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Wood Summer Session 4

Wood Summer Session 4
July 4-15, 2021
Sylvie Rosenthal
Hybrid Object Laboratory

In this workshop students will learn traditional and alternative processes for making functional and sculptural hybrid objects: objects that present or perform unlikely combinations. The work will be assembled and carved, using both additive and subtractive techniques. We’ll cover lamination, joinery, curved and not-square pieces, and small architectural components, along with safe and appropriate machine tool, hand-held power tool, and hand tool usage as we make objects the world has never imagined. All levels. 

Studio artist; teaching: University of Wisconsin-Madison; California College of the Arts, Haystack (ME), Anderson Ranch (CO), Australian National University, Tainan National University (Taiwan); exhibitions: Fuller Craft Museum (MA), Mint Museum (NC), Museum of Arts and Design (NYC).

black moped front with a large cat's legs and tail in back
Sylvie Rosenthal, "Battle Cat (possible futures)," bass, steel, epoxy, paint, half a moped, 
33 x 22 x 90 inches
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Textiles A Summer Session 4

Textiles Summer Session 4
July 4-15, 2021
Graham Keegan
Natural-Dye Block Print

How do you take color from a plant and adhere it to fabric? Answering this question will require us to answer these: What is fabric? What is the structure of color? How does one move and control each color? We’ll begin by extracting color from locally foraged plants, then we’ll work with extracts from plants grown specifically for their coloring components. With a solid understanding of different types of color and how they interact with fabrics, we’ll begin to shape and control their application onto the cloth. After carving simple printing blocks from a number of materials, we’ll print patterned cloths in many colors. By creating printing mediums of the right strength and consistency, we’ll explore the possibilities of layering print, color, and pattern. Students will create a collection of sample fabrics (24-inches square) with the intent of moving toward producing larger work. All levels. 

Studio artist, textile designer, and natural-dye advocate; teaching: Marshfield School of Weaving (VT), Snow Farm (MA), workshops across the country as part of his annual Indigo Tour; designs used by boutique designers and international brands on garments, home goods, wallpaper, and accessories.

diamond stamped pattern in black, white, and gold
Graham Keegan, detail of "Diamonds in Tessellation," madder, iron/tannin, cotton; woodblock print
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Print & Letterpress L Summer Session 4

Print & Letterpress Summer Session 4
July 4-15, 2021
Jim Sherraden
Letterpress: Opening and Pushing the Envelope

This workshop will cover intro-to-advanced letterpress and intro-to-advanced image carving on multiple surfaces. If it will go through the press, we’ll try it: wood type, metal type, hand-carved blocks, the leaves in the fields. We’ll look past the use of type as letters and investigate its value as forms. Once our imagery is created, words can be integrated. We’ll aim for excellence, not perfection, and students will go home with a carload of work. No presses or type will be injured! Each day will include the three Cs of the workshop: courtesy, community, and comedy. All levels. Letterpress studio.

Studio artist; manager, master printer, and archivist at Hatch Show Print for 30 years (Nashville); Tennessee Distinguished Artist Award; work toured nationally with the Smithsonian; author of Hatch Show Print: The History of a Great American Poster Shop.

letterpress poster with layered color and three mule prints
Jim Sherraden, "Mule Skinner Blues," oil-based ink; letterpress from woodblock and wood type, 26 x 40 inches
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Print & Letterpress X Summer Session 4

Print & Letterpress Summer Session 4
July 4-15, 2021
Kasey Ramirez
The Woodcut: Beyond Black and White

This workshop will focus on the post-matrix and pushing the surfaces of paper, wood, and fabric. Using everything from knives and gouges to hammers and torches, this woodcut workshop will focus on expanding students’ graphic vocabulary beyond linear and bold qualities toward textural and atmospheric effects. Guided drawing exercises will complement experimental and collaborative demonstrations covering image transfer methods, traditional and alternative carving methods, using oil-based inks, color-mixing, and both press and non-press printing methods. Students will experiment with the techniques and pursue their own original imagery. All levels. Print studio.

Clinical assistant professor at University of Arkansas; residencies: Guanlan Original Printmaking Base (China), Vermont Studio Center; Mid-America Art Alliance Artists 360 grant; exhibitions: International Print Center New York, Morgan Conservatory (Cleveland), Harnett Museum of Art (VA), Andy Warhol Museum (Pittsburgh); solo shows: Rosewood Art Gallery (OH), Tarble Art Center (IL), Center for Contemporary Art (NJ).

night scene of a derelict or under-construction building
Kasey Ramirez, "Hull," woodcut, 22 x 34 inches
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Metals B Summer Session 4

Metals Summer Session 4
July 4-15, 2021
Adam Atkinson and Everett Hoffman
Forged and Bedazzled

Form and color will unite in this intensive forging and stone setting workshop as students produce one-of-a-kind jewelry, utensils, and small sculpture. A series of demonstrations will cover cold and hot forging nonferrous metals along with a variety of setting techniques, including tab, bezel, tube, flush, and prong. We’ll explore sawing, soldering, and cold connections as we find compelling methods of fabrication. Once students have mastered the basics, they will design and fabricate their own unique, bedazzled objects. Whether you have years of experience or have never touched a forging hammer, this workshop will enhance your practice. All levels. Lower metals studio.

