Summer Session 6

SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)

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Apply for Scholarships
Workshops by Studio

Workshops are open to serious students of all levels unless specified in course description; beginners welcome.
Please read this note about our session schedules.

BOOKS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Michael Velliquette
Sculptural Paper 

This workshop will focus on creating sculptures made entirely from paper. We will start with techniques from paper-crafting traditions, including folding, cutting, quilling, scoring, and weaving, which will introduce students to a range of paper-crafting tools, adhesives, and paper stocks. Students will explore these methods to arrive at unique forms and techniques they will discover through their own experimentation. The remainder of the workshop will focus on sculptural paper construction techniques as students work toward the completion of a singular piece of their own design. All levels.

Assistant professor at the University of Wisconsin-Madison; other teaching: Haystack (ME), Pocosin (NC); residencies: John Michael Kohler Arts/Industry (WI); Houston Center for Contemporary Craft; SIM Residency (Iceland); Kloster Dornach (Switzerland); collections: Racine Art Museum (WI), San Antonio Museum of Art (TX), Chazen Museum of Art (WI); television: guest judge on Discovery+Meet Your Makers Showdown. 

velliquette.com | @michaelvelliquette
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Michael Velliquette, The fullness of experience in the emptiness of awareness, paper, 12 x 12 x 6-1/2 inches
Michael Velliquette, The fullness of experience in the emptiness of awareness, paper, 12 x 12 x 6-1/2 inches
CLAY – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Matt Jones
Thrown and Wood-Fired

This workshop will investigate the wood-firing aesthetic as we make pots to fire in Penland’s multi-chambered wood kiln. Although the effects of wood flame and ash are often described as accidental and unpredictable, we will strategize to take advantage of them. Wheelthrowing demonstrations, instruction, and discussions will address the needs and interests of beginning to advanced potters. Loading will be a full day of work, and firing will take two days with students on shifts to stoke around the clock. While the kiln is cooling we will visit area potters and/or have additional demonstrations. Students are encouraged to bring bisqued pots to give us a jump-start on loading this rather large kiln. Stoneware clay. All levels. Upper clay studio. 

Studio artist; apprenticed with Todd Piker (CT) and Mark Hewitt (NC); has taught nine apprentices; presentations: North Carolina Wood-fire Conference, Mint Museum (NC), North Carolina Pottery Conference, South Carolina Pottery Conference; collections: Asheville Art Museum (NC), Mint Museum (NC); most work sold at his home-studio kiln openings. 

jonespottery.com | @mattjonespotter
Jan 15 – Regular enrollment opens

Matt Jones, Two-Handled Blossom Jug, wood-fired stoneware, cobalt brushwork on Mitchfield White glaze, 15 x 9 x 9 inches
Matt Jones, Two-Handled Blossom Jug, wood-fired stoneware, cobalt brushwork on Mitchfield White glaze, 15 x 9 x 9 inches
CLAY – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Kensuke Yamada
Figuring Out

Working with stoneware clay and using coil building and other handbuilding techniques, students will construct sculptures combining multiple figures or objects, working with form and surface to create narratives. We will discuss anatomy, proportion, posture, and gesture. Facial features, hands, feet, and clothing will be added to animate the figures. Surfaces can be enhanced by texturing and detailing. We will explore glazes with test tiles. Electric firing. Basic handbuilding will be helpful, but this workshop is open to all levels. Lower clay studio. 

Assistant professor at University of Arkansas Little Rock; residencies: Archie Bray Foundation (MT), The Clay Studio (Philadelphia); visiting artist: Tyler School of Art and Architecture (Philadelphia), University of Arkansas Fayetteville, Chihuly, Inc. (Seattle); exhibitions: Duane Read Gallery (St. Louis), Blue Spiral I (NC), Catherine Person Gallery (Seattle); collections: Missoula Art Museum (MT), Bellevue Club (WA). 

kensukeyamada.com | @kensuke_yamada
Videos! 
Jan 15 – Regular enrollment opens

Kensuke Yamada, Frankenstein, ceramic, 42-1/2 x 21 x 8 inches
Kensuke Yamada, Frankenstein, ceramic, 42-1/2 x 21 x 8 inches
Photo by Benjamin Krain —01/05/21— UA Little Rock ceramics professor Kensuke Yamada will present a demonstration of how he creates his clay figures at the 2021 NCECA national conference in Ohio.
DRAWING/PAINTING – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Michael Dixon
Storytelling as Identity: Process, Performance, and Paint

The self-portrait has a long and rich history. In this session, students will create a series of self-portraits using contemporary methods of oil painting. With a focus on drawing and painting from observation, we will cover basic drawing techniques, drawing the figure and the face, composition, color theory, and mixing color. We will also play with performance as a method of creating images and use these images to think about concept and storytelling. All levels. 

