Scroll down to register!
MAEA Fall Conference 2022
Theme - Hell Ya!
Friday, September 16th to Sunday, September 18th
Registration opens on June 1st at 7 a.m.*
Locations: Haystack (full)
Monson (a few spots still open)
Cost: $295 for MAEA members
On behalf of MAEA, we offer many thanks to our AMAZING conference facilitators, Brooke Holland and Anthony Lufkin, who have worked so hard to make this happen!!!
Please read before registering:
Refund/Cancellation Policy, Membership, Conference fees, and CEU Credits
We recognize and understand that events come up that require a change in plans. Please understand that conferences are a symphony of coordinated events. This concurrent timing requires extensive pre-planning, financial, and facilitator responsibilities. The cancellation/refund policy below honors this commitment. Requests for cancellations and refunds must go through the registrar: Hope Lord - [email protected]
Notification of Cancellation received by:
July 31st - Full conference rate refund;
August 15th - Full conference rate refund minus 5% service fee;
August 31st - 50% full conference rate refund;
After September 1st - no refund.
* Note that the $295 conference fee includes accommodations, meals, and approximately $20 of studio materials.
Accommodations:
On-Campus accommodations are available on a first-come, first-served basis. However, there is limited space on campus.
In the registration process, you will be given the following options:
MAEA membership ends May 31st, regardless of when throughout the year you register. In order to register for the fall conference, you must be an active member for the 2022-2023 membership year. The opportunity to renew your membership (see fees below) and register for the conference will happen simultaneously.
Additional Fees:
Some workshops will require you to supply some of your own tools/materials.
Some workshops will require an additional studio fee to cover the cost of materials.
And, some will offer additional materials available for purchase through the presenter.
Please look carefully at the offerings and descriptions BEFORE registering.
These workshops require additional fees. Others have some optional purchase options.
CEU Credits and Contact hours are available. There is no additional fee for Contact Hours. There is a $20 fee for the CEUs from the CEU granting institution (UMaine) when you submit your paperwork.
Notification of Cancellation received by:
July 31st - Full conference rate refund;
August 15th - Full conference rate refund minus 5% service fee;
August 31st - 50% full conference rate refund;
After September 1st - no refund.
* Note that the $295 conference fee includes accommodations, meals, and approximately $20 of studio materials.
Accommodations:
On-Campus accommodations are available on a first-come, first-served basis. However, there is limited space on campus.
In the registration process, you will be given the following options:
- I prefer to find my own accommodations and attend at the discounted rate of $245.
- I would like on-campus accommodations, but am willing to find my own accommodations if my registration is received after all accommodations are booked.
- Please disregard my registration and refund my conference payment if on-campus accommodations are not an option for me.
MAEA membership ends May 31st, regardless of when throughout the year you register. In order to register for the fall conference, you must be an active member for the 2022-2023 membership year. The opportunity to renew your membership (see fees below) and register for the conference will happen simultaneously.
- If you are renewing as an active member - add $30
- If you are renewing as a full-time student - add $5
- If you are renewing as a retired art educator - add $15
- If you are no longer teaching and want to renew with a retired lifetime membership - add $120
- If you are already a retired lifetime member - there is no additional cost.
Additional Fees:
Some workshops will require you to supply some of your own tools/materials.
Some workshops will require an additional studio fee to cover the cost of materials.
And, some will offer additional materials available for purchase through the presenter.
Please look carefully at the offerings and descriptions BEFORE registering.
These workshops require additional fees. Others have some optional purchase options.
- Anne Alexander - Carved Alabaster - $10
- Maggi Blue - Mixed Metals - $65
- Carolyn Brown - Ceramics, Form & Surface - $15
- Alexis Iammarino - Large-Scale Prints - $10
- Bobbie Tilkens-Fisher - Tapestry Weaving - Varies: See description ($30-$240)
- Jemma Gascoine - Ceramics, Wheel-Throwing - May need money to purchase extra clay.
CEU Credits and Contact hours are available. There is no additional fee for Contact Hours. There is a $20 fee for the CEUs from the CEU granting institution (UMaine) when you submit your paperwork.
Please note we will continue to register on a first come first served basis.
A wait list will be generated once we are at capacity.
ALL Haystack Options are FULL.
There are a few spots left at Monson.
Register HERE!
Anticipated Schedule:
Below is our traditional conference schedule for Haystack. Please note that there may be slight changes and the Monson schedule may also look slightly different.
