Penland Summer Session 3 Workshops

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

Peter Sowiski, Service Figure-Run,

handmade paper with colored

pulps, 72 x 48 in.

This class will compare Asian and European traditions of sheet forming as we of think about our own custom production. We will meet somewhere in the middle while exploring fiber types, preparation, color, and texture and looking toward the possibilities of shape, dimension, and pulp painting. A range of methods, tools, and equipment will help optimize the particular qualities of our papers. We will take away new capabilities and forge new relationships with our own and other studios. All levels. Code 03B

Professor emeritus from Buffalo State College (NY), chief screenprinter at Abaca Press; studied papermaking in Korea, China, and Vietnam during three sabbaticals; exhibitions: Southwest School of Art and Craft (TX), Columbia College Chicago, Hartsfield Atlanta Airport.

Susan Dewsnap, Cup, soda-fired stoneware, slips, and glazes,

4 x 3-1/2 x 3-1/2 in. & Paul Heroux, Cups, soda-fired

translucent porcelain with flashing slips and glazes, 5 x 3 in.

In this class we will make round pots on the wheel, taking an idea through a series of forms such as cups, bowls, and lidded jars so these forms clearly relate to each other as a series, set, or group. Surface will be addressed in the same way, concentrating on the forms as a primary source. We will do high-temperature reduction and soda firings. All levels, although some throwing skills will be helpful. Code 03CA

Susan: studio artist; teaching: Bates College (ME), University of Nebraska-Lincoln; representation: AKAR Gallery (IA), Lillstreet Art Center (Chicago), Schaller Gallery (MI). Paul: studio artist: teaching Bates College (ME), Haystack (ME); exhibitions: Society of Arts and Crafts (Boston), June LaCombe Gallery (ME), Center for Maine Contemporary Art.

This workshop will explore the use of slab and coil techniques to make plates, vases, lidded forms, and pots with handles and spouts. White slip and sgraffito in the greenware state will create a map for decorative approaches on bisque. Lectures, demonstrations, and individual and group discussions will encourage the development of a personal vision with these technologies. Intermediate level: basic handbuilding skills required. Code 03CB

Studio artist; recently retired as the Hixson-Lied Professor at University of Nebraska-Lincoln; residencies: Spode Fine China Works (England), Watershed (ME), Archie Bray (MT); solo shows: Lux Center for the Arts (NE), Sheldon Museum of Art (NE), Firehouse Art Center (OK); work published in Ceramics: Art and Perception, Neue Keramik, Contemporary Ceramics by Emmanuel Cooper and Masters: Earthenware (Lark Books).

Jill Eberle, Babette, charcoal on paper,

20 x 20 in.

Sensitive and expressive figure drawing combines observation with knowledge and timeless principles. This class will focus on what to observe and how to use your observations. Drawing the model every day, you will learn to translate gestures into lines. We will delve into the structure of the body, examining how anatomical landmarks and muscle forms are woven together. We will practice using light and rendering techniques to create volume and drama. We will also cover portraits and drawing heads with expression and attitude. All levels. Code 03D

Studio artist; adjunct professor at East Carolina University; exhibitions: Greenville Museum (NC), Imperial Center (NC), New Bern Artworks (NC), Caldwell Arts Council (NC), Lee Hansley Gallery (NC), Artspace (NC).

Masahiro Asaka, Surge 1, cast glass, cold worked,

17 x 17 x 21 in.

This class will introduce students to innovative glass casting techniques, including the use of clay and Styrofoam to make positives, refractory mold-making techniques, and firing and annealing schedules for both simple and complex forms. Then we will move to the cold shop where students will learn cutting, carving, and surface treatment techniques, including reductive sculpting approaches using hand-held tools and horizontal and vertical grinding machines. We will challenge traditional ideas about casting and coldwork, with innovative approaches facilitating creative expression. All levels. Code 03GA

Studio artist; teaching: Australian National University, Jam Factory (Australia); Ranamok Glass Prize (Australia/New Zealand); exhibitions: Lesley Kehoe Galleries (Australia), Canberra Glassworks (Australia), Jame Factory (Australia), Traver Gallery (WA), SOFA Chicago; collections: National Gallery of Australia, Art Gallery of South Australia, Palm Springs Art Museum (CA).

