Summer Session 7

Summer Session 7:
August 22-28, 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 7
August 22-28, 2021
Shanna Leino
Bone Folders Elevated

Working with elk bone, we’ll craft a traditional tool of the bookbinding trade: the bone folder. We’ll play with shape and ornament to move beyond a simple tool into the realm of the sculptural and adorned. These will be custom tools made to suit your individual needs, resulting in instruments of function and beauty. Students will create a small quiver of unique bone tools and a leather tool roll to house them safely. All levels. Note: We’ll be working with bone from elk killed in the wild. This material would otherwise be wasted and thrown away, but it is an animal product nonetheless.

Studio artist; teaching: University of Georgia Cortona Italy Program, Paper and Book Intensive (MI), Boston University, Minnesota Center for the Book, University of Iowa Center for the Book; Fiskars Artist in Residence (Finland); collections: Yale University Library (CT), University of Washington Special Collections, University of Iowa Special Collections.

Shanna Leino, "Carved Elk Bone Folders," elk bone, various dimensions
Clay Summer Session 7
August 22-28, 2021
Heesoo Lee
Dimensional Expression on Ceramic Surfaces

Students in this workshop will explore handbuilding, sgraffito, texture, and watercolor-style underglaze to create images of nature and memory on functional and sculptural porcelain vessels and tiles. First we’ll create a clay canvas through an additive process on handbuilt or wheelthrown porcelain forms. Then we’ll use commercial watercolor-style underglazes to create perspective and depth and imitate traditional China paint effects on greenware and bisque-fired surfaces. Projects will be tailored to your interests with special emphasis on landscapes and perspective. Basic wheelthrowing skills are a plus, but this workshop is open to all levels. Upper clay studio.

Studio artist; Archie Bray summer residency and long-term residency (MT); exhibitions: Akar (IA), Archie Bray, International Ceramic Biennale (Korea), TRAX Gallery (CA).


Vase decorated with a colorful raised tree design
Heesoo Lee, "In Dreams," porcelain, 18 inches tall
Clay Summer Session 7
August 22-28, 2021
Aisha Harrison
Striking the Balance

Working from personal narrative can be daunting and feel vulnerable, but it is often from that place that we communicate through our work with the most authenticity and awareness. In this workshop we’ll aim to strike a balance between the personal and the metaphorical to produce drawings and maquettes that can be developed into more finished pieces at home. We’ll use a multi-modal approach that includes guided journal writing, a drawing process meant to uncover subconscious thoughts, and sculpting. Students will also learn to use photographs in-the-round to improve the figurative elements of their work. We’ll use mid-range clay and will not be firing. No clay or drawing experience required; all levels. Lower clay studio.

Studio artist; teaching: Evergreen State College (WA), Penland, Baltimore Clayworks (MD), Lux Center for the Arts (NE); residencies: Watershed (ME), Lormina Salter Fellow at Baltimore Clayworks, Women’s Studio Workshop (NY); exhibitions: Bainbridge Island Museum of Art (WA), O’Kane Gallery (TX), Santa Fe Clay (NM), Salon Refu/Susan Christian Project Space (WA).

Aisha Harrison, "Ancestor I," clay, graphite embroidery floss, glue, 41 x 27 x 10 inches
Drawing & Painting Summer Session 7
August 22-28, 2021
Leigh Suggs
Changing Perspective: Experimenting with Paper

This workshop is about changing your approach to paper. We’ll explore ways to transform paper—both technically and conceptually—into more than just a flat surface. Students will use simple tools to turn basic sheets into sculptural forms by cutting, folding, collaging, weaving, and using a variety of 3-d paper constructions. We’ll use natural and synthetic papers and create samples that will introduce you to the nuances of the material. There will be daily demonstrations, discussions of contemporary work, and time for experimentation. All levels. Note: this is not a hand papermaking workshop. 

Studio artist; teaching: Virginia Commonwealth University, Arrowmont (TN), Penland; exhibitions: Penland Gallery, Racine Art Museum (WI), Weatherspoon Museum (NC), Taubman Museum (VA); collections: Virginia Museum of Fine Arts, Roanoke College (VA); representation: Reynolds Gallery (VA).

Intricately cut vanishing pattern on blue paper
Leigh Suggs, "On Our Way," handcut acrylic on Yupo, 36 x 36 inches
Glass Summer Session 7
August 22-28, 2021
Kit Paulson
Gotta Make It Somehow

Approaching flameworking from a goal-oriented, project-based perspective, we’ll talk about and build things with borosilicate glass. Skill building will happen along the way, or it may be a goal in itself. Topics may include, but will not be limited to, blowing hollow forms, solid sculpting, large- and small-scale construction, hot and cold assembly, botanical and figure studies, tooling, color application, heat application, and annealing. Group or class projects are a possibility. All levels. Flame studio.

Independent artist; teaching: Bildwerk Frauenau (Germany), Corning Museum of Glass (NY), Canberra Glassworks (Australia), National College of Art and Design (Ireland), Pilchuck Glass School (WA); collections: Renwick Gallery (DC), KODA (Norway), Tacoma Museum of Glass (WA); Penland resident artist.

