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May Specials Wood

Wood – Special Session
May 9-15, 2021
Jack Mauch
Carving and Shaping

Bored with straight lines? This workshop will throw a curve into your creative process! We’ll cover a wide range of tools and techniques for shaping and carving wood. Students will learn to visualize and sketch their designs, rough them out with the bandsaw, angle grinder, or drawknife, and bring them to final form with a variety of hand tools. Possible projects include spoons, utensils, bandsaw boxes, sculpture, or furnitures components. Projects will be customized for each student’s skill level so they will be both challenging and achievable. All levels. 

Studio artist, digital processes manager at Penland; teaching: Penland, Arrowmont (TN); fellowships/awards: Society of Arts and Crafts Mineck Fellowship (Boston), Massachusetts Cultural Council Artist Fellowship; residencies: Windgate ITE Residency at the Center for Art in Wood (Philadelphia), IYRS School of Technology and Trades CFC Studio Fellowship (RI), Penland Core Fellowship; exhibitions: Center for Art in Wood, Penland Gallery.

Jack Mauch, "Butter Dish," CNC carved beech, 3 x 4 x 10 inches
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May Specials Textiles

Textiles – Special Session
May 9-15, 2021
Emily Parkinson and Sarah Parkinson
Prints, Patterns, and Plants

Spend the week immersed in the wonders of mordant printing! Students will learn to combine precise and repeatable screenprinting techniques with the rich and storied hues of natural dyes. We’ll start with daily pattern play, using short prompts and exercises to get ideas flowing. From there we’ll create multilayered negatives, expose them onto screens, and print our designs on cellulose fibers using a range of thickened mordants. We’ll mix classic dyes, including pomegranate, cutch, madder, cochineal, and weld, and then try not to gasp as our printed textiles take on varied shades in a single dye pot. Students can expect to leave with a solid foundation of screenprinting and natural dyeing skills and a small selection of samples and finished pieces. All levels. Third-floor textiles studio. 

Emily: co-founder of Homebody Textiles (NC) and Wildflower Delivery Co.; teaching: Snow Farm (MA); exhibitions: Growing Color Symposium (NC), Red Brick Center for the Arts (CO), Cornell Fashion Collective (NY), Penland Gallery; publications: Martha Stewart Sustainable Gift Guide 2020, Better Homes and Gardens online gift guide. Sarah: digital media manager at Penland, co-founder of Homebody Textiles (NC); teaching: Snow Farm Summer (MA); Penland Winter Residency; exhibitions: Growing Color Symposium (NC), Dartmouth Graphic Arts Workshop (NH), Penland Gallery.

Emily Parkinson and Sarah Parkinson, "Bandanas as Flags," cotton, thickened mordants, natural dyes, 24 x 24 inches each
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May Specials Print

Print – Special Session
May 9-15, 2021
Jun Lee
Reduction Woodcut: Carving the Colors

In reduction woodcut, a single block is used for a multilayered color print. The block is progressively carved away while printing the color layers in order, reducing the printed area with each layer. This workshop will cover block preparation, carving techniques, tool maintenance, registration, color mixing with oil-based ink, and pressing the print. Students will design their own images and can expect to complete a small edition of multicolor woodcut prints. All levels. Printmaking studio.

Studio artist; teaching: Montgomery College (MD), Pyramid Atlantic (MD), Penland; residencies: Lee Arts Center (VA), Pyramid Atlantic; exhibitions: Wellesley College (MA), American University Museum (DC), Highpoint Center for Printmaking (Minneapolis); collections: DC Commission on the Arts and Humanities, Montgomery County Public Art Trust (MD).

Jun Lee, "Whisper and Wait," reduction woodcut, 30 x 43 inches
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May Specials Photo

Photo – Special Session
May 9-15, 2021
Kerik Kouklis
Palladium and Gum Printing with Digital Negatives

In this workshop you will learn to make digital negatives using the QuickCurveDN program. Then you will use these negatives to make beautiful palladium prints. We’ll also cover the fundamentals of the gum bichromate process, allowing you to add layers of gum bichromate over palladium, which can result in prints ranging from subtly toned to wildly colorful. Combining all of these processes will allow you to use both sides of your brain to produce work that is uniquely yours. Basic Photoshop skills will be helpful, but this workshop is open to all levels. 

Studio artist, educator; teaching: Ansel Adams Gallery (CA), Photographer’s Formulary (MT), Penland; Yosemite National Park Residency (CA), solo exhibitions: The Image Flow Photography Center (CA), Viewpoint Gallery (CA); three articles published in The Outdoor Photographer; representation: Ansel Adams Gallery.

Kerik Kouklis, "This Way, Berkeley Hills, CA," gum over palladium print, 16 x 24 inches
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May Specials Paper

Paper – Special Session
May 9-15, 2021
Bhavna Mehta
Paper Plus

This workshop will combine paper and thread in a unique process. Using a combination of cotton and abaca pulp, we’ll form small sheets of paper in various sizes and use colored cotton thread to make marks, patterns, and images. We’ll layer embroidery done on Solvy (a water-soluble membrane) onto wet paper and fuse the two materials to make the fibers bond and the images float. Dried paper sheets can be cut, folded, and further embroidered to create objects with volume and narrative. Students will develop their ideas through play, experimentation, and collaboration. All levels. Paper studio.

