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Wood Summer Session 3

WOOD SUMMER SESSION 3
JUNE 18–30, 2023
Ling-lin Ku and R. Eric McMaster
Digital Fabrication in Wood: Intro to ShopBot

This workshop will combine hand skills and digital technologies in woodworking. We’ll cover Rhino 2D and 3D design, V Carve Pro and ShopBot settings, the use of machine and hand tools, and finishing techniques. Whether you have experience or you are just beginning, this workshop will deepen your knowledge of 3D design and CNC routing, and help you develop a more comprehensive understanding of the capabilities of digital fabrication. Each student will design and fabricate two projects: a directed technical exercise followed by a self-directed project based on each their own interests. All levels.

Note: Students should bring a computer if they can; contact the studio operations manager if you are enrolled and are unable to bring a computer. studio_operations@penland.org

Ling-lin: assistant professor at Carnegie Mellon University (Pittsburgh); exhibitions: Kunstquartier (Austria), Zona Franca (Barcelona), CICA Museum (South Korea), 18th Street Art Center ( Los Angeles), Umlauf Museum and Sculpture Garden (TX), Wayfarers Gallery (NYC).

linglinku.com | @linglin_ku

Eric: Associate professor of practice at University of Texas-Austin; other teaching: Virginia Commonwealth University; Virginia Museum of Fine Arts Fellowship, Foundation for Contemporary Arts Emergency Grant; exhibitions: Hiroshima Museum of Contemporary Art (Japan), Blanton Museum of Art (TX), Contemporary Austin (TX), Blue Start Contemporary (TX), Locust Projects (Miami), Antenna Gallery (New Orleans), Vox Populi (Philadelphia). 

rericmcmaster.com | @rericmcmaster

Ling-lin Ku, Trypophobia, CNC routed wood, plywood, MDF, cast bronze, 3D prints, sand, paint, 25 x 80 x 6 inches
Ling-lin Ku, Trypophobia, CNC routed wood, plywood, MDF, cast bronze, 3D prints, sand, paint, 25 x 80 x 6 inches
R. Eric McMaster, An Instrument for a Duet, wood, varnish, strings, hardware, 46 x 8 x 6 inches
R. Eric McMaster, An Instrument for a Duet, wood, varnish, strings, hardware, 46 x 8 x 6 inches
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Textiles A Summer Session 3

TEXTILES SUMMER SESSION 3
JUNE 18–30, 2023
Jovencia de la Paz
Pixel, Thread, Weave

In this workshop students will explore weaving and textile design through a detailed overview of pattern making and drafting. We’ll use drafting software to create a wide variety of weave structures, including color and weave, deflected double-cloth, and overshot. Students will find that these traditional structures can yield vibrant and contemporary designs through color manipulation, yarn choice, texture, and experimental warp and weft materials. We’ll also explore the important historical connection between computers and the loom, testing the relationships and perceived boundaries between the digital and the handmade. Students may make samplers, finished textiles for apparel or interior design, or other experimental projects. Some basic floor-loom experience will be helpful, but this workshop is open to all levels. Second-floor textiles studio.

Note: Students should bring a computer if they can; contact the studio operations manager if you are enrolled and are unable to bring a computer. studio_operations@penland.org

Associate professor and curricular coordinator for fibers at University of Oregon; United States Artist Fellowship; exhibitions: Museum of Arts and Design (NYC), R & Company (NYC), Museum of Craft and Folk Art (Los Angeles); representation: Chris Sharpe Gallery (Lost Angeles). 

jovenciodelapaz.org | @jovenciodelapaz.org

Jovencio de la Paz, Bionumeric Organisms 1.0, TC2 handwoven cotton, 36 x 24 inches
Jovencio de la Paz, Bionumeric Organisms 1.0, TC2 handwoven cotton, 36 x 24 inches
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Print & Letterpress L Summer Session 3

PRINT & LETTERPRESS SUMMER SESSION 3
JUNE 18–30, 2023
Nicholas Silberg
Pressing Pixels

In this workshop students will learn how to make alternative matrices for letterpress printing using laser cutting/engraving and 3D printing. We’ll also use the 3D printer to make experimental letterpress tools and furniture and the laser cutter to make delicate cuts and perforations on finished prints. Students can choose to make a small edition of prints, a book, or a series of monoprints. We’ll cover software and tools for laser cutting and 3D printing as well as hand typesetting, ink mixing, Vandercook and platen press operation, paper choices, and basic bookbinding. All levels. Letterpress studio. 

