peter’s Valley (NJ), Penland; collections: New Mexico Arts Commission, Kamm Teapot Collection (NC), Racine Art Museum (WI), Center for Contemporary Art (Santa Fe); publications: American Craft, American Style, New York Post, Southwest Art, Cloth, Paper, Scissors; representation: Giacobbe Fritz Gallery (Santa Fe). 

geoffreygorman.com | @geoffreygorman

Geoffrey Gorman, Silent Flight, mixed media, found objects, 36 x 32 x 10 inches
Geoffrey Gorman, Silent Flight, mixed media, found objects, 36 x 32 x 10 inches
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Textiles B Summer Session 7

Textiles Summer Session 7
August 14–19
Karen Hampton
Strip-Woven Storytelling

Everyone has a story and the act of storytelling is healing for both the teller and the audience. In this workshop, inspired by the Kenté cloth weavers of Ghana, we’ll blend storytelling and weaving using shapes and symbols on painted warps that will be woven into long strips and then sewn together to create beautiful, woven designs. We’ll create imagery and pattern on warps through painting, dyeing, printing, and discharge. We’ll conclude the workshop by hand-stitching our strips together. All levels. Lower textiles studio.

Assistant professor at Massachusetts College of Art; residencies: Michigan State University, Sacatar Foundation (Brazil), St. Mary’s Art Center (NV); exhibitions: Honolulu Museum of Art, Wellin Museum of Art (NY), Jack Bell Gallery (London), Gallery Fritz (Santa Fe). 

kdhampton.com | @k.d28

Karen Hampton, Memories, cotton, 35-1/4 x 30-1/4 inches
Karen Hampton, Memories, cotton, 35-1/4 x 30-1/4 inches
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Textiles A Summer Session 7

Textiles Summer Session 7
August 14–19
Stephanie Santana
Printmaking on Textiles

In this workshop we’ll transform fabric with relief printing, monoprinting, and screenprinting. We’ll lay the groundwork for this exploration with demonstrations and a survey of historical and contemporary textile and surface design applications. With a focus on self-directed experimentation and play, students will develop their own motifs and textures by carving rubber blocks, manipulating paint on gelatin plates, and applying artwork onto screens. Students can expect to leave with a portfolio of textile studies for reference or as components for other projects. All levels; beginners encouraged. Upper textiles studio.

Studio artist; founding member of Black Women of Print; recent exhibition: A Contemporary Black Matriarchal Lineage in Printmaking at Highpoint Center of Printmaking (Minneapolis); collections: Metropolitan Museum (NYC), Getty Research Institute (Los Angeles), Museum of Fine Arts Boston, Smith College Museum of Art (MA).

stephaniesantana.com | @stephmsantana

Stephanie Santana, A Watchful Eye, screenprint appliqué, monotype, relief, hand embroidery, acrylic, machine quilting, left: 23-3/4 x 29 inches, right: 21 x 25-1/2 inches
Stephanie Santana, A Watchful Eye, screenprint appliqué, monotype, relief, hand embroidery, acrylic, machine quilting, left: 23-3/4 x 29 inches, right: 21 x 25-1/2 inches
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Print & Letterpress X Summer Session 7

Letterpress Summer Session 7
August 14–19
Heinrich Toh
High-Rolling Monoprints

In this workshop artists and image makers who want to create one-off pieces will discover opportunities for working on paper with the layered monoprint. We’ll balance process and content as we build layers using color, composition, and imagery. We’ll cover various applications for monotypes and inked-xerox image transfers (paper lithography). We’ll explore materials and methods for creating depth and space between background and foreground with texture, mark-making, and brushstrokes. Incorporating pattern, shape, and personal imagery from your photographs or drawings will further define your personal aesthetic. All levels. Printmaking studio.

