Summer Session 5:
July 16 – 28, 2023
Register for Workshops
Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
The scholarship application closed on February 15.
Please read this note about our session schedules.
BOOKS & PAPER SUMMER SESSION 5
JULY 16–28, 2023
Sol Rebora
Custom Cloth Binding
Bookbinding arises from the need to protect and use the book. A well-functioning binding enhances the reader’s experience of this magnificent artifact and ensures the long-term preservation of the book. In this workshop students will design and make two custom cloth bindings that will complement text blocks made from pre-printed, illustrated sheets. We’ll start by making personalized book cloth from found cloth and use it to cover the text block using stub binding and endpages. Then we’ll add texture and digitally printed designs to cloth and use this to cover the text using a hollow back binding with embroidered endbands. We’ll use easy-to-learn tools and high-quality materials, create well designed books, and learn conservation concepts along the way. Some bookbinding experience will be helpful, but this workshop is open to all levels. Books studio.
Bookbinder; teaching: San Francisco Center for the Book, University of Iowa Center for the Book, Universidad Nacional de las Artes Argentina, Society of Bookbinders International Conference; collections: Bridwell Library at Southern Methodist University (TX), Miami University, British Library, private collections in USA, UK, Mexico.
BOOKS & PAPER SUMMER SESSION 5
JULY 16–28, 2023
Peter Sowiski
Pulp Nonfiction
Informed but not bound by history and tradition, this workshop will start with an investigation of Western, Eastern, and hybrid sheet-forming processes as a springboard for delving into personal approaches to paper. A variety of materials, methods, tools, equipment, and their application will move us toward optimizing particular qualities of our papers. We’ll consider fiber type, preparation, color, texture, shape, and dimension. With wet lamination, layering, inclusions, pulp painting, reduction, and hand manipulation, we’ll move to define our “truth” to the medium. Whether as substrate or object, our paper will highlight personal production and our new capabilities and allow us to see our relationship to the field as a whole. All levels. Papermaking studio.
Professor emeritus at State University of New York-Buffalo; visiting professor in Costa Rica dn Jamaica; over 90 workshops, lectures, or visiting artist posts primarily focused on the medium of paper; past president of North American Hand Papermakers; head pressman at Abaca Press since 1995.
CLAY SUMMER SESSION 5
JULY 16–28, 2023
Sue Tirrell
Stories Around the Table
We’ll bring functional and decorative tableware to life by drawing, painting, and carving on leather-hard porcelain. We’ll make a variety of small to medium-sized hand- and wheel-formed vessels and decorate them using underglazes, glazes, trailing, sgraffito, inlay, and painting techniques. Bring your favorite narrative source materials including drawings, photographs, illustrations, and ephemera to create a personal library of imagery. Students will be guided in the process of distilling these ideas into dynamic, colorful surface designs, giving individual stories universal appeal. We’ll have demonstrations, drawing exercises, slide talks, conversations about food, optional student presentations, and time in the kitchen. All levels. Upper clay studio.
Studio artist; teaching: Archie Bray (MT), Anderson Ranch (CO), Arrowmont (TN), Morean Center for Clay (FL), Baltimore Clayworks (MD); residencies: Archie Bray (MT), California State University-Chico; exhibitions: St. Croix Valley Pottery Tour (MN), Old Church (NJ), Red Lodge (MT), Dallas Pottery Invitational, The Clay Studio of Philadelphia; representation: Schaller Gallery (MI), Visions West Contemporary (MT).
CLAY SUMMER SESSION 5
JULY 16–28, 2023
Paul S. Briggs
Pinching Pushed
This workshop will push the clay pinching process beyond the typical three-inch bowl. We’ll cover several pinch forming techniques ranging from pinched and corrected (altered) forms to high-relief surfaces. Students will learn to center, open, and pull up clay walls using only hand turning, a technique used around the world to form various types of pots and vessels (no potter’s wheel involved). We’ll work with stoneware and fire cone 6-10 oxidation. All levels. Lower clay studio.
Artist-teacher at Massachusetts College of Art and Design; other teaching: Anderson Ranch (CO), St. Olaf College (MN), Harvard (MA), Penland; collections: Fuller Craft Museum (MA), Columbus Art Museum (OH), Legacy Museum (AL).
