Posted on

Iron Summer Session 3

Iron Summer Session 3
June 19–July 1
Daniel Souto and Stephen Yusko
Material Studies

This workshop will explore inventive uses of material through creative problem solving. Students will work with forged, formed, and fabricated steel to create functional objects and/or sculpture. Techniques will include sheet and hollow forming, tube and pipe forging, hot and cold connections, and pattern and texture development on steel. Through demonstrations and discussions about design and function, we’ll work to create objects that balance the industrial history of steel with gracefulness of form. All levels.

Daniel: studio artist, founder, and executive director of La Caravana Escuela, a craft-based educational project empowering remote communities in Venezuela; other teaching: Haystack (ME), Souto Studios (Venezuela).

lacaravanaescuela.org | @lacaravanaescuela 

Stephen: studio artist; teaching: Haystack (ME), Cleveland Institute of Art, ThinkCraft Symposium (OH), Peters Valley (NJ), Touchstone (PA); Ohio Arts Council Individual Artist Excellence Award (OH), Cuyahoga County Creative Workforce Fellowship (OH); exhibitions: Metal Museum (TN), FORGE, International traveling exhibition (UK and USA). publications: 500 Metal Vessels (Lark Books), Metalsmith, American Craft. 

stephenyusko.com | @stephenyuskostudios

Daniel Souto, Forged and Punched Rod, steel, 1-inch round bar
Daniel Souto, Forged and Punched Rod, steel, 1-inch round bar
Stephen Yusko, Reliquary: Solitude, glass, painted wood, silver leaf, forged, machined, and fabricated steel, 8-3/4 x 3-1/8 x 8 inches
Stephen Yusko, Reliquary: Solitude, glass, painted wood, silver leaf, forged, machined, and fabricated steel, 8-3/4 x 3-1/8 x 8 inches
Posted on

Glass B Summer Session 3

Glass Summer Session 3
June 19–July 1
Sally Prasch
Sum of the Parts

The focus of this workshop is making hollow and solid shapes on Penland’s beautiful glassblowing lathe and then putting them together at the torch. We’ll cover lathe safety and maintenance and different ways to set up torches. Our primary glass will be borosilicate but other COEs can be explored as well. With lots of individual instruction, we’ll emphasize experimentation and developing your ideas. Bring your sketchbooks, and come have some fun in the Penland flameworking studio! All levels. 

Scientific glassblower and instructor at University of Massachusetts and University of Vermont; other teaching: Pilchuck (WA), Pittsburgh Glass Center, Niijima Glass School (Japan), Karma Design Studio (Turkey), Ingalena Klenell Studio (Sweden); organizer of Glass Life Forms 2021 at Fuller Craft Museum (MA) and the Oh, Beautiful Glass exhibitions at Leverett Art Center (MA). 

praschglass.com

Sally Prasch, Blown Away, glass, 18 x 12 inches
Sally Prasch, Blown Away, glass, 18 x 12 inches
Posted on

Glass A Summer Session 3

Glass Summer Session 3
June 19–July 1
Kim Harty
Glass Somatics

Glassblowing engages the entire body and the five senses. This workshop will investigate the ways that somatics can guide the artistic act of glass making. We’ll explore the relationship between glass making and muscle memory, choreography, hand-eye coordination, and spatial awareness. Students will learn traditional and experimental approaches to hot glass and will also work with drawing, photography, and video. Technical information will include glassblowing, assemblage, mirroring, sand casting, and basic kilnforming. All levels. Hot glass studio.

Chair of craft and material studies and section head and assistant professor of glass at the College for Creative Studies (Detroit); exhibitions: Design Museum Gent (Belgium), Chrysler Museum (VA), Toledo Museum (OH), Corning Museum (NY); writing published Glass Quarterly, Detroit Research, various museum catalogs. 

kimharty.com | @kimharty

Kim Harty, Tumbler Study 1, digital print on aluminum dibond, 21 x 31 inches
Kim Harty, Tumbler Study 1, digital print on aluminum dibond, 21 x 31 inches
Posted on

Drawing & Painting Summer Session 3

Drawing & Painting Summer Session 3
June 19–July 1
Clarence Morgan
Cultivating Aesthetic Instincts: Process, Systems, and New Forms