Studio artist; teaching: Kansas City Art Institute, Arrowmont (TN), Pratt Fine Arts Center (Seattle), Oklahoma Fine Art Institute at Quartz Mountain; exhibitions: Wing Luke Museum of the Asian Pacific American Experience (Seattle), Bellevue Art Museum (WA); collections: Nelson-Atkins Museum of Art (Kansas City), Albrecht-Kemper Museum (MO).

heinrichtoh.com | @heinrichtoh

Heinrich Toh, Now That the Lights Are Gone, monoprint, paper lithography on Rives BFK paper, 35 x 47 inches
Heinrich Toh, Now That the Lights Are Gone, monoprint, paper lithography on Rives BFK paper, 35 x 47 inches
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Photography Summer Session 7

Photo Summer Session 7
August 14–19
Stephen Takacs
Dry-Plate Tintypes

This workshop will explore the process of using modern liquid photo emulsions to create dry-plate tintypes. Students will learn to coat metal plates with chemistry, expose them in large-format cameras, and develop them in the darkroom. Many of the demonstrations will focus on portraiture but students will be encouraged to pursue whatever subject matter they are most interested in. While prior photography experience will be helpful, this workshop is open to all skill levels. Note: large-format cameras are available in the Penland studio. 

Studio artist; teaching: Bushwick Community Darkroom (NYC), Columbus Cultural Art Center (OH), The Ohio State University; residencies: Jentel Foundation (WY); grants: Greater Columbus Arts Council Individual Artist Grant, Franklinton Arts District George Bellows Grant (OH); visiting artist: Kenyon College (OH), Valparaiso University (IN), Otterbein College (OH), University of Saint Francis (IN), Wexner Center for the Arts (OH).

stephentakacs.com | @brownieinmotion

Stephen Takacs, John Carlson from the Exquisite Corpse series, dry-plate tintype, 5 x 4 inches
Stephen Takacs, John Carlson from the Exquisite Corpse series, dry-plate tintype, 5 x 4 inches
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Metals B Summer Session 7

Metals Summer Session 7
August 14–19
Rachelle Thiewes
The Moving Canvas

The focus of this workshop is the relationship between jewelry and the human body. Movement, light, color, scale, line, form, weight, and anatomy are some of the essential elements that we’ll explore through short exercises. We’ll build concepts through personal interest and experience. The workshop will incorporate technical demonstrations focused on easy solutions, shortcuts, and tricks for fabricating and soldering metal. The goal is for students to leave with a fresh perspective, new possibilities, and some technical solutions that can be applied to their jewelry making. All levels. Lower metals studio. 

Studio artist; professor emerita at University of Texas El Paso; Houston Center for Craft Texas Master, Metal Museum Master Metalsmith (TN); collections: Smithsonian American Art Museum (DC), Metropolitan Museum of Art (NYC), National Museums of Scotland, Victoria and Albert Museum (London); publications: One of a Kind: American Art Jewelry, The Best in Contemporary Jewellery, Metalsmith.  

Rachellethiewes.com | @rachellethiewes

Rachelle Thiewes, Arc (necklace), steel, silver, auto paint, 6 x 7-1/4 x 1-1/4 inches
Rachelle Thiewes, Arc (necklace), steel, silver, auto paint, 6 x 7-1/4 x 1-1/4 inches
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Metals A Summer Session 7

Metals Summer Session 7
August 14–19
Beverly Penn
Still Nature: Direct Method Casting

Working from observation of the Penland landscape, students will create work using direct-method casting techniques. We’ll explore the Penland grounds to understand the connection between art and nature while collecting botanical and other organic samples for direct casting in either bronze or silver. Students will also learn techniques for preparing organic materials such as cloth, rope, lace, etc. for casting. There will be in-depth casting instruction, and students will combine cast elements to create finished artworks. We’ll also cover soldering techniques for incorporating appropriate mechanisms into finished forms. Basic metalsmithing skills will be helpful, but this workshop is open to all levels. Upper metals studio. 

