Summer Session 2

Summer Session 2:
June 6-17, 2021

Register for Workshops

Workshops are open to serious students of all levels unless specified in course description; beginners welcome.


NOTE: Many aspects of Penland workshops will be altered for 2021 because of the pandemic, but we’re moving ahead with optimism and care. Before you apply, please read our COVID-19 Safety Guidelines document so you will know what to expect and what will be expected of you. And know that, if conditions force us to cancel workshops, you’ll get a full refund on your payment.

Books & Paper Summer Session 2
June 6-17, 2021
Alexandra Janezic
Bookbinding for the Self-Publisher

This workshop will cover fundamental bookbinding techniques and create a library of structures that students can pull from and expand on for their own creative book projects. During the first week, we’ll cover pamphlets, accordion bindings, link stitch bindings, paper case bindings, flat spine case bindings, and the basics of box making. We’ll also address the material choices and ideological considerations needed to create a successful edition of book objects. In the second week, students will develop and create their own editions of hand-bound books. Students are encouraged to bring an idea for a project they would like to edition. All levels.

Artist, bookbinder, letterpress printer; residencies: Kimmel Harding Nelson Center for the Arts (NE), Morgan Conservatory (OH); exhibitions: Robert B. Hass Family Arts Library at Yale University (CT); collections: Library of Congress (DC), Yale University (CT), Newberry Library (IL), University of California-Berkely (CA)..

Alexandra Janezic, "Book Structure Models," bookcloth, paper, thread, dimensions variable
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
Drawing & Painting Summer Session 2
June 6-17, 2021
Harriet Hoover
Stretch It, Flip It, Reverse It

This workshop will give artists from all disciplines an opportunity to bust open their studio practice while stretching the endpoints of drawing. With an emphasis on play, process, and experimentation, we’ll use chance-based prompts to forage patterns, discover spatial relationships, make marks, and create works that extend past the flat surface. We’ll work the spectrum of scale and materials, starting with mark making and moving from the studio into the environment. Expect to use your whole body to generate large works while also making pocket-sized drawings of your day. All levels.

Studio artist, teacher at Wake Technical Community College (NC); North Carolina Arts Council fellowship; exhibitions: Weatherspoon Art Museum (NC), Museum of Contemporary Art Detroit, LIGHT Art + Design (NC).

graphic composition of black and white stripes with pops of color
Harriet Hoover, "Check this Aura," gouache, ink, sewn paper on vinyl and paper, 
51 x 38 inches
Glass Summer Session 2
June 6-17, 2021
Nisha Bansil
Paper to Glass: Casting Thin Folded Forms

This workshop will cover all of the skills you need to create complex, cast-glass objects. Students will begin by create 5-7 samples of various paper folds, starting with the Miura-ori* and working our way to diamond folding and pleating. Then we’ll create plaster/silica molds from these folded forms. We’ll discuss mold making and firing schedules in depth, and we’ll learn how firing affects the outcome of our finished pieces. Working with Bullseye glass, our casting techniques will be inspired by the Higuchis’ pâte de vérre process. We’ll also learn basic enameling techniques so we can experiment with slumping images into our plaster molds. No glass experience necessary; experienced folders are welcome! All levels. Flame studio and kiln areas.

*Miura-ori is a versatile fold created by Japanese astrophysicist Koryo Miura. It has been used to fold everything from maps to deployable solar panels.

Studio artist; teaching: Hartwick College (NY), State University of New York-New Paltz; residencies: The Studio at Corning (NY), Bullseye Glass (NY); performances: CMOG 2300 (NY), Chrysler Museum Third Thursday series (VA).


