Category: Workshops

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Specials Fall 1

Specials Fall One-Week Session I
October 6-12, 2019
Caverly Morgan & Joy Seidler
Immortal Messages: Mindful Making

That which is never born and never dies is always singing. This workshop invites you to explore ways we can source our creative endeavors from the deep river-beneath-the-river—the eternal wellspring of consciousness experienced in quiet moments of meditation and creative practice. We’ll explore how intention and attention, spontaneous play, structured limits, and direct experience of the mystery can guide us. We’ll employ multiple crafts—including paste-paper, journal making, clay, and more—as vehicles for the practice of presence and receptivity. We’ll explore meditation, weaving creative mindful practice into life, and the role of service in the craft arts. All levels. Code CB-Flex

Caverly: founder and guiding teacher of the mindfulness organizations Presence Collective and Peace in Schools; studied for eight years in a Zen monastery; former Penland core fellow. Joy: studio artist and educator; over twenty years of experience teaching journaling at Penland and elsewhere; journals included in national and international collections.

caverlymorgan.org

Caverly Morgan, "Tribute to Paulus," clay, 3 x 3-1/2 inches
Joy Seidler, "Fern Journal," paper, board, waxed linen, 9-1/4 x 6-1/4 inches
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Fall Short Session Wood

WOOD – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Chloris Lowe
Throwing Shade

Using an additive woodworking approach, students will create lanterns using freeform bending and binding techniques to transform linear components into unique organic forms. With a little help from steam and gentle coaxing, line will give way to volume and extend into shadow as each student creates their own unique, functional, hanging or free-standing light source. We will cover hand tools, the band saw, and basic electrical wiring. Come ready to experiment and explore within a fun and guided framework. All levels. 

Studio artist; teaching: Edgewood College (WI), Moore College of Art & Design (PA), Montgomery County Community College (PA); Center for Furniture Craftsmanship fellowship (ME); collections/permanent installations: CUNA Mutual-TruStage (WI), Biochemical Sciences UW Madison (WI).

chloris-lowe.com | @c.instalowe

Enrollment opens May 1

Chloris Lowe, Light Form A, cedar, steel wire, lighting components, 20 x 32 x 16 inches
Chloris Lowe, Light Form A, cedar, steel wire, lighting components, 20 x 32 x 16 inches
lowe
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Fall Short Session Textiles

TEXTILES – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Leigh A. Hilbert
Carry and Stow

We are all bound by the particulars of the things we carry, and everyday carry will guide this engaging workshop. Each student will complete a sewn bag with lining, multiple pockets, zippered closure, hardware, and straps of their choosing. The project will be guided by the instructor, but individual details will make each bag cater to the needs of the user. Students will also complete a few small learning items, which, depending on skill level, may include a zip pouch, a dopp kit, a bucket bag, or simple tote. Beginning students will be walked through basic seams and stitches on the home machine, while more advanced students can have a go at the industrial machines, a variety of zipper insertions, trickier seam finishes and detailed constructions in their bag making. All levels. Upper textiles studio.

Note: This workshop takes place in a third-floor, walk-up studio made partially accessible by a stair lift. 

Studio artist; founder: Overlap Sewing Studio (NC), The Drygoods Shop (NC), Open Studio Patterns (NC); teaching: The Drygoods Shop (NC), AB Tech (NC), Penland, The Industrial Commons (NC), Open Studio Patterns (online), UC Berkeley (CA), Creativity Explored (CA); galleries: Tiny Gallery (CA), Valencia 240 (CA), Penland Gallery.

leighahilbert.com | @overlapsewingstudio

Enrollment opens May 1

Leigh A. Hilbert, Leather Bag, leather, canvas, brass, 16 x 18 x 4 inches
Leigh A. Hilbert, Leather Bag, leather, canvas, brass, 16 x 18 x 4 inches
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Fall Short Session Print and Letterpress

LETTERPRESS – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Brad Vetter
Lasers and Letterpress

Walking the line between analog and digital, this workshop will explore new technologies and techniques in letterpress printing with a focus on using the laser engraver. Our duty as a new and developing generation of letterpress printers is no longer just to communicate, but also to expand the conversation, push on its limitations, and see what new things are possible in this centuries-old medium. Students will make posters using antique type and presses in collaboration with the studio’s laser engraver to discover exciting new approaches to letterpress printing. Letterpress and Photoshop/Illustrator experience will be helpful, but this workshop is open to all levels. 

