Category: Summer 4

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Wood Summer Session 4

WOOD – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Osamu Sassa
Reimagining the Everyday

Taking a fresh look at objects from our everyday experience is a great way to explore new designs in wood. This workshop will challenge students to think outside the box and reimagine a familiar object. Individual instruction will help students refine their design and determine the best approach to bringing their newly envisioned everyday object to life. Topics covered will include the use of full-scale drawings, templates, and jigs. We will emphasize simple and elegant solutions that can be executed within the timeframe of the workshop. At the end of the session, each student will have a working prototype of their unique design. Intermediate/advanced level: students should have a general knowledge of woodshop machinery, including milling parts from rough lumber. 

Designer/maker with MUtsukuri (ME); teaching: Center for Furniture Craftsmanship (ME); residencies/fellowships: Haystack Open Studio Residency (ME), Penland Winter Residency, Center for Furniture Craftsmanship Fellowship (ME); exhibitions: Center for Furniture Craftsmanship (ME).

mutsukuri.com | @mu_tsukuri
January 15 – Regular enrollment opens

Osamu Sassa, Brush and Pan (collaboration with Aled Lewis), ash, brushed copper, waxed finish, 10-1/2 x 6-1/2 x 1-1/4 inches
Osamu Sassa, Brush and Pan (collaboration with Aled Lewis), ash, brushed copper, waxed finish, 10-1/2 x 6-1/2 x 1-1/4 inches
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Textiles B Summer Session 4

TEXTILES – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Amy Putansu
Ondulé: Weaving Waves

Warp ondulé is a weaving technique that requires special tools and methods for managing the floor loom. This workshop is an introduction to maneuvering woven threads into sinuous, waving pathways throughout the interlacement. Students will work with a variety of fibers while exploring structures and techniques that emphasize the unique qualities of ondulé weaving. We will produce a selection of samples through a round-robin series. Demonstrations will include resist dyeing, warp painting, various weave structures (including twills and overshot), inlay, and the use of supplemental threads. Students will finish by planning and producing a small ondulé piece. Intermediate level: students should be skilled at independently dressing a floor loom. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Full-time faculty at Haywood Community College Professional Crafts Program (NC); collections: Renwick Gallery (DC), China National Silk Museum, Kyoto International Community House (Japan); representation: Blue Spiral 1 (NC), Sager Reeves Gallery (MO), Penland Gallery.

putansutextiles.com| @putansutextiles
January 15 – Regular enrollment opens

Amy Putansu, Irisation, handwoven ondulé, dyeing, mixed fibers, 32-1/2 x 46 x 2 inches Amy Putansu, detail of Irisation
Amy Putansu, Irisation, handwoven ondulé, dyeing, mixed fibers, 32-1/2 x 46 x 2 inches
Amy Putansu, Irisation, handwoven ondulé, dyeing, mixed fibers, 32-1/2 x 46 x 2 inches Amy Putansu, detail of Irisation
Amy Putansu, detail of Irisation
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Textiles A Summer Session 4

TEXTILES – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Natalie Stopka
Rooted: Dyes and Pigments from Nature

Artwork is made manifest through material choices. This workshop will explore botanical, insect, and earth colors for applications on fabric, including dyes, indigo, and lake pigments. These rich and subtle colors require thoughtful gathering and careful processing, rooting our practice in a conversation with the natural world. Each student will create a swatch library of dyes, then learn to transform dye into lake pigment. We will share a plant and pigment foraging walk, process pigments, and explore painterly applications with soy on fabric. We will create “portraits” of our plant collaborators and focus on the roles of mordants and binders for lightfastness and washfastness. Students will leave with pigment samples and the technical know-how needed to fold them into their own studio practice. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Studio artist, educator; visiting lecturer: Pratt Institute (NYC), Rutgers University (NJ), Hartford Art School (CT); workshop instructor: Arrowmont (TN), Aya Fiber Studio (FL), Peters Valley (NJ), Snow Farm (MA), Textile Arts Center (NYC), Wave Hill (NYC), Women’s Studio Workshop (NY).

nataliestopka.com | @nataliestopka
January 15 – Regular enrollment opens

Natalie Stopka, Dye Materials, dye plants, dye swatches, earth and lake pigments, charcoal
Natalie Stopka, Dye Materials, dye plants, dye swatches, earth and lake pigments, charcoal
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Print & Letterpress X Summer Session 4

PRINT/LETTERPRESS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Thomas Lucas and Delita Martin
Adventures in Lithography

This workshop will explore the basic techniques of lithography using both stone and photo-plate processes. Students will learn the fundamentals of stone lithography: graining, principles of drawing, etching, registration, printing editions, and troubleshooting. Then we will explore photo-plate lithography and learn how to incorporate experimental approaches with drawing and photo-mechanical image possibilities. In addition to color layers, we will experiment with incorporating chine collé, collage, cyanotype, and linocuts. The workshop will include an exchange portfolio. All levels. Printmaking studio.

