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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
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Textiles B Summer Session 1

Textiles Summer Session 1
May 29–June 3
Edwina Bringle
Workshop of Exploration and Possibilities

In this workshop we’ll explore many areas of weaving: students may choose to focus on tapestry, rugs, cloth, overshot, etc. We’ll also engage in color exercises. I will be glad to answer student questions ahead of time and take suggestions for content. To maximize use of class time, students may choose to bring a warp, wound, and ready to go. Intermediate level: students must be able to dress a loom unassisted. Lower textiles studio.

Professor emerita at University of North Carolina-Charlotte; Penland Outstanding Artist Educator Award; collections: Mint Museum (Charlotte), North Carolina Museum of History, Greenville Museum of Art (SC), Southern Highland Craft Guild (NC); numerous private collections, former Penland Resident Artist.

Edwina Bringle website | @edwinabringle

Edwina Bringle, Lap Robe/Shawl, handwoven wool, 53 x 60 inches
Edwina Bringle, Lap Robe/Shawl, handwoven wool, 53 x 60 inches
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Textiles A Summer Session 1

Textiles Summer Session 1
May 29–June 3
Beth Dow
Traditional Hand-Sewn Leatherwork

This workshop will cover the foundational skills of hand-sewn leatherwork using the traditional, two-needle saddle stitch with natural vegetable-tanned cowhide. We’ll begin with small projects followed by large tote bags that can be customized with pockets and hardware. Techniques will include surface decoration, wet molding, hardware installation, pattern drafting, and leather treatment. This is a relaxing, machine-free way to construct objects of great beauty and integrity. No experience is necessary, but this workshop does require good hand dexterity and enough arm strength to pound hand tools with mallets. All levels. Upper textiles studio.

Studio artist; teaching: Metropolitan State University (Denver), University of Minnesota, North House Folk School (MN); multiple individual artist grants from Minnesota State Arts Board, two McKnight Foundation fellowships (MN); collections (visual art): Minneapolis Institute of Art, Museum of Contemporary Photography, Portland Art Museum (OR), Beinecke Rare Book and Manuscript Library at Yale University (CT). 

fieldworkgoods.com | @fieldworkgoods

Beth Dow, Sidewalk Crossbody Bag, vegetable-tanned leather, linen thread, brass and copper hardware, 7-1/2 x 8-1/2 x 2-3/4 inches
Beth Dow, Sidewalk Crossbody Bag, vegetable-tanned leather, linen thread, brass and copper hardware, 7-1/2 x 8-1/2 x 2-3/4 inches
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Print & Letterpress L Summer Session 1

Print & Letterpress Summer Session One
May 29–June 3
Kathryn Hunter
Letterpress in Motion

This workshop will use letterpress printing to create movable paper objects. We’ll look back at vintage examples, from articulated figures to volvelles, and how they were used as toys and information tools. Students will print type and images and then use dies to create a small edition of a figure or a simple volvelle, or they will design and print a small edition of prints that can be cut up and made into articulated objects. We’ll cover printing–with handset type, photopolymer plates, and linoleum blocks–and die cutting. Beginning level: experienced students welcome.

Studio artist, owner of Blackbird Letterpress; teaching: Crystal Bridges Museum of American Art (AR), Ladies of Letterpress conferences, Louisiana State University; exhibitions: University of Wisconsin-Oshkosh, University of Mississippi-Oxford, Redux Contemporary Art Center (SC); design commissions: Metropolitan Museum (NYC), Norton Simon Museum (Los Angeles), illustrations in the Keeper of the Tales trilogy by Ronlyn Domingue. 

kathrynhunterfineart.com | @kathrynhunterartist
blackbirdletterpress.com | @blackbirdletterpress

Kathryn Hunter, National Park Spinner/Volvelle, paper, ink, metal brad, 6 inches diameter
Kathryn Hunter, National Park Spinner/Volvelle, paper, ink, metal brad, 6 inches diameter
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Metals B Summer Session 1

Metals Summer Session 1
May 29–June 3
Lydia Martin
Witness Lines

No matter how you approach soldering, a seam is present. Although we can learn to disguise and refine–creating the illusion of a seamless surface–there are applications where seams are inevitably visible. But what happens when a solder seam becomes more than just a connection point between two pieces of metal? In this workshop, students will explore the potential of the visible solder seam in hollow form construction. After becoming familiar with the foundations of this method, we’ll throw out the rule book and adapt new ways of thinking and making into your personal studio practice. From beginners to seasoned makers, all are welcome to join in, experiment, and play. All levels. Lower metals studio.