Note: Students should bring a computer if they can; contact the studio operations manager if you are enrolled and are unable to bring a computer: studio_operations@penland.org

Studio artist; teaching: Miami University (OH), Northern Illinois University, Hamilton Wood Type & Printing Museum (WI); exhibitions: Danish Museum of Media, University of Akron Fine Arts (OH), University of Mary Hardin-Baylor (TX); publications: Low-Tech Print, Uppercase Magazine, Wood Type Evolved; clients: Nike, Snoop Dogg, Chevrolet, Chris Stapleton.

bradvetterdesign.com | @bradvetter

Enrollment opens May 1

Brad Vetter, Noah Kahan Show Poster, letterpress, 22 x 13 inches
Brad Vetter, Noah Kahan Show Poster, letterpress, 22 x 13 inches
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Fall Short Session Photography

PHOTO FALL SHORT SESSION
SEPTEMBER 24 – 29, 2023 (four studio days)
Dan Estabrook
The Handmade Negative

This short session will introduce two methods for making photographic negatives, both of which predate the advent of film: the calotype paper negative and the wet-plate collodion glass negative. Working with raw chemistry and simple materials, students will make photographic negatives suitable for printing with almost any process. While we work, we’ll discuss the history and syntax of each process: how the method for making the negative affects the images created with it. Bring your own props and costumes if you wish, or venture out into the beautiful North Carolina landscape. Cameras will be available in the studio. All levels. 

Studio artist, visiting assistant professor at Pratt Institute (NYC), frequent Penland instructor since 1994; exhibitions: Catherine Edelman Gallery (Chicago), Daniel Cooney Gallery (NYC), Wilson Museum (VA), Halsey Institute of Contemporary Art (SC); recent projects include a handmade artist book project in collaboration with Nathan Carter, published by Threestart Books (Paris). 

danestabrook.com

Regular enrollment will begin on May 1.

Dan Estabrook, The Thief, cut tintype, 19 x 17 inches
Dan Estabrook, The Thief, cut tintype, 19 x 17 inches
Dan Estabrook, Henry Talbot’s Grave, diptych: pencil on waxed calotype negative, salt print, 7 x 9 inches
Dan Estabrook, Henry Talbot’s Grave, diptych: pencil on waxed calotype negative, salt print, 7 x 9 inches
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Fall Short Session Metals

METALS – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Joanna Gollberg
Setting the Trap

Using fabrication methods and proper soldering techniques, students will learn to make a variety of settings to trap objects in their jewelry. We’ll cover bezels, prongs, tabs, tube settings, balling wire to hold items in place, and professional bead stringing and knotting. These techniques along with in-depth soldering techniques will help students add colorful and interesting gemstones or found objects to their work. Students can work from assignments or they can bring ideas for jewelry designs they want to complete. Soldering experience will be helpful, but this workshop is open to all levels. Upper metals studio.

Notes:

  • We will only be using a torch with two gases, such as the Smith Little Torch or the Meco. Be prepared to have a mind-blowing experience working with this tool!
  • This workshop takes place in a studio with stairs that compromise access. It is made partially accessible by a stair lift. 

Studio artist; twenty years selling her work at craft and jewelry galleries and fine craft shows; teaching; Craftsy.com, Arrowmont (TN), Haystack (ME), Penland; author of Making Metal Jewelry, Creative Metal Crafts, The Art & Craft of Making Jewelry, and The Ultimate Jeweler’s Guide (all published by Lark Books); other publications: Metalsmith, Ornament, 21st Century Jewelry (Sterling), 500 Wedding Rings (Lark Books).

joannagollberg.com | @joannagollberg

Enrollment opens May 1

gollberg
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Fall Short Session Iron

IRON – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS) 
Susan Madacsi
Paper to Fire: Forged Botanicals

Using paper as a design and problem-solving tool, students will learn to translate the natural world into forged steel. We will start by gathering botanical objects that carry aesthetic intrigue. Then we will make paper patterns inspired by these gatherings and use various tools to cut sheet, thin plate, and angle iron and create leaves, petals, stems, etc. We will cover the transition from a flat plane to volumetric form through folding, creasing, and rolling metal while it is in a malleable state. Forging techniques and different hammer styles will create surface texture. I will also demonstrate a variety of finishing techniques that use color. Students will return home with samples, patterns to work with in their own studios, and a finished piece. All levels. 

