2023 Haystack Catalog

HAYSTACK MOUNTAIN SCHOOL OF CRAFTS

SUMMER 2023

Life at Haystack

Welcome

The summer of 2023 will take us further away from the two seasons in which our programming was canceled due to the pandemic. As people continue to regain momentum and join together fully for in-person experiences, Haystack quietly awaits. Standing on the main deck looking out at Jericho Bay, one can take a deep breath and let it slowly go. Imagine arriving, being handed a welcome packet, putting your bag in your cabin, your tools at your spot in your studio, getting a cup of hot tea, and sitting while looking out over the spruce trees. You have arrived.

Long, focused studio days are arranged around three hot meals. There are evening presentations by faculty artists, perhaps a walk through the woods or time to sit out on a granite cropping to watch the sun rise or set. There are so many craft processes that one can engage in. Making, thinking, talking, and dreaming about making is central to our mission and our heart. The luxury and splendor of all the senses being stimulated in the woods, in the dining hall, or in the studios is the reason to make the time to come to our campus. We look forward to meeting and taking care of you.

Ellen Wieske Interim Executive Director

LIFE AT HAYSTACK

The human scale of Haystack Mountain School of Crafts is integral to the way we teach and learn—we are committed to maintaining the intimacy of the School and the delicate relationship it has to the surrounding landscape.

American architect Edward Larrabee Barnes designed the Haystack campus on Deer Isle, which opened to the public in the summer of 1961. The architectural plan encourages community and interaction while seeming to float above the forest floor, and in 1994, the Haystack campus was awarded the coveted Twenty-five Year Award from the American Institute of Architects. As an organization, we are stewards of this architectural treasure and the delicate landscape on which it sits, and believe these to be defining characteristics of the School.

Standing on the deck overlooking Jericho Bay, Haystack is a breathtakingly beautiful place that is difficult to forget. The School began as an experimental community of artists and has come to be a highly influential research and studio program in the arts, attracting national and international audiences alike. From workshops for participants of all skill levels to a residency program, conferences, and dedicated offerings for Maine residents, we believe it is our responsibility to create pathways for people to come to this remarkable place and experience an educational

JASMINE PARSIA,

model that is truly transformative. Time at Haystack is marked by long, uninterrupted days in the studio surrounded by a community that cares deeply about what it means to explore ideas and work with their hands. For some, this is an entirely new experience, while for others, a vital part of their daily lives. Regardless of your background, there is a place for

WORKSHOP PARTICIPANT

“I didn’t expect the food to be such a central aspect of my experience here. The food was always fresh, always changing, and I can tell it was made with care. I also really enjoyed the communal dining—the bell, the long tables—it all became so key in meeting people, and slowing down for a moment.”

2022

you here.

SCHEDULE

Plan to arrive between 2 pm and 6 pm on the first Sunday of the session, checking into the main office when you arrive. Dinner will be served at 6:30 pm and a general orientation will take place at 7:30 pm. Following the orientation, workshops will begin. Workshops meet from 9 am to 4 pm, Monday through Friday. Studios are open 24 hours a day, seven days a week. Throughout the session there are evening presentations by faculty, staff, and technical assistants, and presentations by visiting artists and writers. We ask that all participants leave Haystack by 10 am on the last day of the session.

END OF SESSION AUCTION

At the conclusion of each session a celebratory auction of student and faculty work is held to benefit scholarships and studio improvements. Participation in the auction is entirely voluntary, and while much of the work is made during the session, sometimes people bring work with them to donate. Auctions are open to the public.

CONTACTING US

You can always connect with staff to discuss workshop descriptions, life at the School, what to bring, travel questions, or anything else you need to know about Haystack. We can be reached Monday through Friday, at haystack@ haystack-mtn.org. You can also find an extensive list of Frequently Asked Questions on our website.

LOCATION

Haystack is located in Downeast Maine on Deer Isle, which is connected to the mainland by a bridge over Eggemoggin Reach. It is approximately 500 miles from New York City, 250 miles from Boston, 160 miles from Portland, and 60 miles from Bangor. There is transportation by both air and bus to Bangor, and taxi service from there to Deer Isle.

WEATHER

Weather on the coast of Maine is unpredictable and temperatures can range from a low of 40° on cool

evenings to a high of 90° on extremely warm days throughout the summer. Layered clothing is suggested, and to be best prepared, bring clothing ranging from shorts and pants to sweaters, sweatshirts, and rain gear.

FACILITIES

Studios at Haystack are open 24 hours a day, seven days a week. Additionally the School maintains a library with a collection of books on craft, art, design, and architecture as well as a store that sells materials and supplies. Haystack is located in a remote setting and both cell reception and internet access are limited. To maintain a retreat setting we ask that you refrain from cell phone use in the studios, cabins, dining hall, and the deck, and limit usage to the upper portion of the campus and public spaces.

SERVICE ANIMALS

Haystack Mountain School of Crafts will accommodate persons with documented disabilities who require the assistance of Service Animals. The requesting individual must have a disability as defined by the ADA and the accompanying animal must be trained to do specific tasks for the qualified requesting individual. Individuals seeking accommodations for a Service Animal must provide documentation supporting their request. Haystack does not accommodate Support Animals. For more information on our Service Animal Policy and how to request accommodations, please visit our website or contact us directly.

HOUSING

The rustic cabins at Haystack are an integral part of the campus design and we have several options that range from dorms (that house up to eleven people), triples, and doubles—all located near a central washroom—as well as a quad, doubles, and limited singles with private bathroom facilities. Some are accessible to those with limited mobility and we will work with you on meeting your needs as best we can. Cabins at Haystack do not have heat and participants should be prepared

for some cold evenings. All housing has twin beds and a lightweight blanket and pillow are provided. We highly recommend that you bring a sleeping bag or other warm bedding.

MEALS

The dining hall at Haystack is a central meeting place where participants enjoy delicious meals prepared in our kitchen by our head chef and talented staff. We work closely with many local farmers and food producers on the Blue Hill Peninsula and in the surrounding region, and vegetarian options are available at each meal. Haystack offers a variety of choices at each mealtime. Communicating your dietary needs in advance will allow us to be better prepared to accommodate specific needs as best we can.

Haystack is committed to a culture of diversity, equity, and inclusion. We do not discriminate against any individual or group of individuals on the basis of age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. All are welcome.

THE FAB LAB

Exploring and integrating technology into the field of craft.

ABOUT THE FAB LAB

Founded in 2011, Haystack collaborated with MIT’s Center for Bits and Atoms to establish a cutting-edge digital fabrication and technology studio on campus, referred to as the Fab Lab. Since its establishment, the lab has become an integral part of the School’s overall mission to think more broadly about the field of craft and expanded into developing new innovative and community programs. In 2016, the Haystack Fab Lab was recognized with the Distinguished Educators Award from the James Renwick Alliance, the first ever given to a program for pioneering contributions to craft education.

WHAT ARE FAB LABS?

Fab Labs, an educational outreach component of MIT’s Center for Bits and Atoms, is an international network of over 2,000 small-scale digital fabrication facilities that spans 100 countries and 24 time zones. Fab Labs provide a connection to a global community of learners, educators, technologists, researchers, makers, and innovators.

