Summer Workshops

6/BEADMAKING

Reef Necklace by Caitlin Hyde, 2008. Flameworked glass bead necklace, 18” long.

Glass Bead Surface Design Intensive

In this intensive workshop students of all levels will learn to flamework beads from soda lime glass at the torch while developing and fine tuning skills in bead shaping and precision surface decoration. Emphasis will be on understanding the subtle use of heat to control form and pattern. Students will be encouraged to develop unique design concepts through sketches, diagrams, individual discussion, and bead making practice. All levels welcome.

CAITLIN HYDE has been making flameworked glass beads and small sculpture since 1996. She received a BFA in Film Animation from the University of Cincinnati and an MFA in Fiber from Southern Illinois University, Carbondale. Cailtin Hyde has taught workshops across the US, including: Penland; Snow Farm School of Crafts, Williamsburg, Massachusetts; the Kittrell Riffkind Art Glass Gallery, Dallas, Texas; and The Studio of the Corning Museum of Glass, New York. She has exhibited her work at the Pismo Fine Art Glass Gallery, Denver, Colorado; Society of Arts and Crafts, Boston; and The Bullseye Connection Gallery, Portland, Oregon. www.caitlinhyde.com

6/CLAY/MIXED MEDIA

Sweet and Low Down by Kristen L. Morgin, 2005. Clay, wood, wire, and paint, 54” x 72” x 204”.

Unfired Clay Workshop

Participants will learn how to use a variety of cold materials to create textures and surfaces as well as techniques to create old, weathered, surfaces. The workshop will include making wood and wire structures to support clay sculptures, in which found objects will be incorporated. Demonstrations of the teacher’s techniques, used to create large scale unfired clay sculptures, will be provided. All levels welcome.

KRISTEN L. MORGIN studied painting, ceramics, and sculpture over the course of ten years in several different institutions. She received a BA from California State University, Hayward and an MFA in Ceramics from Alfred University. Currently an Associate Professor of Art at California State University, Long Beach, Kristen L. Morgin also maintains a studio practice, employing a broad array of skills and techniques—she is well known for her use of unfired clay and her large scale clay sculptures of cars, cartoon characters, and carousel animals.

6/ENCAUSTIC PAINTING

Claire de Lune by Cynthia Winika, 2000. Encaustic painting, Stonehenge paper, 39” x 50”.

Hot Wax: Encaustic Painting Comprehensive

Encaustic (beeswax) painting, derived from the legendary painting of the ancient Greeks, is one of the most versatile, durable, and beautiful painting media. After being out of use for 2000 years, it has made a recent resurgence. This workshop will provide a basic understanding of sound technique, safe studio practice, and show the many ways of using the paint and medium. Preparation of supports, thermal properties of encaustic paint, fusing, and demonstration of a wide variety of painting, layering, collage, solvent free image transfer, and mixed media techniques will be incorporated. Slide presentations will include information about the history of encaustics, 20th century revivals, and contemporary artists working with encaustic. All levels welcome.

CYNTHIA WINIKA is a multimedia artist and the Primary Teacher for R&F Handmade Paints in Kingston, New York. She has been teaching nationally and internationally for over twelve years. Cynthia Winika received a BS in Art Education, with an emphasis on Painting and Printmaking, from the State University of New York, New Paltz and studied Chinese Painting and Calligraphy in Hawaii and Taiwan. Her work is included in many public and private collections including: Harvard University; Yale University; Brown University; Cleveland Art Institute, and Skidmore College and Rochester Institute of Technology, New York. She is represented by A.I.R. Gallery, New York.

6/FIBER

Remind me again why we’re depleting the earth’s resources and burying them in landfills by Jerry Bleem, 2008. Plastic bags, 62” x 83 1/2”.

