Category: Summer 3

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Wood Summer Session 3

WOOD – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Brian Fireman
Get Your Flow On

This workshop will cover the steps from conception to the creation of a piece of sculptural furniture. Using nature as design inspiration, students will learn a workflow that can be repeated for any project. Topics covered will include design considerations with curves, isometric drawing techniques to achieve precise joinery on curved workpieces, glue-up tips for curved work, and techniques for shaping wood with power tools (grinders plus attachments) and hand tools (sureforms, rasps). Bring your own ideas for a small project or Brian will provide some options. All levels.

Studio artist; teaching: Arrowmont (TN), Marc Adams School of Woodworking (IN); exhibitions: American Craft Council shows, Philadelphia Furniture Show, SOFA Chicago, International Contemporary Furniture Fair (NYC); work published widely and represented in showrooms and private collections worldwide.

brianfiremandesign.com | @brianfiremandesign

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Brian Fireman, Swallowtail Chair, ebonized walnut, cocobolo, 30 x 26 x 22 inches
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Textiles B Summer Session 3

TEXTILES – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Sabrina Sachiko (Sachi) Niebler
Kami-ito and Shifu: From Paper to Cloth

Following a time-honored Japanese tradition, we will explore the multi-step process of turning paper into thread (kami-ito) and then weave it into cloth (shifu). This is a process-based workshop where much time will be spent immersed in the beautiful act of making paper thread: folding, cutting, rolling, separating, spinning, boiling, and skeining. From there we will prepare the looms and weave our paper threads into shifu. Students will come away with some finished shifu in the form of noren (a small curtain), a wall hanging, or usable piece of cloth. Those with some weaving experience may choose to make finer thread or a larger project. All levels. Second-floor textiles studio. 

Note: this workshop takes place in a second-floor walk-up studio that is made partially accessible by a stair lift.

Studio artist; teaching: Parker Street Studios (BC), Nikkei National Museum & Cultural Centre (BC), University of Victoria (BC); exhibitions: Centre d’art de La Sarre (Quebec), Salon des métiers d’art de Montréal (Quebec), Centre National d’exposition (Quebec), Centre Matéria (Quebec), Musée des Métiers d’Art du Québec, Nikkei National Museum & Cultural Centre (BC), Alberta University of the Arts.

sabrinasachiko.com | @sabrinasachiko

Observe Sachi’s process HERE… and also HERE.

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Sabrina Sachiko Niebler, detail of Bloodline, usu kuchi washi, cochineal and walnut ink, 13 x 90 inches
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Textiles A Summer Session 3

TEXTILES – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Danielle Bush and Sophena Kwon
Print and Paint with Natural Dyes

The ability to deliver rich, saturated natural dyes through the use of brushes, blocks, stencils, and silkscreens is a powerful skill that opens a world of possibilities. This workshop will lead students through the direct application of thickened dyes, thickened indigo, thickened mordants, and resists along with the dramatic ferrous/tannin combinations that get blacks to anchor all the other colors. Using all the classic natural dyes and tannins, we will extract dyes from raw materials, and students will learn to work with mordants and dyes separately and together. We will teach color mixing, developing palettes, and how to create multiple colors on the same cloth. Many thickeners will be used to achieve the consistencies needed to realize your designs. Students will leave with many pieces of finished cloth for future reference and a solid understanding of natural dyes and their applications. All levels. Third-floor textiles studio. 

Note: this workshop takes place in a third-floor walk-up studio that is made partially accessible by a stair lift.

Danielle: Textile artist working exclusively with natural dyes; fabric designer for Maiwa (Vancouver, BC), develops natural dye workshops and teaching materials for Maiwa School of Textiles (online).

Sophena: Lead clothing designer for Maiwa (Vancouver, BC); develops natural dye workshops for Maiwa School of Textiles (online); teaching: Maiwa, Penland, Shakerag (TN), Tinkuy Textile Conference (Peru), Mood Indigo at Seattle Art Museum, La Rochelle Natural Dye Conference (France). 

