Please read our COVID-19 Safety Guidelines document. Transfers are not available for this workshop. All levels. In this workshop well create performance-based wearable pieces that investigate the foundations of identity through personal narratives and lived experiences. All levels. Using generative and iterative design methods, each day will highlight a specific technique for shaping plates and for finding a visual language. Well make handles and ferrules from wood and bamboo and visit a nearby bamboo grove to learn how to harvest this material. Kyle: studio artist; teaching: Sawtooth School of Visual Art (NC), College of Lake County (NC), Habersham Mills (GA), University of Alaska SE; exhibitions: Clayakar (IA), Schaller Gallery (MI); collections: Mint Museum (NC)., carpenterpottery.com | @kylecarpenterpottery, Michael: studio artist; teaching: Anderson Ranch (CO), Haystack (ME), Harvard (MA), Shadbolt Center for the Arts (BC); collections: Islip Art Museum (NY), Gregg Museum (NC), San Angelo Museum of Fine Arts (TX); publications: Tableware in Clay (Crowood Press), The Art of Contemporary Pottery and Functional Pottery (Krause Publications), Mastering the Potters Wheel (Voyageur Press); former Penland resident artist.. Well discuss how inspiration and abstract concepts inform work and how they can be part of your creative practice. Assistant professor of ceramics at Texas State University; Emerging Voices Award from American Craft Council, United States Artists Fellowship; works with porcelain and other materials associated with traditional womens work to discuss fragility, beauty, femininity, intersectionality, identity, and personal history., jenniferlingdatchuk.com | @jenniferlingdatchuk. In this workshop well create performance-based wearable pieces that investigate the foundations of identity through personal narratives and lived experiences. Beginning with small maquettes, students will experiment with shape and proportion, brainstorming with the clay. Midrange clay, electric firing. Associate professor at Howard University (DC); other teaching: Duke Ellington School of the Arts (DC), Grambling State University (LA), 2015 Mid-Atlantic Clay Conference, 2016 and 2019 NCECA conferences; creator of the comic book The Clay H.E.R.O.S. Well create platters and serving dishes using handbuilding techniques such as slab and coil construction and then add handles and feet, carve textures and patterns, and consider the specific functionality and visual balance of the pots. While our focus will be on exploration, you can expect to take home up to three completed new forms and many more experiments and ideas to develop later. Studio artist, woodworker, brush maker; teaching: Touchstone (PA), Morean Arts Center (FL), Lillstreet Art Center (Chicago), Gaya Ceramic Art Center (Bali), Penland; galleries/exhibitions: Schaller Gallery (MI), Pewabic Pottery (MI), Northern Clay Center (MN), Michiana Pottery Tour (IN).. This workshop will motivate novice potters to experiment with new and old forms and construction methods. Lynn: studio artist, professor emerita at Appalachian State University (NC); other teaching: Maine College of Art, Haystack (ME), SnowFarm (MA); exhibitions: Fuller Craft Museum (MA), Center for Maine Contemporary Art; publications: Ceramics Art + Perception, Ceramics Monthly (cover story)., Holly: studio potter; teaching: Haystack (ME), Rhode Island School of Design, Anderson Ranch (CO), Nova Scotia College of Art and Design, Haystack (ME), Penland; representation: Clayakar (IA), The Clay Studio (Philadelphia); former director of Wateshed (ME); publications: Inspired: Life in Penlands Resident Artist and Core Fellowship Programs and Mastering Hand Building by Sunshine Cobb.. Well emphasize marrying form and surface through texture, pattern, and color to create works of intrigue and intimate beauty filled with personal language and meaning. Using handbuilding and various idea-generating methods, well investigate how materials, process, and technique intersect to produce work with depth and meaning. Beginning with small maquettes, students will experiment with shape and proportion, brainstorming with the clay. This workshop is a hands-on opportunity to make a variety of basic and compound brushes. Beginning level. This handbuilding workshop will explore construction techniques such as pinching, coiling, darting, and hollow slab construction. While most traditional methods of clay sculpting call for making hollow forms through slab or coil methods, this process involves rapid construction over temporary armatures, eliminating most structural concerns. 
