Haystack’s 2018 Summer lineup will be posted early- to mid-December 2017
The application process will begin January 1, 2018

As a reference, see below to review information from this past year’s
2017 season, session 2


Hoss Halesy_Session 2_blacksmithing

Erratic Union No. 3 by Hoss Haley, 2012. Cor-ten steel, 117” x 46” x 36.”

Skin and Bones

In this workshop we will explore methods of creating three-dimensional forms in steel. Participants will be guided through the process of building armatures with steel rods and these structures will then become a road map for the development of metal volumes. Sheet forming techniques will be introduced to effectively “skin” the armatures in steel. We will also discuss how these particular methods and processes can be used to accurately achieve shifts of scale. All levels welcome.

HOSS HALEY is a conceptually focused American sculptor and painter creating and residing in Asheville, North Carolina. A Kansas native, he studied blacksmithing for many years in Texas and New Mexico before turning his focus to sculpture. Despite a long career and many travels, his creations clearly depict the power and influence, both conceptual and aesthetic, of the western landscape of his youth. Through decades of sculptural process, Hoss Haley’s work has evolved from literal to theoretical, while simultaneously shifting in scale from intimate to monumental. Master metalworking and expertise in creating large format sculpture have culminated in several collections and commissions in the public art sector. In tandem with a full-time art career, he has participated consistently in the intellectual/academic aspects of visual art through over thirty positions as an artist in residence, keynote speaker, instructor, and presenter throughout the US. hosshaley.com



Michael Hunt_Naomi Daglish_Session 2_Ceramics

Yunomi by Michael Hunt and Naomi Dalgish, 2016. Wood-fired local clay with hakame slip and copper dots, 3 ½” x 3 ½.”

Responding to Clay
In this workshop we will explore the ways that responding to materials, processes, and techniques bring life to our work in clay. Through a series of demonstrations, we will cover throwing, carving, onggi paddling, slab building, and molding. We will explore the interaction between dark clay, white slips, and glaze, and participants will experience the ways in which working with various processes can generate ideas and express different qualities of the material. This workshop will be a lively and playful environment where we can consider new ideas and the nature of collaboration with materials and one another. All levels welcome.

MICHAEL HUNT and NAOMI DALGLISH live and work in the mountains of western North Carolina. Using many local materials, they collaborate in making wood-fired functional pottery. Michael Hunt was a core student at Penland, a resident at the North Carolina Pottery Center, and apprenticed with Oh Hyang Jong in Korea, where he learned the traditional technique for making onggi jars. Naomi Dalglish studied Ceramics at Earlham College in Indiana, where she received a BA, and, while on a semester in Mexico, worked with a family of potters. Michael and Naomi have worked together in their studio in Bandana, North Carolina for thirteen years. Their work has been included in many exhibitions, most recently at The Northern Clay Center, AKAR Design Gallery, Schaller Gallery, the Steffen Thomas Museum, Signature Gallery, and Gallery 224. bandanapottery.com



Aaron McIntosh_Session 2_Fiber

The Bear by Aaron McIntosh, 2013. Plaster, wood, shredded gay porn, vintage crazy quilt, bedspread, felt, velvet, 59” x 32” x 27.” Photo by Terry Brown

Piecework as Paradigm
Can we look to piecework, a universal craft language, as a cognitive framework for understanding the complex ways that identities are created and shared? This workshop will investigate piecework and quiltmaking as means of expression and conceptual platform within a plethora of cross‐cultural, historical, and contemporary contexts. Participants will learn the basic structure of a traditional quilt, including patchwork, appliqué, layering, and quilt stitching techniques. To reflect the global reach of working with scraps, we will also study non- Western traditions, such as Seminole patchwork, Korean pojagi, Japanese boro, and Bengalese kantha. These various piecework techniques will be used to push the quilt into expanded forms such as sculpture, architecture, installation, garment, performance, writing, and image-based media. Students will source personally-relevant techniques, explore non‐traditional materials, and work on self directed projects. All levels welcome.

AARON McINTOSH is a fourth generation quilter whose work explores the intersections of material culture, family tradition, identity, and sexuality in a range of works including quilts, collage, drawing, and sculpture. He received a BFA from the Appalachian Center for Craft and an MFA from Virginia Commonwealth University. His work has been in exhibitions at Quilt National ’09, Queer Threads: Crafting Identity & Community at the Leslie Lohman Museum of Gay & Lesbian Art in New York, Man-Made: Contemporary Male Quilters at the Craft & Folk Art Museum in Los Angeles, and most recently Queering the Bibliobject at the Center for Book Arts in New York. His personal essays and critical reviews have appeared in the Brooklyn Rail and Hyperallergic. His awards include two Windgate Fellowships and a Maryland State Arts Council Individual Artist Grant. Aaron McIntosh currently lives and works in Richmond, Virginia, where he is an Assistant Professor of Fiber in the Department of Craft/Material Studies at Virginia Commonwealth University. aaronmcintosh.com



David Wolfe_Session 2_Graphics

M8 by David Wolfe, 2015. Letterpress, relief, photo, 10” x 12.”