Thomas: associate professor at Chicago State University; founder and master printer at Hummingbird Press Editions (Chicago); other teaching: Tyler School of Art and Architecture (Philadelphia), School of the Art Institute of Chicago, Ox-bow (MI), Arrowmont (TN), Penland; recent commissions: Chicago Department of Cultural Affairs and Special Events, Chicago Transit Authority, NASCAR; representation: N’Namdi Contemporary (Miami, Detroit). 

thomas-lucas.com | @printerthomas

Delita: studio artist, owner of Black Box Press Studio (AR); member of Black Women of Print; teaching: University of Arkansas at Little Rock; exhibitions: 2022 Venice Biennale, Crystal Bridges Museum (AR), National Museum of Women in the Arts (DC); collections: Bradbury Art Museum, Library of Congress (DC), Minneapolis Institute of Art, Minnesota Museum of Art, Crystal Bridges Museum (AR), National Museum of Women in the Arts (DC); representation: Galerie Myrtis (Baltimore).

blackboxpressstudio.com
January 15 – Regular enrollment opens

Thomas Lucas, The S to the D, lithography and screenprint, 22 x 15 inches
Thomas Lucas, The S to the D, lithography and screenprint, 22 x 15 inches
Delita Martin, Do You See What I See?, relief printing, acrylic, printed papers, hand stitching, charcoal, 40 x 30 inches
Delita Martin, Do You See What I See?, relief printing, acrylic, printed papers, hand stitching, charcoal, 40 x 30 inches
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Photography Summer Session 4

PHOTO/MIXED MEDIA – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Sally Van Gorder
Photographing Your Work: Documentation for Artists

Photographic records are essential to every art practice. They can describe a work, provide an exhibition view, supply installation instructions, ensure accurate color for print reproduction, or communicate the character of a practice.They can also express an aesthetic and convey a narrative. This workshop considers the many contexts in which these images are made and used. We will work digitally and explore the technical requirements for quality pictures. Demonstrations will cover camera control, natural and artificial lighting, and post-production workflows, including color correction, retouching, file output, and storage. We will cover everything you need to get the best images of your work from the conditions and equipment you’re working with, whether you have a DSLR, mirrorless camera, or cell phone. This workshop is for any art/craft practitioner wanting to photograph their work. All levels. Photography studio.

Professor at North Carolina State University; other teaching: Virginia Commonwealth University (Qatar), Oregon College of Art and Craft, Pacific Northwest College of Art (OR); residencies: Brightwork Fellow at Anchorlight (NC); exhibitions: North Carolina Museum of Art, Southeastern Center for Contemporary Art (NC), Contemporary Art Museum (NC).

sallyvangorder.com | @sallyvangorder
January 15 – Regular enrollment opens

Sally Van Gorder, Setup for Precious Lovell documentation
Sally Van Gorder, Setup for Precious Lovell documentation
Sally Van Gorder, Setup for Precious Lovell documentation Precious Lovell, WangariMaathai, photograph by Sally Van Gorder
Precious Lovell, WangariMaathai, photograph by Sally Van Gorder
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Metals B Summer Session 4

METALS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Pierce Healy
Engraving Escapades and Metal Tattoos

Ever since humankind crawled from the swamp to stand upright, we have been making marks and scratching and scaring the earth’s crust and our own skin, whether marking territory, adorning, or storytelling. Do you want to become a link in the chain of curious storytelling mark makers? The aim of this workshop is not just to develop a basic understanding of the tools, techniques, and materials of hand engraving but also to experiment and harness engraving creatively. Once you have a basic grasp of the tools, you will unleash them on copper and alternative materials: wax, wood, coconut, plastic, and anything else that will capture your designs and stories. We will also cover sharpening, geometry, holding devices, and image transfers. Students are welcome to bring materials and objects they would like to engrave. All levels, beginners welcome. Lower metals studio. 