Friday
9:00-11:30 Registration & Art Vendor Exhibits
12:00-12:45 Lunch
12:45-1:15 Haystack orientation
1:15-5:00 Studio time
6:00-7:00 Dinner
7:00-8:30 Presentations, Address and Facilitator Slides
8:45-? Studio time
Saturday
7:00-8:00 Yoga? (Optional, by donation)
8:00-9:00 Breakfast
9:00-12:00 Studio time
12:00-12:45 Lunch
1:00-1:45 Annual MAEA meeting
2:00-5:00 Studio time
6:00-7:00 Dinner
7:00-8:00 Facilitator slides
8:00-9:00 Silent Auction
9:00-? Studio time
Sunday
7:00-8:00 Yoga? (Optional, by donation)
8:00-9:00 Breakfast
9:00-10:30 Critiques, closure, and clean-up
10:30-10:45 Set up workshop exhibits
10:45-11:15 Meander through exhibits
11:30 Lunch
12:00 Departure time
9:00-11:30 Registration & Art Vendor Exhibits
12:00-12:45 Lunch
12:45-1:15 Haystack orientation
1:15-5:00 Studio time
6:00-7:00 Dinner
7:00-8:30 Presentations, Address and Facilitator Slides
8:45-? Studio time
Saturday
7:00-8:00 Yoga? (Optional, by donation)
8:00-9:00 Breakfast
9:00-12:00 Studio time
12:00-12:45 Lunch
1:00-1:45 Annual MAEA meeting
2:00-5:00 Studio time
6:00-7:00 Dinner
7:00-8:00 Facilitator slides
8:00-9:00 Silent Auction
9:00-? Studio time
Sunday
7:00-8:00 Yoga? (Optional, by donation)
8:00-9:00 Breakfast
9:00-10:30 Critiques, closure, and clean-up
10:30-10:45 Set up workshop exhibits
10:45-11:15 Meander through exhibits
11:30 Lunch
12:00 Departure time
2022 Offerings/Facilitators/Locations
HaystackAnne Alexander - Carved Alabaster - FULL
Holly Berry - Relief Printing: Playing with Layers - FULL Maggi Blue - Mixed Metals - FULL Carolyn Brown - Ceramics, Form & Surface - FULL Alexis Iammarino - Large-Scale Prints - FULL James Rutter - Digital Fabrication - FULL Bobbie Tilkens-Fisher - Tapestry Weaving - FULL Simon 'Siem' van der Ven - Pewter Casting - FULL |
MonsonJemma Gascoine - Ceramics, Wheel-Throwing
Lisa Pixley - Wood Engraving |
Haystack: Anne Alexander - Carved Alabaster
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Biography:
Anne Alexander is a sculptor from South Windham, Maine, who creates organic form work, in the mediums of carved wood and stone and modeled clay. Her smaller work is exhibited in galleries and larger human scale sculptures are shown in exterior, temporary, sited sculpture shows in Maine, New England, and beyond. Anne taught art in both public (Gray- New Gloucester Middle School) and independent schools (Waynflete) for 22 years. She has also taught sculpture and drawing classes to ages pre-K to college and senior citizens, over the years.
Ms. Alexander has received numerous grants and residencies including: two Pollack- Krasner Foundation grants, five Maine Arts Commission Project Grants, and a 9 month Fulbright to study the art and artifacts of The Taino Indian. Recently in 2017 & 2019, she was awarded two funded residencies in Maine at Monson Arts and The Maine Farmland Trust. In 2020, she was awarded a Maine Crafts Apprenticeship Grant to learn to carve sculptures in granite.
Participant Information:
Participants will each carve a sculpture from a chunk of alabaster. Students will be introduced to different ways to carve, including; sawing, using mallet and chisel, and rasps. Finishing techniques will be done including sanding, polishing and waxing to bring out the veins and luster of this beautiful stone. Ways to generate ideas for our pieces will include; abstracting from nature, (plants, shells, animals) or carving a biomorphic non-objective form inspired by the shape of a block of stone. Concepts for making sculpture will be incorporated including; Form and surface, turning the corner, lookin at profile, negative space, relief as opposed to in the round.
What you should supply:
Added Fee: $10 (To cover the cost of stone and finishing materials.)
Anne Alexander is a sculptor from South Windham, Maine, who creates organic form work, in the mediums of carved wood and stone and modeled clay. Her smaller work is exhibited in galleries and larger human scale sculptures are shown in exterior, temporary, sited sculpture shows in Maine, New England, and beyond. Anne taught art in both public (Gray- New Gloucester Middle School) and independent schools (Waynflete) for 22 years. She has also taught sculpture and drawing classes to ages pre-K to college and senior citizens, over the years.
Ms. Alexander has received numerous grants and residencies including: two Pollack- Krasner Foundation grants, five Maine Arts Commission Project Grants, and a 9 month Fulbright to study the art and artifacts of The Taino Indian. Recently in 2017 & 2019, she was awarded two funded residencies in Maine at Monson Arts and The Maine Farmland Trust. In 2020, she was awarded a Maine Crafts Apprenticeship Grant to learn to carve sculptures in granite.