This workshop will explore a combination of approaches to drawing and painting with a focus on material processes and the development of ideas. The objective is to produce works inspired by independent thinking, aesthetic resourcefulness, and innate curiosity. We’ll approach our work with an open mind regarding materials, content, and methods as we explore unfamiliar terrain that will challenge conventional notions of drawing. We’ll have individual guidance, group discussions, and readings pertaining to the why and how of drawing as an essential artistic practice in the twenty-first century. Intermediate level: students should be conversant with the fundamentals of art and have some experience with a studio practice.

Professor of art at University of Minnesota; other teaching: East Carolina University (NC), Minneapolis College of Art & Design; collections: Weisman Art Museum, Cleveland Museum of Art, Walker Art Center (Minneapolis), Des Moines Art Center (IA), Minneapolis Institute of Art, Pennsylvania Academy of The Fine Arts; representation: Tory Folliard Gallery (Milwaukee), Burnet Fine Art & Advisory (MN).

clarence-morgan.com

Clarence Morgan, Nothing Is Apparent, graphite, acrylic ink, pen, watercolor crayon on paper, 22 x 30 inches
Clarence Morgan, Nothing Is Apparent, graphite, acrylic ink, pen, watercolor crayon on paper, 22 x 30 inches
Posted on

Clay B Summer Session 3

Clay Summer Session 3
June 19–July 1
Ashley Kim
Intimate and Colorful Clay

This handbuilding workshop will explore construction techniques such as pinching, coiling, darting, and hollow slab construction. Students will also learn to make drape molds with objects brought from home to create reinterpreted objects of use. The second part of the workshop will focus on exploring surface embellishing techniques and materials, including colored slips and underglazes. We’ll emphasize marrying form and surface through texture, pattern, and color to create works of intrigue and intimate beauty filled with personal language and meaning. We’ll use cone 5-6 B-Mix clay and fire in oxidation. All levels. Lower clay studio.

Studio artist and lecturer at San Diego State University (CA); recent exhibitions: Juried National IV at Red Clay Lodge (MT), Above Board (online); representation: Red Clay Lodge (MT), Freehand Gallery (Los Angeles), L’Atelier (CA).

 @ashleykimclayworks

Ashley Kim, Bucket, cone 5 clay, underglazes, glazes, image transfer, wire, 13 x 7 x 5 inches
Ashley Kim, Bucket, cone 5 clay, underglazes, glazes, image transfer, wire, 13 x 7 x 5 inches
Posted on

Clay A Summer Session 3

Clay Summer Session 3
June 19–July 1
Courtney Martin
Slab, Coil, Decorate, Fire

We’ll create platters and serving dishes using handbuilding techniques such as slab and coil construction and then add handles and feet, carve textures and patterns, and consider the specific functionality and visual balance of the pots. We’ll explore patterns through the use of wax and latex resists in our glazing and finish our pots by firing with wood, salt, and soda. High-fire stoneware. All levels. Upper clay studio.

Studio potter: teaching: Penland, Arrowmont (TN); exhibitions: solo at Signature Shop (Atlanta), Smithsonian Craft Show (DC), Shape Theory Collective (UT); organizer of Clay to Table (online); representation: Signature Shop (Atlanta), Schaller Gallery (MI), Freehand Gallery (Los Angeles), Penland Gallery. 

courtneymartinpottery.com | @courtneymartinpotter

Courtney Martin, Basket, wood-fired North Carolina clay, 14 x 10 x 10 inches
Courtney Martin, Basket, wood-fired North Carolina clay, 14 x 10 x 10 inches
Posted on

Books & Paper P Summer Session 3

Books & Paper Summer Session 3
June 19–July 1
Mary Hark
Immersed in Pulp: A Hand-Papermaking Intensive

Soft and airy or tough and bark-like, paper can be an absorbent material that carries fluidity with ease or possesses a dense, impenetrable surface. It can be smooth as glass or a lush field of texture. Whether it is skin or substrate, this wonderful material has endless possibilities. A thorough investigation of traditional papermaking processes will be the starting point for a lively exploration of surface, form, and content. We’ll cover a variety of fibers and approaches to surface and color. Each person will be encouraged to find ways of using this material to address their individual aesthetic concerns. All levels. Papermaking studio.

