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Fall One Week Clay

Clay and Drawing – Fall One-Week Session
September 19-25, 2021
Alice Ballard
Finding Your Form through Drawing and Clay

In this process-oriented workshop we’ll move back and forth between clay and various drawing media, seeking inspiration from the beautiful Penland setting and the host of natural forms within that environment. Working inside and outside the studio, our ideas and materials will be our partners, and the creative process will lead us. Artists used to working in two dimensions and those who usually work in three will all benefit from the contrast and combination of these two ways of working. We’ll work with a variety of drawing media and sculpt in red earthenware. All levels. Upper clay studio.

Studio artist; teaching: Francis Marion University (SC), South Carolina Governor’s School for the Arts and Humanities; Fulbright fellowship for study in India, two South Carolina Arts Commission fellowships; solo exhibitions: Greenville County Museum of Art (SC), Mint Museum (NC); collections: Renwick Gallery (DC), Greenville County Museum of Art, Mint Museum. | @aliceballard64

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.
Most campus activities will return to normal operating procedures.

clay sculpture by alice ballards
Alice Ballard, Tulip, charcoal on paper, 24 x 21 inches
drawing by alice ballard
Alice Ballard, Tulip Wall Pod, white earthenware, terra sigillata, 12 x 10 x 6 inches
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Clay Fall Concentration

Clay Fall Concentration
October 3 – November 12 (six weeks)
Ben Carter
Low-Fire is Cooler

This workshop will focus on the rich history of low-fire ceramics with the goal of integrating surface design with both handbuilt and thrown/altered pottery. Students will use a variety of surface design methods—including  slip decorating, sgraffito, stamping, and transfer techniques—to create patterns that are steeped with meaning and personal resonance. During the workshop we’ll discuss aesthetic issues (proportion, color theory, etc.); making strong, functional pots at low-fire temperatures; and creative problem-solving in the studio. We’ll work with terracotta clay and fire in electric kilns. All levels.

Studio artist; host of the Tales of a Red Clay Rambler podcast; teaching: workshops in U.S., Canada, Australia, and New Zealand; residencies: Anderson Ranch (CO), Archie Bray (MT), Guldagergaard Research Center (Denmark); author of Mastering the Potter’s Wheel; representation: The Clay Studio (Philadelphia), Schaller Gallery (MI). | @carterpottery

Scholarship information here.

NOTE: Participation in fall workshops will require proof of full COVID-19 vaccination.
Most campus activities will return to normal operating procedures.

work by Ben Carter
Ben Carter, Swirl Pitcher, cone 03 earthenware, slips, underglaze, glaze, 12 x 7 x 6 inches
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Clay B Summer Session 7

Clay Summer Session 7
August 22-28, 2021
Aisha Harrison
Striking the Balance

Working from personal narrative can be daunting and feel vulnerable, but it is often from that place that we communicate through our work with the most authenticity and awareness. In this workshop we’ll aim to strike a balance between the personal and the metaphorical to produce drawings and maquettes that can be developed into more finished pieces at home. We’ll use a multi-modal approach that includes guided journal writing, a drawing process meant to uncover subconscious thoughts, and sculpting. Students will also learn to use photographs in-the-round to improve the figurative elements of their work. We’ll use mid-range clay and will not be firing. No clay or drawing experience required; all levels. Lower clay studio.

Studio artist; teaching: Evergreen State College (WA), Penland, Baltimore Clayworks (MD), Lux Center for the Arts (NE); residencies: Watershed (ME), Lormina Salter Fellow at Baltimore Clayworks, Women’s Studio Workshop (NY); exhibitions: Bainbridge Island Museum of Art (WA), O’Kane Gallery (TX), Santa Fe Clay (NM), Salon Refu/Susan Christian Project Space (WA).

