Textile Workshops at Penland


Penland offers 1-, 2-, and 8-week workshops taught by visiting instructors in our well-equipped studios. Class topics include tapestry weaving, sewing, knitting, quilting, surface design, natural dyes, shibori, basketry, and more. Workshops are open to serious students of all levels unless specified in course description; beginners welcome.

Registration is currently open for all Spring and Summer 2020 workshops. Registration is on a first-come, first-served basis. Scholarships are available for all summer workshops; scholarship applications are due by February 17.

Register here

Textiles Spring Concentration
March 8 – May 1, 2020
Erika Diamond
Inside/Out: Garment as Identity

Clothing is our everyday costume, revealing and concealing what lies beneath. From fabric to form, our personal style reflects who we are inside—our fears, our beliefs, and our pride. During this workshop, students will learn basic sewing techniques and various methods of garment construction, and we’ll cover hand and machine stitching, embellishment, and off-loom techniques. We’ll also work collaboratively to deconstruct and experiment with found materials, finding new ways to wear what we are. Steven Frost will join us for a week as guest instructor. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code S00TA

Studio artist, director of galleries at Chautauqua Institution (NY); teaching:Virginia Commonwealth University, Rocky Mountain College of Art and Design (CO); residencies: McColl Center for Visual Art (NC), STARworks (NC), ABK Weaving Center (WI); exhibitions/commissions: Dorsky Gallery (NYC), Marta Hewett Gallery (OH), Fiberart International 2019 (PA), costumes for Charlotte Ballet (NC).


Erika Diamond, "Eggshell Garment for Hugging II," eggshells stitched between layers of tulle; garment worn to record imprint of hugs
Textiles Spring One-Week Session I
March 22-28, 2020
Amanda Thatch
Handweaving: Foundations & Exploration

Weaving intersects material, action, time, and attention. We’ll think about the poetics of this process as we learn the practical tasks involved with setting up a floor loom to weave fabrics of our own design. We’ll work quickly with an emphasis on making samples. Students will get comfortable with the process and sequence of how to plan a project, wind a warp, dress a loom, and weave cloth. Our tools will connect us to the past, but through our work and ideas, we’ll discover the contemporary possibilities of handweaving. All levels, beginners encouraged. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code S01TB

Textile, book, and paper artist; former textile studio coordinator at Penland; teaching: Arrowmont (TN), Visual Arts Center of Richmond (VA); residencies: Alabama Chanin Studio Artist in Residence (AL), Penland Core Fellowship; exhibitions: Turchin Center (NC), Centro de las Artes de San Agustín (Mexico), Savannah Cultural Arts Gallery (GA), Des Lee Gallery (St. Louis).


Amanda Thatch, "Penland Scarves," handwoven cotton and silk, natural dyes, 22 x 72 inches each
Textiles Spring One-Week Session II
April 5-11, 2020
Wayne Wichern
Felt & Straw Hats: Traditional Blocked & Freeform

We’ll create felt and straw hats using traditional hat blocks and freeform blocking methods. We’ll form, sculpt, and mold onto wooden hat blocks to create classic hat shapes and freeform, eccentric, sculptural hats. Traditional finishing and embellishment techniques will include hand-sewn and machine-sewn welts, bias binding, and petersham ribbon bindings. Our fanciful hats will be completed with millinery ribbons, flowers, silk fabrics, horsehair, straw braids, and other trimmings. Students can expect to create four or more hats. Machine or hand sewing skills will be helpful, but the workshop is open to all levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code S02TB

Millinery designer and teacher; teaching: Peters Valley (NJ), Oregon Shakespeare Festival, Cañada College (CA), Millinery Meet-Up (TN), Penland; exhibitions: Museum of History & Industry (Seattle), Peninsula Museum of Art (CA); collections: de Young Museum (San Francisco), Museum of History and Industry; founding member of the Millinery Artisan Guild.


Wayne Wichern, "Paris Topper," parisisal straw, silk sash/bow, veiling, silk/organza rose, grosgrain ribbon, 10 x 10 x 10 inches
Textiles Summer Session 1
May 24 – June 5, 2020
Jeana Eve Klein
Say It Softly

We may speak loudly in this workshop, but we’ll do it through the softness of textiles. Using language as a starting point—phrases,mottos, slogans, and powerful single words—we’ll make ideas literally tangible. We’ll use a range of textile processes to translate words into physical forms, including appliqué, reverse-appliqué, trapunto, piecing, embroidery, and embellishment (with plenty of sequins). Students can expect to produce a set of process samples and one or more finished pieces by the end of the workshop. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 01TA

Professor of fibers at Appalachian State University (NC); other teaching: Arrowmont (TN); Artspace residency (NC), North Carolina Arts Council Individual Craft Artist Fellowship; exhibitions: Museum of Design (Atlanta), PULSE Art Fair (Miami).