Professor of design studies at University of Wisconsin-Madison, proprietor of HARK! Handmade Paper Studio;  2021-2022 McKnight Fellow in Book Arts; collections: Metropolitan Museum (NYC), Brooklyn Museum (NYC), Smithsonian Museum of African Art (DC), Ginsberg Book Arts Collection (South Africa). Working with a project in Ghana to the first hand papermill in West Africa producing high-quality paper using local botanicals and textile waste.

maryhark.com | @harkhandmadepaper
ghanapaperproject.com | @theghanapaperproject

Mary Hark, Flax and Linen Papers, flax fiber, linen cloth, pigments, dyes, gelatin size, 18 x 24 inch sheets
Mary Hark, Flax and Linen Papers, flax fiber, linen cloth, pigments, dyes, gelatin size, 18 x 24 inch sheets
Posted on

Books & Paper B Summer Session 3

Books & Paper Summer Session 3
Session 3: June 19–July 1
Jeffrey Evergreen
The Mechanical Image: Process, Modularity, and the Distributed Form

Risograph duplicators, copiers, scanners, and desktop printers will be primary tools for exploring how artistic production functions differently in the context of multiplicity. We’ll take historical inspiration from twentieth-century graphic design, Dada, Fluxus, minimalism, and process art, while creating photo-mechanical layouts for use with scanners and copy camera techniques. Exercises will encourage formal transformation via reproductive processes, exploring the conceptual potential of modularity, iteration, and distributed form. Finished projects may include Risograph booklets, flat stock, collages, temporary installations, or other forms. All levels. Books studio.

Director of labs in the College of Architecture and Design at Lawrence Technological University (MI); teaching: College for Creative Studies (MI), Wayne State University (MI), Interlochen Center for the Arts (MI), Kalamazoo Institute of Arts (MI); recent exhibitions and performances: Dlectricity (Detroit), Wayne State University School of Music (Detroit), LightBox (Detroit), Michigan State University Union Gallery.

jeffreyevergreen.com | printcache.com | @jevergreen

Jeffrey Evergreen, Blue Banana Beard, 3-color Riso print on paper, 8-1/2 x 11 inches
Jeffrey Evergreen, Blue Banana Beard, 3-color Riso print on paper, 8-1/2 x 11 inches
Posted on

Wood Summer Session 2

Wood Summer Session 2
June 5–June 17
Taeho Kwon
A Quest for 1,000 Years

This workshop will cover many aspects of woodworking as each student builds a sitting bench/coffee table based on the instructor’s design. By using the characteristics of the wood and understanding its behavior, students will learn how to make furniture that will last not just a lifetime but hundreds of years. A deeper knowledge of joinery will take your woodwork to the next level. The end result will be a distinctive, two-in-one bench/table accompanied by an understanding of how to properly use wood to make pieces that will last. All levels. 

Studio artist, owner of TK Wood Art Studio (CA); teaching: TK Wood Art Studio, William Ng School of Fine Woodworking (CA), Marc Adams School of Woodworking (IN), Guild of Oregon Woodworkers; maintenance and restoration certificate from the School of Traditional Korean Architecture and years of experience with traditional Korean house and temple construction.

tkwoodartstudio.com | @tkwoodart

Taeho Kwon, Cantilever Sitting Bench/Coffee Table, walnut, maple, 18 x 60 x 16 inches
Taeho Kwon, Cantilever Sitting Bench/Coffee Table, walnut, maple, 18 x 60 x 16 inches
Posted on

Textiles B Summer Session 2

Textiles Summer Session 2
June 5–June 17
Elisabeth Hill
Limitations as License

Friction with the perceived limitations of a discipline can often spark the fire of creative thinking and problem-solving. Students in this workshop will learn (or review) the fundamentals of weaving, including measuring and winding warps, dressing looms, calculating sett, and drafting on paper and the computer. These fundamentals may be seen as limitations, but during the second half of the class we’ll apply the skills acquired and honed in the previous week to personal projects by exploring/deploying a variety of weaving techniques that challenge the loom’s limitations, such as layered weaves, pile weaves, deflecting structures, and pick-up techniques. Students should bring a laptop computer if they have one. All levels. Lower textiles studio.

