• Abstract and Figures
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Cathy Adelman [email protected]

What studio would you consider your “home base?” books

Are there materials or equipment you are not familiar with that you want to work with? how to incorporate metals and gem stones into bindings. How to incorporate glass in the binding covers

What could you imagine teaching others (one-on-one, demos, discussion topics)? could demonstrate anything requested in the book studio: binding techniques, custom boxes or portfolios come to mind.

Heather Allen-Swarttouw [email protected]

What studio would you consider your “home base?” Book and Paper; would love to also be involved with the clay and textiles studios.

Are there materials or equipment you are not familiar with that you want to work with? I would like to learn more technical of different approaches to teaching the book arts.

What could you imagine teaching others (one-on-one, demos, discussion topics)? textiles techniques and processes

Are there projects or collaborations you have in mind? I am submitting a proposal to Odyssey Center for Ceramic Arts to teach a class combining journaling and ceramics, it will be about evolving or focusing one's ceramic work or beginning a body of work. I would love to be involved with discussions and projects to see how my journaling ideas and teaching methods can be used.

Mark Aspery [email protected]

What studio would you consider your “home base?” iron

Are there materials or equipment you are not familiar with that you want to work with? flame-glass work, and woodwork

What could you imagine teaching others (one-on-one, demos, discussion topics)? comfortable teaching blacksmithing to others; I have a discussion topic of "curriculum development." having just been involved with the development and implementation of a National Blacksmithing curriculum

Are there projects or collaborations you have in mind? Incorporating small elements of glass into ironwork-- co-efficient of expansion/contraction-- and how to deal with discrepancies from a constant

Dan Bailey [email protected]

What studio would you consider your “home base? Photography

Are there materials or equipment you are not familiar with that you want to work with? experimenting with printing or presenting digital images on different surfaces and trying different techniques.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I’d be delighted to give some demos or talks on technology: i.e. digital photography techniques and 3D modeling.

Are there projects or collaborations you have in mind? I’d be up for anything. I always enjoy documenting Penland, its landscape and people. If any other artist would be up for virtual site-specific art installations, I would love to work with them. Something on the knoll?

Bryan Baker [email protected]

What studio would you consider your “home base?” Letterpress

Are there materials or equipment you are not familiar with that you want to work with? 1) to get my feet wet in the world of weaving. 2) Handbuilding in clay

What could you imagine teaching others (one-on-one, demos, discussion topics)? Typesetting, Carving type high blocks; of various metals, block to block transfers, how and when to modify inks, how to print and layer large field of color and maintain them throughout an edition.

Are there projects or collaborations you have in mind? 1) I would love to coordinate with folks who come from a background in fibers or textiles with the hope to expand some ideas that I've been exploring in my work about spacial structure and patter. 2) have a vision of some experiments that I'd like to try in clay using a slab roller and long hand-carved relief plates.

Dorothy Gill Barnes [email protected]

What studio would you consider your “home base?” 1st wood- 2nd fiber Are there materials or equipment you are not familiar with that you want to work with? I'd hope to visit glass if possible, and to investigate a variety of connections for the purpose of holding wood, glass and fiber together.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Metals and bookbuilding skills. The "Needle Breeze" project can be a collaboration. Two of the best ones my students have ever done were there on your grounds. They are usually single designs that move in the breeze. I would be glad to introduce the concept if needed. It can be made in 1/2 a day w/ 2-3. Forge, small, temporary or toss-away

Are there projects or collaborations you have in mind? Many, depending on what I see there- and who wants to join me to look into nature related activity. Look around, investigate with uses of available natural materials. To have helpful ideas from grounds personnel has been so helpful at Penland. Bamboo is always an option. Perhaps branches planned to be cleared or yard trash. Or discarded material from the summer classes (Re cycle)

Jean Buescher Bartlett [email protected]

What studio would you consider your “home base?” Book Arts

Are there materials or equipment you are not familiar with that you want to work with? photopolymer plate maker, information on high resolution printing of photographs

What could you imagine teaching others (one-on-one, demos, discussion topics)? Art content generation exercises combining writing, collage, and bookmaking. Flathead mullet

Are there projects or collaborations you have in mind? Once I get students engaged, empower them with their own ideas and decision making, and model good studio practice, things are usually off and running. A bigger challenge for me is how to frame a class/a project the very first day. I would like to hear how others approach this. Book Arts curriculum development is ongoing for me. A cross-discipline "Share A Successful Project or Material" session would be great.

Paulus Berensohn [email protected]

What studio would you consider your “home base?” clay and/or book arts

What could you imagine teaching others (one-on-one, demos, discussion topics)? Slow punching with clay; How to make and keep journals; the deep ecology of craft art materials Are there projects or collaborations you have in mind? Conversations that might lead to a project or collaboration

Marion Blackburn [email protected]

What studio would you consider your “home base?” weaving and painting.

Are there materials or equipment you are not familiar with that you want to work with? 1. Metals 2. Useful construction with natural materials: bamboo, mosses, vines, wood, tree bark, leaves, weeds, etc. 3. Refresher in book making and paste-paper.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would hope to introduce specific projects for young children in beginning fiber-arts, drawing and working with hands in association with storytelling. I like group teaching, demos with props, i.e., construction of “villages” using wood, clay and various papers. Also I would enjoy teaching limited craft sessions (like weaving and painting) one-on-one.

Are there projects or collaborations you have in mind? 1. I would like to kick-start mural painting, use of color and lines in demos or classroom visits for K-3 ages. 2. I like the challenge of making up lesson plans based on special requirements and available materials; would like to be more prepared and informed on how to approach this. Sources?

Nathan Blank [email protected]

What studio would you consider your “home base?” Iron

Are there materials or equipment you are not familiar with that you want to work with? No

What could you imagine teaching others (one-on-one, demos, discussion topics)? Basic to advanced ironwork from forging to welding. / Discussion/Demo- How to “Demo”, what makes a good or bad demo

Are there projects or collaborations you have in mind? open to what could happen

Elizabeth Brim [email protected]

What studio would you consider your “home base?” Iron Are there materials or equipment you are not familiar with that you want to work with? glass equipment

What could you imagine teaching others (one-on-one, demos, discussion topics)? basic blacksmithing

Are there projects or collaborations you have in mind? I have been experimenting adding glass (molten) to my ironwork. I have made a tiara that has glass jewels. The experiment was not altogether successful but I, and other people who know glass, think it can work

Cynthia Bringle [email protected]

What studio would you consider your “home base?” Printmaking

Are there materials or equipment you are not familiar with that you want to work with? Learn about making images that are suitable for printing on clay

What could you imagine teaching others (one-on-one, demos, discussion topics)? Whatever is needed

Are there projects or collaborations you have in mind? Depends on who is around as I am willing to collaborate in most any studio

Edwina Bringle [email protected]

What studio would you consider your “home base?” Print or digital photo, monoprints/silk screen- other processes! All would be new.

Are there materials or equipment you are not familiar with that you want to work with? Print possibilities on paper/cloth?! Photo silkscreen, digital printing- images on paper or cloth in various applications.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Color choices in textiles can inform many areas. The exercise I do teaches a way different from the color wheel. One on one or a small group.

Are there projects or collaborations you have in mind? Work with a metal artist to add a 3rd dimension to 2-D pieces. Presentation would be an additional challenge. Cut up, reassemble pieces, stitch/manipulate, change etc.

Angela Bubash [email protected] What studio would you consider your “home base?” Metals

Are there materials or equipment you are not familiar with that you want to work with? Lampworking. Paper. Print. Surface design.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Competent to teach most anything in the metals studio. Would love to share more complex techniques with fellow metalsmiths. And share beginning, intermediate and advance project ideas and demonstrations.

Are there projects or collaborations you have in mind? Mixed media jewelry and sculpture. Especially developing projects intended for students addressing this. Collaborate across media. For example, begin a piece and allow another person possibly in another media to finish it. Create a community space where you can leave and choose an unsuccessful fragment of an abandoned work and see how someone else finishes it.

Richard Burkett [email protected]

What studio would you consider your “home base?” Ceramics

Are there materials or equipment you are not familiar with that you want to work with? Glass, especially cast glass, and also in blacksmithing.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Any aspect of ceramics. historical ceramic forms, glazes, contemporary ceramics, moldmaking, extruding, do demos, etc. Michael Sherrill and I have talked before about doing extruder workshop together - perhaps that could be something we could do if he'll be there. I can talk about using CAD tools for designing models and extruder dies, too, and then using either CAM or very low tech (a drill and jeweler's saw) methods for extruder die fabrication. On a more philosophical level, I'd love to take part in discussions of the challenges of teaching contemporary art in schools of any kind.

Are there projects or collaborations you have in mind? I have been working on a series of ceramic vessels that have metal bales and cast bronze or iron lids. I'd love to do some work with someone in glass to cast lids or parts for ceramic vessels or sculptures.

