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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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Books & Paper P Summer Session 2

Books & Paper Summer Session 2
June 5–June 17
Jo Stealey
Sculpting with Handmade Paper

Explore the sculptural potential of handmade paper through casting, forming, and draping processes using found or cloth molds, permanent armatures, and a variety of plant fibers, including cotton, abaca, flax, and kozo. We’ll investigate methods for producing high shrinkage, skin-like membranes and layered, transparent surfaces. We’ll incorporate layered paper, pulp painting, collage, drawing, and more, and we’ll pay special attention to personal artistic vision and translating other media into paper. All levels. Papermaking studio.

Professor of fibers and founding director of the School of Visual Studies at University of Missouri-Columbia; other teaching: Arrowmont (TN), Pensacola State (FL), University of Arkansas-Fort Smith; exhibitions: Havana Biennial 2015 (Cuba), Cedarhurst Museum (IL), Sager Reeves Gallery (MO), Windgate Gallery (AR); co-curator and author for the traveling exhibition Rooted, Revived, Reinvented: Basketry in America; collections: National Portrait Gallery Library (DC). 

jostealey.com@jostealey.art

Jo Stealey, Those Who Keep the World Running Smoothly, flax, waxed linen, forged steel, 24 x 20 x 6 inches
Jo Stealey, Those Who Keep the World Running Smoothly, flax, waxed linen, forged steel, 24 x 20 x 6 inches