As part of their work with Maiwa, Danielle and Sophena travel annually to India to work in a sewing and design studio, collaborate with artisans, develop product design, help establish good, sustainable natural dyeing techniques, color palettes, and quality.

maiwa.com | @maiwaschooloftextiles | @maiwa_naturaldyes

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Danielle Bush and Sophena Kwon, Color Studies, organic cotton, natural dyes
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Photography Summer Session 3

PHOTO – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Rashod Taylor
Wet-Plate Photography

Take your photography technique back to the 1850s while adding a fun and creative dimension to your contemporary practice as you discover the wet-plate collodion process in this dynamic workshop. We will start by understanding the history, chemistry, tools, and safety practices of the process. Then we will explore the different applications of wet-plate collodion by making tintypes, ambrotypes, and glass negatives. We will work in several formats including 4 x 5 and 8 x 10 using large-format cameras plus 2-1/4 x 2-1/4 plates made with plastic Holga cameras. We will also spend time in the darkroom making silver prints from our glass-plate negatives. The emphasis of this workshop will be process, troubleshooting, and getting comfortable with the wet-plate collodion process. All levels.

Studio artist; teaching: Anderson Ranch (CO), Maine Media Workshops (ME), Fine Arts Work Center (MA), Shakerag (TN); collections: Museum of Fine Arts Houston, Colorado Photographic Arts Center, University of Maryland Eastern Shore; residency: Light Work (NY); recent exhibitions: Museum of Fine Arts Houston, AIPAD Photography Show (NYC), Caelum Gallery (NYC); gallery representation: jdc Fine Art (CA), Obscura Gallery (NM).

rashodtaylor.com | @rashodtaylorphoto

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Rashod Taylor, Soldier #1, tintype, 10 x 8 inches
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Metals B Summer Session 3

METALS – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Matthew Hollern
Table Ware Objects Function

This workshop will introduce students to a series of methods for making vessels and utensils with pewter, an extremely versatile and easily worked material that is excellent for making functional objects. Demonstrations will include design and pattern making, fabrication, forming, soldering and fusing, tool making, scoring and folding, die forming, casting, surface techniques and coloration, and methods for integrating found objects and other metals. Tableware is a theme shared by both metals studios in this session designed for synergy and interactivity. Beginning to advanced students welcome. All levels. Lower metals studio. 

Studio artist; professor of jewelry and metals at Cleveland Institute of Art, 1989-2024; grants: SNAG, Lilly Foundation, Cleveland Foundation, John and Maxeen Flower Fund, two Ohio Arts Council Individual Artist Fellowships; collections: Renwick Gallery (DC), Design Museum Helsinki (Finland), Vatican Archive (Rome), Ohio Crafts Museum, Cleveland Art Association. 

@matthewhollern

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Matthew Hollern, Pattern Design: Cake Knife Elements, pewter, bronze, stainless steel
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Metals A Summer Session 3

METALS – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Boris Bally
Tableware: Tools for the Table

This workshop will explore the design and fabrication of serving pieces and utensils. Demonstrations will explore structural integrity and construction, as well as the basics of metal fabricating, studio tricks, cold-connections, die-forming, simple forging, raising, and finishing. Students will be asked to keep a sketchbook and make test models and prototypes. They will create their own flatware or implements which will be critiqued during vibrant class discussions. This workshop will focus on nonferrous metal (silver/brass/copper) as well as incorporating recycled materials. Tableware is a theme shared by both metals studios in this session designed for synergy and interactivity. All levels. Upper metals studio.

Note: this workshop takes place in a studio with stairs that compromise access. It is made partially accessible by a stair lift. 