Telephone by Kit Paulson
Iron Summer Session 7
August 22-28, 2021
Meghan Martin
Functional Forms: Designing Tools and Utensils

Students in this workshop will learn the foundational skills of blacksmithing and explore their application to the design of culinary utensils and small-scale agrarian tools. Through a series of assigned projects, students will create a small collection of implements and practice forging techniques such as hammer control, tapering, shouldering, punching, drifting, spreading, and forming steel. Other demonstrations will include cold connections, filing, steel patination, forged surface textures, and more. While the focus will be on traditional hand-forging techniques, we’ll also use a variety of tools and equipment available in the Penland iron studio. All levels: beginners are encouraged, and there will be some advanced material for more experienced students.

Studio artist; teaching: Haystack (ME), artWORKS Visiting Artist at University of Arkansas at Little Rock; residencies: Penland Core Fellowship, Vermont Studio Center, Vermont Folklife Center Traditional Arts Apprenticeship; exhibitions: Penland Gallery, Blue Spiral 1 (NC), Columbia Center for the Arts (OR).

side view of a wood and metal garden trowel
Meghan Martin, "Garden Trowel," forged steel, palmwood handle, 3 x 10 inches
Metals Summer Session 7
August 22-28, 2021
Edna Madera
Gold Fusing

This workshop will introduce students to surface embellishment through fusing high-karat gold over silver. We’ll cover the basics and then explore additional surface considerations, such as finish, texture, and patina, that will complement students’ own designs. We’ll also cover roll-milling 24k gold, depletion gilding, tool and workspace setup, gold cutting, and torch fusing. Discussions will include prefabricated versus studio-made gold foils, workflow, and design experimentation. Some comfort working with torches will be helpful, but this workshop is open to all levels. Upper metals studio.

Studio artist; teaching: Pratt Fine Arts Center (Seattle); Award of Excellence at American Craft Council Baltimore show; publications: New Brooches: 400+ Designs in Contemporary Jewelry, SNAG Jewelry and Metals Survey 2017; representation: Ayesha Studio and Gallery (NJ).

Earrings with gold feather detail
Edna Madera, "Flora and Feather Earring," 24k, 18k, 14k, 11k bimetal, fine silver, 1-3/4 x 1-1/8 x 1/2 inch
Metals Summer Session 7
August 22-28, 2021
Kim Cridler
Drawn: The Sensitive Line

Philosopher Alexander Baumgarten described aesthetics as “the science of sensitive knowing.” In that spirit we’ll use simple techniques and direct observation to make structural wire forms. Demonstrations will include soldering steel wire, building symmetrical forms, forging and drawing wire, and finishing steel. Supplemented with short readings, visual presentations, and quick assignments, we’ll make models and samples before creating individual projects. This class is about starting where you are, working without hesitation, and seeing anew. Soldering experience will be helpful, but the workshop is open to all levels. Lower metals studio.

Studio artist; teaching: University of Wisconsin-Madison, San Diego State University, Arizona State University; upcoming retrospective at The Metal Museum (TN); collections: MTA Arts & Design (NYC), Museum of Fine Arts Houston (TX); representation: Lisa Sette Gallery (AZ).

wire metal basket with handles and stand
Kim Cridler, "Again (basin with butterflies)," steel, butterfly wings (Dichorragia nesmachus), 15 x 28 x 18 inches
Photo Summer Session 7
August 22-28, 2021
May Babcock & Lindsey Beal
Foraged Photographs: Cyanotypes & Handmade Paper

This workshop will integrate hand papermaking and cyanotype printing. We’ll make paper from sustainably harvested plants and traditional fibers and create sheets using deckle boxes and multiple pulps. Using cyanotype and anthotype, we’ll create photograms from foraged plants and photographs from digital negatives. Cyanotype creates blue images that can be toned to other colors. Anthotypes are made with photosensitive plant emulsions. Working in both the photo and papermaking studios, students will build a supply of handmade papers, print unique images, and learn to create environmentally conscious artwork at home. All levels.

May: studio artist; teaching: Rhode Island School of Design, Women’s Studio Workshop (NY), Brown University (RI), Louisiana State University, Pyramid Atlantic (MD); residencies: White Mountain National Forest (NH), Guadalupe Mountains National Park (TX); public art: Rhode Island State House, T.F. Green International Airport (RI). Lindsey: studio artist; teaching: Rhode Island School of Design, Massachusetts College of Art and Design; solo exhibitions: Vermont Center for Photography, Griffin Museum of Photography (MA), Danforth Art Museum (MA); publications: New York Times Lens Blog, BBC Mundo, Photo District News, New Scientist.  |  @maybabcock

four abstract compositions of blue and white on gray paper
May Babcock and Lindsey Beal, "Lamina: Eddy 1–4," artist-made pulp paintings on pigmented cotton, flax, and corn husk, cyanotype, gouache, 8-1/2 x 11 inches
Print & Letterpress Summer Session 7
August 22-28, 2021
Rick Griffith
Print Like You Mean It: The Making of a Manifesto

In this workshop we’ll explore personal narratives to bring autobiographical language—both poetry and prose—into focus as manifestoes for action. We’ll figure out what and who we are with a printing press as our instrument. We’ll SEE each other. We’ll be inspired toward truth and action with words as our raw material. Students will learn basic/intermediate skills in letterpress printing and typesetting using mid-century Vandercook proof presses and will  have finished prints to share at the end of the week. All levels. Letterpress studio.

