LO-RES_KLINE_HAYSTACK2018_2

Yunomi by Michael Kline, 2017. Stamped inlaid stoneware with underglaze brushwork, 5″ (h). Photo by Tim Barnwell

4/CERAMICS

Looking Back, Moving Forward:
Growing From the Roots
Using folk pottery traditions as the springboard, we will be using brushwork, stamping, and incising to find our contemporary voices. Participants will be guided through a series of lively throwing and surface decoration demonstrations as well as fun brushwork exercises. There will be time to experiment with the relationships between form and surface, function and imagery, and pattern development. We will use high fire stoneware clay and explore slip and glaze strategies for the salt kiln including pigmented wax resist and latex resist. We will discuss the day-to-day practicalities of life as a studio potter and develop a sense of curiosity and playfulness that can help our work evolve. All levels welcome.

MICHAEL KLINE received a BFA in Ceramics from the University of Tennessee Knoxville. For most of his career, he has worked with wood-fired salt-glazed stoneware, usually with organic patterns painted on a thick white slip surface. In 2015 he visited the Freer-Sackler Wing of the Smithsonian and was struck by 15th C. examples of the Korean sanggam technique. Since then, he has focused on applying this technique to his own work, creating floral stamps and inlaying the impressions with white slip on a dark stoneware base. His work is in the collection of the Islip Art Museum, New York and has recently exhibited at the Weisman Museum, California and at AKAR Design Gallery, Iowa. klinepottery.com

4/FIBER

LO-RESsarah

Amrita Simla Screen print, handmade paper books by Sarah K. Khan, Sutanu Panigrahi, and Meeta Mastani, 2015. Cotton, 5” x 7.” Photo by the artist

LORESmeeta

Faiz poetry scarf by Meeta Mastani, 2017. Cotton, 22” x 71.” Photo by the artist

South Asian Rajasthani Traditional
Block Printing and Natural Dyeing
Enter a workshop steeped in Indian traditional block-printing and natural dyeing. Using common South Asian and local Maine, organic and plant materials, participants will learn about the South Asian Rajasthani history, practices, and science of block printing and dyeing. Inspired by a super shero we created, we will guide participants to pull from their own narratives, draw block images and patterns, mix and match the natural dyes, plan and execute the sequential block-prints and dyeing steps on a series of scarves. Participants may finish the scarves with stitching, embroidery, and embellishments. Through each process, participants will develop a practical and sensory understanding of the natural materials used such as wood, an array of plant material and organic dyes, and cotton, silk, or wool fabrics; and how each step interacts with the materials. All levels welcome.

MEETA MASTANI AND SARAH K. KHAN will co-teach. Meeta, an artist and designer, is based in New Delhi. She has worked with Rajasthani traditional block printers and dyers for over twenty-five years and co-founded the company Bindaas Unlimited. Her textile creations are wildly playful and beloved across the country. Sarah K. Khan, trained in plant sciences, met Meeta while on a Fulbright in India in 2001. Sarah recently designed and completed her second round of Super Shero scarves and silk-screened books in collaboration with Meeta. Her super shero is the narrator and force behind her animated short films on Indian women farmers. In 1947 at the partition of the sub-continent, when India and Pakistan were formed, their mutual families parted for the other side—Sarah’s family went from Amritsar and Simla in India to Pakistan, and Meeta’s journeyed from Sindh in Pakistan to Delhi. In their on-going conversation and collaboration—for nearly twenty years—Meeta and Sarah are partitioned, no more.
amritasimla.com | sarahkkhan.com

4/GLASS

LORESgranite

Pink Cups by Granite Calimpong, 2015. Glass, dimensions variable. Photo by David Clugston

The Cup and Knowledge Contained
The cup is arguably our most iconic implement. Used for thousands of years for everything from quenching thirst, celebratory drinking, cultural ritual to storing valuables, they come in endless variations and presentations. The intimate scale and relatively quick time to produce them makes it the perfect object for advancing skill sets. In this workshop we will start with the simplest, most humble examples and focus on refinement and slowly build from there. We will cover a wide range of techniques from posture, to proper bubble set-up, centering, trimming, optics, wraps, and color application. Previous experience with glass required.

