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Spring Short Session Wood

Wood – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Graeme Priddle
Sculptural Form and Surface

We’ll start this workshop by designing and developing small sculptural shapes using the bandsaw, carving tools (including chisels and grinders), and sanding equipment. These forms will then serve as canvases for surface embellishment techniques, including relief and textural carving with hand and rotary tools, burning/branding, and the use of acrylic and milk paints. These pieces could be finished works or experimental maquettes for later development into larger pieces. Those who wish to focus entirely on surface embellishment are welcome to bring turned/carved/fabricated/found wood objects to work on. All levels.

Woodturner, sculptor, workshop teacher known for his sculptural turnings/carvings reflecting the environments of his native New Zealand; teaching: Penland, Arrowmont (TN), Appalachian Center for Craft (TN), Campbell Folk School (NC), Johannes Michelsen School of Woodturning (VT); collections: Wood Turning Center (Philadelphia), Detroit Institute of Arts, Museum of Arts and Design (NYC), Renwick Gallery (DC).

graemepriddle.com | @graemepriddle

wood sculpture by Graeme Priddle
Graeme Priddle, I Raro I Te Moana (under the sea), poplar, acrylic paint, 8 x 5-1/2 inches
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Spring Short Session Textiles

Textiles – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Kim Mirus
Threading Heddles and Throwing Shuttles

From winding warps to throwing shuttles, we’ll explore all the exciting aspects of weaving on floor looms. We’ll set up a variety of looms with options ranging in complexity, and everyone will use them to experiment with woven structures using four- and eight-shaft patterns. Then each student will choose one of the looms and use it to weave more samples or a self-directed piece of their own design. Everyone will leave with a collection of samples and small woven pieces as well as the skills and confidence to weave independently. All levels. Second-floor textiles studio. 

Note: this workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Studio artist; teaching: Haystack (ME), The Crucible (CA), K-12 public schools (CA), Penland; residencies: The Arctic Circle (Svalbard), MASS MoCA (MA), SÍM (Iceland), Penland Winter Residency (NC), ReCreative Denver (CO), Arrowmont Pentaculum (TN), Hambidge Center (GA), Icelandic Textiles Center; exhibitions: Wolpert Gallery (TN), ReCreative Denver (CO), 808 Projects (CO), SÍM Gallery (Iceland).

kimmirus.com | @kimmirus

weaving by Kim Mirus
Kim Mirus, Tenuous Ice, handwoven cotton and vintage silk, 30 x 30 inches
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Spring Short Session Photography

Photography – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Richard Tuschman
The Poetic Portrait

Selfies, profile pics, and headshots are ubiquitous in contemporary pictorial culture, but how can we create portraits that transcend the ordinary? How do we photograph faces and figures to suggest deeper psychological truths, both particular to the subject and universal to our shared humanity? Using the examples of past masters, as well as Richard’s own work, we’ll start at the beginning, exploring the expressive elements of composition, color, gesture, environment, and both studio and natural lighting. Together we’ll pursue a quest to become emotional messengers through the medium of portrait photography. Students will need to bring a digital camera with manual controls. All levels.

Fine art photographer; teaching: Ringling College (FL), University of Akron (OH), Maine Media Workshops, Los Angeles Center of Photography; New York Foundation for the Arts Fellowship, Photolucida Critical Mass Top Fifty (2014, 2016, 2021); exhibitions: Center for Photographic Art (CA), Museum of Contemporary Art Krakow (Poland), Photovisa Festival (Russia); representation: Klompching Gallery (NYC), photo-eye Gallery (NM). 

richardtuschman.com | @richardtuschman

photograph by Richard Tuschman
Richard Tuschman, Portrait of Mike, archival inkjet print, 21-1/2 x 14-1/2 inches
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Spring Short Session Printmaking

Printmaking and Letterpress – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Martin Mazorra
Woodcut and Letterpress Poster Workshop

This workshop will use the direct and immediate qualities of woodcut images combined with letterpress text as the operative elements behind graphic statements. It will provide hands-on experience in woodcut and in the principles and process of hand-composition and letterpress printing. We’ll cover Vandercook press operation, multiple pass registration, and general printing practices as we make beautiful woodcut posters. All levels. Letterpress studio.

