6/CERAMICS

Covered Jar by Adam Field, 2014. Porcelain with carved pattern and celadon glazes, 14” x 9” x 9.” Photo by the artist

Covered Jar by Adam Field, 2014. Porcelain with carved pattern and celadon glazes, 14” x 9” x 9.” Photo by the artist

Nature/Tradition: Cultivating Inspirations in Clay
In this workshop, methods for carving intricate pattern on a variety of wheelthrown porcelain forms and traditional Korean Onggi coil and paddle pottery techniques will be demonstrated. From ancient Korean techniques to innovative solutions for timeless problems, participants will develop a new perspective on creating and decorating functional pottery. Participants will also sharpen their throwing technique and will learn new skills for mapping out and carving geometric patterns in clay. Generous discussions about studio practice, aesthetics, materials, ceramic history, and promotion and marketing strategies for the studio potter are certain to encourage individual discovery, growth, and development of fresh ideas. Students will gain the skills and confidence to create and decorate work in their own voice. All levels welcome.

Born and raised in Colorado, ADAM FIELD received a BA in Art from Fort Lewis College. For two years, he immersed himself in the culturally rich art scene of the San Francisco Bay Area, where he began his full time studio practice. From there, he relocated to Maui, Hawaii, where he established a thriving studio business. He spent most of 2008 in Icheon, South Korea, studying traditional Korean pottery making techniques under 6th generation Onggi master Kim Ill Maan. In 2013 Adam Field created and premiered HIDE-NSEEKAH at the NCECA conference in Houston, Texas. After maintaining his studio in Durango, Colorado for five years, Adam Field moved to Helena, Montana, where he was a long-term resident artist at the Archie Bray Foundation for Ceramic Arts, and where he is currently a full time studio potter. His work is included in private collections and kitchen cabinets internationally. adamfieldpottery.com


 

6/FIBER

Endless Flight #4 by Jovencio de la Paz, 2015. Batik (natural Indigo) and appliqué on cotton, 119 “ x 88.”

Indigo and its Metaphors
Indigo is the most used dyestuff on the planet. Both in its natural and its synthetic form, Indigo blue has a mysterious and contentious history: from the mystery cults of Indigo in Southeast Asia to the slave trade in the New World. This workshop will cover fundamental techniques in preparing both natural and synthetic indigo dye-vats, and we will use those vats to explore traditional Japanese tie-dye (Shibori) as well as traditional Indonesian resist dyeing (Batik). We will also use the metaphoric notion of “blueness” and “bluing,” in relationship to the natural landscape. While surface design and the production of textiles will be emphasized, students will be challenged to consider how the production of color and cloth can manifest itself in performance, installation, and other alternative forms. All levels welcome.

JOVENCIO de la PAZ is an artist and educator living and working in Eugene, Oregon. His work explores the intersection of textile processes with broader concerns of codification, community, and identity. Interested in the ways transient or ephemeral experiences are embodied in material, Jovencio de la Paz looks to how knowledge, stories, and experiences are transmitted through societies in space and time, whether semiotically in language or haptically in made things. He received a BFA in Fiber and Material Studies from the School of the Art Institute of Chicago and an MFA in Fiber from the Cranbrook Academy of Art. He has had solo and group exhibitions at ThreeWalls and 4th Ward Projects, Museum of Contemporary Craft, and at the Sculpture Center. Jovencio de la Paz is an Assistant Professor and Head of Fibers at the University of Oregon. jovenciodelapaz.org 


 

6/GLASS

Nest Lights by Pablo Soto, 2016. Glass, low voltage Halogen, random line application. Photo by Mercedes Jelenick

Techniques Re-purposed
Glass, glassblowing, glass pushing, glass dripping, glassy glass, not so glassy, as deemed appropriate. As a teacher I tend to approach my classes from a technical standpoint, yet in this one week adventure we will attempt to bring new purpose to our “tool boxes”, and explore the material qualities/potential of glass. We will ask questions of ourselves. Can we make cane appear like what we see under a microscope? What can we make work that utilizes inherent qualities of glass, like magnification, refraction, transparency, airiness, weight, or distortion? What element can bring freshness to our practice? We will also look closely at the beauty of our surroundings and the dynamics of the community we are working in to find unexpected results for our work. All levels welcome.

PABLO  SOTO lives and works in Penland, North Carolina, where he has a studio with his wife, sculptor, Cristina Cordova. His attraction to glass started at age five when he watched Lino Tagliapietra work. Pablo Soto received a BFA in Glass from Alfred University, and apprenticed in Ben Moore’s studio in Seattle, Washington. Since then, he has been a glass resident at the Energy Exchange in Burnsville, North Carolina—a three year program designed to offer renewable energy sources to support glass and ceramic artists. In 2007 Pablo Soto was awarded “Excellence in Glass” at the Philadelphia Museum Craft Show, ACC Baltimore, and the Smithsonian Craft Show, and in 2008 he received a North Carolina Arts Council Fellowship Grant. He has taught at Penland, Haystack, Pittsburgh Glass Center, Ox-Bow, and The Studio, Corning Museum of Glass. Recently Pablo Soto has been gaffer/fabricator for artists and designers such as Jorge Pardo, Norwood Viviano, Calvin Klein, Carrie Santiago, and others. sotoglass.com

 

