Andrew Hayes_blacksmithing_session 1

Basin by Andrew Hayes, 2016. Fabricated steel, book paper, and paint, 16 x 6 x 4.’’ Photo by Steve Mann


Steel as Voice
Working with steel as a medium, this workshop will explore both functional and sculptural objects while focusing on the details that make them personal. Combining demonstrations and discussions we will work towards developing a distinctive voice through your work with metal. Starting with
ideas and skill building exercises we will cover: sheet steel forming, forging, welding, grinding, and finishing. Then we will shift into self directed projects that will allow for the exploration of individual concepts and designs.
All levels welcome.

ANDREW HAYES is a sculptor, originally from Arizona, and is currently a resident artist at Penland, where he is exploring the relationship between paper and steel. He is represented by Seager Gray Gallery, Blue Spiral 1, and JHB Gallery. His work has been exhibited at the Fuller Craft Museum, Cameron Art Museum, Mesa Contemporary Art Museum, and is in the collections of Yale Art Museum, Boston’s Museum of Fine Art, Houston Museum of Fine Arts, and the Black Mountain College. Andrew Hayes has taught at Anderson Ranch and Penland, as well as lectured at SUNY Purchase, Southern Illinois Metalsmith
Society, and for the Society for North American
Goldsmiths. andrew-hayes.squarespace.com


Peter Pincus_Session 1_Ceramics

Urns by Peter Pincus, 2016. Colored porcelain, Gold luster, PC-11, 30” x 24” x 12.” Photo by Matt Wittmeyer


Prototyping in Plaster
Plaster is an incredibly versatile material that can be used to create highly accurate prototypes and molds for use in a variety of ceramic applications. This workshop will provide an in depth experience into the working properties of plaster and is designed to expand your skill set through demonstrations that include casting plaster on and off of the potter’s wheel, hand-forming wet plaster, cutting and reassembling molds, approaches for simple and complex forms, and systems for efficient casting. Participants will experiment with numerous processes and produce slip-casting molds of their own. Familiarity with plaster casting and clay forming techniques required.
PETER PINCUS lives and works in Penfield, New York and since 2014 has served as a Visiting Assistant Professor of Ceramics in the School for American Crafts at the Rochester Institute of Technology. He received a BFA and an MFA from the New York State College of Ceramics at Alfred University. Peter Pincus has been a resident artist at the Mendocino Art Center, worked as the Studio Manager and Resident Artist Coordinator of the Genesee Center for Arts and Education, and taught at the Roberts Wesleyan College. His work has been exhibited at the Lewis Wexler Gallery, Duane Reed Gallery, Sherry Leedy Contemporary, Independent Art Projects at Mass MoCA, Greenwich House Pottery, Salon Art + Design, SOFA Chicago, Collective Design, and New York Ceramics and Glass Fair. peterpincus.com

This workshop is supported by the Samuel J. Rosenfeld Faculty Fund for Sculpture in Ceramics and/or Wood.


Marianne Fairbanks_Session 1_Fiber

PWS Triad by Marianne Fairbanks, 2016. Hand woven on a digital loom (TC-1) wool yarn, polyester thread, reflective yarn, 24 ½” x 28 ½.” Photo by Gregory Vershbow


Fiber Foundations and Futures
Beginning with investigations of textile based structures, we will work with a range of experimental materials and digital technologies to translate the logic and form of those structures into new two-dimensional and three-dimensional work. For inspiration we will look to many pre-industrial textile methods found in objects such as nets, armor, rafts, rope, bridges, fences, sails, shelters, filters, and kites. Techniques such as coiling, felting, weaving, netting, knitting, and crochet will be covered. This workshop will also explore the potential for interpreting these processes using the Haystack fab lab, and technology such as laser cutters, 3D printers, and CNC routers. Participants will expand beyond traditional materials and processes to re-invent projects, tools, and textiles for a new interdisciplinary and collaborative fiber future. Some familiarity with Photoshop and Illustrator will be helpful but not required. All levels welcome.

MARIANNE FAIRBANKS is a visual artist, designer, curator, and Assistant Professor of Design Studies at the University of Wisconsin-Madison. She received a BFA in Fibers from the University of Michigan and an MFA in Fibers and Material Studies from the School of the Art Institute of Chicago. Her work has been shown in venues including the Museum of Art and Design, Museum of Contemporary Art, the Smart Museum of Art, and Museum London, Ontario. Marianne Fairbanks is a founding member of Mess Hall, an experimental cultural space in Chicago, and co-founder of Noon Solar, a small business that made wearable solar technology to charge personal electronics. For ten years she was part of the collaborative art group, JAM. Additionally she is conducting collaborative research with a chemist to create solar textiles. mariannefairbanks.com



Colorless Field 3 by Lauren Fensterstock, 2015. Paper, installation at Leonard Pearlstein Gallery, Philadelphia, 23’ x 12’ x 6.” Photo by Constance Mensh



Boite en Valise
This workshop is designed for artists who want to focus on strengthening their personal voice, develop tools to express their ideas with nuance and clarity, and find methods to continually push their work into new territory. Inspired by Marcel Duchamp’s Boite en Valise—a suitcase filled with miniatures of his life’s work—participants will make their own boite inside a box, suitcase, or container that they bring from home. Using simple tools, writing exercises, drawing, collage, photos of your existing work, favorite materials, and map-making exercises, we will mine your artwork for new questions and possibilities. Less focused on making finished objects, this workshop is geared toward developing, articulating, and imagining new ideas. Participants can expect to leave with sketches, models, plans, an artist statement, a manifesto, a list of questions, detailed writing about individual works, and the seeds for future projects. Open to participants with an established studio practice.

