Summer Session 5

Summer Session 5:
July 17–29

Register for Workshops

Summer Scholarship Information
Summer scholarship application deadline is February 17.

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

Note: Participation in Penland workshops requires proof of COVID-19 vaccination. Our Campus Safety Guidelines will be updated as needed.

Books & Paper Summer Session 5
July 17–29
Béatrice Coron and Colette Fu
Prep! Cut! Pop!!

This workshop will explore ways to cut stories in paper and make them pop up! Students will learn composition, stenciling, and paper cutting techniques and make paper dimensional with basic-to-complex pop-up techniques including platforms, rotating discs, and pull tabs. We’ll also cover adapting pop-up mechanisms to other materials (glass, cardboard, metal) along with possibilities using Photoshop, 3D programs, and animation. Students will learn to incorporate their own art into structures to create unique papercuts, pop-up books, cards, installations, and art works. All levels. Books studio.

Béatrice: studio artist; teaching: Taller Leñateros (Mexico), Arrowmont (TN), Ox-Bow (MI); collections: Metropolitan Museum (NYC), Getty Museum (Los Angeles); public art: Charlotte-Douglas Airport (NC), “Lexington Life Column,” Asheville (NC), subway stations in New York, Cleveland, Chicago, Los Angeles. 

beatricecoron.com | @cutstories

Béatrice Coron TED talk 

Colette: studio artist; teaching: Haystack (ME), Arrowmont (TN), Ox-Bow (MI); solo exhibitions: National Museum of Women in the Arts (DC), Taubman Museum (VA), Phillips Museum (PA), Philadelphia Photo Arts Center (PA), Asian Arts Initiative (PA), Athenaeum (PA); collections: Metropolitan Museum (NYC), Library of Congress (DC).

colettefu.com | @colette_fu

Béatrice Coron, Magical Ride, hand-cut Tyvek, 35 x 35 inches
Béatrice Coron, Magical Ride, hand-cut Tyvek, 35 x 35 inches
Colette Fu, Kaifuna from the We Are Tiger People series, inkjet prints, board, cloth, adhesives, 17 x 25 x 18 inches
Colette Fu, Kaifuna from the We Are Tiger People series, inkjet prints, board, cloth, adhesives, 17 x 25 x 18 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
Drawing & Painting Summer Session 5
July 17–29
Alberto Mier
Sketchbook: Your Creative Playground

​​This workshop will explore the possibilities of the sketchbook. We’ll practice and experiment while taking advantage of the freedom of play the pages provide. We’ll cover some basic drawing concepts and a variety of tools and media—both wet and dry. Our goal will be to dig into your creativity and break out of your comfort zone. The sketchbook is the ideal playground for letting go, unlocking your potential, and developing your individual point of view. Students of all disciplines and all levels welcome. 

Senior designer at CNN Digital; exhibitions: Matre Gallery (Atlanta), Krause Gallery (Atlanta), Institute of Contemporary Arts Fair (NYC), Galería Yemayá (PR); publications: Atlanta Journal Constitution, Mundo Hispanico (Atlanta), Creative Loafing (Atlanta), Studio Visit Magazine, Modern Ink (online); representation: dk Gallery (GA). 

@albertomier_art

Alberto Mier, Turn to Speak, ink on tan paper, 14 x 11 inches
Alberto Mier, Turn to Speak, ink on tan paper, 14 x 11 inches
Glass Summer Session 5
July 17–29
Kazuki Takizawa
Exploring Creativity with Cane and Murrine

Students in this workshop will be challenged to subvert the fundamentals of glassblowing and explore their individual interests. We’ll help each other experiment with whatever wild ideas we may have about glass, venturing out from traditional glass vessels. Demonstrations will include using bundles of rods, preheated shards, fused glass chunks, and more as we work to develop our own unique methods of shaping molten glass. More technical demonstrations will be given in the latter half of the workshop, including the use of cane and murrine as a way to introduce line and pattern. All levels. Hot glass studio.