Professor at Texas State University; Fulbright Fellowship, Rockefeller Foundation Bellagio Residency, Lux Art Institute International Artist Residency; collections: National Museum of Women in the Arts (DC), Yale University (CT), Cooper-Hewitt Museum (NYC), Philadelphia Museum of Art, Racine Art Museum (WI); representation: Lisa Sette Gallery (AZ).

beverlypenn.com

Beverly Penn, Asclepias, cast bronze, 24 x 10 x 10 inches
Beverly Penn, Asclepias, cast bronze, 24 x 10 x 10 inches
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Iron Summer Session 7

Iron Summer Session 7
August 14–19
Lisa Geertsen
Have Fun with It, Folx!

Try your hand at blacksmithing or expand your current skills in this fun and supportive workshop. Guided, beginning-level projects will include wall hooks and cooking tools as we cover skills such as tapers, scrolling, and chisel use. Experienced students can push their projects further. There will also be the option of a fun forging challenge open to all. If you have some experience and would like to use this workshop to try out new ideas and expand your skills, come join us. Open to all levels and all folx. 

Studio artist; teaching: Pratt Fine Arts Center (Seattle), University of Washington; demonstrations: Northwest Blacksmith Association, Western Reserve Blacksmith Association; exhibitions: Metaformation at Houston Center for Contemporary Craft and Appalachian Center for Craft (TN), Measured Making traveling exhibition (Italy, England, US); solo exhibitions: Pratt Gallery (Seattle), Equinox Studios (Seattle).

firelightforge.com | @firelightforge

Lisa Geertsen, Above the Clouds, steel, steatite, 10 x 6 x 3 inches
Lisa Geertsen, Above the Clouds, steel, steatite, 10 x 6 x 3 inches
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Glass B Summer Session 7

Glass Summer Session 7
August 14–19
Michael Endo
Constructed Images

My work combines glass powder and frit painting, drawing processes adapted for kiln glass, and centuries-old glass painting techniques in the construction of multilayered atmospheric spaces and narratives. This workshop will focus on these techniques and will encompass painting with glass powders, enamel painting adapted for high temperatures, and layered kilnforming along with printing and drawing techniques for kiln glass. All levels. Kiln studio.

Studio artist, curator at Bullseye Projects (OR, CA, NY, UK), co-director of High Desert Observatory (CA), partner in Yucca Valley Material Lab (CA); teaching: Bild-Werk Frauenau (Germany), Pilchuck (WA), UrbanGlass (NYC), Northlands Creative Glass (UK), Pittsburgh Glass Center; exhibitions: National Glass Centre (UK), Disjecta (Portland, OR), Yuan Yuan Art Center (China). 

michaelendo.com | @ofotherspaces 

Michael Endo, Crux, kilnformed glass, 24 x 39 inches
Michael Endo, Crux, kilnformed glass, 24 x 39 inches
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Glass A Summer Session 7

Glass Summer Session 7
August 14–19
Michael C. Krupiarz
Observe and Execute

This workshop is for beginning glass students looking to further develop their skill sets. We’ll take a close look at what is happening with the glass when it is heated, stretched, and blown. Students will practice making geometric forms—cones, cylinders, and spheres—that will inform more complicated shapes. We’ll emphasize technique, control, problem-solving methods, and clean lines. Instruction time will be divided between daily demonstrations and plenty of individual attention. Advanced beginning level: at least one prior glass workshop required.

Studio artist, coordinator at More Fire Glass Studio (NY); teaching: North Carolina Glass Center, Penland; exhibitions/representation: Asheville Area Arts Council (NC), Asheville Art Museum (NC), Center for Craft (NC), North Carolina Glass Center, Green Hill Center (NC), former Penland Core Fellow.

michaelckrupiarz.com | @mikekrupiarz 

Michael C. Krupiarz, Head, sculpted and blown glass, 16 x 10 x 4 inches
Michael C. Krupiarz, Head, sculpted and blown glass, 16 x 10 x 4 inches
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Drawing & Painting Summer Session 7

Drawing & Painting Summer Session 7
August 14–19
Yolanda Sánchez
Sense of Place: Exploring the Landscape through Abstraction

This workshop will emphasize intimate encounters with the landscape, cultivating awareness and presence, and learning to translate what we see into a sensory experience that can be transferred to a two-dimensional composition in paint. We’ll begin to develop an abstract visual language in various ways, from working in the landscape and in the studio to playing with materials other than paint, including colored pencils, paper collage, and found object assemblage. The goal is to understand something beyond the physical elements of the landscape, using nature as a way to express something internal, creating a poetic response. All levels. 