DRAWING AND PAINTING SUMMER SESSION 5
JULY 16–28, 2023
Joseph Hart
Exploratory Drawing
The goal of this workshop is to loosen up artistically and explore fresh approaches to observational and abstract drawing. Each day will feature a mix of studio exercises, technical demonstrations, discussions, prompts, and independent drawing. Students will experiment with a range of techniques and media to create ambitious, bold, and provocative drawings that may be small, medium, or large in size. Materials will include paper, graphite, charcoal, ink, acrylic paint, found objects, and more. We’ll emphasize playfulness and personal creative growth. Students can expect to work in series, collaborate in small groups, and develop independent drawing projects. All levels.
Studio artist; teaching: Rhode Island School of Design, City College of New York, Penland; Romer Young Gallery (San Francisco), Halsey Mckay Gallery (NY), David Krut Projects (NYC), Cooper Cole Gallery (Toronto), Galerie Vidal Saint-Phalle (Paris); collections: Rhode Island School of Design Museum, San Francisco Museum of Modern Art, Metropolitan Museum (NYC).
GLASS SUMMER SESSION 5
JULY 16–28, 2023
Kelly O’Dell and Raven Skyriver
Rewilding
We draw on the natural world as an endless well of inspiration for our work. Join us in the beautiful setting of Penland School where we will study the environment and use the concept of rewilding as a springboard for discussions of ecology, our relationship to the creatures, plants, and stones around us, and how all this relates to the work we make. Technical information will include all forms of color application, use of the hot torch and heat zones, reverse engineering of punty constructions for all applications, inside sculpting, solid sculpting, blown sculpture, bit work, and building complex forms from relatively simple components by using the garage and pick-up ovens. Intermediate/advanced level: two years of hot glass experience required.
Kelly: studio artist; teaching: Nijiima Glass Center (Japan), Pilchuck (WA), Pittsburgh Glass Center; exhibitions: Museum of Northwest Art (WA), Museum of Glass (WA), SOFA Chicago, Kitrell/Riffkind Gallery (Dallas), Gallery by the Sea (WA), Duncan McClellan Gallery (FL), Habatat Galleries (FL), Glasswheel Studio (VA).
kellyodellglass.com | @kellyofthedell
Raven: studio artist; teaching: Nijiima Glass Center (Japan), The Glass Furnace (Istanbul), Pilchuck (WA), Pittsburgh Glass Center, The Studio at Corning (NY), Pratt Fine Art Center (Seattle), Penland; exhibitions: Glasmuseet Ebeltoft (Denmark), Nostetagen Norsk Glass Museum (Norway), multiple solo shows at Stonington Gallery (Seattle).
GLASS SUMMER SESSION 5
JULY 16–28, 2023
Daniel Clayman
Materials, Temperature, and Magic!
Working primarily with kiln processes in the glass studio, we’ll look at how the rigorous exploration of ideation and object making requires a strong technical foundation, great ideas, and a little bit of magic. Technical information will include mold recipes, mold-making techniques, firing schedules, annealing, casting, slumping, and ancillary skills like rubber mold making. We’ll also discuss choosing appropriate glass for specific uses. In addition to demonstrations, slide talks, and daily kiln firings, we’ll set time aside for critical discussions of what we make and why we make things. Beginning to advanced students can look forward to a busy session of making molds, firing kilns, and putting more tricks into their toolboxes. All levels. Casting studio.
NOTE: This workshop is expected to have a studio fee of approximately $600 per student.
Studio artist; former Effron Family Endowed Chair at the University of the Arts (Philadelphia), visiting critic at Rhode Island School of Design; workshop teaching: Pilchuck (WA), The Studio at Corning (WA), Penland; residencies: Tyler School of Art (Philadelphia), Massachusetts College of Art and Design (Boston); collections: Corning Museum (NY), de Young Museum (San Francisco), High Museum (Atlanta), Museum of Arts and Design (NYC), Museum of Fine Arts Boston, National Geographic Society (DC), Racine Art Museum (WI), Renwick Gallery (DC), Toledo Museum of Art (OH).
IRON SUMMER SESSION 5
JULY 16–28, 2023
Shingo Furukawa
It Moves!
This workshop will be a basic introduction to kinetic sculpture: it’s easy! Students will learn the fundamental principles of mechanical movement and use simple components to create sculptures that move. We’ll cover basic fabrication and welding, but this will not be a technique-oriented workshop. Instead we’ll explore movement as a tool for communicating ideas. All levels.
Studio technician and occasional lecturer at University of Massachusetts-Dartmouth; exhibitions: Monique Rancourt Artisan Gallery (MA), Metalwerx (MA), 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.
