Category: Summer

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Metals A Summer Session 6

METALS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Sun Kyoung Kim
Wire to Wire

In this workshop we will experiment with wire construction techniques as though we are line drawing in three-dimensional space. While exploring shapes and forms, students will create unique jewelry and small sculptures using different kinds of wire, including steel, copper, and silver. We will cover a range of techniques, including basic jewelry making methods, cold connections, color application, and soldering. Some metals experience will be helpful, but this workshop is open to 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.

Associate professor at Southern Illinois University-Carbondale; exhibitions: Museum of Jewelry (Italy), Marion Cage Gallery (New Orleans), Ingham Chapman Gallery (NM), Appalachian Center for Craft (TN), Morton J. May Foundation Gallery (St. Louis), Larson Gallery (WA), Leeds Gallery at Earlham College (IN), Wayne Art Center (PA), Hughes Gallery (IL), Signature Gallery (Atlanta).

sunkyoungkim.com 
January 15 – Regular enrollment opens

Sun Kyoung Kim, Finger 03, sterling silver, 2-1/4 x 2-1/4 x 2 inches
Sun Kyoung Kim, Finger 03, sterling silver, 2-1/4 x 2-1/4 x 2 inches
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Iron Summer Session 6

IRON – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Pat Quinn
Pizza Box Stool

Explore the process of forging and threaded joinery while making a stool that will pack flat into a large pizza box. We will cover some basic forging and joinery techniques and use those techniques as parameters for design and construction. Students will begin by making samples based on demonstrated techniques. Then they will present conceptual and construction/joinery ideas and make samples based on them. Once these have been refined, students will design and build their stool. This workshop is for students who are excited by the project and are interested in power-hammer forging, making hardware, and being challenged by design possibilities and limitations. Some forging experience is strongly recommended, but this workshop is open to all levels. 

Executive director and teacher at Center for Metal Arts (PA); other teaching: Hereford College of the Arts (UK), Penland, The Haystack (ME), and The Adirondack Folk School (NY); Niche Award; exhibitions: Museum of the City of New York, Metal Museum (TN).

@handforgedinvt
January 15 – Regular enrollment opens

Pat Quinn, Untitled, steel, copper, 8 x 22 x 6 inches
Pat Quinn, Untitled, steel, copper, 8 x 22 x 6 inches
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Glass B Summer Session 6

GLASS/DRAWING/PAINTING – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Suzanne Head
Drawn to Glass

This workshop will examine methods of drawing and painting within layers of fused glass. We will begin with demonstrations of drawing with Bullseye powders (frit), using high-fire enamels with brushes and dip pens, and sifting frit through stencils to make repeatable patterns. This will be followed by a short class project using these techniques. Once students are comfortable with the process, they will begin self-directed projects, outlining a plan for each layer of glass, testing ideas with experiments and samples, and learning the kiln schedules needed to make it all happen. Students may focus on abstract or representational imagery and may cut stencils or trace to aid in creating their designs. All levels. Kiln studio (glass).

Studio artist; teaching: UrbanGlass (NYC), Cleveland Institute of Art, Gage Academy of Art (Seattle), GlassRoots (NJ); demonstrations: Pilchuck (WA), Tyler School of Art and Architecture (Philadelphia); exhibitions: Pilchuck Exhibition Space (WA), Blue Rain Gallery (NM), Whatcom Museum (WA), Schack Art Center (WA), Bullseye Projects (OR), HEDGE Gallery (OH), Society of Illustrators (NY), Matzke Gallery (WA); representation: Museo Gallery (WA).

suzannehead.com | @suzanne_head
Jan 15 – Regular enrollment opens

Suzanne Head, detail of Knot, fused glass powder drawing, 23 x 35 inches
Suzanne Head, detail of Knot, fused glass powder drawing, 23 x 35 inches
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Glass A Summer Session 6

GLASS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Ché Rhodes
Reheated and Plated

This workshop will use the fundamental processes associated with pastorale plate and graal blank pickups as a starting point for developing traditional and experimental glass objects in the hotshop. Rather than focusing on working directly and immediately from the furnace, this workshop will be about preparing components and then heating or reheating them in the hotshop to create finished forms. We will first address traditional approaches to cane, murrine, and graal techniques and then move into the possibilities of working with experimental parts, flat glass, commercial and recycled glass, and even found glass objects in the hotshop. We will also consider what it might look like to work in the hotshop without immediate access to a furnace. All levels. Hot glass studio.

