CAMAGU by Andile Dyalvane, 2016. Black stoneware clay coiled, 100 × 50 × 50 cm. Photo by Justin Patric


South African Vessels
Creating vessels inspired by the Ancient African tradition of body scarification and traditional vessel making, this workshop will focus on clay as a vehicle for storytelling and symbolism. Drawing upon resources such as cultural heritage and traditions, participants will develop work that is rooted in the practice of South African ceramics with demonstrations focusing on carving, texture, piercing, and surface decoration using slips and oxides. Group discussions and prompts about memory, experience, and place will help us to tell stories in clay that express bold symbolisms and meaning. All levels welcome.

ANDILE DYALVANE is the Co-Founder of Imiso Ceramics Gallery and Design Studios in Cape Town, South Africa. A Jola clansman of the amaXhosa tribe, Andile’s collections are inspired by heritage, traditions, and culture, and he highlights cultural preservation, narratives, and resources through his work. He received a National Diploma in Art and Design from Sivuyile Technical College and a National Diploma in Ceramic Design from Nelson Mandela Metropolitan University. He has taught workshops, participated in residencies, and exhibited extensively in South Africa and internationally. In 2018 he was recognized as 100% Design South Africa’s Featured Designer of the Year.


Botanical Dye Materials – Silk Flats by Kathy Hattori. Photo by Chris Bowden | LIGHTART

Around the World with Natural Color
Sample your way through the world of natural dyes. Working with natural materials we will create a comprehensive color notebook filled with the recipes and examples of ancient and historical color that have been used in textiles for millennia. Students will use natural dyes in their raw, concentrated extract, or pigment form from Asia, Europe, and the Americas. Mordant options, dye color combinations, and color changes will expand the dye palette to offer ways to shift and modify color with simple, non-toxic ingredients. We will focus on silk, wool, linen, hemp, and cotton fabrics and also incorporate the use of indigo for experimentation. All levels welcome.

KATHY HATTORI is the founder and President of Botanical Colors. She is a recognized authority on natural dyes and pigments as well as commercial applications using natural dyes—a pioneer in the field. Her international experience includes creating a natural dye program for the largest organically certified tannery in Europe and implementing large-scale natural dye programs. In 2016, Botanical Colors was named a Sustainability Leadership Award finalist by Sustainable Seattle and continues to grow, working with major fashion brands worldwide.


Neodymium Nest Served on an Erbium Roman Footed Low Bowl by Robert Lewis, 2018.

Advanced Basics
Freehand glass blowing is unlike many other material processes in that we do not directly shape the material, but instead focus on the “set-up” to allow a piece to naturally develop through a set of intended actions. As every maker has a unique sense in terms of interaction with the blowing process, we will start by working collectively in small teams on a common basic shape “round robin” style. As such we will be able to recognize how individual ways of thinking about these steps differ and pinpoint areas that require a more graceful hand, as well as areas in which we are already proficient. We will look past simple, visual appeal and focus on design born of utility; designs that are “completed” in use. Our target is the intersection of three areas: functional form, detail oriented blowing process, and the experience of use. This workshop is not so much about learning new techniques but geared more

Jar by Peter Ivy.

so to honing your current methods. Minimum one year glassblowing experience required.



PETER IVY received a BFA from the Rhode Island School of Design, after which he taught glass blowing courses at the school and at Massachusetts College of Art before moving to Japan to run the glass program at Aichi University of Education. Twelve years ago he left academia and his current work uses a model of the apprenticeship system, focusing on a business model that provides opportunity for individual development in terms of technical, creative, and administrative abilities of craftspeople.

ROBERT LEWIS received a BFA in Glass from the School for American Crafts and an MFA from Ohio State University. A frequent workshop instructor and educator, he has taught in the US at Haystack, Penland, and Pilchuck and in Japan as an Associate Professor at the Toyama City Institute of Glass. He was recently the Lecturer in Glass at the Ohio State University in Columbus, and since January 2012 he has been the Visiting Instructor in Glass and Sculpture at the Alberta College of Art and Design.


Untitled 8 (Metta) by Michael Velliquette, 2018. Paper sculpture, 12″ × 12″ × 6″. Photo by Jim Escalante

Sculptural Paper Craft: Form and Freedom
For millennia, paper has been a surface upon which we record our textual and pictorial experiences. Using the component qualities of surface and edge as the starting point, students will design and construct elaborate sculpture made entirely from paper. Participants will investigate paper-crafting traditions from around the world and integrate them with unique techniques they discover. Construction techniques will include: layering, folding, crumpling, bending, weaving, scoring, punching, cutting, wrapping, and rolling. In addition to individual works, students will collaborate on the construction of a piece that we will ritually burn at the end of the workshop session. All levels welcome.

