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Clay Workshops at Penland Scroll down for Fall and Spring classes. Classes are open to serious students of all levels unless specified in course description; beginners welcome. summer Session 1 May 27 - June 8, 2012 
Dan Anderson, Bobber, pierced container, stoneware, sod- fired and commercial 06 glazes, 10 in. tall Dan Anderson - Altered Pots This workshop will concentrate on taking pots out of round using various wet-working techniques on the wheel or fresh off the wheel. We will cover faceting, paddling, piercing, cutting, folding, and pushing. We will work with dark and light stoneware and/or porcelain, and we will fire in the salt kiln. Intermediate level; basic wheelthrowing skills required. Code 01ca Studio artist and educator; headed the ceramics program at Southern Illinois University-Edwardsville for 32 years; other teaching: Haystack (ME), Penland, Anderson Ranch (CO), Peters Valley (NJ), Watershed Center for Ceramic Arts (ME), Arrowmont (TN); awards: NEA Artist Fellowship, 12 Illinois Arts Council grants, Ford Foundation grant.
Israel Davis Israel Davis - Objects & Images Throughout history, the clay object has been a vehicle for storytelling and metaphor. This class will explore those ideas through the use of screenprinting with slips and underglazes to incorporate images into clay objects. We will make slab-constructed vessels and experiment with wheelthrown forms. Students will learn to create imagery, expose screens, and print on clay in a DIY atmosphere. Earthen-ware and mid-temperature stoneware. All levels. Code 01cb Assistant professor, Kendall College of Art and Design (MI); ceramics program director, Urban Institute for Contemporary Arts (MI); exhibitions: AKAR Architecture and Design (IA), Signature Gallery (Atlanta), Crimson Laurel Gallery (NC), Artspace (NC), Kentucky Museum of Arts and Crafts.
summer Session 2 June 10 - June 22 
Kevin Snipes, Dag Nabit, porcelain, glazes, underglazes, oxide wash, 14 in. high Kevin Snipes - Drawing Conclusions This class will challenge you to consider the ceramic object as a vessel for storytelling. Working with porcelain, students will use throwing and handbuilding techniques to create meaningful three-dimensional canvases. Then we will draw on these canvases using mishima, sgraffito, and underglaze decoration. Demonstrations will include forming methods and the use of surface techniques to produce intricate, layered surfaces. We will also discuss design, historical references, and meaning. Cone 6 electric firing. All levels. Code 02ca Studio artist; exhibitions: Society of Arts and Crafts (Boston), The Clay Studio (Philadelphia), SOFA Chicago, Santa Fe Clay (NM); work featured in American Craft, Ceramics Monthly, 500 Figures in Clay (Lark Books).
Kelly & Kyle Phelps Kelly Phelps & Kyle Phelps - Figure Narrative: Clay as Process We will use the figure to explore personal and cultural history as we make narrative clay/resin cast reliefs. The clay/resin material is unfired, chemically hardened, and reworkable. The resulting forms can be cut, drilled, and sanded to achieve different textures. We will cover brainstorming, sketching, clay modeling, moldmaking, and many surface treatments including oils, acrylics, stains, and techniques such as highlighting, shadows, and weathering. All levels. Code 02cb Collaborating artists; Kelly is associate professor at Xavier University (OH), Kyle is associate professor at University of Dayton (OH); they share a studio in Centerville (OH); numerous grants, regional and national exhibitions, and commissions.
summer Session 3 June 24 - July 6, 2012 
Catherine White, Fishtail Cocoon, wood-fired stoneware, 14 x 18 x 8 in. Catherine White - Woodfiring: A Studio Stew Fire the wood kiln and find your recipe for studio stew. We will make thrown and handbuilt forms and oscillate between pencil-and-paint-on-paper and brush-and-slip-on-clay. We will investigate clay character, the poetics of texture, the use of line and pattern, printing with slip, and the rapport between form, stacking, and woodfiring. Stoneware clay. All levels. Code 03ca Studio artist; teaching: Corcoran College of Art and Design (DC), Hood College (MD), Penland; collections: Renwick Gallery (DC), Freer/Sackler Gallery (DC); commissions: Omen Restaurant (NYC), Barack and Michelle Obama; exhibits nationally.