Aisha Harrison, "Ancestor I," clay, graphite embroidery floss, glue, 41 x 27 x 10 inches
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Clay A Summer Session 7

Clay Summer Session 7
August 22-28, 2021
Heesoo Lee
Dimensional Expression on Ceramic Surfaces

Students in this workshop will explore handbuilding, sgraffito, texture, and watercolor-style underglaze to create images of nature and memory on functional and sculptural porcelain vessels and tiles. First we’ll create a clay canvas through an additive process on handbuilt or wheelthrown porcelain forms. Then we’ll use commercial watercolor-style underglazes to create perspective and depth and imitate traditional China paint effects on greenware and bisque-fired surfaces. Projects will be tailored to your interests with special emphasis on landscapes and perspective. Basic wheelthrowing skills are a plus, but this workshop is open to all levels. Upper clay studio.

Studio artist; Archie Bray summer residency and long-term residency (MT); exhibitions: Akar (IA), Archie Bray, International Ceramic Biennale (Korea), TRAX Gallery (CA).


Vase decorated with a colorful raised tree design
Heesoo Lee, "In Dreams," porcelain, 18 inches tall
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Clay A Summer Session 6

Clay Summer Session 6
August 8-19, 2021
Michael Sherrill
The Unified Object: Color, Form, Surface

In the natural world, color is always in motion, transitioning from one color to the next. This workshop will explore techniques using porcelain and slips to create transitional color. I will demonstrate post-firing surface techniques using diamond abrasives to remove material and polish the surface. We’ll cover the use of extruders and some handbuilding techniques and make a variety of sample pieces. Artists who work at the wheel will also discover applicable techniques. Students will be encouraged to bring their favorite handbuilding tools—particularly for mark making, texturing, carving, and embossing. Electric firing. All levels. Upper clay studio.

Studio artist; teaching: Arrowmont (TN), Anderson Ranch (CO); United States Artists Fellowship, Renwick Alliance Master of the Medium, Mint Museum Artist of the Year (NC); collections: Renwick Gallery (DC), Museum of Arts and Design (NYC), Corning Museum (NY), Los Angeles County Museum.

sculpture of orange patterned leaves on a branch
Michael Sherrill, "Mashiko," porcelain, silica bronze, 16 x 16 x 11 inches
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Clay B Summer Session 5

Clay Summer Session 5
July 18 – August 2, 2021
Kenneth Baskin
Slab Construction: Strategies for Success

This workshop will explore the use of clay slabs to construct single- or multiple-component sculptural forms. We’ll use conceptual approaches to the development of designs to investigate the relationship between objects and the potential of implied motion. We’ll cover custom template production, darting, extruded-form alteration, and making bracing forms. Construction methods will include manipulating, measuring, and building with soft and stiff slabs. Surface applications will include clay texturing, slips, glazes, and crater glazes fired in mid-range atmospheric kilns. Stoneware clay; gas firings. All levels. Lower clay studio.

Professor at McNeese State University (LA); collections: Asheville Art Museum (NC), Arkansas Arts Center, Mimi and Ian Rolland Art Center (IN), Hilliard University Art Museum (LA), Yingge Ceramics Museum (Taiwan); representation: Blue Spiral 1 (NC), Belger Crane Yard Studios (MO).

Kenneth Baskin, "Mechanical Movements" series, white stoneware, glaze, engobe; slab construction, 12 x 12 x 8 inches
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Clay A Summer Session 5

Clay Summer Session 5
July 18 – August 2, 2021
George Bowes and Judith Salomon
Cone 5 Confluence

Whether your experiences in clay are limited or you are a mid-career artist, our workshop will jump-start your excitement about clay forming techniques. Judith uses slabs to build functional and sculptural forms. George produces thrown and altered utilitarian works. We’ll explore cone 5 porcelain, casting slip, and a darker clay body, and present multiple surface options using commercial and studio-based slips and glazes. Forming techniques will include slab building, pinching, coiling, throwing, and altering. Electric oxidation firings and a salt firing will finish our pieces. All levels. Upper clay studio.

