Clay

Clay Workshops at Penland

 

Penland School of Craft offers 1-, 2-, and 8-week clay workshops taught by visiting instructors in our well-equipped studios. Class topics include functional and decorative pottery, wheel throwing, handbuilding, clay sculpture, glazing, and salt-, soda-, and wood-firing. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.

NOTE: Participation in Penland workshops currently requires proof of COVID-19 vaccination. Please read our COVID-19 Safety Guidelines document.

Clay Summer Session 1
May 29–June 3
Michelle Roxana Ettrick
Beginner Throwing and Decorating

So you discovered clay, and now you are hooked? Then join this workshop designed to help beginners learn, practice, and improve throwing skills. We’ll go over different ways to center, pull up, and make different forms. We’ll also cover easy decorating techniques that can be applied in the greenware state: mishima, sgrafitto, and resist. Midrange clay, electric firing. Beginning level. Upper clay studio.

Studio artist; teaching: Pennsylvania State University-Altoona; exhibitions: Companion Gallery (TN), Clayakar (IA), Red Clay Lodge (MT), NCECA conference, Penland Gallery; representation: Charlie Cummings Gallery (Florida).

michelleettrick.com | @michelleettrick

Michelle Roxana Ettrick, We Can, white stoneware, bottle: 7 x 5 x 5 inches, cups: 2 x 2 x 2 inches, courtesy of Charlie Cummings Gallery
Michelle Roxana Ettrick, We Can, white stoneware, bottle: 7 x 5 x 5 inches, cups: 2 x 2 x 2 inches, courtesy of Charlie Cummings Gallery
Clay Summer Session 1
May 29–June 3
Jennifer Ling Datchuk
Porcelain Performance

Porcelain is often associated with fragility and preciousness, but it can also be powerful and resilient. In this workshop we’ll create performance-based wearable pieces that investigate the foundations of identity through personal narratives and lived experiences. We’ll work with pinch, coil, darting, hollowing, and slab construction to create dynamic functional forms. We’ll cover drape molds and embellishing techniques with slips and underglazes, along with basic photo documentation and adornments/attachments to the body. We’ll make some pieces with unfired porcelain, and each student will complete one fired, performance-based piece. All levels. Lower clay studio.

Assistant professor of ceramics at Texas State University; Emerging Voices Award from American Craft Council, United States Artists Fellowship; works with porcelain and other materials associated with traditional women’s work to discuss fragility, beauty, femininity, intersectionality, identity, and personal history. 

jenniferlingdatchuk.com | @jenniferlingdatchuk

Jennifer Ling Datchuk, Money Honey, image of 3D printed, slip-cast porcelain, blue and white transfers from Jingdezhen, China, blue and white nails by Glaze Nail Lounge, San Antonio, 48 x 36 inches
Jennifer Ling Datchuk, Money Honey, image of 3D printed, slip-cast porcelain, blue and white transfers from Jingdezhen, China, blue and white nails by Glaze Nail Lounge, San Antonio, 48 x 36 inches
Clay Summer Session 2
June 5–June 17
Sanam Emami
Stencils and Stories: Pottery for the Table

Serving dishes contain and serve; they hold our favorite foods and our cultural histories. In this workshop, we’ll explore a range of historic and contemporary ideas for serving and storing everything from small delicacies to main courses. These ideas—organized around the space of the table—will be the starting point for imagining the form, scale, surface, and structure of pots. We’ll use midrange clay bodies and glazes. Stencils and colored slips will help transfer surface design ideas onto wet, 3D clay forms. Bring family recipes and sketches of ideas for serving dishes. Basic wheelthrowing skills will be helpful, but this workshop is open to all levels. Upper clay studio.

Associate professor at Colorado State University; Archie Bray residency (MT), New York Foundation for the Arts grant; exhibitions: Schaller Gallery (MI), Flower City Invitational (NY), Harvey/Meadows Gallery (CO). 

sanamemami.com | @sanamemami

Sanam Emami, Tableware, stoneware, chocolate stoneware, slips, stencils, oxidation, largest plate: 10 inches
Sanam Emami, Tableware, stoneware, chocolate stoneware, slips, stencils, oxidation, largest plate: 10 inches
Clay Summer Session 2
June 5–June 17
Del Harrow
Building Systems

This workshop will explore a range of systems and techniques for creating volumetric, handbuilt sculptures with a focus on problems of scale, gravity, and architecture. We’ll engage in demonstrations, reading, discussions, and critiques, and techniques will include building with coils and slabs, using one-part plaster molds, glazing and electric firing (cone 04 oxidation). We’ll draw inspiration from the sympathetic creative practices of music and poetry and their use of system, material, and formal thinking to generate creative expression. Earthenware clay. All levels. Lower clay studio.

