Inlaid Jeweler’s Saw by Seth Gould, 2014. Steel, fine silver,and mahogany, 10 1/2” x 4 1/2” x 3/4”.

Inlaid Jeweler’s Saw by Seth Gould, 2014. Steel, fine silver, and mahogany, 10 1/2” x 4 1/2” x 3/4”.

A Cut Above
Workshop participants will make a jeweler saw; they will learn to hone their skills working at the anvil by forging parts to precise dimensions. Moving to the bench these will then be refined and embellished using a variety of filing techniques. Lastly, students will learn to properly make and fit a handle to their finished saw. In the end, participants should expect to work as much at the bench as they do at the anvil. Some experience forging is helpful but not required.

SETH GOULD is a metalsmith and toolmaker originally from Cape Cod, Massachusetts. He received a BFA in Metalsmithing and Jewelry from Maine College of Art. Seth Gould’s work has been exhibited at the National Ornamental Metal Museum in Memphis, Tennessee; Houston Center of Contemporary Craft, Texas; and the Si Gallery in Japan. He has taught, demonstrated, and lectured at Peters Valley, Southern Illinois Metalsmith Society, and for the Society for North American Goldsmiths. Seth Gould is currently a resident artist
at Penland. sethgould.com


Amber Bud Vase by Aysha Peltz, 2014. Porcelain, 8” x 4”.

Amber Bud Vase by Aysha Peltz, 2014. Porcelain, 8” x 4”.

Making Expressive Pots
Working with clay is like a conversation, and a newly thrown pot is like a statement that cannot go unanswered. The answer might be to push, cut, rip, texture, or facet. In this workshop we will engage in a conversation beginning with a newly thrown pot, addressing it while still wet on the wheel, seeking to capture expressive moments. There will be daily demonstrations and discussions. Pots will be made with high fire porcelain or white stoneware and there will be a bisque firing. Some throwing experience preferred, but all levels welcome.

AYSHA PELTZ ’s pottery work explores imagined space, scale, and the poetic properties of the ceramic medium. She is a studio potter and faculty at Bennington College in Vermont and has also taught at schools and art centers including Arrowmont, Peters Valley, Alfred University, and the Kansas City Art Institute. Aysha Peltz received a BFA and an MFA from Alfred University. She was awarded an Emerging Artist Award at the National Council for the Education of the Ceramic Arts and her work is in the collections of the American Museum of Ceramic Art, California;
Schein-Joseph International Museum of Ceramic Art at Alfred University; Jingdezhen Ceramic Institute, China; and the Huntington Museum of Art, West Virginia, where she received the Walter Gropius Master Award. ayshapeltz.com


Unexpected (detail) by Amelia Poole, 2014. Silk habotai eco-printed with red sand cherry and black walnut leaves, 8mm.

Unexpected (detail) by Amelia Poole, 2014. Silk habotai eco-printed with red sand cherry and black walnut leaves, 8mm.

Foraged Color – The Art and Science of Eco-Printing
Cloth and plants pigments do not often get together in a good way: think grass stains. Eco-printing changes that! This process involves heating local plant material in contact with prepared cloth and paper to create extraordinary color and imagery. Workshop participants will learn a variety of eco-printing techniques and fabric preparation methods. Through sampling, group discussions, and individual practice participants will develop their creative response to—and interaction with—plants, natural objects, and the local environment through textile and paper creations. All levels welcome.

AMELIA POOLE is an artist raised by scientists who brings her love of fibers and textiles, botany, chemistry, and history to her teaching and textile art. She received an MFA in Woven Textile Design and Construction from the Surrey Institute of Art and Design, Farnham, Surrey, UK. Her work can be seen in galleries on the Blue Hill Peninsula in Maine. She shows her work at Fine Craft Shows and teaches throughout New England. Amelia Poole works from her shop and studio, Ecouture Textiles, in Brooksville, Maine, which is thirty minutes from Haystack. ecouturetextilestudio.com


Bead shot by Kristina Logan, 2013. Flameworked glass beads, largest diameter 2 1/2”.

Bead shot by Kristina Logan, 2013. Flameworked glass beads, largest diameter 2 1/2”.

Glass Beadmaking
This workshop will focus on perfecting flameworking skills and making glass beads at a torch. Students will spend time designing, drawing, and considering the shape, color, and transparency of glass in preparation to working in the flame. Students will also work with placing silver rivets into their finished beads. Beginning to advanced flameworking techniques will be explained and demonstrated, such as: clear casing, surface decoration, shaping large beads, and trouble shooting common mistakes and difficulties. Previous experience with flameworking required.