Studio artist, proprietor of Cannonball Press; New York Foundation for the Arts Fellowship, Ford Foundation Fellowship, Marie Walsh Sharpe Studio recipient; exhibitions: Planthouse Gallery (NYC), Signal Return (Detroit); collections: Beinecke Rare Book Library (CT), San Francisco Museum of Modern Art, Taubman Museum (VA), Block Museum (IL). 

martinmazorra.net | cannonballpress.com | @mmazorra

woodcut by martin mazorra
Martin Mazorra, Fresh Cut Feelings, woodcut and antique woodtype; letterpress printed on paper, 24 x 18 inches
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Spring Short Session Papermaking

Papermaking – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Shannon Brock
Imagery in Papermaking

This workshop will explore image making in handmade paper. We’ll begin with an overview of basic sheet forming, including a discussion of fiber preparation and why we are using specific fibers. Then we’ll mix additives and pigment pulp that will be used throughout the workshop. On the second day, students will learn to prepare stencils with a variety of materials, and we’ll cover pulp transfers, pulp painting, watermarks, and blowouts. The rest of the time will be used to put these techniques into practice. Students may choose to create finished work or a library of examples. All levels. 

Studio artist; owner of Gaptoothed Studio (MO); teaching: Melbourne Grammar (Australia), Montclair State University (NJ), Museum School (MA); collections: Metropolitan Museum (NYC), Yale University Art Gallery (CT); publication: Papermaking for Printmakers by Elspeth Lamb.

@gaptoothedstudio

handmade paper by Shannon Brock
Shannon Brock, Untitled Card, cotton base, red cotton veil; Yupo stencil blowout, 7 x 5 inches
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Spring Short Session Metals

Metals – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Funlola Coker
Metalsmiths and Bakers, Unite!

You don’t have to be a baker to take this workshop, but if you’ve ever dreamed of making the perfect set of measuring spoons, measuring cups, palette knives, or other baking utensils, this is the one for you! We will cover traditional metalsmithing techniques such as sawing, piercing, soldering, riveting, etc. You will be encouraged to embellish your pieces—using sawn, pierced, or forged elements—so your baking equipment will make professional bakers green with envy. This is a fun way to explore hollowware with practical results. We’ll work mostly with copper and brass, but students may choose to work with silver. All levels. Lower metals studio. 

Studio artist; teaching: Snow Farm (MA), Haystack (ME); Arts Memphis Arts Accelerator Grant (TN), Thayer Fellowship from the State University of New York Rockefeller Institute of Government; exhibitions: Brooklyn Metalworks (NYC), Fuller Craft Museum (MA), Tone Gallery (TN), Metal Museum (TN). 

funlolacoker.com | @funlolacoker

metal utensils by funlola coker
Funlola Coker, Utensils, forged Britannia silver, fabricated brass and copper, largest: 6-1/2 inches long
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Spring Short Session Glass

Glass – Spring Short Session
April 30 – May 5, 2023 (4 studio days)
David Naito
Essential. Shape.

How do you form hot molten glass into a desired shape? This workshop will help you understand how glass moves and behaves. You will be guided through the needed heats and how and when to tool the glass. With an emphasis on basic shapes, we’ll cover steps such as gathering, marvering, blowing, and tool use, and you’ll learn to combine them so your glass making will become more fluent. Teamwork and the importance of assisting will be predominant aspects of the workshop. Bring your ideas, sketches, and curiosity and be ready to shape glass. Advanced beginning level: students must have taken at least one glassblowing workshop.

