Haystack Mountain School of Crafts



Ambitious Improvisations

Cosmic Adinkra by MaPó Kinnord-Payton, 2010. Bisque-fired stoneware, acrylic, and colored pencils, 50" x 32" x 12".

This workshop will focus on paperclay handbuilding techniques that promote playful ventures and improvisation into your aesthetics. This will be a special exercise in designing and engineering organic forms that visually incorporate different combinations of familiar forms. Anatomy, vegetation, architecture, and symbols will be fair game. Completed bisque-fired works will become canvas to layers of nonfired painting and drawing approaches. Handbuilding experience recommended.

received a BFA from the Massachusetts College of Art and Design in 1984. After earning an MFA from Ohio State University in 1994 she moved to Louisiana, where she is an Associate Professor of Art at Xavier University of Louisiana. MaPó Kinnord-Payton has taught ceramics at Haystack, Penland, and Kambe no Sato Arts Center in Matsue, Japan. Her research of traditional and contemporary art of Ghana includes video documentation of pottery and ceramic architecture construction of Northern Ghana. mkpsculpture.com




Perceptual Craft

Beyond the Walls of a City, Green and Red by Stuart Shils, 2013. Oil on panel, 20" x 36"

In this workshop we will consider the relationship between how we see what is in front of us, and the form and shape it assumes within the abstract language of painting and drawing. Maurice Denis said, “Remember that a picture, before being a battlefield, a naked woman, or some sort of narrative, is basically a flat surface covered with paints put together in a certain order.” Structure is the foundation of pictorial design and the visible world is translated through feeling into a variety of graphic formats. This workshop is best suited to students with intermediate to advanced skills.

teaches at Pennsylvania Academy of the Fine Arts in Philadelphia where he was also a student. He has been a visiting artist at the Vermont Studio Center for more than a decade and he lived and worked for thirteen summers on the northwest Irish coast, some of which is described in the PBS documentary Ballycastle (Shirley Road Productions, 2004). Awards include an NEA Fellowship, an Academy Award in Painting from the American Academy of Arts and Letters, and a Pollock-Krasner Foundation Grant. Stuart Shils has taught, traveled, and painted in Italy and is an intrepid explorer of inner city Philadelphia by bicycle—a small digital camera is always found in one pocket and pencils in the other. stuartshils.com







Contemplative Cloth: A Celebration of the Creative Impulse through Fabric and Paper Collage

Barrio by Jason Pollen, 2012. Cotton, canvas, thread, pigment, graphite, dye, drawing, hand and machine stitching, painting, and collage, 42" x 40".

This workshop will take a dedicated, daily, practice-based approach to creating collages from the work generated in class. Mark-making, painting, monoprinting, and hand and machine stitching will be our tools. Discarded materials at Haystack will add to our cache. Instruction, daily discussions, and critiques will emphasize the fundamentals of design, the enhancement of skills, and the clearing away of impediments on your creative journey. The aim is to open to a deeper, authentic visual voice, one that is eager to communicate, to delight, to surprise, and to challenge. All levels welcome.

received undergraduate and graduate degrees in Painting from City College of New York. He was on the faculty of the Royal College of Art in London, and New York’s Parsons School of Design and Pratt Institute before serving as chair of the Fiber Department at Kansas City Art Institute, Missouri. Jason Pollen has designed prints for Jack Lenor Larsen, Chanel, and Donna Karen and has designed sets for the Kansas City Ballet. He is President Emeritus of the Surface Design Association and is a Fellow of the American Craft Council. Penland named Jason Pollen Outstanding Artist/ Educator in 2012. His work is included in the permanent collections of the Kemper Museum of Contemporary Art, Missouri, and the Nerman Museum of Contemporary Art, Kansas.





Hot Working with Found and Recycled Glass

Bowl made from two juice glasses by Nanda Soderberg, 2011. Glass, 10" x 6".

In this workshop participants will experiment and learn how to work with found and recycled glass in the hotshop. Using traditional hot glass working techniques, students will transform mundane glass objects into objects that transcend their original intended purpose. Practically all glass objects— from beer bottles to marbles, from the recycle bin to the thrift store—are fair game. This workshop is open to anyone with an open mind and a fearless sense of experimentation. Some glass working experience preferred but not mandatory.

