Recovered Geomerty No. 16 by Jason Green, 2014. Terra cotta slip and glaze, 36 1/4” x 48 1/2” x 2”.

Recovered Geomerty No. 16 by Jason Green, 2014. Terra cotta slip and glaze, 36 1/4” x 48 1/2” x 2”.

Form and Surface: Strategies, Tools, and New Technologies
This workshop will focus on the relationship between traditional approaches of working in ceramics combined with digital process for designing a broad range of objects including the vessel, sculpture, and tile. Demonstrations in the Haystack fab lab will explore how the laser cutter, 3D printer, and CNC router can be used to create templates, prototypes, and models for use in both hand building and mold making. This workshop will offer new possibilities for approaching your work while emphasizing the fluidity between new and traditional approaches to making that have broad applications in other disciplines. All levels welcome.

JASON GREEN teaches Ceramics and Freshman Foundations at Alfred University where he received an MFA. He has also taught for the University of Georgia’s Studies Abroad Program in Cortona, Italy. This year his work has been included in Electric Kiln Ceramics, Glaze: The Ultimate Ceramic Artists Guide to Glaze and Color and Tile Envy. Recently Jason Green received Best in Show in New York State’s Southern Tier Biennial and he was awarded third place in the 2014 Zanesville Prize for Contemporary Ceramics. jasongreenceramics.com


Feathered Owl Totem by Dan Friday, 2012. Solid sculpted furnace glass, stone cut engraving, 18” x 6”. Photo by Alec Miller.

Feathered Owl Totem by Dan Friday, 2012. Solid sculpted furnace glass, stone cut engraving, 18” x 6”. Photo by Alec Miller.

Furnace Formed
In this workshop we will break down the essentials of sculpting glass. You will develop muscle memory and an understanding of the necessary skills of a glass sculptor/blower. We will cover shop and tool function, fundamental bubble set up, molds, bit work, color application, and the importance of teamwork. Bring your sketchbook and learn to navigate ideas from paper to blowpipe. Be ready for a fun art glass adventure. A minimum of one year consistent glassblowing experience required.

DAN FRIDAY is a glass artist based out of Seattle, Washington. He has spent the last twenty years working for artists such a Dale Chihuly, Paul Marioni, Preston Singletary, and many others. He has taught at Pilchuck, and has had residencies at the Museum of Glass in Tacoma, Washington, and the Dream Community in Tai Pei, Taiwan. Dan Friday is a recipient of the Discovery Fellowship through the Southwestern Association for Indian Arts, and his work can be seen in galleries across the US, including Blue Rain in Santa Fe, New Mexico. fridayglass.com


Mike’s Brooch by Joanna Gollberg, 2014. Sterling silver, blue chalcedony, found objects, lapis, citrine, 2” x 2”.

Mike’s Brooch by Joanna Gollberg, 2014. Sterling silver, blue chalcedony, found objects, lapis, citrine, 2” x 2”.

Setting the Trap
Through fabrication methods and proper soldering techniques, workshop participants will learn how create secure settings that trap objects in their jewelry. We will discuss prong setting, tab setting, bezel setting, and cold connections as ways to secure any kind of object. We will also learn a variety of soldering techniques, such as sheet and wire applique and open filigree wire work, which will help students add surprising and delightful details to their work. All levels welcome.

JOANNA GOLLBERG received an AAS in Jewelry Design from the Fashion Institute of Technology, New York. As a self-employed jeweler, she sells her work at galleries, including Velvet da Vinci & Taboo Studio, both in California. Joanna Gollberg has authored four books on making jewelry, and her work has been included in numerous publications, such as Metalsmith Magazine, Ornament Magazine, 20th Century Jewelers, and 500 Wedding Rings. She teaches jewelry making nationally for metalsmithing groups, craft schools, and on craftsy.com. joannagollberg.com


Tidal Landscape by Susan Webster, 2014. Monotype, drawing, painting 35” x 40”.

Tidal Landscape by Susan Webster, 2014. Monotype, drawing, painting 35” x 40”.

Modified Monotypes
We will begin by making monotypes using low-tech, nontoxic techniques including gelatin plate, simple relief, direct stencil, and monotype drawing. Following that we will augment the prints through collage, drawing, painting, and combining the printmaking processes. We will work in a variety of ways—both large and small scale as well as improvised and planned. The focus will be on experimentation. All levels welcome.

