Summer Sessions

3/CLAY

Testing Theories: Models and Prototypes

An incomplete articulation by Paul Sacaridiz, 2011. Cast, extruded, pinched ceramic, wood, powder coated aluminum, cut vinyl, and board, 12' x 12' x 15'. Photo courtesy of the Denver Art Museum.

In nearly all fields, prototypes are used as a vital component of the design process to determine viability, explore alternatives, and test theories. This workshop will use the logic of prototyping to expand our approach to making sculpture in ceramic materials. We will work quickly to generate objects with a wide variety of sensibilities ranging from the highly precise to the seemingly random and chaotic. Demonstrations will include mold making, plaster milling, jiggering, sledging, slip casting, and press molding. Generating forms through the use of technology will also be incorporated, relying on the Haystack fab lab for a variety of experiments. This workshop will be an immersion in process and risk taking, applicable to a wide range of practices. Some experience with clay preferred.

PAUL SACARIDIZ is an Associate Professor at the University of Wisconsin-Madison, and produces sculpture that deals with the collision of abstraction, urban planning, and utopian systems. He received an MFA from the School of the Art Institute of Chicago. Selected residencies include The Ragdale Foundation, Illinois; The Vermont Studio Center; and the Art/ Industry Program at The Kohler Company, Wisconsin. Paul Sacaridiz was recently nominated for a grant from the Louis Comfort Tiffany Foundation. His work has been in exhibitions at The Denver Art Museum, Colorado; the Philadelphia Museum of Art; the Madison Museum of Contemporary Art, Wisconsin; and the Icheon World Ceramic Center, Korea. paulsacaridiz.com

3/FIBER

Collect~Connect

Diamond dots IV by Marian Bijlenga, 2011. Horsehair, fabric, machine embroidered, 23" x 23".

Discover the wealth of our visual surroundings, and use that as a source of inspiration! We will wander around Haystack and collect materials and images, using the simplest of all forms—the dot, as a starting point. Take a group of dots, or connect the dots with lines, and the result is a transparent structure that can be translated in different materials and techniques. The focus will be on discovery and exploration rather than product or technique. In addition, we will experiment with water soluble fabric and the sewing machine. All levels welcome.

MARIAN BIJLENGA is a Dutch textile artist who studied at the Gerrit Rietveld Academie in Amsterdam. She has taught several workshops at Kawashima Textile School, Kyoto; Seian Art & Design College, Japan; and at the Aalto University School of Art and Design Helsinki, Finland. Her work is collected internationally and is represented in the LongHouse Reserve, New York and the collections of the Stedelijk Museum Amsterdam and the Dutch Textile Museum in Tilburg, the Netherlands. Marian Bijlenga’s work was recently exhibited at SOFA Chicago and New York, and at the Gregg Museum in Raleigh, North Carolina. marianbijlenga.com

3/GLASS

The Glassblowing App

Sun Study by Katherine Gray, 2011. Blown glass, acrylic 4 1/2" tall x 7".

If you are thinking about taking this class, you probably already know that you love to blow glass, and also probably already know that the application of skills to ideas is often a tricky negotiation. We will examine how we can make a good idea better and make an excellent idea sing. Expect to think about and apply your skills to both functional and sculptural objects. Intermediate to advanced levels.

KATHERINE GRAY is an Associate Professor in Art at California State University, San Bernardino. She received an undergraduate degree from Ontario College of Art in Toronto and an MFA from RISD. Katherine Gray has written about glass, curated several exhibitions, and has taught workshops around the world, including at the Rochester Institute of Technology, New York; JamFactory in Adelaide, Australia; Haystack; and Pilchuck. Her work has been in numerous exhibitions, most recently at See Line Gallery and Acuna-Hansen Gallery, both in Los Angeles, and has been reviewed in the Los Angeles Times and on Artforum.com. Katherine Gray’s work is also in a number of collections including the Corning Museum of Glass, New York and the Tacoma Museum of Glass, Washington. katherine-gray.com

3/METALS

Moldmaking, Alternative Cold Casting, and Armatures

Untitled by Heidi Schwegler, 2009. Cast wax, 14" x 8" x 8".