KRISTINA LOGAN’s lampworked glass beads and objects are exhibited internationally and have been shown at the Renwick Gallery, Smithsonian Institution, Washington, DC; Boston’s Museum of Fine Arts; Rockwell Museum in Corning, New York; the Glasmuseum in Denmark; and Toyota Ceramic and Folk Craft Museum in Japan. She served as president of the International Society of Glassbeadmakers from 1996 to 1998. Kristina Logan has taught at Urban Glass in Brooklyn, New York; The Corning Museum of Glass in New York; Penland; Haystack; Musée- Atelier du Verre de Sars-Poteries in France; and Abate Zanetti in Venice, Italy. She continues to lecture internationally on contemporary American glass beads and jewelry. kristinalogan.com


Blessing-Haystack 07 by Jiyoung Chung, 2007. One-of-a-kind Joomchi and paper yarn, 30” x 30” x 2 1/2”.

Blessing-Haystack 07 by Jiyoung Chung, 2007. One-of-a-kind Joomchi and paper yarn, 30” x 30” x 2 1/2”.

Joomchi & Beyond
Joomchi is a unique Korean traditional way of making textured handmade paper by using water and eager hands. Joomchi creates strong, textural, and painterly surfaces by layering and agitating Hanji (Korean mulberry papers). This workshop offers participants the opportunity to become acquainted with its history, use, and role in Korean society, as well as the hands-on techniques and reinterpreted adaptations into contemporary art form. Joomchi’s uses are diverse and it can be incorporated into surface design, collage, one-of-a-kind book art, wearable, unconventional body ornament, or sculptural object: 2D and 3D. All levels welcome.

JIYOUNG CHUNG is a Joomchi artist, painter, and freelance writer who lectures and exhibits her work in the US, UK, France, Australia, Holland, Finland, Romania, China, and Korea. She received a BFA in Painting from the Rhode Island School of Design and an MFA in Print/Media from Cranbrook Academy of Art. She authored a how-to book, Joomchi & Beyond, and curated several International Joomchi Shows in France, in Korea, and the US. Jiyoung Chung’s work is in the permanent collections of Fidelity Corporate Art Collection, Boston, Museum of Arts & Design, New York, and more. beyondabove.com


Cumberland Chair by Adam Rogers, 2014. Walnut with fiber rush seat, 29” x 23” x 21”.

Cumberland Chair by Adam Rogers, 2014. Walnut with fiber rush seat, 29” x 23” x 21”.

The Role of Craft in the Design Process
This workshop will focus on the role of making in the process of design development. We will employ craft as a partner in the development and realization of design ideas with a concentration on the translation of concepts to objects through the application of learned methods. Techniques covered will range from steam bending, stack laminating, vacuum pressing, and traditional wood joinery – to Rapid Prototyping with CAD using CNC and 3D printing tools. All levels welcome.

ADAM ROGERS is currently Director of Design at Thos. Moser where he is responsible for the oversight of new product strategy, design, and manufacturing implementation. Prior to moving to Maine, he received an MFA in Furniture Design and Woodworking from Rochester Institute of Technology, New York. Adam Rogers’ designs have been recognized with several design awards such as Interior Design Magazine’s Best of Year, Best of NeoCon, and MetropolisLikes, and have been featured in publications including Dwell, Metropolis, Architectural Digest, Interior Design, Architect, and Contract. thosmoser.com


Awake and Leaping
Poetry is language awake and dancing. Alertness and grace often start outside the poem, through paying attention to the physical world, but poetry ultimately embodies our own felt experience. Our guidebook will be a reader—generated specifically for this workshop—to provide inspiring examples. We will work with exercises and prompts to generate what Tony Hoagland calls “thingitude.” Once we raise “poetry mind,” we will explore what it takes to make poems leap. All levels welcome.

PETER HARRIS retired in 2015 as the Zacamy Professor of English at Colby College in Maine, where he taught poetry workshops and courses in American poetry. Individual poems of his have appeared in places such as the Atlantic Monthly, Crab Orchard Review, Epoch, Prairie Schooner, Ploughshares, Seattle Review, and Sewanee Review. He has published two books, Blue Hallelujahs and, recently, Freeing the Hook.



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