Jeremy Lepisto, Simple Structure, kiln-formed glass,

4 x 34-1/2 x 3-1/2 in.

This class is a structured approach to the process of constructing kiln-formed projects. Along with rough sketches and small models, students will produce material samples to explore the possible ways to construct and best represent their desired intent with kilnformed glass. Fusing, tack firing, slumping and cold fabrication processes will be covered and accompanied by lectures, presentations and demonstrations. Beginning/intermediate level. Code 03GB

Studio artist; co-founder of Studio Ramp, LLC, a custom kiln-forming fabrication studio that translates the designs of artists and architects into glass; teacher of workshops in U.S. and internationally; worked in production, research, and education at Bullseye Glass (Seattle).

Hoss Haley, Daedalus, cast iron, steel,

bronze, 98 x 48 x 28 in.

Developed by the ancient Greeks and perfected in the Renaissance, one or more of these basic functions are part of every machine used today: lever, wheel, pulley, inclined plane, wedge, screw. In this class we will explore the wonders of mechanical advantage. We will pay careful attention to the design of mechanical pieces while covering a broad range of techniques including basic forging, welding, fabrication, drilling, and cutting. All levels. Code 03i

Studio artist; teaching: Haystack (ME), Penland; exhibitions: Mint Museums (NC), New Mexico Museum (Santa Fe), California Crafts Museum (San Francisco), North Carolina Museum of Art, Blue Spiral I (NC); commissions: Pack Square (NC), Charlotte Area Transit System (NC), Sam Houston State University (TX).

This class will examine ways to add sound and light to objects and environments. Physical computing involves programming small computers to sense and respond to the physical world. Arduino microcontrollers and inexpensive kits for hooking them up to a vast number of things have opened physical computing to artists. This class will teach beginners how to use these boards along with sensors, switches, speakers, motors, LED lights, and more to add light and sound to their work. students should bring laptop computers. Beginning level. Code 03MA

Composer, artist, professor in the art, technology, and sound departments at the School of the Art Institute of Chicago; exhibitions: 2003 Biennial of Electronic Art (Australia), Pritzker Pavillion (Chicago), Art Basel Miami, Museum of Art and Design (NYC), Victoria and Albert Museum (London), Indianapolis Museum, 21st Century Museum (Kanazawa, Japan); frequently collaborates with other artists including, most recently, Jan Erik-Anderssson and Anne Wilson.

April Wood, Feeding the Hunger 4, copper, steel,

sheep gut, 6 x 6 x 5-1/2 in.

This class will explore steel from a jeweler’s perspective. Delve into gold and silver soldering on steel, both as a surface embellishment and a fabrication method. Learn to weld steel wire and sheet on the intimate scale of jewelry. Surface techniques will include chasing and repoussé, coloring, and patinas. Students will also work with found steel, printed steel (tinplate), and a variety of cold connections. Basic sawing, soldering, and filing skills required. Code 03MB

Studio artist; teaching: Maryland Institute College of Art (Baltimore), Corcoran College of Art and Design (DC); three Maryland State Arts Council awards; exhibitions: Austin Museum (TX), Ornamental Metals Museum (Memphis); publications: Surface Design, Metalsmith.

Stan Strembicki, Untitled, 2005, from Memory Loss,

A Post Katrina Photo Album, color photograph.

We find objects everywhere in our lives, and, if we stop and look for long enough, we can see stories reflected in them. In this black-and-white darkroom class, we will collect and arrange objects for photographs, and we will also photograph them as we find them in the world. This is not about studio lighting, it’s about how we can turn objects into narrative devices through their arrangement in our environment. We will cover the technical aspects of black-and-white film photography (students must bring their own cameras). Frequent field trips and daily, in-progress critiques will be the order of the day. All levels. Code 03P

Professor and coordinator of photography at Washington University (St. Louis); solo shows: Le Mieux Gallery (New Orleans), Philip Slein Gallery (St. Louis); collections: New Orleans Museum, Ogden Museum (New Orleans), St. Louis Museum.

