Summer Session 3

Summer Session 3:
June 20 – July 1, 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 3
June 20 – July 1, 2021
Shawn Sheehy
Modular, Moving, Pop-Up Creatures

Have you ever asked yourself, “How do I adapt the structures I see in pop-up books to make my own structures?” This workshop will help you find the answer to that question by exploring nine structures at four levels: foundational, transitional, transformational, and personal. In the first week, we’ll make sample folios using an innovative, roll-up binding approach. The second week will be devoted to independent work. Students will leave with a set of bound study models and a good start on their own project. All levels. 

Studio artist; teaching: Peters Valley (NJ), Arrowmont (TN), San Francisco Center for the Book, Center for Book Arts (NYC), Minnesota Center for Book Arts; collections: Stanford University (CA), Carnegie Mellon University (PA), University of Chicago, University of California-Los Angeles; trade publications: Welcome to the Neighborwood, Beyond the Sixth Extinction.

Watch a video of Shawn’s pop-ups in action!

Shawn Sheehy, "Beyond the Sixth Extinction," handmade paper, letterpress, 14 x 9 x 7 inches
Books & Paper Summer Session 3
June 20 – July 1, 2021
Andrea Peterson
Papermaking in the Field

This workshop will dive into making paper from garlic leaf, field pea stem, sisal, cattails, hay, and wheat straw. We’ll also venture into the local area and experiment with possibilities such as knotweed, kudzu, or garlic mustard. Topics will include the selection and gathering process, intensive cooking, beating, pigmenting, and sheet forming. After papers dry we’ll explore fold strength, surface dying, paste papers, and suminagashi to fully understand each fiber’s capability as finished paper. This physically active workshop will include harvesting plants by hand and cooking fiber over a wood fire. All levels.

Assistant professor at the School of the Art Institute of Chicago; other teaching: Ox-bow (MI), private sessions at Hook Pottery Paper (IN); exhibitions: Brauer Museum of Art (IN), Krasl Art Center (MI), Robert C. Williams Museum of Papermaking (GA); collections: Metropolitan Museum (NYC), Fort Wayne Museum of Art (IN).

Andrea Peterson, "Natural Fiber Papers," varied fibers, 18 x 24 inches each
Clay Summer Session 3
June 20 – July 1, 2021
Linda Christianson
Thoughtful Pottery

This workshop will focus on skill building, curiosity, and the aesthetic development of each student’s individual interests. Through daily demonstrations, discussions, fun exercises, and personalized attention, students will create well-crafted, thoughtful pottery. We’ll cover throwing and altering, slab making, slip and glaze application, and loading and firing kilns. We’ll use high-temperature clay and fire in Penland’s wood and salt/soda kilns. In an atmosphere of fun and hard work, the goal will be for you to experience personal growth through making pots. Both wheelthrowers and handbuilders welcome. All levels. Upper clay studio.

Studio artist; teaching: Carleton College (MN), Hartford Art School (CT), Anderson Ranch (CO), Haystack (ME), Arrowmont (TN), Penland; fellowships: NEA, McKnight Foundation (MN); collections: Everson Museum, Glenboe Museum; writing published in Studio Potter and The Log Book; has a goal of making a better cup every day.

Linda Christianson, "Coffee Pot," woodfired stoneware, 9 x 7-1/2 x 6 inches
Clay Summer Session 3
June 20 – July 1, 2021
Andréa Keys Connell
Building BIG!…with a small kiln

Students in this workshop will problem-solve on multiple, large-scale ceramic sculptures. Demonstrations will focus on the hollow-building techniques needed to make pieces from one- to nine-feet tall. Students will learn various solutions for cutting, firing, and assembling their work post-firing. We’ll cover epoxies, paints, and various cold surface techniques, including glazing. You’ll learn to execute big ideas, no matter the size of your kiln. All levels. Lower clay studio.

Associate professor at Appalachian State University (NC); other teaching: Virginia Commonwealth University, Metropolitan Museum (NYC), Arrowmont (TN), Haystack (ME); exhibitions: Gibbes Museum of Art (SC), Florida Holocaust Museum (FL), Kentucky Museum of Art and Craft; work published in Ceramics and the Human Figure by Edith Garcia.

Andréa Keys Connell, "The Archer," ceramic, 30 x 28 x 18 inches
Drawing & Painting Summer Session 3
June 20 – July 1, 2021
Brandon Donahue 
Air + Brush = Ing

This hands-on workshop will cover the basics of airbrushing, including control of the double-action airbrush, the use of stencils, color blending, shading and highlighting, rat-tail strokes, freehand techniques, drills, and tips. We’ll also cover different types of airbrushes, air sources, safety, preparation, and airbrush media. Airbrushing on different media will be highly encouraged! This workshop will be excellent training for everyone from absolute beginners to professionals wanting to fine-tune their skills. All levels.