textile installation that reads "I didn't write a #secondcivilwarletter, but I haha-faced it.
Jeana Eve Klein, "Recent Activity: Would My Trump-Supporting Facebook Friends Shoot Me?," recycled textiles, sequins, beads, 53 x 68 inches
Textiles Summer Session 1
May 24 – June 5, 2020
Andrea Donnelly
Woven Cloth, Raw Material

We’ll create weaving-based artworks that start on the loom and finish as mixed-media collages.Experimenting with nontraditional interventions in the weaving process, including unweaving and on-loom painting, we’ll create a body of small weavings to develop an understanding of the qualities and characteristics of painting with pigment on thread and cloth. Off the loom, our woven cloth will become our raw material as we learn to stabilize, layer, and assemble woven elements into larger collage/mixed-media works backed with paper or unstretched canvas. Intermediate level: students must be comfortable setting up a loom and weaving plain/balanced weave. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 01TB

Studio artist; teaching: Virginia Commonwealth University; exhibitions: Reynolds Gallery (VA), Center for Craft (NC), Museum Rijswijk (Netherlands); collections: North Carolina Museum of Art, Markel Corporation (VA), Dominion Energy (VA).


woven piece in shades of blue and white
Andrea Donnelly, "Blue Brushes," handwoven cotton, dye, pigment, PVA, cotton backing, 39-1/2 x 30 inches
Textiles Summer Session 2
June 7-19, 2020
Akemi Nakano Cohn
Katazome with Natural Dyes & Indigo

Katazome is a traditional Japanese resist technique that uses rice paste applied through a stencil. Working with natural dyes, students will learn basic katazome and explore images representing their own stories. We’ll cover mordants and earth pigments along with cutting stencils, cooking rice paste, making soy milk, brushing a variety of natural dyes, and steam-setting colors. We’ll also dip rice-pasted fabric into the indigo pot to create intense shades of blue. Sumi ink will create depth and variation with indigo blue. Tsutsugaki—freehand drawing with rice paste in a pastry tube—will add additional design elements. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 02TA

Studio artist; teaching: School of the Art Institute of Chicago, Haystack (ME), Anderson Ranch (CO), Zijdelings (Netherlands); Ragdale residency (IL); exhibitions: Museum of Arts and Design (NYC), Bellevue Art Museum (WA), Gallery Uesto (Tokyo).


textile hanging with squares of red, yellow, and orange printed with white
Akemi Nakano Cohn, detail of "Sunrise, Sunset #2," natural dyes on silk organza; katazome
Textiles Summer Session 3
June 21 – July 3, 2020
Graham Keegan
Natural Dye Block Print

We’ll begin by exploring the basic concepts of natural dyes: mordants and plant pigments. We’ll use color from foraged plants and those specifically grown for their dye potential. Then we’ll step into making basic printing blocks from a number of materials and experiment with printing on a range of fabrics. The class will emphasize techniques for hand block-printing repeat patterns and layering multiple colors onto the same piece of fabric. Students can expect to make their own printing blocks and produce a series of 18 x 22 inch pieces showcasing different print techniques and colors along with larger works. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 03TA

Studio artist, textile designer, and natural dye advocate; teaching: Marshfield School of Weaving (VT), Snow Farm (MA), workshops across the country as part of his annual Indigo Tour; designs used by boutique designers and international brands on garments, home goods, wallpaper, and accessories.


diamond stamped pattern in black, white, and gold
Graham Keegan, detail of "Diamonds in Tessellation," madder, iron/tannin, cotton; woodblock print
Textiles Summer Session 3
June 21 – July 3, 2020
Mo Kelman
Skins, Skeletons, Nets & Knots

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. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 03TB

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.


sculptural fiber installation
Mo Kelman, "Cloud and the Space Between," shibori-dyed and shaped silk, wood, steel wire, cordage, nails, 81 x 44 x 15-1/2 inches
Textiles Summer Session 4
July 5-17, 2020
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 and re-creation, embroidery, mending, and screenprinting. 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. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 04TA

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 4
July 5-17, 2020
Adele Stafford
Cloth Is Material

This workshop will be a rich examination of the materiality of fiber and its narrative influence on handwoven cloth and our design process. We’ll trace fiber stories from origin through finished works. Ranging from the last organic cotton farmers in West Texas to the importance of Landrace wool cultivation, discussions will touch on fiber agriculture and processing, sustainability. and cultural ownership. Through sketching, writing, and sampling, students will be asked to create woven work deeply integrating material and form. We’ll cover a variety of fundamental weaving drafts, hand finishing methods, and decorative weaving techniques including leno and overlay. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 04TB

Studio artist, vice president of client services at Higg Co, providing sustainability assessment tools to apparel and textile industries; Albers Foundation research residency (CT); lectures: Museum Design Summit (Santa Fe), DO Lectures (CA); collections: Rhode Island School of Design.