Professor at Albion College (MI), residencies: Yaddo, Virginia Center for the Creative Arts, Grant Wood Fellowship at University of Iowa, Sharpe Walentas Studio Program; Pollock Krasner Foundation Grant; recent exhibitions: Scottsdale Contemporary Art Museum (AZ), PlatteForum Annex Gallery (CO), Stamps Gallery at University of Michigan; representation: David Richard Gallery (NYC). 

michaeldixonart.com | @michaeldixonpainter
Jan 15 – Regular enrollment opens

Michael Dixon, Passing, oil and graphite on canvas, 40 x 50 inches
Michael Dixon, Passing, oil and graphite on canvas, 40 x 50 inches
GLASS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Ché Rhodes
Reheated and Plated

This workshop will use the fundamental processes associated with pastorale plate and graal blank pickups as a starting point for developing traditional and experimental glass objects in the hotshop. Rather than focusing on working directly and immediately from the furnace, this workshop will be about preparing components and then heating or reheating them in the hotshop to create finished forms. We will first address traditional approaches to cane, murrine, and graal techniques and then move into the possibilities of working with experimental parts, flat glass, commercial and recycled glass, and even found glass objects in the hotshop. We will also consider what it might look like to work in the hotshop without immediate access to a furnace. All levels. Hot glass studio.

Associate professor and head of glass at University of Louisville; other teaching: Pilchuck (WA), The Studio at Corning (NY), UrbanGlass (NYC), Scuola del Vetro (Venice), Penland; demonstrator at three Glass Art Society conferences; James Renwick Alliance Distinguished Educator Award; Penland trustee; collections: Smithsonian American Art Museum (DC), Speed Museum (Louisville).

 Cherhodes.com
Oct 15 – Nov 15: Scholarship applications accepted
Jan 15 – Regular enrollment opens

Ché Rhodes, Flex, cast and blown glass, 8 x 5 x 5 inches
Ché Rhodes, Flex, cast and blown glass, 8 x 5 x 5 inches
GLASS/DRAWING/PAINTING – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Suzanne Head
Drawn to Glass

This workshop will examine methods of drawing and painting within layers of fused glass. We will begin with demonstrations of drawing with Bullseye powders (frit), using high-fire enamels with brushes and dip pens, and sifting frit through stencils to make repeatable patterns. This will be followed by a short class project using these techniques. Once students are comfortable with the process, they will begin self-directed projects, outlining a plan for each layer of glass, testing ideas with experiments and samples, and learning the kiln schedules needed to make it all happen. Students may focus on abstract or representational imagery and may cut stencils or trace to aid in creating their designs. All levels. Kiln studio (glass).

Studio artist; teaching: UrbanGlass (NYC), Cleveland Institute of Art, Gage Academy of Art (Seattle), GlassRoots (NJ); demonstrations: Pilchuck (WA), Tyler School of Art and Architecture (Philadelphia); exhibitions: Pilchuck Exhibition Space (WA), Blue Rain Gallery (NM), Whatcom Museum (WA), Schack Art Center (WA), Bullseye Projects (OR), HEDGE Gallery (OH), Society of Illustrators (NY), Matzke Gallery (WA); representation: Museo Gallery (WA).

suzannehead.com | @suzanne_head
Jan 15 – Regular enrollment opens

Suzanne Head, detail of Knot, fused glass powder drawing, 23 x 35 inches
Suzanne Head, detail of Knot, fused glass powder drawing, 23 x 35 inches
IRON – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Pat Quinn
Pizza Box Stool

Explore the process of forging and threaded joinery while making a stool that will pack flat into a large pizza box. We will cover some basic forging and joinery techniques and use those techniques as parameters for design and construction. Students will begin by making samples based on demonstrated techniques. Then they will present conceptual and construction/joinery ideas and make samples based on them. Once these have been refined, students will design and build their stool. This workshop is for students who are excited by the project and are interested in power-hammer forging, making hardware, and being challenged by design possibilities and limitations. Some forging experience is strongly recommended, but this workshop is open to all levels. 

Executive director and teacher at Center for Metal Arts (PA); other teaching: Hereford College of the Arts (UK), Penland, The Haystack (ME), and The Adirondack Folk School (NY); Niche Award; exhibitions: Museum of the City of New York, Metal Museum (TN).

@handforgedinvt
January 15 – Regular enrollment opens

Pat Quinn, Untitled, steel, copper, 8 x 22 x 6 inches
Pat Quinn, Untitled, steel, copper, 8 x 22 x 6 inches
METALS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Sun Kyoung Kim
Wire to Wire

In this workshop we will experiment with wire construction techniques as though we are line drawing in three-dimensional space. While exploring shapes and forms, students will create unique jewelry and small sculptures using different kinds of wire, including steel, copper, and silver. We will cover a range of techniques, including basic jewelry making methods, cold connections, color application, and soldering. Some metals experience will be helpful, but this workshop is open to all levels. Upper metals studio. Note: this workshop takes place in a studio that has stairs that compromise access. It is made partially accessible by a stair lift.