Studio Artist; teaching: Alfred University/New York State College of Ceramics, Anoka-Ramsey Community College (MN), UrbanGlass (NY), Penland, Punahou School (HI); visiting artist: Ball State University (IN), Tavastia Vocational College (Finland), Mass College of Art (MA); exhibitions: Design Museum Nuutajärvi (Finland), Foreman Gallery (NY).

davidnaito.com | @davenaito

glass work by david naito
David Naito, Kilta in Creme and Orange, blown and fused glass, 9-1/2 x 14 x 6-1/2 inches
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Spring Short Session Drawing and Painting

Drawing & Painting–Spring Short Session
April 30 – May 5, 2023 (4 studio days)
Brooke Rothshank
Tiny Gratitudes

This workshop is designed to open our eyes to the details of life! We’ll create intricate, miniature paintings guided by the theme of gratitude. Students will learn how to make one-inch by one-inch designs using pencils and paper as well as basic Photoshop. We’ll experiment with watercolor and egg tempera paints. In the mornings students will have the option to paint imagery pre-drawn by Brooke; afternoons will be dedicated to original student work. We’ll have daily demonstrations, discussions about gratitude and creativity, time to journal, and room to experiment.  All levels. 

Painter/illustrator; teaching: International Guild of Miniature Artisans School (ME); International Guild of Miniature Artisans independent study grant, Indiana State Arts Council individual advancement grant; author of Tiny Gratitudes (Parallax Press); work featured in Miniature Collector and Dollhouse Miniatures magazines. 

rothshank.com | @blrothshank

painting by Brooke Rothshank
Brooke Rothshank, Greta, watercolor, 1-1/2 inches diameter
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Spring Short Session Clay

Clay–Spring Short Session
April 30 – May 5, 2023 (4-studio days)
Hitomi Shibata and Takuro Shibata
Making and Place

In this workshop we’ll explore wheel-throwing, slab construction, and handbuilding to create simple utilitarian pottery: yunomi, mugs, bowls, and plates. We have been making handmade pottery with wild clay for many years, and we’ll share our approach to natural materials and how we combine our material ideas with traditional Japanese techniques. This workshop will inspire your creativity and help foster new ideas for your work. We’ll use cone 10 red stoneware and white slips. We will fire some of the pots to cone 10 test in a gas kiln to show the whole process and the results; the rest of the pots will be bisque-fired to take home. All levels. Upper clay studio.

Hitomi: studio potter; member of International Academy of Ceramics; teaching: Penland, Haystack (ME), Peters Valley (NJ), The Art League (VA), East Carolina University (NC); exhibitions: The Clay Studio (Philadelphia), Old Church Pottery Show (NJ); publications: Wild Clay (Bloomsbury).  

Takuro: director of STARworks Ceramics (NC); member of International Academy of Ceramics; teaching: Penland, Haystack (ME), Peters Valley (NJ), Longwood University (VA); residencies: Peters Valley (NJ), Cub Creek Foundation (VA); exhibitions: Blue Spiral 1 (NC), The Clay Studio (Philadelphia), Old Church Pottery Show (NJ); publications: Wild Clay (Bloomsbury).  

studiotouya.com | @studiotouya | @takuroshibataceramics

ceramic work by hitomi shibata
Hitomi Shibata, Yunomi, North Carolina clay, iron oxide, wood ash, shino, clear glaze; cone-10 fired, 4-1/2 x 3-1/2 x 3-1/2 inches each
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Wood Spring Concentration

Wood Spring Concentration
March 5 – April 28, 2023 (8 Weeks)
Yuri Kobayashi
Design with Curvature

Making curved shapes from flat wood is like making s’mores: it’s messy and fun and requires a bit of strategy. Sometimes it even takes a village, as it is often a collaborative team effort. We’ll first get up to speed on basic woodworking—from hand-cut joinery to coopering, steam bending, and lamination. Through daily demonstrations, exercises, and hands-on instruction, students will tackle design challenges to create utilitarian objects such as trays, containers, wall shelves, small tables, form studies, or other projects that incorporate curved wood. We’ll have weekly design discussions and group critiques. Our goal will be to explore and experiment with ideas expressed in wood. All levels.