METALS SUMMER SESSION 5
JULY 16–28, 2023
Aurélie Guillaume
Telling Stories in Cloisonné
In this workshop students will learn the technique of cloisonné enameling and explore its possibilities as a storytelling medium. We’ll begin by making samples and drawing in our sketchbooks to develop ideas, stories, characters, and patterns. These will serve as the basis for each student to create a fully-realized, one-of-a-kind cloisonné jewelry piece. The focus will be on learning cloisonné with opaque colors, but we’ll also cover techniques such as wet packing, inlay, using black or white overglaze and metallic lusters to add detail and play on the surface. Through multiple demos and sample-making, students will learn the secrets of cloisonné. Intermediate/advanced level; basic enameling and metalworking skills required. Upper metals studio.
Studio artist; teaching: Jewelry School of Montréal, Pocosin Arts (NC), Metalwerx (MA), Silvera Jewelry School (CA); collections: Museum of Arts and Design (NYC), Yale University Art Gallery (CT), Museum of Fine Arts of Montréal, Enamel Arts Foundation (CA); representation: Galerie Noel Guyomarch’.
METALS SUMMER SESSION 5
JULY 16–28, 2023
Douglas Pryor
Explorations in Sculptural Chasing
The art of chasing is a love language between illustration and sculpture. In this workshop we’ll integrate the best of both worlds as we explore detailed relief work in sheet metal. We’ll mix elements of raising, repoussé, and the Japanese technique of uchidashi to create a knowledge base of low- and high-relief work. Students can expect to complete at least two projects in copper. The first will be a structured follow-along design matched to the individual’s skill level. The second project, also a follow-along design, will be assigned to match each person’s interests. All levels. Lower metals studio.
Studio artist; teaching/demonstrations: Metal Arts Academy (CA), Appalachian Center for Craft (TN), Hereford College of Arts (UK), Art Students League (NYC), The Idea Foundry (OH); residencies: Buffalo Creek Art Center (NV), Light Grey Art Lab (Minneapolis); publications: Hephaistos, Artist Blacksmith, Anvil’s Ring.
PHOTOGRAPHY SUMMER SESSION 5
JULY 16–28, 2023
Robin Dreyer and Jeff Goodman
Photography in the 4th Dimension
From motion to memory, time has been a central medium and subject of photography. This workshop will explore a wide range of photographic techniques that employ time directly, including light painting, motion studies, flip books, pinhole cameras, view cameras, cinemagraphs, and stop-motion animation. We’ll use analog cameras, digital cameras, digital printers, and the darkroom, experimenting with making both still and moving images that play with—and celebrate—the most mysterious of dimensions. Students will go home with new images, new photographic skills, and maybe some new thoughts about the universe. All levels, beginners encouraged.
Jeff: award-winning instructor in the media studies program at Appalachian State University (NC); extensive experience leading workshops in photography, documentary video, and the relationship between art, science, and the creative process.
Robin: photographer, editor, communications manager at Penland; teaching: Penland; exhibitions: Asheville Art Museum (NC), North Carolina Museum of Art, Center for Alternative Photography (NYC); collection: Asheville Art Museum (NC), publications: American Craft, Our State, WNC, Garden & Gun, and numerous Penland publications.
PRINT & LETTERPRESS SUMMER SESSION 5
JULY 16–28, 2023
Charles Hancock and John Hancock
Relief and Screen Print Mashup
This workshop will encourage the mix and mashup, no-holds-barred creation of images. We’ll cover the basics of relief and screen printing with a sharp left turn, employing the spirit of experimentation, mistake making, and collaboration. Printing on wood, cloth, metal, and, of course, paper, our methods will run from the most traditional to as wildly experimental as you can stomach as we create things of beauty along with our worst nightmare desires. Making art is fun! All levels. Printmaking studio.
Note: the studio fee for this workshop is estimated at $200-225 per student.
Studio artists and masters of lo-tech printmaking also known as The Amazing Hancock Bros.; collections: Library of Congress (DC), Ft. Wayne Museum of Art (IN), Newark Public Library (NJ), Royal Museum of Art (Belgium), Academy Non Grata (Estonia), Billy Gibbons (Houston).