LAUREN FENSTERSTOCK lives and works in Portland, Maine. She received a BFA from the Parsons School of Design and an MFA from SUNY New Paltz. Her work has been in solo exhibitions at Drexel University, the John Michael Kohler Art Center, and The Bowdoin College Museum of Art, and in 2017, will be featured in a solo exhibition at the Museum of Contemporary Art, Jacksonville. Her curatorial projects and published writings have been featured internationally and she has taught, lectured, and critiqued around the country—most recently at the Rhode Island School of Design and Virginia Commonwealth University. She previously served as Academic Program Director of the Interdisciplinary MFA in Studio Arts and as Director of the Institute of Contemporary Art, both at Maine College of Art. Lauren Fensterstock is represented by Claire Oliver Gallery. laurenfensterstock.com


Jaydan Moore_Session 1_metals

Ends by Jaydan Moore, 2012. Found Platters, 38” x 20” x 3.” Photo by Jim Escalante

How is it different to work with materials that have a history? This workshop will focus on mining materials from the scrap heap, second-hand shops, and other sources. We will study and solve the technical challenges that come with each material and the concepts that are evoked when we work with found objects. Each student will explore the ideas conveyed by individual objects, images, and materials that they are drawn to, and consider how those ideas can be re-incorporated into jewelry, sculpture, or functional objects. Processes including sawing, soldering techniques, cold connections, sheet fabrication, and more, will be covered throughout the workshop. All levels welcome.

JAYDAN MOORE received a BFA from California College of the Arts and an MFA from the University of Wisconsin-Madison. He has furthered his career through residencies at the Houston Center for Contemporary Craft, the Fountainhead Fellowship at Virginia Commonwealth University, and a grant from the Peter S. Reed Foundation. Last year Jaydan Moore was awarded the inaugural Emerging Voices Award from the American Craft Council. His work has been included in exhibitions at Cheongju Craft Biennale, South Korea; Museum of Fine Arts, Houston; Museum of Craft and Design; and the Racine Art Museum. He has also taught at the Rhode Island School of Design, Virginia Commonwealth University in the Craft/Material Studies Program, California College of the Arts, and Penland, where he is currently in the middle of a three-year residency. jaydanmoore.com


Zeke Leonard_Session 1_wood-instruments

reverb by Zeke Leonard, 2014. Reclaimed piano, mixed media, each approximately 30” long. Photo by David Broda



Reverb: Make the Things That
Make the Music

What has value? What is trash? Who decides which is which, and why do they get to do that? These are the central questions we will explore as we dismantle cast-off pianos and build playable musical instruments out of them. Once ubiquitous and revered, pianos are now too-often viewed as cumbersome, overly large, and (in many cases) unwanted. We will look at cast-off pianos in a different light: as 500 pounds of raw material. This is not a workshop in master lutherie—it is an opportunity to investigate making experimental objects that make sound. We will focus on exploration, investigation, and invention. Toward the end of the workshop, we may even begin to record some of the instruments as we give deceased pianos a new voice. Woodworking skills, though helpful, are not required, but a willingness to sail uncharted waters is a must. All levels welcome.

ZEKE LEONARD has been a maker and musician since his early childhood. He received a BFA in Set Design from the University of North Carolina School of the Arts and an MFA in Furniture Design from the Rhode Island School of Design. A fifteen year stint as a theatrical set designer and fabricator with Pacific Opera Victoria, Miranda Playhouse, and Westbeth Theater, gave way as he began to investigate our resources and the ways we use them. This led to a re-visioning of his work into furniture design and making. In 2011 Zeke Leonard began a multi-year project titled Salt City Found-Object Instrument Works, an ongoing examination of making and music through designing and fabricating instruments using cast-off materials and objects. His instruments are in the hands of many musicians and collectors, the Mystic Seaport Museum in Massachusetts, and the Worker’s Arts and Heritage Centre in Hamilton, Ontario, and he has played his instruments in a variety of venues— from local bars to the Kennedy Center in Washington, DC. zekeleonard.com



is an independent researcher, curator, multi-media artist, and author. Her creative practice is not tied down to one medium and is based on whatever she is passionate about. Her work has accumulated into a large portfolio centered around themes of community, creativity, awareness, process, empowerment, and documentation. Faythe Levine’s two most widely known projects, Sign Painters (2013) and Handmade Nation (2009), both feature-length documentaries with accompanying books, have toured extensively in venues such as the Museum of Arts and Design, Yerba Buena Center for the Arts, Victoria and Albert Museum, Renwick Gallery of the Smithsonian Institution, Brooklyn Museum, and Houston Center for Contemporary Craft. faythelevine.com

The Process of Remaining Our Authentic Selves
During informal workshops, we will extend beyond our studio practice to discuss how can we work together and build bonds through storytelling and shared experience. We will have a fluid conversation surrounding the ongoing process of remaining our authentic selves—as an alternative to the experience of being oversaturated in our daily lives. What is at the root of our inspiration and how do we continue to fuel that process? What are the individual tools we can use to stay focused, balanced, and creatively engaged?

Faythe Levine will be producing the 2017 Haystack Monograph. Initiated in 1991, Haystacks Monograph series provides a forum for thinkers from varied backgrounds to reflect on the idea, meaning, and implications of craft.


*Visiting artists augment the session with informal afternoon conversations that are open to all workshop participants and faculty.


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