This workshop is designed as a sculptural investigation of flexible moldmaking, alternative cold casting, and armature building. Using silicone and alginate we will make molds of found or sculpted objects in order to explore casting materials such as plaster, wax, concrete, and water clear resin. Techniques covered will include floating objects in resin, coloration, casting around pre-made forms, and welding armatures out of binding wire. We will also examine how the armatures can then be skinned with silicone, paper, and gut and incorporated with the cast elements. All levels welcome.

HEIDI SCHWEGLER explores a wide range of materials in the service of difficult subject matter. She is Associate Professor at Oregon College of Art and Craft and has lectured on her work at institutions such as the Burg Giebichenstein, Germany; Cranbrook Academy of Art; and Kendall College of Art and Design, Michigan. Heidi Schwegler is a recent Ford Family Fellow and received a 2010 MacDowell Colony Fellowship. Her work has been in numerous shows, including exhibitions at Raid Projects, Los Angeles, California; Platform China in Beijing; and Scope Art 2004, New York. Reviews of her work have been published in Art in America, ArtNews, and The Huffington Post. heidischwegler.com

3/PRINTMAKING

Photopolymer Film and Mixed Media

Night Bird Series #6 by Marc St. Pierre, 2009. Photo etching and encaustic on panel, 6" x 6".

Workshop participants will explore the possibilities of layering images using a photo intaglio technique. Students will draw positive transparencies by hand and by using their digital files printed onto transparency film. These transparencies will be used to expose light sensitive photopolymer film that has been laminated to plate material. The plates will not require acid etching. We will build our prints through layering and also introduce a few other compatible techniques as well. All levels welcome.

MARC ST. PIERRE is a Professor of Fine Arts at UMass Dartmouth. He received a BFA in Painting from the Université Laval, Québec, an MFA in Printmaking from Southern Illinois University at Edwardsville, and studied printmaking at Atelier 17 in Paris under S.W. Hayter. Marc St. Pierre received an artist residency at St. Michael’s Printshop in Newfoundland, Canada. His work has been in exhibitions, including New England Impressions: the art of printmaking—juried prints at the Fitchburg Art Museum, Massachusetts and Kleve, West Germany; Wire we Here? at Museo Gallery in Langley, Washington; and Wax in Motion—a national juried show at the Bowersock Gallery, Provincetown, Massachusetts. His work is in the collections of Canadian Council Art Bank, Ontario; Le Cabinet des Estampes in Geneva, Switzerland; and Université Laval, Québec, Canada.

3/WOOD/MIXED MEDIA

Natural, Sustainable, Powerful

3/1 Chair by Daniel Michalik, 2011. Recycled cork, FSC-Certifi ed plywood, paint. 32" x 20" x 24".

This workshop will focus on experimental design using alternative natural materials, beginning with cork. Material discovery will be the filter through which new designs are developed. We will unlock new material potential as it relates to making objects. Cork will achieve structure and form alone and in combination with wood and other media. Students are invited to incorporate their own materials, provided they are safe, sustainable, and biodegradable. Using analog and digital woodworking tools, we will develop new fabrication techniques to create hybrid materials and objects. Demonstrations will include machining, hand-shaping, turning and cork casting. Presentations will be given to illuminate what cork is, where it comes from, and the sustainable industries connected to it. Experience with basic woodworking tools and machines required.

DANIEL MICHALIK designs furniture and objects using underutilized materials and manufacturing methods. Recent explorations have included cork from sustainably managed forests and lumber from structures around New York City. He has exhibited internationally, including at the Milan Furniture Fair, Martha Stewart Living Omnimedia, and the VIA in Paris. His work has appeared in The New York Times, Dwell, Taschen Books, Wallpaper*, Interior Design and American Craft, as well as on the Sundance Channel and HGTV. He received an MFA from the Department of Furniture Design at RISD and currently teaches at Parsons The New School for Design in New York City. danielmichalik.com