Jay Burnham-Kidwell [email protected]

What studio would you consider your “home base?” Glass and iron Are there materials or equipment you are not familiar with that you want to work with? to explore glass (cast and blown) with forged metals

What could you imagine teaching others (one-on-one, demos, discussion topics)? Whatever knowledge or information I possess

Are there projects or collaborations you have in mind? With glass, and exploration of cast pieces, both architectural and sculptural, combined with forged steel

Critz Campbell [email protected]

What studio would you consider your “home base?” wood

Are there materials or equipment you are not familiar with that you want to work with? Light metals and steel- familiar but would like more technical training demo

What could you imagine teaching others (one-on-one, demos, discussion topics)? low tech steam bending and turning tops

Are there projects or collaborations you have in mind? I would love to work with light metals and steel instructors to develop a cross material assignment in wood/metals

Joseph Cavalieri [email protected]

What studio would you consider your “home base?” A studio where you have large work table, and a light box. For my demo* I will need a glass kiln.

Are there materials or equipment you are not familiar with that you want to work with? to experiment with photography and print making.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Much to share, including surviving as an artist, and I would like to share this as a discussion topic with the rest of the group. glad to organize and lead a panel to discuss “the business behind being an artist.” I would also like to give a demo* on painting, printing firing onto glass.

Are there projects or collaborations you have in mind? Here is a project I would like to work on: a portrait of a few teachers/artists and possibly staff of Penland. Each would dress head-to-toe in a black and white horizontally striped body suit. This covers every inch of the person. We would then photograph them in ‘expressive’ positions. These images will be made into prints and presented in a glass panel and possibly a three dimensional sculptural form. The idea is about self-identity and how fashion and makeup doesn’t matter. Without clothing we are still expressive. I do have a background of working doing photo shoots for magazines and if I am accepted I can discuss the idea with other teachers before September. I would be open to working on another proposal as well.

Julie Chen [email protected]

What studio would you consider your “home base?” book arts and letterpress

Are there materials or equipment you are not familiar with that you want to work with? Metals and wood.

What could you imagine teaching others (one-on-one, demos, discussion topics)? A wide variety of book structures including pop-ups and movable mechanisms for books. I also have a range of short assignments for developing content for artists’ books. I am also very good at critique of book work and would be happy to do work- in-progress discussions about content and production issues in bookmaking.

Are there projects or collaborations you have in mind? My work usually takes the form of letterpress printed limited edition artists’ book. I would like to use this Penland opportunity to pursue ideas for one-of-a-kind artists’ books with a focus on found and created objects.

Daniel Clayman [email protected]

What studio would you consider your “home base?” Glass; would be great to have access print and wood

Are there materials or equipment you are not familiar with that you want to work with? producing a small book with mono prints taken off of glass plates-- would need some help with techniques in the print shop.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Dozens of Power Point presentations of various projects and techniques. I am very accomplished with a three-dimensional modeling program called RHINO.

Are there projects or collaborations you have in mind? In addition to the book mentioned, my mind is completely open to what comes up. the possibility of weeklong dialogue in studios, over meals etc. is very enticing. The “idea exchange” is what attracts me to the week.

Margaret Couch Cogswell [email protected] What studio would you consider your “home base?” natural "home base" would be the book studio, interested in working in the painting studio.

Are there materials or equipment you are not familiar with that you want to work with? I have never worked with oil paint and would be interested in learning fundamentals guerilla-style- meaning preferably without total adherence to orthodox methods.

What could you imagine teaching others (one-on-one, demos, discussion topics)? simple, low-tech book binding / the wonders of milk paint endless applications / how to construct a Tiny Gallery

Are there projects or collaborations you have in mind? I'd like to bring a Tiny Gallery (a 6' x 6' free-standing portable gallery) and stage a show as well as offer it for others/groups to use throughout the week

Alison Collins [email protected]

What studio would you consider your “home base?” Iron; interest in using other media and methods

Are there materials or equipment you are not familiar with that you want to work with? Yes, I am interested in both the Book Arts Studio and the Textiles Studio.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Share my knowledge of welding and ironwork in a demo format. I also would be interested in leading a discussion topic on collaborative artwork using as example the recent exhibit at the National Museum of Natural History in Washington DC entitled The Hyperbolic Crochet Coral Reef.

Are there projects or collaborations you have in mind? I am currently working on sculptures using steel dressmaker’s straight pins. I would like to develop a pin project to work collaboratively with the attendees of the Penland Retreat. This project would be a way in which to rework our ideas of culture and community and our relationship to beauty, nature, and danger.

Jim Cooper [email protected]

What studio would you consider your “home base?” Iron

Are there materials or equipment you are not familiar with that you want to work with? Cast and/or slumped/fused glass; Wood lathe for turning vessels

What could you imagine teaching others (one-on-one, demos, discussion topics)? Basic principles of tool making and simple ways to create equipment for that task. This may be interesting to artists working in many different media. Making tools suited to a specific task is very useful and liberating to any studio artist.

Are there projects or collaborations you have in mind? I’m interested in interpreting botanical forms. I’d like to broaden my pallet of materials and techniques towards that end. I’m open to collaboration with any artist that would be a member of this retreat.

Beatrice Coron [email protected]

What studio would you consider your “home base?” Print, paper

Are there materials or equipment you are not familiar with that you want to work with? Probably but don't know yet

What could you imagine teaching others (one-on-one, demos, discussion topics)? Papercutting/ stenciling for fiber / glass / metal

Are there projects or collaborations you have in mind? Interested to experiment and collaborate with clay artists, glass and metal artists

Kim Cridler [email protected]

What studio would you consider your “home base?” Metals, a sculptural facility that allows for welding, drawing

Are there materials or equipment you are not familiar with that you want to work with? I would love to learn blacksmithing basics. I would also love to learn more about printmaking

What could you imagine teaching others (one-on-one, demos, discussion topics)? All basic metal skills-- basic soldering techniques, simple stone setting, cold texturing/joining, basic forming, raising, fold forming, die forming, chasing and repoussé. I am also very interested in teaching through a consideration of the cultural and social meanings historically embedded in objects of ornament and function. I could also imagine leading a workshop across disciplines investigating cultural ideas of ornament and decoration.

Are there projects or collaborations you have in mind? I could imagine working with a metal-based area thinking about the different potentials of scale between jewelry metal and sculpture/blacksmithing metal. I could also see collaborative links between drawing/printmaking and working with metal. Virginia Derryberry [email protected]

What studio would you consider your “home base?” Drawing and painting

Are there materials or equipment you are not familiar with that you want to work with? fabric/textiles--especially embroidery, appliqué and other "enhancements" of apparel-- in conjunction with the recent theatrical imagery in my paintings. I usually hand stitch but would like to know more about machine stitching as well as new ways to design more complex projects.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Discussions concerning the role of artist in academia as agents of change. / the purpose of education as "leading out" rather than just "putting in" / Contemporary narrative imagery across disciplines

Are there projects or collaborations you have in mind? Since I am currently involved in creating an almost "stage-set" quality in my paintings and accompanying "costume constructions," I would be interested in finding other artists who have similar theatrical or narrative notions in mind-- whatever the medium.

Clare Dolan [email protected]

What studio would you consider your “home base?” painting, drawing or book/paper studios

Are there materials or equipment you are not familiar with that you want to work with? different methods of large-format printing. I also really want to work on my skills with making mechanisms for moving puppets, by learning about iron/welding and expanding my existing woodworking knowledge.

What could you imagine teaching others (one-on-one, demos, discussion topics)? My skills are a bit esoteric! I could easily demonstrate techniques for building armatures with cardboard to create giant sculptural figures for paper maché. I can also demonstrate using clay to sculpt armatures for paper maché mask-making. I can talk endlessly about puppet theater history and performance with objects, and about my particular specialty: the ancient art of picture story recitation. Also if there was interest I'd be more than happy to teach some basic stilt-dancing classes (I'd have to know ahead of time so I could bring or build stilts.)

Mindell Dubansky [email protected]

What studio would you consider your “home base?” books Are there materials or equipment you are not familiar with that you want to work with? textiles, metals, wood, printing and printmaking. Bookmaking lends itself to all of these areas.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Thoughts about the history of objects [encompassing all media and craft] made through history in emulation of the book, and their relationship to book history and book art; have a slide show on this prepared. Could teach any aspect of hand bookbinding and boxmaking and/or could demonstrate my techniques of working with felt.

Are there projects or collaborations you have in mind? To construct an elaborate bas-relief, or decorative still life panel in wool. would be an ideal vehicle for collaboration, as different media and techniques could be incorporated, in which case I would need instruction and/or artist collaborators. Collaborating with others to make book-shaped objects, to talk to others about their relationships to the book and to advance on the book that I am writing

Catharine Ellis [email protected]

What studio would you consider your “home base?” Textiles, interested in doing some work in books

Are there materials or equipment you are not familiar with that you want to work with? Books

What could you imagine teaching others (one-on-one, demos, discussion topics)? Natural plant dyes: reasons for choosing, environmental implications, methods, organic indigo vats that require no harsh chemicals but sugars and overripe fruits!

Are there projects or collaborations you have in mind? Would like to explore a collaboration that might rear its head during the week-- not sure what it will look like yet.

Dan Essig [email protected]

What studio would you consider your “home base?” Book Arts, I could be just as happy in Metals or wood.