Studio artist; teaching: Women’s Studio Workshop (NY), San Diego Book Arts (CA), University of California San Diego Extension Program, Penland; grants: San Diego Foundation Creative Catalyst (CA), California Arts Council Artists in Communities.

Bhavna Mehta, "Resist with Your Voice #4," Canson paper, embroidery floss, 15 x 15 x 1/2 inches
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May Specials Metals

Metals – Special Session
May 9-15, 2021
Anna Johnson
Setting the Tone

In this workshop, students will develop metalsmithing skills with an emphasis on setting found objects and creative thinking. We’ll build a solid foundation in soldering, sawing, joining, setting, and finishing throughout the week, and we’ll throw out the rule book on designing jewelry and small objects. By formulating our own solutions, we’ll learn to trust our intuition and set the tone for an innovative studio practice. Students can plan on leaving with multiple pieces and exciting ideas to bring to future projects. All levels. Lower metals studio.

Studio artist; teaching: Haywood Community College (NC), Arrowmont (TN), Penland; gallery representation: Mora Jewelry (NC), Gill Wing Jewellery (UK), Galeria Alice Floriano (Brazil), Woodlands Gallery (NC), Hecho A Mano (NM), Metal Museum (TN), Penland Gallery.

Anna Johnson, "Vita Motu Necklace," pink dolomite, moonstone, squirrel skull, gold-plated pyrite, titanium hematite, fine silver, sterling silver, 5-1/2 x 5 x 1 inch
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May Specials Iron

Iron – Special Session
May 9-15, 2021
James D.W. Cooper
Fry or Sauté

A frying pan, frypan, or skillet is a flat bottomed pan used for frying, searing, and browning foods. Typically 8 to 12 inches in diameter, it has a long handle and low sloping sides. A pan of similar dimensions but with more vertical sides is a sauté pan. In our week at Penland we will explore both forms, making a forged iron skillet and a copper sauté pan. In doing so we will learn basic sinking and raising techniques, the design and forging of handles, how to properly use a file, riveting, tinning of copper, and seasoning of iron cookware. Please come with an appetite for work, new ideas and good food. All levels. 

Studio artist; former conservator at the Metals Museum (TN); teaching: Appalachian Center for Craft (TN), Penland; collections: City Center Park, Greensboro (NC), Birmingham Botanical Gardens (AL), Emory University Children’s Hospital (GA), Metal Museum, Penland School.


James D.W. Cooper, "Frying Pan," copper, iron, tin, 2 x 17 x 9 inches
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May Special Glass

Glass – Special Session
May 9-15, 2021
Janis Miltenberger
The Narrative Core

We’ll cover the basic flameworking techniques needed to make well-crafted solid and blown work. Using borosilicate glass, a torch, and hand tools, we’ll bend, reconfigure, and shape clear and colored glass rods and tubes. We’ll laugh, have endless discussions about how to approach each project, and lose track of time as the ideas flow. Bring whatever skill you have or have not; no glass experience required. Bring ideas, become inspired, and allow your creative voice to emerge. All levels. Flame studio.

Studio artist; teaching: Pilchuck (WA), Penland (NC), Pittsburgh Glass Center (PA), Niijima Glass Art Center (Japan), Bild-Werk Frauenau (Germany); representation: Habatat Galleries.

Janis Miltenberger, "Untarnished," borosilicate glass, oil paint, 22k gold, 48 x 14 x 8 inches
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May Special Clay

Clay – Special Session
May 9-15, 2021
Rickie Barnett and Lynne Hobaica
Narrative Form and Surface

This workshop will bridge the gap between using form and surface to depict narrative. We’ll begin by using basic clay building techniques—slab, pinch, coil—to create stylized figurative components. Once the figurative objects are complete, they will become 3-D canvases that we’ll use to explore a number of decorating techniques involving building layers and carving back into them. We’ll discuss why storytelling is important and offer tools to develop a creative way to recount or invent history. We’ll work with earthenware clay and bisque fire only. All levels. Lower clay studio.

Rickie: studio artist; residencies: Taos Clay (NM), Rat City Studios (Seattle), Pottery Northwest (Seattle), Arrowmont (TN), Red Lodge (MT); representation: Gallery IMA (Seattle), Charlie Cummings Gallery (FL), In Tandem (NC), ClayAkar (IA). Lynne: studio artist; teaching: Odyssey Clayworks (NC), Pottery Northwest (Seattle); residencies: Pottery Northwest, Flower City Arts Center (NY), Ceramica Deruta (Italy), Watershed (ME), Arrowmont (TN); representation: Gallery IMA (Seattle), Gandee Gallery (NY), Imprint Gallery (OR), Signature Gallery (Atlanta).

Rickie Barnett and Lynne Hobaica, "Our Lady Just Shy of Eternal Longing," earthenware, 10 x 9 x 4 inches