2011 Kenan Fellows

Ten UNCSA students and alumni were chosen to study at Penland in summer workshops in 2011 (one was unable to attend). This year's Kenan fellows took classes in diverse media such as metals, glass, printmaking, photography, iron, painting, and felted wool sculpture.


The images of the students were taken at Penland by Charles Stokes.




Margaret Dancy

UNCSA: 2007 - 2009; School of the Art Institute of Chicago: 2009 - present


“I am interested in studying at Penland to expose myself to new ideas about craft and design. I believe that Penland will help me to find harmony between my current conceptual work and my previous work, which was rooted in materials. In my work, I convey my thoughts and ideas, particularly about man vs. nature, and feminism. I am currently working to make every gesture purposeful, ridding it of extraneous marks that distract from my pieces.”


Margaret made molds directly from natural objects and experiment with wax-working methods to create wax models for casting in metal in Lin Stanionis' fourth-session workshop Approaching Nature: Molding & Casting Your World in the metals studio.


“My inspiration to produce and create has exponentially increased due to factors like my extremely talented teacher, Lin Stanionis and the amazing facilities and their perfect placement around campus. I am excited to bring the energy of Penland back to Chicago and the craft skills I have learned to apply to my fine art interests.”





Christine Haag

UNCSA: 2007 - 2009; School of the Museum of Fine Arts Boston: 2009 - present


“Penland is the place to go to pursue and explore new processes and techniques while immersed in a creative environment. Penland is an environment where artists work together and establish creative conversation to encourage a flow between artwork and surroundings. Exchanging ideas and interacting with other artists at Penland is a way to challenge myself to grow and transform the meaning of my work. I am looking forward to contributing to the creative energy at Penland, as well as being back in an environment that is both my home and my inspiration.”


In Japanese Woodblock Printmaking, a fith-session class with Keiji Shinohara in the printmaking studio, Christine and her classmates explored the traditional and modern techniques associated with this oldest type of printmaking.


“The two weeks I have spent at Penland have been the highlight of my summer. The printmaking studio here is so well maintained and spacious, it has greatly added to the beautiful and creative working environment while nestled here in the mountains. I feel recharged artistically and mentally and ready to start my senior thesis, which will definitely include the techniques I’ve learned here.”






Kathryn Hanzalik

UNCSA: 2006 - 2007; University of New Orleans: January 2011 - present


“With the gift of a summer program at Penland, I intend to continue my pursuit of voice. My objective is to more fully communicate through word and image. Without art in my life there is no challenge, no drive to make myself better. What a marvelous thing to be surrounded by others with a similar ethic.”


Kathryn chose to take Maritza Molina's Constructed Realities & Directorial Photography, a third-session photography class focusing on the creative process of directorial photography: sketching ideas, scouting locations, building props, and composing, lighting, and photographing invented scenes.






Hannah Krieger

UNCSA: 2008 – 2010; School of Visual Arts in Manhattan, NYC: 2010 – present


Hannah learned about translating individual style and vision onto glass using modern techniques of painting on layered stained glass in Painting on Stained Glass, a fifth-session workshop in the flameworking studio with instructor Joseph Cavalieri.


“As a young artist who is constantly hearing older artists warn of the dangers of becoming too comfortable with your work, I am continuously looking for new ways to approach my concepts. The organization and planning it takes to create stained glass artwork has given me new ideas on how to approach my more intuitive flat work.”







Cameron Ledbetter

UNCSA: 2005 - 2007


In instructor Clarence Morgan's first-session drawing and painting workshop, Painting in the Abstract Realm, Cameron worked with a variety of drawing and water-based painting media, exploring formal, material, and unexpected image-making possibilities.


“My time at Penland has been an experience that seems to defy description, simultaneously strenuous and relieving. I have found myself working at a pace I had previously thought impossible. Penland has surpassed all of my expectations and I cannot begin to describe the depth of my gratitude to the army of people who make this place what it is.”








Morgan Mannino

UNCSA: 2008 - 2010; School of the Museum of Fine Arts Boston: 2010 - present


“While at UNCSA I learned the founding principles of artistic practice such as color theory, basic sculpture, drawing, design and painting techniques, and a solid foundation of art history. I was challenged to not only push my work aesthetically, but also conceptually. I am excited for this opportunity to come to Penland to develop my ideas and craft that are inspired by the area, gain experience by collaborating with others, and bring new ideas back to my work.”