Studio artist; teaching: Haystack (ME), Anderson Ranch (CO), Touchstone (PA), East Carolina University (NC), Cranbrook (MI); International Design Resource Award, Felissimo Design Award from the New York Foundation for the Arts; collections: Victoria and Albert Museum (London), Museum of Fine Arts Boston, Museum of Arts and Design (NYC), Renwick Gallery (DC), Cooper Hewitt National Design Museum (NYC). 

borisbally.com | @Boris_Bally

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Boris Bally, Truss Loader and Beam Dozer, .925 silver, oxidized brass, Truss: 23-5/8 x 4 x 1-1/2 inches
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Iron Summer Session 3

IRON – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Kevin Vanek
Nonferrous Foundry for Contemporary Sculpture

This workshop will cover ceramic shell molds and the lost-wax process, casting bronze and aluminum using a crucible blast furnace. We will explore a variety of patination processes including traditional chemical patinas, natural surface treatments, and nontraditional finishes. Foundry is a collaborative art practice, and we will all work together to create cast metal sculptures using ancient alchemical processes. This is a labor-intensive workshop. All levels; beginners encouraged. 

NOTE: we will not be casting iron in this workshop. 

Foundry director and associate professor of sculpture at University of North Carolina-Greensboro; other teaching: University of Southern Mississippi, National Conference on Cast Iron Art and Practices at Sloss Furnaces (AL), F.I.R.E Conference at the Metal Museum (TN); residencies: Franconia Sculpture Park (MN), Sloss Metal Arts (AL), Western North Carolina Sculpture Park; work in over 50 exhibitions including 40 Under 40: Next Generation of Metal Artists and We are Here: LGBTQIA+ Voices in the Contemporary Metals Community, both at the Metal Museum (TN). 

kevinvanek.com | @kevin_n_stuff

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Kevin Vanek, detail of Polished Facade for All, cast bronze, steel, figure: 14 inches tall
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Glass B Summer Session 3

GLASS – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Jean M. Fernandes
Casting Glass: Positive, Negative, and Back

Creating a kiln-cast glass object involves multiple steps that can seem overwhelming at first glance. This workshop will de-mystify and simplify the complexities of glass casting by offering various approaches to transforming an idea or model into a mold and then making a finished glass object. Lectures and demonstrations will cover mold making, mold recipes, kiln setup and monitoring, annealing schedules, and finishing techniques. By the end of the class, you will have a wealth of ideas and information, finished cast glass objects, and a deeper understanding of the relationship between the model and the mold. All levels.

Studio artist; teaching: University of Texas at Arlington, Pittsburgh Glass Center, Pilchuck (WA), Arrowmont (TN), SiNaCa Studios (TX), Creative Arts Center of Dallas; residencies: Pittsburgh Glass Center, George W Hawkes Downtown Library (TX); collections: Prague Gallery of Czech Glass (CZ). 

jeanfernandes.com | @jeanmfernandes

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Jean M. Fernandes, Untitled, cast glass, 5 x 7 x 5 inches
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Glass A Summer Session 3

GLASS – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
KCJ Szwedzinski and David Walters
(Image)ination

This workshop will focus on methods for transferring imagery onto blown glass. Students will learn the fundamentals of screenprinting (analog and digital) with glass enamels and the calligraphy pen. They will make blown forms that support their imagery, handmade sheet glass to print on and then pick back up in the hot shop, and their own screenprinted decals. We will emphasize teamwork, sketching, and ideation. Together we will create an environment where we push ourselves to experiment, fail, and learn together. All levels. 

KCJ: Studio artist; operations assistant at Glass Art Society; teaching assistant: Tulsa Glass School (OK), Pilchuck (WA); residencies: Vermont Studio Center, Chulitna Research Institute (AK), Pierini International Glass Art Center (France), Mini Mart City (Seattle); Emerging Artist in Residence at Pilchuck (WA). 

kcjszwedzinski.com | @szwedzinski

David: Studio artist; teaching: Tulsa Glassblowing Center (OK), Pittsburgh Glass Center, Pilchuck (WA), Jam Factory (Australia), Penland; assistant to Lino Tagliapietra for over 30 years; exhibitions: Traver Gallery (Seattle), Racine Art Museum (WI), Museum of Glass (WA), SOFA Chicago, Creative Glass Center of America (NJ). 

