Haystack Mountain School of Crafts



Bamboo Weaving Techniques and Decoration

Botan by Jiro Yonezawa, 2005. Bamboo basket: bamboo, cane, cedar root, and urushi lacquer; twill weave technique, 14” x 12 ½”.

The focus of this workshop is to learn and practice several different weaving techniques—all based on a diagonal line. We will use bamboo as a weaving material, but these techniques can be used to weave any flexible material. After learning the techniques, you can choose one or two to construct a woven form based on the instructor’s models or your own design. If you are interested, bring other weaving materials to incorporate into these pieces. Participants will also make a sampler of cane decoration knots to embellish the work. Demonstrations will include bamboo splitting and materials preparation. All levels welcome.

JIRO YONEZAWA has been a bamboo sculptural basketmaker for over thirty years and currently resides in southern Japan. He studied at Oita Prefectural Beppu Industrial Arts Research Institute in Oita Prefecture, Japan, and has shown his work in Europe, Japan, and the US. Jiro Yonezawa was a recipient of the Cotsen Prize: Celebration of the Next Generation for Japanese bamboo artists and has been selected twice for Nitten, the annual Japan National Fine Arts Exhibition. His work is in public and private collections such as the Microsoft Corporation; the Mint Museum, North Carolina; the Racine Art Museum, Wisconsin; and the Portland Art Museum in Oregon.





Studio: Work

Stack, Lamp, and Gingham 2 by David S. East, 2011–2012. MDF, masonite, plywood, fabric, steel, and ceramic, 47" X 18 1/2" X 15 1/2". Photo by Alan Weiner.

Emphasizing invention, pushing beyond the obvious, developing new ideas that question and reinvestigate the habits of our studio practice, this workshop will focus on idea generation, sculptural form, and the development of expressive surfaces. A variety of forming techniques, including handbuilding, mold, and some digital fabrication will be explored. Surface development will include mid range, low fired, and alternative. We will make, look at, and discuss lots of work—our own, contemporary, and historical sources—in an effort to define new directions. Students should bring a desire to stretch and a willingness to question their assumptions. Competency in basic handbuilding and throwing techniques preferred.

DAVID S. EAST is currently serving as Chair of Ceramics at the Maryland Institute College of Art. He received a BFA from the University of Wisconsin–River Falls and an MFA from Southern Illinois University, Edwardsville. Awards include Individual Artist Awards from the Maryland State Arts Council, the Lighton Foundation, and the McKnight Foundation. David East’s work has exhibited nationally and internationally and was recently featured in the GICBiennale in Icheon, Korea, and in solo exhibitions at Greenwich House Pottery, New York, and Schulman Projects in Baltimore, Maryland. davidseast.com




Venetian Goblet Making

Opaque Yellow Cups by James Mongrain, 2007. Blown glass, 8"–10".

Education often begins with imitation in order to learn. Glassmakers throughout time have copied historical forms in order to learn new ways of seeing and making their art. Perfecting the venerable Venetian tradition of delicate flourishes in goblet making is an excellent foundation for accomplished glassmakers who wish to advance their design making abilities. While immersed in questions of function, design, and technical efficiency, students will gain thorough and intensive experience with methods of hot construction, bit work, teamwork, and use of garage. Advanced level—previous glassblowing experience required.

JAMES MONGRAIN was introduced to glass while enrolled at Moorhead Minnesota State University, under the instruction of his brother, sculptor Jeffery Mongrain. He later studied glassblowing at Massachusetts College of Art and Design, and the Appalachian Center for Crafts in Smithville, Tennessee, and worked in hotshops around the country, including New York, Cincinnati, and New Orleans, where he focused on becoming technically proficient in the Venetian tradition of goblet making. Working as a co-gaffer at Pilchuck, he met artist and mentor Dale Chihuly, who later invited him to move to Seattle, Washington, to work for Chihuly, Inc. as a gaffer for the “Chihuly over Venice” installation. In 1997, he opened Mongrain Glass Studio in Seattle, which he continues to own and operate in Mukilteo, Washington. Over the years, James Mongrain has collaborated with a number of artists, including Jim Dine, Kiki Smith, Jeff Koons, and Robert Wilson. His work has been in the Museum of Arts and Design, New York, William Traver, Foster White, and Vetri galleries in Seattle, Washington; Grohe Glass Gallery in Boston; and the Carnegie Museums of Pittsburgh, Pennsylvania. mongrainglass.com




Contemporary Cement Jewelry

Pearl by James Cotter, 2005. 14 Karat yellow gold liner with a pearl set in cement.

This workshop is designed to challenge common notions of value, preciousness, and jewelry. Concrete is cast into sculptural ring-forms with precious stones embedded directly into the concrete. In other cases, concrete is set into place where a gem might normally be. We will consider various materials, including steel, styrofoam, cement, rock, diamonds, and different industrial materials to make jewelry—even fine jewelry. Students are encouraged to bring found materials, industrial materials, and recyclable jewelry. There may be a surprise guest artist and maybe even time to deal with gallery and art, as well as social issues in the contemporary metals field. Come join the workshop for a potluck of ideas. Saw, file, and solder skills would be helpful. All levels welcome.