George: professor at College of the Mainland (TX); other teaching: Southern Methodist University (TX), Nova Scotia College of Art and Design, Cleveland Institute of Art, Penland, Haystack (ME), Arrowmont (TN); collections: Renwick Gallery (DC), Alfred Ceramic Art Museum (NY), Art Gallery of Nova Scotia, Newark Museum (NJ), Minneapolis Institute of Arts, Racine Art Museum (WI). Judith: professor emeritus at Cleveland Institute of Art; collections: Victoria and Albert Museum (London), Everson Museum (NY), Los Angeles County Museum of Art, Gardner Museum (Toronto); work published in American Ceramics 1876 to Present (Abbeville Press), Postmodern Ceramics (Thames & Hudson), The Artful Teapot (Thames & Hudson).  |  @geobowtx  |  @salomon_judith

George Bowes, "Prep Bowl," cone 5 porcelain, underglaze, glaze, 3 x 5 x 4-1/2 inches
Judith Salomon, "Urn," Cone 6 porcelain, 12 x 6 x 10-1/2 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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Clay B Summer Session 3

Clay Summer Session 3
June 20 – July 1, 2021
Andréa Keys Connell
Building BIG!…with a small kiln

Students in this workshop will problem-solve on multiple, large-scale ceramic sculptures. Demonstrations will focus on the hollow-building techniques needed to make pieces from one- to nine-feet tall. Students will learn various solutions for cutting, firing, and assembling their work post-firing. We’ll cover epoxies, paints, and various cold surface techniques, including glazing. You’ll learn to execute big ideas, no matter the size of your kiln. All levels. Lower clay studio.

Associate professor at Appalachian State University (NC); other teaching: Virginia Commonwealth University, Metropolitan Museum (NYC), Arrowmont (TN), Haystack (ME); exhibitions: Gibbes Museum of Art (SC), Florida Holocaust Museum (FL), Kentucky Museum of Art and Craft; work published in Ceramics and the Human Figure by Edith Garcia.

Andréa Keys Connell, "The Archer," ceramic, 30 x 28 x 18 inches
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Clay A Summer Session 3

Clay Summer Session 3
June 20 – July 1, 2021
Linda Christianson
Thoughtful Pottery

This workshop will focus on skill building, curiosity, and the aesthetic development of each student’s individual interests. Through daily demonstrations, discussions, fun exercises, and personalized attention, students will create well-crafted, thoughtful pottery. We’ll cover throwing and altering, slab making, slip and glaze application, and loading and firing kilns. We’ll use high-temperature clay and fire in Penland’s wood and salt/soda kilns. In an atmosphere of fun and hard work, the goal will be for you to experience personal growth through making pots. Both wheelthrowers and handbuilders welcome. All levels. Upper clay studio.

Studio artist; teaching: Carleton College (MN), Hartford Art School (CT), Anderson Ranch (CO), Haystack (ME), Arrowmont (TN), Penland; fellowships: NEA, McKnight Foundation (MN); collections: Everson Museum, Glenboe Museum; writing published in Studio Potter and The Log Book; has a goal of making a better cup every day.

Linda Christianson, "Coffee Pot," woodfired stoneware, 9 x 7-1/2 x 6 inches
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Clay A Summer Session 2

Clay Summer Session 2
June 6-17, 2021
Thomas Lucas and Roberto Lugo
Clay and Print: The Remix

This workshop will experiment with drawing and printing images on clay using a range of techniques, including screenprinting, relief, and lithography. We’ll use simple tools to develop image and text from a social-activist perspective with a graffiti aesthetic and poetry. We’ll draw and transfer images and create ceramic tiles, vessels, and sculpture. These forms will serve as platforms for the public voice, drawing together concepts from hip hop, history, and politics. We’ll use clay slips, stains, glazes, and modified underglazes on mostly low-temperature clay bodies and fire in electric and raku kilns. Basic handbuilding and wheelthrowing will be covered. All levels. Upper and lower clay studios.

Roberto: associate professor at Tyler School of Art (Philadelphia); awards: Pew Fellowship, Polsky Rome Prize, United States Artists Fellowship; collections: Los Angeles County Museum, Museum of Fine Arts Boston, High Museum (Atlanta), Philadelphia Museum, Brooklyn Museum (NYC). Thomas: assistant professor at Chicago State University, founder and master printer at Hummingbird Press Editions (Chicago); other teaching: School of the Art Institute of Chicago, Arrowmont (TN), Ox-Bow (MI), Penland; exhibitions: Elmhurst College (IL), South Side Community Art Center (Chicago), Museum of Greater Lafayette at Purdue (IN), and venues in Greece, Israel, and Mexico; representation: N’Namdi Contemporary (Miami, Detroit).  |  @robertolugowithoutwax  |  @printerthomas