Participant Information:
Participants will each carve a sculpture from a chunk of alabaster. Students will be introduced to different ways to carve, including; sawing, using mallet and chisel, and rasps. Finishing techniques will be done including sanding, polishing and waxing to bring out the veins and luster of this beautiful stone. Ways to generate ideas for our pieces will include; abstracting from nature, (plants, shells, animals) or carving a biomorphic non-objective form inspired by the shape of a block of stone. Concepts for making sculpture will be incorporated including; Form and surface, turning the corner, lookin at profile, negative space, relief as opposed to in the round.
What you should supply:
- Work gloves
- An old towel
- A small glass jar with lid
- A favorite rasp, if you have one.
Added Fee: $10 (To cover the cost of stone and finishing materials.)
Haystack: Holly Berry - Relief Printing: Playing with Layers
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Biography:
Along with illustrating award-winning children’s books, toys and products, she also makes linoleum and woodblock prints of varied subject matter. Her designs are inspired by her immediate environment; the patterns, shapes and textures found in the natural world combined with her interest in textiles and decorative and folk art.
Berry earned a BFA in Illustration from Rhode Island School of Design and was recognized with an Individual Arts Fellowship in Printmaking by the Maine Arts Commission. Her work has been included in many juried and invitational shows throughout the country.
Participant Information:
In this workshop you will analyze the graphic elements of a square format design of your own - abstract or representational - to create a 5" x 5" linoleum block print. During the carving process you will have a chance to explore layering with the reduction cut method.
During the printing process you will have a chance to enhance your single block print by playing with layers of color using stencils and/or blocks made from other relief surface materials. Using transparent base in inks you may explore and discover various possibilities when overprinting and mixing up layer order and orientation.
All aspects of relief printing will be addressed; design and transfer of image to block, use/care of tools, cutting and inking choices and methods of registration. Printing will be done by hand burnishing although a small press will be available for use if desired.
Collage and stamping materials, foamcore and card stock will also be on hand to make into relief surfaces. Final prints may stand on their own, be used in collage and book making projects, journals, cards or in other decorative ways.
What you should supply:
Supplied (below) but feel free to bring your own materials:
Added Fee: none
Along with illustrating award-winning children’s books, toys and products, she also makes linoleum and woodblock prints of varied subject matter. Her designs are inspired by her immediate environment; the patterns, shapes and textures found in the natural world combined with her interest in textiles and decorative and folk art.
Berry earned a BFA in Illustration from Rhode Island School of Design and was recognized with an Individual Arts Fellowship in Printmaking by the Maine Arts Commission. Her work has been included in many juried and invitational shows throughout the country.
Participant Information:
In this workshop you will analyze the graphic elements of a square format design of your own - abstract or representational - to create a 5" x 5" linoleum block print. During the carving process you will have a chance to explore layering with the reduction cut method.
During the printing process you will have a chance to enhance your single block print by playing with layers of color using stencils and/or blocks made from other relief surface materials. Using transparent base in inks you may explore and discover various possibilities when overprinting and mixing up layer order and orientation.
All aspects of relief printing will be addressed; design and transfer of image to block, use/care of tools, cutting and inking choices and methods of registration. Printing will be done by hand burnishing although a small press will be available for use if desired.
Collage and stamping materials, foamcore and card stock will also be on hand to make into relief surfaces. Final prints may stand on their own, be used in collage and book making projects, journals, cards or in other decorative ways.
What you should supply:
- Carving tools - Speedball brand is fine. U gouge and 2 V blades (#2, #3)
- Exacto/craft knife #11 blades, more blades to replenish
- masking or blue tape
- black sharpie
- pencil/eraser
- scissors
Supplied (below) but feel free to bring your own materials:
- straight edge and/or c-thru ruler, 12"
- brayer (soft rubber)
- acetate/card stock for stencils
- different papers to print on
- wooden spoon (for burnishing)
- additional cutting gouges
- materials for making relief collages to print
- glue/brush
- rags for wiping/cleaning
- gloves if you want to protect your hands/apron
Added Fee: none
Haystack: Maggi Blue - Mixed Metals
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Biography:
Maggi Blue made the jump from hot glass into silver after taking an adult ed class over a decade ago and has never looked back. While she still loves glass (Maggi is a collector of skills) silver has become her primary jewelry medium. During the pandemic, as a graphic designer by trade, Maggi found herself with a bit more free time on her hands. It was during this quiet time that she dove head first into the world of lapidary - learning to cut her own stones out of raw slabs and incorporating those handmade stones into her jewelry. Maggi lives in the Midcoast with her husband and teenage son where she can be found either in her studio or outside in her garden.
Participant Information:
Rocks collected at the beach, shells, sea glass, antique buttons from a beloved grandmother - maybe even some baby teeth?! - all personal treasures that are priceless to you. In this workshop, we will showcase a unique flat-backed stone or a personal treasure in a cold-connected pendant of your own design.
Working with mixed metals (copper, brass, and silver), you will construct your piece with piercing, rivets, and a cut-and-folded prong setting techniques. We will also explore various surface decorating techniques including metal etching, oxidization, and mark making with the tools available in the studio.