Windgate Artist in Residence at University of Arkansas at Little Rock; teaching: Baltimore Jewelry Center (MD), Towson University (MD), Montgomery College (MD), Rochester Institute of Technology (NY); representation: Jewelers’ Werk Galerie (DC). 

lydiaelsamartin.com | @lydiaelsamartin

Lydia Martin, The Weight of Line, sterling silver, lacquer, stainless steel, 5 x 4-1/4 x 1-1/2 inches
Lydia Martin, The Weight of Line, sterling silver, lacquer, stainless steel, 5 x 4-1/4 x 1-1/2 inches
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Metals A Summer Session 1

Metals Summer Session 1
May 29–June 3
Marlene True
Well Connected: Beyond the Jump Ring

Jump rings are a classic jewelry finding used to make chains and to connect one component to another, but there are many more exciting ways to connect metal. This workshop will move beyond jump rings to imagine and create strong connections that can unify your jewelry. We’ll start cold with tabs, rivets, screws, and stitches. Then we’ll heat it up with soldering techniques to create a variety of connections. Finally, students will design and complete a piece of jewelry with parts that are creatively well-connected. All levels. Upper metals studio.

Executive director of Pocosin Arts School of Fine Craft; teaching: West Dean College (England), Arrowmont (TN), Haystack (ME), Peters Valley (NJ); collections: Museum of Arts and Design (NYC), Metal Museum (TN); exhibitions: Crafting a Legacy at The Metal Museum (TN); published in Little Dreams in Glass and Metal: Enameling in America 1920 to the Present (UNC Press).

marlenetrue.com | @marlenetrue

Marlene True, Sisters, repurposed steel, brass, 24k gold plate, plastic, 3-1/2 x 7 x 1/2 inches
Marlene True, Sisters, repurposed steel, brass, 24k gold plate, plastic, 3-1/2 x 7 x 1/2 inches
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Iron Summer Session 1

Iron Summer Session 1
May 29–June 3
Jay Burnham-Kidwell
Forging Steel: Blacksmithing Basics

In this workshop we’ll use the time honored ingredients of earth (coal), fire, and water to forge steel into useful objects such as fire tools, forks, spatulas, spoons/ladles, and, if time permits, cooking vessels. We’ll cover all the fundamentals: fire maintenance, steel selection, forging heats, drawing out, spitting, upsetting, spreading, planishing, forge welding, and finishing completed pieces. Beginning level. 

Studio artist; professor emeritus from Mohave Community College (AZ); collections: Metal Museum (TN), University of Georgia, National Vietnam Veterans Arts Museum (Chicago), West Dean College (UK); teaches and demonstrates nationally.

Jay Burnham-Kidwell, Lizard Stew Spoon (your horns are showing), forged sterling silver, cast bronze, 3/4 x 2-7/8 x 12-1/4 inches
Jay Burnham-Kidwell, Lizard Stew Spoon (your horns are showing), forged sterling silver, cast bronze, 3/4 x 2-7/8 x 12-1/4 inches
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Glass B Summer Session 1

Glass Summer Session 1

May 29–June 3

Earl Jr.
Functional Fundamentals

This beginning flameworking workshop will teach students how to make a basic hand pipe out of borosilicate glass, including safety, basic studio setup, glass terminology, and the tools and techniques involved. We’ll cover pulling points, shaping the tubing, pressing the bowl, blowing out the carb, and ways to open the mouthpiece. As the session progresses, we’ll add some entry-level color applications such as silver fuming, stringers, raking, and basic dot patterns. Students will leave the workshop with the ability to make a pipe. Beginning level. Flameworking studio.