Associate professor and head of glass at University of Louisville; other teaching: Pilchuck (WA), The Studio at Corning (NY), UrbanGlass (NYC), Scuola del Vetro (Venice), Penland; demonstrator at three Glass Art Society conferences; James Renwick Alliance Distinguished Educator Award; Penland trustee; collections: Smithsonian American Art Museum (DC), Speed Museum (Louisville).

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

Ché Rhodes, Flex, cast and blown glass, 8 x 5 x 5 inches
Ché Rhodes, Flex, cast and blown glass, 8 x 5 x 5 inches
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Drawing & Painting Summer Session 6

DRAWING/PAINTING – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Michael Dixon
Storytelling as Identity: Process, Performance, and Paint

The self-portrait has a long and rich history. In this session, students will create a series of self-portraits using contemporary methods of oil painting. With a focus on drawing and painting from observation, we will cover basic drawing techniques, drawing the figure and the face, composition, color theory, and mixing color. We will also play with performance as a method of creating images and use these images to think about concept and storytelling. All levels. 

Professor at Albion College (MI), residencies: Yaddo, Virginia Center for the Creative Arts, Grant Wood Fellowship at University of Iowa, Sharpe Walentas Studio Program; Pollock Krasner Foundation Grant; recent exhibitions: Scottsdale Contemporary Art Museum (AZ), PlatteForum Annex Gallery (CO), Stamps Gallery at University of Michigan; representation: David Richard Gallery (NYC). 

michaeldixonart.com | @michaeldixonpainter
Jan 15 – Regular enrollment opens

Michael Dixon, Passing, oil and graphite on canvas, 40 x 50 inches
Michael Dixon, Passing, oil and graphite on canvas, 40 x 50 inches
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Clay B Summer Session 6

CLAY – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Kensuke Yamada
Figuring Out

Working with stoneware clay and using coil building and other handbuilding techniques, students will construct sculptures combining multiple figures or objects, working with form and surface to create narratives. We will discuss anatomy, proportion, posture, and gesture. Facial features, hands, feet, and clothing will be added to animate the figures. Surfaces can be enhanced by texturing and detailing. We will explore glazes with test tiles. Electric firing. Basic handbuilding will be helpful, but this workshop is open to all levels. Lower clay studio. 

Assistant professor at University of Arkansas Little Rock; residencies: Archie Bray Foundation (MT), The Clay Studio (Philadelphia); visiting artist: Tyler School of Art and Architecture (Philadelphia), University of Arkansas Fayetteville, Chihuly, Inc. (Seattle); exhibitions: Duane Read Gallery (St. Louis), Blue Spiral I (NC), Catherine Person Gallery (Seattle); collections: Missoula Art Museum (MT), Bellevue Club (WA). 

kensukeyamada.com | @kensuke_yamada
Videos! 
Jan 15 – Regular enrollment opens

Kensuke Yamada, Frankenstein, ceramic, 42-1/2 x 21 x 8 inches
Kensuke Yamada, Frankenstein, ceramic, 42-1/2 x 21 x 8 inches
Photo by Benjamin Krain —01/05/21— UA Little Rock ceramics professor Kensuke Yamada will present a demonstration of how he creates his clay figures at the 2021 NCECA national conference in Ohio.
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Clay A Summer Session 6

CLAY – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Matt Jones
Thrown and Wood-Fired

This workshop will investigate the wood-firing aesthetic as we make pots to fire in Penland’s multi-chambered wood kiln. Although the effects of wood flame and ash are often described as accidental and unpredictable, we will strategize to take advantage of them. Wheelthrowing demonstrations, instruction, and discussions will address the needs and interests of beginning to advanced potters. Loading will be a full day of work, and firing will take two days with students on shifts to stoke around the clock. While the kiln is cooling we will visit area potters and/or have additional demonstrations. Students are encouraged to bring bisqued pots to give us a jump-start on loading this rather large kiln. Stoneware clay. All levels. Upper clay studio. 