Studio artist working in painting, assemblage, and sculpture; teaching: University of Tennessee, University of Maryland, Arrowmont (TN), Penland; David C. Driskell Center residency (MD); exhibitions: David Lusk Gallery (Memphis, Nashville), Elephant Gallery (Nashville), Frist Museum (Nashville), 13th Annual Havana Biennial (Cuba); representation: David Lusk Gallery.

Brandon Donahue, "Legos (Jayda)," airbrushed acrylic and spray paint on concrete, 15 x 10 feet
Iron Summer Session 3
June 20 – July 1, 2021
Shingo Furukawa
Move It!

This workshop will be an introduction to kinetic sculpture made of metal. We’ll go over the basic principles of mechanical movement and use simple components to create sculptures that move. While the workshop will cover metalworking basics, including fabrication and welding, our focus will be the exploration of movement as a tool to enhance the expression of ideas through sculpture. All levels. 

Studio technician and occasional instructor at University of Massachusetts-Dartmouth; exhibitions: “Six Years Smitten” (NM, NC, CA), “I.M.A.G.I.N.E. Peace Now!” (NC, MA), “Rhode Island I.M.A.G.I.N.E.s,” “Making Moves” at Monique Rancourt Artisan Gallery/Metalwerx (MA).

Shingo Furukawa, "untitled (be a cowboy)," steel, brass, found objects/materials, 8 inches tall
Metals Summer Session 3
June 20 – July 1, 2021
Sharon Massey
Contemporary Enamel

Vitreous enamel offers endless possibilities for adding color, texture, pattern, imagery, and text to metal objects and jewelry. This workshop will cover techniques ranging from sifting to champlevé, including liquid enamels, decals, stencils, cloisonné, enameling on 3-D forms, and application to both copper and steel. We’ll explore how to incorporate enamel into your work—including setting and fastening techniques—as well as design and concept development. With an emphasis on contemporary and experimental approaches, this workshop will allow students to begin a studio practice in enamel or to expand their existing practice. All levels. Upper metals studio.

Associate professor at Indiana University of Pennsylvania; other teaching: Haystack (ME), Center for Enamel Art (CA); collections: Enamel Arts Foundation (CA), Racine Arts Museum (WI), Museum of Fine Arts Boston; publications: Metalsmith, American Craft, New Brooches & New Bracelets, The Art of Enameling.

three charms: a cross, a heart, and an anchor
Sharon Massey, "Hope, Faith, and Charity," steel, champlevé enamel, 4 x 4 x 1 inches each
Metals Summer Session 3
June 20 – July 1, 2021
Michael Nashef

This workshop will explore possibilities and processes for introducing alternative materials into jewelry and small object making. Students will learn to use concrete/cement with dyes to create colorful pieces. We’ll use traditional and advanced mold-making techniques with 3-D printed materials and spend time exploring and creating unique designs. We’ll cover soldering, cutting, the basics of jewelry making, and many other processes as needed for our projects. All levels. Lower metals studio.

Studio artist and instructor at Kalamazoo Institute of Art; other teaching: Towson University (MD), Bowling Green State University (KY), Touchstone Center for Crafts (PA); exhibitions: South Bend Museum of Art (IN), “Best of 2019” Ohio Designer Craftsmen traveling exhibition, Worcester Center for Crafts (MA), Midland Center for the Arts (MI).

intricately patterned sculptural form
Michael Nashef, "Come See What I Have," concrete, dye, sterling silver, gold leaf, 14 x 7 x 7 inches
Photo Summer Session 3
June 20 – July 1, 2021
Jim Stone 
View Camera Workshop

The view camera may seem daunting, but it is easily mastered. Its contemplative, methodical approach rewards users with photographs of the highest quality. We’ll learn to use the large-format camera, control focus and perspective, develop sheet film using a simplified zone system, make darkroom enlargements, and scan negatives for digital printing. This workshop is best for those comfortable with the rudiments of traditional black-and-white photography—exposure, film development, and printing—but it is open to all levels. Students may use one of Penland’s large-format cameras or bring their own.