HOW DOES THE FAB LAB WORK ON CAMPUS?

The Fab Lab functions as a centralized resource for campus programming and is accessible to all workshop participants. Faculty and students work with the Fab Lab support team to transform their ideas into projects using the equipment and resources in the lab.

A list of the Fab Lab tools and equipment is located on the Haystack website.

CAN ANYONE USE THE FAB LAB?

At Haystack, we believe that all people are capable of learning how to integrate digital fabrication into their craft-making practice. Over the years, we have developed simple workflows that allow novices to go from idea to machine in a brief period of time. No prior experience is required to use the Fab Lab. However, first-time users will learn that there are learning curves and limitations depending on the complexity of the project.

WHO ARE THE PEOPLE WHO WORK IN THE FAB LAB?

Each session Haystack invites two professionals from the broader Fab Lab network to help integrate digital fabrication technology into workshop programs and projects. Residents span a broad range of disciplines and expertise, providing unique perspectives in the areas of digital design, fabrication, and craft to workshop participants and faculty at the School. The culture found in the Haystack Fab Lab is one of experimentation, risk-taking, and collaboration.

In partnership with The Center for Bits and Atoms, Massachusetts Institute of Technology

2023 FAB LAB RESIDENTS

Fab Lab Residents are experts in their respective fields and come to Haystack from partnering labs across the country and internationally. Invited to work for the School each session, Fab Lab Residents provide one-on-one consultations, small group tutorials, and demonstrations, while modeling advanced workflows and processes related to their own work.

SESSION 1

Che-Wei Wang and Taylor Levy: With backgrounds in Architecture, Film, and Computer Science, the duo met at NYU’s Interactive Telecommunications Program where they began their scale- and mediumagnostic approach to design. Wang and Levy lecture extensively on design and technology as a creative medium. They teach courses on time, electronics, hardware, programming, inflatables, and morphology.

SESSION 2

Elliot Clapp: As the Innovation Director for the Division of Experimental and Foundation Studies at RISD, Clapp is a strong advocate for the creative integration of technology in Art and Design. He guides students and faculty through design software, physical computing, virtual reality, and electronics as tools in their work.

Arthur Hash received a BFA in Craft/Material Studies and an MFA in Metalsmithing and Jewelry Design, and has taught digital fabrication and jewelry courses at universities across the country, and managed digital fabrication/ metals facilities. He combines traditional craft techniques with digital fabrication to make wearable art jewelry pieces and wearable interactive electronics.

SESSION 3

Jolie Ngo is a Vietnamese American artist, based in Philadelphia, who received a BFA and MFA in Ceramics. She is expanding the potential of the vessel form by creating vibrant, “cyborgian” objects that acknowledge past ceramic traditions while advancing forward-thinking practices.

Shelby Elizabeth Doyle, AIA is a registered architect, Associate Professor of Architecture at the Iowa State University College of Design, Stan G. Thurston Professor of Design-Build, and Cofounder of the ISU Computation & Construction Lab (CCL) and ISU Architectural Robotics Lab (ARL).

SESSION 4

Leah Aegerter is an artist working in object-based sculpture and installation. She lives and works in Carbondale, CO, and her work investigates her relationship to the western landscapes she explores on foot and raft. Aegerter received a BFA in Sculpture, and was recently named an Aspen Art Museum Artist Fellow.

Mary Margaret Sims completed a BFA degree in Ceramics, and is currently working at Anderson Ranch Arts Center as a Studio Assistant for Sculpture and Digital Fabrication. She uses industrial ceramic and digital fabrication processes to create her work.

SESSION 5

Shaunta Butler is a designer and educator currently based in Nashville, TN. She grew up in Boise, ID, and received degrees from Colorado State University and Harvard University’s Graduate School of Design. She has exhibited, practiced, and taught in Europe, Asia, and North America.

Ryan McDermott is currently the Program Director and Makerspace Manager for The Walter Hive, an Arizona-based arts and education nonprofit, and for three years was the president of HeatSync Labs, a community maker space in Mesa, AZ. McDermott has extensive experience building large-scale art and advertising installation pieces and has worked on projects ranging from animatronics to large/complex fire effects.

SESSION 6

Jenna Richards is a digital fabrication designer and conceptual visual artist who received a BFA from University of Louisville and an MFA from Indiana University (IU). Richards has taught courses at multiple universities on digital fabrication, ceramics, 3D design, 2D design, and artist books. She has worked as a Senior Technical Support Specialist at Inventables, as the Fabrication Lab Manager at UNT, and as a Technician in the Makerspace at IU.

Janet Hollingsworth is Senior Director of STEAM and Innovation at The Possible Zone, developing Maker Education pathways for underresourced communities informed by 10+ years’ experience in engineering, architecture, creative technologies, woodworking, librarianship, and education. Her passion lies at the intersection of inclusive design, traditional handcrafts, digital technologies, project-based learning, and community activism.

ANONYMOUS, 2022 WORKSHOP PARTICIPANT

“The Fab Lab residents were incredibly helpful and willing to work with me in order to create tools that became some of the most popular in our workshop. I was grateful for their support and interest in the work happening in our studio.”

WORKSHOP SCHEDULE

OPEN STUDIO RESIDENCY

May 28–June 9

SESSION

June 11–23

BLACKSMITHING

Leslie Tharp

Finding Synergy: Forged & Fabricated

CERAMICS

Teresa Larrabee

Anatomy & Architecture: Constructing the Figure

FIBER/WEAVING

Lowell Zelenka

Double Cloth Weaving: Imagery through Structure

GRAPHICS

Tikva Lantigua Structures for Play—the Print as Building Block

METALS/ENAMELING

Emily Pellini

Surface Level Enameling

WOOD

Annie Meyer

Expressive Wooden Forms

VISITING ARTIST*

Namita Gupta Wiggers

Library as Toolbox: Which Craft Lives on the Haystack Shelves?

SESSION

2

June 25–July 7

BLACKSMITHING

Rachel Kedinger

1Investigating Utensils

CERAMICS

Yoko Sekino-Bové Daily Rituals & Useful Treasures

FIBER

Karen Hampton

Natural Dye & Photo Etching on Fabric

GRAPHICS

Pamela Smith Hudson Encaustic Exploration—Mixed Media

METALS

Jina Seo

The Body: Material Exploration

WOOD

Kimberly Winkle Narrative Boxes: Storytelling through Form & Content

VISITING ARTIST*

Stephanie Syjuco Research as Practice: Expanding the Field

SESSION

July 16–28

BLACKSMITHING

Addison de Lisle

Forging Connections: Better Together!

CERAMICS

Timea Tihanyi

Material—Human—Machine: Experimental Possibilities in Clay 3D Printing

FIBER/BASKET WEAVING

Dee Clements & Emily Endo Sculptural Form, Natural Color

GRAPHICS

Barbara Putnam Oh, What a RELIEF!

3METALS

Boris Bally Trigger to Talisman: Transforming Gun Culture One Object at a Time

WOOD

Phoebe Kuo Coopered by Design

VISITING SCIENTIST*

Luigi Elio Alessandro Scientific Monitoring & Conservation—Translating Science & Engaging the Public through Arts

SESSION

July 30–August 11

CERAMICS

Alleghany Meadows Thinking through Making: Utilitarian Pots

FIBER/WEAVING

Lynn Bennett-Carpenter Weaving the Questions

GLASS

Dante Marioni What I’ve Learned

GRAPHICS John Hitchcock Screenprint Demo City!

