Summer Sessions

4/BEGINNING GLASS

Beginning Glass, A Sculptural Approach…

Molecular Cloud 3 by Megan Biddle, 2011. Glass, metal, and mixed media, 32" x 12" x 10".

Workshop participants will explore the potential of working with hot glass as a sculptural medium. We will cover forming basic vessels, bit working, and simple blow molds. Students will learn the fundamentals of using heat and gravity to manipulate glass, and will work together in teams to develop the necessary skills of assisting one another in the hotshop. This workshop is an introduction to working with hot glass through demonstrations, skill building exercises, and experimental processes. For beginning glassblowers.

MEGAN BIDDLE received a BFA from RISD and an MFA from Virginia Commonwealth University. She has been awarded several residencies including The Macdowell Colony, The Creative Glass Center of America, Sculpture Space, and Pilchuck. Megan Biddle’s work has been in exhibitions at XO Projects INC., Side Show, and the Islip Art Museum, New York; Reynolds Gallery, Richmond, Virginia; Space 1026, Philadelphia, Pennsylvania; Galerie VSUP in the Czech Republic; and the 700IS Experimental Film Festival, Iceland. Her work was recently acquired for the American Embassy’s permanent collection in Riga, Latvia. meganbiddle.com

4/CLAY

Creative Throwing

Five Bottles by Takeshi Yasuda, 2009. Porcelain, varying heights.

The potter’s wheel has been the most successful tool for the mass production of pottery throughout history and even though the recognition of the wheel as a tool of expression is a recent phenomena, the technique used for this purpose is still largely based on this practice of ‘mass production’. During the workshop we will explore what could be done with the wheel when you are free from the necessity of ‘mass production’. Because creativity is not an easy concept to grasp, at least some aspect of creativity can be developed using a systematic approach, through teaching and training. Workshop participants will learn economical lifting of clay and a few simple yet effective creative methodologies and then explore the creative possibility of the wheel as a tool. The focus is on developing ideas for work; high temperature firings will be included. All levels welcome.

TAKESHI YASUDA was born in 1943 in Tokyo as a fourth child of a photographer. At nineteen, he was an apprentice at Daisei-Gama pottery in Mashiko, Japan, where he later established his own studio. In 1973 Takeshi Yasuda traveled to England, which is now his home. He was Professor of Applied Art at the University of Ulster, Belfast and also a visiting tutor and Research Fellow at Royal College of Art, London. In 2008 Takeshi Yasuda and Caroline Cheng established the third location of the renowned ceramic center, The Pottery Workshop, in Jingdezhen, China—and served as its Director until 2010. He shares a studio in Bath, UK and in Jingdezhen, China, with his wife, Felicity Aylieff, a sculptor. takeshiyasuda.com

4/ENAMELING

Painting Enameling: Fine Painting Techniques with Enamel

16th Matter of Appearance by Jamie Bennett, 2011. Brooch; enamel, gold, 2" x 3".

Workshop participants will explore various methods and processes in the Limoges technique of enameling. Painting enameling is a process where the finely ground enamel, or overglaze, is applied by brush or pen to the prepared enamel surface. Each student will work on an enamel element or panel using this technique. The use of various oils and binders will also be discussed. Some metal/jewelry experience recommended.

JAMIE BENNETT is a Professor in the Metal Program at the State University of New York at New Paltz. He is the recipient of multiple fellowships from the National Endowment for the Arts, New York Foundation for the Arts, and was awarded Windgate and Rotassa Foundation grants in support of a traveling retrospective exhibition from 2007–2010. Jamie Bennett is an Aileen Osborn Webb Fellow of the American Crafts Council. His work has been exhibited nationally and internationally and is in the permanent collections of over twenty museums including the Victoria and Albert Museum, London and the Metropolitan Museum of Art, New York.

4/PAPERMAKING

Joomchi and Beyond

Whisper-Romance: His Tear by Jiyoung Chung, 2009. One-of-a-kind Joomchi, hand ground oriental ink dyed handmade paper with paper yarn, 34 1/4" x 24 1/2".

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

JIYOUNG CHUNG is a Joomchi artist and painter who has developed an innovative method for using a traditional Korean process of papermaking—Joomchi—into a contemporary art form. Jiyoung Chung received a BFA in Painting from RISD and an MFA in Print/Media from Cranbrook Academy of Art. Her work has been in numerous exhibitions (including twenty-six solo shows), in Korea, US, Australia, France, Finland, and UK, and is in the permanent collections of the Museum of Arts & Design, New York. In 2010, Jiyoung Chung curated the International Korean/American Joomchi show for the European Patchwork Meeting in France, which later toured in Korea. She also wrote a ‘How-To’ book, Joomchi & Beyond. jiyoungchung.com

4/SHIBORI

Boro Transformed: Patched, Pieced, Stitched, and Dyed
in Greenest Indigo

Kiki by Man Ray from Skin Dress Series by Yoshiko Iwamoto Wada, 2003–2009. Gunma silk, stitched, creped, and permanent marking in silk fabric.

