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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
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Fall Short Session Metals

METALS SHORT SESSION
September 25 – 30, 2022
Heather Nuber
Make it Yours: Unique Chain

Working with copper and silver, students will learn various chain-making methods and how to adapt them. By playing with what’s around us, exploring beyond the jump ring, and sharing discoveries, we’ll expand design possibilities and develop unique chain. Techniques covered will include basic chain-making, soldering, cold connections, and variations of wire, sheet, loop-in-loop, bar, forged, and dimensional chain. We’ll also explore clasps, alternative materials, and finishings. Design exercises will spur ideas and experimentation. Students will leave with a trove of new chain samples and some finished chain. All levels. Upper metals studio

Studio artist; teaching: Indianapolis Art Center (IN), Touchstone Center for Craft (PA), Indiana University (IN); residencies: Birdsell Project (IN), Peninsula School of Art (WI); representation: Gallery 360 (MN), Gallery K (IN); exhibitions: Adorn Axis (online), Indianapolis Art Center (IN), Queerly Collective (online), Galerie Marzee (NL).

heathersnuber.com | @heather.s.nuber

Heather Nuber, i'm doing okay, steel, cotton cording, pieces of my father's hospital gowns, 10 x 26 x 1-1/2 inches
Heather Nuber, i'm doing okay, steel, cotton cording, pieces of my father's hospital gowns, 10 x 26 x 1-1/2 inches
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Metals B Summer Session 7

Metals Summer Session 7
August 14–19
Rachelle Thiewes
The Moving Canvas

The focus of this workshop is the relationship between jewelry and the human body. Movement, light, color, scale, line, form, weight, and anatomy are some of the essential elements that we’ll explore through short exercises. We’ll build concepts through personal interest and experience. The workshop will incorporate technical demonstrations focused on easy solutions, shortcuts, and tricks for fabricating and soldering metal. The goal is for students to leave with a fresh perspective, new possibilities, and some technical solutions that can be applied to their jewelry making. All levels. Lower metals studio. 

Studio artist; professor emerita at University of Texas El Paso; Houston Center for Craft Texas Master, Metal Museum Master Metalsmith (TN); collections: Smithsonian American Art Museum (DC), Metropolitan Museum of Art (NYC), National Museums of Scotland, Victoria and Albert Museum (London); publications: One of a Kind: American Art Jewelry, The Best in Contemporary Jewellery, Metalsmith.  

Rachellethiewes.com | @rachellethiewes

Rachelle Thiewes, Arc (necklace), steel, silver, auto paint, 6 x 7-1/4 x 1-1/4 inches
Rachelle Thiewes, Arc (necklace), steel, silver, auto paint, 6 x 7-1/4 x 1-1/4 inches
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Metals A Summer Session 7

Metals Summer Session 7
August 14–19
Beverly Penn
Still Nature: Direct Method Casting

Working from observation of the Penland landscape, students will create work using direct-method casting techniques. We’ll explore the Penland grounds to understand the connection between art and nature while collecting botanical and other organic samples for direct casting in either bronze or silver. Students will also learn techniques for preparing organic materials such as cloth, rope, lace, etc. for casting. There will be in-depth casting instruction, and students will combine cast elements to create finished artworks. We’ll also cover soldering techniques for incorporating appropriate mechanisms into finished forms. Basic metalsmithing skills will be helpful, but this workshop is open to all levels. Upper metals studio. 

Professor at Texas State University; Fulbright Fellowship, Rockefeller Foundation Bellagio Residency, Lux Art Institute International Artist Residency; collections: National Museum of Women in the Arts (DC), Yale University (CT), Cooper-Hewitt Museum (NYC), Philadelphia Museum of Art, Racine Art Museum (WI); representation: Lisa Sette Gallery (AZ).

beverlypenn.com

Beverly Penn, Asclepias, cast bronze, 24 x 10 x 10 inches
Beverly Penn, Asclepias, cast bronze, 24 x 10 x 10 inches
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Metals B Summer Session 6

Metals Summer Session 6
July 31–August 12
Tom Beard and Julia Woodman
Flatware: Forged and Formed with 3D Tessellation

Discover how to move metal using time-honored forging and shell-forming techniques and create handsome copper, brass, or silver flatware adorned with 3D tessellation (patterns created by joining a number of small units). Students can expect to finish two or three pieces, but we’ll emphasize process, experimentation, and developing skills. Techniques and demonstrations will be introduced daily and as needed for individual projects. One-on-one instruction will allow students to explore and problem-solve at their own skill level. Bring your favorite tools, your imagination, and an Optivisor, and we’ll all become hammerrific! All levels. Lower metals studio.