Deborah Horrell & Tom Spleth - Fork in the Road: Clay & Glass Each student in this class will create a single model of a form dear to his or her heart and then make two molds from that model: one will be suitable for slip casting porcelain, the other will be for pâte de verre (glass paste). We will then realize our forms in both media and compare and contrast the results. This is an ambitious project that may yield only a few pieces but will produce much insight into the nature of material and process and how these things influence our ideas and feelings about what we might make. All levels. Code 03cb Deborah: studio artist; teaching: Pittsburgh Glass Center (PA), Pilchuck (WA); exhibitions:Traver Gallery (WA), Heller Gallery (NYC). Tom: studio artist; NEA fellowship, Kohler Arts Center residencies; career retrospective at Gregg Museum (NC). 
Deborah Horrell, Triad, cast glass, 30 x 18 x 6-1/2 in. 
Tom Spleth, Untitled, slip-cast, unglazed, high-fired porcelain, decorated with inlaid colored slip, 28 in tall
summer Session 4 July 8 - July 20, 2012 
Martina Lantin, Plates, wheel-thrown and altered earthenware, glaze decoration, 1/2 x 9 x 9 in. Martina Lantin - Pots in Process This workshop will be an exploration of making, from start to finish. Working in earthenware, we will alter pots on the wheel and build more complex forms from parts. We will develop the surfaces of our new forms through slip work, monoprinting, and image transfer. Electric firing. All levels. Code 04ca Professor at Marlboro College (VT); residencies: Arrowmont (TN), Baltimore Clayworks (MD); teaching: Warren Wilson College (NC), University of Kentucky-Lexington, Savannah College of Art and Design (GA), Nova Scotia College of Art and Design (Canada); exhibitions: Lux Center for the Arts (NE), Roswell Art Center West (GA), Armory Art Center (FL), Blue Spiral 1 (NC).
Arthur Gonzålez, Book of Whispers, ceramic, glaze, wood, 30 x 27 x 20 in. Arthur González - The Metaphorical Portrait Using the clay portrait bust as our format, we will learn to depict facial emotions through an understanding of the asymmetry of the face and upper body. We will cover fundamental Renaissance artistic concepts and Impressionist color theory. We will then include the ideas of metaphor, devices of depicting personal symbolism, and the practice of creating a personal visual language. Low-temperature gas firing. Open to students of any level who are comfortable with handbuilding. Code 04cb Professor at California College of the Arts; four NEA fellowships; residencies: Pilchuck (WA), Taiwan National University of the Arts (Taiwan), Penland; 40 solo exhibitions; author of The Art of Rejection (John Natsoulas Press). summer Session 5 July 22 - August 7, 2012 
James C. Watkins, Saggar Fired Bottle Form, 17 in. high James C. Watkins - Raku, Saggar, & Throwing Large The focus of this class is raku and saggar firing. I will also help students address the technical issues involved in large-scale throwing. Demonstrations and topics will include large platters, double-walled vessels, pit firing, and saggar firing in a carbon-trapping metal container. We will also cover surface decoration and discuss ways of using the physical environment as creative inspiration. Basic throwing skills required. Code 05ca Paul Whitfield Horn Professor at Texas Tech University; collections: White House Craft Collection (DC), Shigaraki Institute of Ceramic Studies (Japan); work featured in A Meditation of Fire: The Art of James C. Watkins by Kippra Hopper (Texas Tech University Press), and Alternative Kilns and Firing Techniques (Lark Books).