Studio artist; teaching: Rhode Island School of Design, Center for Furniture Craftsmanship (ME), recent exhibitions: Arizona State University Art Museum, Center for Art in Wood (PA), Houston Center for Contemporary Craft, Fuller Craft Museum; residencies: State University of New York Purchase, University of Wisconsin Madison, Arizona State University. 

yurikobayashi.com | @ykcurio

Yuri Kobayashi, Breath -i hear you-, ash, 30 x 29 x 48 inches
Yuri Kobayashi, Breath -i hear you-, ash, 30 x 29 x 48 inches
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Textiles Spring Concentration

Textiles Spring Concentration
March 5 – April 28, 2023 (8 Weeks)
Celia Pym
Visible Mending: Damage and Repair

This workshop will explore textile repair: how and why to do it. Students will develop skills for making visible repairs with hand-stitched darning, embroidery, and patching. We’ll play with ideas, color, and materials, and explore narratives, damage and decision making, the qualities of tenderness and care in mending, and mending’s relationship with fashion and the environment. Students will work on their own garments and those of others. A playful attitude and openness to ideas is central to this workshop.  All levels. Third-floor textiles studio.

Studio artist; teaching: Royal College of Art (London), London College of Fashion; exhibitions: Herald St (London), Firstsite (UK), Harewood Biennial: Radical Acts (UK), Trading Museum (Paris), Victoria and Albert Dundee (Scotland); collections: Crafts Council UK, Nouveau Musée National de Monaco. 

celiapym.com | @celiapym

Celia Pym, Bill’s Sweater, owner’s original handknit sweater, yellow wool darning (photo by Michele Panzeri)
Celia Pym, Bill’s Sweater, owner’s original handknit sweater, yellow wool darning (photo by Michele Panzeri)
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Metals Spring Concentration

Metals Spring Concentration
March 5 – April 28, 2023 (8 Weeks)
David Harper Clemons
Narrative Jewelry: Well-Worn Tales

Whether they are drama, mystery, social commentary, or personal history, stories can teach us lessons, memorialize events and people, and project the future. Students in this workshop will make wearable pieces and small sculpture. Guided technical and conceptual exercises will help them develop and hone their use of materials, iconography, and form to convey narratives through their work. We’ll cover surface embellishment, cold connections, soldering, mechanisms, hydraulic forming, casting, basic stonesetting, enameling, and using alternative materials. Bring curiosity and willingness to explore as you execute numerous pieces and live a great story during our eight weeks. All levels. Upper metals studio. 

Studio artist; teaching: University of Arkansas Little Rock, Haystack (ME), Pocosin Arts (NC), Arrowmont (TN), Penland; collections: Yale University Art Gallery (CT), Arkansas Art Center (AR), Metal Museum (TN), Renwick Gallery (DC); representation: Day in the Life Gallery (OR), Penland Gallery.

davidharperclemons.com | @harperclemons

David Harper Clemons, Point of Impact, silver, wood, pigment, 16 inches diameter
David Harper Clemons, Point of Impact, silver, wood, pigment, 16 inches diameter
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Iron Spring Concentration

Iron Spring Concentration
March 5 – April 28, 2023 (8 Weeks)
Stephen Yusko
Forged and Finished

Participants in this workshop will create objects that balance the industrial history of steel with a gracefulness of form. Building on a solid base of fundamental forging, forming and fabricating techniques, students will expand their visual vocabulary through creative problem solving and by exploring inventive uses of material. Techniques covered will include pattern and texture development, sheet and hollow forming, tube and pipe forging, hot and cold connections and finishing. All levels.

Studio artist; teaching: Haystack (ME), Cleveland Institute of Art, Peters Valley (NJ), Touchstone (PA); residencies: SUNY Purchase (NY), San Diego State University (CA); Ohio Arts Council Individual Artist Excellence Award (OH); Cuyahoga County Creative Workforce Fellowship (OH); exhibitions: Metal Museum (TN), FORGE, International traveling exhibition (UK and USA); publications: 500 Metal Vessels (Lark), Metalsmith SNAG JAMS, American Craft. 

stephenyusko.com | @stephenyuskostudios

Stephen Yusko, Gilson Box, forged, machined, and fabricated steel, 5 x 3 x 3 inches
Stephen Yusko, Gilson Box, forged, machined, and fabricated steel, 5 x 3 x 3 inches
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Glass Spring Concentration

Glass Spring Concentration
March 5 – April 28, 2023 (8 Weeks)
Kit Paulson
Borosilicate Fieldnotes: The Explorer’s Notebook

A notebook is a license to explore the world: in this workshop we’ll explore and catalog ideas, methods, and structures in flameworked borosilicate glass. There will be a strong emphasis on daily hand-skill practice supplemented by drawing, reading, demonstrations, and slide shows. Students will learn techniques for solid structural flameworking along with building a strong foundation in making hollow, blown forms. All levels. Flameworking studio.

