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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). | @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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Print & Letterpress Fall Concentration

Papermaking/Printmaking Fall Concentration
September 22 – November 15, 2019
Georgia Deal
Paper & The Unique Print

This intensive workshop will explore the endless possibilities for combining handmade paper and monoprinting. We’ll begin by diving into the basics of papermaking, exploring techniques to create unique substrates for printing. Then we’ll cover a wide range of monoprint and monotype processes, including reductive, multiplate, and gum-transfer printing. In the paper studio we’ll work with Eastern and Western fibers, and topics will include stenciling, inclusions and embedments, pigmenting, and pulp transfer techniques. The back-and-forth of working in both media will expand your visual vocabulary and encourage you to own every aspect of the process, from paper to print! Papermaker Helen Hiebert will join us for one week as our guest instructor. All levels. Code F00X

Studio artist; professor emeritus at Corcoran College of Art and Design (DC); other teaching: Arrowmont (TN), Haystack (ME), University of Georgia Cortona Italy Program, Pyramid-Atlantic (MD); collections: Library of Congress (DC), Corcoran Gallery of Art (DC), Philadelphia Museum, Yale University Library (CT).

layered print in aqua, orange, and red on handmade paper
Georgia Deal, "Roses & Razorwire," screenprint and gum transfer on handmade paper, 24 x 30 inches
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Iron Fall Concentration

October 2 – November 11, 2022
Thomas Campbell
Fabrication: Volume I

This workshop will focus on the fundamentals of steel fabrication with an emphasis on design: both functional and sculptural. We’ll begin with exercises and assignments emphasizing proper fabrication technique, design, critical thinking, and problem solving. We’ll build off of these exercises weekly, establishing a skillset that will support personal exploration. Demonstrations will include, but not be limited to, technical drawing and layout, basic sheet-forming, MIG and TIG welding, grinding, sanding, finish work, and patination. Students will leave with new skills and a thorough understanding of steel fabrication. All levels. Note: This is not a forging workshop. 

Studio artist; teaching: Haystack (ME), Penland; residencies: Penland Core Fellowship; exhibitions: Blue Spiral 1 (NC), Signature Gallery (GA), MINT Museum (NC), Metal Museum (TN); representation: Blue Spiral 1, CultureObject (NY); collections: University of Arkansas at Little Rock. | @thomas_campbell

Thomas Campbell, Sweep, steel, 34 x 17 x 7 inches
Thomas Campbell, Sweep, steel, 34 x 17 x 7 inches
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Fall Short Session Glass

September 25 – 30, 2022
(Four studio days)
Jason Chakravarty
One and Done

This workshop is about making glass objects with single-use, hot blow molds, using a mold-making process similar to traditional lost-wax casting. We’ll create wax compositions by direct carving and/or pouring wax into molds. The waxes will be invested into traditional plaster/silica mix. The resulting molds will be steamed out and heated up. Then we’ll gather, color, and shape glass in the hot shop and blow it into the preheated molds. As compared to traditional kiln casting, this process requires less cooling time and offers more color options. The only requirement is a drive to explore, experiment, and expand; no glass experience needed. All levels. This workshop will use several parts of the glass studio. It is not a glassblowing workshop. 

Studio artist; teaching: Arizona State University, The Studio at Corning (NY), Arrowmont (TN), Bezalel Academy of Art (Israel), The Glass Furnace (Turkey), UrbanGlass (NYC), Pittsburgh Glass Center, Penland; work shown in more than 100 exhibitions including Museo Gallery (WA), SOFA Chicago, Tacoma Museum of Glass (WA); representation: Habatat Galleries (FL, MI), Kittrell-Riffkind Gallery (TX), Vetri Gallery (Seattle), Raven Gallery (CO). |

Jason Chakravarty and Jennifer Caldwell, BeeCome Connected, mold-blown, flameworked, hot, and kiln-cast glass, 23 x 9 x 7 inches
Jason Chakravarty and Jennifer Caldwell, BeeCome Connected, mold-blown, flameworked, hot, and kiln-cast glass, 23 x 9 x 7 inches