Adam: metalsmith, curator, educator; current Penland resident artist; teaching: Virginia Commonwealth University, Boise State University (ID), Baltimore Jewelry Center, Pocosin Arts School of Fine Craft (NC); exhibitions: Wayne Art Center (PA), Green Hill Center (NC), Nagoya Zokei University (Japan); curatorial: Spectral Matter (an LGBTQIA+ exhibition platform), Ripple Effect: 168. Everett: studio artist, writer, curator; current Penland resident artist; other residencies: Arrowmont (TN), Baltimore Jewelry Center; exhibitions: Virginia Museum of Contemporary Art, Contemporary Craft Museum (Pittsburgh), Soil Gallery (Seattle), Benaki Museum (Athens, Greece). | @adamatkinson_art | @everetthoffman

Jewelry by Adam Atkinson
Adam Atkinson, Gentle Phallus, steel, silver, deer fur, oak, acrylic, 3 x 1 x 1/2 inches
Work by Everett Hoffman
Everett Hoffman, Pink Cocktail Ring, vintage rhinestones, mild steel, 14k gold, silver, 3-1/4 x 2 x 2 inches
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Metals A Summer Session 4

Metals Summer Session 4
July 4-15, 2021
Richard Elaver
Making a Spectacle

This workshop is all about making eyewear—also known as jewelry for the face. We’ll explore a variety of materials—traditional buffalo horn to colored plastics, titanium to silver—with a focus on the design and construction of wearable frames. Along the way we’ll experiment with a range of studio techniques, including hinge construction, soldering, riveting, and integrating digital processes—specifically, using computer-aided-design (CAD) tools to create layouts for frames. We’ll cover the technical aspects of eyewear so students can construct frames capable of holding prescription lenses. Intermediate level: basic sawing, filing, and soldering skills required. Upper metals studio.

Associate professor of industrial design at Appalachian State University (NC); exhibitions: Museum of Arts and Design (NYC), International Contemporary Furniture Fair (NYC), Cranbrook Museum of Art (MI), Metal Museum (TN).

four pairs of handmade spectacles
Richard Elaver, "Buffalo Horn Frames," buffalo horn, white gold, brass, approximately 
6 x 6 inches each
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Iron Summer Session 4

Iron Summer Session 4
July 4-15, 2021
Vivian Beer & Hannah Vaughan 
Design on Fire

This workshop will focus on using design concepts and craft methodologies to develop each student’s creative voice in metal furniture. We’ll cover drafting and modeling at scale and numerous metal fabrication techniques, including pattern making, welding, hollow construction, jig making, forging, hand-hammer control, use of the hydraulic press and slip roller, and a varied use of abrasives for finishing and surface development. The workshop will also include slide presentations, group critiques, quick ideation exercises, constant use of the sketchbook, and discussions of proportion, ergonomics, style, history, and material experimentation. Whether your goals are sculptural, functional, technical, or conceptual, the iron shop will be your creative laboratory. All levels.

Vivian: studio artist, furniture designer; teaching: Haystack (ME), Penland; USArtists fellowship; residencies: Museum of Glass (WA), Air and Space Museum (DC), Penland Resident Artist Program; collections: Smithsonian American Art Museum (DC), Museum of Arts and Design (NYC), Museum of Fine Arts Boston, The Brooklyn Museum, cities of Portland (MA), Cambridge (MA), and Arlington (VA). Hannah: furniture, product, architectural designer; designed headquarters of BOLT (San Francisco); products in museum gift shops including Henry Ford Museum (MI); furniture designs in galleries in Chicago and Boston.  |  @vivian_beer  |  @hannahvaughanstudio

white metal bench with curved forms
Vivian Beer, "Twin Engine," formed/fabricated steel, automotive paint, 26 x 23 x 102 inches
angular chair from rusted sheet metal
Hannah Vaughan, "Remnant Series Rusted," steel, rust, 28 x 19 x 34 inches
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Glass B Summer Session 4

Glass Summer Session 4
July 4-15, 2021
Heather Trimlett
Flameworking A to Z

Working with soft glass at the torch, we’ll investigate countless options for bead design, twisted cane composition, and distinct application methods. Students will be introduced to disk beads, glass buttons, working with large mandrels, and coldworking and challenge themselves, through a series of tips and tricks, to conquer these methods. Demonstrations will support the learning process in detail, allowing students to apply techniques at their own pace. Students can expect to advance their skill set, work more precisely by mastering the fine art of heat control, and increase their level of confidence and consistency. All levels. Flame studio.