Are there materials or equipment you are not familiar with that you want to work with? Letterpress, wood turning

What could you imagine teaching others (one-on-one, demos, discussion topics)? Ideas for alternative materials and structures for book projects. Any number of bindings. Finishes and embellishments for wooden surfaces.

Are there projects or collaborations you have in mind? I would relish the chance to have spontaneous collaborations with the other participants.

Vicki Essig [email protected]

What studio would you consider your “home base?” weaving studio has always been; I have worked with wood, bark, mixed media, etc.

Are there materials or equipment you are not familiar with that you want to work with? To work in studios that I am ignorant about, iron studio and drawing and painting. I seem to be drawn to the “dirty” and strength of iron. I am also fascinated/afraid of drawing and painting.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would like to teach others how weaving is not a dead media. It has spontaneous aspects, and most importantly is not tedious, dull and boring. What others see as something that requires utmost patience can be seen as meditative, and calming. As we move through our world, we see it very quickly. Intimacy in art or nature is a way of being, and a way of observing, it is what we bring to the piece, no matter how minute or how grand. I would like to teach and learn more of this.

Are there projects or collaborations you have in mind? With my work at present I would love to see some projects started using materials to bring my work out of the frame.

Dan Estabrook [email protected]

What studio would you consider your “home base?” Metals Studio, but if there's no room then Iron…

Are there materials or equipment you are not familiar with that you want to work with? Although I have dabbled, most of these materials would be new to me.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would be thrilled to offer any Photographic demos that people would be interested in, and of course am always ready to dive into discussing teaching and methods for student critiques….

Are there projects or collaborations you have in mind? I know that there would be people (like Suzanne Pugh!) with whom I'd love to talk and maybe even collaborate, but for the most part I'd like to learn and experiment.

Angela Fina [email protected]

What studio would you consider your “home base?” Ceramics

Are there materials or equipment you are not familiar with that you want to work with? Plaster and/or bisque molds for slab molds (slump & hump)

What could you imagine teaching others (one-on-one, demos, discussion topics)? I could do my quick & easy glaze chemistry explanations. And I could show the "American Red Cross" approach to teaching throwing. (I was a Red Cross Certified swimming teacher.)

Are there projects or collaborations you have in mind? I would be happy to share my approach to teaching throwing and to learn from potters who teach differently

Alida Fish [email protected]

What studio would you consider your “home base?” Photography

Are there materials or equipment you are not familiar with that you want to work with? At the University of the Arts, I receive funding from a private trust to run experimental lab courses. We have been figuring out ways to print on all kinds of commercially prepared substrates: metals, fabrics, wood, etc. I have not had a chance to work with non-commercial substrates and would like to explore some of those—especially metal and glass. I am also interested in seeing how I might combine letterpress with my work.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would bring my computer and printers and would be printing on silk, rice papers, and metal sheets. I would be very willing to explain, to anyone who is interested, how to prepare surfaces and do this kind of printing …this could be 1:1 or small group. to place a photographic image on just about any surface using just about any photographic process…that might interest certain people.

Are there projects or collaborations you have in mind? At this point in time, by next Fall, I probably will be working on a new project I think of as “The Secret Garden.” All one-of-a-kind pieces incorporating hand-made photographs. The idea is still in a nascent form; I have a few initial pieces and no time to work until late summer; project definitely invites collaboration

Jacob Fishman [email protected]

What studio would you consider your “home base?” usually glass-- has been clay, and photo….

Are there materials or equipment you are not familiar with that you want to work with? Large format digital photo printing and wood shop equipment.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Using technology in artwork, How to engineer large-scale projects and how to realize artistic visions.

Are there projects or collaborations you have in mind? Large-scale outdoor kinetic sculpture powered by wind and light.

Colette Fu [email protected]

What studio would you consider your “home base?” Books and Paper

Are there materials or equipment you are not familiar with that you want to work with? Metals and wood and all related equipment.

What could you imagine teaching others (one-on-one, demos, discussion topics)? One on one or as a demo I could teach the basics of pop up paper engineering. I could also create a simple mockup from photographs as a demo. Discussion topic might be about the history and evolution of pop up books as an art form. I have also taught a workshop on pop-up platonic solids that might be of interest and could also discuss the mathematics/geometry involved in paper engineering.

I would love to collaborate with a metal or wood artist to make a metal or wood pop-up book. Metal would be my first choice! I have also always wanted to make a lever operated page-turner out of wood or metal as well (last year I made a mock up out of foam core but I’ve already forgotten how I made it.)

Susie Ganch [email protected]

What studio would you consider your “home base?” Printmaking - I have very limited experience (I had a one week printmaking residency a few years back and was guided through the process) so I would need basic support.

Are there materials or equipment you are not familiar with that you want to work with? Sure.

What could you imagine teaching others (one-on-one, demos, discussion topics)? If we all have to spend some of our time teaching in our media I would be fine with that.

Are there projects or collaborations you have in mind? Not yet BUT I have been curious about how to bridge 2 and 3D work so I imagine that I would begin by using my sculptures as my point of departure for printmaking.

Mark Gardner [email protected]

What studio would you consider your “home base?” wood

Are there materials or equipment you are not familiar with that you want to work with? some interest in clay & iron

What could you imagine teaching others (one-on-one, demos, discussion topics)? wood carving, leather

Are there projects or collaborations you have in mind? I want to apply my turning & carving techniques to clay. Any collaborations with artists of other mediums

Phil Garrett [email protected]

What studio would you consider your “home base?” printmaking/letterpress

Are there materials or equipment you are not familiar with that you want to work with? I haven't done any kind of letterpress or book arts

What could you imagine teaching others (one-on-one, demos, discussion topics)? Monotype and chine collé techniques, one on one/demo

Are there projects or collaborations you have in mind? Incorporating my images with text poetry or excerpts from novels

Terry Gess [email protected]

What studio would you consider your “home base?” Clay

Are there materials or equipment you are not familiar with that you want to work with? Cone 6 electric and slip casting

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would like to lead an open-ended discussion on a topic like, “When I made my first piece …” or “How do I know that this is any good?” Are there projects or collaborations you have in mind? I would like to develop a written piece regarding that which revolves around and/or grows out of the Retreat. In a way, this would be a collaborative piece, based on observation, dialogue, and exchanges that occur throughout the week. It is a creative work, not a documentary.

Malika Green [email protected]

What studio would you consider your “home base?” textiles

Are there materials or equipment you are not familiar with that you want to work with? Ones I have no experience in: iron, bookbinding, painting, glass. And ones I would like to revisit and learn something new about: metals, clay, photography, printmaking, wood. I would love to work with watercolor and paint. I want to learn how to bend steel.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I can imagine teaching one on one or in demos: How to carve wooden heels, pattern making for footwear (both “how to” and an overview of different methods,) making handmade shoes: details and overview, altering the “last” to your feet and desired style. Possible discussion topics: fashion and surrealism; Fashion, art, and design; Bespoke shoemaking: a dying tradition.

Are there projects or collaborations you have in mind? I would love to collaborate with other artists and make a large-scale shoe sculpture, I am envisioning starting with a basic shape idea and having different artists contribute an aspect of it to make a sculpture that encompasses many different craft processes and materials. The finished form will be determined by the collaborative process that takes place. Often I have an idea for making heels and I would love to work with new materials, glass, iron, etc., to open up the door beyond plastic, wood, and fiber.

Carmen Grier [email protected]

What studio would you consider your “home base?” Surface Design

Are there materials or equipment you are not familiar with that you want to work with? 3-D felting and papermaking

What could you imagine teaching others (one-on-one, demos, discussion topics)? Dyeing and discharging with Fiber reactive dyes.

Are there projects or collaborations you have in mind? I give an assignment of marrying felt with a found object around any concept dealing with “Time” so I would like to try it myself. I don’t have any particular collaboration in mind. But I’m open to the possibility…perhaps felt with iron or wood?

Susan Hagen [email protected]

What studio would you consider your “home base?” wood

Are there materials or equipment you are not familiar with that you want to work with? metal, possibly glass. interested in learning more about working in iron and steel.

What could you imagine teaching others (one-on-one, demos, discussion topics)? willing to share anything and everything about my own processes as an artist: from sketchbook work and initial drawings, to woodcarving and finishes. also interested in running a figure drawing or modeling session or moderating a topical discussion on creativity in the education field/process

Are there projects or collaborations you have in mind? Open to collaborative work- probably mixed-media small-scale projects.

Kerri Harding [email protected]

What studio would you consider your “home base?” books or letterpress

Are there materials or equipment you are not familiar with that you want to work with? silkscreen & alt photo methods

What could you imagine teaching others (one-on-one, demos, discussion topics)? bookbinding for artist’s books

Are there projects or collaborations you have in mind? Open to collaboration, particularly sculptural books

Douglas Harling [email protected]

What studio would you consider your “home base?” Jewelry/Metals

Are there materials or equipment you are not familiar with that you want to work with? I am extremely interested in printmaking and have never had the opportunity.

What could you imagine teaching others (one-on-one, demos, discussion topics)? metal and jewelry technique with a particular expertise in historical gold work. I could help with or demo most any traditional metalsmithing possess. I also have spent the last seven years helping to establish and build a craft school/metals program; I could certainly talk about the challenges involved in such a project.

