Workshops
Session 6 - August 17 to August 29
6/BOOK ARTS
A Book for all Seasons
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| Z-Words by Heidi Kyle, 2006. Various printing techniques on Aqaba paper, 8" x 5". Photo Paul Warchol |
This workshop sets the goal to create a personal recordkeeping assortment of books. We write, we draw, we take pictures and collect ephemera. This workshop will explore structures that serve those activities. By making models first, students evaluate what fits their needs best. Eventually a set of four chosen prototypes emerges into each participant’s individual hoard of personal data. A slipcase serves to protect and enhance. This project makes use of learning numerous techniques and handling a variety of papers and other materials like Tyvek, mylar, and cloth. Book making experience helps but is not required.
HEDI KYLE has retired as a book conservator. She continues to instruct students in the field of book arts at the University of the Arts in Philadelphia and other locations in the US, Canada, and Europe. Her one-of-a-kind book constructions are exhibited internationally and are in numerous collections. Hedi Kyle has had one person exhibits at the Center for Book Arts in New York City and the Minnesota Center for the Book. She is an honorary member of the Guild of Book Workers and a co-founder of Paper and Book Intensive (PBI).
6/CLAY
Coils Run Amok
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| Vessel by Chris Gustin, 2005. Stoneware, 35" x 25" x 24". |
This workshop will explore pottery form through the use of the coil. Making larger scaled pots on the wheel requires both keen throwing skill and strength. Yet potters for thousands of years have found easier and simpler means of working with larger forms by using simple coils of clay for construction. One on top of another, building with coils offer a tremendous possibility for the potter to pursue both scale and form. But big isn’t necessarily best, so we will also look at the history of ceramics and how the use of geometry, ratio, proportion and the relationship between simple shapes (i.e. the circle, square, rectangle, and triangle) have been used by potters of all cultures to create structure in both the making of pottery and the decoration of surface. All levels welcome.
CHRIS GUSTIN is a studio artist and Professor Emeritus at the University of Massachusetts, Dartmouth, where he taught in the Program in Artisanry since its inception at Boston University. He received a BFA from the Kansas City Art Institute and an MFA from Alfred University. His work is published extensively and represented in numerous public and private collections, including the Renwick Gallery, Smithsonian Institution; the Los Angeles County Museum of Art; the Victoria and Albert Museum, London; the World Ceramic Exposition Foundation in Icheon, Korea; and the Daum Museum of Contemporary Art. With over forty solo exhibitions, he has exhibited, lectured, and taught workshops in the US, Caribbean, Europe and Asia. He has received two National Endowment for the Arts Artist Fellowships, and two Massachusetts Crafts Fellowships. Chris Gustin is cofounder of the Watershed Center for the Ceramic Arts in Maine, and currently serves on its board.
6/FIBERS/MIXED MEDIA
Fashioning Culture-Readdressing Clothing
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| Dutch Shotgun Chaps by Annet Couwenberg, 2007. Paper doilies, fabric, steel boning, pins, reed, 52" x 28" x 15". |
This sculptural mixed-media class will be an intensive exploration of clothing as a metaphor of meaning. “Since garments have never been solely functional,” the instructor writes, “students will examine clothing as a means for expressing psychological, sexual, and cultural identity.” A broad visual vocabulary from contemporary and historical sources through readings, slides, and discussions will be presented. In addition, questions of the historical significance of cloth, clothing and culture for the discourse of fashion will be discussed. Innovative fiber constructions will be inspired by, among others, historical garments—the bustle, crinoline, and corset. Technical instruction will include: armatures and coverings, millinery, and sewing techniques such as tucking and piping. Sewing skills required.
ANNET COUWENBERG is Chair of the Fiber Department at the Maryland Institute College of Art, Baltimore, Maryland. She received an MFA from Cranbrook Academy of Art, and an MFA in Textile Arts from Syracuse University. She has received individual artist awards from the Maryland and Ohio State Art Councils. Telos Art Publishing published a monograph of her work. Annet Couwenberg’s work is in numerous collections, among them the Textiel Museum in Tilburg, The Netherlands. Her work has been exhibited nationally and internationally, including Museum of Arts & Design, Belger Arts Center, Kansas City, Contemporary Museum and Maryland Art Place, Baltimore. Annet Couwenberg’s work has been reviewed and featured widely including the Washington Post, New York Times, Baltimore Sun, City Paper, Fiberarts, Nouvel Objet, Le Monde, Surface Design, and Sculpture Magazine.