Associate professor at Colorado State University; other teaching: Haystack (ME), Anderson Ranch (CO); residencies: Archie Bray (MT),  European Ceramic Work Center (Netherlands); exhibitions: Museum of Fine Arts, Boston, Denver Art Museum, Milwaukee Museum of Art; representation: Haw Contemporary (Kansas City), Harvey/Meadows Gallery (CO).

delharrow.net | @parametric_pottery

Del Harrow, Table and Surface/Hole/Shadow, ceramic, glaze, plywood, sculpture on right: 60 x 20 x 20 inches
Del Harrow, Table and Surface/Hole/Shadow, ceramic, glaze, plywood, sculpture on right: 60 x 20 x 20 inches
Clay Summer Session 3
June 19–July 1
Courtney Martin
Slab, Coil, Decorate, Fire

We’ll create platters and serving dishes using handbuilding techniques such as slab and coil construction and then add handles and feet, carve textures and patterns, and consider the specific functionality and visual balance of the pots. We’ll explore patterns through the use of wax and latex resists in our glazing and finish our pots by firing with wood, salt, and soda. High-fire stoneware. All levels. Upper clay studio.

Studio potter: teaching: Penland, Arrowmont (TN); exhibitions: solo at Signature Shop (Atlanta), Smithsonian Craft Show (DC), Shape Theory Collective (UT); organizer of Clay to Table (online); representation: Signature Shop (Atlanta), Schaller Gallery (MI), Freehand Gallery (Los Angeles), Penland Gallery. 

courtneymartinpottery.com | @courtneymartinpotter

Courtney Martin, Basket, wood-fired North Carolina clay, 14 x 10 x 10 inches
Courtney Martin, Basket, wood-fired North Carolina clay, 14 x 10 x 10 inches
Clay Summer Session 3
June 19–July 1
Ashley Kim
Intimate and Colorful Clay

This handbuilding workshop will explore construction techniques such as pinching, coiling, darting, and hollow slab construction. Students will also learn to make drape molds with objects brought from home to create reinterpreted objects of use. The second part of the workshop will focus on exploring surface embellishing techniques and materials, including colored slips and underglazes. We’ll emphasize marrying form and surface through texture, pattern, and color to create works of intrigue and intimate beauty filled with personal language and meaning. We’ll use cone 5-6 B-Mix clay and fire in oxidation. All levels. Lower clay studio.

Studio artist and lecturer at San Diego State University (CA); recent exhibitions: Juried National IV at Red Clay Lodge (MT), Above Board (online); representation: Red Clay Lodge (MT), Freehand Gallery (Los Angeles), L’Atelier (CA).

 @ashleykimclayworks

Ashley Kim, Bucket, cone 5 clay, underglazes, glazes, image transfer, wire, 13 x 7 x 5 inches
Ashley Kim, Bucket, cone 5 clay, underglazes, glazes, image transfer, wire, 13 x 7 x 5 inches
Clay Summer Session 4
July 3–15
Lindsay Oesterritter
Innovation, One Pot at a Time

This workshop will focus on the investigations and explorations involved in creating and refining functional pottery. Using primarily stoneware clay, we’ll work on the wheel and use handbuilding techniques, including slab, carving, and coil. Investigations will include bisque molds, spouts and handles, mark making, and incorporating inspirations. While our focus will be on exploration, you can expect to take home up to three completed new forms and many more experiments and ideas to develop later. Bisque fire only. All levels. Upper clay studio.