26 Letters/ Type and Image Navigation
Letters can be more than information symbols—the original pictographic sources of our letters are an important and inspirational influence in art and design. We will examine the forms of letters and experiment with using them as image-making elements. Using the relief printing processes of letterpress and woodcut, students will combine and layer letters to create rich, complex images that can also function as readable text. Participants will create a woodcut alphabet as a group project, and also have plenty of time to explore their own directions. No previous experience with woodcutting is necessary. All levels welcome.

DAVID WOLFE is the proprietor of Wolfe Editions, a letterpress and fine art print studio in Portland, Maine, that works with artists to print editions. He has taught book design and book arts at Maine College of Art, Bowdoin College, Wellesley College, and Dartmouth College, along with ongoing classes in his own studio. David Wolfe was the Master Printmaker for the 2009 winter residency program at Penland. He was awarded the 2010 Traditional Arts Fellow from the Maine Arts Commission, honoring his thirty years of letterpress printing in Maine and in 2014, he received a grant from the Maine Arts Commission to support his Master Printer Training Program. wolfeeditions.com



Matthieu Cheimee_Session 2_Metals

Bracelet, Stampclastic by Matthieu Cheminee, 2016. Sterling Silver, 18k Gold and diamonds, stamped, pave setting, 2” wide. Photo by Anthony McClean

A Journey’s Recollections (learning by traveling)
This workshop will focus on jewelry techniques from West Africa, as studied and documented by Matthieu Cheminee during his extensive travels. A variety of demonstrations will be accompanied by video documentation of forging and filigree by Touareg jewelers from Niger, Burkina Faso, Senegal, Guinea, and Mali. During the first week of this workshop, participants will forge a ring and a bracelet from a poured ingot and will be introduced to techniques such as filigree, making stamps, and stamping on metal. During the second week participants will expand on these techniques while focusing on self directed projects. All levels welcome.

MATTHIEU CHEMINEE was born in Paris, France, and  lives and works in Montréal, Canada. As a jeweler his work encompasses teaching, writing, and extensive travel. He spent seven years studying Navajo, Hopi, and Zuni jewelry techniques, and lived in Mali, West Africa working with Touareg, Fulani, and Bambara jewelers. Matthieu Cheminee’s work has been featured in exhibitions nationally at venues such as Aaron Faber, Denovo, Mesa’s Edge, and Musee des beaux arts in Montreal, and his book, Legacy: Jewelry Techniques of West Africa was published by Brynmorgen Press in 2014. With Tim McCreight, he is the co-founder of the “Toolbox Initiative,” an organization that helps jewelers in West Africa through the donation of tools provided by jewelers from around the world. matthieucheminee.com



Annie Evelyn_Session2_Wood

The Scotty in Aluminum by Annie Evelyn, 2015. Aluminum, foam; welded aluminum frame constructed from sheet, CNC’d aluminum tiles “upholstered” to the frame, 18” x 32” x 18.”

Altered Interactions: Experimental Furniture
This workshop will focus on expanding our understanding of what furniture can be. Students will be encouraged to use traditional materials in new ways, to experiment with alternative materials, to manipulate the way users interact with furniture, and to alter prescribed norms. We will spend the first part of the workshop trying as many new things as possible and going in every direction we can. Through group conversations and one-on-one discussions participants will choose what concepts to move forward with and spend the latter part of the session honing in on one idea and creating a finished object. All levels welcome.

ANNIE EVELYN is a furniture maker who makes alternatively upholstered chairs from hard materials like wood, metal, and cement. She received both a BFA and an MFA from the Rhode Island School of Design. Annie Evelyn has taught at RISD, Parsons The New School, Anderson Ranch, and Penland. In 2011 she received a Windgate Furniture Residency at the Indiana University of Pennsylvania Center for Turning and Furniture Design. Her work has been featured on the cover of American Craft and published in Laura Housely’s book, The Independent Design Guide (Thames & Hudson). Annie Evelyn is currently in her third year as an artist in residence at Penland and was recently awarded The John D. Mineck Furniture Fellowship. annieevelyn.com


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