This is a hands-on workshop for students interested in patchwork, quilting, embroidery, collage, and painting and who would like to explore natural indigo using sustainable methods. Japanese folk textile from the nineteenth/twentieth-century—comforters, fisherman’s coats, lumberjack’s vests, and other everyday-wear—were made of plant fiber mixed with used cotton rags and dyed in indigo, and were extensively patched and darned, using the limited available resources of the regions. The term “boro,” meaning castaway rag, may define a new aesthetic and meaning to an alternative creative process, such as darning = healing, meditative action = marking time, and reuse/repair = recording history. All levels welcome.

YOSHIKO WADA is President of World Shibori Network, and founder and leader of Slow Fiber Studios. An exponent of traditional and sustainable practices in fashion and textile production, she has produced the DVDs Natural Dye Workshop with Michel Garcia and Arimatsu Narumi Shibori. Yoshiko Wada received a BFA in Textile Art from Kyoto City Fine Arts University and an MFA in Painting from the University of Colorado, Boulder. She was named a 2010 Distinguished Craft Educator by the James Renwick Alliance and was twice awarded the Japan Foundation Fellowship, resulting in the definitive publication, Shibori: The Inventive Art of Japanese Shaped Resist Dyeing (Kodansha USA, 1999) as well as Memory on Cloth: Shibori Now (Kodansha USA, 2002). yoshikowada.com

4/WOOD

Making a Mark

Entry Table by Andy Buck, 2011. Cherry, poplar, paint, 46" x 31" x 17".

Workshop participants will use traditional and nontraditional methods in the exploration of a personal language with wood. Special attention will be given to carving and shaping, as well as surface treatment with texture and paint. This workshop will cover basic skills relating to furniture making, but will also focus on the potential for individual expression through form and mark making. Discussion, demonstrations, and individual work time, will offer participants the opportunity to explore wood as a material, as well as new ways of working. All levels are welcome.

ANDY BUCK is a furniture maker, sculptor, and educator. He is a Professor in the Furniture Design program at the Rochester Institute of Technology, New York, has taught at the Oregon College of Art & Craft, and has lectured at San Diego State University, Virginia Commonwealth University, University of Wisconsin, and at venues such as the Renwick Gallery, Smithsonian Institution, Washington, DC and the Hui No’ Eau Visual Arts Center, Maui, Hawaii. Andy Buck has also given workshops at Anderson Ranch, Haystack, Penland, and Peters Valley. He received a BA from Virginia Commonwealth University and an MFA from RISD. His work has been in exhibitions at the Museum of Arts & Design, New York; Museum of Applied Art, Frankfurt, Germany; and the Boston Museum of Fine Arts, and is in a number of public and private collections. Andy Buck is represented by Pritam & Eames in East Hampton, New York and Gallery Naga in Boston. andybuck.com

4/VISITING WRITER

STEPHEN DUNN is the author of sixteen collections of poetry, including the W. W. Norton published Here and Now (June 2011) and What Goes On: Selected & New Poems 1995–2009 (2009). Different Hours (2000) won the Pulitzer Prize in 2001, and Loosestrife (1996) was a National Book Critics Circle Award finalist in 1996. Other awards include an Academy Award in Literature from The American Academy of Arts & Letters, The Paterson Award for Sustained Literary Achievement, Guggenheim and Rockefeller Foundation Fellowships, and three National Endowment for the Arts Creative Writing Fellowships. He is Distinguished Professor of Creative Writing at Richard Stockton College of New Jersey, but spends most of his time in Frostburg, Maryland, where he lives with wife, the writer Barbara Hurd.

Stephen Dunn’s workshop and discussion groups will focus on imaginative writing that may or may not turn out to be poetry. Believing the most interesting writing goes against the grain in various ways, he will give writing prompts, designed to subvert notions and categories that are easily, perhaps reflexively, held by most of us. These prompts will often be directed toward the disciplines the participants have come to work in. Surprise and playfulness will be highly valued. Revision will be encouraged. Work written prior to coming to Haystack, as well as work generated on the spot, will be equally welcomed.

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