Studio artist; teaching SiNaCa Studios (TX), DFW Art Glass (TX), Zen Glass Gallery (FL); demonstrator at 2021 GAS conference; recent exhibition: Stoked CT (CT). 

@earljrglass

Earl Jr. and Ryan Fitt, Forging Infinity, borosilicate glass, electroformed nickel plating, 6-1/2 x 4 x 3 inches
Earl Jr. and Ryan Fitt, Forging Infinity, borosilicate glass, electroformed nickel plating, 6-1/2 x 4 x 3 inches
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Glass A Summer Session 1

Glass Summer Session 1
May 29–June 3
Andy Paiko
We’re On Our Own

This workshop will take a look at self-sufficiency in the glass studio. From solo hot-work tips and techniques at the furnace to coldwork and assembly strategies, students will be encouraged to create ambitious, large and/or intricate work they have always wanted to attempt. Topics will include hot assembly alone, adding avolios and blown feet alone, solo punty making, marver-casting simple shapes for hot pick-up, and more. We’ll consider what goes into the whole process from idea generation to cashing the check and every step in between. We’ll encourage each other to become lifelong students when there are no longer instructors. All levels. Hot glass studio.

Studio artist; teaching: Pilchuck (WA); collections: Renwick Gallery (DC), Chazen Art Museum (WI); Louis Comfort Tiffany Biennial Award; exhibitions: Stanza del Vetro (Venice, Italy), Museum of Fine Arts Boston; representation: Wexler Gallery (Philadelphia).

andypaikoglass.com | @andypaikoglass

paiko
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Drawing & Painting Summer Session 1

Drawing & Painting Summer Session 1
May 29–June 3
Diana Guerrero-Maciá
Paper Collage and Color Forms

Students in this workshop will hone skills in color theory, painterly processes, and cut and paste collage. Working with collage materials and water-based media such as acrylic, gouache, watercolor, and adhesives, students will create a series of works using cut and paste methods on paper and other substrates. We’ll discuss form development, cutting shapes, abstraction, revision, and working in series. Materials will be provided, but students are also encouraged to bring their own collections of ephemera for collaging: magazines, photographs, stickers, wallpaper, wrapping paper, cardboard, fabric scraps, etc. All levels. 

Professor at The School of the Art Institute of Chicago; Guggenheim Fellowship, Louis Comfort Tiffany Award, MacDowell Colony Fellowship; exhibitions: Kohler Art Museum (WI), Museum of Contemporary Art (Chicago), Art Pace San Antonio (TX), Elmhurst Art Museum (IL), Crocker Museum of Art (CA); representation: Traywick Contemporary (CA), Carrie Secrist Gallery (IL).

guerrero-macia.com | @diana.guerrero.macia

  

Diana Guerrero-Maciá, Closer to the Sun No. 1, acrylic, dye, canvas, and cotton on paper, 24 x 20 inches
Diana Guerrero-Maciá, Closer to the Sun No. 1, acrylic, dye, canvas, and cotton on paper, 24 x 20 inches
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Clay B Summer Session 1

Clay Summer Session 1
May 29–June 3
Jennifer Ling Datchuk
Porcelain Performance

Porcelain is often associated with fragility and preciousness, but it can also be powerful and resilient. In this workshop we’ll create performance-based wearable pieces that investigate the foundations of identity through personal narratives and lived experiences. We’ll work with pinch, coil, darting, hollowing, and slab construction to create dynamic functional forms. We’ll cover drape molds and embellishing techniques with slips and underglazes, along with basic photo documentation and adornments/attachments to the body. We’ll make some pieces with unfired porcelain, and each student will complete one fired, performance-based piece. All levels. Lower clay studio.