6/GLASS
Advanced Glassblowing
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| Reticello Leaf Vase & Acorn by Dante Marioni, 2007. Blown glass, 33" x 10", 6" x 11". |
This workshop will focus on traditional Venetian glassmaking techniques from an American studio glass perspective. Participants should be prepared to work together harmoniously in teams. There will be an emphasis on form, though color and patterns will be addressed. Students should bring ideas with them but should also be open to trying something completely different. There will be lots of dialogue in the relaxed, casual environment Haystack is famous for. Minimum of two years glassblowing experience required.
DANTE MARIONI comes from a family of artists and began blowing glass at the age of fifteen. By age twenty-three he was an independent studio glass artist exhibiting nationally. In 1987, he won a Louis Comfort Tiffany Foundation award and was a featured Young American at the American Craft Museum. Dante Marioni has taught and exhibited his work internationally and his work can be found in many private and public collections including: the Victoria and Albert Museum, London; the Japanese Museum of Modern Art, Tokyo; the National Gallery of Victoria, Melbourne, Australia; the National Museum of Art, Renwick Gallery, Smithsonian Institution, Washington, DC; the Corning Museum of Glass, Corning, New York; the White House collection of American crafts, Washington, DC; the National Museum of Stockholm, Stockholm, Sweden; the Chrysler Museum, Norfolk, Virginia.
6/GLASS BEADS
Working with Precision and Purpose
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| Untitled bead by Heather Trimlett, 2007. Hollow formed beads, spirograph style, 1 1/2" in diameter on left, 1" whole on left. |
Begin a beadmaking adventure or discuss and practice how to develop a style in beadmaking. This workshop will cover studio safety, set-up, and tool options. Participants will practice a wide range of techniques including basic round beads, dots and stringer; the mystery will be taken out of clear casing, stringer work, and shaping a disc. Heather Trimlett will demonstrate her no-fail way to successful hollow beads, and the magic to making the perfect twists then applying that twist and making the ends match. All levels welcome.
HEATHER TRIMLETT has worked in glass for twenty-seven years, the last fifteen years as a full-time beadmaker/teacher. The California sunshine provides the inspiration for her bright whimsical work. She takes pride in her tight, clean design style. She has lectured and taught across the country including Penland, Bullseye Glass Co., and the Eugene School of Glass. Heather Trimlett’s work was recently exhibited at the Heinz History Center in Pittsburgh and Musée-Atelier du Verre in France. Her work has been published in numerous books including Formed in Fire, Making Glass Bead and Contemporary Lampworking and can be seen at Pismo Gallery in Denver, Colorado; Arts Afire in Alexandria, Virginia; and Symmetry Gallery in Saratoga Springs, New York.
6/WEAVING
Woven Shibori and Natural Dyes
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| Silk Currents (detail) by Catharine Ellis, 2005. Raw silk, woven shibori resist, de-gummed and shaped, 90" x 20". |
This workshop is for students who wish to explore the woven structure of cloth combined with loom-controlled shibori resists in order to develop fabrics with depth of color and texture. A variety of fiber and yarn choices will be examined and can include felting, collapse, and cross dyeing. Focusing on natural dye extracts, a vast range of color possibilities will be ex-plored using layering and discharge. Students will complete samples of woven resist and dye with the goal of incorporating that information into a thoughtfully designed finished textile. All levels welcome.
CATHARINE ELLIS has been Head of the Professional Craft Fiber Program at Haywood Community College in Clyde, North Carolina, since 1978 and has taught numerous workshops including Penland, International Shibori Symposium in Japan, and Weavers and Spinners Summer School in Falmouth, England. Her work has been in a number of solo and group exhibitions, such as the International Lace Biennial in Brussels, and she has won numerous awards for her fabrics. Catharine Ellis is the author of Woven Shibori, Interweave Press, 2005, and continues to explore new applications of the process.