Studio artist; 2018 visiting artist at American Academy in Rome; Fulbright scholarship; teaching: Florida International University, Yale University (CT), University of Miami; exhibits nationally and internationally; representation: Kathryn Markel Fine Arts (NYC) and Kenise Barnes Fine Arts (NYC). 

Yolandasanchezstudio.com

Yolanda Sánchez, Prelude to a Kiss, oil on canvas, 52 x 42 inches
Yolanda Sánchez, Prelude to a Kiss, oil on canvas, 52 x 42 inches
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Clay B Summer Session 7

Clay Summer Session 7
August 14–19
Reggie Pointer
Play with Clay

This workshop will help you get the play into your clay. We’ll go from creating musical instruments to crafting game pieces using the handbuilding techniques of slab, coil, and pinch along with making and using multi-part molds. Our finished work will be bisque fired and raku fired. Along the way we’ll introduce a number of clay games that are fun and also teach a lesson. You’ll leave the workshop shaking a rattle, blowing a whistle, or beating a drum, and you might be carrying a chess set, a new game, or maybe even a doll head or two. All levels. Lower clay studio.

Associate professor at Howard University (DC); other teaching: Duke Ellington School of the Arts (DC), Grambling State University (LA), 2015 Mid-Atlantic Clay Conference, 2016 and 2019 NCECA conferences; creator of the comic book The Clay H.E.R.O.S.

@rwpointer

Reggie Pointer, Working for Peace, stoneware, metal, plastic, 4 x 4 inches
Reggie Pointer, Working for Peace, stoneware, metal, plastic, 4 x 4 inches
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Clay A Summer Session 7

Clay Summer Session 7
August 14–19
Sunshine Cobb
Exploring Functional Pottery with Handbuilding


This workshop will motivate novice potters to experiment with new and old forms and construction methods. With a process-over-product mentality and an eye toward creative expansion, we’ll cover coil and pinch methods along with hard and soft slab construction to generate pottery components. I will talk about building surfaces throughout the making process and glaze and surface treatments. We’ll discuss how inspiration and abstract concepts inform work and how they can be part of your creative practice. Midrange stoneware; bisque fire only.
Beginning level; experienced students welcome. Upper clay studio.

Studio artist; teaching: Red Clay Lodge (MT), Santa Fe Clay (NM), Anderson Ranch (CO), Penland; Archie Bray Foundation (MT) long-term residency; named 2013 Emerging Artist by Ceramics Monthly and NCECA; author of Mastering Hand Building (Voyageur Press).

sunshinecobb.com | @shinygbird

Sunshine Cobb, Garlic Boxes, ceramic, glaze, 5 x 4 x 6 inches each
Sunshine Cobb, Garlic Boxes, ceramic, glaze, 5 x 4 x 6 inches each
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Books & Paper B Summer Session 7

Books & Paper Summer Session 7
August 14–19
Jeffrey Altepeter
Traditional Calf Bindings

In this workshop, students will create replica 18-century trade-style bindings. Daily demonstrations will provide a foundation of traditional binding methods as we produce structurally accurate historical models. The books will be sewn on cords laced into boards then covered in leather. Equal attention will be given to the period aesthetic through the use of historical staining recipes to create sprinkled, splattered, mottled, and marbled calf. We’ll add decorative tooling with period-accurate finishing tools. All levels. Books studio.

