Coffeepot with Pour over by Suze Lindsay, 2018. Salt fired stoneware, 10½” × 8″ × 4″

Altering Form/Designing Surface
Let’s take the pot out of the round, onto the table, and explore altered forms with hand-built elements. Analyze, practice, and resolve ideas about alterations to wheel thrown pots. Working towards continuity between form and surface, techniques for slip application will be demonstrated, pushing and expanding decorative design to stretch and develop our own personal imagery. This workshop will include drawing and writing exercises as well as shared images of historical and contemporary sources to expand our ideas about functional pottery. We will once fire our work in the salt kiln. Previous clay experience is required.

SUZE LINDSAY is a studio potter based in the mountains of North Carolina. She was a former core fellow and Resident Artist at Penland, and received an MFA from Louisiana State University. Suze has taught at Haystack, Penland, Arrowmont, Anderson Ranch, Nova Scotia School of Art and Design, and the Jingdezhen Ceramic Institute. She has presented at the Utilitarian Clay Conference, North Country Studio Conference, and others, and her work can be found in the permanent collections of George E. Ohr Museum, San Angelo Museum of Fine Arts, and the Taipei County Yingge Ceramics Museum, Taipei, Taiwan, among many others. forkmountainpottery.com


Guide by Christine Mauersberger, 2011. Wool, cotton thread, silk, hand-stitched, 21″ × 20″

Discovering a Mindful Stitching Practice
Hand-stitching allows a person to carve out time and space for introspective reflection. Workshop participants will create small hand-stitched studies by taking inspiration from their own thoughts and observations. We will use techniques to bring forth meaningful stitches and marks onto fabric. Prepare to enjoy free-form doodling, walking, listening to music, and using basic sewing techniques to delve into your hand stitching practice. Students are encouraged to bring a small sampling (2-4) of their own stitched items to share with the group. All levels welcome.

CHRISTINE MAUERSBERGER is an American artist who produces complex mark-making narratives: intricately stitched maps of the mind. Her most recent art installation, The Plastic Holds No Water, was designed to provoke discussion about the harmful effects of mankind’s use of plastic on Earth’s water. Her multilayered, indigo-dyed linen artwork was shown in the Biennale du Lin de Portneuf in Quebec, and in the Linen Biennale in Northern Ireland. Christine has taught intuitive hand stitching workshops around the world—from throughout the US to Switzerland. She has received several fellowships and awards; most recently, an award for excellence in art from the Ohio Arts Council, for the second time. christinemauersberger.com


Little Dipper Production Line by Courtney Dodd, 2017. Blown glass pitchers, square spouts: 10½” × 3¼”; Mixing bowls, square spouts – variable: 5″ × 4¼”, 5½” × 5″, 6½” × 5″; Stemless wine glasses: 3½” × 3″. Photo by Mercedes Jelinek

Material Observation
Material observation is essential in learning to control a persistently difficult medium. We will discuss heat, gravity, and form while building upon basic skills to gain a better understanding of glass. Students will develop the ability to translate their designs by learning to read the material through observation and curiosity. Reinforcing positive habits and building hand skills; we will discuss gathering, set ups, and proportion in order to create well-designed vessels. This will also be an atmosphere for experimentation and play—looking for an element of the unexpected, unusual, and unique. What can this material do that you haven’t seen before? Whether a simple shift or an about-face, let’s think sideways. All levels welcome.

COURTNEY DODD was a Core Fellow at Penland from 2006-2008 and received an MFA in Glass from Virginia Commonwealth University. She completed a residency in Photography at Oregon College of Art and Craft, was a glass resident at STARworks, and an Emerging Artist-in-Residence at Pilchuck. She has taught at Penland, Corning Museum of Glass, Urban Glass, and Pilchuck. Courtney was twice nominated for the Irvin Borowsky Prize in Glass Arts, has demonstrated at STARworks, Chrysler Museum of Glass, and the University of Louisville. courtneydodd.com


Elemental Triptych by Jodi Reeb, 2017. Encaustic, rust, patina, shellac, collage, and graphite on acrylic panels, 40″ x 36″ x 1″

Alternative Surfaces for Encaustic Painting
This workshop will explore alternative surfaces that can be combined with encaustic painting and oil pigment sticks. We will focus on creating absorbent surfaces that are both flat and textured to which we will apply paint. A variety of surface treatments will be demonstrated and incorporated, including copper patinas, rust, metal leafing, and graphite. The focus is on image making and development of your aesthetic and artistic growth. There will be plenty of time to create, have group discussions, and one-to-one instruction. All levels welcome.