Are there projects or collaborations you have in mind? I would like to look at creating small-scale prints and incorporating them into wearable works.

Julia Harrison [email protected]

What studio would you consider your “home base?” would most like to work in the woodshop, but any demos or tutorials I might lead could be based either there or in jewelry.

Are there materials or equipment you are not familiar with that you want to work with? to familiarize myself with the range of tools available in the wood shop in order to learn new strategies for roughing and shaping my forms. I would also like to learn more about ceramic press molds and slip casting (see below).

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would be pleased to teach carving tutorials (small group or one-on-one, tailored to the students' level), lessons for non-jewelers on creating and attaching simple findings, and a series of exercises for incorporating subtractive/reductive approaches.

Are there projects or collaborations you have in mind? Since 2003 I have been teaching myself to carve kashigata, the wooden molds used to shape some types of Japanese confectionery. My work in the woodshop (see above) would support and further my exploration of kashigata-style carving. I am also interested in finding new uses for my molds and would like to engage with other makers to push the molds' narrative potential by creating positives and multiples. I am open to new possibilities, but I would particularly like to spend time in ceramics learning to use my molds for press-forming and trying to figure out a way to modify them for slip- casting.

Flo Hatcher [email protected] [email protected]

What studio would you consider your “home base?” Printmaking

Are there materials or equipment you are not familiar with that you want to work with? I have taught and worked with non-toxic technology for years and, as new materials appear on the market many have not been “put to the test”, this opportunity would provide for that testing.

What could you imagine teaching others (one-on-one, demos, discussion topics)? generating enthusiasm and under-standing of the various print processes and how this can inform an individual’s approach to their own art-making. Printmaking is about drawing after all and crucial to all art process.

Are there projects or collaborations you have in mind? I am open to any and all collaborative possibilities.

Matthew Hebert [email protected]

What studio would you consider your “home base?” wood, although, for this specific proposal, I am working within another area I consider my home base, interactive electronic technology.

Are there materials or equipment you are not familiar with that you want to work with? I am learning more about working with jewelry, metalsmithing and glass. My work has become largely concerned with the creation of mechanical dioramas, and I see both of these areas as potential areas for exploration

What could you imagine teaching others (one-on-one, demos, discussion topics)? My proposed demonstrations center around the Arduino micro-controller, a low cost micro-controller aimed at artists and designers wishing to embed computing and interactivity into objects. They work with a wide range of inputs and can control motors, lights and other electronic components. I would very much enjoy demonstrating the design of a circuit and the scripting of a program for the group. I would cover fundamental electronics, the Arduino prototyping board, and the Arduino programming language. I think that this technology has a broad range of applications and that many artists would be interested.

Are there projects or collaborations you have in mind? I would love to collaborate with people working with metals and glass in the creation of some interactive mechanical experiments. The use of lighting and motors is essential to my work and is what I would imagine being able to share with the group. It would be interesting if I could tie my demonstrations into collaborations with artists in these areas

Bryant Holsenbeck [email protected]

What studio would you consider your “home base?” fiber studio or the print/dye studio above it. Also of interest would be iron or wood studios to develop larger armatures for my animal sculptures.

Are there materials or equipment you are not familiar with that you want to work with? to know more about bending and welding larger metal. I am not familiar with blacksmithing at all and would love to know more. Also, I want to know more about papermaking, especially out of recycled materials. What could you imagine teaching others (one-on-one, demos, discussion topics)? Because I do a lot of work in schools, I could talk to people just starting out about how this has worked for me…how to keep students interested and involved. background in basketry and random weave has always been very helpful as a sculptor and I would be happy to teach this.

Are there projects or collaborations you have in mind? I would like to develop more skeletons or frameworks for larger animals. A wolf, a coyote, I am not sure…I have been working with wire on a small scale and want to grow bigger…Maybe this would happen in a wood studio, maybe in metals…maybe it would be a combination…I would like to experiment and find out.

Thomas Hucker [email protected]

What studio would you consider your “home base?” wood worker, would like to explore ceramics, and some fiber. (Any basket people around?)

Are there materials or equipment you are not familiar with that you want to work with? Lots!

What could you imagine teaching others (one-on-one, demos, discussion topics)? What is wood?

Are there projects or collaborations you have in mind? Small objects-- samples

Nick Joerling [email protected]

What studio would you consider your “home base?” clay, with lots of drawing

Are there materials or equipment you are not familiar with that you want to work with? No

What could you imagine teaching others (one-on-one, demos, discussion topics)? Happy to offer any feedback to others. A great pleasure has been on a 1/2 dozen occasions to have team-taught. During the Penland week, instead of team teaching I like the notion of team-studenting

Are there projects or collaborations you have in mind? I've talked already with a couple of people who, if we're invited, would involve some collaboration.

Beth Johnson [email protected] What studio would you consider your “home base?” Weaving/textiles/dye studio

Are there materials or equipment you are not familiar with that you want to work with? Printing, weaving with wire, making tiles, I have a fear of power tools. Painting.

What could you imagine teaching others (one-on-one, demos, discussion topics)? We could set up a loom for people to play on, have a wauking, print or dye enough napkins (probably not weave them this time) for the whole session to lunch on, warping demonstration, building a bamboo fort, maypoles… A discussion of art without ego?? I am also a dance caller, musician and soon-to-be yoga teacher if you want to mix it up.

Are there projects or collaborations you have in mind? I’d love to see my fabrics used in books or as upholstery or to assist in the design of something to be used in those ways. It would be fun to collaborate with a potter for an ultimate table set or even tea set or to transfer some of my woven designs onto clay.

Robert Johnson [email protected]

What studio would you consider your “home base?” Painting/drawing

Are there materials or equipment you are not familiar with that you want to work with? Wood carving bas-relief / printmaking

What could you imagine teaching others (one-on-one, demos, discussion topics)? Drawing/watercolor/nature journaling/field trips in the area

Are there projects or collaborations you have in mind? Painting woodcarvings / tinting photographs

Matthew Kelleher [email protected]

What studio would you consider your “home base?” Printmaking

Are there materials or equipment you are not familiar with that you want to work with? learning more about ink and its application through monoprinting techniques.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I could help in Ceramics.

Are there projects or collaborations you have in mind? My main interest is developing ideas through drawing and monoprinting. Ann Marie Kennedy [email protected]

What studio would you consider your “home base?” Paper and Book Arts!

Are there materials or equipment you are not familiar with that you want to work with? Glass casting. I'd also like to experiment with marking, dyeing and color in the textile studio working with paper and maybe cloth, too.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I'd like to demonstrate some of the ways that papermaking can be used to make artwork, like wet-collage, using a deckle box or working with overbeaten pulps. Also, make a batch of walnut dye to share.

Are there projects or collaborations you have in mind? I’d like to make works that are intimate, through materiality and scale, that contain elements of play and evidence of experimentation. I'd like the chance to collect materials and explore site and seasonal changes at Penland, and incorporate objects and materials into handmade paper artworks. I could see myself making a series that are journal-like and express something about daily experiences. I'm definitely open to the possibilities of collaboration with fellow artists.

Alicia Keshishian [email protected]

Are there projects or collaborations you have in mind? no project in mind, wants to collaborate

Sun Kim [email protected]

What studio would you consider your “home base?” metals

Are there materials or equipment you are not familiar with that you want to work with? Computer aided equipment, ceramics, fiber…

I could teach most of the basic metalsmithing techniques as I teach my undergraduate students. Life casting with alginate, resin, rubber.

Are there projects or collaborations you have in mind? Interactive jewelry

Kathy King [email protected]

What studio would you consider your “home base?” Clay. Are there materials or equipment you are not familiar with that you want to work with? Dream of being able to go inside of the print/letterpress studio without getting in trouble for leaving muddy footprints. Have also been intrigued by iron. Letterpress is the area that I am least familiar with and would the most intrigued to experiment with. Using printmaking techniques on actual paper. working in fibers/textiles for my softer side and iron or metals for a grittier experience.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would love to lead a discussion on the topic of whether or not knowing our history as craftspeople is important to our lives as artists. I would love to have a topic on the place of craft art history within craft education and person practice. I would also enjoy hearing those that have used or have considered the new “Makers” book intended to be textbook for the classroom in our history. In the same vein, it would be interesting to collectively discuss critical writing within the world of craft. It would be interesting to have a dialogue with other craftspeople about their perspectives on contemporary coverage of the crafts. In terms of materials, I would love to those that do not work in clay an opportunity to combine their own way of working with clay (print and clay would be the easiest to do I n a hands-on demo format) and to work with some alternative firing processes that would give quick results while sensing the community that evolves around such activities in the ceramics area.

Are there projects or collaborations you have in mind? I would enjoy collaborating and sharing information with those involved in printmaking with alternative materials, with my perspective using clay. It would be interesting to work with those that are not normally “object makers” and have that conversation with photographers, painters and printmakers to switch up my perspective of drawing on clay. Collaboration with others interested in mixing materials – clay with fiber, metal and glass and to evaluate both the materials together but also the collaboration process with fellow makers. I think this experience would be invaluable to anyone teaching today and know that the goal of contemporary academia to be “interdisciplinary” isn’t always as easy as it sounds!