Head of bookbinding at North Bennet Street School (Boston); other teaching: Paper and Book Intensive (MI), Guild of Book Workers, Penland. 

handbookbinding.com

Jeffrey Altepeter, Eighteenth-Century-Style Panel Binding and Marbled Sample Plaquette, calfskin over boards, 5 x 7 inches each
Jeffrey Altepeter, Eighteenth-Century-Style Panel Binding and Marbled Sample Plaquette, calfskin over boards, 5 x 7 inches each
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Wood Summer Session 6

Wood Summer Session 6
July 31–August 12
Adrien Segal
Carve, Bend, Shape

Both rigid and flexible, wood is an ideal material for creating curvaceous shapes, yet it is often made to be flat, straight, and square. In this workshop students will learn numerous ways to transform wood into furniture and sculptural forms through additive and subtractive carving, bent and stack laminations, and dynamic joinery. Demonstrations will emphasize the safe use of power tools for rough shaping and hand-held tools to achieve detailed shapes, patterns, textures, and refined forms. We’ll work through a process of quick iteration to design and experiment with various methods of making organic shapes in wood. Students at any level of woodworking will gain new skills. All levels. 

Studio artist; teaching: California College of the Arts, University of San Francisco; 2022 Fulbright Scholar; residencies: Benchspace Cork (Ireland), Center for Art in Wood (Philadelphia), Bunnell Art Center (Alaska), Pier 9 (San Francisco); publications: American Craft, 500 Tables, Data Flow 2.

adriensegal.com | @adriensegal

Adrien Segal, Molalla River Meander, carved plywood, 15 x 46 x 11 inches
Adrien Segal, Molalla River Meander, carved plywood, 15 x 46 x 11 inches
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Textiles B Summer Session 6

Textiles Summer Session 6
July 31–August 12
María Dávila and Eduardo Portillo
Weaving Ideas

Working with floor looms, we’ll investigate how textiles can transmit ideas and capture a sense of place. We’ll begin with weaving exercises, experimenting with different techniques and materials to understand their potential and limitations. Individual projects may take the form of weaving samples, drafts, or objects. The workshop will lay the groundwork for a body of woven textiles that students will be excited to continue exploring after they leave Penland. All levels. Lower textiles studio.

Collaborating studio artists; Smithsonian Artist Research Fellowship; residencies: Albers Foundation (CT), Praxis Fiber Workshop (Cleveland); exhibitions: Whitworth Art Gallery (UK), Museum of Arts and Design (NYC), Cooper Hewitt Museum (NYC), Textile Museum (DC), Foundation TAC (Venezuela), Longhouse Reserve (NY); collections: Whitworth Art Gallery (UK), Cooper Hewitt Museum (NYC),Toledo Museum of Art (OH), Long House Reserve (NY).

@mariadavilayeduardoportillo

Video about María and Eduardo

María Dávila and Eduardo Portillo, detail of Moon Code, silk moriche palm fiber, alpaca, metallic yarns, silver leaf, natural dyes
María Dávila and Eduardo Portillo, detail of Moon Code, silk moriche palm fiber, alpaca, metallic yarns, silver leaf, natural dyes
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Textiles A Summers Session 6

Textiles Summer Session 6
July 31–August 12
Tomoko Torimaru and Yoshiko I. Wada
Boro Transformed and One Needle, One Thread

In this dynamic workshop, we’ll reinterpret the Japanese folk tradition of boro (tattered, mended, patched items) and delve into the Miao traditions of stitchery and piecework. We’ll make a folded case to keep threads, learn basic stitches for ornament and reinforcement, and create intricate fabric mosaics and appliqués from scrap fabrics. Topics will include stitching, piecing, patching, mending, fulling, and strengthening fabric by dyeing it in an organic indigo vat. These processes will record the history of reuse, repair, and the time spent stitching, bringing boro’s imperfect beauty and hidden value to the surface. All levels. Upper textiles studio.

Tomoko: researcher, author, teacher; author of One Needle, One Thread: Miao (Hmong) embroidery and fabric piecework from Guizhou, China, co-author of Imprints On Cloth: 18 Years Of Field Research Among The Miao People Of Guizhou, China.