METALS

Rebekah Frank Simply Steel

WOOD/CONCRETE Ben Uyeda Concrete Experiments

VISITING ARTIST* Claudia Bueno Creativity & Spirituality

SESSION

August 13–25

CERAMICS

Madoda Fani Masibumbe (Soul Shaping into Clay)

FIBER/WEAVING Steven Frost Speaking through Materials

GLASS Cedric Mitchell Compound Interest

GRAPHICS

Adriana Barrios Propelling the Print

METALS

Curtis Hidemasa Arima

Understanding How You See: Connecting the Dots

WOOD

SIOSI: Audi Culver + Ivy Siosi

Functional Optional

VISITING CURATOR* Michelle Millar Fisher Craft Schools—Where We Make What We Inherit

SESSION

August 27–September 2

CERAMICS

Justin Donofrio

Integrated Form, Color, & Texture

FIBER

Jen Hewett Pattern Play

GLASS

Anjali Srinivasan glassFAB—Digital Fabrication & Glass Processes

GRAPHICS

Georgia Deal

The Paper Monoprint

METALS

Brie Flora

Illustrated Adornment: Alternative Powder Coating Techniques

WOOD/MIXED MEDIA Kim Bernard Trash to Art

WRITING

Galen Koch Telling Stories with Sound: Narrative Audio Storytelling

are not workshop leaders.

OPEN STUDIO RESIDENCY MAY 28–JUNE 9

Haystack’s Open Studio Residency fosters a dynamic exchange of ideas among peers and provides two weeks of studio time and an opportunity to work in a community of makers. The program supports approximately 50 participants—from the craft field and other creative disciplines—who have uninterrupted time to work in six studios (blacksmithing/iron, ceramics, fiber, graphics, metals, and wood) to develop ideas and experiment in various media. Participants can choose to work in one particular studio or move among them depending on their interest and the nature of their work. All of the studios are staffed by technicians who can assist with projects. Please

note that technicians will not be leading workshops—if you are interested in learning specific skills, you may want to apply to one of the summer workshop sessions. The Haystack Fab Lab will also be open and available, providing an opportunity for experimentation with digital fabrication as a way for residents to augment and complement their creative practices. In addition to open studios, there will be time for participants to share work and discuss ideas across disciplines. Individuals working in craft, art, design, writing, and other creative disciplines—and who are self-directed and focused—are encouraged to apply.

Haystack’s two-week Open Studio Residency kicks off our summer season of programs. The residency is designed to foster artistic exploration at the highest level, and those selected attend for free.

SELECTION CRITERIA

An independent committee reviews applications to the Open Studio Residency and both national and international artists, working in a variety of disciplines, are eligible for consideration. Past participants may reapply to the residency but preference may be given to first-time applicants. Selection is based on work samples, the nature and scope of the project that will be done during the residency (if applicable), and the ability to work in a creative community. All applications are for the entire two-week session.

Participants must be 21 years of age or older.

APPLICATION FEE

Open Studio Residency applicants will pay a nonrefundable application fee of $60 at the time of submitting their application through SlideRoom.

“The explorative nature of the Open Studio Residency, and the proximity of one studio to another, allows for a very creative workflow to occur. The diverse group of artists and creatives allows for discourse and collaborations to fruit interesting outcomes.”

IBRAHIM IBRAHIM OPEN STUDIO RESIDENT

The Open Studio Residency program is supported by Haystack’s Windgate Foundation Endowment for Programs.

SESSION 1

JUNE 11– 23

BLACKSMITHING

Finding Synergy: Forged & Fabricated

Through the lens of both functional and sculptural work, this workshop will approach metalworking with the intention of finding the synergy between process and product. Students will be introduced to fundamental forging techniques, as well as welding, plasma cutting, finish work, and more. Daily demonstrations and mini project prompts will encourage practice of these new skills. Students may use the techniques that suit their interests as we progress into developing and creating self-driven projects. All levels welcome.

Leslie Tharp (she/her) is a metal artist and educator residing in Gainesville, FL. Leslie teaches blacksmithing workshops at [Fe]ver Metal Art Center, a teaching facility she founded, as well as welding classes at Santa Fe College. Her own making practice focuses on large-scale public artworks and custom metalwork that integrates forged techniques. leslietharp.com @leslietharpdesigns

CERAMICS

Anatomy & Architecture: Constructing the Figure

This workshop focuses on figurative sculpting with an emphasis on human anatomy and how it relates to architecture. Using handbuilding and basic mold making techniques, students will construct parts of figures (hands, heads, torsos, etc.) with relative efficiency, leaving ample time to delve into anatomical studies and realistic sculpting and detailing. Dynamic gestures, peculiar expressions, and whimsical narrations are all encouraged. Ceramic and non-ceramic surfaces and materials will be explored. All levels welcome.

Teresa Larrabee (she/her) is an interdisciplinary ceramic artist and educator from Eau Claire, WI. She received a BFA from the University of New Mexico and an MFA from the University of North Texas. Larrabee has taught at the University of North Texas and Dallas Community College, as well as community classes at Red Lodge Clay Center, New Mexico Clay, and Santa Fe Clay, and has assisted artists in their personal studios and workshops at Haystack and Arrowmont School of Arts and Crafts. Currently, Teresa is a long-term resident artist at Red Lodge Clay Center in Red Lodge, MT. teresalarrabee.com @teresalarrabee

FIBER/WEAVING

Double Cloth Weaving: Imagery through Structure

03 Body Memory by Annie Meyer, 2019. Alder, 7" x 5" x 9".

02 Roots by Leslie Tharp, 2021. Forged and fabricated Cor-ten steel,

underglaze, acrylic, resin, 32" x 20" x 17".

This workshop will provide an introduction to double cloth weaving techniques on the floor loom, with a focus on double cloth pickup and creating 3D structures at the loom. Pickup is a technique that allows a weaver to create visual imagery through the makeup of the cloth itself. Through this workshop, students will plan and weave their own double cloth weaving and explore the possibilities of manipulating a cloth’s structure during the weaving process. Prior floor loom experience is recommended.

Lowell Zelenka (he/him) is a fiber artist with a multidisciplinary practice, focusing on weaving, soft sculpture, and quilting. He received a BFA from the Maryland Institute College of Art, and is currently based in Chicago. He was also a recipient of the Windgate-Lamar Fellowship in 2022. Zelenka’s art centers on his relationship with technology and the art of communication. He explores how growing up alongside rapid technological advancements has impacted how he views himself and the world around him.

llzelenka.wixsite.com/warphammock @warphammock

GRAPHICS

Structures for Play—the Print as Building Block

This workshop asks the question “How do you make something from too much of everything?” Using iterative print processes and plenty of experimentation with process and design, students will build out collections of unique prints as the basis for larger projects such as book, collage, or even quilts. We will consider arrangement and formation (e.g. the container, the things made up of many things, structures for play, etc.). Demos in silkscreen, monotype, and collograph processes will inspire fresh approaches to image making. All levels welcome.