Lisa Klakulak [email protected]

What studio would you consider your “home base?” blacksmithing studio.

Are there materials or equipment you are not familiar with that you want to work with? I have had some direction in the use of a tig welder, acetylene torch for annealing and a grinder/sander for cleaning up the welds. I would need a refresher for operating these tools and would appreciate some mentoring for understanding the tig welder and oxy-acetylene welder as well as when it is most appropriate to use a certain type of weld as relevant to the chosen metal stock and/or dimension of armature. What could you imagine teaching others (one-on-one, demos, discussion topics)? I would be open to teaching others how felting could be incorporated into their medium either through one on one discussions, demos or group lecture/discussion. Felt is extremely versatile allowing for its combination with a variety of other materials primarily due to its ability to seamlessly encase objects through enveloped shrinkage. In addition to exploring mixed media possibilities

Are there projects or collaborations you have in mind? The project that I have in mind would be to translate sketches of a few figures that designate dimension, general posture and limb expression into armatures through bending round stock (most likely 3/16 or 1/4”) and welding that stock into a skeleton during my time at Penland. In my home studio I would then develop felt skins to encase the armatures by combining various pre-structured fabrics with my felt, employing natural dyes specifically derived from bark and husks (protective coverings from nature), embedding repurposed objects and creating surface imagery and texture through the use of partial felt appliqué and free-motion machine embroidery to develop the conceptual drive of the figure.

Ellen Kochansky [email protected]

What studio would you consider your “home base?” papermaking

Are there materials or equipment you are not familiar with that you want to work with? Pulp machines/ papermaking equipment, and letterpress, all of which I hope eventually to add to our studios at the Rensing Center.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I have a great deal of experience in collective artworks, combining memories and materials for groups into symbolic small or huge works. Students love my transparent collage using silk organza and Paulus Berensohn’s book glue to sandwich found objects into pages that can be stitched. And I would love to share a transformation exercise that has been helpful for the classes at McColl.

Are there projects or collaborations you have in mind? We are clearing out the old studio that housed my quilt business, to make room for the paper studio and resident apartments. I have been reluctant to consign the 35 file boxes of my past life to the anonymous recycling dump, but would love the opportunity to recycle some of this rich mine of mixed paper and history myself, creating the blank sheets/ journals on which to write the next chapters.

Leah Leitson [email protected] What studio would you consider your “home base?” Ceramics

Are there materials or equipment you are not familiar with that you want to work with? interested in book arts and metals but have little or no experience in either

What could you imagine teaching others (one-on-one, demos, discussion topics)? Altering wheelthrown ceramics or doing a demo

Are there projects or collaborations you have in mind? I would be interested in collaborating with a metals person but am fine if that didn't happen during the week

Julia Leonard [email protected]

What studio would you consider your “home base?” The book and paper studio.... also comfortable in the letterpress shop

Are there materials or equipment you are not familiar with that you want to work with? Metals (some experience) and Printmaking (again, some experience)

What could you imagine teaching others (one-on-one, demos, discussion topics)? Down and dirty book forms that are quick and effective for visualizing larger scope multi-page works. / Specific book structures (again, fairly simple, short time frame) / Decorative paper or papermaking / Discussion topics; craft media in college settings/with traditional fine art settings / Specific book arts topics: book arts within craft and fine art culture/book and paper arts in relation to print media/book as sculpture – where do they belong…

Are there projects or collaborations you have in mind? Nothing specific; have been working with pieces that would benefit from a familiarity with metal working/having metal parts or components and also working on some book projects that may best be realized in an intaglio print making format. Also, could imagine collaborations with both metal workers and printmakers – loosely conceived right now, but based on some of the work I’ve been doing with altered book pages/cut-outs/illumination

Robert Levin [email protected]

What studio would you consider your “home base?” Wood

Are there materials or equipment you are not familiar with that you want to work with? I think I'm familiar with most of the equipment. I'd like to learn more about carving & finishing techniques.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I feel I could teach a lot about glassworking, and philosophical perspective on the material & processes. I would probably enjoy 1-on-1 working with hot glass... always happy to do demos. One discussion topic of interest to me is outdoor work/public art – I'm just starting out with this so it's exciting but also somewhat intimidating.

Are there projects or collaborations you have in mind? 1 project mainly in mind (but also want to see what collaborations come up in conversation with other people): Outdoor piece(s) using stone & wood.

Suze Lindsay [email protected]

What studio would you consider your “home base?” Printmaking

Are there materials or equipment you are not familiar with that you want to work with? Refresher on monoprints, gelatin printing. Intro to woodcuts

What could you imagine teaching others (one-on-one, demos, discussion topics)? Anything in clay studio, but specifically working with slabs- starting with drawings on paper and moving that image into 3D

Are there projects or collaborations you have in mind? Experiments with color and pattern, study of pattern in nature, cross over from 2D imagery to application of imagery on ceramic form. Exploring historical references. Trading work with someone and each responding

Janet Link [email protected]

What studio would you consider your “home base?” Painting and drawing.

Are there materials or equipment you are not familiar with that you want to work with? I would like to learn relatively simple methods for making interesting, and cost effective books to use for daily drawing-- needs to be fairly durable and require minimal specialized tools to construct. I would like to expand my understanding of drawing to include actual form and space (as opposed to that which is projected onto the 2 dimensional picture plane). I would also like to explore the possibilities of digital and photographic approaches to drawing

What could you imagine teaching others (one-on-one, demos, discussion topics)? Part of my current studio work includes an effort toward making my drawing more painterly. I am experimenting with graphite powder and reductive drawing, and also with oil paint on glassine paper. I am happy to talk about and/or demonstrate what I am learning with this work. Are there projects or collaborations you have in mind? I am in love with a filled up sketchbook – I would like to work on making a special (not elaborate) book and then try to fill it up with drawings during the week. I normally work very slowly and methodically and I want to break out of this habit to see what will happen.

Kent McLaughlin [email protected]

What studio would you consider your “home base?” Lower clay- sculpture

Are there materials or equipment you are not familiar with that you want to work with? Hydro-stone - a type of plaster that is very hard

What could you imagine teaching others (one-on-one, demos, discussion topics)? Share any of my knowledge and experience concerning ceramics

Are there projects or collaborations you have in mind? Exploration of previous figurative pieces I have made and time to process and revisit ideas. Collaborate with others who are working with the figure.

Laura Jean McLaughlin [email protected]

What studio would you consider your “home base?” ceramics sculpture, am completely flexible if it is full

Are there materials or equipment you are not familiar with that you want to work with? to work with metals for jewelry. to learn how to paint.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would love to do demos and one on one teaching small scale figurative sculpture which could include, slip-casting, slab, coil-building, glazing and firing. I also love sharing Surrealist games to help loosen up creativity. I’m also comfortable teaching linoleum block printing and combining printmaking and clay

Are there projects or collaborations you have in mind? I’m completely open to chance and spontaneity and usually work intuitively. One of my favorite exercises is the exquisite corpse game played by the Surrealist artists. It may be fun to do a school wide version of this with all materials, getting all teaching artists involved.

Jenny Mendes [email protected]

What studio would you consider your “home base?” clay, would be excited to work in any of the printmaking/2D/paper/book/painting studios as well. Are there materials or equipment you are not familiar with that you want to work with? processes in the area of Printmaking/letterpress/paper/book arts.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I most prefer something one on one. I'm typically not a demo-based person, but I could do this easily, teach a simple satisfying project... and I like to talk, especially if it is an interesting topic. I could imagine inviting people one night to come work together on a spontaneous collaborative topic/project - to jump-start the conversation.....

Are there projects or collaborations you have in mind? I would be totally open to entering into a collaboration - based on who might want to work with me - or me them, either something clay based, or depending on the participants - a collaboration that I would discover during the weeks retreat.

Steve Miller [email protected]

What studio would you consider your “home base?” Printmaking

Are there materials or equipment you are not familiar with that you want to work with? printmaking equipment. I would like to introduce other tools into books I make.

What could you imagine teaching others (one-on-one, demos, discussion topics)? The care and feeding of the Vandercook Proof Press-- basic approaches to a high quality impression. 3-4 hours

Are there projects or collaborations you have in mind? Iron and books.

Janis Miltenberger [email protected]

What studio would you consider your “home base?” Lampworking

Are there materials or equipment you are not familiar with that you want to work with? Yes, iron studio, metals and letterpress

What could you imagine teaching others (one-on-one, demos, discussion topics)? Beginning lampworking demo, a chance to look at lampworking as a large format and components for large sculpture. I would also like to talk about teaching the "challenging" student in a Penland-like atmosphere

Are there projects or collaborations you have in mind? The wheels are in motion! One idea is to work with images and letterpress and transfer images to decals for use on glass and enameled steel

Lee Ann Mitchell [email protected]

What studio would you consider your “home base?” Iron

Are there materials or equipment you are not familiar with that you want to work with? cast glass. I would also be interested in metals or ceramics.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would be more than happy to teach people welding skills that they could take home and use in their shops. I could put together a packet of buying tips, welding sites, etc. ….