Studio artist; apprenticed with Todd Piker (CT) and Mark Hewitt (NC); has taught nine apprentices; presentations: North Carolina Wood-fire Conference, Mint Museum (NC), North Carolina Pottery Conference, South Carolina Pottery Conference; collections: Asheville Art Museum (NC), Mint Museum (NC); most work sold at his home-studio kiln openings. 

jonespottery.com | @mattjonespotter
Jan 15 – Regular enrollment opens

Matt Jones, Two-Handled Blossom Jug, wood-fired stoneware, cobalt brushwork on Mitchfield White glaze, 15 x 9 x 9 inches
Matt Jones, Two-Handled Blossom Jug, wood-fired stoneware, cobalt brushwork on Mitchfield White glaze, 15 x 9 x 9 inches
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Books & Paper P Summer Session 6

BOOKS & PAPER SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Andrea Peterson
Papermaking in the Field

This workshop is geared toward sustainability through the use of a renewable fuel source and organic or wildcrafted fiber sources. We will make paper from garlic leaf, sisal, hay, wheat straw, and other plants. Topics will include material selection and understanding dry versus freshly-cut fiber. Cooking discussions will include precook, caustics, water concerns, and rinsing. We will also cover beating options, pigmenting, sheet forming, and drying. Multiple natural dye sources will be used to dye pulp. This physically active workshop will include cooking fiber over a wood fire. Together we will learn how to make our creative adventures more sustainable. All levels.

Associate Professor at School of the Art Institute in Chicago; other teaching: Ox-bow (MI), Hook Pottery Paper (IN), Penland; exhibitions: Brauer Museum of Art (IN), Krasl Art Center (MI), Robert C. Williams Museum of Papermaking (Atlanta); collections: The Metropolitan Museum of Art (NYC), Fort Wayne Museum of Art (IN), Whirlpool Headquarters, (MI).

hookpotterypaper.com | @hook_pottery_paper

Andrea Peterson, Natural Fiber Papers, varied fibers, 18 x 24 inches each
Andrea Peterson, Natural Fiber Papers, varied fibers, 18 x 24 inches each
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Books & Paper B Summer Session 6

BOOKS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Michael Velliquette
Sculptural Paper 

This workshop will focus on creating sculptures made entirely from paper. We will start with techniques from paper-crafting traditions, including folding, cutting, quilling, scoring, and weaving, which will introduce students to a range of paper-crafting tools, adhesives, and paper stocks. Students will explore these methods to arrive at unique forms and techniques they will discover through their own experimentation. The remainder of the workshop will focus on sculptural paper construction techniques as students work toward the completion of a singular piece of their own design. All levels.

Assistant professor at the University of Wisconsin-Madison; other teaching: Haystack (ME), Pocosin (NC); residencies: John Michael Kohler Arts/Industry (WI); Houston Center for Contemporary Craft; SIM Residency (Iceland); Kloster Dornach (Switzerland); collections: Racine Art Museum (WI), San Antonio Museum of Art (TX), Chazen Museum of Art (WI); television: guest judge on Discovery+Meet Your Makers Showdown. 

velliquette.com | @michaelvelliquette
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Michael Velliquette, The fullness of experience in the emptiness of awareness, paper, 12 x 12 x 6-1/2 inches
Michael Velliquette, The fullness of experience in the emptiness of awareness, paper, 12 x 12 x 6-1/2 inches
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Wood Summer Session 5