Glass artist NANDA SODERBERG received a BFA in Glass from the University of Hawaii and an MFA in Glass from Virginia Commonwealth University. He has spent the last twenty years working with glass and has taught glass working at Virginia Commonwealth University, California State University at Fullerton, Pilchuck, and Haystack. Nanda Soderberg’s work has been in exhibitions at Minnestrista, Ball State University, Indiana; Heller Gallery, New York; and the American Craft Council show in Baltimore, Maryland. He currently works with found and recycled glass—without a furnace—in his studio in New Hampshire. nandasoderberg.com







The Source

Necklace by Gabriel Craig, 2014. Recycled gold and silver cast, chased, fabricated, 2 1/2" x 3 1/2". Photo by Amy Weiks.

We live in a time where people are concerned for the environment and the future of humankind. A seemingly innocent ritual, like buying a cup of coffee, can possibly contribute to social injustices for people who picked the beans. As a result, many of us want to know the story of where our products come from—how far they traveled, who made them, and how fairly they were treated during the process. But what about our materials? Or our story? In this workshop we will explore different aspects of “the source” as it relates to jewelry—where and how materials are sourced; where ideas and inspiration are sourced; and what happens in the future when your artwork or jewelry becomes sourced as raw material for the next generation of jewelers? Basic jewelry making skills required, including: sawing, filing, soldering, riveting.

is a metalsmith, writer and craft activist based in Detroit, Michigan. He received a BFA in Metals/ Jewelry from Western Michigan University and an MFA in Jewelry and Metalworking from Virginia Commonwealth University. Gabriel Craig's performative use of craft engages diverse audiences in discussions about self-sufficiency, labor, consumptio,n and tradition. His work has been exhibited nationally and internationally including exhibitions at the Renwick Gallery, Smithsonian Institution, Washington, DC; The National Ornamental Metal Museum in Memphis, Tennessee; and the Museum of Contemporary Craft in Portland, Oregon. His critical writing has appeared in prominent craft publications including Metalsmith, American Craft, and Surface Design Journal. He has lectured throughout the US on his own artistic work, decorative arts history, and contemporary craft. In 2012 Gabriel Craig co-founded Smith Shop—a dynamic community-centric metalworking studio in Detroit—with his wife and fellow metalsmith, Amy Weiks. gabrielcraigmetalsmith.com





Pickup Stix

White Chest (detail) by Wendy Maruyama. Bleached mahogany.

This workshop is focused on the technique of creating tambour doors and the participants will be expected to experiment further with the idea of creating a flexible wood plane. Tambour doors are constructed with horizontal slats and are created to “roll” up and down or to the side, along vertical or horizontal tracks. The first week we will cover the concepts of tambour construction and its use in case pieces. The second week will be spent designing a project using this technique. Each student will have an opportunity to make their own tambour samples. This workshop is for intermediate to advanced woodworkers.

WENDY MARUYAMA is an artist, designer, and educator and is a Professor in the Woodworking and Design program at San Diego State University, California. She received a BA from San Diego State University and an MFA from Rochester Institute of Technology, New York. Wendy Maruyama has received several awards, including the California Civil Liberties Public Education Grant, several National Endowment for the Arts Grants for Visual Artists, the Japan/US Fellowship, and a Fulbright Research Grant to work in the UK. Her work has been included in exhibitions in Tokyo, Seoul, and London, and throughout the US, and is in the permanent collections of the Dallas Art Museum, Texas; Los Angeles County Museum of Art, California; Victoria and Albert Museum, London; Queen Victoria Museum and Art Gallery, Launceston, Australia; and the Mingei Museum, San Diego, California. wendymaruyama.com





Jazz double bassist BEN STREET studied at The New England Conservatory of Music in Boston with Miroslav Vitous and Dave Holland. He has performed and toured with prominent musicians including John Scofield, Lee Konitz, Clark Terry, Junior Cook, Sam Rivers, and Buddy Montgomery. He is a member of the jazz groups Orange then Blue and Sephardic Tinge, and his selected discography includes work with Kurt Rosenwinkel - The Next Step (Verve); Danilo Perez - Til Then (Verve); David Sanchez - Coral (Sony Music); and Cyndi Lauper - At Last (Epic). benstreet.net

Simplifying the Learning Process in Music

Workshop participants will use numbers, singing, humming, clapping, and walking, and the power of our ears and imagination to learn important elements of music we love. Participants can bring instruments or music they want to learn/discuss. Ukeleles, keyboards, guitars, and percussion will be provided.

Haystack’s Hy Frumkin Fund supports musical performances.

Ben Street’s residency coincides with the 14th Annual Deer Isle Jazz Festival at Stonington Opera House, Aug. 1-2, 2014.