Studio artist, owner of KT Glassworks (Los Angeles); teaching: Pilchuck (WA), Pittsburgh Glass Center, Urban Glass (NYC); residencies: STARworks (NC), The Works (OH); exhibitions: River House Arts Gallery (OH), Craft in America Center (CA); representation: Duncan McClellan Gallery (FL). 

kazukitakizawa.com | @ktglassworks

Kazuki Takizawa, Minimalist, glass,15 x 8 x 8 inches
Kazuki Takizawa, Minimalist, glass,15 x 8 x 8 inches
Glass Summer Session 5
July 17–29
John Littleton and Kate Vogel
Captured in Glass

We’ll explore adaptive mold making as a means of encapsulating ideas in glass, examining the properties of glass and considering how it can enhance our creative vision. These ideas will inform the models we create from clay, found objects, and wax to make molds for kiln casting. We’ll cover working with wax, mold recipes, glass sources, firing schedules, calculating volumes, many types of mold making, and casting with various materials including sheet glass, frit, and billets. Be prepared to experiment and problem-solve. Glass experience will be helpful, but this workshop is open to all levels. Kiln studio. 

Collaborating studio artists; teaching/demonstrations: teaching/demos: Bergstrom Mahler Museum of Glass (WI), Penland, Corning Hot Glass Road Show (IL); exhibitions: 49th International Habatat Gallery, (MI), Momentum Gallery, (NC), Raven Gallery, (CO)  Bergstrom Mahler Museum of Glass (WI), SOFA intersect, Chicago, collections: Corning Museum of Glass (NY), High Museum of Art (GA), Mint Museum (NC), Imagine Museum (FL).  

littletonvogel.com | @jlittletonkvogel

John Littleton and Kate Vogel, Heart’s Path, cast glass, 21-1/2 x 10-1/2 x 5-3/4 inches
John Littleton and Kate Vogel, Heart’s Path, cast glass, 21-1/2 x 10-1/2 x 5-3/4 inches
Iron Summer Session 5
July 17–29
Christoph Friedrich
Techniques to Ideas

I believe that art comes from skill. This workshop will begin with a focus on the seven most important forging techniques: drawing down, shrinking, bending, upsetting, swaging, punching, and forge welding. Each will be demonstrated in detail and then immediately applied by making simple objects. In the second part of the workshop, themes and motivating examples will be used to stimulate ideas. The best ideas will be sketched, modeled in plasticine, and realized in iron. As the workshop progresses, it will become more challenging—participation will lead to increased skill level. The days will follow a clear, predetermined structure, but students are invited to contribute their own ideas for content. All levels. 

Owner and manager of the historic water-powered hammer forge in Sennwald, Switzerland; teaching: University of Southern Illinois-Carbondale, Metal Museum (TN), Bondi Design (San Francisco), Cascadia Center for Art (OR). 

schmiede.ch | @hammerschmiede_sennwald

Christoph Friedrich, Three Sisters, forged and pressed steel, 7 x 3-1/2 x 1-1/2 inches each
Christoph Friedrich, Three Sisters, forged and pressed steel, 7 x 3-1/2 x 1-1/2 inches each
Metals Summer Session 5
July 17–29
Ruta Reifen
Ready, Set, Wax!

Students in this workshop will use several wax-forming techniques to complete a set of designs prepared for metal casting and primed for stone setting—including bezel, prong, and basket settings. We’ll learn subtractive methods using carving wax with files, burrs, and carving tools, and we’ll work additively with soft waxes using wax pens and other modeling tools. We’ll cover different approaches to surface embellishment and wax production considerations like mold making. After our designs have been cast into metal and properly finished, we’ll be ready to set! We’ll practice basic stone setting and preparation for outsourced stone setting in the future. All levels. Upper metals studio.