Studio artist; teaching: Campbell Folk School (NC), New England School of Metalwork (ME), Brookfield (CT), The Steel Yard (RI); exhibitions: Seattle Art Fair (WA), 1st International Biennale (Braga, Portugal), Bellevue Arts Museum (WA), Metal Museum (TN), Fuller Craft Museum (MA), Smithsonian Craft Show (DC), Philadelphia Museum Craft Show, David Lusk Gallery (TN); residencies: Ferro (Germany), Vermont Studio Center. 

madacsistudios.com | @smadacsi

Enrollment opens May 1

Susan Madacsi, Tulips for Steven, forged and fabricated steel, paints, wax, 26 x 13 x 2 inches
Susan Madacsi, Tulips for Steven, forged and fabricated steel, paints, wax, 26 x 13 x 2 inches
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Fall Short Session Glass

GLASS – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Joseph Cavalieri
Stained Glass Reimagined

This workshop will focus on adding detailed images to stained glass works using processes that will include airbrush, pen-and-ink drawing, sandblasting, painting, and screenprinting (using screens supplied by the instructor). Enamels will be applied to the glass surface and then kiln fired. No need to be an expert painter as we will be tracing images. Students will make many samples that will be joined with copper foil and solder to make a larger finished panel. All levels.

Studio artist; teaching: The Studio at Corning (NY), Pilchuck (OR), Bezalel Academy of Arts and Design (Israel); residencies Museum of Arts and Design (NYC), Sacatar Foundation in Bahia (Brazil); public art projects: MTA Commission (NYC), Our Lady of Mercy Church (Brazil); collections: Museum of Arts and Design (NYC), Italian American Museum (NYC), Leslie-Lohman Museum (NYC); current solo exhibition: Dixon Place (NYC). 

cavaglass.org | @joseph_cavalieri_glass

Enrollment opens May 1

Joseph Cavalieri, Hand of the Marionette, hand-painted, air-brushed stained glass, framed with LED lighting, 12 x 12 x 2 inches
Joseph Cavalieri, Hand of the Marionette, hand-painted, air-brushed stained glass, framed with LED lighting, 12 x 12 x 2 inches
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Fall Short Session Drawing and Painting

DRAWING/PAINTING – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Chuck Webster
Exploring Materials and Mark Making

When making art, each material brings its own qualities to your practice. In this workshop we will get loose and work without fear as we will explore traditional materials, such as oil, acrylic, watercolor, charcoal, and pencil, along with new, found materials, such as dirt, pebbles, bark, grass, and any materials students wish to bring with them. We will find ways to use and combine these, learning how materials behave physically and how they impact each other. Students will gain a new comfort level with their work and leave with energy, ideas, and a fresh perspective on their process. All levels. 

Studio artist; teaching: Rhode Island School of Design, State University of New York-Purchase, Vermont Studio Center, Boston University, Virginia Commonwealth University; residencies: Yaddo (NY), Macdowell Colony (NH); collections: Museum of Modern Art (NYC), Metropolitan Museum of Art (NYC), Museum of Fine Arts Houston, Dallas Museum of Art, Whitney Museum (NYC). 

chuck-webster.com | @chuckwebster

Enrollment opens May 1

Chuck Webster, Invaders, oil and collage on panel, 24 x 30 inches
Chuck Webster, Invaders, oil and collage on panel, 24 x 30 inches
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Clay Fall Short Session

CLAY – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Adrienne Eliades
Say It with Surface