WOOD – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Robell Awake and Charlie Ryland
A Poynor Chair: From Logs to Ladderbacks

This workshop will be a deep dive into the tools and techniques used in the design and construction of ladderback chairs. Our exploration of the form will be based on one of the most influential examples: the classic side chair pioneered by Richard Poyner and his family. We will split parts from freshly felled logs, shape them using drawknives and spokeshaves, and join them with a combination of traditional and modern techniques. Students will gain an in-depth understanding of wood’s natural structure and movement and a perspective on designing and building objects without the need for straight, flat, or square surfaces. Although most of the work will be done with hand tools, we will discuss options for working with power tools as well as kiln-dried lumber. Seat weaving will be demonstrated; students are welcome to bring their own weaving material. The work is physically demanding, but this workshop is open to all levels. 

Robell: studio artist; teaching: Center for Furniture Craftsmanship (ME), Arrowmont (TN); recent exhibitions: Center for Craft (NC), Verso (NY), North Bennet Street School (MA).

robellawake.com | @robellawake

Charlie: studio artist; teaching: North Bennet Street School (MA), Sterling College (VT), University of Rio Grande (OH), Arrowmont (TN), Pine Croft (KY), Florida School of Woodworking (FL), Connecticut Valley School of Woodworking (CT), North House Folk School (MN); residencies: Arrowmont (TN); Craft Research Fellowship from Center for Craft (NC).

@charlie.ryland
January 15 – Regular enrollment opens

Robell Awake, Baeza’s Chair, maple, hickory, paper cord, milk paint, 32-1/4 x 15 x 18 inches
Robell Awake, Baeza’s Chair, maple, hickory, paper cord, milk paint, 32-1/4 x 15 x 18 inches
Charlie Ryland, Poyner Side Chair, ash, hickory, paper cord, 34 x 18-1/2 x 18 inches
Charlie Ryland, Poyner Side Chair, ash, hickory, paper cord, 34 x 18-1/2 x 18 inches
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Textiles B Summer Session 5

TEXTILES – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Samantha Bittman
The Woven Pattern

Students in this workshop will explore hand-weaving with a focus on pattern and creating weave drafts. We will begin with the basics of drafting using pencil and paper and then use these drafts to set up looms and weave. Woven patterns will be expanded through experimentation with different treadling sequences, tie-ups, improvisation, and color. As the workshop progresses, we will work with computer software that will function as a gateway to understanding how to read and manipulate patterns from drafting books. Beginning students will learn to wind their warps and set up their looms from scratch. More experienced weavers will have an opportunity for in-depth investigation of weave structures and the option of weaving on an 8-harness loom. All levels. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

NOTE: Students in this workshop should bring a laptop computer if they can. If you are enrolled and cannot bring a computer, please contact Nadia Massoud at studio_operations@penland.org.

Studio artist, founder of Catskill Weaving School (NY); teaching: Rhode Island School of Design, School of the Art Institute of Chicago, Haystack (ME), Ox-Bow (MI); residencies: Josef and Anni Albers Foundation (CT), Sharpe-Walentas Studio Program (NYC), Skowhegan (ME); recent solo exhibitions: Ronchini (London), Andrew Rafacz  (Chicago), Morgan Lehman (NYC), Greenpoint Terminal Gallery (NYC).  

samanthabittman.com | @samantha_bittman
January 15 – Regular enrollment opens

Samantha Bittman, Untitled, acrylic on handwoven textile, 20 x 16 inches
Samantha Bittman, Untitled, acrylic on handwoven textile, 20 x 16 inches
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Textiles A Summer Session 5

TEXTILES – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Natalie Chanin
Creative Explorations in Textiles