Studio artist; teaching: Pilchuck (WA), Bildwerk Frauenau (Germany), National College of Art and Design (Dublin), Pittsburgh Glass Center, UrbanGlass (NYC); residencies: Rosenberg Residency (MA), Tacoma Museum of Glass (WA), S12 (Bergan, Norway); collections: Tacoma Museum of Glass (WA), KODE (Bergen, Norway), Renwick Gallery (DC). 

kitpaulsonglass.com | @kitpaulson

Kit Paulson, Pin Oak Leaf, borosilicate glass, 5-1/2 x 2-1/2 inches
Kit Paulson, Pin Oak Leaf, borosilicate glass, 5-1/2 x 2-1/2 inches
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Clay Spring Concentration

Clay Spring Concentration
March 5 – April 28, 2023 (8 Weeks)
Justin Rothshank
Decals, Soda Firing, and Pottery

This workshop will cover a variety of throwing/production techniques with earthenware and stoneware, and you will learn how to transfer your imagery onto ceramic work using decal, stamping, and layering techniques. We’ll cover image preparation, printing and transferring decals onto greenware and glazed pots, layering decals, commercial decals, and firing temperatures for various types of decals. We’ll fire all kinds of kilns, including wood, and we’ll specifically experiment with electric and soda kilns. We’ll talk about business for the studio potter, including daily production, marketing, and efficiency. All levels. Upper clay studio.

Studio artist; teaching: Touchstone (PA), Arrowmont (TN), Harvard Ceramics (MA), Baltimore Clayworks; co-founder of Union Project (Pittsburgh), Michiana Pottery Tour (Michigan, Indiana), and Indiana Clay Conference; collections: High Museum (Atlanta), Frick Museum (Pittsburgh), San Angelo Museum (TX); author of Low Fire Soda and Ceramic Decals: New Ideas and Techniques. 

rothshank.com | @jrothshank 

Justin Rothshank, Bowls, earthenware, decals, 5 inches diameter
Justin Rothshank, Bowls, earthenware, decals, 5 inches diameter
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Books & Paper Spring Concentration

Books Spring Concentration
March 5 – April 28, 2023 (8 Weeks)
Alex McClay
Form, Content, Book

In this workshop we’ll create meaningful and moving works of art by making books that merge form and content. We’ll begin by covering a plethora of bookbinding techniques, including one-page books, zines, pamphlet stitch, coptic stitch, drum leaf binding, case binding, and box-making. At the same time, we’ll practice creative exercises that will evoke your artistic voice and encourage content development. Then we’ll spend some time in the letterpress studio getting that content onto paper. You’ll learn to set type, make polymer plates, pressure print, and collagraph print, all while planning carefully for the book form. We’ll put it all together back in the books studio. Demonstrations, presentations, discussions, meditations, and exercises will enrich the workshop experience. Students will leave with a collection of handbound artists’ books and a working knowledge of bookbinding and letterpress printing. All levels. 

Studio artist; teaching: University of Cincinnati (OH), University of Georgia (GA); residencies: Tiger Lily Press (OH), Penland Core Fellowship (NC); exhibitions: Weston Art Gallery (OH), ArtSpace (NC), Haggerty Gallery (TX), Robert C. Williams Museum of Papermaking (GA).

alexmcclay.com | @raaalex

Alex McClay, Up and to the Right, book cloth, kozo, tracing paper, waxed linen thread, 4 x 5 x 1/4 inches
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Fall Weekend Specials

SPECIALS WEEKEND SESSION
October 21 – 23, 2022
Alicia D. Keshishian
Color Confidence

Color is a powerful tool. In this intensive workshop we’ll explore color through a series of hands-on exercises to reveal not only the basics of color theory but also how to integrate color into your chosen medium. And while color theory is important, it only begins the conversation, because how you apply color is what’s critical to successful work. You will leave the workshop with greater confidence navigating the language and use of color which, in turn, will expand your artistic voice. All levels. Printmaking studio.