Cultivate your creative voice through surface design on clay. Beginning with test tile studies, students will work through aesthetic considerations such as color, composition, and imagery (whether abstract or representational). Then, working with thrown forms such as cups, bowls, and vases, students will practice applying 2D imagery to 3D forms. Techniques will include inlay, slip trailing, stenciling, and resist in combination with underglaze and glaze. Demonstrations, exercises, and discussions will prompt students to connect with their internal and external sources of inspiration. Students will leave with new skills and ideas, greenware pots, and glazed test tiles fired to mid-range temperature. All levels. Upper clay studio.=

Studio artist; teaching: Lewis & Clark College (OR), Portland Community College (OR), Arrowmont (TN), Touchstone (PA), Idyllwild Arts (CA); residencies: Ash Street Project (OR), Guldagergaard (Denmark), The Bright Angle (NC); representations: Charlie Cummings Gallery (FL), Clay Akar (IA), Eutectic Gallery (OR); publications: Ceramics Monthly, Pottery Making Illustrated (cover), The Beginner’s Guide to Handbuilding, The Beginner’s Guide to Wheel Throwing. 

adrienneeliades.com | @bugaboo_eyes

Enrollment opens May 1

Adrienne Eliades, Stacked Mugs, porcelain, glaze, underglaze, 4-3/4 x 3-1/4 x 3-1/4 inches
Adrienne Eliades, Stacked Mugs, porcelain, glaze, underglaze, 4-3/4 x 3-1/4 x 3-1/4 inches
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Fall Short Session Books

BOOKS – FALL SHORT SESSION
SEPTEMBER 22 – 27, 2024 (4 STUDIO DAYS)
Janelle Washington
Papercut Portraits

This workshop will focus on the materials, tools, and methods needed to cut a colorful paper portrait with accuracy and expression. Students will learn to capture likeness and personality using a photo of themselves or someone else as a template for their paper cut. We will cover paper cutting techniques, safety, positive and negative space, and cutting and gluing colorful infills to make your paper portrait stand out. All levels.

Studio artist; teaching: Morgan Conservatory (OH), Artspace (NC), Chesapeake Art Center (MD), Jaffe Center for Book Arts (FL); Peter Bullough Foundation residency (VA); exhibitions: Women’s Caucus for Art (MD), Museum of American Illustration (NYC), solo show at Chesapeake Art Center, (MD); collections: St. Paul Episcopal Church (VA), National Museum of African American History and Culture (DC), National Institute of Health Clinical Center (MD), Inova Schar Cancer Institute (VA). 

washingtoncuts.com | @washingtoncuts

Enrollment opens May 1

Janelle Washington
Janelle Washington, Nuri 1/najicopland, cut paper, tissue paper, 16 x 20 inches
Janelle Washington
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Fall Visiting Artist

Fall Visiting Artist

Each fall and spring, Penland invites a visiting artist to join us for one or two weeks to engage with Concentration instructors and students. The intent is to add an invigorating presence to the session, enhancing the experience for everyone.

Tift Merritt

Tift Merritt is a singer and songwriter. In her nearly 20-year career, she has recorded seven albums of original material and earned a Grammy nomination. Tift is known for her short-story-style songwriting and her creative collaborations. She has shared the stage with bands as varied as Nick Lowe and Jason Isbell and was a member of Andrew Bird’s band, The Hands of Glory. In 2017, she designed a fabric collection for Bernhardt Design inspired by the guitar straps she makes with vintage ribbons. Most recently, she has been a regular contributor to the Oxford American, chronicling her tours with her young daughter Jean. The New Yorker called Tift “the bearer of a proud tradition of distaff country soul that reaches back to artists like Dusty Springfield and Bobbie Gentry.”

tiftmerritt.com

portrait of Tift Merritt
Image: Alexandra Valenti / Sacks & Co.
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Wood Summer Session 7

WOOD – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Julia Harrison
Carving Cottonwood Bark

The bark that is shed by cottonwood trees is an intriguing material for carving that offers dramatically unpredictable patterns, irregular shapes, and a soft but smooth texture. Bark responds better to strategy than to force and is a great material for beginners or those with lower hand strength as well as experienced carvers looking to build skill and sensitivity. Students will learn bark preparation, layout and roughing, tool selection, detailing, and finishing. We will primarily use hand tools but demonstrations will also cover some power tools and creating larger carving blocks. This process requires patience; expect steady but slow progress. All levels.

