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Coffee Dripper by Hanako Nakazato, 2016. White Stoneware, 5” (d) x 9” (h).

Form and Rhythm, For the Table
This workshop will focus on the life of tableware, from its conception and birth on the wheel to its regular use at the table. Through the lens of contemporary Japanese aesthetics, craft, and food culture, we will explore the living vessel, how it is made and how it is used. A throwing technique—rooted in the tradition of Karatsu, Japan that uses speed, rhythm, and free spirit to infuse simple vessels with energy—will be demonstrated. Looking at Japanese concepts of plating and the importance of variety and rhythm in setting the table, this workshop will expand your vision of functional pottery and its relationship with food. All levels welcome.

HANAKO NAKAZATO comes from a family of potters in Japan stretching back fourteen generations and maintains studios in Karatsu, Japan and Union, Maine. Combining the traditions and techniques of Karatsu with contemporary western influences, from Scandinavian design to house music, she makes simple, lively vessels
for the table that speak to audiences across cultures. monohanako.com



Untitled (Yellow) by Caroline Lathan-Stiefel, 2016; Fabric, netting, pipe cleaners, thread, and wire; 13″ x 16.” Photo by Gerry Piotrowski

Piece Play Propagate
Piecework is an assemblage of parts joined together through a variety of fiber processes and more broadly, a conceptually and culturally-rich methodology. Students will begin by focusing on creating textile surfaces through a number of techniques including piecing, cording, dyeing, beading, weaving, appliqué, and net-making, and will be encouraged to gather and play with a variety of materials that could have personal or cultural significance while “growing” their surfaces through layering or repetition. Later, as the work propagates, we will begin to think about structure and how these collaged and pieced works could be displayed in space, on the wall, or within a structure. All levels welcome.

CAROLINE LATHAN-STIEFEL received a BA in Visual Arts from Brown University and an MFA from the Maine College of Art. Her work has been in many exhibitions, including at the Museum of Contemporary Art Jacksonville, Maine’s Portland Museum of Art, The John Michael Kohler Arts Center, Suyama Space, The Delaware Contemporary, and Galerie Articule in Montreal. Caroline’s work has been shown at the Philadelphia International Airport, Leonard Pearlstein Gallery at Drexel University, Philadelphia Art Alliance, Tiger Strikes Asteroid, and The West Collection. She is a 2015 Pew Foundation Fellow in the Arts and the recipient of an Independence Foundation Grant, Pollock-Krasner Foundation Grant, Creative Capital Foundation Grant in Visual Arts, and New Jersey State Council for the Arts Grant in Sculpture. carolinelathanstiefel.net


LORESSession 3_Glass_Suzanne Pack_Peck_Submerge_VideoStill

Submerge (digital video still) by Suzanne Peck, 2009. Dimensions variable.

Hot Mess
Detail. Surface. Mimicry. Pattern. Students will use the hot-blow-mold technique to transform objects—from the everyday to the unique—into richly textured blown glass. We will collect, modify, and invent objects. Inspiration for our forms and textures might come from the forests, beach, grocery store, the body, the imagination. This workshop will equally inhabit the mold room and the hotshop: we will learn the mysteries of mold making, including tackling rubber, alginate, and silicone molds, and lost wax processes; and will learn how to blow glass into our hot-blow-molds and explore color applications to further support or pervert the glass’s relationship to its original object. Students can expect to create forms imbued with exceptional detail, enabling exploration of shape and surface both known and invented. All levels are welcome.

SUZANNE PECK is a visual artist, writer, curator and educator living and creating in Brooklyn, New York. She has taught and her work has been exhibited throughout the US, Europe, and Australia. Her work considers themes of touch, skin, and interconnectivity. She received an MFA in Glass from the Rhode Island School of Design and glass is a constant presence, physically and/or conceptually, in her practice. Suzanne uses photography, video, textiles, and haptic technologies to explore her ideas as well. suzannepeck.com



Typewriter Drawing, Big Flowery Pot by Lenka Clayton, 2017.  Typewriter ink on typewriter paper, 8.5″ x 11.”


In the Valley of the Sun by Phillip Andrew Lewis, 2014. Live video, monitors, and roof mounted closed-circuit cameras, dimensions variable.


The Gifts
This is a fast-paced, interdisciplinary workshop designed to expand the possibilities of students’ practices using a wide range of materials and processes – driven by conceptual thinking. Play, improvisation, communication, experimentation, and the creative possibilities of limitation will be emphasized. Students will explore the potential of objects as prompts for taking creative action. A series of wrapped, unusual items will be presented at intervals — to be carefully and deeply considered and as prompts to use a variety of thinking and research tools to create work in response. Mediums might include, but are not limited to, writing, drawing, photography, sculpture, performance, installation, video, etc. The workshop’s bricoleur-based approach (creating using whatever materials are available) will deepen students understanding of their own creative process and they will leave with a new body of work as well as sketches and ideas that can be further developed. All levels welcome.