MaPo Kinnord-Payton MaPo Kinnord-Payton - Low-Relief Tile Production We will create low-relief sculptures, make molds from them, and produce multiples. We will consider the potential of tiles as social statements, visual poems, fundraising plaques, and unique decor. We will experiment with a variety of surface treatments including lettering, press materials, stamps, glazes, and nonfired paints. Clay novices and professional artisans are invited to bring their cache of images, materials, and experiences. We will use raku, stoneware, and porcelain clay in a variety of firings. All levels. Code 05cb Studio artist; associate professor at Xavier University of Louisiana; other teaching: NOLA Fired Up (New Orleans), Haystack (ME), Penland; director of the Ghana Project, a cultural arts program on the traditional pottery and ceramic architecture of northern Ghana.
Summer Session 6 August 12 - August 24 , 2012 
Jim Lawton, A-Shaped Flask, earthenware, 10 x 10 x 2-1/2 in. Jim Lawton - Shape Shift: The Pot The pot is one of the most protean human inventions,yet it has settled over millennia into specific archetypes: bowl, jar, vase, teapot, etc. I’d like to explore the rudiments of these forms and continue the age-old practice of messing with their formal DNA. We will reintroduce the source models: the body, plants, the landscape, etc. And we will look at cultural sources such as geometry, alphabets, etc. We will work with high-fire stoneware porcelain and fire soda/salt kilns. All levels; some experience with clay and a lust for taking risks will be helpful. Code 06ca Studio potter; professor, University of Massachusetts-Dartmouth; collections: Mint Museum (NC), Victoria and Albert Museum (London), Los Angeles County Museum of Art.
Tom Bartel, Red Headed Step Child, ceramic and found object, 36 x 18 x 12 in. Tom Bartel - Assembling the Figure This class will consider the fragmented human form as subject within contemporary ceramic figure. We will build separate parts that will be used to construct a singular, conglomerate figure. We will consider the form in terms of what it can look like (aesthetics), what it can mean (content), and how it is presented (context). Special attention will go to head and facial modeling techniques. We will use terra cotta clay and bisque fire for safe transport. Slip application and multifire surface treatments will be demonstrated and students may test surfaces via test tiles. Intermediate/advanced level. Code 06cb Associate professor at Ohio University; Pennsylvania, Kentucky, and Ohio Arts Council fellowships; work featured in American Craft, Ceramics Monthly, Ceramics: Art and Perception. Summer Session 7 August 26 - September 1, 2012 
Kate Missett, Kabuki Tiger, earthenware with majolica glaze and terra sigillatta, 35 x 16 x 8 in. Kate Missett - Printing on Clay In this class we will explore the expressive possibilities of incorporating photographs and other transferred images into the clay surface to add depth and narrative to your form. We will learn an assortment of techniques that will allow you to work on rounded or flat pieces from greenware to glaze-fired, including EZScreen, rice paper transfer, and laser transfer. We will do several different firings in class, but these techniques are applicable to all firing techniques and temperatures: from raku to wood. All levels. Code 07ca Studio artist; teaching: City University of New York, Greenwich House Pottery (NYC), Parsons The New School for Design (NYC); work featured in 500 Raku (Lark Books), and Pottery Making Illustrated; represented by Barnstone Gallery (PA).
Jeff Zamek, Covered Jar, Cone 6 soda-fired stoneware, gloss blue glaze, 8-1/2 in. high Jeff Zamek - Easy Glaze Calculation Students in this class will learn about ceramic raw materials and their use in glazes. They will then calculate their own glazes and fire them at various temperature ranges and kiln atmospheres. We will also cover the causes and corrections of clay body and glaze defects. Never again feel frustrated with a bad glaze result. All levels. Code 07cb Ceramics consultant; teaching: I.S. 183 Craft Center (MA), Penland, Brookfield Craft Center (CT), Bard College at Simon’s Rock (MA), Keene State College (NH); author of The Potter’s Studio Clay & Glaze Handbook, What Every Potter Should Know, and Safety in the Ceramics Studio.