davidwaltersglass.com | @davidwaltersglass

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

KCJ Szwedzinski and David Walters, Dance of the Shmoos, blown and enameled glass, larger: 22 x 11 x 11 inches
KCJ Szwedzinski and David Walters, detail of An Excerpt From ‘A Year in Treblinka’, screen printed and fused sheet glass, Davey board, duck cloth
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Drawing & Painting Summer Session 3

DRAWING/PAINTING – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Rosy Lamb
Painting Color with Oil

Color is the place where our brain and the universe meet.  -Paul Cézanne

Experienced painters and beginning students are invited to link their sense of visual inspiration to the relational colors we see around us. We will begin with an intensive study of color mixing in which we start from the basics and build our skills by mixing a large gamut of light to dark colors from a limited palette. Thereafter, our mornings will be spent oil painting from a live model as we attempt to faithfully reproduce the subtle color relationships we see as light reflects from the material world all around us and reacts in our eyes. During afternoon sessions, each student will translate their observational color studies into new personal and/or abstract paintings. All levels, beginners welcome. 

Studio artist; teaching: École Nationale Supérieure des Arts Décoratifs de Paris, Wheaton College (MA), Penland, CoColor teaching programs and workshops; Prix de portrait Paul-Louis Weiller, J. Henry Sheidt Memorial Travel Scholarship; recent exhibitions: Pavilon Rive Gauche (Paris), Galierie Guido Roméro Pierini (Paris); author of the children’s book Paul Meets Bernadette (Candlewick Press).
Portrait: Jules Hidrot 2024 © Fondation Louis Vuitton

rosylamb.com | cocolor.studio | @rosy.lamb

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Rosy Lamb, Le visiteur, oil on plaster, 26 x 34 inches
Rosy Lamb, Le visiteur, oil on plaster, 26 x 34 inches
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Clay B Summer Session 3

CLAY – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Tammie Rubin
Conjunction: Mold Making, Slip Casting, Color, Texture

Using molds is a valuable way for artists to make multiples for functional objects and sculpture. In this immersive workshop, we will develop vocabulary relevant to mold making and slip casting. Students will make one- and two-part molds from found objects and prototypes, learning to mix plaster, identify undercuts, capture details, and problem-solve. Casting with porcelain slip and color slip, we will cover cleaning, refining, deconstructing, and joining casts to create forms with unique and engaging surfaces. Be ready to experiment and grow as we contemplate the innate power of objects. Oxidation firings. All levels. Lower clay studio.

Associate professor at St. Edward’s University (TX); Tito’s Prize, USA Fellowship; exhibitions: Project Row Houses (Houston), Hessel Museum of Art at Bard College (NY), Houston Center for Contemporary Craft, Rivalry Projects (NY), Ruiz-Healy Art (TX), Washington Carver Museum (TX), AGBS Christian-Green Gallery at University of Texas at Austin, Mulvane Art Museum (KS); representation: Galleri Urbane (Dallas), C24 Gallery (NYC). 

tammierubin.com | @tammierrubin

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Tammie Rubin, Always & Forever forever (forever, ever) Drift No. 2, pigmented slip cast porcelain, underglaze, 13 x 8-1/2 x 8-1/2 inches
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Clay A Summer Session 3

CLAY – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Chris Staley
Making Pots Personal

How do we learn to make pots that are uniquely our own? This workshop will focus on both the how and the why of making pots. There will be frequent demonstrations on a myriad of throwing and handbuilding techniques. And we will engage in creative exercises that will inspire questions and dialogue. The intent is to lead us to a deeper understanding of our work. The workshop will include one-on-one discussions with each student. With an open heart and seeker’s spirit all are welcome in this shared search for meaning. We will fire reduction and salt kilns. All levels. Upper clay studio.