Tikva Lantigua (she/her) is a visual artist with a writing practice, forever obsessed with print. She combines language and experimental silkscreen to interpret relational dissonance, through an auto/biographical lens. Lantigua was born to Dominican parents and brought up in the American South, moving from one army base to another. She received an MFA in Print Media from Cranbrook Academy of Art, and presented her first solo exhibition at Day & Night Projects, Atlanta, GA, in 2020. She is living and making in Atlanta, GA, her adopted hometown. tikva-lantigua.com @rememberyourtraining

01

8' x 7' x 7'. 13 LEARN MORE: HAYSTACK-MTN.ORG

04

18" x 24".

06 the time after words jabbed between two ribs by

staples, 21.5" x 18.5".

Tikva Lantigua, 2021. Silkscreen monoprint, crayon, 14 SESSION 1: JUNE 11–23

tencel yarn, acrylic wool blend yarn, particle board,

05 Small World 6 by Lowell Zelenka, 2022. Cotton yarn,

enamel, overglaze, luster, 4" x 6" x 2".

Emily Pellini, 2020. Copper, sterling silver, vitreous

03 05 04 Wheezy, Queasy, UncomfortableNervous Girl by

METALS/ENAMELING

Surface Level Enameling

In this workshop, students will be introduced to several surface decoration techniques to create visually interesting imagery, layers of color, and textural surfaces. Through demonstration and exploration, techniques covered will include overglazes, luster, and decals, as well as a few finishing applications such as sugar firing. Kiln firing will be the main method of firing all enamel and surface treatments. Students will be able to finish a collection of samples and a few wearable pieces of jewelry. All levels welcome.

Emily Pellini (she/her/they/them) is an enamelist, metalsmith, and illustrator from Kennett Square, PA. She received a BFA from Millersville University and an MFA from Ball State University. She is currently an instructor for Rowan University, as well as the Delaware Art Museum and the Wayne Art Center, among other physical locations throughout the US and online. Her work has been shown nationally and online. Publications include The Art of Fine Enameling, by Karen L. Cohen, New Brooches: 400+ Contemporary Jewellery Designs, and SNAG JAMS (Jewelry and Metals Survey). emilypellini.com @emleeep

WOOD

Expressive Wooden Forms

In this workshop, students will learn carving and shaping methods for creating wood sculpture and expressive functional objects. Students will experiment with color, texture, and scale throughout the creation of their own signature body of work, and will connect with the materials through an emphasis on hand tool use and care. Safe and effective machine use for key additive and subtractive steps will be addressed. Presentations and discussions will cover contemporary wood sculpture, speculative function, and communicating through form. Prompts will accommodate everyone from the very beginner to the seasoned woodworker. All levels welcome.

Annie Meyer (they/them) is a Boston-based studio woodworker, designer, and craftsperson. They received a BFA in Industrial Design from Massachusetts College of Art and Design, and an MFA in 3D Design from Cranbrook Academy of Art. They have shown work in galleries and museums including Wasserman Projects, Fuller Craft Museum, and Cranbrook Art Museum. Meyer is Director and Faculty for MassArt’s Furniture Design Certificate Program, and Lecturer at the School of the Museum of Fine Arts at Tufts University. anniemeyerstudio.com @anniemeyerstudio

VISITING ARTIST

NAMITA GUPTA WIGGERS

Library as Toolbox: Which Craft Lives on the Haystack Shelves?

Libraries construct knowledge and reflect systems of power. What does the collection of books in the Haystack Library convey about representation in craft? Employing Shelf Life, designed by the collective Related Tactics, as a visual intervention and critical springboard, we will examine “which craft” resides in this campus toolbox. Over tea, readings, and conversation, we’ll come together to understand the work of decolonizing through this craft library. The project will remain available all summer for ongoing interaction.

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

Namita Gupta Wiggers (she/her) is a writer, educator, and curator based in Portland, OR. She is the founding director of the MA in Critical Craft Studies, Warren Wilson College, the first and only low-residency program focused on craft histories and theory. From 2004 to 2014, she served as the curator, and then chief curator and director, of the Museum of Contemporary Craft/PNCA. Cofounder of Critical Craft Forum, the online and onsite platform for dialogue and exchange about craft, she has served as its director since 2009. Wiggers combines this platform-building work with her prior experience as a museum educator, design researcher, studio jeweler, as well as her life as an American of South Asian heritage, to shape her research and work on craft and culture. namitawiggers.com @namitapdx

SESSION 2

JUNE 25– JULY 7

BLACKSMITHING

Investigating Utensils

Utensils are used every day to consume nutrition or accomplish a certain task. These tools have long and, often, interesting histories. Focusing on everyday interactions with food and the ways our bodies relate to utensils, this workshop will focus on handcrafted approaches to utensils, vessels, and other objects of the table. Students will learn to forge and form steel, brass, and copper into serving utensils, eating implements, bowls, cups, and trays. Techniques covered will be forging, forming, welding, filing, and finishing. All levels welcome.

Rachel Kedinger (she/her) is an artist from Wisconsin, currently living in Philadelphia, PA, creating her own work along with local museums, organizations, and businesses to promote craft and design within a community setting. Kedinger primarily makes objects out of metal with a focus on utilitarian use. Her work has been exhibited at Talente, Handwerk & Design, Munich, Germany; 40 Under 40, The Next Generation of American Metal Artists, Metal Museum, Memphis, TN; and Mapping a Nation, American Philosophical Society, Philadelphia, PA. rachelkedinger.com @rkedinger

CERAMICS

Daily Rituals & Useful Treasures

This workshop focuses on skill building and aesthetic development using utilitarian pottery as a starting point. Through daily demonstrations, discussions, and exercises, students will explore the conceptual possibilities in utilitarian ceramics. By understanding the meaning and the symbolism behind the objects, students will learn how to use them as visual tools to develop their ideas. This workshop’s goal is for students to find their voice through experimentation in clay. Both wheel throwers and hand builders at all levels are welcome.

Yoko Sekino-Bové (she/her) grew up in Tokyo, Japan. After receiving an MFA in Ceramics from the University of Oklahoma, she started working from her home studio in Pennsylvania. Sekino-Bové’s porcelain work has been exhibited in galleries, museums, and many private homes (mainly kitchens) all over the world. She approaches ceramic art to share stories, using function as an enhancing design element. Her ambition in art is for her work to serve people in many different ways: bringing joy and excitement. yokosekinobove.com @yokosekinobove

dyed, double-woven strips, hand sewn, 35.5" x 30.25".

fabric, thread, 98mm x 93mm x 32mm. Photo by Jina Seo.

02 Mow the Lawn: Socket by Jina Seo, 2022. Enamel on copper, sterling silver,

panel, 22.5" x 30". Photo by Erick Cortes.

01 Fantastic Planet 3 by Pamela Smith Hudson, 2022. Encaustic mixed media on

GRAPHICS

Encaustic Exploration—Mixed Media

Explore an ancient medium that is contemporary in its versatility—one that goes from translucent lush layers to dense textural formations. In this workshop, students will learn encaustic painting techniques and how to incorporate it with photography, metal leafing, collage, fabric, printmaking, and sculpture. Students can focus on a few techniques or combine and leap into infinite possibilities. Our goals are to expand our creative practice and create a supportive studio community. All levels welcome.