Associate professor at Southern Illinois University-Carbondale; exhibitions: Museum of Jewelry (Italy), Marion Cage Gallery (New Orleans), Ingham Chapman Gallery (NM), Appalachian Center for Craft (TN), Morton J. May Foundation Gallery (St. Louis), Larson Gallery (WA), Leeds Gallery at Earlham College (IN), Wayne Art Center (PA), Hughes Gallery (IL), Signature Gallery (Atlanta).

sunkyoungkim.com 
January 15 – Regular enrollment opens

Sun Kyoung Kim, Finger 03, sterling silver, 2-1/4 x 2-1/4 x 2 inches
Sun Kyoung Kim, Finger 03, sterling silver, 2-1/4 x 2-1/4 x 2 inches
METALS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Logan Woodle
Raised and Formed Vessels

In this workshop students will explore raising and hammer forming in copper, brass, and pewter. We will begin by sketching on paper and in clay. Based on these designs, we will create templates and form metal vessels through sinking and symmetrical and asymmetrical raising processes. Other topics will include tool and hammer customization, exploiting the functional differences in a variety of metals, and delving into what it means to have a safe and sustainable studio practice. All levels. Lower metals studio. 

Associate professor and chair of visual art at Coastal Carolina University (SC); other teaching: Pocosin Arts (NC), Craft Alliance (St. Louis), Metalwerx (MA); exhibitions: Fuller Craft Museum (MA), Dairy Barn Arts Center (OH), Lander Fine Art Gallery (SC), Foundry Art Center (MO), “40 Under 40; The Next Generation of American Metal Artists” at Metal Museum (TN). 

loganwoodle.com | @LoganWoodleMetalsmith
January 15 – Regular enrollment opens

Logan Woodle, Pot Liquor Teapot, sterling silver, red brass, 9-1/2 x 9 x 5 inches
Logan Woodle, Pot Liquor Teapot, sterling silver, red brass, 9-1/2 x 9 x 5 inches
PHOTO – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
David Emitt Adams
Wet-Plate Collodion Photography

Developed in the 1850s, the wet-plate collodion process has achieved a revitalized presence in contemporary photography. This workshop will focus on using the collodion process with metal as a substrate. We will work with large-format cameras using studio and natural light to create unique images in the traditions of portraiture, still life, and landscape. Students will gain in-depth knowledge of the chemistry (mixing, replenishing, and caring for it), coating and sensitizing plates, exposure, and development. There will also be a demonstration of making tintype cases. Participants will leave with the confidence and knowledge to continue working in this method on their own. Cameras and equipment supplied by Penland. All levels. 

Studio artist; teaching: Art Intersection (AZ), Maine Media Workshops, Penland; exhibitions: Phoenix Art Museum (AZ), Crystal Bridges Museum (AR), Museum of Fine Arts Boston; collections: Center for Creative Photography (AZ), Santa Barbara Museum of Art (CA), George Eastman House Museum (NY), Ogden Museum (New Orleans); publications: New Southern Photography, The Book of Alternative Photographic Processes; representation: Etherton Gallery (AZ), PhotoEye Gallery (NM). 

davidemittadams.com | @davidemittadams
January 15 – Regular enrollment opens

David Emitt Adams, Offshore, Pascagoula, Mississippi, tintype on 55-gallon drum lid, 23-1/2 inches diameter
David Emitt Adams, Offshore, Pascagoula, Mississippi, tintype on 55-gallon drum lid, 23-1/2 inches diameter
PRINT/LETTERPRESS – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Val Lucas
No Pressure: Combining Hand-Set Type and Pressure Prints

This workshop will combine two very different processes on the Vandercook proof press: hand-set typography and cut-paper pressure prints. The ethereal, fuzzy quality of the pressure print process creates layered imagery full of depth and variation that will contrast with crisp, clean text printed from metal and wood type. Students will experiment with multiple layers of pressure prints to which they will add text. Our formats will be broadsides or folded books. We will cover the basics of setting metal and wood type, creating paper matrices for pressure prints, and printing editions on the letterpress. Expect to create multiple experimental prints as well as one or two small editions. All levels. Letterpress studio.

