Penland Eight-Week Classes September 25-November 18, 2011

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

Suze Lindsay & Kent McLaughlin - Making Pots: Exploring Intentions & Interpretations

In this workshop, two instructors will demonstrate their diverse approaches to making pots for daily living and assist students as they explore and define a personal voice in their work. We will share our processes and production techniques and discuss composition and construction while paying attention to all the details of making pots on and off the wheel. The class will work with stoneware and use the wood, salt, and reduction kilns for firing slip- and glaze-decorated work.

Suze: studio artist; teaching: Haystack (ME), Arrowmont (TN), Anderson Ranch (CO), Ohio University; collections: Asheville Art Museum (NC), North Carolina Pottery Center, Taipei County Yingge Ceramics Museum (Taiwan); former Penland resident artist.
Kent: studio artist; teaching: Anderson Ranch (CO), Haystack (ME), Odyssey Center (NC); exhibitions: Northern Clay Center (Minneapolis), Baltimore Clayworks, Santa Fe Clay.

Suze Lindsay, Candelabrum, salt-fired

stoneware, 14 x 17 x 3 in.

Kent McLaughlin, Stacked Pitcher,

cone 10 reduction-fired stoneware,

14 x 5 x 4 in.

Janet Link, Widget 2, graphite, chalk,

12 x 9 in.

Drawing is fundamental to art: it is a vehicle for thought, understanding, and expression. This class will help beginning students gain basic observational drawing skills and more experienced students expand their knowledge. We will study a variety of subject matter and consider the design and content of our pictures. Each student will plan and create a body of work with the aim of establishing an independent drawing practice.

Studio artist; adjunct instructor at Meredith College (NC); other teaching: Centre College (KY), Louisiana State University; exhibitions: Elder Art Gallery (NC), Shaw Center for the Arts at Louisiana State University, gallery one2one (Toronto), Raleigh Times Gallery (NC).

Simon Maberley, Contemplation,

blown glass, stainless steel, rubber,

40 x 7-3/4 x 9-3/4 in.

This class will explore how the sculptural qualities of glass can engage aesthetic and conceptual ideas. Students will cover techniques such as blowing, hot sculpting, mold making, cold working, kiln forming, and mixed-media applications. Practical experience will be gained through technical experimentation and problem solving. Various approaches to making will be investigated through collaboration and individual projects, enhancing students’ ability to engage with their artistic vision.

Studio artist; teaching: Canberra Glassworks; residencies: Royal Melbourne Institute of Technology (Australia), Ohio State University; exhibitions: SOFA Chicago, Habatat Galleries (IL), Hogdell Gallery (FL), Morgan Contemporary (PA), Miller Gallery (OH); work in private and corporate collections in the U.S., Australia, and Europe.

Micah Evans, Hemisphere teapot, borosilicate glass,

8 x 8 in.

This class is an in-depth exploration of designing and engineering complex flameworked sculpture from borosilicate glass. We will cover simple and complex techniques. With lots of one-on-one instruction, this long class presents an opportunity to advance your work from all angles. As we explore solid and hollow sculpture as well as traditional blown forms, we will find techniques and processes that speak to us and learn to nurture them. Specific subjects will include delicate insects, florals, and blown forms. We will learn complex engineering using jigs, forms, and scientific joints to produce consistent and dramatic results.

Studio artist; visiting artist/consulting flameworker at the University of Miami (FL); teaching: Lucid Visions Glass Studio (FL), Creative Studios (FL), University of Miami (FL), Galerie di Vetro (FL), Flameworks (FL).

Vivian Beer, Ruby Red Slipper, steel, automotive

paint and patina, 52 x 26 x 36 in.

Furniture is a powerful format for expressing concepts and engaging in an imaginative and physical experience. This is a class in designing and building metal furniture, exploring work that falls between function and sculpture. Demonstrations will cover drafting, scale modeling, pattern making, welding, hollow construction, jig making, forging, hand hammer control, and a varied use of abrasives for finishing and surface development. Students will work with everything from hand hammer to TIG welder, hydraulic press, and slip roller. We will touch on proportion, ergonomics, style, history, material experimentation, design theory, and terminology. Whether your goals are sculptural, functional, technical, or conceptual, the iron shop will become your creative laboratory.

Studio artist; teaching: Peters Valley (NJ), Anderson Ranch (CO), Center for Metal Arts (FL), State University of New York-Purchase; exhibitions: The Mint Museum (NC), SOFA Chicago, Palm Beach 3 (FL), International Contemporary Furniture Fair (NY).

C. James Meyer, Spilla, 18K gold, sterling silver,

paper, wood, 6 1/2 x 3 x 2 in.

This class will examine the conceptual process: from the initial thought through the design and making of the object. The finished product may be jewelry, functional objects, or small-scale sculpture. Students will keep a sketchbook/journal of ideas, make three-dimensional maquettes, and then fabricate finished objects. The technical focus will be on developing metal fabrication skills, including soldering and basic bezel and prong settings of stones and mechanisms. We will also explore the use of non-metal materials. This class is for beginning students as well as more accomplished metalsmiths who wish to further their skills.

Professor emeritus from Virginia Commonwealth University; recent solo exhibition at Quirk Gallery (VA), collections: Museum of Arts and Design (NYC), Racine Art Museum (WI), Nordenjelske Museum of Applied Art (Norway), Gregg Museum at North Carolina State University.

Paul Moxon, Alabamacedarium, letterpress printed

book, photopolymer plates and handset lead type,

3-1/4 x 4-1/8 in.

We will begin by developing a solid understanding of hand typesetting and production presswork using Vandercook presses. Then students will be introduced to traditional and experimental relief image-making. Finally, to integrate text and image, we will cover the fundamentals of book design and simple, nonadhesive bindings. This extended workshop will provide time to practice new techniques, refine ideas, and complete individual projects.
All levels. Code F00L

Printer, teacher, proprietor of Fameorshame Press; recognized authority on Vandercook presses; contributor to The Vandercook Book; organizer of The Vandercook Centenary Bundle, an international print exchange.