Note: Students should bring a computer if they can; contact the studio operations manager if you are enrolled and are unable to bring a computer. studio_operations@penland.org

Professor at Savannah State University (GA); other teaching: Ashantilly Press (GA), Atlanta Printmakers (GA), Barberville Settlement for the Creative Arts (FL); Penland Winter Residency Distinguished Fellowship, On::View Residency at Sulfur Studios (GA); exhibitions: Margaret Martin Gehman Gallery (VA); collections: Savannah College of Art and Design (GA).

@carportpress

Nicholas Silberg, Vertical Hold Series #1, letterpress print from laser-cut relief block and handset ornaments and borders, 19 x 13 inches
Nicholas Silberg, Vertical Hold Series #1, letterpress print from laser-cut relief block and handset ornaments and borders, 19 x 13 inches
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Print & Letterpress X Summer Session 3

PRINT & LETTERPRESS SUMMER SESSION 3
JUNE 18–30, 2023
Aaron S. Coleman
Lithography: Drawing on the Rocks

This workshop will offer introductory to advanced techniques in stone lithography. We’ll explore dry and liquid materials using drawing and painterly approaches as well as additive and reductive processes, all of which are applicable to representational or abstract imagery. Students can expect to finish one or two pieces. All levels. Printmaking studio.

Associate professor and chair of printmaking at Herron School of Art and Design (Indianapolis); previously associate professor at University of Arizona where he received the Provost Award for Innovations in Teaching and the College of Fine Arts Undergraduate Mentorship Award; Art as Activism Grant from Black Box Press; collections: Janet Turner Print Museum (CA), University of Colorado, Ino-cho Paper Museum (Japan), Yekaterinburg Museum of Art (Russia). 

aaroncolemanprintmaking.com | @aaron_s_coleman 

Aaron S. Coleman, The Vulture Eats Between Its Meals, lithograph, 42 x 30 inches
Aaron S. Coleman, The Vulture Eats Between Its Meals, lithograph, 42 x 30 inches
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Photography Summer Session 3

PHOTOGRAPHY SUMMER SESSION 3
JUNE 18–30, 2023
Elizabeth Ellenwood
Cameraless Photography

Leave your cameras behind and create photographs using objects and light. Students will experiment with multiple wet-darkroom contact printing processes, scanner-made images, and digital printing techniques. Daily demonstrations will be balanced with presentations covering a range of historical and contemporary photography. This workshop will broaden the concept of what it means to “make” a photograph and will give students plenty of time for experimentation. All levels. 

Studio artist; teaching: University of Connecticut; awards: Fulbright Norway Scholarship, American Scandinavian Grant, Connecticut Sea Grant Arts Support Award, University of Connecticut Zachs Award, Denis Roussel Merit Award; exhibitions: For-Site Foundation (CA), Vermont Center for Photography (VT), Alexey Von Schlippe Gallery (CT), Panopticon Gallery (MA), Danforth Museum (MA); collections: Danforth Art Museum (MA), Rochester Museum of Fine Art (NY), New Hampshire Institute of Art; publications: Lenscratch, The Westerly Sun, Art New England, Boston Globe

elizabethellenwood.com | @among_the_tides

Elizabeth Ellenwood, Sandwich Bag Collected on December 3, 2018, archival pigment print from cyanotype original, 40 x 30 inches
Elizabeth Ellenwood, Sandwich Bag Collected on December 3, 2018, archival pigment print from cyanotype original, 40 x 30 inches
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Metals B Summer Session 3

METALS SUMMER SESSION 3
JUNE 18–30, 2023
Klara Eriksson
To Break the Fast: Utensils for Occasions

Eating is a ritual: the morning meal, for instance, is a moment to collect your thoughts and prepare for a new day. In this workshop, we’ll make eating utensils; they might be utilitarian pieces and/or symbolic objects. We’ll also address how metal behaves when we use it for eating. What taste does the metal have? How does it work in practice? Together we’ll explore the ritual of eating, make new work based on that concept, and reflect on our work as conversation pieces. At the end of the workshop you will have made tactile discoveries and have new insight into what kind of utensils may bring food to your mouth and how metal can be used to create shared eating experiences. We’ll cover basic metalsmithing techniques (sawing, forming, etc.) and work mostly with copper and brass—with silver as an option. Some prior metalsmithing experience will be helpful, but this workshop is open to all levels. Lower metals studio.

