LOL by Brooks Oliver, 2016. Slip cast porcelain, 14” x 10” x 8.” Photo by the artist.


Rethinking the Mold
Molds have been used for centuries as a way of creating multiples and one-of-a-kind ceramic objects. While mold-forming techniques can sometimes be viewed as rigid and somewhat tedious, this workshop is intended to celebrate experimentation and blur the lines between the handmade and the industrial. Students will explore both classic and innovative ways of creating prototypes and learn how to work with plaster to generate molds for slip casting and press molding. We will investigate how to use press molds, sprig molds and CNC milled stamps to construct and decorate unique forms. Participants will be asked to playfully explore multiple molding techniques and rethink how molds can be incorporated into their own unique studio practices. Previous experience with ceramics preferred.

BROOKS OLIVER is a ceramics instructor and Program Coordinator at the University of North Texas and a studio artist based out of Dallas. He recently completed a long-term residency at the Archie Bray Foundation in Helena, Montana, and this past year, was named one of the 2017 Emerging Artist at the National Council on Education of the Ceramic Arts. Brooks received a BFA from Southern Methodist University, completed post baccalaureate studies at Syracuse University, and received an MFA from Pennsylvania State University. He has taught in Jindezhen, China with West Virginia University and regularly teaches workshops in and out of university settings. His work has been in exhibitions at Northern Clay Center, Archie Bray Foundation, Dallas Pottery Invitational, Penland Gallery, Belger Crane Yard Gallery, and Western Carolina University Fine Art Museum.


Scalloway (installation at Threewalls Chicago) by Fraser Taylor, 2015. Printed cloth, dimensions variable.

Surface Design
The focus of this workshop will be on examining the physical relationship between drawing and printing. Printing onto fabric, paper, and other flexible substrates, a range of processes will be introduced employing textile pigments. Silkscreen and direct printing techniques, such as monoprinting, will be used to examine single image and repeat structures, multi-colored layered printing, scale, and composition. Emphasis will be placed on developing a personal visual language and examining the appropriateness of process, image, material, and installation strategies. All levels welcome.

FRASER TAYLOR is an interdisciplinary visual artist and educator who lives in Glasgow, Scotland. He studied textile design at Glasgow School of Art and the Royal College of Art. Fraser co-founded The Cloth, a creative studio focused on contemporary textile design and production. Since 1983 he has developed an interdisciplinary art practice and exhibited internationally, and his curatorial projects have included innovative collaborations with visual artists, designers, and contemporary dance. As an educator Fraser has lectured at leading fine art and design institutions, and from 2001 until 2017 was a Visiting Artist and Adjunct Professor in the Department of Fiber and Material Studies at the School of the Art Institute of Chicago. In 2017 he was awarded an Honorary Professorship from Glasgow School of Art, University of Glasgow.


Infinitive by Helen Lee, 2017. Neon, 64” x 64” x 4.” Photo by the artist

Hot Shop
This workshop will employ unconventional learning tools in the hotshop. From an understanding of glassblowing as a movement-based practice, we will use mark-making, sound, video, motion-analysis apps, and augmented hand tools to improve as glassblowers. This workshop will draw heavily from technical study, and its role as a gateway to open interpretations of glass practice. Blowpipes out-of-level will emit sounds. Turning at the bench will generate drawings. Video of ourselves blowing will be analyzed in cringe-worthy slow-motion. All levels welcome, including instructors of glass that are interested in reframing how we learn and teach glass.

HELEN LEE is an artist, designer, educator, and glassblower. She is currently an Assistant Professor and Head of Glass in the Art Department at the University of Wisconsin-Madison. Helen received a BSAD in Architecture from the Massachusetts Institute of Technology and an MFA in Glass from the Rhode Island School of Design. She has received awards including the inaugural Irwin Borowsky Prize in Glass Art, Edna Wiechers Arts in Wisconsin Award, and Gold Award in the Bullseye Emerge 2016 exhibition. Helen’s work is in the collections of the Minnesota Museum of American Art, Corning Museum of Glass, Chrysler Museum Glass Studio, and Toyama City Institute of Glass Art. She has taught at RISD, California College of Art, Toyama City Institute of Glass Art, Pilchuck, Haystack, Chrysler Museum Glass Studio, and MIT Glass Lab.


West Coast Botanicals by Emily Arthur, 2016. Screen print on dyed Canson paper. Unique Print. Collection of the Autry Museum of the American West, Los Angeles, California, 20” x 1”.

Lasting a Day, Forever: Screen Print & Ephemera
This print workshop will cover the major methods of serigraphy. Additive and subtractive methods of screen construction will be introduced along with traditional and alternative methods of printing with water based ink. Students will create editions with hand drawn, digital, stencil, and photo emulsion methods. Studio practice will include painterly print techniques such dye, flock, gilt, and chine collée. Students will experience encouragement of their own individual art making as directed by the unique quality of printmaking. All levels welcome.

EMILY ARTHUR, an Assistant Professor of printmaking at the University of Wisconsin-Madison, received an MFA from Pennsylvania Academy of Fine Arts and served as Fellow at the Barnes Foundation for Theoretical and Critical Research. Her work is in the collections of the Tweed Museum, Denver Art Museum, IAIA Museum of Contemporary Native Arts, and the Autry Museum and Crocker Art Museum. Emily works with zoologists and botanists to elucidate the craft and knowledge-based disciplines of art and science at this moment when both are being distorted and devalued.


