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 4


Cut flowers by Ann Agee. Porcelain, wood, epoxy, and paint; handbuilt with thrown parts, 23” x 13” x 3.” Photo by Gianni Pippoli

Handbuilding with Clay
This workshop will focus on developing and expanding the possibilities of handbuilding ceramic objects, from the simplest to the most complex forms. We will look at the rich history of ceramics from many parts of the world and explore the way these things are made, using any and all methods of handbuilding, including slab construction, coil building, and the potter’s wheel. Through a consideration of iconic functional pottery and complex stacked forms like Dutch tulip vases to the groundbreaking work of sculptors like Peter Voulkos who pushed the industrial and domestic uses for clay into the realm of contemporary art, we will examine the breath and possibilities of working in clay today. Students will be encouraged to stretch their abilities, build upon their innate tendencies, and to respond to their own work by taking risks and challenging themselves. All levels welcome.

ANN AGEE received a BFA from the Cooper Union School of Art, and an MFA in Painting from the Yale School of Art. She began using clay at Greenwich House Pottery and has taught handbuilding there and at Hunter College and Princeton University. She currently teaches at Pratt Institute. Ann Agee has received the Anonymous Was A Woman Award, the Tiffany Foundation Award, and a Guggenheim Fellowship. Last year her voice was included in the Metropolitan Museum of Art’s online program, “Season 3 of The Artist Project.” Her work has been in exhibitions in Europe and the US and is in the collections of the Philadelphia Art Museum, Brooklyn Museum, RISD Museum, Los Angeles County Museum of Art, New York Historical Society, McNay Art Museum, Chazen Museum, and Pennsylvania Academy of Fine Art. annageestudio.com



SHEvening by Tanya Aguiñiga, 2015. Installation view of exhibition concept developed by Tanya Aguiñiga and Nancy Baker Cahill to examine the art and issues of SHE. Each piece in the exhibition embodies the delicate tension between strength and vulnerability, energy, and stasis.

Tied, Twisted, and Knotted
Workshop participants will explore traditional methods and alternative materials for creating fiber based sculpture, functional art and design. The first part of the workshop will present diverse techniques that include knitting, crochet,macrame, felting, rope making, sewing, dyeing, and basic weaving on a frame loom. These processes are intended as starting points for discovering new ways of working and exploring different ways of creating structure. Participants will be encouraged to think about alternative approaches to working with form, material, and context as a way to help to develop your artistic voice, and expand your working methodologies. No previous experience with fiber/textiles needed. All levels welcome.

TANYA AGUIÑIGA is a Los Angeles based artist/designer/craftsperson who was raised in Tijuana, Mexico. She received a BA from San Diego State University and an MFA in Furniture Design from the Rhode Island School of Design. She has created various collaborative installations with the Border Arts Workshop, an artists’ group that engages the languages of activism and community-based public art. Tanya Aguiniga’s work uses craft as a performative medium to generate dialogues about identity, culture, and gender while actively creating community. She is a United States Artists Target Fellow in the field of Crafts and Traditional Arts, a NALAC and Creative Capital 2016 Grant Awardee, and she has been the subject of a cover article for American Craft and was featured in PBS’s Craft in America Series. tanyaaguiniga.com



cogent (voice) by Jack Wax, 2015. Glass, wire, and pigment, 6’ x 13’ x 30.’ Photo by the artist

Three-Dimensional Drawing (with glass)
In this workshop we will delineate, encapsulate, define, and activate space through a process of three-dimensional drawing using hot glass. Curvilinear and straight rods, round, flat and tapered tubes, and glass skins will be used to modify both the visual and the physical spaces that viewers encounter. Codifying components carefully we will build “drawings” that pay attention to—and closely regard—the light, atmosphere, and environs of coastal Deer Isle, Maine. Some experience with hot glass fabrication preferred, but all levels welcome.

JACK WAX lives and works in Richmond, Virginia and he is the head of the glass program at The Virginia Commonwealth University’s School of the Arts. He received a BFA from Temple University’s Tyler School of Art and an MFA from the Rhode Island School of Design. He has taught at Temple University’s Tyler School of Art, University of the Arts, Ohio State University, Cleveland Institute of Art, Illinois State University, Rhode Island School of Design, and the Toyama Institute in Japan. He is a two-time recipient of Individual Fellowships from the National Endowment for the Arts, a recipient of an Illinois State Council of the Arts Grant, and residencies at Cam Ocagi in Turkey, at Corning Museum of Glass, and on the Island of Bornholm in the Baltic Sea. Jack Wax exhibits worldwide and his work is in permanent collection of the Corning Museum of Glass, the Los Angeles County Museum of Art, Smithsonian Institution, the Museum of Glass in Ebeltoft, Denmark, and the Toyama Museum of Glass in Japan.