This workshop will focus on fabric manipulation through embroidery, stenciling, patterning, and coloration. Students will learn to hand sew using artisan-inspired techniques, including appliqué and a variety of thread and embroidery work in contemporary embellishment methods. Using organic cotton jersey, we will explore inspiration, color, layout, and the creative process for fabric designs. Class members will complete sample blocks that can be used as references for larger projects or pieced together to create a range of products. Please note that this class will not focus on garment construction but on creative process and exploration. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Founder and creative director of Alabama Chanin (AL), Project Threadways (AL), and School of Making (AL); author of six books, most recently Embroidery: Threads and Stories. 

alabamachanin.com | @alabamachaninlife
January 15 – Regular enrollment opens

Natalie Chanin, Fabric Swatches, organic cotton jersey, textile paint, 10 x 16 inches
Natalie Chanin, Fabric Swatches, organic cotton jersey, textile paint, 10 x 16 inches
Natalie Chanin, Embroidered Swatch, organic cotton jersey, embroidery floss, thread
Natalie Chanin, Embroidered Swatch, organic cotton jersey, embroidery floss, thread
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Print & Letterpress L Summer Session 5

PRINT/LETTERPRESS/MIXED MEDIA – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Julie Chen
The Movable Artist’s Book

This workshop will explore content, design, and production strategies for incorporating pop-ups and movable mechanisms in artist books. We will begin by completing a set of quick technical models as we cover the basic techniques involved in designing pop-ups and movables. Students will take their ideas through the mock-up process and learn how to create and/or adapt templates for cutting paper pieces on the laser cutter. Then we will explore quick and accessible techniques for using letterpress to print visual content. Students will create parts for a small edition with the goal of completing at least one copy of their book by the end of the session. In addition, everyone will design and produce a page spread for a collaborative movable book. Intermediate/advanced level: students should have experience with Adobe Illustrator; bookmaking and/or letterpress experience will be helpful. Letterpress studio.

NOTE: Students in this workshop should bring a laptop computer if they can. If you are enrolled and cannot bring a computer, please contact Nadia Massoud at studio_operations@penland.org.

Professor at University of Wisconsin-Madison; studio artist publishing under the Flying Fish Press Imprint; recent exhibitions: National Museum of Women in the Arts (DC), The Jack Ginsberg Centre for Book Arts at Wits Art Museum (Johannesburg); collections: Library of Congress (DC), Victoria and Albert Museum (London), Sir George Grey Special Collections, (NZ).

flyingfishpress.com | @flyingfishpress
January 15 – Regular enrollment opens

Julie Chen, Panorama (two spreads), letterpress on various commercial papers, 9-1/2 x 20-1/4 x 2 inches when closed; 60 x 9-1/2 inches when fully opened
Julie Chen, Panorama (two spreads), letterpress on various commercial papers, 9-1/2 x 20-1/4 x 2 inches when closed; 60 x 9-1/2 inches when fully opened
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Print & Letterpress X Summer Session 5

PRINT/LETTERPRESS – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Jay Ryan
Screenprinting for Humans

This workshop will introduce both novice and experienced screenprinters to a process suited for the production of large, consistent editions but at a hand-made scale. An emphasis on hand-drawing and hand-cut films will allow for exploration of the screenprinting process. An appreciation of impulsive decisions and mistake-making will be balanced with the goal of print consistency across the editions made during the workshop. Techniques will include the use of outlines and hand-drawn text, trapping and registration across multiple screens, layering transparent inks, and the use of gradients. We will cover the full process, from coating screens with photo-emulsion to exposure, setting up print stations, and cleaning up. All levels. Printmaking studio.