Studio artist; teaching: Pierce Healy Studio (Dublin), National College of Art and Design (Dublin), K2 Academy of Contemporary Jewellery (London); residencies: SIM (Iceland), Arteles Center (Finland), National College of Art and Design (Dublin); exhibitions: National Craft Gallery (Ireland), The Scottish Gallery, Solomon Gallery (Dublin), Velvet da Vinci (San Francisco).

piercehealystudio.com | @piercehealystudio

A short Pierce Healy video

January 15 – Regular enrollment opens

Pierce Healy, Stable Meal, silver, copper, tin, found objects, 4 x 8 x 2 inches
Pierce Healy, Stable Meal, silver, copper, tin, found objects, 4 x 8 x 2 inches
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Metals A Summer Session 4

METALS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Helen Elliott
Drawn and Painted Marks in Liquid Enamel

This workshop will focus on the experimental use of liquid enamels on copper and porcelain-coated steel, encouraging creative risks and the use of playful, intuitive mark-making. Guided by daily demonstrations, fun exercises, and personalized attention, students will focus on the unique characteristics of drawn and painted marks in enamel. We will explore a variety of techniques—including sgraffito, printing, stenciling, and altering the surface of copper foil—to produce a series of fired explorations. These pieces can be mounted for presentation or finished later as jewelry. All levels. Upper metals studio. Note: this workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Studio artist; teaching: Kent State University (OH), Towson University (MD); Pratt Fine Arts Center (Seattle), Arrowmont (TN), Enamelist Society, KVO Industries (CA); Ohio Arts Council Individual Artist Fellowship; collections: Arkansas Museum of Art, Crocker Art Museum (CA), Philadelphia Museum of Art, The Yale Museum of Art (CT).

More information about Helen Elliott

January 15 – Regular enrollment opens

Helen Elliott, Explorations 2023, steel, copper, enamel
Helen Elliott, Explorations 2023, steel, copper, enamel
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Iron Summer Session 4

IRON – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Andrew Meers
Damascus: Introduction to Pattern Welding

This workshop will cover basic forge-welding and patterning, including traditional and contemporary techniques for fusing and patterning carbon steel. Students will become familiar with basic forging operations as they set up and develop patterned materials that can then be shaped into Damascus objects. The workshop will encompass basic patterning styles, including twisting, laddering, and multi-bar composites. The focus will be on material and aesthetic pattern development; we will not cover knifemaking. All levels.

Studio artist, teaching: Penland, New England School of Metalwork (ME), Touchstone (PA); Master Bladesmith rating and B.R. Hughes Award from American Bladesmithing Society; residencies: Metal Museum (TN), Penland Resident Artist Program. 

andrewmeersstudio.com | @mr.meers
January 15 – Regular enrollment opens

Andrew Meers, Barn Owl, Damascus steel, gold, shibuichi, shakudo; inlaid and engraved, 3 x 3 x 1 inch
Andrew Meers, Barn Owl, Damascus steel, gold, shibuichi, shakudo; inlaid and engraved, 3 x 3 x 1 inch
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Glass B Summer Session 4

GLASS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Nisha Bansil
Embedded Pattern and Thick Forms

This workshop will be an investigation into embedding patterns in glass castings. We will experiment with different techniques for creating patterns, including vitreous enamel and powder printing. Using paper and clay as positives, students will create open faced molds for our patterned castings. We will also learn techniques borrowed from traditional pâte de verre. Students will leave with one hollow-form vessel and several thicker castings. Come prepared to play, experiment, and be inspired by the Penland campus. All levels. Kiln studio. 

Studio artist; teaching: The Studio at Corning (NY); Bullseye Glass (CA, NY), Creative Glass (Switzerland); mount-maker for Metropolitan Museum (NYC) and American Museum of Natural History (NYC); residencies; Corning Museum (NY), Bullseye Glass Company (NY), Chrysler Museum (VA).

nishabansil.com | @nishabansil

Video of Nisha’s sound process.
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Nisha Bansil, Sound Mandala 1600 hz, glass, glass powder, sound, 20 x 20 x 1/8 inches
Nisha Bansil, Sound Mandala 1600 hz, glass, glass powder, sound, 20 x 20 x 1/8 inches
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Glass A Summer Session 4

GLASS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Jessica Jane Julius and Erica Rosenfeld
From Shop to Table

The glass studio and the dinner table both tell stories about craft, design, tradition, history, culture, and ritual. Both can be gathering places that create lasting communities. In this workshop, we will explore the potential of sculpture, installation, design, and video using glass, found materials, and food. Working in the hot and cold glass studios, we will experiment with blowing, hot sculpting, mold blowing, cane, cold working, and mixed-media processes. Lectures and demonstrations will present strategies for new applications of traditional techniques. We will focus on expanding our community and engaging larger audiences through a culminating, participatory art “dinner party” involving a glass installation made over the duration of the workshop. Please join us for an unforgettable experience. All levels. Hot glass studio.