6/GRAPHICS/MIXED MEDIA

High Fiber Flash Cards by Bird Ross, 2009. Toast and wax paper bag, life-size. Photo by Bill Limke

Wanz’apun’atime (the Art and
Craft of Play)
Using narrative as our lead, we will explore performance, illustration, losing, finding, and making (things up) to see where it launches us. Working collaboratively, we will investigate methods of spontaneously visualizing and presenting stories using tabletop theatre, storytelling with props, puppet shows, solo performance, etc. We will activate it all by concocting, reading, telling, reconfiguring, and dis-remembering diminutive to epic tales while exploring the potential of drawing, painting, collaging, fabricating, sewing, adhering, piecing, and reclaiming as creative impulse. Bring your skills, tools, raw materials, concepts, and big yearnings. We will share skills to collectively increase the abilities of the group and the materials that surround us to spur us toward reinvention and invite others to play. Don’t forget your lab coats, I’ll bring the capes.  All levels welcome.

BIRD  ROSS is a studio artist working and playing in Madison, Wisconsin. She received a BA in French from Tulane University and an MFA from the University of Wisconsin-Madison. She began as a textile artist and has incorporated mixed media, quotidian objects, and performance into her studio practice. Her recent work includes collaborations with woodworker, Tom Loeser; iron worker, Paige Davis; sculptor Brenda Baker and painter Derrick Buisch. Her work has been in exhibitions in Germany, Scotland, England, Japan, and the US, and is in the permanent collections of The White House, Racine Art Museum, Open Chain Publishing, and University of Wisconsin-Milwaukee. birdross.com

 

6/METALS/BEADMAKING

Orb necklace (detail) by Heather Trimlett, 2012. Lampworked, 20” length.

Work Smarter, Not Harder
This workshop will give participants the opportunity to broaden and refine the scope of their work. Will it be clear casing? Buttons? Disks that don’t flop over? Hollow beads using a Puffy mandrel? Twists accurately applied? Stringer work? Big hole beads? Tumbling? Tips and tricks will be shared to help students advance their own work and increase their productivity through improved practices and techniques. Students are encouraged to bring a sample of their current work and explore ways to make the pieces more crisp and more precise. We will have time for group discussion about selling your work, design exercises, studio setup, and more. Previous beadmaking experience required.

HEATHER TRIMLETT has been creating lampwork beads since 1992.She works out of her studio in El Cajon, California. Heather Trimlett is known for her tight, clean designs and she prides herself on facing technical challenges. When asked where she gets her ideas she quips that eleventh-hour creativity is the real secret, but that they also come to her when least expected, Such as when she’s stuck in traffic or hiking. Heather Trimlett’s work has been included in Making Glass Bead (Lark Books), Formed of Fire (Salusa Glassworks), and the self-published The Brightly Colored Beads and Vessels of Heather Trimlett. She has taught at The Corning Museum of Glass, Penland, and Pittsburgh Glass Center, among others. heathertrimlett.com


 

6/WOOD

Shroud by Dan Webb, 2008. Carved Redwood, 22” x 12” x 9.”

Carving For Everyone
Step into a contemporary art form that has a two million year history: Carving. This workshop is designed to help carvers of all abilities expand on their technical and contextual knowledge. Subjects covered will include how to rough out a form, how to add material as well as subtract it, how to use and maintain gouges, when and how to use power tools, and how to approach finishes. Along the way we will see and discuss examples of how other carvers approached many of these same issues. This will be a skill gathering class—there will not be enough time for most people to make finished pieces, so the emphasis here will be on coming away with an improved skill set. Come prepared to make the chips fly! All levels welcome.

DAN  WEBB is a full-time wood carver, tinkerer, writer, and sculptor. He received a BFA from Cornish College of the Arts. Currently represented by Greg Kucera Gallery, Dan Webb has shown his work in galleries and museums for over twenty years. His work is in the collections of numerous museums including the Smithsonian Institution, New Museum, Seattle Art Museum, Portland Art Museum, and the Museum of Glass. Dan Webb is a recipient of the Pollock Krasner Foundation Award, Betty Bowen Award, Washington State Artist Fellowship award. He lives and works in Seattle Washington. danwebb.squarespace.com

 

6/WRITING

Horizontal ‘Translation’: Text, Language, Other
What happens when we set out to transport meaning from one language or medium to another and then try to transport it back again? Exploring the idea of translation, we will experiment with a variety of nontraditional approaches, some language-based, some cross-media and collaborative and think together through questions of process and result, theory and practice, accessibility, fluency, and the accidental genius of mistakes. We will look at wildly varied examples of expanded translation practices and work horizontally across our areas of expertise and inexperience, to see what kinds of generative and individualized modes of writing develop themselves. All levels welcome.

ANNA MOSCHOVAKIS is the author of three books of poetry—They and We Will Get Into Trouble for This (Coffee House Press), You and Three Others Are Approaching a Lake (Coffee House Press), and I Have Not Been Able to Get Through to Everyone (Turtle Point Press)—and a forthcoming novel, The Rejection of the Progress of Love (Coffee House Press). She recently co-founded Bushel Collective, a mixed-use art and community space in the Catskills and has received grants and awards from the Academy of American Poets, Howard Foundation and New York Foundation  for the Arts. She teaches poetry, translation, and cross-disciplinary arts in the MFA programs at Bard College and Pratt Institute. badutopian.com

 

 

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