model wearing a white sweater with a woven detail along the bottom
Adele Stafford, "Fragments of Appalachia," Black Thorn Farm wool; overshot float
Textiles Summer Session 5
July 19 – August 4, 2020
Ann B. Coddington
Sculptural Basketry +

We’ll explore basketry as a sculptural medium capable of expressing ideas and carrying meaning beyond its utilitarian traditions. We’ll focus on twining with waxed linen and reed and also cover other processes such as netting, looping, random weave, and crochet. Most importantly we’ll share, discover, connect, interact, play, create, and have fun! All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 05TA

Studio artist; teaching: Eastern Illinois University, Northwest Basket Weavers Guild (WA), Los Angeles Basketry Guild, Arrowmont (TN), Haystack (ME); Varda residency (CA); exhibitions: Quincy Art Center (IL), Textile Center (MN), Cedarhurst Center for the Arts (IL), Basketry in America (traveling).


two fiber vessels, one smoother and one with a more knotted texture
Ann B. Coddington, "close," twined and crocheted linen, 30 x 20 x 8 inches
Textiles Summer Session 5
July 19 – August 4, 2020
Elisabeth Hill
Limitations as License

Friction with the perceived limitations of a discipline can often spark the fire of creative thinking and problem-solving. In this workshop, weavers as well as craftspeople from different disciplines will learn (or review) the fundamentals of weaving, including measuring and winding warps, dressing looms, calculating sett, and drafting on paper and the computer. These fundamentals may be seen as limitations, but during the second week of class we’ll apply the skills acquired and honed in the previous week to personal projects by exploring/deploying a variety of weaving techniques that challenge the loom’s limitations, such as layered weaves, pile weaves, deflecting structures, and pick-up techniques. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 05TB

Studio artist and certified master weaver; teaching: Vävstuga Weaving School (MA), Campbell Folk School (NC), Arrowmont (TN); publications: Handwoven, Complex Weavers 40th Anniversary Book, The Art of Weaving 4th Edition.


woven pattern in gold and red
Elisabeth Hill, detail of "Sample," merino wool
Textiles Summer Session 6
August 9-21, 2020
Yoshiko I. Wada
Boro Transformed

In this workshop focused on the individual’s journey of making marks on fabric, we’ll reinterpret the Japanese folk tradition of boro (tattered, mended, patched, pieced items). We’ll listen to the dialogue between maker and materials, exploring mending processes and strengthening fabric by dyeing it in an organic indigo vat. Topics will include stitching, piecing, patching, mending, fulling, mark making, painting, and distressing. This alternative, creative process records the history of reuse, repair, and time spent stitching, bringing boro’s imperfect beauty to the surface in our consciousness. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 06TA

Studio artist, curator, president of World Shibori Network, founder of Slow Fiber Studios (CA); Smithsonian Master of the Medium award; fellowships: Japan Foundation (Tokyo), James Renwick Alliance (DC), Center for Japanese Studies at University of California-Berkeley; author of multiple books on shibori, kimono, boro, and contemporary textile art.


stitched and pieced indigo cloth
Yoshiko I. Wada, "Boro Sample," various textiles, indigo
Textiles Summer Session 6
August 9-21, 2020
Edwina Bringle
Class of Possibilities

This workshop will cover all the basics of weaving, including warping and planning, and it will give students the potential to move beyond what they imagined. There are many possibilities, including pattern weaving, tapestry, rugs, double weave, overshot, and more. We’ll explore, watch, ask and answer questions, learn from each other, and bring our ideas to life at the loom. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 06TB

Professor emerita at University of North Carolina-Charlotte; Penland Outstanding Artist Educator award; collections: Mint Museum (NC), North Carolina Museum of History, Greenville Museum of Art (SC), Southern Highland Craft Guild (NC), private collections; former Penland resident artist.

woven piece in plum, aqua, orange, pink and blue
Edwina Bringle, "Lap Robe/Shawl," handwoven wool, 53 x 60 inches
Textiles Summer Session 7
August 23-29, 2020
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. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 07TA

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 23-29, 2020
Hillary Waters Fayle
Plants: Muse, Medium & Material

This workshop will be a blend of art, science, and natural history focused on botanical collaboration. We’ll spend time looking at and learning about plants: taking guided walks, drawing, stitching, spinning, sketching, pressing, printing, painting, and studying botanical material. We’ll also experiment with leaves and other plant materials as substrates that can be woven, cut, knotted, stitched, collaged, etc. We’ll source plants, nuts, seeds, and other materials to brew inks and dyes for textiles and paper. Plants and other botanical materials will be our means to explore the connections between nature and humanity. All levels. NOTE: Textiles workshops are taught in walk-up studios accessible by a stair lift. Code 07TB

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


circle of embroidered leaves
Hillary Waters Fayle, "Circular Meditations I & II," stitched and embroidered holly leaves, 
14 x 14 inches