Distinguished professor of photography at University of New Mexico; named Honored Educator by Society for Photographic Education; collections: Museum of Modern Art (NYC), Museum of Fine Arts Boston, Los Angeles County Museum of Art, National Gallery of American Art (DC); six of his textbooks are in wide use including A User’s Guide to the View Camera.

photograph of a young man sitting on his bed next to shelves of toys
Jim Stone, "Jason, Who Wants a Career in Law Enforcement, and Some of His 1400 Transformers," Rio Rancho, New Mexico, archival pigment print, 20 x 24 inches
Print & Letterpress Summer Session 3
June 20 – July 1, 2021
David Wolske
The Art of Typography

Let’s demystify and deconstruct traditional rules and use letterpress to create expressive typographic art and design. We’ll learn to print from wood and metal types, and we’ll experiment with layering, rotation, systematic variation, backwards transfer, monoprint, monotype, and isotype printing techniques. We’ll also examine and discuss work by designers and artists who use type in dynamic and evocative ways. Together we’ll expand our visual vocabularies and explore new typographic frontiers. All levels. Letterpress studio.

Assistant professor at University of North Texas; other teaching: Montana State University, Miami University (OH), School of Visual Concepts (Seattle), Virginia Commonwealth University; Hatch Show Print visiting artist (Nashville), Hoffmitz Milken Center for Typography Educator Fellow (CA), Utah Arts and Museums fellow; exhibitions: Hamilton Wood Type and Printing Museum (WI), GoCA Downtown (CO), Hatch Show Print.

Textiles Summer Session 3
June 20 – July 1, 2021
Jessica V. Gatlin
Suit Yourself

This workshop will be a hacker’s guide to pattern drafting, alterations, and custom clothing. Using a combination of construction, mending, and printmaking, we’ll impose personal and/or cultural values on existing garments and objects. Through making and altering, we’ll also engage in dialogue pertaining to consumption, access, labor, value, and exchange. We’ll cover sewing, fit adjustments, garment deconstruction, embroidery, mending, and screen printing. Expect to finish two or three pieces, but the emphasis will be on process and experimentation. Basic sewing machine skills will be helpful, but this workshop is open to all levels. Northlight building.

Assistant professor at University of Maryland; residencies: Ox-Bow (MI), Wassaic Projects (NY), ACRE (WI), Eugeniusz Geppert Academy of Fine Arts (Poland); exhibitions: COOP Gallery (TN), Co-Prosperity Sphere (IL), Seedspace (TN), The Holland Project (NV).

woman wearing a shift dress (plain white on one side, black and white pattern on the other)
Jessica V. Gatlin, "Untitled (Printed Dress)," screenprint on cotton, 48 x22 inches
Textiles Summer Session 3
June 20 – July 1, 2021
Erin M. Riley
Imagery in Tapestry

Weaving a tapestry is a journey of the mind and body; every move is deliberate and decided. In this workshop we’ll work through color, line, gesture, and abstraction to explore how tapestry techniques can be employed on a floor loom to create your vision. We’ll cover weft-faced weaving techniques, hatching, shading, color blending, tapestry composition, and drawing preparation, equipping you with the tools needed to translate your imagery into tapestry language. Students will complete one sampler/sketch and one final piece. All levels. Second-floor textiles studio.

Studio artist; teaching: Textile Arts Center (NYC), Weaving Kind Makerie Retreat (CO); residencies: MacDowell (NH), Yaddo (NY), Bemis Center (NE), Museum of Art and Design (NYC), Dieu Donné (NYC), Vermont Studio Center; exhibitions: Henie Onstad Museum (Oslo), Gana Art Center (Seoul), Tang Teaching Museum (NY); representation: P.P.O.W. Gallery (NYC).

tapestry of a tattooed woman in her underwear in front of a mirror
Erin M. Riley, "Reflections 4," wool, cotton, 59 x 48 inches
Wood Summer Session 3
June 20 – July 1, 2021
Raivo Vihman
Timber Vernacular

Think mortise and tenon joinery, but think big. In this collaborative workshop, we’ll delve into the ins and outs of woodworking on a timber scale. Each student will begin by building a pair of splayed leg sawhorses to use as a work station. We’ll spend the rest of the time constructing a small, structural timber frame joined with mortises, tenons, pegs, and wedges while developing skills with hand tools and power tools. Topics will include joinery design, layout strategies, working with green wood, and scribing natural forms. The frame we build will be disassembled and sold in the scholarship auction. All levels.

Founder of Haystack Joinery (ME); teaching: Waterfall Arts (ME), Viljandi Cultural Academy (Estonia), Haystack (ME), Tabonuco (Puerto Rico), Vanaajamaja (Estonia), Penland.

timberframed roof structure
Raivo Vihman, "Cabin Roof Framing," cedar, pine, red oak, 16 x 24 feet