Studio artist at LOD Metallformgivning (Sweden) since 1999, program director for metal/silversmithing at Leksands Folkhögskola (Sweden); Design S Award (Sweden); collections: Swedish Public Art Agency, Swedish National Museum, Röhss Museum (Sweden).

lod.nu | @klaraeriksson_metal

Klara Eriksson, The Lunch, mostly silver; photograph Christian Habetzeder
Klara Eriksson, The Lunch, mostly silver; photograph Christian Habetzeder
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Metals A Summer Session 3

METALS SUMMER SESSION 3
JUNE 18–30, 2023
Kat Cole
Enamel: Ware and Wear

In this workshop students will make enamelware and/or enamel to wear. We’ll focus on construction techniques that will allow us to make and fire larger and more dynamic objects. Using basic forming and fabrication methods in copper and steel, each student will make a series (3+ pieces depending on scale and complexity) that focuses on the enameled surface. Metal techniques will include hand fabrication, silver soldering, hydraulic press, sinking, scoring and bending, and using a micro welder. Enamel techniques will include sifting, spraying, dipping, underglaze pigments, and finishing. All levels. Upper metals studio.

Note: the studio fee for this workshop is estimated at $200-225 per student.

Studio artist; teaching: Columbus State University (GA), Western Michigan University, East Carolina University (NC); collections: Yale Museum of Art (CT), The Museum of Arts and Design (NYC), Racine Art Museum (WI), Museum of Fine Arts Boston, Enamel Foundation (CA), Houston Museum of Fine Art; representation: Charon Kransen Arts (NYC), Mora Jewelry (NC), Form & Concept (NM), Penland Gallery. 

kat-cole.com | @katcolemetalsmith

Kat Cole, Drawing Brooch #8, steel, enamel, 4 x 4 x 1/4 inches
Kat Cole, Drawing Brooch #8, steel, enamel, 4 x 4 x 1/4 inches
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Iron Summer Session 3

IRON SUMMER SESSION 3
JUNE 18–30, 2023
Tobias Birgersson
Feed the Beast

Make a family of metal sculptures while dealing with the inner beast: The Ego. Are you ready to go beyond making one-off pieces and develop a personal style, but you aren’t sure where to start? I will guide you through each step of finding a unique voice, including concept development, material exploration, and writing an artist statement. We’ll work with hand- and power-hammer forging, cold forming, filing, grinding, etc. The workshop will include demonstrations, individual exercises, discussions, artist talks, and photography sessions. Students will complete five to nine studies and an accompanying statement that should lead to a new body of work. Intermediate/advanced level; basic forging skills required. 

Associate professor at University of Gothenberg Campus Steneby (Sweden), lecturer at Konstfack University College of Arts, Crafts, and Design (Sweden); founding member of LOD, a metalsmithing cooperative and gallery (Stockholm); representation: Gallery Sebastia Schildt (Sweden); collection: Swedish National Gallery. 

tobiasbirgersson.se | @tbirgersson

Tobias Birgersson, The Fourth Dimension, hot-forged steel, hickory handles, 16 inches; photo by Christian Habetzeder
Tobias Birgersson, The Fourth Dimension, hot-forged steel, hickory handles, 16 inches; photo by Christian Habetzeder
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Glass B Summer Session 3

GLASS SUMMER SESSION 3
JUNE 18–30, 2023
Kari Russell-Pool
Deceptively Simple: A Floral Spin Around the Color Wheel

Each student will create their own color wheel made of flameworked glass flowers. The workshop is designed to build confidence and skills through repetition with a special focus on pulling consistent petal stock, cutting in the flame, learning how and when to adjust the flame, and getting great fuses. We’ll work mostly with furnace glass canes lightly colored with glass powders. By layering other colors in the torch, students will learn to customize their palette. Students can progress at their own rate, moving on to more complex flowers as they build and master skills. Ideal for beginners, bead workers, color enthusiasts, and glass workers interested in torch working with glass that is compatible in the hot shop. All levels. Flameworking studio. 

Studio artist; teaching: Penland, Pilchuck (WA), Niijima Glass Festival (Japan); collections: Corning Museum (NY), Mint Museum (NC), Museum of Arts and Design (NYC), Smithsonian Museum of American Art (DC).  

karirussell-pool.com | @karirussellpool

Kari Russell-Pool, detail of Color Wheel Series, flameworked glass, 8 x 8 x 1-1/2 inches
Kari Russell-Pool, detail of Color Wheel Series, flameworked glass, 8 x 8 x 1-1/2 inches
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Glass A Summer Session 3

GLASS SUMMER SESSION 3
JUNE 18–30, 2023
Nancy Callan and Mel Douglas
Intertwine

Glass is a fantastic medium for dreaming up new ways to bend space, stretch time, and renew a sense of wonder. This workshop will explore the linear complexities and the unique spatial qualities of glass. Working in both the hot and cold shops, students will be challenged to look at the relationship of form, pattern, balance, and design. Through a combination of both traditional and experimental techniques, we’ll look for ways to develop objects that spatially merge surface and drawing so the form is not just a canvas for the line but a three-dimensional drawing in itself. Intermediate/advanced level: two years of hot-glass experience required. Hot-glass studio.