Pad Bracelet by Arthur Hash, 2016. Sterling Silver, 5” x 5”x 1.” Photo by the artist

Crafting Electronics
This interdisciplinary and collaborative workshop will focus on creating wearable work that combines traditional craft with embedded electronics. Participants will learn riveting, soldering, etching, piercing, embroidery, and sewing as well as simple electronics, soft-circuitry, digital fabrication, and basic programing. This low-tech approach to technology will be situated in metals and will move between multiple studios using the digital fabrication tools in the Haystack fab lab. This workshop is designed to help make electronics more accessible to the artist. All levels are welcome.

ARTHUR HASH is an Assistant Professor at the Rhode Island School of Design. He received a BFA in Crafts/Material Studies from Virginia Commonwealth University and an MFA in Metalsmithing and Jewelry Design from Indiana University. In 2013, Arthur co-founded and managed the Makerbot Innovation Center for Fine and Performing Arts at the State University of New York at New Paltz. Recent exhibitions of his work include Beyond Bling at the Los Angeles County Museum of Art, Body Language: Contemporary Art Jewelry at the Wayne Art Center, and Virtual Object, at the Form Concept Gallery. Arthur’s work is in the permanent collections at Museum of Fine Arts, Houston and Racine Art Museum.

Doomsday Device and Amplifier by Elliot Clapp, 2015. Birch plywood, circuit bent electronics, electronic components, and thumbtacks, 6.5” x 5” x 2”, 2.5” x 4” x 3.5.”

ELLIOT CLAPP is a designer and educator living in Providence, Rhode Island, where he received a BFA from Rhode Island School of Design and graduated from the Inaugural class of MIT’s Fab Academy. His career has taken a varied path among the disciplines of design, photography, web development, video game design, and digital fabrication. Weaving itself throughout his life is a growing passion for teaching and learning. Elliot is especially interested in helping people use new technology in creative ways. With this growing experience in emerging technology and a lifelong interest in electronics Elliot returned to RISD in 2012 and has been a strong advocate for the creative integration of technology—virtual reality, software, programming, and electronics—in Art and Design.


Congruency by Brent Skidmore, 2016. Coffee table: mahogany, basswood, stainless steel, acrylic paint, and glass, 31” x 31”x 18.”

Furniture: Form, Texture and Surface in Sculpted Form
In this workshop we will explore techniques for sculptural form development, studio furniture, and a vast array of texturing techniques. We will look for the true answers to all your wood painting and surface treatment questions, how to make multiples—“Do I spray or brush, should I use the CNC carver, do I use milk paint or acrylic; can I just order those legs online?” All of these questions and more will be answered as we present tried and true basic woodworking demonstrations and techniques for painting and texturing. We will use power carving approaches that introduce bandsaw techniques, grinders, and other sculpting processes applicable to furniture. Discover the joy of making fanciful forms with all the glitz, glamour, and maybe even glitter, with an approach to furniture through the lens of sculpture and surface. All levels welcome.

BRENT SKIDMORE is an Associate Professor of Art & Art History and Public Arts and Humanities Chair at the University of North Carolina Asheville where he is also Director of Craft Studies, Advocate and Educator for the next generation of makers, and Co-Founder of STEAM Studio @ the RAMP. Brent received a BFA from Murray State University in Kentucky and an MFA from Indiana University. He is a current and past board member for Journeymen Asheville, the Center for Craft, Creativity & Design, and the Craft Emergency Relief Fund. Brent has taught for twenty-six years at universities and many of the craft programs across the US.



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

SHEILA PEPE is a cross-disciplinary artist employing conceptualism, surrealism, and craft to address feminist and class issues. Her work has been in solo exhibitions at Smith College Museum of Art and Weatherspoon Art Museum; and in group exhibitions at the first Greater New York at PS1/MoMA; “Hand + Made: The Performative Impulse in Art & Craft” at the Contemporary Art Museum Houston, Texas; and Queer Threads at the Leslie Lohman Museum of Lesbian and Gay Art in New York City. She has done commissions for the 8th Shenzhen Sculpture Biennale in China, and Artisterium in Tbilisi, Republic of Georgia. “Hot Mess Formalism,” Sheila’s first mid-career exhibition, organized by the Phoenix Art Museum will be traveling to the Everson Museum and Bemis Center for Contemporary Arts in 2018. A book, with essays by curator Gilbert Vicario, Julia Bryan-Wilson and Lia Gangitano, accompanies the exhibition and is distributed by Prestel.

Seeing Our Work in Context(s)
In these informal workshops we will consider the various contexts in which our work is seen – both literally and conceptually. Participants will gather visual resources that describe the precedents and influences of their work. We will engage in exercises of observation, description, and analysis of works at hand and we will look at works in progress to consider how and why decisions are made along the way. Together, we will follow the leads of precedent, influence, and decision-making to consider both the clarity of our expression and links to broad historical contexts. In all, we will practice those tools necessary for making meaning with our work.

Sheila Pepe will be producing the 2018 Haystack Monograph. Initiated in 1991, Haystack’s Monograph Series provides a forum for thinkers from varied backgrounds to reflect on the idea, meaning, and implications of craft.


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