Studio artist, illustrator, muralist, painter; screenprinting business owner with 28 years experience making concert posters for nationally-known bands and under-appreciated local groups; Speedball Ink Demo Artist; founder of the “Flatstock” series of concert poster events; work has appeared on the sets of innumerable TV shows and films and the walls of thousands of dorm rooms worldwide; select printed work published in three volumes, including No One Told Me Not To Do This.

thebirdmachine.com | @thebirdmachine
January 15 – Regular enrollment opens

Jay Ryan, Up All Night, acrylic screenprint on recycled paper, 24 x 18 inches
Jay Ryan, Up All Night, acrylic screenprint on recycled paper, 24 x 18 inches
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Photography Summer Session 5-drawing page

PHOTO/DRAWING/PAINTING – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Jamie Wolfe
Drawn Animation

Learn to breathe life into your drawings with animation.This workshop will focus on frame-by-frame animation techniques using traditional tools, such as paper and light tables, and a variety of wet and dry mediums (paint, ink, colored pencil, charcoal, markers, gouache, pastel, etc.). We will give special attention to observation, gesture, and embracing the tangible qualities of physical materials. Students will learn pipelines for turning drawn frames into short videos and gifs using scanners, cameras, and Adobe software. You will leave with a deeper understanding of the principles of movement, three short animated loops, and the ability to continue creating animations at home. No experience with animation, drawing, or photography required. All levels. Photography studio.

Animation director; teaching: visiting faculty at CalArts Experimental Animation (CA), visiting lecturer at UCLA Design Media Arts; Sundance Makers Lab participant; film festivals: London International Animation Festival, Ottawa International Animation Festival, ANIMAFEST Zagreb (Croatia), Feinaki Beijing Animation Week, Anifilm International Animation Festival (Czech Republic).

jamiewolfe.com | @jamikwolfe
January 15 – Regular enrollment opens

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Metals B Summer Session 5

METALS – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Anika Smulovitz
Adorning the Body

Interested in exploring unusual adornment? Curious about how material choices and placement can add content to your wearable artwork? In creating art for the body, we can examine content in a powerful and meaningful way that uses the body to activate the objects we create. As we make new works of adornment, we will consider the negative spaces on the body, how the body moves, and how wearable objects can accentuate or restrict that movement. We will play with site-specificity, kinetic elements, and material explorations. Technical instruction will support student interests and may include techniques such as sawing, filing, soldering, riveting, forming, etc. The emphasis will be on process, experimentation, and developing your work. A willingness to explore new ways of interpreting adornment is essential. All levels. Lower metals studio. 

Professor at Boise State University; Idaho Arts Commission Fellowship; artisan member of the Society of American Silversmiths; exhibitions: Chrysler Museum (VA), AdornAxis NYC Jewelry Week, Fuller Craft Museum (MA), Museo del Gioiello (Italy), Reinstein/Ross (NYC), Metal Museum (TN), Bellevue Arts Museum (WA); collections: Jewish Museum (NYC), Boise State University (ID), Barr Foundation (MA). 

anikasmulovitz.com | @anika.smulovitz

January 15 – Regular enrollment open

Anika Smulovitz, Body in Motion Study #3, sterling silver, 18k gold, transparency film, 6 x 3-1/4 x 1/8 inches
Anika Smulovitz, Body in Motion Study #3, sterling silver, 18k gold, transparency film, 6 x 3-1/4 x 1/8 inches
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Metals A Summer Session 5

METALS – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Mary Hallam Pearse
Jewelry Journey: Lost and Found 

Learn the ancient art of lost-wax casting (and more) in this fast-paced workshop. We will begin by venturing down the road of direct casting from hard and soft wax, small-scale plastic objects, and anything tiny and combustible we gather along the way. From there we will navigate through rubber and plaster mold making. As we travel, you will be encouraged to merge and mix parts to create new forms. Although we will take the scenic route, you will know you have arrived when you have an understanding of centrifugal and vacuum casting, the ability to make multiples, an array of experiments, and a finished piece. We will also cover the basics of sawing, soldering, and finishing. 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.

Associate professor at Lamar Dodd School of Art, University of Georgia; other teaching: Anderson Ranch (CO), 92nd Street Y (NYC), Kent State University (OH), Penland; exhibitions: Rhode Island College, Sieriaad: International Contemporary Jewellery Fair (Amsterdam); representation: J. Cotter Gallery (CO); publications: Metalsmith, Ornament, American Craft.