Come to this workshop with a personal treasure of your own to fashion into a piece that you will treasure forever. If you don’t have a personal treasure to bring, don’t fret! There will be flat backed cabochons and stones from my handmade collection available for purchase.
While this class doesn’t address soldering techniques, if you already have soldering experience, there will be a soldering station that you have access to.
What you should supply:
Added Fee: $65
Includes a kit containing:
Maggi Blue made the jump from hot glass into silver after taking an adult ed class over a decade ago and has never looked back. While she still loves glass (Maggi is a collector of skills) silver has become her primary jewelry medium. During the pandemic, as a graphic designer by trade, Maggi found herself with a bit more free time on her hands. It was during this quiet time that she dove head first into the world of lapidary - learning to cut her own stones out of raw slabs and incorporating those handmade stones into her jewelry. Maggi lives in the Midcoast with her husband and teenage son where she can be found either in her studio or outside in her garden.
Participant Information:
Rocks collected at the beach, shells, sea glass, antique buttons from a beloved grandmother - maybe even some baby teeth?! - all personal treasures that are priceless to you. In this workshop, we will showcase a unique flat-backed stone or a personal treasure in a cold-connected pendant of your own design.
Working with mixed metals (copper, brass, and silver), you will construct your piece with piercing, rivets, and a cut-and-folded prong setting techniques. We will also explore various surface decorating techniques including metal etching, oxidization, and mark making with the tools available in the studio.
Come to this workshop with a personal treasure of your own to fashion into a piece that you will treasure forever. If you don’t have a personal treasure to bring, don’t fret! There will be flat backed cabochons and stones from my handmade collection available for purchase.
While this class doesn’t address soldering techniques, if you already have soldering experience, there will be a soldering station that you have access to.
What you should supply:
- A personal treasure
- Sketch book and pencil to sketch out ideas and take notes
- Black Sharpie markers
- Roll of masking tape
- Special stone, rock, or other bits you would like to use in your piece. Flat backed stones are best for setting, but don’t let that limit you.
- Ideas and sketches! Spend some time Googling setting ideas and inspiration on cold connections techniques.
- The library also has many books on jewelry making that you can bring with you for ideas. I will also have a stash of books to look through for inspiration.
Added Fee: $65
Includes a kit containing:
- 3” square silver 24g sheet
- 3” square copper 24g sheet
- 3” square brass 24g sheet
- 18g and 16g silver wire
- 18g and 16g copper wire
- 18g and 16g brass wire
- 6 silver jump rings
- 1 silver chain
- 400 diamond grit sanding stick
- Note: I will have more metals available for purchase if needed.
Haystack: Carolyn Brown - Ceramics, Form, & Surface
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Biography:
After growing up in rural Maine, I've worked and studied in several areas of Maine, and for 7 years in Tokyo, Japan.
I returned to my hometown of Appleton in 2000, and have a home and ceramics studio close to the woods and fields of my childhood. I teach visual arts at Camden Hills Regional High School. I sell my ceramics at a weekly indoor farmer's market in Belfast, and other local venues.
I spend a lot of time in nature, noting the accumulation of leaves, twigs and coniferous needles on the forest floor, the marks of tides on the shore, patterns of leaves and flowers, layers of contrasting minerals in rock. In fact, my indoor space looks a lot like my woods after a rough storm.
Similarly, my work with clay and other media is about layering, overlapping, marking time and creating quiet narratives, contrasting with the desire for organization and function. I love printmaking methods for the integral relationship of material and image, and the ability to repeat, vary and layer pattern and iconography. My current clay work uses drawing, silkscreen transfer, paper stencil, carved and laser-cut printing plates and stamps, and ordinary objects pressed into clay. Making primarily functional objects enables me to explore directions I'm interested in, as sales help support purchase of new materials.
Participant Information:
Surface and Form This workshop will focus on integrating form and surface, with a mix of careful choice-making and playful experimentation. We'll work with handbuilding and the wheel - your chioce- to make vessels and altered slabs. Then we'll explore a variety of surface treatments including paper stencils, wax resist, silkscreen underglaze transfers, texture tools, water etching, and more.
What you should supply:
Added Fee: $15 for clay. (Right now clay is around $0.75 a pound)
After growing up in rural Maine, I've worked and studied in several areas of Maine, and for 7 years in Tokyo, Japan.
I returned to my hometown of Appleton in 2000, and have a home and ceramics studio close to the woods and fields of my childhood. I teach visual arts at Camden Hills Regional High School. I sell my ceramics at a weekly indoor farmer's market in Belfast, and other local venues.
I spend a lot of time in nature, noting the accumulation of leaves, twigs and coniferous needles on the forest floor, the marks of tides on the shore, patterns of leaves and flowers, layers of contrasting minerals in rock. In fact, my indoor space looks a lot like my woods after a rough storm.