Youll leave the workshop shaking a rattle, blowing a whistle, or beating a drum, and you might be carrying a chess set, a new game, or maybe even a doll head or two. We understand your email address is private. Studio artist; teaching: Indiana University, University of New Mexico, Penland, Pocosin Arts (NC), Arrowmont (TN), Santa Fe Clay (NM); collections: Boise Art Museum (ID), San Angelo Museum (TX); residencies: Pocosin Arts; Penland Resident Artist Program. Investigations will include bisque molds, spouts and handles, mark making, and incorporating inspirations. Upper clay studio. Well go from creating musical instruments to crafting game pieces using the handbuilding techniques of slab, coil, and pinch along with making and using multi-part molds. By weeks end, students will develop a toolbox of strategies for plate design. Well work with earthenware and electric firings, and explore surface potentials in applications appropriate for both sculptural and functional work, ranging from subtle and soft to exuberant color. Fresh ideas and new skills will open a path forward for each students creative exploration. Using handbuilding and various idea-generating methods, well investigate how materials, process, and technique intersect to produce work with depth and meaning. Associate professor at Howard University (DC); other teaching: Duke Ellington School of the Arts (DC), Grambling State University (LA), 2015 Mid-Atlantic Clay Conference, 2016 and 2019 NCECA conferences; creator of the comic book. All levels. For unlimited access to Ceramics Monthly premium content, subscribe right now for as low as $2.99/month.
All levels. Bring family recipes and sketches of ideas for serving dishes. issue of Ceramics Monthly. Students in this workshop will explore a full palette of surface design techniques and how they relate to functional pottery form. Consider this workshop from our, $190 Stand-In Fee (required if not working your kiln shifts), From Mud to Mugs:An Introduction to Pottery, Staying Centered: Introduction to Wheel Throwing. In this workshop, well explore a range of historic and contemporary ideas for serving and storing everything from small delicacies to main courses. Students will also learn to make drape molds with objects brought from home to create reinterpreted objects of use. Stencils and colored slips will help transfer surface design ideas onto wet, 3D clay forms, . Well work with earthenware and electric firings, and explore surface potentials in applications appropriate for both sculptural and functional work, ranging from subtle and soft to exuberant color. High-fire stoneware.
Slide presentations and discussions will round out the workshop. Studio artist; teaching: Red Clay Lodge (MT), Santa Fe Clay (NM), Anderson Ranch (CO), Penland; Archie Bray Foundation (MT) long-term residency; named 2013 Emerging Artist by Ceramics Monthly and NCECA; author of. Upper clay studio. Upper clay studio. experienced students welcome. Investigations will include bisque molds, spouts and handles, mark making, and incorporating inspirations. This is an ideal approach for art teachers and figurative sculptors who want to eliminate firing losses. Upper clay studio. This is an ideal approach for art teachers and figurative sculptors who want to eliminate firing losses. Lower clay studio. Penland School of Craft, Post Office Box 37, Penland NC 28765-0037 | 828.765.2359 | Penland School: So you discovered clay, and now you are hooked? Earthenware clay. To download the Summer Workshops PDF, click here. Well explore patterns through the use of wax and latex resists in our glazing and finish our pots by firing with wood, salt, and soda. Well also cover easy decorating techniques that can be applied in the greenware state: mishima, sgrafitto, and resist. Well draw inspiration from the sympathetic creative practices of music and poetry and their use of system, material, and formal thinking to generate creative expression. Well work with pinch, coil, darting, hollowing, and slab construction to create dynamic functional forms. Working with earthenware clay, students will use handbuilding techniquespinching, coiling, slab building, and double-walled constructionto create sculptural or utilitarian bowls. Class topics include functional and decorative pottery, wheel throwing, handbuilding, clay sculpture, glazing, and salt-, soda-, and wood-firing. Earthenware clay. Well experiment with flashing slips, underglazes, and glazes that will be enhanced in cone 10 soda and salt firings. Well then make wet clay molds and bisque slump molds from these pieces and use them to re-make similar bowls or as jumping-off points for inventing new forms. Well explore glaze application and finishing, and fire in electric kilns. High-fire stoneware. Well also cover easy decorating techniques that