Studio artist; teaching: Penland, Haystack (ME), Arrowmont (TN), Pratt Fine Arts Center (WA), Snow Farm (MA), 92nd St. Y (NYC); grants: World Wood Day Research Grant, North Carolina Arts Council Artist Support Grant, Campbell Folk School Traditional Craft Mentorship (NC); residencies: Museum for Art in Wood (PA), Bunnell Street Arts Center (AK), Penland; collections: University of Arkansas, Tacoma Art Museum (WA), Mint Museum (NC), Museum for Art in Wood (PA).

juliaharrison.net | @byjuliaharrison
October 15 – November 15: Scholarship applications accepted
January 14 – Regular enrollment opens

Julia Harrison, detail of Third Season, cottonwood bark, 7 x 4 x 1 inches
Julia Harrison, detail of Third Season, cottonwood bark, 7 x 4 x 1 inches
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Textiles B Summer Session 7

TEXTILES – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Francisco Bautista and Laura Bautista
Zapotec Weaving

Students in this workshop will experience the beauty of crossing threads on a floor loom and creating motifs from the Zapotec culture of Mexico. The workshop will begin with some of the history behind our weaving traditions and techniques. Students will weave a traditional motif using various colors of their choosing. There will be daily demonstrations, discussions of historic and contemporary work, and some time for experimentation. We will also share how to make fringes. Although we will not be dyeing in this workshop, we will talk about our natural dyes. All levels. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Francisco is a fourth-generation master weaver; originally from Teotitlán del Valle in Oaxaca, Mexico, Laura and Francisco now work together in Oregon; exhibitions: Smithsonian Craft Show (DC), Salem Art Fair & Festival (OR), BAM Arts Fair (WA), Sun Valley Arts and Crafts Festival (ID), Art in the High Desert (OR). 

bautistaweaving.com | @francisco_laura_bautista
January 15 – Regular enrollment opens

Francisco Bautista and Laura Bautista, Eye of God Pillow Case, sheep wool, cotton warp, 14 x 18 inches
Francisco Bautista and Laura Bautista, Eye of God Pillow Case, sheep wool, cotton warp, 14 x 18 inches
Francisco Bautista and Laura Bautista - photographed for The Immigrant Story © John Rudoff 2021
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Textiles A Summer Session 7

TEXTILES – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Annabel Lowe Wrigley
Improvisational Quilts

This workshop is all about color and the emotions that come from working with it. Using interesting and intuitive color combinations, students will explore different improvisational piecing techniques to create meaningful compositions. We will leave quilting perfectionism and perfect points at the door and dive into the beauty of creating interesting shapes and curves. Working with a selection of solid colored fabrics, students will focus on combinations that create emotion while experimenting with different piecing and construction techniques. We will explore finishing techniques and facing options for hanging. The goal is for each student to complete one piece. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Textile artist; instructor of Creativebug online workshops (CA), teacher of workshops nationally and internationally; group and solo exhibitions at Almas RVA (VA); author of seven instructional sewing books including My Sewing Workshop and the We Love to Sew series.  

annabelwrigley.com | @littlepincushionstudio
January 15 – Regular enrollment opens

Annabel Lowe Wrigley, Study 13, 2022, fabric, thread, 38 x 43 inches
Annabel Lowe Wrigley, Study 13, 2022, fabric, thread, 38 x 43 inches
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Print & Letterpress L Summer Session 7

PRINT/LETTERPRESS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Alexander Lee Landerman
Letterpress Fundamentals

In this session students will explore the fundamentals of letterpress printing on the Vandercook press. We will delve into the essential elements: from typesetting and cleaning to blend-rolls and drying agents. Students will gain an understanding of typography and confidence in their ability to use movable type as they create evocative poster editions. They can expect to produce 2-3 small editions of letterpress-printed posters based on prompts generated by the group. All levels. Letterpress studio. 