Pamela Smith Hudson (she/her) is a mixed media artist based in Los Angeles whose work explores combining printmaking and painting to build textured surfaces. She has collaborated with the Broad Museum on an encaustic educational video in conjunction with the Jasper Johns Retrospective and the Getty Museum on a historical perspective on encaustic painting. Her works are included in the collections of the Los Angeles County Museum of Art and California African American Museum. She is represented by Craig Krull Gallery. pamelasmithhudson.com @pamsmithhudson

FIBER

Natural Dye & Photo Etching on Fabric

Combining the colors of nature with the beautiful lines produced on fabric with a beam of light, this workshop opens up the possibilities of what can be made with cloth. Students will be making a number of natural dye samples using cotton and other fiber to find what will give the best etched surface, after which the workshop will move to the Haystack Fab Lab to test and etch our cloth. All levels welcome.

Karen Hampton (she/her) is an internationally exhibiting conceptual fiber artist, addressing issues of colorism and kinship in her art practice. She is also an Assistant Professor of Art at Massachusetts College of Art and Design, Boston, MA. In 2022, Hampton was named a Fellow of the American Craft Council. She has won numerous awards including the Eureka Prize from the Fleishhacker Foundation. Using her training in fiber with her training in anthropology, she synthesizes the weaver with the griot, the storyteller. kdhampton.com @k.d28

hand-drawn surface embellishments, 22" x 56" x 22".

mahogany. Lathe-turned and hand-carved coffee table with milk paint and

06 Odd Man Out Table by Kimberly Winkle, 2012. Polychrome poplar and

5.5" x 4.25" x 7.5".

porcelain, wheel-thrown, carving, Sgraffito, glaze painting, lusters,

05 Eat, Drink, and Be Merry Puzzle Mug by Yoko Sekino-Bové, 2021. Mid-range

23" x 3" x 5". Photo by Rachel Kedinger.

04

03 05 18 SESSION 2: JUNE 25–JULY 7

METALS

The Body: Material Exploration

Students will investigate the idea of the body by exploring nontraditional materials, such as raw materials, industrial and domestic items, and natural or edible things, to create wearable work. The course will cover possibilities of expressing interest, identity, and visual representation of the body. How far can we stretch, twist, or alter the idea of the body? Students are encouraged to be performative, narrative, or playful to get their emotions across. The outcomes can vary from small-scale jewelry pieces to body sculptures. All levels welcome.

Jina Seo (she/her) is an artist and Assistant Professor at Missouri State University. Her practice explores the relationships between body, clothing, sexuality, fetish, and space. Born in South Korea, Seo’s work has been exhibited nationally and internationally, including the recent exhibition “Colorful Minds” in South Korea and the “RJM Artist Project” North Carolina Museum of Art in Raleigh in 2022. She received a BFA at Kookmin University, South Korea and an MFA in Metal at the University of Illinois, Urbana-Champaign. jinaseo.com @zina336

WOOD

Narrative Boxes: Storytelling through Form & Content

Blend object, mark-making, and box-making to spin a tale that is visually engaging, physically inviting, and narratively intriguing. Students will consider the relationship between form and concept while creating boxes or vessels that convey a story. Utilizing a combination of machines and hand tools, students will learn approachable techniques and methods for sculptural box-making, surface treatments, coloration, and shaping wood. Group discussion and individual attention will foster development of ideas, personal visual language, and the transformation of story into physical form. All levels welcome.

Kimberly Winkle (she/her) is a studio artist, educator, and arts administrator. Her work explores color, form, pattern, and mark-making. Winkle studied at the University of Oklahoma (BFA) and San Diego State University (MFA). She is a Professor of Art at Tennessee Tech University where she serves as Director of the School of Art, Craft & Design. Her work has been recognized through extensive exhibitions, the John D. Mineck Furniture Fellowship, Windgate Fellowship residencies, and workshop teaching across the country. kimberlywinkle.com @kimberly_winkle

VISITING ARTIST

STEPHANIE SYJUCO

Research as Practice: Expanding the Field

What do we mean when we talk about “research” as artists? Together we will think through how both material investigation and forms of research (through museum collections, archives, databases, libraries, folklore, and field work) collide and connect in our studios. Far from having hermetic practices, we create forms of research that contribute to—and challenge—traditional narratives of what “knowledge” looks like. Participants will discuss their own projects and share strategies and opportunities for creating research-based works.

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

by Kija Lucas

Stephanie Syjuco (she/ her) works in photography, sculpture, and installation, moving from handmade and craft-inspired mediums to digital editing and archive excavations. Recent projects include learning how to spin fibers to create a materials library representing 30,000 years of conflict and civilization, and researching Civil War ribbon embroidery techniques to investigate craft’s connection to white supremacy. Born in the Philippines, Syjuco was awarded a Guggenheim Fellowship and Smithsonian Artist Research Fellowship, and is a Sculpture Professor at UC Berkeley. She resides in Oakland, CA. stephaniesyjuco.com @ssyjuco

Photo

SESSION 3

JULY 16–28

BLACKSMITHING

Forging Connections: Better Together!

Just as matter is composed of molecules, so too can complex ironwork often be reduced into simpler parts. Students will learn to develop compositions using repeated elements and connections as a feature in their designs.

Mechanical joinery such as rivets, forge welding, and modern fabrication will be examined for their visual and structural contribution to the finished piece. Students of all levels are welcome to make sculptural or functional pieces, and to work individually or in groups.

Addison de Lisle (he/him) received a BFA at the Maine College of Art. His first blacksmithing workshop at Haystack inspired him to apprentice with Wilson Forge. He was later awarded a fellowship to study architectural ironwork in France, and received an MFA at Southern Illinois University Carbondale. De Lisle has taught blacksmithing at craft centers and colleges around the country, and exhibits work nationally and internationally.

Currently he works as Programs Director at Pocosin Arts in Columbia, NC. addisondelisle.com @de_lisle_iron

CERAMICS Material—Human—Machine: Experimental Possibilities in Clay 3D Printing

Students will explore each step of the ceramic extrusion 3D printing process: creating design files in CAD, preparing designs for printing, manipulating the machine, and taking advantage of the unique properties of the material. In this experimentation-oriented workshop, students build up experience by combining low-tech and idiosyncratic approaches, including iterative design, machine code hacking, and hand-machine collaboration, and learning what forms and textures can be made by printing with clay that cannot be made by any other means. All levels welcome.

Timea Tihanyi (she/her) is a ceramicist and the Founder/ Director of Slip Rabbit, a clay 3D printing studio in Seattle, WA. Tihanyi collaborates frequently, and works in the intersections of art, design, architecture, math, science, and engineering. She is the author of Making and Breaking Rules, a Technoceramist’s Adventures with Mathematical Thinking. Her work has been exhibited in the US, Brazil, Australia, Denmark, Spain, and the Netherlands. Tihanyi is also a Teaching Professor in Interdisciplinary Visual Arts at the University of Washington. timeatihanyi.com @sliprabbitstudio

18–22"x 26".