Tom: jeweler, blacksmith, certified gemologist; formerly employed by Tiffany and Co., Neiman Marcus, and Dillon Forge (GA); teaching: Spruill Center for the Arts (GA).

Julia: studio artist; teaching: Campbell Folk School (NC), Spruill Center for the Arts (Atlanta), Chastain Art Center (Atlanta), Georgia State University; collections: Victoria and Albert Museum (London), Museum of Fine Arts Boston, High Museum (Atlanta).

juliawoodman.com

Tom Beard, Candlesticks, sterling silver, 20 x 6 inches each
Tom Beard, Candlesticks, sterling silver, 20 x 6 inches each
Julia Woodman, Bubbles Champagne Cocktail Ladle, sterling silver, glass bead, 15 x 4-1/2 inches
Julia Woodman, Bubbles Champagne Cocktail Ladle, sterling silver, glass bead, 15 x 4-1/2 inches
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Metals A Summer Session 6

Metals Summer Session 6
July 31–August 12
Melis Agabigum and Joshua Kosker
Material Hierarchy: From Gold to Glue

From gold to glue, this workshop will explore material hierarchy within a contemporary jewelry practice by challenging preconceived notions about the emotional impact of material choices and the aesthetic power and status we associate with certain materials. We’ll investigate the role of materiality in creative practices through readings and discussions, formal studies designed to cultivate idea development, and technical explorations. Demonstrations will cover gold plating, the experimental use of nontraditional materials, various pin back assemblies, and creative ways of integrating settings and mechanisms. We’ll also cover basic techniques such as sawing, filing, and soldering. Using these concepts and techniques, students will create a unique series of jewelry objects. Bring an open mind and an imaginative approach to how material decisions can impact and alter meaning. All levels. Upper metals studio.

Joshua: visiting assistant professor at Indiana University; other teaching: Indiana University of Pennsylvania, Bowling Green State University (OH), Touchstone Center for Crafts (PA); exhibitions: Estonian Museum of Applied Art and Design (Estonia), Benaki Museum (Greece), Houston Center for Contemporary Craft (TX); publications: Metalsmith, American Craft, Narrative Jewelry: Tales from the Toolbox.

joshuakosker.com | @joshuakosker

Melis: visiting assistant professor at Earlham College; other teaching: University of Wisconsin-Milwaukee, San Francisco State University, Boise State University (ID); exhibitions: Walker Art Center (Minneapolis), ARCUB Gabroveni (Romania), Benaki Museum (Greece), Alliages Gallery (France), Soil Gallery (Seattle), Pistachios Contemporary Art Jewelry (Chicago); publications: Art Jewelry Forum.

melisbanu.com | @ms_melisbanu

Melis Agabigum, When a caged bird sings, copper, enamel, cotton cord, beeswax, 14-1/2 x 5-1/4 x 4-1/4 inches
Melis Agabigum, When a caged bird sings, copper, enamel, cotton cord, beeswax, 14-1/2 x 5-1/4 x 4-1/4 inches
Joshua Kosker, Give and Take, soap, 24k gold-plated brass, 18k gold, 2-1/2 x 2-3/4 x 3/4 inches
Joshua Kosker, Give and Take, soap, 24k gold-plated brass, 18k gold, 2-1/2 x 2-3/4 x 3/4 inches
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Metals B Summer Session 5

Metals Summer Session 5
July 17–29
Brian Fleetwood
Cast in Stone: Tufa Casting for Jewelry

In this workshop students will learn to carve tufa–a soft volcanic stone–to create molds for direct-pour casting in bronze or silver. We’ll look at the rich history of this process and explore its unique properties and limitations through a series of technical demos that will include the casting process itself, basic soldering and fabrication, and iterative design. Students can expect to complete a number of castings, and we’ll end the session with a pin trade. All levels. Lower metals studio. 