Nancy: studio artist, senior member of the Lino Tagliapietra team; teaching: Pilchuck (WA), Haystack (ME), Pittsburgh Glass Center, Penland; Creative Glass Center of America Fellowship; residencies: Museum of Glass (WA), Toledo Museum of Art (OH), Pittsburgh Glass Center; collections: Shanghai Museum of Art (China), Museum of Glass (WA), Corning Museum (NY), Muskegon Museum of Art (MI). 

nancycallanglass.com | @fancycal

Mel: studio artist; Ranamok Glass Prize (Australia), International Young Glass Award from Glasmuseet Ebeltoft (Denmark), Tom Malone Prize (Australia); collections: Glasmuseet Ebeltoft (Denmark), National Gallery of Australia, Corning Museum (NY), Chrysler Museum (VA). 

meldouglasglass.com | @meldouglasglass

Nancy Callan and Mel Douglas, Distance for Equilibrium, blown and cold-worked glass, 11-3/4 x 11-3/4 x 11-3/4 inches each
Nancy Callan and Mel Douglas, Distance for Equilibrium, blown and cold-worked glass, 11-3/4 x 11-3/4 x 11-3/4 inches each
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Drawing & Painting Summer Session 3

DRAWING AND PAINTING SUMMER SESSION 3
JUNE 18–30, 2023
Jon Bocksel and Kenji Nakayama
Brush Lettering and Sign Painting

This workshop is about brush-written letters and the ability to create signs from practiced alphabet styles. Students will learn design and sign-trade techniques and create completed signs while also learning foundational alphabets to be practiced for years to come. Drawing exercises will help students improve “eyeballing” skills, sensitivity to shapes and lines, and light/dark balance. The workshop will include many brush demonstrations and both meditative and practical exercises. All levels. 

Note: the studio fee for this workshop is estimated at $200-300 per student.

Jon: sign painter, studio artist; teaching: Moma Teen Arts (NYC), Laru Beya Collective (NYC); exhibition and lettering design: Brooklyn Museum (NYC), Coney Island (NYC), Jewish Museum (NYC); author of Signos de Cuba, a self-published book documenting brush lettering in Cuba; work reviewed and published in the New York Times.

handsigns.info | @handsigns.info 

Kenji: sign painter, studio artist; teaching: Montserrat College of Art (MA), San Francisco Museum of Craft and Design; exhibitions: San Francisco Museum of Craft and Design, Fuller Craft Museum (MA), Simmons University (Boston), Calico Gallery (NYC); collections: Simmons University (Boston), Fuller Craft Museum (MA), Milwaukee Art Museum.

kenjinakayama.com | @kngee

Jon Bocksel, Guevaras, oil-based enamel on glass; reverse painted, 60 x 24 inches
Jon Bocksel, Guevaras, oil-based enamel on glass; reverse painted, 60 x 24 inches
Kenji Nakayama, Practice Sheets, water-based paint on paper, 28 x 22 inches
Kenji Nakayama, Practice Sheets, water-based paint on paper, 28 x 22 inches
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Clay B Summer Session 3

CLAY SUMMER SESSION 3
JUNE 18–30, 2023
Hiroe Hanazono
Prototype Development and Mold Making

This workshop will cover methods of working with plaster to create models and molds. Students will design objects on paper and learn various methods for creating 3D versions using plaster, clay, or wood. Students will then be guided through the process of making one-piece or multiple-piece molds, which will be used to make slip cast objects. Demonstrations will cover various approaches to prototyping, mold making, and the slip casting process. We’ll emphasize developing original forms rather than working with found objects. Porcelain slip; electric firing. All levels. Lower clay studio. 

Studio artist; adjunct professor at Tyler School of Art (Philadelphia), instructor at The Clay Studio (Philadelphia) and Greenwich House Pottery (NYC); other teaching: Montgomery County  Community College (PA), Maryland Institute College of Art (MD); residencies: The Clay Studio, Guldagergaard International Ceramic Research Center (Denmark), Archie Bray (MT); collections: Guldagergaard, Archie Bray.

hiroehanazono.com

Hiroe Hanazono, Cups and Bowls, slip-cast porcelain, mug: 4-1/2 x 4 x 3-1/2 inches, bowl: 2-1/2 x 6 x 5 inches
Hiroe Hanazono, Cups and Bowls, slip-cast porcelain, mug: 4-1/2 x 4 x 3-1/2 inches, bowl: 2-1/2 x 6 x 5 inches
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Clay A Summer Session 3