03 Faint Blue Line by Dee Clements, 2022. Reed, dye, paint, oak wood,

fabricated mild steel, bronze, 24" x 30" x 12".

02 Unitarian Altarpiece by Addison de Lisle, 2021. Forged and

3D printed porcelain,11" x 24" x 8". Photo by Timea Tihanyi.

01 Burst and Follow (Code Slip Series) by Timea Tihanyi, 2018.

GRAPHICS

Oh, What a RELIEF!

Come explore the place where contrast, line, and space converge: connect observation with a reflective look at natural surroundings. Using quick sketches to develop idea and composition, students draw right onto a Shina wood block and carve with tools to maximize spontaneity and capture the power of mark-making. Adventuresome students will explore color reduction printmaking, printing onto fabric, and Haystack Fab Lab applications. Basic skills of carving, stencils, use of the press, registration, varied papers, matrices, and fabrics will be discussed along with contemporary prints. No experience necessary, but some drawing experience helpful. All levels welcome.

Using woodcut and cyanotype on rice paper and hand-dyed fabric, Barbara Putnam’s (she/her) work joins beauty with urgency for environmental responsibility. She is equally at home studying the intertidal zones as she is making large prints of plastic waste “still lifes” from the local transfer station. Putnam is collaborating with research scientists in Italy and Spain and at Bowdoin College (ME) on projects making accessible scientific data collection through art. Her work is in numerous collections, including the Chicago Art Institute, Denver Art Museum, Cleveland Museum of Art, New Orleans Museum of Art, Harvard and Yale Museums of Art, as well as museums in Finland, Vietnam, and Portugal. barbaraputnamprints.com @putnam.barbara

FIBER/BASKET WEAVING

Sculptural Form, Natural Color

This workshop will explore the possibilities of basket weaving through form and structure, application of natural dyes, surface treatments, and integration of found and alternative weaving materials. We will focus on introductory basketry techniques, creating sculptural forms, structures, and vessels, and delve into the world of natural dyeing and how to transform local plants into dye, paint, and embellishments. All levels welcome.

Dee Clements (she/her) is a process-based artist who has a deep love of and interest in materials, craft, and ethnography. She received a BFA in Fiber and Materials Studies and Sculpture from The School of The Art Institute of Chicago and an MFA in 3D Design from Cranbrook Academy of Art. Her work is represented by The Future Perfect in New York. Clements will be presenting a new body of work in summer 2023 with Nina Johnson Gallery in Miami. studioherron.com @studio_herron

01

07

powder-coated steel, 20" x 46" x 12". Photo courtesy of Bullseye Projects.

07 Apparition by Emily Endo, 2016. Cast glass, dyed horse hair, acrylic hair,

Coopered soft maple, 38" x 30" x 6".

06 Jewelry for a Railing by Phoebe Kuo, 2018.

gun-barrels, brass shells, mounted on stainless cord, 26" x 11.5" x 2".

05 Brave 4: Breast Plate by Boris Bally, 2013. Gun-triggers, gun-bolts,

of Shina wood, carved, printed on Misu paper by hand, 25" x 58".

04 Grazing Rights by Barbara Putnam, 2017. Woodcut, Darwin on the block

03 04 05 06 22 SESSION 3: JULY 16–28

METALS

Trigger to Talisman:

Transforming Gun

Culture One Object at a Time

Have you ever wanted to hone your craft skills to create sculpture or jewelry addressing political issues? By using metalworking and jewelry skills, students will dissect and redirect disabled pistols acquired from a gun buy-back program (materials will be provided to students). The intent of this workshop is to explore the process of transformation by reshaping these instruments of violence into handfabricated, alternative personal statements. Discussions will be encouraged as students explore gun culture, the mounting counter movement, and our epidemic of escalating gun violence. Demonstrations will include combining ferrous and non-ferrous metals, fabricating, silver soldering, cold-joining, shaping, stone-setting, forging, and gravity casting. Previous metal or jewelry experience is recommended, but not required. All levels welcome.

Boris Bally is a Swiss-trained goldsmith working as a contemporary metalsmith and designer in Providence, RI, where he maintains his studio business, Bally Humanufactured. Bally’s work is a disciplined body of objects that vary from eccentric through formal to humorous, provoking thought and reflecting on some of the distortions of our ordered world. Over four decades, his practice has become an amalgam of the skills of an able industrial designer, a gifted craftsperson, a discriminating sculptor, and a cultural critic. For years, he has been organizing major art exhibitions facilitating political activism to end gun violence. borisbally.com @boris_bally

VISITING SCIENTIST

LUIGI ELIO ALESSANDRO

WOOD

Coopered by Design

Design thinking as a discipline offers an expansive framework for collaboratively tackling ambiguous questions with lightness and play. In this workshop we will bring together design thinking, art, and craft to create sculptures that respond to Haystack’s celebrated campus. We will consider examples of site-specific art, generate lots of ideas, and build quickly, while practicing cooperinginspired woodworking techniques within a supportive studio atmosphere. The workshop culminates in a walkaround exhibition to see your work in the wild. All levels welcome.

Phoebe Kuo (she/her) is a woodworker and design researcher based in Oakland, CA, who builds site-specific sculpture using traditional furniture making techniques. She received a BS in Product Design from Stanford University, an MFA in Design from Cranbrook Academy of Art, and a certificate in Fine Woodworking from The Krenov School. Kuo has been awarded residencies through ACRE Projects, Field/Work at Chicago Artists Coalition, and Haystack. As a designer, she has conducted ethnographic research around the world, and taught design thinking at Stanford University and Northwestern University. phoebekuo.com @pfebes

Scientific Monitoring

& Conservation— Translating Science & Engaging the Public through Arts

Scientific insights could and should become factual sources readily and easily accessible to the wider public. Participants will learn how scientists observe and document the natural world and how they, as artists, may play a vital role by interpreting and incorporating scientific findings. An artistic point of view can empower the public and encourage policy makers to respond to the environmental crisis of sustainability. Central to our discussion will be the critical contributions of scientific and artistic observers.

Luigi Elio Alessandro PhD, (he/him) is the founding Director of the nonprofit organization Archipelagosambiente e sviluppo, Italia; Cultore della Materia at the Ca’ Foscari University, Venice. His research focuses on the monitoring and conservation of the endangered Mediterranean monk seal, in Italy, Croatia, Montenegro, Albania, Israel, Mauritania, and from 2018 in the central Ionian Sea, Greece. He has been involved in organizing international workshops on Communicating Marine Mammal Science to the general public. Such a platform allowed Alessandro to collaborate with experts in different fields. In 2019 he started a fruitful collaboration with Session 3 Graphics instructor and American artist, Barbara Putnam.

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

Photo by Ursula Nägeli

JULY 30– AUGUST 11 SESSION 4

CERAMICS

Thinking through Making: Utilitarian Pots

This workshop will focus on making personal, utilitarian work that relates to individual spaces, ideas, rituals, and needs. Using high-fire porcelain, the potter’s wheel, and soda/gas kilns, we will push ideas through from concept to question and possible completion. Daily demonstrations and individual time will be interspersed with lectures on historical and contemporary pots, as well as discussions on studio setup, professional development, marketing, and social outreach through art. Intermediate to Advanced.