PRINT & LETTERPRESS SUMMER SESSION 5
JULY 16–28, 2023
Joanne Price
Wood Engraving: Mighty Detailed Prints
Victorian-era wood engraving technique combines the miniature, fine detail of metal engraving and the speed of relief printing. In this intensive workshop, you’ll learn to cut your own images with incredible detail and print them in limited editions. Process, printing, and experimentation will be prioritized with instruction covering specialty engraving materials, creating and transferring images, tool sharpening, engraving, hand printing, two-color printing, and historical and contemporary context. Expect to finish three to six individual images and explore post-printing image manipulation/assemblage, collaboration, and a print exchange. This technique requires close-distance vision; please come prepared. Drawing experience will be helpful but is not required. All levels. Letterpress studio.
Studio artist operating as Starpointe Studio; teaching: University of Kentucky, Highpoint Center for Printmaking (Minneapolis), Campbell Folk School (NC); president emeritus of Wood Engravers’ Network; collections: Guangdong Museum of Art (China), Museu da Casa Xilogravura (Brazil), Walker Art Center (MN), Yale University (CT).
TEXTILES SUMMER SESSION 5
JULY 16–28, 2023
Alyssa Salomon
Print What You Sew
Print happiness by the yard! Using simple, eco-friendly methods, students will produce their own screenprinted fabric and turn some into easy textile projects: tea towels, tote bags, smocks, etc. We’ll develop formal repeat patterns as well as improvisational designs using cut paper, mark-making, technology, and forms from nature. We’ll mix custom ink colors, learn to screenprint, and then print and print and print. This workshop is for those interested in textiles and surface design whether the intent is to continue screenprinting, to use print-on-demand services, or just to have a great time with design inspiration. Basic sewing skills will be useful, but this workshop is open to all levels.
Notes: This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift. The studio fee for this workshop is estimated at $225-275 per student.
Studio artist working as Blue Skies Workroom; teaching: Virginia Commonwealth University, Visual Arts Center of Richmond; representation: Penland Gallery, Candela Gallery (VA), Contemporary Craft (Pittsburgh), Artful Home (collaboration with Good Quilt Company); projects/awards/residencies: Form and Function Box (Alma’s Gallery), Pyramid Atlantic Denbo Fellowship, Made in Virginia Award, Artist in Residence at VCU School of Business.
TEXTILES SUMMER SESSION 5
JULY 16–28, 2023
Sasha Baskin
Drawing with Bobbin Lace
Beginning with the basics of the “cross” and the “twist,” we’ll explore the limitless potential of bobbin lace as a pictorial medium. Through the careful construction of these standard, off-the-loom weavings, we’ll discover line, tone, texture, and pattern and begin to design our own creations. Students will learn to read bobbin lace patterns and to make their own bobbin lace value scales, patterning, and designs. Students may choose to work intuitively to create abstract explorations of texture and pattern or they might deconstruct images into value and shade to create analog pixel images in lace! This work requires close-distance vision; please come prepared. All levels. Second-floor textiles studio.
Studio Artist; teaching: Maryland Institute College of Art, Johns Hopkins University (MD), Stevenson University (MD), Campbell Folk School (NC); residencies: Arrowmont (TN), Jacquard Center (NC), Penland Winter Residency; lectures: George Mason University (VA), College Art Association (NY); exhibitions: Blue Spiral I (NC), Loyola University (MD), San Jose Museum of Quilts and Textiles (CA), Visual Arts Center (TX).
WOOD SUMMER SESSION 5
JULY 16–28, 2023
Elia Bizzarri and Eric Cannizzaro
Greenwood Chairmaking
Starting with a log, you’ll split and shave parts for a ladderback side-chair in the style of Jennie Alexander, who coined the term “green woodworking.” Then you’ll assemble the chair relying on the natural swelling of super-dried rungs to help lock the chair together. We’ll use hand tools, including the draw knife, the spokeshave, and the shaving horse. This workshop is open to students of all levels who enjoy long hours and physical work.
Note: the studio fee for this workshop is estimated at $250-325 per student.
Elia: chairmaker, teaching: The Woodwright’s School (NC), Elia Bizzarri Studio (NC); produced numerous woodworking videos including DVDs for Popular Woodworking; featured on PBS’s The Woodwright’s Shop; work and articles published in Fine Woodworking, Popular Woodworking, Woodcraft, NC Travel Guide, Mortise and Tenon.
Eric: chairmaker: teaching: Arrowmont (TN), Campbell Folk School (NC), Arbutus Folk School (WA); residencies: Arrowmont (NC), Arbutus Folk School (WA); exhibitions: Wayne Art Center (PA), Bascom (NC), Delaware Valley Arts Alliance (NY), Blue Line Arts (CA) Master Woodworkers Show (TN); representation: Grovewood Inn Gallery (NC), Frog Hollow (VT).