Jessica: associate professor and head of glass at Tyler School of Art and Architecture (Philadelphia); co-founder of The Burnt Asphalt Family, an artists’ collective and performance group; residencies: Creative Glass Center of America (NJ), Museum of Glass (WA); exhibitions: Philadelphia Museum of Art, Museum of American Glass (NJ), MarketView Arts (PA).

jessicajjulius.com | @jessicajjulius

Erica: studio artist; co-founder of The Burnt Asphalt Family, an artists’ collective and performance group; teaching: The Studio at Corning (NY), UrbanGlass (NYC), Pilchuck (WA), Worcester Center for Crafts (MA); exhibitions: Museum of Arts and Design (NYC), Racine Art Museum, Kohler Arts Center (WI); collections: Museum of Arts and Design (NYC), Essex Peabody Museum (MA), Toledo Art Museum (OH). 

ericarosenfeld.com | @ericarosenfeld8
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Erica Rosenfeld & Jessica Jane Julius, Burnt Asphalt Family, Banana Dome, Around the Campfire performance at the Chrysler Museum
Erica Rosenfeld & Jessica Jane Julius, Burnt Asphalt Family, Banana Dome, Around the Campfire performance at the Chrysler Museum
Erica Rosenfeld, Around the Campfire, blown glass, neon, sporks, oranges, mixed media, dimensions variable
Erica Rosenfeld and Jessica Jane Julius, The Burnt Asphalt Family, Around the Campfire, neon blown glass, sporks, various dessert sculptures, mixed media
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Drawing & Painting Summer Session 4

DRAWING/PAINTING – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Janet Link
Perspective Drawing: Observed, Imagined, Remembered

In this workshop we will dive into the theory and methods of constructing pictorial space and form. Information will be presented in lectures and demonstrations and applied through exercises and independent projects using drafting tools to make mechanical and freehand perspective drawings. Students will create reference libraries of perspective techniques and drawings of observed, imagined, and remembered objects and spaces. We’ll consider perspective drawing as a design tool, a foundational element in an observational practice, and as an interesting end in itself. Whether you want to begin, refresh, or deepen your relationship with perspective drawing, you will learn to construct and visualize space and form more fluently. All levels. 

Studio artist; teaching: Arrowmont (TN), North Carolina State University College of Design, Meredith College (NC), Centre College (KY); residencies: al maqam (Morocco), Penland (NC), Spring Island (SC); collections: City of Raleigh (NC), University of Arkansas-Little Rock. 

janetlink.com | @janetlink
Jan 15 – Regular enrollment opens

Janet Link, Perspective Study, graphite, 16 x 16 inches
Janet Link, Perspective Study, graphite, 16 x 16 inches
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Clay B Summer Session 4

CLAY – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Alexander Thierry
Screenprinting and Soda Firing

This workshop will explore ways to add screenprinting to the surface of ceramic work through direct printing and transfers. We will cover image and screen creation, screenprinting with underglaze, layering, and how screenprinting can work with various surface and texture techniques. Demonstrations of throwing, handbuilding, and surface techniques will help students create whatever kind of work interests them: vessels, sculptures, etc. A soda firing will allow experimentation with the surfaces that can be created in an atmospheric kiln. We will make both bisqueware and fully glazed work with mid-range clay. All levels. Lower clay studio.

NOTE: Students in this workshop should bring a laptop computer if they can. If you are enrolled and cannot bring a computer, please contact Nadia Massoud at studio_operations@penland.org.

Associate professor at South Carolina State University (SC); residencies: Penland Winter Residency Distinguished Fellow, M.A.K.E. Resident 2019 (Iceland), Summer Visiting Artist at Clemson University (SC), Summer Resident for Hampton County Arts (SC); exhibitions: Edwardsville Arts Center (IL), Peters Valley (NJ), Morean Center for Clay (FL), Foundry Art Centre (MO), Companion Gallery (TN), Artspace (NC).

alexanderthierry.com | @alexander_thierry
Jan 15 – Regular enrollment opens

Alexander Thierry, Smiley Cup, clay, underglaze transfers, glaze, 3-1/2 x 4-1/2 x 4-1/2 inches
Alexander Thierry, Smiley Cup, clay, underglaze transfers, glaze, 3-1/2 x 4-1/2 x 4-1/2 inches
Alexander Thierry, Plate, clay, underglaze transfers, glaze, 9 x 9 x 2 inches
Alexander Thierry, Plate, clay, underglaze transfers, glaze, 9 x 9 x 2 inches
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Clay A Summer Session 4