Similarly, my work with clay and other media is about layering, overlapping, marking time and creating quiet narratives, contrasting with the desire for organization and function. I love printmaking methods for the integral relationship of material and image, and the ability to repeat, vary and layer pattern and iconography. My current clay work uses drawing, silkscreen transfer, paper stencil, carved and laser-cut printing plates and stamps, and ordinary objects pressed into clay. Making primarily functional objects enables me to explore directions I'm interested in, as sales help support purchase of new materials.
Participant Information:
Surface and Form This workshop will focus on integrating form and surface, with a mix of careful choice-making and playful experimentation. We'll work with handbuilding and the wheel - your chioce- to make vessels and altered slabs. Then we'll explore a variety of surface treatments including paper stencils, wax resist, silkscreen underglaze transfers, texture tools, water etching, and more.
What you should supply:
- Apron
- Small clay tools for wheel or hand building (if you have them, Carolyn will bring more)
- Bucket and sponge
- Hand towel (or several, if you work with abandon!)
- Sketchbook & pencil
- Newspapers & boxes to pack greenware for taking home at the end
- Participants are encouraged to bring photos or samples of clay work you've done with students, or your own clay work, to share with the group
Added Fee: $15 for clay. (Right now clay is around $0.75 a pound)
Haystack: Alexis Iammarino - Large-Scale Prints
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Biography:
Dance and restorative practices anchor Iammarino’s studio work in the visual arts and community-based collaborations, including her work as a muralist, cinematographer, director/curator of public history publication platforms and exhibitions.
She is the founding artist and the mural director of Arts in Action (a program of RSU13 Adult and Community Education, with support from the Anonimo Foundation), the Community Educator and Arts@Work Teen Mentor at the Center for Maine Contemporary Art, Lead Artist with Leaps of Imagination and co-director/curator of Interloc Projects, a multidisciplinary art space in the Midcoast of Maine where she has been based since 2012.
Participant Information:
Anchored in interdisciplinary exploration, this studio workshop will share several approaches to creating large-scale prints for fabric and paper with large-scale DIY printing-presses. Using cardboard, mixed-media and textile materials, we’ll create large collagraph plates and block prints combined with ways to use photo references with painted monotypes.
Demos will focus on technique-building and material exploration to encourage more improvisatory approaches to composition. This will draw from sensibilities of dance, movement and structured improvisations found in music that encourages collaborative art making or to enliven + inspire independent practices.
What you should supply:
Added Fee: $10 (To cover the cost of inks.)
Dance and restorative practices anchor Iammarino’s studio work in the visual arts and community-based collaborations, including her work as a muralist, cinematographer, director/curator of public history publication platforms and exhibitions.
She is the founding artist and the mural director of Arts in Action (a program of RSU13 Adult and Community Education, with support from the Anonimo Foundation), the Community Educator and Arts@Work Teen Mentor at the Center for Maine Contemporary Art, Lead Artist with Leaps of Imagination and co-director/curator of Interloc Projects, a multidisciplinary art space in the Midcoast of Maine where she has been based since 2012.
Participant Information:
Anchored in interdisciplinary exploration, this studio workshop will share several approaches to creating large-scale prints for fabric and paper with large-scale DIY printing-presses. Using cardboard, mixed-media and textile materials, we’ll create large collagraph plates and block prints combined with ways to use photo references with painted monotypes.
Demos will focus on technique-building and material exploration to encourage more improvisatory approaches to composition. This will draw from sensibilities of dance, movement and structured improvisations found in music that encourages collaborative art making or to enliven + inspire independent practices.
What you should supply:
- sturdy X-ACTO blade, self healing cutting surface
- burnishing tools such as Baren, brayer or bone folder
- preferred drawing supplies such as charcoals, pastels, colored pencils
- journals, sketch books or photographs from recent projects or on-goin inquiries/ studio exploration
- textile remnants, fabric/canvas scraps, ribbons, yarn
Added Fee: $10 (To cover the cost of inks.)
Haystack: James Rutter - Digital Fabrication
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Biography:
James Rutter, Ph.D. (Haystack Mountain School of Crafts) is the Technology and Fab Lab Director at the Haystack Mountain School of Crafts, located in Deer Isle, Maine, and is an affiliate from the international MIT Fab Lab network. He previously served as a graduate research assistant for the Lab School for Advanced Manufacturing and focused his research on how to integrate digital fabrication into K-12 classrooms. He has over 10 years of design, fabrication and educational experience working with schools, community organizations, and libraries to develop and implement projects. His work at UVA has been supported by the National Science Foundation (NSF) and the US Department of Education, and he continues to serve as a research consultant with ongoing grant work.