Thomas Lucas, "Donk Jar with Hand," stoneware, screenprint and lithographic transfer, 6 x 5 x 5 inches
Roberto Lugo, "Same Ol’ Crack," earthenware, china paint, 49 x 24 x 24 inches
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Clay B Summer Session 1

Clay Summer Session 1
May 23 – June 3, 2021
Linda Lopez
Handbuilding, Abstraction, and Colored Porcelain

In this workshop we’ll use handbuilding techniques and colored porcelain to create abstracted ceramic sculptures. Through experiments and exercises, students will investigate and translate the world around us to create an abstract visual vocabulary. Using sketches and maquettes, we’ll create a series of playful objects, focusing on repetition, texture, and color. Demonstrations will be centered on object construction and colored-porcelain tests. At the end of the workshop, each student will have created a catalog of porcelain tests and a series of small abstracted objects. We’ll do oxidation firing in electric kilns. All levels. Lower clay studio.

Assistant professor at University of Arkansas-Fayetteville; other teaching: Haystack (ME), Ox-Bow (MI); exhibitions: Museum of Arts and Design (NYC), Greenwich House Pottery (NYC), Craft Contemporary (CA); representation: Mindy Solomon Gallery (FL), David B. Smith Gallery (CO).

Linda Lopez, "Orange/Pink Ombre Bend Dust Furry," porcelain, 9-1/2 x 7-3/4 x 7 inches
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Clay A Summer Session 1

Clay Summer Session 1
May 23 – June 3, 2021
Emily Reason 
Making Methods for Making Pots

New and seasoned potters are invited to join this workshop focused on skill development and the thoughtful creation of utilitarian pots. Discussions and exercises will provoke food-inspired designs for cups, bowls, and serving pieces. We’ll bring our ideas to fruition using stoneware clay formed with slab, pinch, coil, and wheel throwing techniques and bisque molds. Students will learn about gas, reduction, and, potentially, salt/soda firing processes and can expect to take home pieces from those firings along with bisque ware. Beginning level, experienced students are also welcome. Upper clay studio.

Instructor in the professional craft program at Haywood Community College (NC); other teaching: University of Nebraska-Lincoln, Mars Hill University (NC), Campbell Folk School (NC), Penland; residencies: Energy Xchange (NC), Odyssey Center for Ceramic Arts (NC); collections: Bone Creek Museum of Agrarian Art (NE); exhibitions: Smithsonian Craft Show (DC), Philadelphia Museum of Art Craft Show (DC); representation: Flow Gallery (NC).

Emily Reason, "Mugs in Landscape Glaze," stoneware, glaze, 3-1/2 by 4 x 4 inches each
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May Special Clay

Clay – Special Session
May 9-15, 2021
Rickie Barnett and Lynne Hobaica
Narrative Form and Surface

This workshop will bridge the gap between using form and surface to depict narrative. We’ll begin by using basic clay building techniques—slab, pinch, coil—to create stylized figurative components. Once the figurative objects are complete, they will become 3-D canvases that we’ll use to explore a number of decorating techniques involving building layers and carving back into them. We’ll discuss why storytelling is important and offer tools to develop a creative way to recount or invent history. We’ll work with earthenware clay and bisque fire only. All levels. Lower clay studio.

Rickie: studio artist; residencies: Taos Clay (NM), Rat City Studios (Seattle), Pottery Northwest (Seattle), Arrowmont (TN), Red Lodge (MT); representation: Gallery IMA (Seattle), Charlie Cummings Gallery (FL), In Tandem (NC), ClayAkar (IA). Lynne: studio artist; teaching: Odyssey Clayworks (NC), Pottery Northwest (Seattle); residencies: Pottery Northwest, Flower City Arts Center (NY), Ceramica Deruta (Italy), Watershed (ME), Arrowmont (TN); representation: Gallery IMA (Seattle), Gandee Gallery (NY), Imprint Gallery (OR), Signature Gallery (Atlanta).

Rickie Barnett and Lynne Hobaica, "Our Lady Just Shy of Eternal Longing," earthenware, 10 x 9 x 4 inches