Studio artist; co-organizer of Objective Clay and National Clay Week; teaching: Western Kentucky University, Arrowmont (TN), Archie Bray (MT), Watershed (ME); residencies; Arrowmont, Strathnairn Arts Association (AU); exhibitions: Flower City Arts Center (NY), Old Church Pottery Show (NJ), Art of the Pot (TX), Worcester Center for Crafts, Smithsonian Craft Show (DC), author of Mastering Kilns and Firing: Raku, Pit and Barrel, Wood Firing, and More (Quarry Books).

loceramics.com | @alindsayo

Lindsay Oesterritter, Juicers, iron-rich stoneware, 5 x 4-1/2 x 4-1/2 inches
Lindsay Oesterritter, Juicers, iron-rich stoneware, 5 x 4-1/2 x 4-1/2 inches
Clay Summer Session 4
July 3–15
Bobby Scroggins
Direct Hollow-Core Construction

This workshop will present a method of clay sculpting that will expedite figurative projects, facilitating the completion and firing of flawless pieces in a short time frame relative to scale and complexity. This is an ideal approach for art teachers and figurative sculptors who want to eliminate firing losses. While most traditional methods of clay sculpting call for making hollow forms through slab or coil methods, this process involves rapid construction over temporary armatures, eliminating most structural concerns. We’ll cover maquette making, armature building, clay modeling, glazing, and firing. We’ll work with white stoneware and fire to cone 6 oxidation. All levels. Lower clay studio.

Professor of ceramics and sculpture at University of Kentucky, faculty and former chair of visual arts at The Kentucky Governor’s School for the Arts; work in exhibitions and collections through the U.S. and abroad; publications: The Craft and Art of Clay, Contemporary Ceramics.

Bobby Scroggins, Family, ceramic, 36 x 26 x 26 inches
Bobby Scroggins, Family, ceramic, 36 x 26 x 26 inches
Clay Summer Session 5
July 17–29
Kyle Carpenter and Michael Kline
The Seasoned Surface

Students in this workshop will explore a full palette of surface design techniques and how they relate to functional pottery form. We’ll stamp, paint, scratch, and scrape stoneware pots, bringing layer upon layer of visual interest to the surface. We’ll experiment with flashing slips, underglazes, and glazes that will be enhanced in cone 10 soda and salt firings. Fresh ideas and new skills will open a path forward for each student’s creative exploration. We’ll engage the class in conversation regarding their individual perspectives of studio potter life and practices. All levels. Upper clay studio.

Kyle: studio artist; teaching: Sawtooth School of Visual Art (NC), College of Lake County (NC), Habersham Mills (GA), University of Alaska SE; exhibitions: Clayakar (IA), Schaller Gallery (MI); collections: Mint Museum (NC). 

carpenterpottery.com | @kylecarpenterpottery

Michael: studio artist; teaching: Anderson Ranch (CO), Haystack (ME), Harvard (MA), Shadbolt Center for the Arts (BC); collections: Islip Art Museum (NY), Gregg Museum (NC), San Angelo Museum of Fine Arts (TX); publications: Tableware in Clay (Crowood Press), The Art of Contemporary Pottery and Functional Pottery (Krause Publications), Mastering the Potter’s Wheel (Voyageur Press); former Penland resident artist. 

klinepottery.com | @klineola

Kyle Carpenter, Bottle, salt-fired stoneware, underglaze, 6-1/4 x 5 inches
Kyle Carpenter, Bottle, salt-fired stoneware, underglaze, 6-1/4 x 5 inches
Michael Kline, Platter, stoneware, porcelain; Korean Buncheong-style inlay, 15 x 2 inches
Michael Kline, Platter, stoneware, porcelain; Korean Buncheong-style inlay, 15 x 2 inches
Clay Summer Session 5
July 17–29
Lynn Duryea and Holly Walker
Stretch the Limit

Explore the potent possibilities of form and scale with two long-time handbuilders: Lynn is a minimalist sculptor and inventor of the SlabSling; Holly is a coil and pinch potter. Using handbuilding and various idea-generating methods, we’ll investigate how materials, process, and technique intersect to produce work with depth and meaning. We’ll work with earthenware and electric firings, and explore surface potentials in applications appropriate for both sculptural and functional work, ranging from subtle and soft to exuberant color. All levels. Lower clay studio.