Participant Information:
In this workshop, we will explore various creative applications of digital fabrication technologies, specifically with the laser cutter and digital design software programs. Participants will learn several workflows to go from artwork to machine using software programs. One avenue of exploration will include taking digital photography and transferring this onto various media using the machine. For instance, participants will learn how to take existing photographs and engrave them onto wood, ceramic, and other materials. In addition, participants will learn how to use design programs to convert sketches into digital files suitable for the machines. Other applications will include printmaking applications with the laser cutter. If there is time and interest, there will be applications using the 3D printers. The overall workshop will be project-based with some conversation, discussion, and instruction on foundational concepts.
What you should supply:
Added Fee: none
James Rutter, Ph.D. (Haystack Mountain School of Crafts) is the Technology and Fab Lab Director at the Haystack Mountain School of Crafts, located in Deer Isle, Maine, and is an affiliate from the international MIT Fab Lab network. He previously served as a graduate research assistant for the Lab School for Advanced Manufacturing and focused his research on how to integrate digital fabrication into K-12 classrooms. He has over 10 years of design, fabrication and educational experience working with schools, community organizations, and libraries to develop and implement projects. His work at UVA has been supported by the National Science Foundation (NSF) and the US Department of Education, and he continues to serve as a research consultant with ongoing grant work.
Participant Information:
In this workshop, we will explore various creative applications of digital fabrication technologies, specifically with the laser cutter and digital design software programs. Participants will learn several workflows to go from artwork to machine using software programs. One avenue of exploration will include taking digital photography and transferring this onto various media using the machine. For instance, participants will learn how to take existing photographs and engrave them onto wood, ceramic, and other materials. In addition, participants will learn how to use design programs to convert sketches into digital files suitable for the machines. Other applications will include printmaking applications with the laser cutter. If there is time and interest, there will be applications using the 3D printers. The overall workshop will be project-based with some conversation, discussion, and instruction on foundational concepts.
What you should supply:
- Computer and a mouse.
- Any specific materials that you want to explore with the laser cutter, just no plastic, please.
- Bring ceramic tiles, glass plates, linoleum plates, paper, whatever you want to try and engrave on the machines.
- We will prepare materials for you all to work with, so it is not necessary to bring anything other than a computer and mouse.
Added Fee: none
Haystack: Bobbie Tilkens-Fisher - Tapestry Weaving
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Biography:
As a child, I thought I would grow up to be an artist. Instead, I ran an art gallery, an artist fellowship program, taught art history and museum studies to college students and owned a vintage design company. All art related, but the dream lingered…
After the birth of my son in the summer of 2017, I experienced a strong desire to create. I decided to purchase a child’s frame loom and taught myself how to weave. Anytime baby Milo would allow me to, I would pick up that loom and experiment.
I promised myself once I made at least ten solid weavings that I would buy myself a “real loom.” It didn’t take much time until my collection of looms and fibers grew large enough to take over a spare bedroom in our Philadelphia home, becoming my first studio.
A month-long trip to Deer Isle in August 2020 provided me with uninterrupted periods of time to experiment with a fiber I had never worked with before: wool roving. Roving is very soft unspun wool that comes in long locks. It appeals to my sensibilities - it is pleasurable to handle, comes in vibrant colors, and its thickness lends itself to quick work. Working with roving allowed me to begin creating forms that challenge the expectations of weaving as being largely a two-dimensional medium. And, it brought me a peaceful pleasure I hadn’t yet experienced in my weaving practice.
It was also on that trip that I allowed myself to let go of any aspects of my weaving practice that didn’t bring me joy. For some reason, we think that in order to master a craft, one must submit to all aspects/techniques of it, especially when that craft is as old as weaving. By letting go of “tradition,” I found my voice and style as a weaver.
Today, I have dedicated my career to weaving and teaching others my craft. I have studios in Philadelphia and Thomaston, Maine.
www.athomemodern.com
Participant Information:
As a tapestry weaver, my biggest “aha!” moment was when I allowed myself to let go. I found my voice and style when I made the decision to no longer worry about doing things the “right” way, and to only engage in the techniques I enjoyed.
At its best, tapestry weaving is fun, simple, meditative, democratic and endlessly creative. Why let rules and tradition interfere with that?
In this workshop, students will learn (or review) the basics: assembling your loom, fibers, warping the loom, stitches and knots, shapes and space, finishing, removing and hanging your tapestries. As we weave, we will explore ways to combine, deconstruct and distill those essentials down to the ones that bring you the most joy, resulting in your own unique style.
What you should supply:
Added Fee:
As a child, I thought I would grow up to be an artist. Instead, I ran an art gallery, an artist fellowship program, taught art history and museum studies to college students and owned a vintage design company. All art related, but the dream lingered…
After the birth of my son in the summer of 2017, I experienced a strong desire to create. I decided to purchase a child’s frame loom and taught myself how to weave. Anytime baby Milo would allow me to, I would pick up that loom and experiment.
I promised myself once I made at least ten solid weavings that I would buy myself a “real loom.” It didn’t take much time until my collection of looms and fibers grew large enough to take over a spare bedroom in our Philadelphia home, becoming my first studio.