can be applied in the greenware state: mishima, sgrafitto, and resist. This handbuilding workshop will explore construction techniques such as pinching, coiling, darting, and hollow slab construction. All scholarships have been awarded for summer and are not available for this workshop. These ideasorganized around the space of the tablewill be the starting point for imagining the form, scale, surface, and structure of pots. Upper clay studio. Studio artist; co-organizer of Objective Clay and National Clay Week; teaching: Western Kentucky University, Arrowmont (TN), Archie Bray (MT), Watershed (ME); residencies; Arrowmont, Strathnairn Arts Association (AU); exhibitions: Flower City Arts Center (NY), Old Church Pottery Show (NJ), Art of the Pot (TX), Worcester Center for Crafts, Smithsonian Craft Show (DC), author of Mastering Kilns and Firing: Raku, Pit and Barrel, Wood Firing, and More (Quarry Books). Associate professor at Louisiana State University; coordinator of the Mid-Atlantic Keramik Exchange (Iceland), co-director of the first Queeramics Symposium (LA); residencies: SM (Iceland), shs Hafnarfjarar (Iceland), McKnight at Northern Clay Center (Minneapolis), Evelyn Shapiro Fellow at The Clay Studio (Philadelphia); collections: Philadelphia Museum of Art, Sanbao Ceramic Art Institute (China), Garth Clark and Mark Delvecchio Collection at the Museum of Fine Arts Houston., artaxis.org/artist/andy-shaw | @awaytowards. Well make handles and ferrules from wood and bamboo and visit a nearby bamboo grove to learn how to harvest this material. Students can expect to make 20-60 brushes. Workshops are open to serious students of all levels unless specified in course description; beginners welcome. This workshop will focus on developing form and surface in pots, using history, environment, and personal experiences to help students develop their voice in clay. Well use midrange clay bodies and glazes. with coils and slabs, using one-part plaster molds, glazing and electric firing (cone 04 oxidation). NOTE: Participation in Penland workshops currently requires proof of COVID-19 vaccination. Students can expect to make 20-60 brushes. Well stamp, paint, scratch, and scrape stoneware pots, bringing layer upon layer of visual interest to the surface. Stencils and colored slips will help transfer surface design ideas onto wet, 3D clay forms. This workshop will help you get the play into your clay. Porcelain is often associated with fragility and preciousness, but it can also be powerful and resilient. This workshop is about exploring forms rather than making work for the next craft fair. Associate professor at Colorado State University; other teaching: Haystack (ME), Anderson Ranch (CO); residencies: Archie Bray (MT), European Ceramic Work Center (Netherlands); exhibitions: Museum of Fine Arts, Boston, Denver Art Museum, Milwaukee Museum of Art; representation: Haw Contemporary (Kansas City), Harvey/Meadows Gallery (CO). This workshop will be a fast-paced exploration of plate design for a table setting of four. This workshop will help you get the play into your clay. Upper clay studio. Studio artist; teaching: Arrowmont (TN), Shakerag (TN), Santa Fe Clay (NM), Odyssey Center (NC), Penland; Society of Arts and Crafts Award (Boston), North Carolina Arts Council Fellowship; exhibitions: Mint Museum (NC), Currier Museum of Art (NH); collections: Asheville Art Museum (NC), NCECA; former Penland resident artist. Explore the potent possibilities of form and scale with two long-time handbuilders: Lynn is a minimalist sculptor and inventor of the SlabSling; Holly is a coil and pinch potter. Projects, exercises, and conversations will stimulate exploration and growth. Slide presentations and discussions will round out the workshop. Basic wheelthrowing skills will be helpful, but this workshop is open to, This workshop will explore a range of systems and techniques for creating volumetric, handbuilt sculptures with a focus on problems of scale, gravity, and architecture. Well emphasize marrying form and surface through texture, pattern, and color to create works of intrigue and intimate beauty filled with personal language and meaning. Basic wheelthrowing skills will be helpful, but this workshop is open to all levels. Bisque fire only. Midrange clay, electric firing. You will receive emails and newsletters from Ceramic Arts Network. The second part of the workshop will focus on exploring surface embellishing techniques and materials, including colored slips and underglazes. Upper clay studio. Well experiment with flashing slips, underglazes, and glazes that will be enhanced in cone 10 soda and salt firings. Working with earthenware clay, students will use handbuilding techniquespinching, coiling, slab building, and double-walled constructionto create sculptural or utilitarian bowls.