Designer with more than 40 years of experience as an art director, graphic designer, surface designer, illustrator, color consultant, and teacher of color workshops; owner of Carpets of Imagination; executive board member for the Color Marketing Group; has studied and taught with Leatrice Eiseman, executive director of the Pantone Color Institute; residencies: Penland Resident Artist Program; former Penland graphic designer. 

adkcarpets.com | @aliciakeshishian

Alicia D. Keshishian/Carpets of Imagination, Instinct, hand-knotted Tibetan wool and silk, 14 x 8-1/2 feet
Alicia D. Keshishian/Carpets of Imagination, Instinct, hand-knotted Tibetan wool and silk, 14 x 8-1/2 feet
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Fall Weekend Wood

WOOD WEEKEND SESSION
October 21 – 23, 2022
Dail Dixon
For the Birds

Birds enjoy a well-designed, well-built place to live, and we can all do our part to help. The first day of this workshop will alternate between demonstrations and making. With a little grit, you will complete a bluebird house ready for occupancy. On the second day, you can build another just like it or try a different style. Even better, you could consider a creative approach that adopts the elemental components of the birdhouse—volume, entry hole, and perch—to present an idea, an allegory, or a portrait. We’ll cover shop safety and basic tool use, and you will leave with new skills and homes for your feathered neighbors. Beginning level. 

Architect, woodworker; fellow of the American Institute of Architects; teaching: North Carolina State University, Penland; exhibitions: North Carolina Museum of Art, St. Johns Museum (NC), Duke University Museum (NC), GreenHill Center (NC), Light Art + Design (NC), Penland Gallery; architect for multiple Penland School projects. 

daildixon.com | @daildixon

Dail Dixon, Birds of Penland Series: Drawing Studio, poplar, colored pencils, kneaded eraser, spray primer, enamel, 5-1/4 x 5-3/4 x 10-1/8 inches
Dail Dixon, Birds of Penland Series: Drawing Studio, poplar, colored pencils, kneaded eraser, spray primer, enamel, 5-1/4 x 5-3/4 x 10-1/8 inches
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Fall Weekend Clay and Specials

CLAY/SPECIAL WEEKEND SESSION
October 21 – 23, 2022
Troy Bungart
Making Your Mark: A Brushmaking Intensive

This workshop is a hands-on opportunity to make a variety of basic and compound brushes. We’ll explore the mark-making potential of different hairs, furs, and fibers—both natural and synthetic. We’ll make handles and ferrules from wood and bamboo and visit a nearby bamboo grove to learn how to harvest this material. Slide presentations and discussions will round out the workshop. Students can expect to make 20-60 brushes. All levels. Lower clay studio.

Studio artist, woodworker, brush maker; teaching: Touchstone (PA), Morean Arts Center (FL), Lillstreet Art Center (Chicago), Gaya Ceramic Art Center (Bali), Penland; galleries/exhibitions: Schaller Gallery (MI), Pewabic Pottery (MI), Northern Clay Center (MN), Michiana Pottery Tour (IN). 

troybungartstudios.com | @troybungart

Troy Bungart, Compound Brush, bamboo, wood, goat hair, leather, 12 x 3 inches
Troy Bungart, Compound Brush, bamboo, wood, goat hair, leather, 12 x 3 inches
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Fall Weekend Books and Paper

Books and Paper – Fall Weekend Session
October 21-23, 2022
Ann Marie Kennedy
Paper and Light

Making paper by hand allows for an investigation into its material nature and the interaction between paper and light. Starting with natural fibers such as flax and abaca, students will learn how to create translucent paper from overbeaten pulps. We’ll cover sheet forming techniques, including the use of a deckle box, and add content via stencils, collage, and texture. All levels. 