A month-long trip to Deer Isle in August 2020 provided me with uninterrupted periods of time to experiment with a fiber I had never worked with before: wool roving. Roving is very soft unspun wool that comes in long locks. It appeals to my sensibilities - it is pleasurable to handle, comes in vibrant colors, and its thickness lends itself to quick work. Working with roving allowed me to begin creating forms that challenge the expectations of weaving as being largely a two-dimensional medium. And, it brought me a peaceful pleasure I hadn’t yet experienced in my weaving practice.
It was also on that trip that I allowed myself to let go of any aspects of my weaving practice that didn’t bring me joy. For some reason, we think that in order to master a craft, one must submit to all aspects/techniques of it, especially when that craft is as old as weaving. By letting go of “tradition,” I found my voice and style as a weaver.
Today, I have dedicated my career to weaving and teaching others my craft. I have studios in Philadelphia and Thomaston, Maine.
www.athomemodern.com
Participant Information:
As a tapestry weaver, my biggest “aha!” moment was when I allowed myself to let go. I found my voice and style when I made the decision to no longer worry about doing things the “right” way, and to only engage in the techniques I enjoyed.
At its best, tapestry weaving is fun, simple, meditative, democratic and endlessly creative. Why let rules and tradition interfere with that?
In this workshop, students will learn (or review) the basics: assembling your loom, fibers, warping the loom, stitches and knots, shapes and space, finishing, removing and hanging your tapestries. As we weave, we will explore ways to combine, deconstruct and distill those essentials down to the ones that bring you the most joy, resulting in your own unique style.
What you should supply:
- You may bring your own tapestry loom or purchase a kit from the instructor.
- Bring your favorite yarns – the bulkier, the better! (I will have an assortment of merino wool roving and yarn available for purchase on site.) A minimum of 3 different yarns is recommended. Many beginning weavers prefer to use bulky yarns (5, 6 or 7 weight) because they weave faster and are easier to work with.
- Each student should bring a tote bag, scissors, paper & pencil.
Added Fee:
- I will have an assortment of merino wool roving and yarn available for purchase on site.
- The cost of each weaving kit with a 10 inch loom, tools and warp string is $50. If students wish to upgrade to larger looms, the kit costs are: a 14 inch loom kit is $65, a 20 inch loom kit is $85, a 36 inch loom kit is $260. These prices include the $20.00.
Haystack: Simon 'Siem' van der Ven - Pewter Casting
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Biography:
Simon “Siem” van der Ven follows these threads through his life: making things, cooking, boating, teaching, and being a father. He has never let go of the stage in which he learns from his fingertips inward.
Siem’s undergraduate degree is in printmaking with a minor in sculpture. He worked as a goldsmith and carpenter/builder before becoming an award winning high school art teacher. Seventeen years in the classroom were interrupted only by a year-long sabbatical in the south of France, where Siem worked in Atelier Buffile and studied painting and critical theory at the Marchutz School. Later, while still teaching, he earned an MFA with a concentration in ceramics and drawing.
Siem has taught as an adjunct professor and facilitated numerous workshops. Siem has been a resident artist at Anderson Ranch in Colorado and Watershed Center for the Ceramic Arts.
As an artist, Siem’s work has won awards in several national juried competitions. It is held in both private and public collections including the San Angelo Museum of Fine Arts, the Canton Museum of Fine Arts, and Harrisburg Community College.
Currently, Siem lives and works in Lincolnville Center, Maine with his wife Kate Braestrup. They share loving six grown children and three grandchildren (and are happily anticipating the arrival of several more).
Participant Information:
Pewter Casting Using readily available materials, equipment, and tools (we'll even make some of our own!), participants will carve plaster molds in which they will cast small pewter objects. Techniques for finishing their objects into jewelry, ornaments, and tiny, monumental sculptures will be included in the workshop.
What you should supply:
Basic tools will be provided, however, if students have the following items and care to bring them for personal use, feel free:
Added Fee: none.
Simon “Siem” van der Ven follows these threads through his life: making things, cooking, boating, teaching, and being a father. He has never let go of the stage in which he learns from his fingertips inward.
Siem’s undergraduate degree is in printmaking with a minor in sculpture. He worked as a goldsmith and carpenter/builder before becoming an award winning high school art teacher. Seventeen years in the classroom were interrupted only by a year-long sabbatical in the south of France, where Siem worked in Atelier Buffile and studied painting and critical theory at the Marchutz School. Later, while still teaching, he earned an MFA with a concentration in ceramics and drawing.
Siem has taught as an adjunct professor and facilitated numerous workshops. Siem has been a resident artist at Anderson Ranch in Colorado and Watershed Center for the Ceramic Arts.
As an artist, Siem’s work has won awards in several national juried competitions. It is held in both private and public collections including the San Angelo Museum of Fine Arts, the Canton Museum of Fine Arts, and Harrisburg Community College.