CLAY SUMMER SESSION 3
JUNE 18–30, 2023
Kip O’Krongly
Earthenware: Layer by Layer

What makes a unique functional pot? How can surface and form blend to strengthen ideas? We’ll investigate questions like these with a tiny bit of wheel work, but our focus will be on using slabs, with templates, press molds, and extruded components. After constructing a foundation of forms, we’ll bring technology into the mix with a digital cutter and effortlessly translate drawings into stencils! By layering stencils with sgraffito, latex resist, and ombre washes of slips and underglazes, we’ll create engaging, depth-filled surfaces on red earthenware clay. We’ll also cover self-burnishing terra sigillata, the magic of paper clay repairs, and helpful studio tips like two-handed handle pulling, snazzy coiling tricks, and making extra-thin spouts. Come ready to experiment and play. All levels. Upper clay studio.

Studio artist; teaching: Arrowmont (TN), Archie Bray (MT), Watershed (ME), Northern Clay Center (Minneapolis), Carleton College (MN); residencies: Watershed, Archie Bray Foundation, Arrowmont; recent exhibitions: St Croix Pottery Tour (MN), American Pottery Festival at Northern Clay Center (Minneapolis).

kipokrongly.com | @kipokrongly

Kip O’Krongly, Groundhog Party Plate, earthenware, slips, terra sigillata; single fired to cone 02, 9 x 9 x 1-1/2 inches
Kip O’Krongly, Groundhog Party Plate, earthenware, slips, terra sigillata; single fired to cone 02, 9 x 9 x 1-1/2 inches
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Books & Paper P Summer Session 3

BOOKS & PAPER SUMMER SESSION 3
JUNE 18–30, 2023
Lynn Sures
Going Large with Papermaking

We’ll make large-scale paper works using different fibers through creative sheet-forming methods and fashioning assemblage and modular elements. We’ll start with fiber preparation—by hand and with the Hollander beater—and insights into pigmenting our pulps. Sheet forming techniques will include the deckle box, sprayed sheets, poured sheets, vacuum-formed sheets in 2D or in relief, and independently- or collaboratively-formed Himalayan-style sheets. The tone of the workshop will be one of experimentation and discovery as you gain experience in using paper to create larger works or installations that reflect your vision. All levels. Papermaking studio.

Professor emerita at Corcoran College of Art and Design (DC); founding director of Fabriano Paper/Print/Book (Italy); presenter at 2021 International Paper Symposium (Kyoto, Japan); research associate at Smithsonian (DC), Smithsonian Artist Research Fellowship (Kenya); residencies: Papermill Museum (Spain), Museum of Paper and Watermark (Italy), Palace Press (NM); collections: Library of Congress (DC), Yale University (CT), Schomburg Collection at New York Public Library; representation: Central Booking (NYC).

lynnsures.com | @lynnsures

Lynn Sures, Frasassi Walls, artist-made cotton paper painted with hand-pigmented flax pulp, beeswax, each element: 12 x 18 inches
Lynn Sures, Frasassi Walls, artist-made cotton paper painted with hand-pigmented flax pulp, beeswax, each element: 12 x 18 inches
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Books & Paper B Summer Session 3

BOOKS & PAPER SUMMER SESSION 3
JUNE 18–30, 2023
Julie Leonard
Books and Artist Books: Craft and Concept

Books are both objects and ideas; in this workshop we’ll create both. We will cover a variety of bookbinding styles, specific techniques, and low-tech image-making processes, and we’ll work through many elements of the artist book: pacing; pauses; narrative content and structure; turning pages; looking through, around, or under pages; words/no words; images/no images; the sublimity of an inkless book. We will start by developing bookbinding skills and exploring ideas through generative exercises. Then students will work independently, incorporating skills and concepts gained in the workshop and/or the materials and ideas they bring with them. All levels. Books studio. 

Associate professor at University of Iowa Center for the Book; other teaching: University of Georgia Cortona Program, Penland, Art New England (MA); co-director of Paper and Book Intensive (MI); collections: Sackner Archive of Concrete Poetry (IA), Yale University (CT), Memphis Brooks Museum of Art (TN); former Penland resident artist and core fellow. 

@pipingplover63

Julie Leonard, Beauty Persists, letterpress printing, digitally printed photographs, suminagashi on various hand and machine made papers; accordion binding, 9 x 81 inches open, 9 x 9 inches closed
Julie Leonard, Beauty Persists, letterpress printing, digitally printed photographs, suminagashi on various hand and machine made papers; accordion binding, 9 x 81 inches open, 9 x 9 inches closed