fall eight-week concentration September 23 - November 16, 2012  Matt Kelleher - Diversify Your Portofolio: Cone 3 This class is for students who have the skills to make basic pottery forms and are ready to expand their vocabulary and develop a portfolio. While the class will be based in wheel throwing, it will also include handbuilt projects using bisque molds and slab building techniques. We will work with cone 3 red clay in electric, soda, and salt kilns to discover how forms change according to the surfaces we put on them. Intermediate level: basic throwing skills required. Code f00ca Studio artist; teaching: Alfred University (NY), Penland; residencies: Archie Bray Foundation (MT) Shigaraki Ceramic Cultural Park (Japan); collections: Wichita Center for the Arts (KS), Yixing Ceramics Museum (China), Archie Bray Foundation (MT); former Penland resident artist.
Jenny Mendes & Shoko Teruyama - Surface Safari Do you want to make narrative ceramic work but have no idea where to begin? In this class, students will be guided in developing a distinctive and personal vocabulary through handbuilt pottery and sculptural forms. We will explore surface decoration through sgraffito, slips, mishima, glaze, terra sigillata, and color on earthenware. By combining form with a decorative voice, students will learn to navigate their surfaces in meaningful ways. All levels. Code f00cb Shoko: studio artist; North Carolina Arts Council fellowship; teaching: Penland; visiting artist at Alfred University (NY); former Penland resident artist. Jenny: studio artist; teaching: Baltimore Clayworks, Santa Fe Clay, Mudfire (GA), Penland; exhibitions: Northern Clay Center (MN), AKAR Gallery (IA), Signature Gallery (GA); former Penland resident artist. 
spring eight-week concentration March 10 - May 3, 2013 Kevin Crowe & Dan Finnegan - Building Fire, Feeding Flame We will thoroughly engage with wood-fired pottery by building a two-chambered wood kiln with one chamber set up for salt. As we build, we will explore kiln design, construction techniques, and combustion cycles. We will also throw pots for the first series of firings, developing forms, slips, and stacking patterns that best exploit flame and ash. Kevin will be with us for the first month as we build the kiln. During the second month, Dan will be joined by guest artists Michael Hunt, Michael Kline, and Mark Peters, who will each lead a firing. Kiln building is empowering and exciting, and it’s also a construction project—so bring work shoes, eye protection, gloves, and expect to engage in manual labor. All levels. Code s00ca Kevin: studio artist; teaching: Campbell Folk School (NC), Baltimore Clayworks, Hood College (MD); exhibitions: Smithsonian Craft Show (DC), Rye Arts Center (NY). Dan: studio potter; founder of Libertytown Arts Workshop (VA); teaching: Savannah College of Art and Design (GA), Museum of Mankind (London); exhibitions: Campbell House Gallery (NC), Washington Street Gallery (WV). 
spring one-week session 1 March 24 - 30, 2013  Charlie Riggs & Linda Riggs - Alternative Firing Techniques This class will cover alternative firing techniques to obtain a variety of colors on the bare surfaces of pots polished with white terra sigillata. Students’ pots will be placed into atmospheres where smoke and/or chemicals produce the final surface color. These colors will range from the deep reds and oranges of saggar and ferric chloride firings to the stark black and white designs of naked raku. Techniques will include two kinds of naked raku, saggar firing in a raku kiln, chemical fuming, and horsehair firing. The emphasis of this workshop is firing; students will be asked to bring bisqueware with them. Intermediate level. Code s01cb Collaborating studio artists; teaching: Laloba Ranch Clay Center (CO); representation: Blue Moon Gallery (NC), Campbell House Galleries (NC), Santa Fe Pottery (NM), Creative Clay (VA), Marshall Gallery (NC); contributing writers to Naked Raku and Related Bare Clay Techniques, edited by Eduardo Lazo.
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