More about Mary Hallam Pearse

January 15 – Regular enrollment opens

Mary Hallam Pearse, It Takes Two, sterling silver, pearls, 3 x 2-1/2 x 1-1/2 inches
Mary Hallam Pearse, It Takes Two, sterling silver, pearls, 3 x 2-1/2 x 1-1/2 inches
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Iron Summer Session 5

IRON – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Sophie Glenn
Welding and Fabrication

This workshop will focus on the fundamentals of welding and steel fabrication for creating functional pieces and sculpture. We will make templates; learn about MIG/TIG welding and plasma cutting; explore steel’s plasticity with various bending and shaping tools, such as oxy-acetylene torch, swage blocks, slip roller, bending brake and English wheel; and work with other tools and machines. By the end of the session, each student will have fabricated a larger project showcasing all of their creativity and new metalworking skills. All levels.  

Studio artist; teaching: Arrowmont (TN), Appalachian Center for Craft (TN), Haystack (ME), Pocosin (NC); John D. Mineck Furniture Fellowship, Center for Emerging Visual Artists Fellowship (Philadelphia); residencies: Haystack Open Studio (ME), Appalachian Center for Craft (TN), Vermont Studio Center (VT); exhibitions: Blue Spiral 1 Gallery (NC), Museum for Art in Wood (PA), Fuller Craft Museum (MA), Houston Center for Contemporary Craft (TX), Mint Museum (NC).

www.sophieglenn.com | @arcburn_furniture
January 15 – Regular enrollment opens

Sophie Glenn, Purple Reign, painted and rusted steel, 42 x 50 x 19 inches
Sophie Glenn, Purple Reign, painted and rusted steel, 42 x 50 x 19 inches
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Glass B Summer Session 5

GLASS – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Norwood Viviano
Kiln Casting: Combining Digital and Traditional

Experimentation is the key to broadening how we approach our studio practice. This workshop will foster experimentation by combining traditional kilncasting with Rhino 3D computer modeling software, 3D printing, and 3D scanning, facilitating a hybrid approach to making. Through demonstrations, discussions, and research, students will be encouraged and supported as they develop individual projects using new technology and kilncasting. We will also cover rubber and plaster investment mold making, wax working, and firing/annealing schedules. All levels. Kiln studio.

NOTE: Students in this workshop should bring a laptop computer if they can. If you are enrolled and cannot bring a computer, please contact Nadia Massoud at studio_operations@penland.org.

Associate professor at Grand Valley State University (MI); other teaching: Anderson Ranch (CO), Ox-Bow (MI), Pilchuck (WA), Bild-Werk Frauenau (Germany); residencies: Kohler Arts/Industry (WI), Museum of Glass (WA), Wheaton Arts (NJ); collections: Museum of Fine Arts Houston, Toledo Museum of Art, Corning Museum of Glass (NY), Renwick Gallery (DC), Shanghai Museum of Glass (China); representation: Heller Gallery. 

norwoodviviano.com | @norwoodviviano
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Norwood Viviano, Recasting Pittsburgh, kilncast glass, 3D printed pattern, 16 x 10 x 13 inches
Norwood Viviano, Recasting Pittsburgh, kilncast glass, 3D printed pattern, 16 x 10 x 13 inches
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Glass A Summer Session 5

GLASS – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Jin Hongo and Robert Lewis
Color and Form

In this workshop we will design works using a palette of colors made in Penland’s color furnace. These colors will create parameters for the design and form of our sculpture and functional work. A mix and match approach to making work will let us focus on our conversation and analysis around basic principles of design, refining proportions, ergonomics, and how process can inspire concepts. We will cover both blown and solid forms. Collaboration is highly encouraged. All levels. Hot glass studio.