Nisha Bansil, "Diamond Fold 2," cast glass, 42 x 15 x 1-1/2 inches
Iron Summer Session 2
June 6-17, 2021
Andrew Meers
Solid State: Introduction to Pattern Welding

In this workshop students will become familiar with forge welding as they develop patterned billets and use them to design and create Damascus objects. We’ll begin with basic Damascus patterning and forge-welding. Then we’ll move through advanced forge welding and on to complex patterning and finishing techniques. The workshop will focus on patterning fundamentals and cover a variety of styles, including twisting, laddering, bias forging, multi-bar composites, and mosaics. All levels. 

Studio artist; American Bladesmith Society Mastersmith; teaching: Peters Valley (NJ), Touchstone (PA), New England School of Metalwork (ME), Penland; awards: B.R. Hughes Award; residencies: Metal Museum (TN), Penland Resident Artist Program; exhibitions: Penland Gallery, Metal Museum, North American Mokume Artist Exhibition (Japan).

intricately patterned blade
Andrew Meers, "River Garnet," steel, enamel, glass, silver, 12 x 6 x 1/4 inches
Metals Summer Session 2
June 6-17, 2021
Lauren Markley
Fabrication for Sculptural Jewelry

Taking a structural approach to jewelry, we’ll explore 3-D forms to create wearable sculpture. We’ll work through a number of fabrication techniques—including hollow construction, spliced construction, and scoring and folding—improving soldering skills along the way. There will be daily demonstrations, and class projects will present opportunities to hone sequencing and problem-solving skills. Time permitting, we’ll also touch on surface treatments and the use of alternative materials. Students should come away with many samples and a few finished pieces. All levels. Upper metals studio.

Studio artist; teaching: Arrowmont (TN), Boulder Metalsmithing Association (CO), James Carter Studio (NC); exhibitions: #46 Pentaculum (Munich), GreenHill Center (NC), East Carolina University (NC), Society of Arts and Crafts Boston; galleries: Elder Gallery (NC), Abel Contemporary (WI),  Moth (Chicago),  publications: 500 Silver Jewelry Designs.

necklace pendant assembled from planes of metal
Lauren Markley, "Folded Silver and Enamel Necklace No. 2," sterling silver, enamel, pendant: 6 x 2-1/2 inches
Photo Summer Session 2
June 6-17, 2021
Sally Van Gorder 
Slowing Down: Seeing with the Camera

This workshop will help students slow down and achieve more compelling photographic images through “deeper looking.” We’ll explore how careful attention given to familiar subject matter can yield unconventional results. Through critique and discussion, you’ll learn to use the camera as a tool to see, and we’ll do exercises to help you understand what, why, and how you choose to photograph. Working digitally with DSLR or mirrorless cameras, we’ll cover the foundations of camera control, exposure, light, and composition, and the basic workflow from image to outcome through editing, image development, and the creation of archival inkjet prints. All levels. Students will need to bring their own DSLR or mirrorless camera.

Teaching professor at North Carolina State University; other teaching: Virginia Commonwealth University (Qatar), Oregon College of Art and Craft, Pacific Northwest College of Art (OR); Brightwork Fellow at Anchorlight (NC); exhibitions: North Carolina Museum of Art, Southeastern Center for Contemporary Art (NC), Contemporary Art Museum (NC).


photograph of leaves and roots in a clear vase
Sally Van Gorder, "Lawn Maintenance, Carolina horsenettle (Solanum carolinense)," archival pigment print, 36 x 54 inches
Print & Letterpress Summer Session 2
June 6-17, 2021
Ben Blount
Power of the Press: Concept, Collaboration, and Community

Leveraging the power of the printed word, we’ll explore the community-building potential of letterpress printing. This workshop will focus on concept and content as we work on a variety of projects with varying levels of collaboration and sharing. We’ll cover traditional letterpress processes with a focus on wood type. We’ll also learn some image-making and basic bookbinding techniques in support of larger collaborative projects. Students will leave with a series of editioned prints, a copy of our collaborative book, and the experience of working within a community of printers and makers. All levels. Letterpress studio.