Assistant professor at Institute of American Indian Arts (Santa Fe); other teaching: Center for Craft (NC), Pratt Fine Arts Center (Seattle), Museum of Contemporary Native Arts (Santa Fe), Oklahoma State University; Windgate-Lamar Fellow, Smelser-Vallion Visiting Artist; publications: Ornament, Lapidary Journal, Jewelry Artist, Art Jewelry Forum; representation: Form & Concept (Santa Fe).

Gallery

Brian Fleetwood, Crinoid Stem Brooches, sterling silver, bronze, dimensions vary
Brian Fleetwood, Crinoid Stem Brooches, sterling silver, bronze, dimensions vary
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Metals A Summer Session 5

Metals Summer Session 5
July 17–29
Ruta Reifen
Ready, Set, Wax!

Students in this workshop will use several wax-forming techniques to complete a set of designs prepared for metal casting and primed for stone setting—including bezel, prong, and basket settings. We’ll learn subtractive methods using carving wax with files, burrs, and carving tools, and we’ll work additively with soft waxes using wax pens and other modeling tools. We’ll cover different approaches to surface embellishment and wax production considerations like mold making. After our designs have been cast into metal and properly finished, we’ll be ready to set! We’ll practice basic stone setting and preparation for outsourced stone setting in the future. All levels. Upper metals studio.

Studio artist; teaching: Rhode Island School of Design, Pratt Institute (NYC), Shenkar College of Engineering and Design (Israel), 92nd Street Y (NYC), Metalwerx (MA), Penland; work sold in more than 20 jewelry shops in the US and Europe. 

rutareifen.com | @rutareifenjewelry

Ruta Reifen, Monde Ring, 14k gold, multicolored sapphires, lavender amethyst, 3/4 x 1/2 x 1/2 inches
Ruta Reifen, Monde Ring, 14k gold, multicolored sapphires, lavender amethyst, 3/4 x 1/2 x 1/2 inches
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Metals B Summer Session 4

Metals Summer Session 4
July 3–15
Georgina Treviño
Make it Editorial!

Working intuitively and quickly, students in this workshop will explore what it means to make statement jewelry–the kind that might be used for fashion shoots. Creating this kind of editorial work is all about working under pressure. You can’t overthink it. This workshop will push you to make, make, make! We’ll start with basic metal techniques such as piercing, drilling, soldering, and cold connections. Then we’ll use these techniques to experiment with other materials such as resin, found objects, and clothing. We’ll work collaboratively, make a lot of pieces, and have a good time. We’ll also discuss pricing and styling and set aside a full day to document our final pieces. All levels. Lower metals studio.

Studio artist: residencies: Arrowmont Pentaculum (TN), Penland winter residency; exhibitions: Schmuck 2015 (Germany), Racine Art Museum (WI), New York Jewelry Week (NYC), Fotocopy (Italy), Collar Works Gallery (NY); collections: Museum of Arts and Design (NYC), OHMYBLUE Gallery (Italy); publications: Vogue, Elle, Los Angeles Times, Allure, Metalsmith.

georginatrevinojewelry.com | @georginatrevino

Georgina Treviño, Tribal, upcycled hat, brass, zirconia, findings
Georgina Treviño, Tribal, upcycled hat, brass, zirconia, findings
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Metals A Summer Session 4

Metals Summer Session 4
July 3–15
Aaron Decker
Enameling in the Round

In this workshop students will explore techniques for enameling on 3D surfaces. We’ll experiment, take risks, and problem-solve during a thorough investigation into enamel as a material for 3D forms. We’ll also delve into enameling techniques such as wet packing, enamel painting, and plique-à-jour. We’ll translate drawing, painting, or sketches into opportunities to explore pattern, shape, and the surface qualities of enamel. Students should be able to complete 10-15 tiles/pieces, but the core of this workshop will be creative problem-solving and getting to know the material. All levels. Upper metals studio.