A pioneer of alternative materials since the 1970s, JAMES COTTER’s work consists of creating images from a variety of materials not normally associated with jewelry, such as steel, concrete, rocks, and sought-after everyday objects. By combining non-precious materials with precious materials, used to create intimate jewelry objects, he seeks to challenge notions and assumptions of how jewelry is perceived and what jewelry can be. James Cotter received a BFA in Education from Wayne State College in Nebraska and an MA from the University of Wyoming. He has taught at Penland and Anderson Ranch and his work has been in exhibitions at Cheongju International Craft Biennale, Cheongju, Republic of Korea; National Ornamental Metal Museum, Memphis, Tennessee; and Wustum Museum of Fine Art, Racine, Wisconsin; and is in the collections of the Dorsky Museum, New Paltz, New York; Georgia Museum of Art in Athens; and Herman Miller Collection. jcottergallery.com





Turn the Wheel: Color Collagraph and Relief Printmaking

Enjoy Fruit by Andrew Saftel, 2013. Acrylic and collage on wood, 42" x 54".

A collagraph print is made from a surface on which collage elements and texture have been applied. Using oil-based paints and inks applied with brushes and rollers, we will create colorful, textured, one-of-a-kind prints. This is a very direct, painterly, and fun way to make a print on paper with an embossed surface. Both the making of the blocks and the inking process allow for endless possibilities. This low–tech approach to printmaking will produce stunning qualities and rich color combinations. It will be possible to combine drawing, painting, photography, and collage with the prints. All levels welcome.

ANDREW SAFTEL, a painter and sculptor, has lived and worked in Tennessee for the past twenty-five years. He received a BFA in Printmaking from the San Francisco Art Institute. Andrew Saftel was invited to Bangladesh in 2010 by the US Embassy Dhaka to teach printmaking workshops and his photographs of Bangladesh were featured in a solo exhibition at the Memphis Brooks Museum of Art in Tennessee. Andrew Saftel’s work has been in numerous exhibitions and is in the permanent collections of the Asheville Art Museum, North Carolina; The Hunter Museum of Art and the Knoxville Museum of Art, Tennessee. He has recently been working with tapestry weavers in Mexico and the weavings and original designs were exhibited in Mexico in October 2013. andrewsaftel.com





The Natural Confluence of Weaving and Dyeing

Weld + Woad = Green by Catharine Ellis,
2010. Cotton, Jacquard woven shibori, dyed with weld and woad, 130" x 58".

At the loom and in the dyepot, we will explore opportunities to intersect techniques of weaving and dyeing. Using plant and insect dyes—selected for their longevity and lightfastness—and only the safest of mordants, a complete palette will emerge. Woven shibori, ikat resists, and dyeing of differential fibers are a few of the ways we will use beautiful natural colors on natural fiber weavings in both protein and cellulose. Dyeing may be done before or after the weaving and participants will learn to make and care for an organic indigo vat. All levels welcome.

CATHARINE ELLIS divides her time between studio work, researching natural dyes, and teaching. She has studied with Michel Garcia, of France, including a master class in India, and received a BA from Marymount College, Tarrytown, New York. Catharine Ellis was the Head of Professional Fibers Program at Haywood Community College in North Carolina for thirty years. She authored Woven Shibori (Interweave Press, 2005), which explores weaving and resist dyeing and her work has been widely exhibited including at The International Lace Exhibition in Belgium and Earth Friendly Alchemy in San Antonio, Texas. Currently Catharine Ellis partners with The Oriole Mill in North Carolina, developing woven shibori fabrics for natural dyes. ellistextiles.com






JUHANI PALLASMAA is a distinguished architect, educator, and architectural writer and critic from Helsinki, Finland. A leading international figure in contemporary architecture, design, and art culture, Pallasmaa is a former Dean and Professor of Architecture at the School of Architecture, Helsinki University of Technology and former Director of the Museum of Finnish Architecture. He has written and lectured extensively and is widely known for his writing, including The Embodied Image (Wiley, 2012), The Thinking Hand (Wiley, 2009), and the seminal book on architectural theory, The Eyes of the Skin (Wiley, 1996).

Between the Image and the Word

Naive thought regards writing merely as a practice engaged in intellectual ideas and words. Yet, the quality of a text arises from the capacity of its suggestion of an imaginative reality. Pallasmaa’s workshops will focus on existential, sensory, embodied, and experiential imagery in the craft of writing. As in all works of art, the text has to create its own universe and its unique atmosphere. A plausible text also reflects the authenticity of the author’s sense of being. The parallels and interactions between the material arts and writing will be discussed. The workshops will include discussions of the instructor’s essays, one for each session.