Are there projects or collaborations you have in mind? If cast glass were offered I could see doing a collaboration with glass and steel. The same approach would be fun with porcelain.

Sabiha Mujtaba [email protected]

What studio would you consider your “home base?” wood

Are there materials or equipment you are not familiar with that you want to work with? Metal-- no experience. / Clay-- very little experience, want to learn a lot more.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Demos, one-on-one-- use of power carving tools for wood.

Are there projects or collaborations you have in mind? Using either or both above materials with wood in a sculptural form-- functional or non-functional.

Beatrice Nettles [email protected]

What studio would you consider your “home base?” letterpress

Are there materials or equipment you are not familiar with that you want to work with? to become more versatile and confident with the Vandercook press. Although I demonstrate and teach letterpress I need to become more advanced.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I could teach alternative processes-- cyanotype, Vandyke Brown printing and others. I can also demonstrate a wide range of bookbinding and portfolio and box construction.

Are there projects or collaborations you have in mind? Depending on the other attendees, I would like to collaborate on a book that would be editioned. Possibly combining cyanotype and letterpress printing

Randi Parkhurst [email protected]

What studio would you consider your “home base?” book art/paper art studio

Are there materials or equipment you are not familiar with that you want to work with? I would like to learn to use the letterpress and I am interested in working with wood, glass and/or metal.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I have a technique for making layered images on paper using a color copier. I would like to share my technique for finishing the white edges of paper and decorative techniques that make plain paper look like leather or bark. I can also teach the caterpillar stitch (Betsy Palmer Eldridge) and the long stitch as taught by Dolph Smith.

Are there projects or collaborations you have in mind? Can a book be used as a vessel for spoken word performance? For example, we make a book shaped like a pod, made with wood or metal or glass. On the inside and outside of the pod are drawings and symbols, without words. A person sits inside the pod and is the author of their own story or poem, based on their interpretation of the images

Roger Parramore [email protected]

What studio would you consider your “home base?” glass, primarily Flameworking.

Are there materials or equipment you are not familiar with that you want to work with? learning more about ceramic processes and the glass hot shop.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I think my years of teaching could afford the opportunity for me to share the leadership and communicative skills I’ve developed while offering a strong technical base for anyone interested in exploring the world of glass.

Are there projects or collaborations you have in mind? I would prefer to come with an open mind and an open agenda—much as I ask my own students to do.

Noellyn Pepos [email protected]

What studio would you consider your “home base?” textiles first or iron

Are there materials or equipment you are not familiar with that you want to work with? textiles, I would love to mine the brilliance of educators in that field. Also I was just introduced to a tig welder....with only a couple hours of play... I want to use yours! If those areas are full I would love to go into the printmaking studio and continue some work I started at a residency.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Discussion topics -- the expansion of our role as artists and educators in museums. My practicum internship was at the Seattle Art Museum in the exhibits/mountmaking area. The role of the artist and archival properties of work became controversial in my mind. There were so many considerations I have not entertained until now. I think it would be interesting to debate these with other artists. teaching others--not sure--maybe all my crossover studios and techniques would interest them????

Are there projects or collaborations you have in mind? There are so many possibilities!

Meg Peterson

What studio would you consider your “home base?” Books or drawing and painting

Are there materials or equipment you are not familiar with that you want to work with? Wood and wood equipment

What could you imagine teaching others (one-on-one, demos, discussion topics)? I could teach a variety of book sewings and a variety of journal-making approaches…. I'd be happy to do this one-on-one or in a series of meetings. I can imagine it also being useful to engage in a discussion on the fertility of the journal for examined living

Are there projects or collaborations you have in mind? I want to pick apart some of the learning embedded in the projects I facilitate and present it visually in an inspired way. I want to reveal the inner power of some of the work I'm engaged in.

Amy Pirkle [email protected]

What studio would you consider your “home base?” Letterpress and Books/Papermaking

Are there materials or equipment you are not familiar with that you want to work with? I would love to use this opportunity at Penland to experiment with waterless lithography and use an etching press, and also learn how to make screens for silkscreen and pull prints

What could you imagine teaching others (one-on-one, demos, discussion topics)? any aspect of letterpress printing in a group or one-on-one setting, including the fundamentals (setting type, working the press, etc.) to creating photopolymer plates and printing from them, to other image-making techniques such as reduction linocuts and collagraphs on a Vandercook press. On another note, I currently teach book arts classes for undergraduates in the Honors College at UA, and we have no equipment in our classroom. It is a standard lecture classroom with desks and chairs. I have a feeling there are other instructors in a similar situation, so it would be great to have a discussion group where we talk about successful book projects that we’ve done with our students that can be achieved without any special bookbinding or printing equipment. One such project I thought I could discuss/teach others is a photogram accordion that uses special photographic paper exposed in sunlight and developed in tap water.

Are there projects or collaborations you have in mind? I want to produce a limited edition artist’s book that combines the printmaking techniques of waterless lithography and silkscreen with letterpress.

Steve Pittelkow [email protected]

What studio would you consider your “home base?” Northlight

Are there materials or equipment you are not familiar with that you want to work with? fascinated by textiles but have only begun to explore their uses in my work.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I love to teach about books and decorative paper, of course, but for artist educators, additionally, I would like to explore the stretch that is necessary for artists to leave the studio and teach in schools and how to determine age appropriateness and desired outcomes for various media

Are there projects or collaborations you have in mind? As a bookbinder, I understand the book as a container for many types of media. It would be gratifying to collaborate with someone who would like to explore various book structures and to incorporate work not normally viewed in the context of the book.

Jason Pollen [email protected]

What studio would you consider your “home base?” Textiles Are there materials or equipment you are not familiar with that you want to work with? Printmaking facilities, also woodworking

What could you imagine teaching others (one-on-one, demos, discussion topics)? How to collage bits and pieces of a life into a coherent "portrait" stressing both individuality and universality. Also… tango!

Are there projects or collaborations you have in mind? the re-thinking of portraiture (the catalyst for this is the Egyptian mummy portraits). Using Penland folks as subjects

Sally Prasch [email protected]

What studio would you consider your “home base?” glass

Are there materials or equipment you are not familiar with that you want to work with? Iron, wood

What could you imagine teaching others (one-on-one, demos, discussion topics)? The basic glass techniques. How I teach and work with students. I think discussions in where the art and craft movement is going and what we could bring to the education environment

Are there projects or collaborations you have in mind? I love collaborations and am willing to work with any other studio

Richard Prisco [email protected]

What studio would you consider your “home base?” Woodshop

Are there materials or equipment you are not familiar with that you want to work with? cast glass and the iron studio.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would be happy to demo anything in the wood shop. My greatest interest is to continue the discussion started at CCCD in March as to the roll of craft in education and the responsibility of the educators.

Are there projects or collaborations you have in mind? having never collaborated before, I am interested in a group effort. After dealing with functionality for the past two decades I am very interested in nonfunctional forms, and learning the language to discuss them. IlaSahai Prouty [email protected]

What studio would you consider your “home base?” printmaking, glass (casting), clay and the ever‐floating ‘specials’

Are there materials or equipment you are not familiar with that you want to work with? want to learn welding, various other metal working techniques, and surfaces for metal. I’m also terrified of wood working tools (and ready to get over it) and interested in getting more experience with photo.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Discussion topic possibilities:  Wandering Around – open‐ended exploration, play and planning for nothing  All Talk ‐ critique and discussion techniques  Getting Somewhere New ‐The relationship between community and Risk-taking

Demo/Activities:  Experiential education experiences using clay as a starting point – activities for developing student‐centered learning  Casting with Alginate and Plaster

Are there projects or collaborations you have in mind? I’d like to come take advantage of the possibilities in an open way. That said, here are two things: 1. Dream Repeater Project ‐ an on‐going project where I collect the vivid or repeating dreams of others, then make sculptures and installations based on them. I envision collecting dreams anonymously, and building an installation from one during the week. I can provide more information, if needed. 2. Collaboration with Suzanne Pugh (and Dan Estabrook) about water, the ocean, vessels and voyages.

Suzanne Pugh [email protected]

What studio would you consider your “home base?” Metals

Are there materials or equipment you are not familiar with that you want to work with? working in the wood studio, working with cast glass, working in the iron studio, and I am interested in printmaking-mainly wood/linoleum cuts.

What could you imagine teaching others (one-on-one, demos, discussion topics)? a variety of metals techniques. The first technique that is readily accessible to neophytes is casting-waxworking to final product, as it is familiar in a sculptural sense-additively or subtractively working with a soft material (or using an existing plastic/wax object). The process is time consuming and technically challenging in a few ways, but those issues can be easily addressed providing the pieces made are similar in texture and format. Up to 15 people can be accommodated in this mini- workshop. I could also teach basic to very advanced fabrication (soldering), stone setting, forming-from very traditional raising to non traditional methods, working with pewter, basic use of the lathe, forging, chasing

Are there projects or collaborations you have in mind? I would like to try casting funnel forms in glass I have also been occasionally working on a body of large sinking ships, most recently this summer in cast bronze. Unfortunately all of the methods I have used, all relatively unfamiliar, have produced unsuccessful pieces for a variety of reasons. I would love the opportunity to make one of these pieces out of wood; this can be the right approach, especially if there is someone there to guide me technically. Collaboratively speaking, for several years IlaSahai Prouty and I have discussed a joint show based on ships, the sea, and other concomitant elements (Dan Estabrook is in on this too). This week could be a huge step forward for us.