Assembled Lines: Plane, Sculpture, Concept

Contemporary art freely borrows structures and metaphors from fiber traditions: El Anatsui’s surfaces pieced with wire, Doh-Ho Suh’s sewn architectural forms, and Elaine Reichek’s embroidered, replicated paintings. One of fiber’s most basic structures is the line. Piled up, lines traditionally become woven surfaces, plaited or coiled forms, and embellished marks. By extending their use, lines can also become sculptures or installations as well as visualize concepts. Participants in this workshop will experiment with making lines from the ordinary materials that inhabit our lives. Using basic fiber techniques (e.g. ropemaking and crocheting), as well as improvising building methods, we will assemble these lines into both 2D and 3D forms. Experience with fiber techniques helpful. All levels welcome.

JERRY BLEEM, an artist, teacher, writer, Franciscan friar, and Catholic priest, earned an MFA at the School of the Art Institute of Chicago, where he teaches in the Department of Fiber and Material Studies, and an M.Div. at the Catholic Theological Union at Chicago. His artmaking and writing practices explore the cultural construction of meaning. Recent exhibitions include a one-person show at Packer Schopf Gallery, Chicago, Illinois and group exhibitions in The Hague, Netherlands and Cheongju City, Korea. Among his awards are five artist fellowships from the Illinois Arts Council and numerous artist residencies, including the Roswell Artist-in-Residence Program. www.jerrybleem.com

6/GLASS

Three way goblet by Angus M. Powers, 2009. Blown glass, 8” x 8” x 8”.

Experimental Goblet Workshop

This workshop will explore and challenge the notion of the traditional goblet. Instruction will focus on the technical glassblowing skills needed to fabricate a variety of goblets in the hot glass studio and will breach the realm of hot glass with the addition of found objects and assemblage with adhesives. Demonstrations and projects will consider and stretch the topics of history, function, content, and context. With varied sources of inspiration and reference such as the natural surroundings and junk shops, participants will be able to synthesize tradition and experimentation to create goblets that are both innovative and progressive in the world of glass art. One year of glassblowing experience required.

ANGUS M. POWERS is a contemporary sculptor working with blown and cast glass sculpture, installations, and function wares. He received a BFA from New York State College of Ceramics, School of Art and Design at Alfred University, where he is an Assistant Professor of Glass, and an MFA from Tyler School of Art at Temple University, Philadelphia, Pennsylvania. Angus Powers also studied at Pilchuck and has been a visiting artist at the Danish Design School, Copenhagen, Denmark; GoggleWorks Arts Center, Reading, Pennsylvania; and the Glass Art Society International Conference in Pittsburgh, Pennsylvania. His work is included in Contemporary Glass (Black Dog Publishing) and in the American Museum of Glass; Wheaton Arts and Cultural Center, Millville, New Jersey; and The Glasmuseet Ebeltoft (Glass Museum in Ebeltoft), Denmark. www.anguspowers.com

6/WOOD

Waive by Matthias Pliessnig, 2007. Steam bent white oak, 45 ” x 35 ” x 31”.

Poetry of Structure and Form

This workshop will explore alternative structure systems that embody beauty and function, such as the hull of a boat, the span of a bridge, and the cluster of a honeycomb. We will begin with a series of explorations solving design problems with innovative built structural solutions dealing with dynamic loads (your body). You will then combine personal aesthetic with the rules of a chosen system to make a piece that is a structurally sound personal expression. Demonstrations will include steam bending, bent lamination, and various joinery techniques and slide lectures and reviews will be included throughout the workshop. Basic woodworking experience required.

MATTHIAS PLIESSNIG is a furniture designer and builder currently based in Philadelphia, Pennsylvania. He received a BFA in Furniture Design from RISD and an MFA from the University of Wisconsin-Madison. Matthias Pliessnig’s work has been exhibited internationally and his work is in the collection of the Museum of Arts & Design, New York. His work has also been published in numerous international design magazines and books such as Dwell. He is currently represented and showing his work with the Wexler Gallery in Philadelphia, Pennsylvania. www.matthias-studio.com