Studio artist and certified master weaver; teaching: Vävstuga Weaving School (MA), Campbell Folk School (NC), Arrowmont (TN); publications: Handwoven, Complex Weavers 40th Anniversary Book, The Art of Weaving 4th Edition.

plainweave.net | @plainweave

Elisabeth Hill, detail of Sample, merino wool
Elisabeth Hill, detail of Sample, merino wool
Posted on

Textiles A Summer Session 2

Textiles Summer Session 2
June 5–June 17
Emily Parkinson and Sarah Parkinson
More Is More with Mordants

Join us for a full-speed, full-fun session of pattern play, mordant printing, and natural dyes! Students will learn to combine precise and repeatable screen printing techniques with the rich and storied hues of classic dyes. Daily pattern prompts will get our ideas flowing and inspire original, multi-layered designs made with brushes, pens, cut paper, found imagery, digital manipulation, and more. We’ll expose our patterns onto screens and print them with a range of thickened mordants. Then we’ll prepare dyes, including cutch, madder, cochineal, weld, and indigo, and experience some true dyer’s magic as our printed textiles take on varied shades in a single pot. Bring your exuberant curiosity and leave with a foundation of printing and dyeing skills, a library of samples, and a handful of finished pieces. All levels. Upper textiles studio.

Emily: co-founder of Homebody Textiles, co-founder of Wildflower Delivery Co.; teaching: Snow Farm (MA), Penland; exhibitions: Growing Color Symposium (NC), Red Brick Arts Center Portraiture Exhibition (CO), CraftWeek Atlanta/Southeast (online), Penland Gallery; publications: UPPERCASE Magazine, Nature’s Colorways (Longthread Media).

Sarah: director of marketing at Pilchuck Glass School (WA), co-founder of Homebody Textiles; teaching: Snow Farm (MA), Penland; exhibitions: Growing Color Symposium (NC), Dartmouth Graphic Arts Workshop (NH), CraftWeek Atlanta/Southeast (online), Penland Gallery; publications: UPPERCASE Magazine, Nature’s Colorways (Longthread Media).

homebodytextiles.com | @homebodytextiles

Emily Parkinson and Sarah Parkinson, Spring Bandana, Cantaloupe, organic cotton, madder, buckthorn, and cochineal dyes, 24 x 24 inches
Emily Parkinson and Sarah Parkinson, Spring Bandana, Cantaloupe, organic cotton, madder, buckthorn, and cochineal dyes, 24 x 24 inches
Posted on

Print & Letterpress X Summer Session 2

Print & Letterpress Summer Session 2
June 5–June 17
Joseph Velasquez
Color Relief Printmaking

This exciting workshop will present a variety of relief printing techniques, including traditional and experimental methods of color printing on paper and textiles. We’ll cover tools and sharpening, transfer techniques, registration methods, and traditional and experimental substrates, along with multi-block printing, experimental monoprint methods, and paper dyeing techniques that create dynamic compositions. The aim of this workshop is to expand your image carving vocabulary and your color printing knowledge and maximize the possibilities of relief! All levels. 

Assistant professor at Florida Atlantic University; lectured and demonstrated at 145 universities as co-creator of Drive-By Press, a mobile printmaking studio; exhibitions: Venice Biennale (Italy), South African Museum, The Print Center (Philadelphia), Doujiao Museum of Art (Beijing), University of Dundee (Scotland). 

josephvelasquez.com | @dbpjoseph

Joseph Velasquez, The Road to Perdition, relief on textile, 6 x 4 feet
Joseph Velasquez, The Road to Perdition, relief on textile, 6 x 4 feet
Posted on

Photography Summer Session 2

Photo Summer Session 2
June 5–June 17

Tokie Rome-Taylor
Painterly Photography

This workshop will use Dutch Renaissance paintings and contemporary photographs with a painterly aesthetic as inspiration. We’ll explore manual camera settings, working with studio lighting, and staging to capture images in the style of the old masters. We’ll cover Photoshop editing, using digital textures, combining images, overlays, and color grading. Our subject matter will be portraits and still-lifes from found objects or personal artifacts. Students should bring their own DSLR or mirrorless cameras. All levels.