Yoshiko: studio artist, curator, author/co-author of books on shibori, kimono, boro, and contemporary textile art; teaching: Haystack (ME), Arrowmont (TN), National Institute of Design (India), Okinawa Prefecture Fine Arts University (Japan); honorary fellow of the American Craft Council, president of World Shibori Network, two Japan Foundation fellowships, co-chair of all eleven International Shibori Symposia. 

yoshikowada.com | @yoshiko_wada_

Yoshiko I. Wada, Boro Sample, various textiles, indigo
Yoshiko I. Wada, Boro Sample, various textiles, indigo
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Print & Letterpress L Summer Session 6

Print & Letterpress Summer Session 6
July 31–August 12
Bryce McCloud
Interactive Portraiture Print-O-Rama

Howdy, friends! Do you want to make prints? Would you like to use art to bring people together? Then join us to explore how to use printmaking and interactive public art to bridge the gaps between us. We will:

  • Experiment with letterpress, relief prints, laser cutters, and more 
  • Discuss the basic ideas of interactive, socially-minded public art
  • Collaborate on an interactive public art project based around portraiture
  • Consider how to create your own public art campaign back home

Bring an open mind and your dreams. Letterpress or printmaking experience will be helpful, but this workshop is open to all levels. Letterpress studio.

Studio/public artist, director of Isle of Printing letterpress/design/fabrication shop (Nashville); teaching: Watkins College of Art (Nashville); public art: Automat Idea Exchange (TN), Southwest Print Fiesta (NM), Our Town Nashville, All Are Welcome (Nashville), Pinewood Social (Nashville), Invasion UK (UK), Chopper (Nashville). 

isleofprinting.com | @isleofprinting

Isle of Printing, Our Town: Together Heroic, large-scale stamps, ink
Isle of Printing, Our Town: Together Heroic, large-scale stamps, ink
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Print & Letterpress X Summer Session 6

Print & Letterpress Summer Session 6
July 31–August 12
Kristina Paabus
Intaglio and the Hybrid Print

This workshop will introduce students to intaglio printmaking through drypoint and copper etching, using additive and subtractive techniques. Employing hand-drawn approaches, students will be encouraged to experiment as they investigate personal directions for their work. We’ll focus on learning to create and manipulate the malleable intaglio matrix while also combining strategies to form hybrid prints. Along with hard ground, soft ground, aquatint, and multiple color-plate intaglio printing, we’ll explore introductory elements of monotype, relief, screenprint, and lithography. All levels. Printmaking studio.

Associate professor at Oberlin College (OH); other teaching: University of Iowa, School of the Art Institute of Chicago, Ox-Bow (WI); exhibitions: Akron Art Museum (OH), Hobusepea Galerii (Estonia); collections: Harvard Art Museum (MA), Cleveland Clinic, China Printmaking Museum, Novosibirsk State Art Museum (Russia).

kristinapaabus.com | @kpaabus

Kristina Paabus, The Guards, intaglio, relief, screenprint, 24 x 20 inches
Kristina Paabus, The Guards, intaglio, relief, screenprint, 24 x 20 inches
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Photography Summer Session 6

Photo Summer Session 6
July 31–August 12
Susan Bryant
Hand-Coloring Black and White Photographs

This workshop will explore the creative and expressive possibilities of hand-applied color on black and white photographs using photo oils, pan pastels, and colored pencils. Students may hand-color digital prints and darkroom prints. Bring negatives and digital image files from home, and we’ll also make new images by responding to the landscape at Penland and creating still-lifes in the studio. Along with our coloring materials, we’ll cover camera techniques (film, digital, and phone), darkroom printing, and inkjet printing. All levels. 

Studio artist; professor emeritus at Austin Peay State University (TN); Tennessee Arts Commission Fellowship; exhibitions: SoHo Photo (NYC), Jeffrey Leder Gallery (NYC), Union Street Gallery (Chicago), San Diego Art Institute, Manifest Gallery (Cincinnati), Cumberland Gallery (Nashville); residencies: Hambidge Center (GA), Penland Winter Residency; collections: Knoxville Museum of Art (TN), The Photographic Archives (Louisville).

susanbryantphoto.com | @susanbryantphoto

Susan Bryant, Surrender, hand-colored inkjet print, 11 x 13-1/2 inches
Susan Bryant, Surrender, hand-colored inkjet print, 11 x 13-1/2 inches
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Metals B Summer Session 6