Distinguished professor emeritus at Penn State University; 2012 Penn State Laureate, Penn State Milton Eisenhower Distinguished Teaching Award, NCECA Excellence in Teaching Award; two NEA grants; collections: Metropolitan Museum (NYC), Victoria & Albert Museum (London), friend’s cupboards.

chrisstaleyartist.com | @c.staley_art_life

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Chris Staley, Haystack Covered Jar, stoneware, 21 x 14 inches
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Print & Letterpress L Summer Session 3

PRINT/LETTERPRESS – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Jessica Spring
Lettersport and Wordplay

As the elemental building block for printers and book artists, letters and words propel—and elevate—explorations of content and form. Inspired by writing prompts, vintage ephemera, and Penland’s environs, we will explore a variety of structures ranging from faux postage stamps and coasters to volvelles, folded book structures, and broadsides. Each form offers an ideal surface for both wordplay and daredevil typesetting: mastering historic circular and angle quads, adapting tools from art supply and hardware stores, experimenting with Daredevil Furniture. Our first week will focus on collaborative projects, then each student will complete their own edition. All levels. Letterpress studio.

Studio artist; former visiting assistant professor at Pacific Lutheran University (WA); designer of Daredevil Furniture; teaching and residencies: Paper & Book Intensive (MI), Wells Summer Institute (NY), Hamilton Wood Type & Printing Museum (WI, International Printing Museum (CA), Penland; collections: Library of Congress (DC), British Library (London), National Museum of Women in the Arts (DC); co-author of Dead Feminists: Historical Heroines in Living Color. 

springtidepress.com | @springtidepress

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Jessica Spring, Very Like a Whale, letterpress print from hand-set type, 13 x 14 inches
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Print & Letterpress X Summer Session 3

PRINT/LETTERPRESS – SUMMER SESSION 3
JUNE 15-27, 2025 (11 STUDIO DAYS)
Anna Wagner
From the Soft-Ground Up

Originally developed to emulate charcoal drawings, soft-ground is a semi-permeable acid resist that can capture an extensive range of textures, from the delicate intricacy of a fingerprint to the dynamic energy of a brushstroke. In this workshop we will mix and etch our own soft-grounds, transform the image through printing techniques, and radically re-work the copper plate. Daily demonstrations will demystify the process, ensuring accessibility for all, regardless of prior experience. Students will depart with multiple prints of their etchings and a small supply of soft-ground for their continued use. All levels, beginner friendly. Printmaking studio.

Studio artist; teaching: North Carolina State University, Duke University (NC), Arizona Western College; collections: Kennedy Museum of Art (OH), Allen Memorial Art Museum (OH), El Minia University (Cairo, Egypt), Muscarelle Museum of Art (VA); representation: Hoofprint (Chicago), Right Window Gallery (San Francisco). 

annawagner.com | @annawagnerart

November 15-December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Anna Wagner, The Unicorn in Triumph, soft-ground etching, rosin aquatint, engraving, 11 x 15 inches
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Books & Paper B Summer Session 3

BOOKS – SUMMER SESSION 3
June 15-27, 2025 (11 STUDIO DAYS)
Mica Mead and Colin Sutherland
Risograph: Methodology and Practice

In this workshop students will learn the fundamentals of risograph (riso) printing and expand on their existing knowledge and experience. Topics will include design, prepress workflow, printing, and production. This workshop will cover some of the more technical aspects of riso printing while remaining accessible to riso newcomers. Students can expect to complete multiple projects including prints, posters, zines, and a collaborative class edition. They should bring or be prepared to quickly generate ideas, whether these are illustration, photo, design, or text. Students are encouraged to bring whatever tools they use to make artwork: pen, pencil, paper, camera, laptop, tablet, image software, etc. All levels. Books studio.

Mica: co-founder of Woolly Press; teaching: Penland; exhibitions: Bookworks (NC), Brainfreeze (TN), Asheville Area Arts Council (NC).

Colin: co-founder of Woolly Press; teaching: Penland; exhibitions: Bookworks (NC), Brainfreeze (TN), Society of Illustrators Museum of Illustration (NYC).

woollypress.com | @woollypress

November 15 – December 16: Scholarship applications accepted
February 3: Regular enrollment opens

Mica Mead, Mothership, 5-color risograph, 17 x 11 inches
Colin Sutherland, detail of That’s Better, 4-color risograph staple-bound book, 5-1/2 x 11 inches