MICHAEL VELLIQUETTE has been a working artist for twenty years. He has participated in over 150 exhibitions in museums and galleries in the US, Europe, and Asia including the Museum of Arts and Design; Mori Art Center, Tokyo; Palazzo Braschi, Rome; Fuller Craft Museum; and Racine Art Museum. Michael has been a member of the Guild of American Papercutters and is currently in the Paper Artist Collective—a global community of artists and designers dedicated to the medium of paper. He is represented by the David Shelton Gallery, Houston and the Tory Folliard Gallery, Milwaukee.


Tessellation on Brass by Hamza El Fasiki, 2017. Chiseled and etched brass, 30 cm.

Traditional Moroccan Brass Etching: Islamic and Moorish Tea Tray Ornamentations
This workshop will explore the history of Moorish and Islamic ornamentation and brass-smithing traditions. Through the use of simple tools and traditional processes for manipulating sheets of metal, workshop participants will gain experience decorating and shaping brass through processes handed down through generations. Focusing on historical objects such as tea trays, techniques of drafting and developing intricately detailed, geometric patterns with a compass and ruler, hammering and stamping will be demonstrated. Form and content will be discussed and practiced, as well as preparing materials, finishing options, and polishing. No experience necessary. All levels are welcome.

TIM McCREIGHT is a designer, teacher and metalsmith, who taught full-time for twenty-five years first at Worcester Center for Crafts then at Maine College of Art.  He has also led hundreds of workshops through the US, in Canada, Japan, Mexico and the UK.  MeCreight has written more than a dozen books, including the popular “Custom Knifemaking”.  He runs a publishing company in mid-coast Maine called Brynmorgen Press. 

MATTHIEU CHEMINEE , guest artist accompanying Tim McCreight, was born in Paris, France, and lives and works in Montreal, 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. 

Matthieu Cheminee and Tim McCreight, are co-founders of the “Toolbox Initiative,” an organization that helps jewelers in West Africa through the donation of tools provided by jewelers from around the world.


Walnut Utensil Collection by Julian Watts, 2016. Hand carved black walnut, variable dimensions.

Carving Handheld Sculptures
In this workshop we will explore the intersection of craft, design, and art by challenging our preconceptions about the role that form and function play in the everyday objects that surround us. We will begin by covering the basics of spoon carving and then take the process, technique, and theory behind these functional objects and apply them to new sculptural carving. We will also discuss different species of wood, traditional and modern carving techniques, drawing, performance, and finishing methods. The result will be a collection of non-functional, interactive hand held sculptures that both challenge and illuminate our understanding of objects. All levels welcome.

JULIAN WATTS received a BFA from the University of Oregon and studied traditional woodworking techniques with a number of prominent makers in San Francisco. His work has been shown at the Jack Fischer Gallery, the Fog Fair, Design Miami, the San Jose Institute of Contemporary Art, Salone del Mobile Milan, and London’s Design Museum, where he was a recent finalist for the Loewe Craft Prize. His work has been featured in Architectural Digest, American Craft, and The New Yorker and he is represented by Patrick Parrish and BDDW in New York.



Photo by Michael Oatman

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


The Seven Dirty Words of the Art World
This series of informal afternoon workshops is based on the idea that the art world has more trouble accepting certain ideas than others, and will focus on beauty, attention, sincerity, craft, regionalism, narrative, and the figure. Through conversations, images, and select readings, participants will be encouraged to discuss their own ‘dirty words’—ideas they struggle with and/or embrace in their practice. In the end, these sessions will be about willfulness in the face of art world trends. Visiting artists augment the session with informal activities and are not workshop leaders.

DENISE MARKONISH is the curator at MASS MoCA, North Adams where she has curated exhibitions focusing on the work of Trenton Doyle Hancock, Teresita Fernández, Nari Ward, Iñigo Manglano-Ovalle, and Nick Cave, among others. Her books have been published by DelMonico/Prestel, MIT Press, D.A.P., and Yale University Press, she has taught at Williams College and the Rhode Island School of Design, and has served as a curator for Artpace’s International Artist-in-Residence Program in San Antonio, Texas.


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