Studio artist; teaching: Colorado College, Cleveland Institute of Art; Hamilton Wood Type and Printing Museum residency (WI); collections: Metropolitan Museum (NYC), Newberry Library (Chicago), School of the Art Institute of Chicago.

letterpress print that reads "We will get through this together. After all, we're neighbors."
Ben Blount, "We’re Neighbors," letterpress, 12 x 9-1/2 inches
Textiles Summer Session 2
June 6-17, 2021
Patricia Cooke and Jeana Eve Klein
Say It Softly

We may speak loudly in this workshop, but we’ll do it through the softness of textiles. Using language as a starting point—phrases, mottos, slogans, and powerful single words—we’ll make ideas literally tangible. Using a range of textile processes, we’ll translate words into physical forms, including appliqué, reverse-appliqué, trapunto, piecing, embroidery, and embellishment (with plenty of sequins). Students can expect to produce a set of process samples and one or more finished pieces by the end of the workshop. All levels. Northlight building.

Patricia: Instructor of Sculpture at U of Miami (FL), BFA from Appalachian State (NC), MFA from U of Miami (FL). exhibiting in many galleries throughout North Carolina and Florida including a duo show at the Scrap Exchange in Durham (NC). | @misstreesh

Jeana: Professor of fibers at Appalachian State University (NC); other teaching: Arrowmont (TN); Artspace residency (NC), North Carolina Arts Council Individual Craft Artist Fellowship; exhibitions: Museum of Design (Atlanta), PULSE Art Fair (Miami).


textile installation that reads "I didn't write a #secondcivilwarletter, but I haha-faced it.
Jeana Eve Klein, "Recent Activity: Would My Trump-Supporting Facebook Friends Shoot Me?," recycled textiles, sequins, beads, 53 x 68 inches
Patricia Cooke, Pushing up the entire genus, fabric, faux flowers, steel, wood, 45 x 30 x 22 inches
Textiles Summer Session 2
June 6-17, 2021
Beth Ross Johnson
Reuse, Recycle: Sakiori, Sashiko, and Boro

All weaving traditions have ways to recycle worn cloth into new textiles. In this floor-loom weaving workshop, we’ll look to the Japanese folk technique of sakiori and zanshi for inspiration as we use rags and leftover threads to create fabrics for clothing, bags, and other domestic textile items. We’ll also explore the possibilities of sashiko and boro stitching to mend, reinforce, or embellish fabrics and set up an indigo vat to overdye our fabrics. All levels. Second-floor textiles studio.

Studio artist; teaching, Campbell Folk School (NC), Nantahala School for the Arts (NC), Haywood Community College (NC), Great Tree Zen Temple (NC); exhibitions: Tryon Center for the Arts (NC), Piedmont Crafts (NC), Busan Calligraphy Biennale (Korea), Webster University (MO).

fabric in an oatmeal shade with colorful woven details
Beth Ross Johnson, detail of "Zanshi Yardage," natural colored cotton, leftover ikat threads with natural dyes, 24 epi, 12 x 16 inches shown
Wood Summer Session 2
June 6-17, 2021
Laura Mays
Right Angles, Wrong Angles

In this workshop we’ll look at various aspects of stepping away from 90 degrees—from slopes, bevels, and facets to compound-angled joinery. We’ll see how this can expand the range of possibilities in making cabinets and boxes, and we’ll have our brains tickled by spatial and geometric problem-solving. Along with daily demonstrations, we’ll look at historic and contemporary pieces and discuss their construction. Expect to practice with two or three sample joints and then make a box or small cabinet that incorporates non-right angles. You’ll also gain insight into 90 degrees—how sometimes it has unique properties and sometimes it’s just a number. Intermediate level: basic woodshop skills required.

Professor and program director at The Krenov School at Mendocino College (CA); collections: National Museum of Ireland; co-author of the forthcoming book Making a Seat at the Table: Women Transform Woodworking.

wooden box with non-90 degree angles
Laura Mays, "Skew Box," Irish oak, 4-3/4 x 18 x 4 inches