Associate professor at Wake Technical Community College (NC); other teaching: Women’s Studio Workshop (NY), Paper and Book Intensive (MI), Penland; residencies: Penland Resident Artist Program; installations/exhibitions: Gregg Museum (NC), Light Art + Design (NC), Cantor Art Gallery (MA); collections: Yale University (CT), Library of Congress (DC). 

annmariekennedy.net | @paperhouse17

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.

work by Ann Marie Kennedy
Ann Marie Kennedy, detail of Plant Page, abaca, 16 x 20 inches
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Textiles Fall Concentration

TEXTILES FALL CONCENTRATION
October 2 – November 11, 2022
Mary Zicafoose
The Ikat Portfolio: Weaving Resist-Dyed Cloth

This workshop will cover the basic templates for creating warp, weft, and double-ikat cloth. Daily demonstrations and weekly weaving projects will teach a broad range of resist-dye processes and approaches drawing from many ikat makers and the diverse cultural expressions of global ikat. Class assignments will include designing cloth using multiple-resist wrapping sequences and dye baths, building visual complexity through a selection of warp-shifting methods, exploring woven narrative imagery, and using ikat as a vehicle for contemporary art/cloth making. We’ll also explore possibilities for incorporating ikat wrapping structures into sculpture. Our study will be enriched by virtual presentations from several contemporary American ikat artists. All levels. Second-floor textiles studio.

Studio artist; co-director emeritus of the American Tapestry Alliance; teaching: St. Mary’s College (IN), Maiwa (Vancouver, BC), Arrowmont (TN), Penland; exhibitions: “Craft Forms 2021” at Wayne Art Center (PA), Moreau Galleries (IN), University of Mississippi Museum, San Jose Museum of Quilts and Textiles (CA); collections: Museum of Nebraska Art, United States Art in Embassies Collections globally; author of Ikat: The Essential Handbook to Weaving Resist-Dyed Cloth (Penguin Random House). 

maryzicafoose.com | @maryzicafoose
Film: maryzicafoose.com/film-viewer

NOTE: This workshop takes place in a second-floor walk-up studio that is made partially accessible by a stairlift. 

Mary Zicafoose, Flags for the Fathers, ikat wrapped, acid-dyed wool on linen warp; slit tapestry, 95 x 85 x 5 inches
Mary Zicafoose, Flags for the Fathers, ikat wrapped, acid-dyed wool on linen warp; slit tapestry, 95 x 85 x 5 inches
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Metals Fall Concentration

METALS FALL CONCENTRATION
October 2 – November 11, 2022
Hiroko Yamada
Traditional Meets Contemporary: Jewelry and Metal

This workshop will focus on basic fabrication, forming, and texturing, including an introduction to Japanese surface decoration techniques such as zogan (inlay with wire, sheet metal, or foil), engraving, and patinas. As we progress, we’ll introduce mokume-gane, explore Japanese alloys such as shakudo and shibuichi, and make some of our own tools. We’ll also work with computer-aided design and 3D printing for lost-wax casting with stones in place. Fumiki Taguchi will join us as a virtual guest to teach Japanese chisel texturing. Students may make jewelry, other functional items, or small sculpture. All levels. Upper metals studio.

Studio artist and owner of HYART Gallery (WI); teaching: Madison College (WI), Haystack (ME), Arrowmont (TN), East Carolina University (NC), Kobe Design University (Japan), Kyoto Museum of Art (Japan); exhibitions: SOFA Chicago, Patina Gallery (NM), Facèré Jewelry Art Gallery (WA), Japan Traditional Art Metal Exhibition (Japan); exhibition director for “Tradition of Excellence: Japanese Techniques in Contemporary Metal Arts” at Penland Gallery and Metal Museum (TN) and “American Mokume-Gane Exhibition” (Japan). 

hyartgallery.com | @hyart_gallery

NOTE: This workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Hiroko Yamada, Spirit, shakudo, copper, silver, shibuichi, Tahitian pearl
Hiroko Yamada, Spirit, shakudo, copper, silver, shibuichi, Tahitian pearl