Alleghany Meadows (he/him) is a studio potter in Carbondale, CO. He received a BA from Pitzer College and an MFA from Alfred University, studied with Takashi Nakazato in Karatsu, Japan, received a Watson Fellowship to study potters in Nepal, and was an artist-in-residence at Anderson Ranch. Meadows has taught widely, at Penland School of Craft, Alfred University, Anderson Ranch Arts Center, Archie Bray Foundation, and in Curaumilla, Chile; Good Hope, Jamaica; and UGA Cortona, Italy. He founded Artstream Nomadic Gallery, Studio for Arts and Works (SAW), and cofounded Harvey Meadows Gallery. alleghanymeadows.com @alleghanymeadows

FIBER/WEAVING

Weaving the Questions

In this workshop, participants will formulate questions and seek answers within the matrix of weaving on the floor loom. Starting with a journalistic inquiry of Who, What, When, Where, How, and Why, we will venture forth in personalized explorations within weaving’s warp and weft. Supplemental weft techniques (inlay, brocade, rya, material study) using the basic plain weave structure will be introduced as a possible way to answer the questions being asked. All levels welcome.

Lynn Bennett-Carpenter (she/her) serves as Artist-inResidence of the Kingswood Weaving Studio at Cranbrook, the largest hand-weaving studio in North America. BennettCarpenter’s works have been featured in Landscapes Real and Imagined (Site: Brooklyn), Extreme Fibers: Icons and the New Edge (Muskegon Art Museum), and The Social Fabric (Textile Society of America, Vancouver). Recent work includes a large-scale, site-specific installation for Detroit Symphony Orchestra Hall. Lynn cofounded the Namtenga Weaving Studio in Burkina Faso, West Africa. marcelynbennettcarpenter.com @lynnbennettcarpenter

GLASS

What I’ve Learned

32" x 10" x 3".

wheel-thrown, reduction fired, 6" x 11".

02 Flora Series by Alleghany Meadows, 2020. Porcelain and stoneware,

After 40+ years working with some of the finest people I’ve ever had the pleasure of blowing glass with, I have learned a tremendous amount of offhand glassblowing techniques. Throughout this workshop, I will share my experiences and proficiency related to Venetian glassmaking, filtered from an American point-of-view, via candid discussions and demonstrations. In this workshop, we will share how-tos but not direct you on what to make. Together we will explore and experience the full creative process of making. Glassblowers are invited to bring their own tools, so we can personalize their experience handling their tools. Advanced glassblowing experience, with recent glassblowing practice, required.

Dante Marioni (he/him) is an American artist based in Seattle, WA. His blown glass vessels are inspired by Minimalist painting, Finnish design, Etruscan vases, and historic Venetian silhouettes. The son of Studio Glass pioneer Paul Marioni, Marioni was fortunate to learn under the greats— Lino Tagliapietra, Benjamin Moore, and Richard Marquis. Within his practice, he continues to revisit the use of canework, reticello, and patterning, with explorations in color, light, and scale. For Marioni, making objects is all about the process rather than the resulting sculpture. dantemarioni.com @dante_marioni

acrylic paint, watercolor, drawing on paper, 30" x 44".

GRAPHICS

Screenprint Demo City!

This workshop will focus on the post-matrix and pushing the surfaces of paper, wood, and fabric. We will work with water-based screenprinting and low-tech stencil methods, stressing the current trends of print media in contemporary culture. Demonstrations will include hand-cut and photo stencils, manipulation of the surface, sculptural prints, hand dyeing, sewing, drawing back into, and water-soluble markers as we create experimental, unique prints. We will emphasize gaining both proficiency in the techniques and an awareness of how these skills can be used within the larger cultural context. All levels welcome.

John Hitchcock (he/him) is a Professor at University of Wisconsin-Madison, teaching Screen Printing, Relief Cut, and Installation Art. He received a BFA from Cameron University, OK and an MFA in Printmaking and Photography at Texas Tech University. Hitchcock received the Robert Rauschenberg Foundation Artistic Innovation and Collaboration grant, Jerome Foundation Grant, the Creative Arts Award, and Emily Mead Baldwin Award in the Creative Arts at the University of Wisconsin. His work has been exhibited at numerous national and international venues—including solo exhibitions at the American Culture Center (Shanghai), Portland Art Museum (OR), Missoula Art Museum (MT), Mulvane Art Museum (KS), and Museum of Contemporary Native Arts (Santa Fe). hybridpress.net @hybridpress

03 Pink and Gold Wavy Leaf by Dante Marioni, 2016. Blown glass, 01 25 LEARN MORE: HAYSTACK-MTN.ORG

03

Ben Uyeda. 06 Potential Space by Rebekah Frank, 2022. Steel, sterling silver, nickel

05 Crop Circles by Ben Uyeda, 2020. Concrete, 48" X 16". Photo by

silver, 2.5" x 2.5" x 4". Photo by Rebekah Frank. 26 SESSION 4: JULY 30–AUGUST 11

drawing on wood with mixed media, 88" x 36". Photo by Tim Thayer.

04 Moments of Mitosis by Lynn Bennett-Carpenter, 2019. Handwoven

06 05 05

METALS

Simply Steel

Easily accessible, relatively affordable, and steeped in material history, steel will be the material focus of this workshop. Participants will fabricate small containers using traditional metalsmithing techniques with materials discovered, shared, or altered during the workshop. All levels welcome.

Rebekah Frank (she/her) received a BFA from Texas State University and an MFA from Cranbrook Academy of Art. Her chosen material is steel, a fascination discovered through a challenge received when she was 18. Her creative practice has focused on that material ever since, working as a blacksmith, a welder, a machinist, and, currently, a jeweler. Frank explores themes of protection, vulnerability, and boundaries in her work. Her studio practice is based in San Francisco, CA, and she exhibits, lectures, and teaches workshops all over the world. rebekahfrank.com @rebekahgailfrank

WOOD/CONCRETE Concrete

Experiments

Concrete is one of the most common materials in the world and can be shaped with beginner-level abilities in almost any other crafting discipline. Wood, plastic trash, 3D printing, and even LEGO bricks can be used to shape this cheap but substantial material. We will start by making a positive prototype out of found objects or recycled materials. These prototypes will be used to make silicone molds. We will then mix concrete and cast concrete objects and the students will have a production-ready mold to mass produce their design. Let’s have fun! All levels welcome.

Ben Uyeda designs and makes stuff and then shares what he learns by publishing videos online. Uyeda stepped away from the award-winning architecture firm he cofounded, as well as an Ivy League teaching position, to develop media companies that deliver affordable designs to the masses. So far Uyeda’s designs have reached more than half a billion people. Sometimes his work ends up in fancy places like museums and magazines. benuyeda.com @benjaminuyeda

VISITING ARTIST

CLAUDIA BUENO

Creativity & Spirituality

A deep dive into creativity through conversations and workshops offering a variety of tools to help open the creative channels. A space to connect spirituality and creativity by learning some of the practices that have helped me move away from intellectual art making into a more heartfelt and soulconnected creative process. Explorations to tap into the source of creation and let it express itself through us as artists using the skills we have developed.