SUSAN WEBSTER is a studio artist who lives in Deer Isle, Maine. She has taught at Penland; Center for Contemporary Printmaking in Connecticut; Studio Artworks, Jerusalem, Israel; and Haystack and has been a visiting artist at the University of the Arts Borowsky Center, Pennsylvania. Her work is in the collection of the US Department of State’s Art in Embassies program. Susan Webster’s work has been included in exhibitions at the Manhattan Graphics Center, New York; Elizabeth A. Beland Gallery and Concord Arts Gallery, both in Massachusetts; Southern Graphics Exhibit, Louisiana; and Greenhut Gallery, Maine. susanwebster.net


Reflective Worsted Wool Suiting by Kirsty McDougall

Layers, Surface, Space
Bring along an object that has meaning for you and holds a memory. We will start by discussing this object and exploring ways of generating images and visual information through drawing, photography, and mark making. We will then discover how these textures and surfaces can be interpreted into a range of woven elements through the choice of material, color, and structure. We will experiment with a variety of techniques on the loom after which each participant will set up individual warps to create their own finished pieces. Throughout the workshop there will be ongoing discussion on weaving as an autonomous language, a medium for embodying ideas across cultural and political boundaries, and reflection on how textiles can exist as objects within a space. All levels welcome.

Kirsty McDougall, from London, England, was born on the Isle of Lewis, Scotland in and studied at Duncan of Jordanstone College of Art and Design followed band received an MA from the Royal College of Art. Her work encompasses unusual material combinations, bold use of colour and a fascination for woven structure. She worked extensively for the fashion industry on fabric development and design before co-founding Dashing Tweeds with Guy Hills. Dashing Tweeds designs and produces menswear fabrics that challenge notions of traditional men’s textiles through subversive use of colour and yarn choice.  Kirsty McDougall recently conceived RARE THREAD alongside Laura Miles – a textile collective incorporating a team of designers and specialists. With combined experience in textiles of 35 years, they decided to merge their individual creative studio businesses to champion hand and machine woven textile design and finishing for a broad variety of textile outcomes including fashion, art & craft, interiors, CMF, material development and trend. The designers of Rare Thread work collaboratively on collections and projects as well as retaining autonomy on other aspects of their practice. With twelve years of teaching and mentoring experience, Kirsty McDougall is also Senior Tutor at The Royal College of Art, working with students to facilitate them in the development of their own personal and individual language within woven textiles. rca.ac.uk/more/staff/kirsty-mcdougall


Stools by Mia Hall, 2014. Cast concrete, 17” x 14” x 14”.

Stools by Mia Hall, 2014. Cast concrete, 17” x 14” x 14”.

Discover concrete – one of the most common, versatile, and exciting materials out there. In this workshop you will investigate a wide range of moldmaterials and techniques ranging from rigid sheet goods to flexible alginate and silicone molds. We will stiffen fabric with resin for organic fabric formed molds as well as sew flexible molds using different fabrics for highly textured and unique castings. This workshop will also introduce different concrete casting, spraying, and hand-building techniques with applications ranging from furniture to sculpture. All levels welcome.

MIA HALL received an MFA in Furniture Design from San Diego State University and since 2007 has been the head of the Furniture Design and Woodworking program at the University of Arkansas at Little Rock. Her work has been exhibited at institutions such as the Fuller Craft Museum and Logan Airport, both in Massachusetts; The Arkansas Art Center; and Wayne Art Center, Pennsylvania. Mia Hall’s work is in several private and public collections such as the Arkansas Library System, the John and Robyn Horn Collection, San Diego State University, and the George W. Bush Presidential Library. She has taught at San Diego State University, Arrowmont, and the Marc Adams School for Woodworking. miahall.com


ANDREA DEZSÖ is a visual artist who works across a broad range of media: drawing, painting, artist’s books, cut paper, embroidery, animation, sculpture, and large-scale public art. Her permanent public art has been installed in two New York City subway stations, at City University of New York’s Fiterman Hall in Lower Manhattan, and at the US Embassy in Bucharest, Romania. Community Garden, Andrea Dezsö’s colorful glass mosaic that winds through the Bedford Park Boulevard subway station in New York City, was recognized as Best American Public Art in 2007 by Americans for the Arts. Her work has been exhibited in museums and galleries around the world, and she teaches
widely. andreadezso.com

Slow Art

“Searcher, there is no road. We make the road by walking.”
— Antonio Machado,
Proverbios y cantares XXIX

How can the values associated with ‘slow’ movements—tranquil, material, enjoyable, sustainable, local, good, clean, fair—be translated to the practice of visual art? During her residency Andrea Dezsö will lead informal gatherings that will focus on discovery, inspiration, and wonder. One activity will lead to the next and next and next in an organic way, including: being present in nature, making art outdoors, sharing poetry, impromptu collaborations, walking, listening, and talking, with ample space for deep reflection and experimentation. In addition to these informal workshops, Andrea Dezsö plans to create a series of large woodcuts, using the laser cutter in the Haystack fab lab, from which she will make woodblock prints.

* Visiting artists augment the session with informal activities and are not workshop leaders.



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