Bend Coatrack by Marc Maiorana, 2015. Steel and Brass, 34” x 10” x 4.” Photo by the artist

Heirloom Iron
“In a kitchen drawer in New Jersey there is an iron spatula made by my father that is older than I am, I’ve never seen eggs cooked in my parent’s house without it.” This workshop will teach students to create ironwares for the home that will stand the test of time. We will start with forging basics (heating and hammering) and learn more technical processes each day. Students will get things moving with small, quick exercises and transition to self initiated projects. Editing through design will be emphasized to refine shape, and function, and feel. This workshop will hone your curiosity into a prideful piece of hand-forged iron so that the joy of its making will pass with it for generations. Guest blacksmith: Tom Maiorana. All levels welcome.

MARC MAIORANA learned blacksmithing from his father and received a BFA in Metalsmithing from Southern Illinois University at Carbondale. He was a resident artist at Penland and has taught at Yestermorrow, Peters Valley School of Craft, Penland, and Haystack. Marc’s work has been exhibited at the Museum of Design Atlanta, National Ornamental Metals Museum, and Renwick Gallery of the Smithsonian Institution, and has been featured in Audi, American Craft, Gourmet, Dwell, Food and Wine, Metalsmith, Washington Post, and The New York Times. He was awarded a Professional Fellowship from the Virginia Museum of Fine Arts and has lectured for the Society of North American Goldsmiths and the James Renwick Alliance. His commissions span private residences to the Renwick Gallery of the Smithsonian Institution, and his production wares have been shipped to clients in twenty-two countries. marcmaiorana.com


proof of you

proof of you by Lauren Gallaspy, 2017. Porcelain, glaze, china paint, and underglaze, 8″ x 4″ x 3.5.” Photo by the artist

Skin Deep: Constructing Poetic Ceramic Surfaces
The focus of this workshop is for students to create personal and poetic surface imagery and pattern on ceramic forms using stains, underglaze painting, colored clay inlay, and a mix of water-based and oil-based china painting techniques. It is geared to those who want to improve or cultivate a relationship with pattern and imagery as it pertains to ceramic surface and a personal, visual vocabulary. Discussions and demonstrations will center on hand-building construction, pattern development, composition, as well as underglaze and china paint techniques. Historical and contemporary examples of innovative ceramic surfaces will also be explored and discussed. Both functional and sculptural works are welcome, and students will have the opportunity to construct some simple forms in the studio but can also bring previously built and fired forms to decorate. Some previous clay experience is required.

 LAUREN GALLASPY is currently a studio artist in Los Angeles. She received a BFA in Ceramics from the University of Georgia and an MFA from the New York State College of Ceramics at Alfred University. From 2009 to 2012 she served as co-director and owner of Trace Gallery in Athens, Georgia. Lauren was an Assistant Professor of Fine Arts at the University of Utah and a long term resident at the Archie Bray Foundation. In 2013 Lauren was recognized by the National Council on Education for the Ceramic Arts (NCECA) as an Emerging Artist in the field. She was also one of twenty-five artists awarded the Joan Mitchell Painters and Sculptors Grant for 2012. Her work has been in over eighty exhibitions, including State of the Art: Discovering American Art Now at the Crystal Bridges Museum in Arkansas and Beyond the Objects: The 72nd Scripps Ceramics Annual. laurengallaspy.com


Sewing Rebellion @ Long Beach Public Library by Carole Frances Lung, 2016.

Sewing Rebellion Maneuvers: Basic Training for Future Faux Frau’s
The time is now! Take up your sewing machines and hand sewing needles, honoring the labor behind the label. Under the direction of Frau Fiber participants will undertake a series of basic sewing, mending, and fashion hacking maneuvers with the intention of training and initiating participants to become Faux Frau’s*. Learn to mend with contrasting colors, drawing attention to extend the life of the garments you wear. Modify your clothing, turn your jeans into shorts when the knee holes get too big; turn your T-shirts into shopping bags; and an old table cloth into a skirt. Keep a lookout for unwanted cloth and make yourself an apron, poncho, or frisbee. Be proud, share, and wear your mended and self-made clothing with pride!


At the completion of this course you have the option of swearing into the order of the Faux Frau’s and consider how to instigate a Sewing Rebellion in your own community.
All levels welcome.

FRAU FIBER is a soft guerilla super hero crafting spirited durational performances, using pedagogical, material, and playful approaches to teach communities about the human cost of mass production and consumption. Many of these events take place at Frau Fiber’s storefront headquarters in downtown Long Beach, California, the Institute 4 Labor Generosity Workers & Uniforms (ILGWU). Her legacy project is the Sewing Rebellion, a national campaign to “STOP SHOPPING AND START SEWING!” The Rebellion empowers through skill sharing, facilitates community building, and advocates for social change. The Rebellion connects participants to the history of “thrift and reuse circles” and “quilting bees,” organizing people to come together to share resources, talk politics, and promote change in the fashion and textile industry. Sewing Rebellions have been hosted in Chicago; New York City; New Orleans; Denver; Sheboygan, Wisconsin; Ames, Iowa; San Francisco, Los Angeles, and Long Beach, California; Asheville, North Carolina; Portland, Maine; Portland, Oregon; London, UK; and Weimar Germany.

Frau Fiber is the performative ultimate ego of CAROLE FRANCES LUNG. carolefranceslung.wordpress.com



The Desert (Granary Books) by Jen Bervin, 2008. Digitally printed, machine-sewn abaca, 148 pages, 8 ¼” × 11” × 2.”