Lynn: studio artist, professor emerita at Appalachian State University (NC); other teaching: Maine College of Art, Haystack (ME), SnowFarm (MA); exhibitions: Fuller Craft Museum (MA), Center for Maine Contemporary Art; publications: Ceramics Art + Perception, Ceramics Monthly (cover story). 

lynnduryea.com | @lynnduryea

Holly: studio potter; teaching: Haystack (ME), Rhode Island School of Design, Anderson Ranch (CO), Nova Scotia College of Art and Design, Haystack (ME), Penland; representation: Clayakar (IA), The Clay Studio (Philadelphia); former director of Wateshed (ME); publications: Inspired: Life in Penland’s Resident Artist and Core Fellowship Programs and Mastering Hand Building by Sunshine Cobb. 

hollywalkerceramics.com

Lynn Duryea, Insert/Wide and Insert/Deep, earthenware and kanthol wire, 8-1/2 x 16 x 3-1/2 inches, 13 x 10-1/2 x 3-3/4 inches
Lynn Duryea, Insert/Wide and Insert/Deep, earthenware and kanthol wire, 8-1/2 x 16 x 3-1/2 inches, 13 x 10-1/2 x 3-3/4 inches
Holly Walker, Checkerboard Jar, terracotta, colored slips and glazes, 8-1/2 x 8-1/2 x 8 inches
Holly Walker, Checkerboard Jar, terracotta, colored slips and glazes, 8-1/2 x 8-1/2 x 8 inches
Clay Summer Session 6
July 31 – August 12, 2022
LATE ADDITION!
Cynthia Bringle
Form and Function

Learn ways to make wheelthrown pots with integrity that speak to your own sensibility. We will address the challenge of making strong forms with high functionality. We’ll work with stoneware clay. This workshop is about exploring forms rather than making work for the next craft fair. Intermediate level: basic wheelthrowing skills required. Upper clay studio.

 

NOTE: There are 14 spaces available in this workshop. Registration will begin at Noon ET on Monday, May 23.

All scholarships have been awarded for summer and are not available for this workshop. Transfers are not available for this workshop.

 

Studio potter and workshop teacher; teaching: Arrowmont (TN), Anderson Ranch (CO), Campbell Folk School (NC), Penland; fellow and trustee emeritus of the American Craft Council, North Carolina Award for Fine Arts, honorary doctorate from Memphis College of Art; collections: Mint Museum (NC), High Museum (GA), Gregg Museum (NC), Fuller Craft Museum (MA), Asheville Museum of Art (NC).

cynthiabringlepottery.com

Cynthia Bringle, Pitcher, stoneware
Clay Summer Session 6
July 31–August 12
Jerilyn Virden
Building in Bisque Molds

Working with earthenware clay, students will use handbuilding techniques–pinching, coiling, slab building, and double-walled construction–to create sculptural or utilitarian bowls. We’ll then make wet clay molds and bisque slump molds from these pieces and use them to re-make similar bowls or as jumping-off points for inventing new forms. Beginning with small maquettes, students will experiment with shape and proportion, brainstorming with the clay. We’ll explore glaze application and finishing, and fire in electric kilns. All levels. Lower clay studio.

Studio artist; teaching: Arrowmont (TN), Shakerag (TN), Santa Fe Clay (NM), Odyssey Center (NC), Penland; Society of Arts and Crafts Award (Boston), North Carolina Arts Council Fellowship; exhibitions: Mint Museum (NC), Currier Museum of Art (NH); collections: Asheville Art Museum (NC), NCECA; former Penland resident artist.

borealisstudios.com | @borealis_studios

Jerilyn Virden, Facet Bowl, black earthenware, black and Bermuda glazes, 4-1/2 x 10 x 9-1/2 inches
Jerilyn Virden, Facet Bowl, black earthenware, black and Bermuda glazes, 4-1/2 x 10 x 9-1/2 inches
Clay Summer Session 7
August 14–19
Sunshine Cobb
Exploring Functional Pottery with Handbuilding


This workshop will motivate novice potters to experiment with new and old forms and construction methods. With a process-over-product mentality and an eye toward creative expansion, we’ll cover coil and pinch methods along with hard and soft slab construction to generate pottery components. I will talk about building surfaces throughout the making process and glaze and surface treatments. We’ll discuss how inspiration and abstract concepts inform work and how they can be part of your creative practice. Midrange stoneware; bisque fire only.
Beginning level; experienced students welcome. Upper clay studio.