Studio artist; teaching: Rhode Island School of Design, Pratt Institute (NYC), Shenkar College of Engineering and Design (Israel), 92nd Street Y (NYC), Metalwerx (MA), Penland; work sold in more than 20 jewelry shops in the US and Europe. 

rutareifen.com | @rutareifenjewelry

Ruta Reifen, Monde Ring, 14k gold, multicolored sapphires, lavender amethyst, 3/4 x 1/2 x 1/2 inches
Ruta Reifen, Monde Ring, 14k gold, multicolored sapphires, lavender amethyst, 3/4 x 1/2 x 1/2 inches
Metals Summer Session 5
July 17–29
Brian Fleetwood
Cast in Stone: Tufa Casting for Jewelry

In this workshop students will learn to carve tufa–a soft volcanic stone–to create molds for direct-pour casting in bronze or silver. We’ll look at the rich history of this process and explore its unique properties and limitations through a series of technical demos that will include the casting process itself, basic soldering and fabrication, and iterative design. Students can expect to complete a number of castings, and we’ll end the session with a pin trade. All levels. Lower metals studio. 

Assistant professor at Institute of American Indian Arts (Santa Fe); other teaching: Center for Craft (NC), Pratt Fine Arts Center (Seattle), Museum of Contemporary Native Arts (Santa Fe), Oklahoma State University; Windgate-Lamar Fellow, Smelser-Vallion Visiting Artist; publications: Ornament, Lapidary Journal, Jewelry Artist, Art Jewelry Forum; representation: Form & Concept (Santa Fe).

Gallery

Brian Fleetwood, Crinoid Stem Brooches, sterling silver, bronze, dimensions vary
Brian Fleetwood, Crinoid Stem Brooches, sterling silver, bronze, dimensions vary
Photo Summer Session 5
July 17–29
Miranda Javid
The Animated Drawing

In this workshop, students will develop drawing fundamentals and enliven their renderings by making them move! Instead of conventional motion tools like transparent cels and digital tablets, we’ll experiment with less controllable media–from charcoal to watercolor–while seeking to retain elements of texture, gesture, and observation. Students will focus on two animation techniques: one involves drawing frame by frame, and the other will shift lines on one sheet of paper using a “stop-motion” drawing process. In addition to drawing materials, we’ll work with scanners, digital cameras, and video software. Students will leave with their own moving imagery and the ability to create animations at home. No experience with animation or drawing required. All levels. 

Studio artist, educator; Nancy Harrigan Prize from Baker Artist Fund, Kenan Fellowship, Sherman Fairchild Fellowship; residencies: Can Serrat (Barcelona), Grin City Collective (IA); screenings: Slam Dance (UT), Ann Arbor Film Festival (MI), San Francisco Independent Film Festival, Cutout Film Festival (Mexico City); exhibitions: Commune1 (South Africa), Vox Populi (Philadelphia).

mirandajavid.com | @mirandajavid

Vimeo: https://vimeo.com/user2881745

Print & Letterpress Summer Session 5
July 17–29
Rebecca Chamlee
Photorealistic Letterpress

Continuous-tone images, characterized by gradual transitions between shades and colors, have frustrated letterpress printers for decades. Traditional halftone screens often produce course prints, difficult registration, and color issues. We’ll explore techniques for using the letterpress to produce successful photorealistic, multiple-color–including four-color process–continuous-tone imagery and strategies for printing in tight registration. Students will work with their original photographs and handset type to create content for a collaborative, handbound book filled with our experiments. All levels. Letterpress studio.

Associate professor at Otis College of Art and Design (Los Angeles); other teaching: Paper and Book Intensive (MI), Focus on Book Arts (OR), Shakerag Workshops (TN); collections: Yale University Beinecke Rare Book and Manuscript Library (CT), Metropolitan Museum of Art Artists’ Book Collection (NYC); Getty Research Institute Artists’ and Fine Press Book Collection; representation: Vamp and Tramp Booksellers (AL). 

pieintheskypress.com | @pieintheskypress

Rebecca Chamlee, Giant: A Deity with Leaves, letterpress from photopolymer plates on Zerkall book wove paper, 11-1/4 x 7-3/4 inches
Rebecca Chamlee, Giant: A Deity with Leaves, letterpress from photopolymer plates on Zerkall book wove paper, 11-1/4 x 7-3/4 inches
Textiles Summer Session 5
July 17–29
Dr. Anthony Wilson
Construction, Fit, Embellishment

This workshop will be an introduction to apparel construction and fit. Students will customize commercial patterns, prototyping with muslin and then creating finished garments with a variety of material choices. We’ll have one-on-one fitting sessions and demonstrations of various construction, finishing, and embellishment techniques. Students can expect to complete at least two garments. Bring your favorite woven fabrics from home. Sewing skills will be helpful, but this workshop is open to all levels. Upper textiles studio.