Tactile Notation
In this interdisciplinary writing workshop, we will explore what it means to be in situ, or “in position” in our artistic practice—to write from, in, and into elemental places, to foreground that which is perceived through touch and sound. Thinking in situations, we will experiment with intertextual, intratextual, and interdisciplinary approaches to process, and consider reading and writing both as site and site-specific. Outcomes and studies might include — but are not limited to — various forms of sound, writing, sculpture, translation, drawing, prints, artist books, performance, short films, and collaboration. This could be a generative context to metabolize research for a larger project, explore an ongoing focus, or delve into new thinking. All levels welcome.

Visual artist and poet JEN BERVIN’s research-driven, interdisciplinary works weave together art, writing, textiles, and science in complex yet elegant ways. Her work has been the subject of solo exhibitions at the Des Moines Art Center; BRIC in Brooklyn; and featured in exhibitions at MASS MoCA, The Power Plant in Toronto, and the Walker Art Center. She has published ten books, including Silk Poems—presented as a long-form poem and as an implantable, silk biosensor developed in collaboration with Tufts University’s Silk Lab. Jen’s work can be found in more than thirty international collections. She is also a 2018 Artist in Residence at Northwestern University and is currently participating in the SETI Institute’s Artist in Residence program, which facilitates a cross-disciplinary exchange of ideas between artists and scientists. Jen is the recipient of numerous awards and honors, including The Rauschenberg Residency and a Creative Capital Grant. jenbervin.com


FishAngel by Bob Ebendorf. Found objects.

Lost and Found: Journey for Personal Adornment
This workshop will explore a wide range of concepts applicable to personal adornment and the narrative object. Working with both traditional and alternative materials¾silver, copper, wire, recycled materials, and found objects¾participants will fashion objects of personal importance, expression, and adornment. We will also investigate the use of color and collage as a design tool. Through demonstrations, lectures, and hands-on projects, we will discover the many methods of selection, integration, and assembly inherent to this limitless range of materials. The workshop will be centered around lectures and demonstrations, with plenty of time for individual attention. All levels welcome.

ROBERT EBENDORF served as the Belk Distinguished Professor in the Arts at East Carolina University for many years, and is now Professor Emeritus and enjoying “retirement” in Santa Fe, New Mexico.He has been the recipient of a Fulbright Fellowship to study at the State School of Applied Arts and Crafts in Norway and has taught at the University of Georgia and State University of New York at New Paltz. In 1995 he was awarded the American Craft Council Fellowship for his achievement and commitment to the craft movement. He is co-founder and past -president of the Society of North American Goldsmiths (SNAG) and is represented in collections worldwide including the Metropolitan Museum of Art in New York; the Victoria and Albert Museum, UK; and Yale University Art Gallery. The Smithsonian institution invited him to participate in its Archives of American Art Oral History Program and he was awarded the 2010 North Carolina Governor’s Award and the 2014 Lifetime Achievement Award from SNAG.


A Half Month’s Worth by Katie Hudnall, 2013. Various salvaged woods, fasteners, string, and watercolor paper, 70” x 15” x 34.” Photo by Michelle Given

Push Pull Play
In this workshop we will use pull and push toys as an introduction to creating surprising mechanical movements in wooden objects. Initially, students will explore the crossroads of movement, form, and narrative, as they design and construct their own pull and push toys. In the latter part of the workshop we will develop strategies for translating what we have learned into other objects such as sculpture, furniture, or automata. All levels welcome.

KATIE HUDNALL lives and works in Indianapolis, Indiana, where she teaches Furniture Design at the Herron School of Art & Design. She has been the recipient of the Windgate Wood Residency at the University of Madison, Wisconsin, an Anderson Ranch Residency, and most recently an ITE International Windgate Fellow at the Center for Art in Wood in Philadelphia. Her work has been included in publications and exhibitions including Studio Furniture: The Next Generation, Crafting A Continuum: Rethinking Contemporary Craft, and Why Wood at SOFA Chicago. katiehudnall.com


Haystack’s curator in residence program is designed to bring attention to curatorial work and scholarship in the field of craft, art, and design.Visiting curators augment the session with informal activities and are not workshop leaders.


JENNI SORKIN is Associate Professor of Contemporary Art History at University of California, Santa Barbara. She received a BFA from The School of the Art Institute of Chicago, an MA in Curatorial Studies from The Center for Curatorial Studies at Bard College, and a PhD in the History of Art from Yale University. She has received fellowships from the ACLS (American Council of Learned Societies), Luce Foundation, and Getty Research Institute. Jenni’s writing has appeared in Art Journal, Art Monthly, NU: The Nordic Art Review, Frieze, The Journal of Modern Craft, Modern Painters, Third Text, and Texte zur Kunst. Her book, Live Form: Women, Ceramics and Community, about gender and post-war ceramics practice, was recently published. arthistory.ucsb.edu/people/jenni-sorkin

Artistic Research
Artists are always driven by something: autobiography, a micro-history, a connection to nature, an exploration of ideas or materials. In a contemporary art world increasingly dependent upon conceptually-driven and text-based works of art, how can artist-driven research clarify or sharpen a body of artwork? In this series of informal workshops, together we will work to find ways to derive meaning, create specificity, and offer more clarity and grounding in individual artistic practice, through writing exercises, readings, and wide-ranging discussions.


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