Studio artist; lecturer in graphic design at Indiana University; residencies: Lawrence Art Center (KS), Alderworks (AK), Azule (NC), Porcupine Mountains State Park (MI), Petrified Forest National Park (AZ), Arrowmont Pentaculum (TN), Brush Creek Foundation (WY), Jentel Foundation (WY), Dorland (CA), Vermont Studio Center; representation: By Hand Gallery (IN), Quirky Fox (NZ), and Q Artists Cooperative (WI).

alexanderlanderman.com | @alexanderlanderman
January 15 – Regular enrollment opens

Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
Alexander Lee Landerman, End Over End, ink drawing, letterpress printing from wood type, 22 x 30 inches
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Print & Letterpress X Summer Session 7

PRINT/LETTERPRESS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Rashaun Rucker
No Press, No Problem

This workshop will be geared toward beginning printmakers and those who have enjoyed the medium but don’t have access to a press. We will cover linocut relief printmaking, monotypes, and monoprints using tools such as acrylic/gelatin plates, sponges, string, cotton swabs, brushes, and other fun things. All processes will be done with water-based inks, which can be used safely in many different spaces. Expect to finish two or three pieces during the workshop. All levels. Printmaking studio. 

Studio artist; Sustainable Arts Foundation Award, Harpo Foundation Visual Arts Grant; collections: Smithsonian Museum of African-American History and Culture (DC), Mott-Warsh Museum (MI), Detroit Institute of Arts (MI), California African-American Museum (CA), Wake Forest University (NC), University of Michigan-Ann Arbor (MI), Clark Atlanta University (GA); representation: M Contemporary Gallery (MI). 

rashaunrucker.com | @ruckerarts
January 15 – Regular enrollment opens

Rashaun Rucker, The Ancestors Cried Asé, linocut, 18 x 12 inches
Rashaun Rucker, The Ancestors Cried Asé, linocut, 18 x 12 inches
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Photography Summer Session 7

PHOTO – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Emma Powell
Creative Cyanotype Explorations

This workshop will explore the creative depths of the rich, blue, cyanotype process as students learn to manipulate the technique for their own artistic goals. Cyanotype is a light-sensitive, hand-applied emulsion that is painted onto paper or other materials. It does not require a traditional darkroom and can even be exposed outside in the sun. Together we will explore exciting approaches, such as photograms, creating digital negatives, printing on imaginative substrates, and toning. Cyanotype is a great starting point for experimenting with alternative photographic processes, and it has many applications for photographers and mixed-media artists. All levels. 

Studio artist, curator; teaching: Colorado College, Iowa State University; exhibitions: Fox Talbot Museum (England), Seities Studio (Canada), George Eastman House (NY), Museum of Sleep (VA), Panopticon Gallery (MA), Colorado Photographic Arts Center (CO), Bell Projects (CO), Well Hung Curation (CO), Southeast Center for Photography (SC), Leeds Gallery at Earlham College (IN), Slow Exposures (GA), ArtWRKD (PA).

emmapowell.photo | @emmaobscura
January 15 – Regular enrollment opens

Emma Powell, Writer’s Block, cyanotype photogram and photograph on silk/hemp fabric, 16 x 16 inches
Emma Powell, Writer’s Block, cyanotype photogram and photograph on silk/hemp fabric, 16 x 16 inches
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Metals B Summer Session 7

METALS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Kirk Lang
Touch and Go

Would you like to add movement to your artwork? What if you could make an object that mimics the flapping wings of a bird, a flower blossoming, or a model of the earth rotating around the sun? Why imply movement in your work when you can actually make your work move! This workshop will explore the transformative power of motion and offer a unique perspective on how to generate movement in jewelry and small-scale sculpture. Students are invited to bring their own ideas, materials, and projects, but they will also be exposed to new project ideas and methodologies specific to kinetic mechanisms. Technical information will include wire work, riveting, tap and die, pressure fitting, machining, and soldering. Intermediate level: no experience with kinetic work is needed, but basic sawing, filing, and soldering skills are required. Lower metals studio. 