JODI REEB has been a full-time artist and teacher for over twenty years. She creates mixed-media paintings and sculptures and is a co-op member at the Traffic Zone Center for Visual Art in Minneapolis. She received a BFA in Printmaking from the Minneapolis College of Art and Design, where she also instructed Printmaking in the Continuing Studies program. Her work has been shown nationally, received numerous awards, and is in numerous private and corporate collections. She received the Minnesota State Arts Board Grant in 2018, is a Core Instructor for R&F Paints, and teaches workshops in her studio and across the country. jodireeb.com 


Adorned by Amelia Toelke, 2015. Steel, auto paint, 4′ × 2½’

Flat Objects
Focusing on silhouettes and profiles, this workshop will serve as a starting point for making sculpture using the language of metalsmithing. Working primarily with flat sheets of non-ferrous metal we will use processes like sawing, piercing, and filing as well as surface techniques like etching and patina to explore positive and negative space and concepts surrounding signs and symbols. The Haystack Fab Lab will also be used to incorporate digital tools such as laser cutting and CNC milling. We will discuss installation strategies, including display and hanging systems, fabricating custom hardware, and how to incorporate such elements into your work. All levels welcome.

AMELIA TOELKE’s diverse art practice draws on her training in jewelry and metalsmithing yet transcends traditional disciplinary boundaries. A combination of sculpture, collage, and installation, Amelia’s work lies at the intersection of the two-dimensional and the three-dimensional, and challenges given conceptions of object, image, reality, and representation. She was selected as an Artist-in-Residence at Lanzhou City University in Lanzhou, China in 2015 and in 2016 was an Artist-in-Residence at the Brush Creek Center for the Arts in Saratoga, Wyoming. Most recently, Amelia participated in an international exhibition and art symposium in Tbilisi, Georgia. ameliatoelke.com


Budge Barrel by Marshall Scheetz, 2017. White oak and iron, 18″ × 14″

Re-maker’s Work: Coopering a Wine Barrel into Smaller Functional Vessels
This workshop will be a primer on the art and mystery of the cooper’s trade. We will explore the mechanics and boundaries of constructing barrels and buckets by deconstructing a previously used wine barrel. “Remaking” damaged barrels was a common practice for coopers aboard maritime vessels, where the damaged barrel components were cut down to a make smaller, functional object. Students will use a combination of traditional and modern coopering skills and tools to “re-make” a wine cask into a coopered container, bound by hoops. We will explore the history of repurposing casks and traditional practices of making “new-work.” Previous woodworking experience is required.

MARSHALL SCHEETZ is a practicing cooper based in Williamsburg, Virginia. He served a six-year apprenticeship under a traditional master cooper. Inspired by historical research, he practices tight, dry, and white coopering and creates accurate reproductions of period cooperage including hogsheads, barrels, firkins, canteens, butter churns, tubs, and buckets, along with art work inspired by the trade. Marshall is an historian and researches the cooper’s trade with an emphasis on the 18th and 19th centuries. Collaboration with researchers, archaeologists, curators, and other tradesmen further his understanding about the art and science of coopering and coopered containers. He is owner of Jamestown Cooperage. jamestowncooperage.com


Photo by Michael Salerno

Poetic Ecologies, Human Inhabitants: Intersecting People and Place
In this workshop we will look at poems that root themselves in a specific geographic place and how that place gets activated, defined, and shaped by the people who move through it. In examining and discussing a variety of such poems and the various aesthetics and craft that the writers employ, each participant will write their own poems anchored in a specific place of their choosing and reflecting the lived experiences of the people who inhabit that place. All levels welcome.


MATTHEW SHENODA is a writer and the Vice President of Social Equity & Inclusion and Professor of Literary Arts and Studies at Rhode Island School of Design. His poems and essays have appeared in a variety of newspapers, journals, radio programs, and anthologies. He has been twice nominated for a Pushcart Prize and his work has been supported by the California Arts Council and the Lannan Foundation, among others. Additionally, Matthew was the winner of the 2015 Arab American Book Award, is a founding editor of the African Poetry Book Fund, and with Kwame Dawes is editor of Bearden’s Odyssey: Poets Respond to the Art of Romare Bearden (TriQuarterlyBooks/Northwestern University Press, 2017). matthewshenoda.com


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