Studio artist, educator; PhotoLucida Critical Mass Top 50 Photographers; exhibitions: Arnika Dawkins Gallery (GA), Southeastern Museum of Photography (FL), Spalding Nix Fine Art Gallery (GA), Griffin Museum of Photography (MA), CEPA Gallery (NY), SP-Foto SP-Arte (Brazil); collections: Museum of Contemporary Art of Georgia. 

tokietaylorstudio.com | @tokietstudio

Tokie Rome-Taylor, Grandfather said we came through fire and iron reborn, archival pigment print on cotton rag, 36 x 24 inches
Tokie Rome-Taylor, Grandfather said we came through fire and iron reborn, archival pigment print on cotton rag, 36 x 24 inches
Posted on

Metals B Summer Session 2

Metals Summer Session 2
June 5–June 17
Jaydan Moore
Fabrication

In this workshop we’ll make fabricated vessels, defining what is meant by “vessel” pretty broadly. We’ll cover sheet patterning techniques to create all types of shapes and learn how to cut metal efficiently. Creating efficient layouts for simple and complex forms will make fabrication go smoothly. We’ll build compound curves through sinking and raising, create sharp edges through scoring and bending, and bring pieces together using larger-scale soldering techniques. All levels. Lower metals studio. 

Studio artist; teaching: Virginia Commonwealth University, Rhode Island School of Design, California College of the Arts, Haystack (ME), Penland; residencies: Penland Resident Artist Program, Kohler Arts Industry (WI), Houston Center for Contemporary Craft, Virginia Commonwealth University Fountainhead Fellowship; collections: Museum of Fine Arts Houston, Carnegie Museum of Art (PA), Kohler Company (WI).

jaydanmoore.com | jaydan.moore

Jaydan Moore, Coil #2, found silver-plated platters, 18 x 18 x 5 inches
Jaydan Moore, Coil #2, found silver-plated platters, 18 x 18 x 5 inches
Posted on

Metals A Summer Session 2

Metals Summer Session 2
June 5–June 17
Danni Xu
Illustration in Enamel

Enameling is fusing powdered glass to a metal surface. This workshop will introduce various enameling techniques to create imagery. Whether you are inspired by nostalgic memories or your favorite novels, you will jump into the illustrative world of enameling and start building the skills needed to translate your imagery into glass on metal. We’ll begin with the basic process of sifting enamel onto copper and then explore a variety of techniques such as cloisonné, champlevé, China paint, and decal. We’ll also cover some fundamental jewelry techniques to support the creation of samples and finished pieces. All levels. Upper metals studio.

Studio artist, adjunct instructor at Kean University (NJ); other teaching: Rhode Island School of Design, Lillstreet Art Center (Chicago); Tiffany & Co. Foundation scholarships; exhibitions: Beijing International Jewellery Art Exhibition (China), Lincal Lab (Portugal), Metal Works (NYC), Pistachios Contemporary Art Jewelry (Chicago), Baltimore Jewelry Center, Surface Matters: Grit or Gloss a traveling exhibition from The Enamelist Society. 

dannixu.com | @dannii_xu

Danni Xu, Handmade Memory #2, silver, copper, steel, enamel, embroidery thread, plexiglas, 4 x 3 x 1 inches
Danni Xu, Handmade Memory #2, silver, copper, steel, enamel, embroidery thread, plexiglas, 4 x 3 x 1 inches
Posted on

Iron Summer Session 2

Iron Summer Session 2
June 5–June 17
Eric Fuertes
Straight Fire

In this iron casting workshop, we’ll use our superpowers, as artists, to create works that will give a little hope back to the world. We’ll harness the process of metal casting and transform iron with straight fire! As a community of makers, we’ll generate designs for metal casting, develop multi-part resin-bonded sand molds, learn to run an iron furnace, pour iron, and walk away with finished castings. If you don’t know what your superpowers are, then step into the fire and let’s discover them together. All levels. 