Well work with white stoneware and fire to cone 6 oxidation. 
Using primarily stoneware clay, well work on the wheel and use handbuilding techniques, including slab, carving, and coil. This workshop will present a method of clay sculpting that will expedite figurative projects, facilitating the completion and firing of flawless pieces in a short time frame relative to scale and complexity. Professor of ceramics and sculpture at University of Kentucky, faculty and former chair of visual arts at The Kentucky Governors School for the Arts; work in exhibitions and collections through the U.S. and abroad; publications: The Craft and Art of Clay, Contemporary Ceramics. All levels. Well make some pieces with unfired porcelain, and each student will complete one fired, performance-based piece. 
Well explore the mark-making potential of different hairs, furs, and fibersboth natural and synthetic. Well cover maquette making, armature building, clay modeling, glazing, and firing. Lower clay studio. I will talk about building surfaces throughout the making process and glaze and surface treatments. All levels. Studio artist; teaching: Red Clay Lodge (MT), Santa Fe Clay (NM), Anderson Ranch (CO), Penland; Archie Bray Foundation (MT) long-term residency; named 2013 Emerging Artist by Ceramics Monthly and NCECA; author of Mastering Hand Building(Voyageur Press). This workshop will be a fast-paced exploration of plate design for a table setting of four. A range of clay bodies will be available; well conclude with a bisque firing. Along the way well introduce a number of clay games that are fun and also teach a lesson. Well go over different ways to center, pull up, and make different forms. Well create platters and serving dishes using handbuilding techniques such as slab and coil construction and then add handles and feet, carve textures and patterns, and consider the specific functionality and visual balance of the pots. Well use cone 5-6 B-Mix clay and fire in oxidation. With a process-over-product mentality and an eye toward creative expansion, well cover coil and pinch methods along with hard and soft slab construction to generate pottery components. Upper clay studio. Serving dishes contain and serve; they hold our favorite foods and our cultural histories. Registration will begin at Noon ET on Monday, May 23. Explore the potent possibilities of form and scale with two long-time handbuilders: Lynn is a minimalist sculptor and inventor of the SlabSling; Holly is a coil and pinch potter. Well engage in demonstrations, reading, discussions, and critiques, and techniques will include building with coils and slabs, using one-part plaster molds, glazing and electric firing (cone 04 oxidation). Well cover drape molds and embellishing techniques with slips and underglazes, along with basic photo documentation and adornments/attachments to the body. Westerville, OH 43082, ICAN Online Juried Show Exhibition Archives, Annual National K-12 Ceramic Exhibition Award, ICAN Making a Difference in Ceramics Award, Workhouse Clay International ICAN Merit Award, Pottery Making Illustrated Submission Guidelines, Yes, I want to subscribe to Ceramics Monthly. A range of clay bodies will be available; well conclude with a bisque firing. Well focus on the techniques I use for creating elaborately patterned vesselsincluding wheelthrowing, handbuilding, and color-slip inlay. Penland School of Craft offers 1-, 2-, and 8-week clay workshops taught by visiting instructors in our well-equipped studios. Well begin by asking the question, What is required of design for objects to be called a set? Daily technical demonstrations, slide talks, collective learning, and generative exercises such as drawing will help turn our studio into a hothouse of ideas. Well make some pieces with unfired porcelain, and each student will complete one fired, performance-based piece. NOTE: There are 14 spaces available in this workshop. You can unsubscribe at any time. Lower clay studio. Well explore patterns through the use of wax and latex resists in our glazing and finish our pots by firing with wood, salt, and soda.