Assistant professor of ceramics at Texas State University; Emerging Voices Award from American Craft Council, United States Artists Fellowship; works with porcelain and other materials associated with traditional women’s work to discuss fragility, beauty, femininity, intersectionality, identity, and personal history. 

jenniferlingdatchuk.com | @jenniferlingdatchuk

Jennifer Ling Datchuk, Money Honey, image of 3D printed, slip-cast porcelain, blue and white transfers from Jingdezhen, China, blue and white nails by Glaze Nail Lounge, San Antonio, 48 x 36 inches
Jennifer Ling Datchuk, Money Honey, image of 3D printed, slip-cast porcelain, blue and white transfers from Jingdezhen, China, blue and white nails by Glaze Nail Lounge, San Antonio, 48 x 36 inches
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Clay A Summer Session 1

Clay Summer Session 1
May 29–June 3
Michelle Roxana Ettrick
Beginner Throwing and Decorating

So you discovered clay, and now you are hooked? Then join this workshop designed to help beginners learn, practice, and improve throwing skills. We’ll go over different ways to center, pull up, and make different forms. We’ll also cover easy decorating techniques that can be applied in the greenware state: mishima, sgrafitto, and resist. Midrange clay, electric firing. Beginning level. Upper clay studio.

Studio artist; teaching: Pennsylvania State University-Altoona; exhibitions: Companion Gallery (TN), Clayakar (IA), Red Clay Lodge (MT), NCECA conference, Penland Gallery; representation: Charlie Cummings Gallery (Florida).

michelleettrick.com | @michelleettrick

Michelle Roxana Ettrick, We Can, white stoneware, bottle: 7 x 5 x 5 inches, cups: 2 x 2 x 2 inches
Michelle Roxana Ettrick, We Can, white stoneware, bottle: 7 x 5 x 5 inches, cups: 2 x 2 x 2 inches
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Books & Paper P Summer Session 1

Books & Paper Summer Session 1
May 29–June 3
Johanna Winters
Puppet Theater: Paper and Shadows

This workshop is an introduction to puppetry as a bridge between performance and visual art with an emphasis on hand-driven narrative: animating stories through human gestures. Students will explore modes of making through shadow theater and marionette forms using accessible materials, including papier-mâche, wire, cut paper, and analog overhead projectors (for projecting and animating shadow puppets at large scale). For those who wish to perform their work for an audience, we’ll host a performance for the Penland community at the end of the week. All levels. Papermaking studio.

Studio artist and educator; teaching: Kansas City Art Institute (MO), Johnson County Community College (KS), Wayne State College (NE); Missouri Western State University (MO); residencies: Yaddo (NY), Elizabeth Murray Artist Residency (NY), Vermont Studio Center (VT), Arrowmont (TN); recent exhibitions and performances: Coop Gallery (Nashville), Soo Visual Arts Center (Minneapolis), Open Eye Figure Theatre (Minneapolis), Plug Projects (Kansas City, MO), Lawrence Arts Center (KS).

jojowinters.com | @unruffian

Johanna Winters, The Middle Tell (still from live performance), paper, wire, overhead projectors
Johanna Winters, The Middle Tell (still from live performance), paper, wire, overhead projectors
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Books & Paper B Summer Session 1

Books & Paper Summer Session 1
May 29–June 3
Daniel Essig
Bookstone Bookwork Woodwork

This workshop will explore the possibilities of combining mica, wood, and fine papers within the book form. We’ll cover methods and processes for successfully working with different kinds of mica. We’ll create wooden book covers using hand tools or small power tools. Our books will be bound with the elegant Ethiopian-style binding. All levels. Books studio.

Studio artist; teaching: Anderson Ranch (CO), Arrowmont (TN), University of Georgia Cortona Italy Program, Grampian Textures (Australia), Sievers School of Fiber Arts (WI); North Carolina Artist Fellowship, Penland Core Fellowship; collections: Renwick Gallery (DC), Mint Museum (NC), University of Iowa Special Collections, University of California–Santa Cruz McHenry Library, Vanderbilt University Special Collections (TN).

danielessig.com

Daniel Essig, Latent, walnut, handmade paper, mica, vintage photographs and cases, Ethiopian and Coptic bindings, 6 x 4 x 2-1/2 inches
Daniel Essig, Latent, walnut, handmade paper, mica, vintage photographs and cases, Ethiopian and Coptic bindings, 6 x 4 x 2-1/2 inches