3/CERAMICS

Blue/Green Ombre Dust Furry with Lint by Linda Nguyen Lopez, 2018. Porcelain, 7½” × 9″ × 4″

Everyday Abstraction with Colored Porcelain
Handbuilding techniques and colored porcelain will be used to create abstract ceramic sculptures. We will investigate and explore the peculiar aspects of the world around us through sketching, resulting in a personal visual glossary from which we will create a series of playful ceramic objects focusing on repetition, texture, color, and movement. Demonstrations on object construction, line, and triaxial porcelain color blends, and some surface techniques, will be given and discussions on visual perception, color, and historical and contemporary ceramics will be included. Participants will create a catalog of colored porcelain tests, a visual glossary, and a series of abstracted objects. An interest in ceramics and sculpture strongly encouraged, with all levels welcome.

LINDA NGUYEN LOPEZ received an MFA from the University of Colorado at Boulder. She has exhibited her work widely including in New Zealand, England, and the US, including Craft and Folk Art Museum, Long Beach Museum of Art; Crystal Bridges Museum of American Art; and the Fisher Parrish Gallery, among others. Linda has been an Artist-in-Residence at The Clay Studio, Archie Bray Foundation, Greenwich House Pottery, and C.R.E.T.A. Rome. She is represented by Mindy Solomon Gallery in Miami. lindalopez.net

3/FIBER

Big Backpack by Doug Johnston, 2014. Coiled and sewn rope, approximately 48″ × 15″ × 15″. Photo by Michael Popp

Home is Everywhere
Bags and wearable containers are unsung heroes of human history. We have created innumerable bags and containers for transporting all manner of objects. This workshop will explore the making of bags and wearable containers through sewing, coiling, weaving, knotting, knitting, fastening, or really any method of making that compels you. We will look at the history of this technology and the wide variety of forms it has taken, and explore our own lives and environments through the making of carriers for objects, events, bodies, and functions. The workshop will primarily be exploratory and playful, focusing on the development of form, detail, and culture. All levels welcome.

Since 2010 DOUG JOHNSTON has focused on a process of coiling and stitching rope using industrial sewing machines, producing a wide range of functional and sculptural objects. He has built a formal vocabulary and studio practice that sits at the intersection of art, design, and craft, taking the position that no made object is exclusively aesthetic or utilitarian. Doug has shown his work at Patrick Parrish Gallery, Cranbrook Art Museum, Collective Design Fair, and Design/Miami. He received a BA in Studio Art and B.Arch. from Drury University and a M.Arch. from Cranbrook Academy of Art. dougjohnston.net

3/GLASS

The Weight of Waiting by Megan Biddle, 2015. Slumped window glass, 24″ × 48″ × 8″. Photo by Jason Wierzbicki

Slump, Fold, Mix, Mold
This non-traditional slumping and fusing workshop will embrace an experimental and process-driven approach to achieve unexpected outcomes. Combining the power of heat, gravity, and unconventional materials such as organic matter and paper, we will create off-kilter and impromptu molds to push the boundaries of what can be accomplished in the kiln. Problem solving and discussing firing and annealing schedules will give students confidence working on their own. We will use multiple scenarios to generate image, texture, and form that will range from focused and specific to wild and improvisational. Expect to explore! All levels welcome.

MEGAN BIDDLE produces experimental and process driven work, reflecting on variations of time, cycles of growth, and erosion. She is a Co-Director of Tiger Strikes Asteroid Gallery in Philadelphia and has taught at Pilchuck, Urban Glass, and Oxbow School of Art. Currently teaching in the Glass Program at the Tyler School of Art, she has also attended residencies at The MacDowell Colony, The Jentel Foundation, Sculpture Space, Northlands Creative Glass in Scotland, and Mass MOCA. Her work has been in exhibitions at The Islip Art Museum and the Everson Art Museum, the 700IS Experimental Film Festival in Iceland, and is in the American Embassy’s collection in Riga, Latvia. meganbiddle.com

3/GRAPHICS

Untitled, Bullshit & DIY Venn Diagram by Emmy Bright, 2015. Silkscreen on Paper, 22″ × 64″

Silkscreen: The Printed Word
Using text as a starting place, this workshop will explore combinations of word and image and words as material for sculpture and installation. We will play with the meaning by breaking sentences and words apart, repeating things, and rearranging them to generate new directions for our work. The basics of silkscreen printing (paper stencils, hand drawn stencils, rubylith stencils, and digital image making processes) will be covered and we will use print processes to explore posters, banners, and the broadsides while we also explore the possibilities of text in the landscape. All levels and interests (including writing) welcome.

EMMY BRIGHT works in drawing, print, and performance and is currently an Artist in-Residence and co-head of Print Media at Cranbrook Academy of Art. She received a BA in Art History from the University of Chicago, an MFA in Print Media from Cranbrook Academy of Art, and an M.Ed degree from Harvard. She has been an Artist-in-Residence at New Urban Arts, Penland, OxBow and the Vermont Studio Center and her work is represented by David Klein Gallery. emmybright.com

3/METALS

Rubble of Gems Pile Brooch by Tara Locklear, 2016. Recycled broken skateboards, Paperstone (recycled paper countertops) laser-cut maple hardwood, pigment, sterling silver; hand carved and hand fabricated sterling silver from tube and wire, oxidized, 4″ × 2½” × 1½”. Photo by the artist

Material Mechanics: Intentional Connections
Cohesion. Purpose. Function. These ideas play a vital role in designing jewelry for the body. If you are making production or one-of-a-kind objects, findings can be a critical consideration in making something wearable. During the first week these questions and discussion points will be covered through group and individual conversations along with design concepts, demonstrations, and professional development. The second week will involve producing final designs through a variety of metalsmithing techniques including sawing, soldering, capturing, and forming. Students will decide on a final selection of findings to apply to a small cohesive jewelry collection to display and discuss. All levels welcome.

Inspired by urban landscapes, TARA LOCKLEAR‘s designs are comprised of industrial and re-purposed materials, which she uses to create a playful visual language in the form of jewelry. She received a BFA from East Carolina University and has taught workshops and given lectures around the US. Her work has been shown at the Philadelphia Museum of Art and the American Craft Council where she received the Award of Excellence in 2017. Her work has been published in American Craft and New Necklaces:400+ Contemporary. Tara is a member of Society of North American Goldsmiths. taralocklear.com

3/WOOD

Siosi Design. Photo by Audi Culver

All About the Details
Mistakes happen, wood has inherent flaws, and in this workshop we will show you how to embrace imperfections; fix, reinforce, and enhance them with detail work. Using simple joinery techniques like miters and butt joints, students will design and make a furniture piece from start to finish—from a hand drawn design to applying oil. The majority of time will be spent on the details; honing chisel skills with inlay work and/or carving tactile elements with scoops or v-parting hand tools. Students will be encouraged to spend time with their piece, think about the grain flow, and meditate on the details. All levels welcome.

AUDI CULVER + IVY SIOSI are co-owners of Siosi Design, created in 2012, a studio that designs and builds fine furniture in Bloomington, Indiana. Inspired by Danish design, they are committed to combining work and life, creating heirloom quality pieces, working closely with clients, and documenting everything. Audi’s background is in art and photography, with an MFA in Photography from Indiana University. Ivy’s background is in printmaking, sculpture, home building, and classic car restoration, with a BA in Printmaking from Warren Wilson College. They recently co-authored an article for Fine Woodworking Magazine on their inlay technique. siosidesign.com

 

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