Assistant director of sculpture facilities at The School of the Art Institute of Chicago; former shop foreman at Keen Foundry (Houston); teaching: Northern Illinois University, Estonian Academy of Fine Arts (Estonia), teacher of several mold-making workshops at Sloss Foundry Cast Iron Art conferences; exhibitions: Appalachian Center for Craft (TN), Mary and Lee Block Museum (Chicago), New Mexico Highlands University, advocate for underrepresented artists. 

ericfuertes.com

Eric Fuertes, 45, cast iron, 23 x 23 x 3/4 inches
Eric Fuertes, 45, cast iron, 23 x 23 x 3/4 inches
Posted on

Glass B Summer Session 2

Glass Summer Session 2
June 5–June 17
Caterina Zucchi
Blown Glass Beads: Skills and Shapes

This workshop will focus on blown glass beads. Working with soft glass, we’ll create wearable glass bead compositions that are voluminous yet light. We’ll start by making round beads, then use heat, gravity, and rotation to make different shapes. We’ll cover surface decoration and stringing beads to make jewelry. This dynamic and practical workshop will include group demonstrations and one-on-one instruction, which will help you become independent and skilled in blowing beads and composing balanced and wearable objects. All levels. Flameworking studio.

Designer, studio artist, owner of Studiozero-vetro (Italy); teaching: Vetroricerca Glas & Modern (Italy); exhibitions: International Glass Biennale Sofia (Bulgaria), Ireland Glass Biennale Dublin, International Art Jewellery Exhibition (Beijing). 

studiozerovetro.it | @studiozero_vetro

Caterina Zucchi, Roots Necklace, Murano glass, polyester string, 24-1/2 inches long
Caterina Zucchi, Roots Necklace, Murano glass, polyester string, 24-1/2 inches long
Posted on

Glass A Summer Session 2

Glass Summer Session 2
June 5–June 17
Karen Willenbrink-Johnsen and Jasen Johnsen
Hot Glass Sculpting

This workshop will be crammed full of information drawn from our lengthy experience in sculpting glass. We’ll present experimental ways of working glass so ideas can materialize. Demonstrations will include a variety of frit and powder techniques, torch work, and the use of customized tools. We’ll cover blown and solid forms with an emphasis on teamwork and use the garage to construct parts. Students will have time to work out their ideas daily. Plan to work hard and have a blast. Intermediate level: two years of hot glass experience required. Hot glass studio.

Collaborating studio artists; teaching: Pratt Fine Arts Center (Seattle), Pilchuck (WA), Red Deer College (Canada); Soneva Fushi residency (Maldives); exhibitions: Museum of Northwest Art (WA), Tacoma Museum of Glass (WA), Schack Art Center (WA), solo show at Habatat Galleries (MI); work in museum collections worldwide. 

willenbrinkjohnsen.com

Karen Willenbrink-Johnsen and Jasen Johnsen, Peacock, blown and sculpted glass, steel,
20 x 30 x 13 inches
Karen Willenbrink-Johnsen and Jasen Johnsen, Peacock, blown and sculpted glass, steel, 20 x 30 x 13 inches
Posted on

Drawing & Painting Summer Session 2

Drawing & Painting Summer Session 2
June 5–June 17
Susan Goethel Campbell
Drawing as Process: Investigation through Materials

This workshop will explore drawing as a visual and material language. We’ll start by reviewing a range of basic drawing techniques and concepts such as line, tone, space, and density using a variety of tools and surfaces: we might create lines by punching holes in a sheet of paper or casting shadows of bent wire onto a wall. The unique qualities of specific materials can become a muse and give you the freedom to appreciate drawing as process and an end in and of itself. Come open up your creative practice! All levels.