Studio artist, production development manager at Shinola Detroit; Windgate Fellowship, Mercedes Benz Emerging Artist, Marzee Prize (Netherlands); collections: Yale University Art Gallery (CT), Rotasa Foundation (CA), Enamel Arts Foundation (CA); representation: Ornamentum Gallery (NY), Marzee Gallery (Netherlands), Beyond Gallery (VT), OONA Galerie (Berlin), Galerie Noel Guyomarc’h (Canada). 

aaron-decker.com | @aaronpdecker

Aaron Decker, Yellow Bird Bomb, silver, enamel, copper, 4-1/2 x 2 x 3-1/2 inches
Aaron Decker, Yellow Bird Bomb, silver, enamel, copper, 4-1/2 x 2 x 3-1/2 inches
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Metals B Summer Session 3

Metals Summer Session 3
June 19–July 1
Lauren Kalman
Hydraulic Press: Symbols and Specimens

This workshop will use the hydraulic press as a central tool to form metal. Hydraulic-press forming often requires simplification or modification of forms; we will explore how these technical considerations can be used to create symbolic languages. As we develop designs, we’ll consider historic objects like ex votos, talismans, relics, and lockets as well as contemporary objects and jewelry. Students will experiment with combinations of silhouette dies, cast resin dies, carved acrylic dies, and pancake cutting dies. Working with these tools and inspirations, students will produce specimens, samples, experiments, and small-scale works. All levels. Lower metals studio.

Associate professor at Wayne State University; other teaching: Rhode Island School of Design, Brown University (RI), Penland, Pocosin Arts (NC); collections: Renwick Gallery (DC), Museum of Fine Arts Boston, Detroit Institute of Arts, Museum of Arts and Design (NYC), Stedelijk Museum (Amsterdam). 

laurenkalman.com | @laurenkalman

Lauren Kalman, But if the Crime is Beautiful...Hood (12), inkjet print, gold-plated brass, 28 x 20 inches
Lauren Kalman, But if the Crime is Beautiful...Hood (12), inkjet print, gold-plated brass, 28 x 20 inches
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Metals A Summer Session 3

Metals Summer Session 3
June 19–July 1
Kristin Mitsu Shiga
The Language of Jewelry

Develop your conceptual, technical, and design vocabularies in this intensive workshop. Discover (or refine) your creative voice to infuse your jewelry with meaning through personal storytelling. Playful morning exercises will inform and inspire independent work. In addition to beginning to advanced metal fabrication techniques, we’ll explore how to incorporate alternative materials such as wood, acrylic, and found objects. Techniques may include basic fabrication, cold connections, stone setting, chain making, findings, mechanisms, photo-etching, hydraulic forming, and casting. Our aim is to challenge ourselves on both a technical and a personal level and come away transformed. All levels. Upper metals studio.

Studio artist, owner of ‘Okina Jewelry teaching studio and gallery (HI); collections: Kamm Teapot Collection (NC), The White House (DC); publications: Art Jewelry Today, The Art of Enameling, several Lark Books 500 series books. 

okinajewelry.com | @metal_babe

YouTube channel

Kristin Mitsu Shiga, That’s How the Light Gets In, steel, sterling silver, copper, 18k gold, mica, 2-1/2 x 18 x 1/4 inches
Kristin Mitsu Shiga, That’s How the Light Gets In, steel, sterling silver, copper, 18k gold, mica, 2-1/2 x 18 x 1/4 inches
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Metals B Summer Session 2

Metals Summer Session 2
June 5–June 17
Jaydan Moore
Fabrication

In this workshop we’ll make fabricated vessels, defining what is meant by “vessel” pretty broadly. We’ll cover sheet patterning techniques to create all types of shapes and learn how to cut metal efficiently. Creating efficient layouts for simple and complex forms will make fabrication go smoothly. We’ll build compound curves through sinking and raising, create sharp edges through scoring and bending, and bring pieces together using larger-scale soldering techniques. All levels. Lower metals studio. 