Studio artist, tool designer, tutorial writer; teaching: The Studio at Corning (NY), Haystack (ME), Penland, and venues in Germany, Hungary, U.K., and Canada; Uncommon Goods Glass Challenge Winner; representation: Kittrell-Rifkind Art Glass Gallery (Dallas).

Heather Trimlett, "Beads," flameworked glass, largest: 2-3/4 inches diameter
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Drawing & Painting Summer Session 4

Drawing & Painting Summer Session 4
July 4-15, 2021
Steve Johnson
Drawing Inspiration from the Figure

This workshop will explore the processes and materials used in traditional and nontraditional figure drawing. Students will work from the nude model, learning basic-to-advanced drawing techniques with wet and dry materials and experimenting with a variety of papers, tools, and media. Individual meetings will help students define their artistic goals and advance their problem-solving skills. We’ll also spend time sketching outdoors and gathering inspiration from Penland’s beautiful grounds. All levels.

Associate professor at College of Charleston (SC); Fulbright-Nehru Teaching Fellowship, Robert Blackburn Printmaking Workshop residency (NYC); exhibitions: Halsey Institute of Contemporary Art (SC), Blackburn 20/20 (NYC), 111 Minna Gallery (San Francisco); collections: Library of Congress (DC), Rhode Island School of Design Museum of Art.


Steve Johnson, "Interweave," graphite on paper, 66 x 55 inches
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Clay B Summer Session 4

Clay Summer Session 4
July 4-15, 2021
Forrest Lesch-Middelton
Handmade Tile: Design, Create, Install

This action-packed workshop will navigate tile making from beginning to end. Starting with a block of clay and ending with unique individual tiles and groupings installed as wall hangings, you are sure to leave with a new understanding of what it means to be a tile maker! We’ll cover tile history, traditional and contemporary methods of making and finishing different tile shapes and surfaces, making and using silkscreens for image transfer, firing tile, and how to confidently prepare and complete large-scale installations. All levels. Lower clay studio.

Studio artist; teaching: Arrowmont (TN), Greenwich House Pottery (NYC), California College of the Arts; Ceramics Monthly 2014 Ceramic Artist of the Year; work published in New York Times, Architectural Digest, Ceramics Monthly; author of Handmade Tile: Design, Create, and Install Custom Tiles.

staircase tiled with various patterns of Forrest's tiles
Forrest Lesch-Middelton, "Neeley Stairs," screenprinted, reduction cooled stoneware tile, 17 x 5 feet
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Clay A Summer Session 4

Clay Summer Session 4
July 4-15, 2021
Juan Barroso
Clay as Canvas

This workshop will explore the possibilities of clay when it is viewed and formed as a canvas for imagery and visual narratives. We’ll work with black underglaze and a variety of techniques including pointillism, sgraffito, mishima, and watercolor underglaze painting. We’ll cover the process for planning and drawing an image or pattern before transferring the outline to the clay surface for painting. There will be daily surface design and wheelthrowing demonstrations, discussions about our narratives, and plenty of time for experimentation. This workshop will be exciting for artists new to clay as well as experienced ceramic artists wishing to add image rendering to their clay studio tool set. We’ll use porcelain and stoneware with oxidation firings in electric kilns. All levels. Upper clay studio.

Studio artist; teaching: University of North Texas; Ceramics Monthly Emerging Artist Award; exhibitions: Companion Gallery (TN), Encounters/Encuentros (CA); representation: Companion Gallery.

Juan Barroso, "Honoring Textile Labor," porcelain, underglaze, 23 x 12 x 12 inches
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Books & Paper B Summer Session 4

Books & Paper Summer Session 4
July 4-15, 2021
Frank Hamrick
Handmade Paper and Artist Books

In this workshop, we’ll make rag paper from your old cotton and linen clothes and incorporate it into various book structures including hardcover pamphlet, accordion, longstitch, case bound, Japanese, and Coptic bindings. Advanced students can tackle more advanced forms, including z-fold and dos-a-dos. We’ll talk about editing and sequencing content, and how size, material, and structure choices can support subject matter. We’ll have options for placing imagery or text into our books digitally or manually. Our time will be divided between the books and papermaking studios. All levels.

Professor at Louisiana Tech University; other teaching: University of Georgia Cortona Italy Program, Art Institute of Boston Mentor Program; collections: Art Institute of Chicago, Amon Carter Museum (TX), Ogden Museum (New Orleans).

artist book by Frank Hamrick
Frank Hamrick, "It Was There All Along," handbound artist’s book with relief printed cover, 8-7/8 x 9 x 5 inches