Studio artist operating as Bowerbox Press; teaching: Towson University (MD), various letterpress and bookbinding workshops; Mark Samuels Lasner Fellow (American Printing History Association); collections: Baylor University Library (TX), Rollins College (FL), Maryland Institute College of Art (MD), International Printing Museum (CA).

bowerbox.com | @bowerbox
January 15 – Regular enrollment opens

Val Lucas, Sumac (Maligned Plants #1), pressure print, hand-set wood type, 11 x 17 inches
Val Lucas, Sumac (Maligned Plants #1), pressure print, hand-set wood type, 11 x 17 inches
TEXTILES – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Lucille Junkere
Soulful Indigo Dyeing

In this workshop, inspired by sustainability and the instructor’s de-colonial, anti-racist practice, you will learn to use and maintain nontoxic, natural indigo dyes suitable for plant and protein fabrics. We will experiment with traceably-sourced, hand-woven fabrics and textile waste; indigo-resist dyeing; and hand-cut stencils of students’ own design, creating patterned swatches and transforming them into beautiful, hand-stitched and embroidered cushion covers. All levels. This workshop takes place in a third-floor walk-up studio that has partial access by a stair lift.

Research-based studio artist/educator; teaching includes: William Morris Gallery (UK), Ditchling Museum of Art + Craft (UK), Oriel Myrddin Gallery (UK); residencies/fellowships include: Churchill Fellowship (Nigeria) Leverhulme Fellowship (Jamaica), recent exhibition: “Ancestral Libations: Allegories of Honouring and Remembrance” at 105a Studios (UK)

lucillejunkere.com | @lucillejunkere
January 15 – Regular enrollment opens

Lucille Junkere, Indigo-Dyed Cushions, cotton fabric, embroidery thread, natural indigo
Lucille Junkere, Indigo-Dyed Cushions, cotton fabric, embroidery thread, natural indigo
TEXTILES/MIXED MEDIA – SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Kyoung Ae Cho
Mixed Media: Conversation with Nature

Paying close attention to the marks that time leaves behind in the environment, students in this workshop will explore ideas and expand their visual and conceptual language. We will use natural resources as well as found objects to create outdoor installations and objects in the studio. Through slideshows, discussions, demonstrations, and mini-exercises, students will be introduced to new ways of working and dealing with materials. Among other methods, we will use fiber handbuilding techniques such as looping, coiling, knotting, basketry, and stitching. This workshop is less of a how-to and more of an experience in discovery, questioning, and finding ongoing ways of working. All levels. Lower textiles studio. This workshop takes place in a second-floor walk-up studio that has partial access by a stair lift.

Professor at University of Wisconsin-Milwaukee; other teaching: Kansas City Art Institute, Haystack (ME), Penland; Pollack-Krasner Foundation Grant, Wisconsin Arts Board Fellowship; exhibitions: Lynden Sculpture Garden (WI), Muskegon Museum of Art (MI), North Carolina Museum of Art, Gregg Museum of Art & Design (NC), Sheldon Museum of Art (NE), Tweed Museum of Art (MN), Kemper Museum of Contemporary Art (Kansas City), John Michael Kohler Arts Center (WI), National Museum of Modern Art (Korea).

kyoungaecho.com
Kyoung Ae Cho videos

January 15 – Regular enrollment opens

Kyoung Ae Cho, 
"Excess-Reworked" (detail), crabapple, burn marks, thread, canvas
Kyoung Ae Cho, "Excess-Reworked" (detail), crabapple, burn marks, thread, canvas
WOOD/MIXED MEDIA– SUMMER SESSION 6
July 28-August 9, 2024 (11 STUDIO DAYS)
Annie Evelyn
Interconnection: Not Just for Woodworkers

The wood class that’s not just for woodworkers! This introductory class is designed to help you incorporate a pre-existing object or material into a table or stool. Is it clay? glass? metal? wood? fiber? found object? Don’t have anything yet? We’ll find something when you arrive. The interconnection of two materials creates an exciting opportunity for creativity and problem-solving. You will learn to safely use the jointer, planer, table saw, bandsaw, mortiser, Festool Domino, router, and various hand tools. Class vibes: having fun, supporting each other, and celebrating accomplishments. All levels. Wood studio.

Assistant professor at Virginia Commonwealth University; development director and co-founder of Crafting the Future; residencies: Penland Resident Artist Program, Windgate Resident Artist at Indiana University of Pennsylvania, University of Wisconsin-Madison (WI), San Diego State University, Wornick Distinguished Visiting Professor at California College of the Arts; exhibitions: Center for Craft (NC), Tacoma Glass Museum (WA), Fuller Craft Museum (MA) Center for Art in Wood (PA).

annieevelyn.com | @annie_evelyn_furniture
January 15 – Regular enrollment opens

Annie Evelyn, Windsor Flower Chair, ash, glass vials, fresh flowers, 40 x 28 x 26 inches
Annie Evelyn, Windsor Flower Chair, ash, glass vials, fresh flowers, 40 x 28 x 26 inches