Georgia Deal, Atoll, screenprint and transfers on

handmade paper, wax, 12 x 40 in.

Expand your print vocabulary through this exploration of monoprint and monotype processes. Focusing on the unique print, this workshop will cover a variety of techniques for the printmaker, painter, and book artist, including transfer processes, pressure printing, gum transfer printing, reduction monoprints, chine collé, and pochoir, among others. Although this class is geared toward students with printmaking experience, students with other image making interests will feel at home as well. Bring previously made etching plates if you have them, along with drawings and ideas. All levels. Code 03X

Professor and head of printmaking at Corcoran College of Art and Design (DC); exhibitions: Snyderman Gallery (Philadelphia), Gallery K (DC), Delaware Center for Contemporary Art; collections: Library of Congress (DC), Yale University (CT), Corcoran Gallery (DC), Philadelphia Museum.

Timothy Winkler, Quad, artist's book: linocuts on

Arches paper, 4 x 6 in.

Life is full of surprises, and books—as embodiments of our complex, diverse culture—should be, too. Building from a foundation of good technique, we will explore “painting” at the press using various combinations of linocuts, polymer plates, sandragraphs, and type. We will look for a fruitful balance between respect for tradition and an openness to the happy accidents that can enrich our printed work. All levels. Code 03L

Studio artist, freelance illustrator, proprietor of XYZPDQ Ephemeral Press (a book design studio); Windgate book arts fellowship; exhibitions: Asheville Bookworks (NC), Alabama Art Kitchen, Kentucky Museum of Arts and Design, Cheekwood Museum (Nashville), The Tomato Head (Knoxville); illustration and design clients: American Visionary Art Museum (Baltimore), The Stranger (Seattle), Louisville Magazine (KY), The Dallas Observer.

Catharine Ellis, jacquard-woven cotton, shibori-dyed

with madder root, weld, marigold, pomegranate and

indigo, stitched and appliquéd, 56 x 56 in.

This class is an exploration of natural dyes for studio use with a focus on the science behind the art. We will investigate mordants for both cellulose and protein fibers, immersion and print applications, lightfastness, and historical references. We will use both extracts and fresh plants, including indigo, and will discuss environmental and sustainability issues. Some experience with textile fibers and dyes required. All levels. Code 03TA

Catharine: studio artist; teaching: Haywood Community College (NC) craft program, author of Woven Shibori (Interweave Press); partner with The Oriole Mill (NC) developing new fabrics. Joy: textile engineer and chemist; teaching: Designskolen Kolding (Denmark).

Jason Pollen, Storm at Sea, canvas, silk, pigment,

dye, thread, 70 x 44 in.

Taking a playful and innovative approach to communicative mark-making and collage with fabric and paper, this workshop will focus on drawing, painting, cutting, fusing, and hand and machine stitching. We will experiment and explore visual concepts with pigments and organic colorants to create dynamic, expressive artwork. All levels. Code 03TB

Studio artist; former chair of fibers at Kansas City Art Institute; other teaching: Royal College of Art (London), Parsons School of Design (NYC); collections: Kemper Museum (Kansas City), Renwick Gallery (DC); president emeritus of the Surface Design Association, 2012 Penland Outstanding Artist Educator.

Sylvie Rosenthal, Journey to an

Empty City, basswood, poplar,

paint, mixed media, 54 x 69 x 24 in.

In this fast-paced, fun class, we will explore simple, classic, and experimental construction for sculptural woodworking. We will dissect traditional furniture techniques, transforming and manipulating them for sculptural applications. Using additive and subtractive processes, students will cut, glue, join, shape, paint, sand, break, and fix, as we cover joinery, construction, shaping, texture, and form. Open to beginners and woodworkers of all ages looking to take risks and try something new. All levels. Code 03W

Studio artist; teaching/visiting artist: Anderson Ranch (CO), Arrowmont (TN), Tainan National University (Taiwan), Minneapolis College of Art and Design; North Carolina Arts Council and Windgate fellowships; collections: Fuller Craft Museum (MA), Museum of Arts and Design (NYC).