LENKA CLAYTON is an interdisciplinary artist whose work engages with everyday situations, extending the familiar into the realms of the poetic and absurd. She is the founder of An Artist Residency in Motherhood, a self-directed, open-source artist residency program that takes place inside the homes and lives of artists who are also parents. Clayton lives and works in Pittsburgh, Pennsylvania, where she was named Emerging Artist of the Year 2013 and in 2014 was awarded a Carol R. Brown Award for Creative Achievement. Other supporters include the Rothschild Foundation, Headlands Center for the Arts, The Andy Warhol Foundation, and National Endowment for the Arts. Lenka’s work has exhibited at the Metropolitan Museum of Art, Solomon R. Guggenheim Museum, The Fabric Workshop and Museum in Philadelphia, FRAC Le Plateau in Paris, Kunstmuseum Linz in Austria, Kunsthalle St. Gallen in Switzerland, and the Tehran International Documentary Festival in Iran. lenkaclayton.com

PHILLIP ANDREW LEWIS is an artist working in a variety of media including photography, video, objects and sound. His creative research, which examines duration, perceptual limits and attentive observation, often responds to historical events, psychology, and phenomenology. He currently teaches in the Art Department at the University of Tennessee Chattanooga and is actively involved in collaboration with artists and various groups. In 2012 Phillip received a Creative Capital Grant in Visual Art for his ongoing long-term project SYNONYM and has also received support from the Headlands Center for the Arts, Culture and Animals Foundation, Center for Creative Photography, Foundation for Contemporary Art in New York, Bemis Center for Contemporary Art, and more. In 2005, Phillip co-founded Medicine Factory, an independent arts organization in downtown Memphis committed to supporting installation-based works. phillipandrewlewis.com


LORESMimlitsch-Gray_Haystack 2018_4

Copper Chiclet Tray by Myra Mimlitsch-Gray, 2012. Copper, Bronze, tin. 2.75″ x 16″ x 11.5.” Photo by the artist

This workshop is an exploration of forms that connect to each other, resulting in objects that belong together. Samples will be developed in the first week: sharing of parts is encouraged in order to expand aesthetic and conceptual vocabularies. The second week allows for individual projects. Techniques such as sinking, raising, ingot pouring, and hot-forging silver, as well as various construction methods, will be covered. Functionality will be considered within the creative discourse. Some experience with basic
metal/jewelry-making skills, such as
sawing, filing, and high-temperature soldering is required

MYRA MIMLITSCH-GRAY is a metalsmith and Head of the Metal Program at SUNY-New Paltz. She is the recipient of awards including the United States Artists Fellowship in Crafts and Traditional Arts, and individual fellowships from the Tiffany Foundation, National Endowment for the Arts, and New York Foundation for the Arts. In 2016 she became a Fellow of the American Crafts Council. Myra is the subject of an interview that is part of the Smithsonian Archives of American Art. Her work has been in exhibitions at the Samuel Dorsky Museum of Art, and “Staging Form,” part of the Master Metalsmith series at the Metal Museum. Her work is currently on view in “New York Silver: Then and Now,” at the Museum of the City of New York, and in the Collections Galleries at the Cooper-Hewitt Smithsonian Design Museum, the Museum of Fine Arts Boston, and the Yale University Art Gallery. mimlitschgray.com


Concrescence 2016

Concrescence by Michael O’Malley, 2016. Walnut, Camphor, Cherry, Pine, paper, brick, iron, aluminum, graphite, and clay. Photo by the artist

Sculptural Furniture and
Speculative Joinery
While joinery serves to make an object possible mechanically, increasingly it is used conceptually to carry a narrative.This workshop will focus on how one element meets and connects with another, both physically and metaphorically. Do I employ a hand cut dovetail, a lap joint made with the CNC machine, laminate with glue, use a mechanical fastener or employ gravity, tension, etc…We will work with poplar — a soft, hardwood that grows fast, is inexpensive, and readily lends itself to first iterations. Doing tests, practicing techniques, understanding wood, drawing, and access to the Haystack fab lab will be encouraged in making functional sculpture of the participant’s design.All levels welcome.

MICHAEL O’MALLEY is Professor of Art at Pomona College, in Claremont, California. He received a BA in English from the University of Notre Dame. After volunteer work on the Pine Ridge Indian Reservation he returned to school to study art, receiving a BFA from the New York State College of Ceramics at Alfred University. Following extensive travels, he received an MFA from Stanford University. Michael’s work has spanned a number of areas—large-scale installations, video, sculpture, furniture, and social practice gestures. Along with gallery and museum shows his work is often sited to the domestic environments. michaelomalley.org


Visiting artists augment the session with informal activities and are not workshop leaders.

LeeJIN LEE is a Chicago-based photographer whose project centers on forming a deeper relationship to places through close examination of its landscapes, and is a Professor of Art at Illinois State University. She has received the John Simon Guggenheim Fellowship and the Illinois Arts Council grant, and has had solo shows at the Museum of Contemporary Photography, Chicago Cultural Center, and Sioux City Art Center. Jin’s works are included in the permanent collection of the Art Institute of Chicago, Los Angeles County Museum of Art, Madison Art Center, and Museum of Contemporary Photography. She is represented by Devening Projects gallery in Chicago. jinslee.net

Seeing Landscape
Through informal workshops we will explore the relationship of landscape to time, memory, and perception. We will consider how a connection to a place structures out feelings, thoughts, and a sense of belonging, and look at various examples and traditions of landscape art, from Asian screen paintings to documentary photographs.


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