CLAY – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Lindsay Pichaske
Heads with Exquisite Surfaces

In this figurative sculpture workshop, students will sculpt animal or human heads with rich surfaces. We will explore the ways both pigmented clay and mixed-media additions can contribute to the texture, content, and personality of a face. Demonstrations will include solid sculpting and hollowing, rendering facial features, anatomical sculpting techniques, and surface development. While the focus will be on clay textures, the workshop will include testing and mixing our own pigmented clays, making test tiles, and experimenting with mixed-media materials. Low to mid-range electric firing. All levels. Upper clay studio.

Studio artist; teaching: Greenwich House Pottery (NYC), Penland, Santa Fe Clay, St. Louis Community College, Maryland Institute College of Art; Taunt fellow at the Archie Bray Foundation (MT), NCECA Emerging Artist Award; recent exhibitions: Daum Museum of Contemporary Art (MO), Fuller Craft Museum (MA), Blue Spiral (NC), Duane Reed Gallery (St. Louis), Greenwich House Pottery; representation: Duane Reed Gallery.

lindsaypichaske.com | @lindsay_pichaske
Jan 15 – Regular enrollment opens

Lindsay Pichaske, Souvenir, stoneware, porcelain, mason stains, hair, 32 x 28 x 17 inches
Lindsay Pichaske, Souvenir, stoneware, porcelain, mason stains, hair, 32 x 28 x 17 inches
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Books & Paper P Summer Session 4

PAPER – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Nicholas Cladis
Bark Fibers Transformed

This workshop will begin with processing raw bast fibers (e.g. kozo) into paper using Japanese sheet forming methods. Then we will explore alternative techniques and materials to use in tandem with bast fibers: we will pigment and dye, manipulate pulp with water, and use bark fibers for casting and dipping. Embracing the communal aspect of papermaking, we will concoct and experiment with pulp mixtures. There will be daily demonstrations, discussions of paper as an artistic and borderless medium, and ample time for play. We will also discuss the history and origins of Eastern/Japanese papermaking and its contemporary applications. Each student will walk away with an assortment of handmade papers and fiber-focused objects. All levels.

Lecturer at University of Iowa Center for the Book; other teaching: Fukui Prefectural University (Japan); visiting artist: Rhode Island School of Design, University of Wisconsin-Madison, University of Michigan (MI); Ishibashi Fellowship for Research in Japanese Art; recent exhibitions: Yamatoya Gallery (Japan), Public Space One (Iowa City, IA), National Craft Research and Development Institute (Taiwan); collection: Museum of Washi & Culture (Japan).

nicholascladis.com 
January 15 – Regular enrollment opens

Nicholas Cladis, detail of Terrain and Coil, kozo, willow dye, sumi, dimensions variable
Nicholas Cladis, detail of Terrain and Coil, kozo, willow dye, sumi, dimensions variable
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Books & Paper B Summer Session 4

BOOKS – SUMMER SESSION 4
June 30-July 12, 2024 (11 STUDIO DAYS)
Andy Rottner
Books and Enclosures

This workshop will provide a straightforward approach to making sewn-section, case bound books and the construction of four enclosure types. Students will first design and bind a 6 x 9 inch, 96-page book. Then they will design and build these four separate enclosures for that book: four-flap paper portfolio, slipcase, clamshell box, and lift-top box. We will use equipment such as the board shear, paper guillotine, and book press while learning techniques that include folding and piercing sections, sewing, forwarding, trimming, book cover construction, casing-in, gluing, measuring, cutting, and book and box design. All levels.

Studio artist, bookbinder, publisher, educator; teaching: San Francisco Art Institute, San Francisco Center for the Book, Studio Art Center International (Florence, Italy); bookbinding clients: Internet Archive, Codex Foundation (CA), California College of Art; collections: Library of Congress Special Collections (DC), Harvard University (MA), Stanford University (CA), Columbia University (NYC), Smith College (MA); publications: Knuckles on the Ground: Fundamentals of Bookbinding (San Francisco Center for the Book).

superclassypublishing.com | @superclassypublishing
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Andy Rottner, Knuckles on the Ground: Fundamentals of Bookbinding, paper, binder's board, bookcloth, 5 x 5 x 2 inches, closed
Andy Rottner, Knuckles on the Ground: Fundamentals of Bookbinding, paper, binder's board, bookcloth, 5 x 5 x 2 inches, closed