Jin: head professor at Toyama Institute of Glass Art (Japan), director at Toyoma Glass Studio (Japan); other teaching: Pilchuck (WA), Haystack (ME), The Glass Furnace (Istanbul), Rochester Institute of Technology (NY), Tokyo University of the Arts; collections: Toyama Glass Art Museum (Japan), Notojima Glass Art Museum (Japan), Nizayama Forest Art Museum (Japan), Contemporary Glass Art Museum in Eskisehir (Turkey). 

jinhongo.com

Robert: studio artist; teaching: Toyama Institute of Glass Art (Japan), Haystack (ME), Penland, UrbanGlass (NYC), Pilchuck (WA), Pittsburgh Glass Center, Pratt Fine Arts Center (WA), The Ohio State University, Alberta University of the Arts, University of Calgary. 

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

Jin Hongo, Merging Boundaries, mirror, steel, 12 x 28 feet
Jin Hongo, Merging Boundaries, mirror, steel, 12 x 28 feet
Robert Lewis, Saffron Seed Repository, blown glass, stainless steel armature, cork, 28 x 13-3/4 x 13-3/4 inches
Robert Lewis, Saffron Seed Repository, blown glass, stainless steel armature, cork, 28 x 13-3/4 x 13-3/4 inches
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Drawing & Painting Summer Session 5

DRAWING/PAINTING – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Tonya D. Lee
Color Theory and Abstraction

This workshop will explore the intersection between color theory and abstraction. From Newton to Goethe to Albers, we will study the teachings and methods of color scientists, artists, and theorists as a foundation for understanding the physical, psychological, and cultural aspects of color. Then we will create a series of abstract images—through drawing, painting, low-tech printmaking, and collage—rooted in color theory. We will have daily demonstrations, discussions of historical and contemporary relevance, and plenty of time for personal exploration. All levels. 

Studio artist, instructional technology and online learning coordinator at Moore College of Art (PA), color theory expert at Art Institute of Pittsburgh; teaching: Fairfield University (CT), Monmouth University (NJ); exhibitions: Jacksonville Museum of Modern Art (FL), J. Johnson Gallery (FL), D. M. Allison (TX). 

tonyadlee.com | @tonya_d_lee
Jan 15 – Regular enrollment opens

Tonya D. Lee, Untitled, mixed media on board, 24 x 18 inches
Tonya D. Lee, Untitled, mixed media on board, 24 x 18 inches
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Clay B Summer Session 5

CLAY – SUMMER SESSION 5
July 14-26, 2024 (11 STUDIO DAYS)
Shiyuan Xu
Playing with Paperclay

Paperclay is a forgiving material that has been widely used by ceramic artists over the years for both functional work and sculpture. In this workshop students will gain basic knowledge of paperclay and its properties.They will learn to prepare and manage their own porcelain paperclay and will also play with colored paperclay. We will experiment with various structural forms and work with handbuilding techniques such as pinching, slab and coil building, slip-trailing, and dipping found objects to create forms. The workshop will include daily demonstrations, discussions of contemporary artworks, and individual meetings. Electric firing. Basic handbuilding skills will be helpful, but this workshop is open to all levels. Lower clay studio. 

Studio artist; teaching: Waubonsee Community College (IL), Lillstreet Art Center (Chicago), Lawrence Art Center (KS), Houston Community College, Arizona State University (AZ); residencies: Lillstreet Art Center (Chicago), Houston Center for Contemporary Craft, Archie Bray Foundation (MT); collections: Korea Ceramic Foundation, San Angelo Museum of Fine Arts (TX), National Museum of Slovenia (Slovenia); representation: Sherry Leedy Contemporary (KCMO), Ting-Ying Gallery (UK).

shiyuanxu.com | @shiyuanxu129
Jan 15 – Regular enrollment opens

Shiyuan Xu, Hybrid #4, porcelain paperclay, glaze, 24 x 9-1/2 x 19 inches
Shiyuan Xu, Hybrid #4, porcelain paperclay, glaze, 24 x 9-1/2 x 19 inches