Studio artist; teaching: Red Clay Lodge (MT), Santa Fe Clay (NM), Anderson Ranch (CO), Penland; Archie Bray Foundation (MT) long-term residency; named 2013 Emerging Artist by Ceramics Monthly and NCECA; author of Mastering Hand Building (Voyageur Press).

sunshinecobb.com | @shinygbird

Sunshine Cobb, Garlic Boxes, ceramic, glaze, 5 x 4 x 6 inches each
Sunshine Cobb, Garlic Boxes, ceramic, glaze, 5 x 4 x 6 inches each
Clay Summer Session 7
August 14–19
Reggie Pointer
Play with Clay

This workshop will help you get the play into your clay. We’ll go from creating musical instruments to crafting game pieces using the handbuilding techniques of slab, coil, and pinch along with making and using multi-part molds. Our finished work will be bisque fired and raku fired. Along the way we’ll introduce a number of clay games that are fun and also teach a lesson. You’ll leave the workshop shaking a rattle, blowing a whistle, or beating a drum, and you might be carrying a chess set, a new game, or maybe even a doll head or two. All levels. Lower clay studio.

Associate professor at Howard University (DC); other teaching: Duke Ellington School of the Arts (DC), Grambling State University (LA), 2015 Mid-Atlantic Clay Conference, 2016 and 2019 NCECA conferences; creator of the comic book The Clay H.E.R.O.S.

@rwpointer

Reggie Pointer, Working for Peace, stoneware, metal, plastic, 4 x 4 inches
Reggie Pointer, Working for Peace, stoneware, metal, plastic, 4 x 4 inches
CLAY SHORT SESSION
September 25 – 30, 2022
Andy Shaw
Plates: Designing A Matching Set of Four

This workshop will be a fast-paced exploration of plate design for a table setting of four. Using generative and iterative design methods, each day will highlight a specific technique for shaping plates and for finding a visual language. We’ll begin by asking the question, “What is required of design for objects to be called a set?” Daily technical demonstrations, slide talks, collective learning, and generative exercises such as drawing will help turn our studio into a hothouse of ideas. By week’s end, students will develop a toolbox of strategies for plate design. A range of clay bodies will be available; we’ll conclude with a bisque firing. All levels. Upper clay studio.

Associate professor at Louisiana State University; coordinator of the Mid-Atlantic Keramik Exchange (Iceland), co-director of the first Queeramics Symposium (LA); residencies: SÍM (Iceland), Íshús Hafnarfjarðar (Iceland), McKnight at Northern Clay Center (Minneapolis), Evelyn Shapiro Fellow at The Clay Studio (Philadelphia); collections: Philadelphia Museum of Art, Sanbao Ceramic Art Institute (China), Garth Clark and Mark Delvecchio Collection at the Museum of Fine Arts Houston. 

artaxis.org/artist/andy-shaw | @awaytowards

Andy Shaw, Dinner Tray, press-molded black stoneware, 1 x 12 x 11 inches
Andy Shaw, Dinner Tray, press-molded black stoneware, 1 x 12 x 11 inches
CLAY FALL CONCENTRATION
October 2 – November 11, 2022
Matt Repsher
Finding Form and Surface

This workshop will focus on developing form and surface in pots, using history, environment, and personal experiences to help students develop their voice in clay. We’ll focus on the techniques I use for creating elaborately patterned vessels–including wheelthrowing, handbuilding, and color-slip inlay. Working mostly with mid-range stoneware fired in electric kilns, students will push the boundaries of ceramic materials by experimenting with multi-layered surface treatments using carving, colored slips, underglazes, and glazes. Projects, exercises, and conversations will stimulate exploration and growth. All levels. Upper clay studio.

Studio artist; teaching: Indiana University, University of New Mexico, Penland, Pocosin Arts (NC), Arrowmont (TN), Santa Fe Clay (NM); collections: Boise Art Museum (ID), San Angelo Museum (TX); residencies: Pocosin Arts; Penland Resident Artist Program.

@repsherceramics

Matt Repsher, Weedpot, ceramic, 7 x 5 x 5 inches
Matt Repsher, Weedpot, ceramic, 7 x 5 x 5 inches
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