Metals Summer Session 6
July 31–August 12
Tom Beard and Julia Woodman
Flatware: Forged and Formed with 3D Tessellation

Discover how to move metal using time-honored forging and shell-forming techniques and create handsome copper, brass, or silver flatware adorned with 3D tessellation (patterns created by joining a number of small units). Students can expect to finish two or three pieces, but we’ll emphasize process, experimentation, and developing skills. Techniques and demonstrations will be introduced daily and as needed for individual projects. One-on-one instruction will allow students to explore and problem-solve at their own skill level. Bring your favorite tools, your imagination, and an Optivisor, and we’ll all become hammerrific! All levels. Lower metals studio.

Tom: jeweler, blacksmith, certified gemologist; formerly employed by Tiffany and Co., Neiman Marcus, and Dillon Forge (GA); teaching: Spruill Center for the Arts (GA).

Julia: studio artist; teaching: Campbell Folk School (NC), Spruill Center for the Arts (Atlanta), Chastain Art Center (Atlanta), Georgia State University; collections: Victoria and Albert Museum (London), Museum of Fine Arts Boston, High Museum (Atlanta).

juliawoodman.com

Tom Beard, Candlesticks, sterling silver, 20 x 6 inches each
Tom Beard, Candlesticks, sterling silver, 20 x 6 inches each
Julia Woodman, Bubbles Champagne Cocktail Ladle, sterling silver, glass bead, 15 x 4-1/2 inches
Julia Woodman, Bubbles Champagne Cocktail Ladle, sterling silver, glass bead, 15 x 4-1/2 inches
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Metals A Summer Session 6

Metals Summer Session 6
July 31–August 12
Melis Agabigum and Joshua Kosker
Material Hierarchy: From Gold to Glue

From gold to glue, this workshop will explore material hierarchy within a contemporary jewelry practice by challenging preconceived notions about the emotional impact of material choices and the aesthetic power and status we associate with certain materials. We’ll investigate the role of materiality in creative practices through readings and discussions, formal studies designed to cultivate idea development, and technical explorations. Demonstrations will cover gold plating, the experimental use of nontraditional materials, various pin back assemblies, and creative ways of integrating settings and mechanisms. We’ll also cover basic techniques such as sawing, filing, and soldering. Using these concepts and techniques, students will create a unique series of jewelry objects. Bring an open mind and an imaginative approach to how material decisions can impact and alter meaning. All levels. Upper metals studio.

Joshua: visiting assistant professor at Indiana University; other teaching: Indiana University of Pennsylvania, Bowling Green State University (OH), Touchstone Center for Crafts (PA); exhibitions: Estonian Museum of Applied Art and Design (Estonia), Benaki Museum (Greece), Houston Center for Contemporary Craft (TX); publications: Metalsmith, American Craft, Narrative Jewelry: Tales from the Toolbox.

joshuakosker.com | @joshuakosker

Melis: visiting assistant professor at Earlham College; other teaching: University of Wisconsin-Milwaukee, San Francisco State University, Boise State University (ID); exhibitions: Walker Art Center (Minneapolis), ARCUB Gabroveni (Romania), Benaki Museum (Greece), Alliages Gallery (France), Soil Gallery (Seattle), Pistachios Contemporary Art Jewelry (Chicago); publications: Art Jewelry Forum.

melisbanu.com | @ms_melisbanu

Melis Agabigum, When a caged bird sings, copper, enamel, cotton cord, beeswax, 14-1/2 x 5-1/4 x 4-1/4 inches
Melis Agabigum, When a caged bird sings, copper, enamel, cotton cord, beeswax, 14-1/2 x 5-1/4 x 4-1/4 inches
Joshua Kosker, Give and Take, soap, 24k gold-plated brass, 18k gold, 2-1/2 x 2-3/4 x 3/4 inches
Joshua Kosker, Give and Take, soap, 24k gold-plated brass, 18k gold, 2-1/2 x 2-3/4 x 3/4 inches