Studio artist; teaching: Cranbrook (MI), College for Creative Studies (Detroit), Penland; exhibitions: Crystal Bridges Museum (AR), National Museum of Women in the Arts (DC), Detroit Institute of Arts, Drawing Center (NYC), Museum of Contemporary Art Detroit, Grand Rapids Art Museum, New York Public Library; representation: David Klein Gallery (Detroit), Aspinwall Editions (New York City), Galerie Tom Blaess (Switzerland). 

susangoethelcampbell.com | @suegoethel

Susan Goethel Campbell, Lost City No. 2, two-layer perforated woodblock print, 23-1/2 x 31 inches
Susan Goethel Campbell, Lost City No. 2, two-layer perforated woodblock print, 23-1/2 x 31 inches
Posted on

Clay B Summer Session 2

Clay Summer Session 2
June 5–June 17
Del Harrow
Building Systems

This workshop will explore a range of systems and techniques for creating volumetric, handbuilt sculptures with a focus on problems of scale, gravity, and architecture. We’ll engage in demonstrations, reading, discussions, and critiques, and techniques will include building with coils and slabs, using one-part plaster molds, glazing and electric firing (cone 04 oxidation). We’ll draw inspiration from the sympathetic creative practices of music and poetry and their use of system, material, and formal thinking to generate creative expression. Earthenware clay. All levels. Lower clay studio.

Associate professor at Colorado State University; other teaching: Haystack (ME), Anderson Ranch (CO); residencies: Archie Bray (MT),  European Ceramic Work Center (Netherlands); exhibitions: Museum of Fine Arts, Boston, Denver Art Museum, Milwaukee Museum of Art; representation: Haw Contemporary (Kansas City), Harvey/Meadows Gallery (CO).

delharrow.net | @parametric_pottery

Del Harrow, Table and Surface/Hole/Shadow, ceramic, glaze, plywood, sculpture on right: 60 x 20 x 20 inches
Del Harrow, Table and Surface/Hole/Shadow, ceramic, glaze, plywood, sculpture on right: 60 x 20 x 20 inches
Posted on

Clay A Summer Session 2

Clay Summer Session 2
June 5–June 17
Sanam Emami
Stencils and Stories: Pottery for the Table

Serving dishes contain and serve; they hold our favorite foods and our cultural histories. In this workshop, we’ll explore a range of historic and contemporary ideas for serving and storing everything from small delicacies to main courses. These ideas—organized around the space of the table—will be the starting point for imagining the form, scale, surface, and structure of pots. We’ll use midrange clay bodies and glazes. Stencils and colored slips will help transfer surface design ideas onto wet, 3D clay forms. Bring family recipes and sketches of ideas for serving dishes. Basic wheelthrowing skills will be helpful, but this workshop is open to all levels. Upper clay studio.

Associate professor at Colorado State University; Archie Bray residency (MT), New York Foundation for the Arts grant; exhibitions: Schaller Gallery (MI), Flower City Invitational (NY), Harvey/Meadows Gallery (CO). 

sanamemami.com | @sanamemami

Sanam Emami, Tableware, stoneware, chocolate stoneware, slips, stencils, oxidation, largest plate: 10 inches
Sanam Emami, Tableware, stoneware, chocolate stoneware, slips, stencils, oxidation, largest plate: 10 inches
Posted on

Wood Summer Session 1

Wood Summer Session 1
May 29–June 3
Char Miller-King
Fundamentals of Woodworking

This intensive workshop will start with a journey through the life cycle of lumber as we discuss the origin of various wood species and selecting proper pieces for a project. We’ll cover the safe use of hand and power tools, how to properly measure, milling techniques, joinery methods, understanding wood grain, and finishing. Expect to complete two or three of the following projects: cutting board, splined mitered box, small table. This workshop will be hands-on fun that will give you the confidence you need to pick up a tool and make something amazing! Beginning level. 

Studio artist, woodshop teacher; has taught classes at maker spaces, camps, schools, and live online; writer of the Women in Woodworking column for Highland Woodworking (Atlanta); featured in Popular Woodworking and The Family Handyman; has appeared on PBS, CNN, Magnolia Network, and Discovery Plus; social media content created for Home Depot, Rockler, and Popular Mechanics.  

thewoodenmaven.com | @woodenmaven

Char Miller-King, Cutting/Charcuterie Board, maple, walnut, cherry, 9 x 14 x 1 inches
Char Miller-King, Cutting/Charcuterie Board, maple, walnut, cherry, 9 x 14 x 1 inches