SESSION 6: Animus

August 19 - 30, 2021

Student applications accepted until courses are filled. Learn more about how to apply, tuition details, and more here

Artists in Residence: Ebony G. Patterson, Naufus Ramirez-Figueroa

Craftspersons in Residence: Emily McBride, Jason Minami

 

HOT BITS & COLD CUTS

Glassblowing, Fusing, Wheel Engraving, Bur Engraving, Coldworking

Create cameo blanks using several glassblowing applications including overlays and graal. Instruction will be provided on all engraving and cutting tools available in the Cold Shop: wheels, burs, and sandblasting. Individual practice time will be scheduled in both hot and cold studios. Students will have the option to finish their work using classic cold polishing, or return to the hot shop to fire polish, expand and reshape their engraved glass. The course will include discussions of historical references, hot and cold demos, and critiques. Visiting artists will provide additional presentations.

E / INTERMEDIATE 

 

FRITZ DREISBACH

HEATHER HARTLE

Fritz Dreisbach returns to Pilchuck 50 years after his first visit. Conducting hundreds of glass classes & lectures globally in over 160 venues, he is the “Johnny Appleseed of Glass”. Cameo glass is his newest glass passion - allowing the fusion of both painting and glass skills. Heather Hartle has focused her practice on engraved glass for 20 years. She was a demonstrating artist during the 2017 GAS Conference, and a resident artist in Zelezny Brod, Czech Republic. Heather teaches cameo engraving at several prominent glass studios.

MATERIAL METAMORPHOSIS

Glassblowing, Experimentation, Mixed Media

Learn to express through abstraction by pushing material limitations and approaching glass from a non-traditional angle. This course will be focused around using multiples, surface and color, and mixed media applications as the foundations of our work. We will also explore experimental sculpting techniques, mold making, and an array of materials in and outside the Hot Shop as aids for construction, surface treatments, and finishing agents. Embrace experimentation, discover how to bridge multiple materials in a cohesive manner, and push the limits of your creative expressions.

E / ALL LEVELS 

 

BRI CHESLER

Bri Chesler is a multidisciplinary artist working primarily in glass and mixed media. Her work draws from the wild and exotic character of the natural environment and its relationship to our own internal structures. By fusing similar elements found in biology and botany she creates forms that ‘flirt’ with the audience, exploring ideas of intimacy and desire. She has been featured at Bellevue Arts Museum and was a 2019 Pilchuck Emerging Artist in Residence. 

WILD THING, YOU MOVE ME! 

Neon, Kinetics, Electronics, Animated Image

Learn how to design and fabricate two- and three-dimensional neon-tube artworks and animate them! Bring movement to your work by mechanically manipulating the tubes, or by lighting them sequentially using electronic animators. Demonstrations will include design and construction techniques for support structures using wood, Plexiglas, glass tubing, along with neon tubes. We will cover instruction on how to create and read electrical schematics, as well as how to work with high-voltage power supplies, mounting hardware, wiring, and insulators.

E / ALL LEVELS

 

MICHAEL FLECHTNER 

Michael Flechtner works and lives in Van Nuys, California. He has always worked with electricity and colored light. Flechtner earned a BFA and an MFA in sculpture before learning to fabricate neon tubes. He often makes 3D neon forms, and many of his artworks are animated, either through electrical switching of the neon tubes or actually moving them. Humor and wordplay are often components of his artwork, and Flechtner designed the Celebrate! Forever Stamp, the first USPS stamp to feature neon as the design.

MAKE YOUR FABRIC

Kiln Forming, Pattern, Powder Printing

In this course, students will learn how to design and pattern their own fabrics and also brainstorm on a collective fabric in relation to Covid-19 through the use of Adobe Illustrator and freehand drawings. As a class, we will explore basic and experimental screen developing techniques, printing with powders and enamels, and the importance and power of pattern. Students will have the opportunity to learn how to program the kiln and fire their own work. Students will also learn about the importance of Kente cloth and Adinkra symbols in history.

E / ALL LEVELS

 

ANTHONY AMOAKO-ATTAH

Anthony Amoako-Attah began his artistic career at KNUST- Ghana in ceramics, and continued to pursue his masters in glass at University of Sunderland, where he is currently a PhD student. He has acted as a teaching assistant and ceramic technician at KNUST and Sunyani Technical University respectively. He is primarily self-taught, and his work focuses on migration, integration, dislocation, and life chances. He uses his traditional Kente designs and Adinkra symbols on glass through powder printing, making the glass look like a woven or printed fabric.

 

CASTING A JUBILEE

Sand Casting, Structure Building, Modularity

Twenty-five years ago, the Trojan Horse was the centerpiece of a Pilchuck summer session focused on glass and architecture. This reprisal will once again use glass casting as a tool to understand how casting can be a creative catalyst. Students will be taught elemental systems of sand casting and be directly engaged in a new structure on campus. Modularity, systems strategies, pattern, and aesthetics will be discussed in relation to the community and the ultimate disciplinarian: the clock. The only prerequisites are inquisitiveness and an ability to engage by learning through a direct and experimental project.

E / ALL LEVELS

 

HANK MURTA ADAMS

Hank Murta Adams earned an undergraduate degree in painting before making glass his focus in graduate school, after being introduced to the glass community by Dale Chihuly. Adams’ work as an educator, both officially at institutions and informally in communities, at non-profits, and creative-work tanks, is a central facet of his life and work. He garnered awards and exhibited his own sculpture extensively until the events of 9/11, when he began to focus more deeply on creative community development.