Blue Chord, it took more than 5 bars by Jocelyn Châteauvert, 2015. Artist-made Abaca paper, pigment, worked wet and dry, 7” x 20” x 20.”

Raising Paper
This workshop will explore the structural potential of handmade paper. Using traditional papermaking techniques as the foundation, participants will learn how beating, sheet thickness, and drying times influences and informs the ability for paper to become dimensional. Using relatively simple tools and processes we will imaginatively transform sheets of handmade paper into three-dimensional forms that are strong and self-supporting. Previous experience with papermaking helpful but not required.

JOCELYN CHÂTEAUVERT was raised and educated in Iowa City, and is a paper artist who creates jewelry, lighting, sculpture, and installations from the paper that she makes by hand. She received a BA in Design and an MA and MFA in Jewelry and Metalwork from the University of Iowa. She taught metalworking at Middlesex Polytechnic in London, and then established herself as an artist in San Francisco. Since 1999 she has lived in Charleston, South Carolina, devoting herself primarily to paper art that is widely displayed in private homes and public buildings. She received a Smithsonian Artist Research Fellowship and awards from the South Carolina Art Commission, and her work was featured in an exhibition at the Renwick Gallery of the Smithsonian Institution. jocelynchateauvert.com



Blue Moon-5 by Mi-Sook Hur, 2014 (left) and Blue Moon-7, 2015 (right). Sterling silver, enamel on copper, stainless steel pin, 1 ¾” x 2 ½” x ³/8” (left); 1 ¾” x 2 5/ 8 ” x ³/8” (right).

Enameling: Colorful Exploration
This workshop will provide an opportunity for both beginners and advanced enamelists to learn how to convey drawings and narrative images on enameled steel and copper using a technique known as limoges. The aesthetic effects will be accomplished using non-traditional materials such as graphite and underglaze pencils, underglaze crayons, overglaze china paints, and watercolor enamels. Basic enameling techniques and image transferring processes with decals will be used, along with the laser cutter in the Haystack fab lab. Each step of the metalsmithing and jewelry making processes will be demonstrated during this workshop. All levels welcome.

MI-SOOK HUR is a metalsmith, enamellist, and educator teaching at the School of Art and Design at East Carolina University. She received a BFA in Metalwork and Jewelry from the College of Fine Arts, Seoul National University in Korea, and an MFA in Metals from the University of Wisconsin-Madison. Mi-Sook Hur has exhibited her work at the Museum  of Arts and Design, SOFA Chicago, Itami Museum of Arts and Crafts in Japan, and Vicenza Oro II in Italy. Her work has also been included in The Art of Enameling: Techniques, Projects, Inspiration (Lark Crafts), 500 Enameled Objects (Lark Books), and Metalsmith. Mi-Sook Hur has received prize awards from the Enamelist Society, Niche Awards, the Purchase Award from Arkansas Arts Center, and European Design—an Asian Renaissance Evoked in Gold Award from the World Gold Council. Her work is included in the collections of the Enamel Arts Foundation, Racine Art Museum, John Michael Kohler Arts Center, Sunny & Gloria Kamm, and the Arkansas Arts Center. misookhur.com



Whorl by Barbara Cooper, 2014. Wood, 14” X 22” X 12.“ Photo by Eileen Ryan Photography

Building Form through Accretion
This workshop will be an opportunity to explore accretion both as a process of building a form, as well as a concept from which to develop an idea. Accretion is a means of building through incremental growth. It is a process that is ongoing in both the natural and manmade worlds: it occurs both within us and in what surrounds us. We see this process in such diverse phenomena as the layering of rock strata in a cliff, the growth rings of a tree, the nests of birds, or the buildup of stalactites and stalagmites —in these instances accrual becomes a physical embodiment and connection between different periods of time within the same form. While wood is the focus of this workshop—with appropriate tools and techniques—the use of re-purposed materials and nontraditional methods of building are also encouraged. All levels are welcome.

BARBARA COOPER is a studio artist and educator who lives and works in Chicago, Illinois. Her work moves fluidly between two-dimensions and sculpture, and includes large public works, garden design, and stage sets for dance companies, through the use of a diverse variety of materials and approaches. Having worked extensively in wood veneer, she has explored the use of materials such as cast iron, bronze, and glass through several international artist residencies. Her work has been included in solo exhibitions at the Bellevue Arts Museum, Gerald Peters Gallery, Chicago Cultural Center, John Michael Kohler Arts Center, Perimeter Gallery, Hafnarborg Institute of Art in Iceland, and the Copenhagen Museum. Her work is in the collections of the Museum of Contemporary Art in Illinois, Cranbrook Museum of Art, Smithsonian American Art Museum, Contemporary Museum, and John Michael Kohler Arts Center. barbaracooperartist.com 


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