Appears in the Lower clay studio. All levels. So you discovered clay, and now you are hooked? Well use cone 5-6 B-Mix clay and fire in oxidation. Well then make wet clay molds and bisque slump molds from these pieces and use them to re-make similar bowls or as jumping-off points for inventing new forms. The second part of the workshop will focus on exploring surface embellishing techniques and materials, including colored slips and underglazes. Well draw inspiration from the sympathetic creative practices of music and poetry and their use of system, material, and formal thinking to generate creative expression. Along the way well introduce a number of clay games that are fun and also teach a lesson. Well engage the class in conversation regarding their individual perspectives of studio potter life and practices. Ceramics Art + Perception, Ceramics Monthly, Inspired: Life in Penlands Resident Artist and Core Fellowship Programs. Students in this workshop will explore a full palette of surface design techniques and how they relate to functional pottery form. We will address the challenge of making strong forms with high functionality. Using primarily stoneware clay, well work on the wheel and use handbuilding techniques, including slab, carving, and coil. April 2022 PA 15437, Wharton Furnace Road is closed Between Fayette Springs Road and Touchstone. Fresh ideas and new skills will open a path forward for each students creative exploration. All levels. Well begin by asking the question, What is required of design for objects to be called a set? Daily technical demonstrations, slide talks, collective learning, and generative exercises such as drawing will help turn our studio into a hothouse of ideas. All levels. While most traditional methods of clay sculpting call for making hollow forms through slab or coil methods, this process involves rapid construction over temporary armatures, eliminating most structural concerns. This workshop will explore a range of systems and techniques for creating volumetric, handbuilt sculptures with a focus on problems of scale, gravity, and architecture. Working mostly with mid-range stoneware fired in electric kilns, students will push the boundaries of ceramic materials by experimenting with multi-layered surface treatments using carving, colored slips, underglazes, and glazes.
Youll leave the workshop shaking a rattle, blowing a whistle, or beating a drum, and you might be carrying a chess set, a new game, or maybe even a doll head or two. Bisque fire only. Well work with white stoneware and fire to cone 6 oxidation. Beginning level; experienced students welcome. Lower clay studio.
Well use midrange clay bodies and glazes. Well work with pinch, coil, darting, hollowing, and slab construction to create dynamic functional forms. Upper clay studio. Intermediate level: basic wheelthrowing skills required. Our finished work will be bisque fired and raku fired. Well stamp, paint, scratch, and scrape stoneware pots, bringing layer upon layer of visual interest to the surface. Using generative and iterative design methods, each day will highlight a specific technique for shaping plates and for finding a visual language. Upper clay studio. In this workshop, well explore a range of historic and contemporary ideas for serving and storing everything from small delicacies to main courses. Then join this workshop designed to help beginners learn, practice, and improve throwing skills. Lower clay studio. Studio artist; teaching: Pennsylvania State University-Altoona; exhibitions: Companion Gallery (TN), Clayakar (IA), Red Clay Lodge (MT), NCECA conference, Penland Gallery; representation: Charlie Cummings Gallery (Florida). All levels. Studio potter: teaching: Penland, Arrowmont (TN); exhibitions: solo at Signature Shop (Atlanta), Smithsonian Craft Show (DC), Shape Theory Collective (UT); organizer of Clay to Table (online); representation: Signature Shop (Atlanta), Schaller Gallery (MI), Freehand Gallery (Los Angeles), Penland Gallery., courtneymartinpottery.com | @courtneymartinpotter. Well cover drape molds and embellishing techniques with slips and underglazes, along with basic photo documentation and adornments/attachments to the body. Serving dishes contain and serve; they hold our favorite foods and our cultural histories. Well go over different ways to center, pull up, and make different forms. This workshop will focus on the investigations and explorations involved in creating and refining functional pottery.
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