Co-owner of Matter (Denver), a design studio, print shop, and bookstore; teaching: University of Denver, University of Colorado-Denver; exhibitions: Columbia College Center for Book, Paper, and Print (Chicago), Boulder Museum of Contemporary Art (CO), Denver Art Museum; collections: Denver Art Museum, Tweed Museum of Art (MN).

letterpress poster about education policy printed in orange and green
Rick Griffith, "Back to School," letterpress, 26 x 17-3/8 inches
Textiles Summer Session 7
August 22-28, 2021
Stephanie Metz
Felt: Fiber in the Round

This workshop will be a thorough introduction to the tools, processes, and possibilities of needle felting. Students will learn to manipulate wool into free-standing, solid felt sculptures using barbed felting needles to coax loose fibers into sophisticated shapes. We’ll explore solid and hollow form-building, armatures, and adding mixed-media. Felting particularly lends itself to representing organic forms, and students are welcome to bring source material. This innovative use of a humble, inexpensive material is bound to energize your art-making. Note: feltmaking involves repetitive and vigorous hand and arm movement. All levels. Third-floor textiles studio.

Studio artist; teaching: Arrowmont (TN), Yuma Symposium (AZ), California College of the Arts; recent exhibitions: Jack Fischer (San Francisco), de Saisset Museum (CA); collections: Triton Museum (CA), National Centre for Craft & Design (UK).

installation of large, textured pod sculptures
Stephanie Metz, "In Touch: Hanging Pods," wool, industrial felt, filler, cable, approximately 50 x 30 x 30 each
Textiles Summer Session 7
August 22-28, 2021
Hillary Waters Fayle
Plants: Muse & Material

In this workshop we’ll use plants and other botanical materials to explore the connections between nature and humanity. We’ll spend time looking at and learning about plants: taking guided walks, drawing, stitching, spinning, pressing, printing, painting, and studying botanical material. We’ll source plants, nuts, seeds and other material to brew our own inks and dyes for textiles and paper. We’ll also experiment with leaves and other plant materials as a substrate: woven, cut, knotted, stitched, collaged, etc. The workshop will blend art, science, and natural history as we create botanical collaboration. All levels. Second-floor textiles studio.

Assistant professor and head of fibers at Virginia Commonwealth University; exhibitions: Blue Spiral 1 (NC), Momentum Gallery (NC), Sager Braudis Gallery (MO), Pensacola Museum of Art (FL), Ellen Nöel Art Museum (TX).

circle of embroidered leaves
Hillary Waters Fayle, "Circular Meditations I & II," stitched and embroidered holly leaves, 
14 x 14 inches
Wood Summer Session 7
August 22-28, 2021
Brandy Clements and Dave Klingler
Handwoven Chair Caning

This workshop is an introduction to the craft of handwoven chair caning. Beginning students can learn the traditional six-way pattern. Intermediate weavers or ambitious beginners can weave new patterns such as the daisy or star, or they may want to make up their own pattern. We’ll also discuss structural issues, the history of chair caning, contemporary applications, and basically geek out on chairs of all kinds. Warning: if you take this workshop, you may become a chair nerd! All levels.

Note: Students can bring a chair (in good repair with the surface finished) with holes drilled around the seat frame, or instructors can provide chairs with advance notice. Students bringing chairs will be asked to e-mail a chair picture to the instructors ahead of time. 

Brandy: studio artist, educator, curator, historian, co-owner of the Silver River Center for Chair Caning (NC); teaching and lectures: Arrowmont (TN), Campbell Folk School (NC), Furniture Society conference, Seat Weavers Guild gatherings, Folk Art Center (NC), William King Museum of Art (VA), Blowing Rock Art and History Museum (NC), American Craft Council “Let’s Make” demonstrator. 

Dave: seat weaving expert, process analyst, educator, co-owner of the Silver River Center for Chair Caning (NC); teaching and lectures: Arrowmont (TN), Campbell Folk School (NC), Furniture Society conference, Seat Weavers Guild gatherings, Folk Art Center (NC), William King Museum of Art (VA), Island Farm (NC), American Craft Council “Let’s Make” demonstrator. | @silverriverchairs

Work by Dave Klingler
Dave Klingler, Traditional Six-Way Cane Pattern on Restored Thonet Chair, wood, rattan, 34 x 18 x 19 inches
Work by Brandy Clements
Brandy Clements, Handwoven Chair Caning in Double Daisy Pattern, rattan, 18 x 16 inches