Jana Pullman [email protected]

What studio would you consider your “home base?” Metals

Are there materials or equipment you are not familiar with that you want to work with? I took a workshop in metals at Penland in *** when PBI was held there and will need a refresher with the soldering.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I could do one on one sessions or small group demos (10-15 participants) on bookbinding or portfolio and box making. I could lead a discussion on Artist Books as a way that artists can show their work in a new format. I would also be willing to participate in panels or group discussions on teaching.

Are there projects or collaborations you have in mind? I want to make open work hinged metal bindings for books and to design closures for different book structures.

Dean Pulver [email protected]

What studio would you consider your “home base?” Woodworking

Are there materials or equipment you are not familiar with that you want to work with? I am most interested at this time in getting to work in the iron and metal shop. I am very interested in forging, shaping, and patina of metal. But I am also interested in glass and painting, and who knows what else, I’d like to very open to what is going on all around.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Sculpting and texturing wood with hand and power tools Are there projects or collaborations you have in mind? I do have an idea for a forged bench but definitely not set on the idea and am always open to collaborations

Michael Puryear [email protected]

What studio would you consider your “home base?” blacksmithing as it relates to hardware for furniture in particular Damascus steel.

Are there materials or equipment you are not familiar with that you want to work with? I am willing to do demos or work one on one on any subject relating to woodwork.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would also like to explore lighting and am open to collaborating with anyone who could use my woodworking expertise.

Winnie Radolan [email protected]

What studio would you consider your “home base?” I am basically a papermaker who dabbles in book arts.

Are there materials or equipment you are not familiar with that you want to work with? To explore both letterpress and/or printmaking, as they are very closely tied with paper and books. Or, stretching far afield, I might like to explore glass or work metals.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would love to share with others the work I do with papermaking or simple books.

Are there projects or collaborations you have in mind? Not sure……

Gail Rieke [email protected]

What studio would you consider your “home base?” book arts, would probably make use of computer facilities, and would want to visit other areas

Are there materials or equipment you are not familiar with that you want to work with? I could imagine incorporating glass enclosures but I haven't yet explored this avenue. Perhaps this could be my chance.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I have several digital slide presentations that combine travel photography with journals from various excursions. I can also bring examples to show the various directions I have pursued in my journal work. I think that many years of practice have resulted in a depth of involvement in this subject matter which many have enjoyed seeing. Specific skills could also be demonstrated.

Are there projects or collaborations you have in mind? I have many projects in mind that I am currently developing. It's very hard to tell what will be a focus by next September. Now I am working with photography, book arts, drawing, printmaking, collage, assemblage, textile arts and combining all of these forms... you get my drift...

Holly Roberts [email protected]

What studio would you consider your “home base?” Painting

What could you imagine teaching others (one-on-one, demos, discussion topics)? painting / development of surfaces, layering of surfaces and adhesion of many different things

Chris Rolik [email protected]

What studio would you consider your “home base?” The Paper & Book Arts

Are there materials or equipment you are not familiar with that you want to work with? small metals/jewelry if possible, learn about soldering, etc.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Any book or binding structure, also box making.

Are there projects or collaborations you have in mind? I have several existing ideas that I'd like to pursue – PLUS – I'd love to let Penland “speak” to me once again and see what results.

Alyssa C. Salomon [email protected]

What studio would you consider your “home base?” Either (1) Letterpress or (2) Printmaking (in order to silkscreen)

Are there materials or equipment you are not familiar with that you want to work with? (1) Letterpress - I have almost no knowledge or (2) Silkscreen - I have only very basic knowledge

What could you imagine teaching others (one-on-one, demos, discussion topics)? Teach one-on-one &/or demo: (1) Alternative Process Photography for Non- Photographers; (2) Being Bold in the Darkroom - Mixing Photo Chemistry from Scratch. Interested in leading or participating in a discussion: Teaching Big Ideas in the History of Photography

Are there projects or collaborations you have in mind? (1) Combining Letterpress text with my primary artmaking practice of alt process photographic printing; or (2) Using silkscreen as a means to rethink my core imagery & to introduce color

Ed Schmid [email protected]

What studio would you consider your “home base?” Glass Studio, primarily in the hot shop with possible cross-pollination with the flameworking studio, ceramics, metals, wood, and more.

Are there materials or equipment you are not familiar with that you want to work with? Metals, (primarily basic blacksmithing and fabrication), fibers, print and paper.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I’d be happy to demo anything, or better yet, put some of our ideas to test and see if we could invite other participants, staff or Penland community to try glassblowing and or focusing on a group project for the greater good. When I taught glassblowing in the fall concentration of 2008 we had invited the entire campus to come up and try their hand in glassblowing. We had some 64 people give it a go, with my students playing the role of instructor. It was an overwhelming success and had people talking about it for days. I would love the chance to do something like this again with the Penland community.

Are there projects or collaborations you have in mind? Yes, I would like to address the idea of glassblowing curriculum, compare it with what we know and where it has been, and where it might head in the next coming decades. Ideas include efficient heating systems coupled with the latest time saving techniques and pedagogy. I would like to also hear what other educators have to say with the ever- changing field of crafts in the digital age, and or the impacts that the economy has on what we do or how we foresee the future of our disciplines.

Loren Schwerd [email protected]

What studio would you consider your “home base?” Textiles

Are there materials or equipment you are not familiar with that you want to work with? Felting, techniques for basketry or off-loom weaving What could you imagine teaching others (one-on-one, demos, discussion topics)? I could teach welding, mold-making, bronze casting and/or demonstrate/discuss the use of performative strategies to introduce students to considerations of time, gesture, function, interaction and documentation

Are there projects or collaborations you have in mind? I plan to create a sculptural textile from source photos taken on the Penland grounds. The selection and arrangement of source imagery and materials is informed by Chinese ink-and wash landscape painting. I am particularly interested in the works created during periods of shifting dynastic power, such as the Yuan Dynasty, where idealistic images of the natural world, became politically charged symbols that expressed the social values and the “inner landscape” of the artist-scholars.

Michael Sherrill [email protected]

What studio would you consider your “home base?” Clay

Are there materials or equipment you are not familiar with that you want to work with? no

What could you imagine teaching others (one-on-one, demos, discussion topics)? I'm glad to share skills that I feel are particular to my work-- extrusions, laminated and color clay.

Are there projects or collaborations you have in mind? My ideas and my work are increasingly multi-discipline, so the chance to work through experimental ideas with others would be great. Sometimes, there seems to be no "time" to experiment in my own studio.

Brent Skidmore [email protected]

What studio would you consider your “home base?” wood and iron

Are there materials or equipment you are not familiar with that you want to work with? Printmaking, drawing and painting techniques

What could you imagine teaching others (one-on-one, demos, discussion topics)? wood-- assignments for undergraduate students. Ukibori- Ming ding and textural demo. Painting with golden acrylics. Carving techniques.

Are there projects or collaborations you have in mind? musical instruments never made David Smith [email protected]

What studio would you consider your “home base?” A neon shop, but while there the flame working studio.

Are there materials or equipment you are not familiar with that you want to work with? Metals silver and such.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Anything Neon, and how to incorporate it into their work.

Are there projects or collaborations you have in mind? Always, I work with primarily with Neon and that needs mixed media to hold it together. Wood and clay seem to be a good blend.

Dolph Smith [email protected]

What studio would you consider your “home base?” Paper/Books unless a table available in the wood shop.

Are there materials or equipment you are not familiar with that you want to work with? The one big gap in my career was a lack of letterpress experience. I know of the etching of text into plastic plates (?? am I making that up?) And I could print my stories.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Would like to explore the question of why does one pick up a book and feel weight, mass and texture and then open it and find flat text and flat pictures? Could be something there. For a recent book I took one of my stories, printed it out, cut it into lines, shaped a block of wood and glued the lines of text around the wood. Then I made a book, cut the shape of the wood block inside and suspended the block in that space. Hence, a book with a text block!!

Are there projects or collaborations you have in mind? Will there be any writers there? Maybe there would be someone like me who loves to make books and has the Sunday writer's itch. Or work with a writer to make a book.

Keith Smith [email protected]

What studio would you consider your “home base?” lower-clay

Are there materials or equipment you are not familiar with that you want to work with? To gain more competency on the lathe and would like to understand how the vacuum press for veneer works. I have never worked with glass, I would love to stick my nose in that studio. Iron.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I could teach how to throw on the wheel. -I could teach how to approach simple hand- building techniques. -I could teach how to approach figurative sculpture. -I could teach various processes of mold making. -In discussion topics I could address grading criteria for three-dimensional work of students and classes. -What is contemporary ceramics and how is it different than its historical origins.