Studio artist; teaching: Metalwerx (MA), Lillstreet Arts Center (IL), Flux Metal Arts (OH), Danaca Design (WA); Artist Trust/Washington State Arts Commission Fellowship, Saul Bell Design Award; collections: Metal Museum (TN), Hallie Ford Museum (OR); representation: Facèré Jewelry Art Gallery. 

kirklang.com | @kirk_lang
Videos of Kirk’s kinetic work
January 15 – Regular enrollment opens

Kirk Lang, Constellation 9 (Pictor Minor), mixed metals, custom electronics, drawing easel component, 12 x 32 x 6 inches
Kirk Lang, Constellation 9 (Pictor Minor), mixed metals, custom electronics, drawing easel component, 12 x 32 x 6 inches
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Metals A Summer Session 7

METALS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Xinia Guan
Origami-Style Metal Fabrication

This workshop will explore ideas and techniques for combining the ancient art of origami with modern metalworking. We will transform flat sheets of copper or silver into intricate and structurally complex, three-dimensional shapes. As students learn a bit about the history and evolution of origami and begin to apply its principles to metalwork, they will develop an understanding of metal properties, structural mechanics, and the technical aspects of cutting and folding metal. Techniques will include sawing, piercing, soldering, and finishing processes. Basic metalworking skills will be helpful but this workshop is open to all levels. Upper metals studio. Note: this workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Studio artist; teaching assistant at Savannah College of Art and Design (GA); recent exhibitions: Smithsonian Craft Show (Washington, D.C.), Philadelphia Museum of Art Contemporary Craft Show (PA); representation: Charon Kransen Arts (NYC).

xiniaguan.com | @xiniaguan.jewelry
January 15 – Regular enrollment opens

Xinia Guan, Flatland X, oxidized sterling silver, 23k gold, stainless steel, 2-1/2 x 2-1/2 x 1/2 inches
Xinia Guan, Flatland X, oxidized sterling silver, 23k gold, stainless steel, 2-1/2 x 2-1/2 x 1/2 inches
Processed with VSCO with al1 preset
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Iron Summer Session 7

IRON – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Gabriel Craig and Amy Weiks
A Love Letter to Grilles

Grilles have been used for centuries to enclose and protect, and they are the basis for a variety of forms, including gates, trellises, trivets, and fire screens. Blending pattern, form, and function, grilles are a potent vehicle for expression. In this workshop students will make small grillework that could be functional items or studies for larger work. We will cover tapering and scrolling before moving on to jig making to aid in creating repeated parts. We will cover collars, rivets, laps, and tenons and will introduce forge welding as a means of creating complexity in the grille components or frame. No matter where you are in your smithing journey, there will be plenty to assimilate. All levels. 

Metalsmiths, owners of Smith Shop (Detroit); teaching: Haystack (ME), Savannah College of Art and Design, Wayne State University (MI); residencies: Houston Center for Contemporary Craft, California College of the Arts, Warren Wilson College (NC); collections: Smithsonian American Art Museum (DC), Cranbrook Art Museum (MI), Mint Museum (NC). 

smithshop.com | @smithshopdetroit
January 15 – Regular enrollment opens

Gabriel Craig and Amy Weiks, Heirloom Trivet, forged and fabricated steel, 2-1/2 x 9-1/2 x 21 inches
Gabriel Craig and Amy Weiks, Heirloom Trivet, forged and fabricated steel, 2-1/2 x 9-1/2 x 21 inches
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Glass B Summer Session 7

GLASS – SUMMER SESSION 7
August 11-16, 2024 (4 STUDIO DAYS)
Rebecca Smith
Flirting with Fusing

This workshop will explore the vast possibilities of fused glass. We will begin by covering how to cut glass, touching on the fundamentals before diving into more advanced techniques such as on-edge strip construction and using the heat of the kiln to create faux murrine patterns with stacks. Then students will make glass of their own design while learning to manipulate glass stringers with heat and create imagery and pattern with glass powders. We will bring everything together as we create pieces that will become functional dishes or decorative wall art. Topics will also include coldworking, firing processes, and the behavior of glass. All levels. Kiln studio. 

Kiln forming coordinator and guest services at Pittsburgh Glass Center;  teaching: Pilchuck (WA), Penland, Pittsburgh Glass Center; exhibitions: Erie Art Museum (PA), Pittsburgh Glass Center, Pittsburgh Botanical Garden.

Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Rebecca Smith, On Edge, fused Bullseye sheet glass, 5 x 12 inches, 4 x 13 inches
Rebecca Smith, On Edge, fused Bullseye sheet glass, 5 x 12 inches, 4 x 13 inches