Morgan took Weaving for Sculptural Forms, a second-session class in the textile studio taught by Sarah Wagner. This workshop taught students to make experimental cloth for creating sewn sculptural objects - functional, nonfunctional, wearable or otherwise.


“I had never woven before. Upon learning, I have fallen in love with the medium. This opportunity to be here at Penland has reminded me of my love of a close knit artist community and this beautiful state of NC, as well as inspiring me to pursue weaving as a medium in my work and return to Penland in the future and take more classes and even maybe do the 2 year core program.”









Aaron Pennington

UNCSA: 2006 - 2008; Maryland Institute College of Art: 2008 - present


“I often use my peers as models to create modern references to classic iconography in my work. I like to mix old-style media (gold leaf) with more contemporary techniques such as silk-screening and gel-medium transferring. At Penland I want to learn about the ancient media of encaustic which will open a new opportunity to bridge techniques/concepts of old and new.”


In Erin Anfinson's fourth-session painting class, Encaustic, Image Transfer, & Collage, Aaron explored processes for painting with hot wax, integrating collage materials, and transferring images onto and into wax.


“I had never encountered encaustics before this class at Penland. The class exceeded my expectations! The techniques I’ve learned will carry through my work for the rest of my time. I am looking forward to taking my new techniques back to Baltimore.”








Erin Quinlan

UNCSA: 2005 - 2007; Virginia Commonwealth University: 2007 - present


“Through casting and manipulating an everyday object into a new material, I invite the viewer to see the beauty in the discarded objects I see. By manipulating these objects, I place them in a context they normally would not inhabit. I have been working on making the transition from creating work for assignments to creating a body of work reflective of myself. Penland’s environment can help me hone my ideas to create a cohesive body of work with its unique environment and community of artists.”


Erin and her classmates learned how to use simple tools and techniques to manipulate wool fibers into free-standing, solid felt sculpture in Stephanie Metz's Sculptural Felting, a seventh-session workshop in the textiles studio.


“I was happily surprised to find that no matter how well others speak of Penland, it will exceed your expectations from the moment you arrive. I am overwhelmed with knowledge from Stephanie Metz’s sculptural felting class. I cannot wait to apply these techniques once I return to college and beyond.”








Jackson Thomas

UNCSA: 2009 - 2011


“By attending Penland, I will continue to develop a more well-founded appreciation for the arts by expanding my experience in mediums outside my previous experience. By understanding a variety of mediums, the ability to make a variety of art is less limiting. I am excited to be exposed to the many mediums offered at Penland including, glass, metals, fibers, printmaking and sculpture.”


Jackson studied forging and forming by hand, power hammer, and other classic and innovative methods to help expand and realize his sculptural visions in Iron (r)Evolution, a third-session class in the iron studio with instructor Noellynn Pepos.


“Penland enhanced my abilities in craft and creativity in a manner that was nurturing and kind. My work was recognized with such gratitude and appreciation that the positive reinforcement itself was the agent responsible for my improvement.”


Artist lecture and reception with Penland resident artist Amy Tavern, January 2011

Amy Tavern, a jeweler and Penland resident artist, holds a BFA in Metal Design from the University of Washington and a BA in Arts Administration from the State University of NY College at Fredonia. She has taught at Penland and the Pratt Fine Arts Center. In 2008, she lectured about professional practices at the Society of North American Goldsmiths conference and has spoken at East Carolina University, the University of Washington, and Winthrop University. Amy has exhibited at Sienna Gallery, Quirk Gallery, and The Museum of Contemporary Craft, among others. In 2009, she received several emerging artist honors including the American Craft Council Searchlight Artist Award.


On January 25, Amy presented a lecture about her work and career for high school visual arts students at the UNC School of the Arts.



Workshop with Amy Tavern

On January 26, Amy gave two workshops for those students. Although she is a jeweler, she chose to do a workshop on composition rather than any kind of metalsmithing. Students had been told ahead of time to make photocopies of drawings from their sketchbooks. At the workshop they were given an assortment of materials from an office supply store and given the assignment to make a series of collage compositions using these materials along with the copies of their drawings. When the assignment was complete, Amy conducted a critique of the compositions.