Currently, Siem lives and works in Lincolnville Center, Maine with his wife Kate Braestrup. They share loving six grown children and three grandchildren (and are happily anticipating the arrival of several more).
Participant Information:
Pewter Casting Using readily available materials, equipment, and tools (we'll even make some of our own!), participants will carve plaster molds in which they will cast small pewter objects. Techniques for finishing their objects into jewelry, ornaments, and tiny, monumental sculptures will be included in the workshop.
What you should supply:
Basic tools will be provided, however, if students have the following items and care to bring them for personal use, feel free:
- small cast iron fry pan
- jewelry tools such as pliers and files
- metal coat hanger
Added Fee: none.
Monson: Jemma Gascoine - Ceramics, Wheel-Throwing
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Biography:
I started learning pottery after work at Barry Guppy's Pottery Studio in Pimlico, London. Two years later I moved to Blanchard, Maine, set up my own pottery studio, helped found an Arts and Crafts Co-operative and started selling my functional and sculptural work. I founded Monson Pottery seven years ago which is a teaching and retail venue for functional and sculptural ceramics.
Participant Information:
Will be throwing 3-5 tiny light vessels 'off a hump' or tall column of clay on the Friday afternoon, candeling them and then firing them over-night, glazing them on Saturday morning, then raku firing them on Saturday afternoon or Sunday morning.
What you should supply:
Added Fee: Participants have access to 12 lbs of clay. If more is needed, the clay will be supplied at a cost.
I started learning pottery after work at Barry Guppy's Pottery Studio in Pimlico, London. Two years later I moved to Blanchard, Maine, set up my own pottery studio, helped found an Arts and Crafts Co-operative and started selling my functional and sculptural work. I founded Monson Pottery seven years ago which is a teaching and retail venue for functional and sculptural ceramics.
Participant Information:
Will be throwing 3-5 tiny light vessels 'off a hump' or tall column of clay on the Friday afternoon, candeling them and then firing them over-night, glazing them on Saturday morning, then raku firing them on Saturday afternoon or Sunday morning.
What you should supply:
- Apron
- Rags
- Needles
- Sponges
- Ribs
Added Fee: Participants have access to 12 lbs of clay. If more is needed, the clay will be supplied at a cost.
Monson: Lisa Pixley - Wood Engraving
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Biography:
I am an artist printmaker specializing in relief processes. I went the the Maine College of Art and Design where I studied Painting. After college I apprenticed with master letterpress printer David Wolfe where I learned to incorporate antique commercial processes into my fine art practice. I collect old letterpresses, specifically larger format presses that allow me to do larger runs of my fine woodcuts and engravings. I currently live in Whitefield, Maine where I and my husband have acquired an old convent building witch we plan to build out as live work studios in order to pursue the crafts of fine printing and design.
Participant Information:
In this workshop I would like to teach an approachable and affordable form of wood engraving. Wood engraving, popularized during the early 1800s, and developed alongside letterpress as a way of providing illustrations for texts in publications, has slowly become an obscure, and rarified form of expression. This beautiful medium deserves a resurgence.
In this workshop students will be exposed to tools and materials that can be easily sourced locally and affordably and how to process them for wood engraving.
Together we will develop images, prepare blocks, learn to use the tools, carve the blocks and then print! The goal of this workshop is to prepare students with the necessary and serviceable understanding of the medium to be able to, in some measure, continue the tradition of this remarkable medium, without the necessity of a letterpress or expensive rarified materials.
What you should supply:
Added Fee: none
I am an artist printmaker specializing in relief processes. I went the the Maine College of Art and Design where I studied Painting. After college I apprenticed with master letterpress printer David Wolfe where I learned to incorporate antique commercial processes into my fine art practice. I collect old letterpresses, specifically larger format presses that allow me to do larger runs of my fine woodcuts and engravings. I currently live in Whitefield, Maine where I and my husband have acquired an old convent building witch we plan to build out as live work studios in order to pursue the crafts of fine printing and design.
Participant Information:
In this workshop I would like to teach an approachable and affordable form of wood engraving. Wood engraving, popularized during the early 1800s, and developed alongside letterpress as a way of providing illustrations for texts in publications, has slowly become an obscure, and rarified form of expression. This beautiful medium deserves a resurgence.
In this workshop students will be exposed to tools and materials that can be easily sourced locally and affordably and how to process them for wood engraving.
Together we will develop images, prepare blocks, learn to use the tools, carve the blocks and then print! The goal of this workshop is to prepare students with the necessary and serviceable understanding of the medium to be able to, in some measure, continue the tradition of this remarkable medium, without the necessity of a letterpress or expensive rarified materials.
What you should supply:
- Apron
- Sketches/drawings/source materials
- latex or equivalent exam gloves for printing
- rags, (optional)
- Reading glasses or preferred magnification (must be table mounted or face/head mounted)
- Sketchbook, pencils, erasers, sharpening, and other preferred general sketching supplies.
Added Fee: none