Studio artist; teaching: Virginia Commonwealth University, Rhode Island School of Design, California College of the Arts, Haystack (ME), Penland; residencies: Penland Resident Artist Program, Kohler Arts Industry (WI), Houston Center for Contemporary Craft, Virginia Commonwealth University Fountainhead Fellowship; collections: Museum of Fine Arts Houston, Carnegie Museum of Art (PA), Kohler Company (WI).

jaydanmoore.com | jaydan.moore

Jaydan Moore, Coil #2, found silver-plated platters, 18 x 18 x 5 inches
Jaydan Moore, Coil #2, found silver-plated platters, 18 x 18 x 5 inches
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Metals A Summer Session 2

Metals Summer Session 2
June 5–June 17
Danni Xu
Illustration in Enamel

Enameling is fusing powdered glass to a metal surface. This workshop will introduce various enameling techniques to create imagery. Whether you are inspired by nostalgic memories or your favorite novels, you will jump into the illustrative world of enameling and start building the skills needed to translate your imagery into glass on metal. We’ll begin with the basic process of sifting enamel onto copper and then explore a variety of techniques such as cloisonné, champlevé, China paint, and decal. We’ll also cover some fundamental jewelry techniques to support the creation of samples and finished pieces. All levels. Upper metals studio.

Studio artist, adjunct instructor at Kean University (NJ); other teaching: Rhode Island School of Design, Lillstreet Art Center (Chicago); Tiffany & Co. Foundation scholarships; exhibitions: Beijing International Jewellery Art Exhibition (China), Lincal Lab (Portugal), Metal Works (NYC), Pistachios Contemporary Art Jewelry (Chicago), Baltimore Jewelry Center, Surface Matters: Grit or Gloss a traveling exhibition from The Enamelist Society. 

dannixu.com | @dannii_xu

Danni Xu, Handmade Memory #2, silver, copper, steel, enamel, embroidery thread, plexiglas, 4 x 3 x 1 inches
Danni Xu, Handmade Memory #2, silver, copper, steel, enamel, embroidery thread, plexiglas, 4 x 3 x 1 inches
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Metals B Summer Session 1

Metals Summer Session 1
May 29–June 3
Lydia Martin
Witness Lines

No matter how you approach soldering, a seam is present. Although we can learn to disguise and refine–creating the illusion of a seamless surface–there are applications where seams are inevitably visible. But what happens when a solder seam becomes more than just a connection point between two pieces of metal? In this workshop, students will explore the potential of the visible solder seam in hollow form construction. After becoming familiar with the foundations of this method, we’ll throw out the rule book and adapt new ways of thinking and making into your personal studio practice. From beginners to seasoned makers, all are welcome to join in, experiment, and play. All levels. Lower metals studio.

Windgate Artist in Residence at University of Arkansas at Little Rock; teaching: Baltimore Jewelry Center (MD), Towson University (MD), Montgomery College (MD), Rochester Institute of Technology (NY); representation: Jewelers’ Werk Galerie (DC). 

lydiaelsamartin.com | @lydiaelsamartin

Lydia Martin, The Weight of Line, sterling silver, lacquer, stainless steel, 5 x 4-1/4 x 1-1/2 inches
Lydia Martin, The Weight of Line, sterling silver, lacquer, stainless steel, 5 x 4-1/4 x 1-1/2 inches
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Metals A Summer Session 1

Metals Summer Session 1
May 29–June 3
Marlene True
Well Connected: Beyond the Jump Ring

Jump rings are a classic jewelry finding used to make chains and to connect one component to another, but there are many more exciting ways to connect metal. This workshop will move beyond jump rings to imagine and create strong connections that can unify your jewelry. We’ll start cold with tabs, rivets, screws, and stitches. Then we’ll heat it up with soldering techniques to create a variety of connections. Finally, students will design and complete a piece of jewelry with parts that are creatively well-connected. All levels. Upper metals studio.

Executive director of Pocosin Arts School of Fine Craft; teaching: West Dean College (England), Arrowmont (TN), Haystack (ME), Peters Valley (NJ); collections: Museum of Arts and Design (NYC), Metal Museum (TN); exhibitions: Crafting a Legacy at The Metal Museum (TN); published in Little Dreams in Glass and Metal: Enameling in America 1920 to the Present (UNC Press).

marlenetrue.com | @marlenetrue

Marlene True, Sisters, repurposed steel, brass, 24k gold plate, plastic, 3-1/2 x 7 x 1/2 inches
Marlene True, Sisters, repurposed steel, brass, 24k gold plate, plastic, 3-1/2 x 7 x 1/2 inches