Are there projects or collaborations you have in mind? Perhaps participants could break up into groups and create a simple collaborative piece for Penland. My work is highly thought out and preconceived. In the future I might have something specific that I would want to create but currently it would be great to work intuitively. This is simply because I never do.

Anika Smulovitz [email protected]

What studio would you consider your “home base?” Metals

Are there materials or equipment you are not familiar with that you want to work with? fibers, wood, cast glass, lamp-work glass, iron, new approaches to metal techniques. I have also been working more with wood and small-scale glass casting, both of which I would love to know more about

What could you imagine teaching others (one-on-one, demos, discussion topics)? any variety of metals techniques (riveting, soldering, forming, hydraulic die forming, pitch-work, torch enameling, etching, basic stone/object setting, forging, stake repoussé, raising….); topic for discussion – different approaches to idea generation, writing artist statements, pushing content/boundaries, the non-neutrality of materials and other ways to explore materials use, different critique methods…

Are there projects or collaborations you have in mind? I am very open and could think of many possibilities for this week – primarily to act as a “sponge,” learn from others, collaborate, and play. One idea that might be fun to try in this setting: spend time each morning in a different studio asking other artists/educators in different mediums about the idea of “aura” and materials (this is a question I am asking in a current body of work). Through this dialogue, consider how I might integrate responses and materials into individual objects. Another possibility: an exquisite- corpse project rotating through studios with some sort of general theme/direction. Working with way is generally very different than how most of us normally work in our own studios, utilizing creative problem solving and opening possibilities for new approaches to content, material, and technique. Rory Sparks [email protected]

What studio would you consider your “home base?” Book Arts & Letterpress

Are there materials or equipment you are not familiar with that you want to work with? Particular project I would like to focus on would benefit from small metals; I’ve always wanted to work more in wood and iron.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would love to do demos in letterpress and bookbinding that could complement other studios. For instance, book structures that can accommodate alternative materials for covers, like felt, wood and metal. I can also share what I know about leather (paring, onlay, inlay, tooling, etc.). Also, I recently started a collective letterpress and bookbinding studio in response to what I was hearing from students. It’s difficult for recent graduates to hit the ground running because they don’t have access to the equipment or community after leaving school. So, I started a member- based studio that supplies equipment and space for people to work at affordable prices. Since I started Em Space, several people have requested informational interviews and have started their own collectives and co-ops in their towns. I would love to share what I’ve learned as a discussion topic.

Are there projects or collaborations you have in mind? I would like to work on a project I have been thinking about for quite some time. I want to make my last will and testament as an art object. I will explore thoughts of value and ownership and what they actually mean to me. I will bequeath intangible (intellectual) property, which is all I have, in the form of memories, ideas, love letters, devotions, apologies, secrets and so on. This object will take the form of fill-able letterpress printed cards that will be ever changing and evolving as I grow older. I will make a grand, leather covered box to house the cards, with all the pomp of a typical occidental funerary object. I hope to include gold tooling and metal hardware. Perhaps a wooden box with satin interior compartments to lay my invisible possessions to rest.

Lynn Stanionis [email protected]

What studio would you consider your “home base?” metals and jewelry

Are there materials or equipment you are not familiar with that you want to work with? I am particularly interested in flame-working and casting glass; also interested in learning to cast iron and work with steel. Interests in using these materials on a jewelry /small sculpture scale. Also, papermaking.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Basic metalworking skills – sawing, soldering, filing, cold connections, finishing. Basic metal forming skills – sinking, raising, planishing, forging. Basic wax carving. Moldmaking – one and two part rubber molds, brush molds et al. I use a number of different techniques and materials. These molds are suitable for casting a variety of materials including plaster, concrete, wax, resin, and low temperature melting metals. Lost wax casting of metal. Casting resins- would involve making a rubber mold, coloring & casting the resin, finishing

Are there projects or collaborations you have in mind? I don’t have a specific project in mind at this moment, but I have been thinking about using flameworked glass and cast iron in my work for some time. I don’t have the skills yet to incorporate these materials into my work.

Lynn Sures [email protected]

What studio would you consider your “home base?” I would like to split my time between letterpress and iron.

Are there materials or equipment you are not familiar with that you want to work with? Both letterpress and iron

What could you imagine teaching others (one-on-one, demos, discussion topics)? Using paper pulp for sculpture. I would be happy to demonstrate the spraying of a relief sculpture with paper pulp. As far as discussion topics, I’d suggest discussing how artists avail themselves of techniques outside their comfort zones to accomplish the making of works they wish to make.

Are there projects or collaborations you have in mind? I have made one steel book cover, and would jump at the chance to make another. I also am working currently on the contents of an artist’s book, which I would love to print as my letterpress experience at Penland.

Tim Tate [email protected]

What studio would you consider your “home base?” letterpress studio

Are there materials or equipment you are not familiar with that you want to work with? Most of it…. I would need some assistance, but I pick things up quickly.

What could you imagine teaching others (one-on-one, demos, discussion topics)? Uses of social networking and art in the 21st century. My favorite lecture topic. I will be giving it at the Milwaukee art museum next month.

Are there projects or collaborations you have in mind? I have been working for sometime in narrative video glass sculpture. We teach these methods and techniques at our school. My belief is that a show has more depth when images of the work, either about process or detail are included in an exhibition. During educator’s week, I would very much like to be in the letterpress studio. I have been working on a series of 21st Century Sideshow pieces, and they would hugely benefit from circus posters about each. I want to learn the basics of the process and continue you that process at Pyramid Atlantic….

Paul Andrew Wandless [email protected]

What studio would you consider your “home base?” lower clay

Are there materials or equipment you are not familiar with that you want to work with? • Metalsmithing. Specifically mold making and casting techniques, embossing, etc. • a foundry project that would dovetail with what I'm doing in metalsmithing. If someone is doing an iron pour, that would be great. • to work with some printmakers, painters and drawing related activities. My primary focus would be investigating different techniques and mediums for mold making and casting. I want to see how I can then bring that information back to clay.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would teach/demo/discuss how to combine printmaking techniques with clay processes. How to take and an image and prep it properly for image transfer on clay and how to figure which process is best for their particular way of working. I would also teach/demo/discuss alternative firing process like raku, foil saggar and barrell firing.

Are there projects or collaborations you have in mind? • Collaborate and share research with anyone doing clay and print making techniques • Collaborate and share research with anyone doing alternative firing techniques • Collaborate and share research with anyone making molds and casting in clay, metal paper and glass. • Collaborate and share research in drawing where linear perspective and color theory are the point of emphasis.

Heather Wetzel [email protected]

What studio would you consider your “home base?” historic photographic processes and book arts and hand papermaking

Are there materials or equipment you are not familiar with that you want to work with? would really like to learn more woodworking techniques and become more familiar and comfortable in the woodshop. I would also like to learn more about printmaking techniques and processes. have been fascinated with the idea of weaving and would love to try my hand at it. What could you imagine teaching others (one-on-one, demos, discussion topics)? I would love to teach some historic photographic printing processes and variations of them that incorporate layering and hand coloring and/or any bookbinding, box making, or papermaking. Of course, I am always happy to discuss the value and importance of historic photographic processes in the academic environment.

Are there projects or collaborations you have in mind? I would be interested in working out and building a series of wooden box structures to house images in for a new body of work I have had in mind now for a few years and is in the beginning stages. Also, I have recently started working with copper plate photogravures and would like to delve into the finer aspects of printing on the etching press and explore the variations one can achieve through manipulations, layering, text, drawing, hand coloring, inks, etc. I am equally prepared to go with the flow and see where experimentation and exploration lead me. In terms of collaborations, sometimes the best ones come from spontaneous discussions so I am open to whatever organically transpires with the talented group of people that are sure to be there. I would be very excited to work collaboratively during the retreat, perhaps starting something that could continue in some form afterwards.

Julia Woodman [email protected]

What studio would you consider your “home base?” Metals, iron

Are there materials or equipment you are not familiar with that you want to work with? If any silversmith retreat participant knows of or has materials or equipment with which I'm unfamiliar I would be most interested. Beyond my own discipline some hands-on experience in book arts and printing techniques.

What could you imagine teaching others (one-on-one, demos, discussion topics)? I have taught metal-raising to include related techniques of shell-forming (anti- and synclastic), tessellation, keum boo, repoussé. Teaching any or all of the foregoing techniques typically involves in sequence discussion, demos and one-to-one--- an approach with which I'm familiar and comfortable.

Are there projects or collaborations you have in mind? I have often wanted to try enameling techniques on vessels formed by being deep-drawn on a hydraulic press. Collaboration with Linda Darty, for example, on such a project would be ideal.

Kyu Yamamoto [email protected]

What studio would you consider your “home base?” painting

Are there materials or equipment you are not familiar with that you want to work with? to find out more about oil & acrylic paint properties & techniques

What could you imagine teaching others (one-on-one, demos, discussion topics)? I would like to help facilitate understanding on the creative process

Are there projects or collaborations you have in mind? I always tell my students that I am not teacher; I am just there to help them discover and understand themselves through creative expression. I am collaborating with students every time in my class

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