GRANITE CALIMPONG grew up the son of a potter Northern California, so his hands were covered in clay long before he discovered glass. Making and living with handmade objects has always been an integral part of everyday life. He graduated with a degree in Interdisciplinary Computing in the Arts from the University of California, San Diego, where he was first introduced to glass. Granite has spent the last ten years in the Seattle area working as a member of numerous local hotshop teams and as a fabricator for artists seeking glass components for their work. He has also maintained a studio in the Ballard neighborhood for the past seven years in the collaborative space 5416. granitecalimpong.com

4/GRAPHICS

LORESobrien

William J. O’Brien exhibition by William J. O’Brien, MCA Chicago January 25 – May 18, 2014. Photo: Nathan Keay, © MCA Chicago

Getting Weird and Hilarious
This workshop will approach drawing as a conceptual and metaphorical material to explore both traditional and non-traditional techniques. The workshop will provide and establish a solid foundation in the techniques and language of drawing as a vehicle into experimentation. Studio time will be process driven using the natural landscape and he studio to explore abstract and figurative narratives. Open to all artists working in different materials wanting to establish a new language in drawing as well as experienced practitionersAll levels welcome.

WILLIAM J. O’BRIEN’s multi-disciplinary practice—painting, sculpture, drawing and installation—grows out of a personal, intuitive process. He received an MFA in Fiber and Material Studies from The School of the Art Institute of Chicago. His works address the tension between order and chaos, weaving repetition and mantra into a fresh minimalistic practice. Gesture is the central motivation of his artistic operation, material usage ranging from clean to messy alluding to an inherent physicality. Such physicality yields a wide range of media, including stitched felt, loosely sculpted ceramic forms, steel totems, bronzes, and colorful pencil drawings. William’s work has been exhibited at The Renaissance Society at The University of Chicago; Nerman Museum of Contemporary Art, Kansas; and the Museum of Contemporary Art, Chicago. williamjobrien.com

4/METALS

LORESellenW

Ducktape earrings (View 1) by Ellen Wieske, 2017. Silver, ducktape. Photo by the artist

Material Practice/Jewelry Making
Each morning will begin with an introduction and discussion regarding a different material. We will spend time examining such resources as wood, rubber, glass, tin, iron, cement, and found objects. Afternoons will involve a method of incorporating objects into jewelry of all types. Through silver and tin-smithing techniques, we will cover stone setting, object containment, mending, cold connections, linking, and other means of attachment. All levels are welcome to this experiment driven workshop as we consider and question jewelry and jewelry making.

ELLEN WIESKE is an artist who works in many materials. Primarily a metalsmith, she received a BA from Wayne State University in Detroit and an MFA from Cranbrook Academy of Arts. She worked in the jewelry industry for eighteen years as a jeweler/stone setter/designer. Ellen has taught many workshops and courses including; Arrowmont, Penland, Haystack, 92nd Street Y, and the Massachusetts, Oregon, and Maine Colleges of Art. Her work has been exhibited in galleries and museums nationally and in Germany, New Zealand, and France, and is in the permanent collection of the Farnsworth Art Museum. Ellen maintains Dowstudio, her studio/gallery, with wife and potter Carole Ann Fer in Deer Isle Maine. She has also been the Assistant Director at Haystack since 2003. dowstudioeerisle.com

4/WOOD

LORESdonaldfortescue

On the Level #2 by Donald Fortescue, 2014. Recycled redwood. 85″ x 85″ x 100″ (h). Photo by the artist

Starting from Scratch
Where does making begin? It is widely argued that the use of our hands to shape and use tools has made us who we are. Humans have been making things by hand since before we were Homo sapiens. Simple stone tools were fashioned and used by Australopithecines over 3 million years ago and they can be recognized by the distinctive marks or their making. Making and mark-making are fundamental to art and design. In this workshop we will begin with the basics— walking into the woods to collect materials to work with, then we will get to the core of making and thinking by creating small wooden forms whittled with a simple knife. These objects and the process of making them will then inspire further artistic explorations through making or performance. Woodworking will lie at the heart of this workshop but won’t limit our investigations. All levels welcome.

DONALD FORTESCUE is a Professor of Art and Design at the California College of the Arts in San Francisco. His work uses traditional craft techniques and contemporary digital technologies in tandem. He is currently completing a Ph.D. at the Australian National University where his research explores congruencies between the methodologies, aspirations and limits of ‘science’ and ‘art’. Last year Donald was a US National Science Foundation Antarctic Artist and Writers Fellow at the South Pole, where he worked in collaboration with the IceCube Neutrino Observatory. His work has been exhibited in Australia, US, Europe, Asia, and South America. Donald received the Experimental Design Award from San Francisco’s Museum of Modern Art in 2001 and his work is in the permanent collections of the National Gallery of Australia, Powerhouse Museum in Sydney, Museum of Arts and Design, Houston Museum of Fine Art, and the San Francisco Museum of Modern Art. donaldfortescue.com

 

 

 

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