Assistant professor of apparel design and merchandising at Appalachian State University (NC), owner of Anthony Wilson Designs (NC), a custom clothing design business; exhibitions: International Textile and Apparel Association conferences (NC, LA, TN), Costume Society of America annual meeting and symposium (VA), North Carolina Museum of Art.

anthonywilsondesigns.com | @anthonywilsondesigns

Dr. Anthony Wilson, Powerful and Elegant, cotton sateen
Dr. Anthony Wilson, Powerful and Elegant, cotton sateen
Textiles Summer Session 5
July 17–29
Mo Kelman
Skins, Skeletons, Nets, and Knots: 3D Textiles

In this experimental workshop, students will learn methods for building skeletal structures with rigid and semi-rigid materials such as rattan, bamboo, wood, wire, found materials, and recycled frameworks. Techniques will include lashing, chaotic plaiting, and wire construction. To put skins on these structures, we’ll work with knotted and knotless netting, gut, and rice papers. Paintable graphite, wax, and kakishibu tannin will further modify surfaces. Exercises, brainstorming, and problem-solving challenges will guide your production of a series of prototypes that will ignite your studio practice. All levels. Lower textiles studio.

Studio artist, professor emeritus at Community College of Rhode Island; other teaching: Haystack (ME), Peters Valley (NJ), Maiwa (Vancouver); exhibitions:  Wayne Art Center (NJ), Cheongju International Craft Biennale (Korea), International Shibori Symposium.

mokelman.com | @mo.kelman

River in the Sky, shibori-dyed and shaped silk, wood, paint, cordage, nails, 86 x  48 x 17 inches
River in the Sky, shibori-dyed and shaped silk, wood, paint, cordage, nails, 86 x  48 x 17 inches
Wood Summer Session 5
July 17–29
Miriam Carpenter and Melissa Engler
The Nature of Carving

Students in this workshop will take a journey through designing, carving, and embellishing functional pieces and/or objects d’art that are grounded in the environment and personal meaning. We’ll explore the natural world and observe pattern, structure, texture, and color as a foundation for design. Students will gain a deeper understanding of wood—the idiosyncrasies and potential of various species—through hand-carving, shaping, rotary carving, textural pyrography, acrylic and milk paints, and glazing techniques. All levels.

Miriam: studio artist; teaching: adjunct professor at Messiah University (PA), resident teacher at State University of New York-Purchase; residencies: Center for Art in Wood (PA), Windgrove (Australia); exhibitions: Michener Museum (PA), Wharton Esherick Museum (PA), Fuller Craft Museum (MA); representation: Moderne Gallery (PA).

@carpentermiriam | An article about Miriam

Melissa: studio artist; teaching: Center for Furniture Craftsmanship (ME), Appalachian Center for Craft (TN), Marc Adams School of Woodworking (IN); exhibitions: Center for Art in Wood (PA), Messler Gallery (ME), Moss Arts Center (VA); publications: American Craft, Carolina Home + Garden, Woodwork.

melissaengler.com

Miriam Carpenter, Feathers 11,889, 11,888, 11,887, hand-carved white oak, graphite powder, largest: 1-1/4 x 2-3/8 x 4-1/4 inches
Miriam Carpenter, Feathers 11,889, 11,888, 11,887, hand-carved white oak, graphite powder, largest: 1-1/4 x 2-3/8 x 4-1/4 inches
Melissa Engler, Pangolin, walnut, milk paint, 6 x 6 x 6 inches
Melissa Engler, Pangolin, walnut, milk paint, 6 x 6 x 6 inches