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

Claudia Bueno (she/her) is an internationally recognized Venezuela-born artist renowned for creating immersive technological wonders using light, sculpture, painting, and sound. Bueno creates large-scale, multi-sensory experiences that communicate a profound sense of wonderment and awe. Lights, motors, wind, and video power her creations with pulsations and movements. Detailed drawings, meticulous cutouts, and elaborate structures leave evidence of the intimate dedication the artist has with her work. Bueno fills her art with a quality of mystical curiosity that mirrors her personal fascination with energy, consciousness and nature—ultimately transforming her art into a celebration of life and creation. Her work has been exhibited in Venezuela, Switzerland, Argentina, Malaysia, Singapore, and the US, and her latest work is permanently installed in Meow Wolf, Las Vegas, NV. Bueno is currently working on two large-scale immersive light and sound projects that open in the US in 2023. claudiabueno.com @claudiabuenoart

SESSION 5

AUGUST 13 – 25

CERAMICS

Masibumbe (Soul Shaping into Clay)

In this workshop, students will learn the fundamentals of hand building techniques such as coiling, decorating using carving techniques, as well as burnishing and smoke firing. The goal is to encourage students to explore, experiment, and express their individual skills. All levels welcome.

Madoda Fani was born in Gugulethu township, near Cape Town, South Africa. Growing up he began painting and discovered ceramics while studying Fine Arts at Sivuyile Technical College, Cape Town. Nature plays a large role in his inspiration for both the design and decoration of his work. In his ceramics work he combines his love for exoskeleton and his fascination with the history of ceramics, referencing ancient smoke firing techniques. Fani is a master of smoke firing process, specializing in different methods of coiling, shaping, carving, and burnishing. faniceramics.co.za @fanimadoda

FIBER/WEAVING

Speaking through Materials

This all-levels workshop teaches strategies and techniques for creating weavings using alternative and conceptually focused materials. Techniques and strategies in this workshop will utilize traditional, salvaged, and up-cycled materials as wefts to create deeper ties between the weaver’s design and its construction. In addition to weaving, garment construction, digital loom fabrication, and performance will all be explored in this intensive workshop. All levels welcome.

Steven Frost (they/them) is an Assistant Professor in the Department of Media Studies at the University of Colorado Boulder and an interdisciplinary fiber artist. Their research focuses on textiles, queer studies, pop culture, and community development in libraries. Using weaving, Frost combines traditional materials like yarn and cotton with nontraditional materials from a range of sources, exploring the ways history and time are embedded in materials. Frost is Cofounder of the Experimental Weaving Residency, Slay the Runway, and Colorado Sewing Rebellion. stevenfrost.com @harmonyinbadtaste

GLASS

Compound Interest

03 Intsimbi (Steel) by Madoda Fani, 2021. Smoke-fired terracotta clay,

and upcycled woven textiles, 8' x 12' x 4".

02 Mile High Pride Flag by Steven Frost, 2020. Mixed

Arima, 2018. Fired enamel on copper, 5" x 3" x 0.5".

01 Sunburst: In Memory of a Cooler Plant by Curtis Hidemasa

53 x 48 x 91 cm. 01

GRAPHICS

Propelling the Print

The goal of this workshop is to push the possibilities of screenprinting, transforming original photographic images into multi-layered dynamic prints. Students will experience step-by-step instruction of the screenprinting process including screen preparation (coating, exposing, and developing), halftone transparency creation, registration, and printing. Additional layering methods will include exploratory paper-dyeing techniques using natural and synthetic pigment, flocking, and hand-generated transparencies. Students will leave the workshop with a foundational understanding of the screenprint process and a collection of unique prints. This is an introductory workshop, though all levels will likely learn new techniques. All levels welcome.

Adriana Barrios (she/her) is a queer, biracial, Latina artist who grew up on the coastal borderlands of San Diego, CA. Barrios received an MFA from the University of WisconsinMadison with a concentration in Studio Art. Barrios has exhibited her artwork internationally in Italy and Mexico and nationally in New York, New Mexico, and Texas. She uses printmaking, papermaking, video, and installation to record and respond to the environmental changes happening along the California Coastline due to climate change. adrianabarriosart.com @adriana_barrios_art

Once you have mastered basic glassblowing forms, you can take your designs to the next level by exploring compound shapes. In this workshop students will go through form exploration and take basic geometric shapes and transform them by playing with scale, proportion, stacking, and color. This workshop will approach the setup of a bubble and make drawings to plan out each step before going into the hotshop. Students will use the basic hand tools in new ways, creating jigs to manipulate the glass into its desired form. All levels welcome.

Cedric Mitchell (he/him) is a Los Angeles-based glass artist and instructor who creates work ranging from functional to decorative art, combining simplicity in design with bold colors. His work is inspired by an eccentric mix of graffiti art, pop culture, and postmodernism. Mitchell has completed residencies at Penland School of Craft, Pilchuck Glass School, and Corning Museum of Glass. He developed Cedric Mitchell Design in 2018 where he creates blown glass for retailers nationwide and is currently developing an eclectic line of lighting. cedricmitchelldesign.com @cedricmitchelldesign

06 Teal Bottle , by Cedric Mitchell, 2021. Blown glass,10" x 5.75".

05 Orchid Treehouse by SIOSI, 2012. Multiple wood species, string,

Dyna-Flo, 22" x 30".

04 Blue Migration by Adriana Barrios, 2022. Multi-layered screenprint, lithograph,

wire, toothpicks, 13" x 13" x 48". Photo by Audi Culver. 30 SESSION 5: AUGUST 13–25

03 04

06 05

METALS

Understanding How You See: Connecting the Dots

In this workshop students will develop strategies for inspiration and fill the gaps in their knowledge to progress their work to the next level. Students will investigate how their work relates to them as a person— and how their work plays a part in a larger context while connecting the dots to their individual objectives. Students’ goals will guide multiple diverse demonstrations. Through making, discussions, research, and experimentation students will work together to move through challenges so everyone can create their best work. Basic metalsmithing or jewelry skills required, as well as a desire to make a body of work.

Curtis Hidemasa Arima (he/him) is a metalsmith who is drawn to the transformative nature of materials and how they hold memory, emotion, and history. He has exhibited, published, lectured, and taught nationally and internationally including in the US, Japan, and China, and is a member of the Ethical Metalsmiths Advisory Committee. Arima received a BFA from California College of Arts and Crafts (currently California College of the Arts) and an MFA from Cranbrook Academy of Art. As Chair of the Jewelry & Metal Art Program at California College of the Arts, Arima guides students to find their artistic identity and connection to more sustainable practices. curtisharima.com @arimacurtis

VISITING CURATOR

MICHELLE MILLAR FISHER

Craft Schools—Where We Make What We Inherit

An open conversation exploring the question “Who brought you to your craft practice?” Here, craft is understood expansively and inclusively, and interrogated through the lens of knowledge transfer, informal and formal. Almost everyone can name a teacher who offered transformative access to a creative life. How do certain teachers shape the ways we make and understand the worlds around us? Who are the known and unknown names, the unsung heroes, and those marginalized by strict disciplinary boundaries? And who have they taught? Where does the history of Haystack fit in? In a wide-ranging discussion seeking to answer these questions as they relate to craft, participants will reflect on intersecting identities, familial inheritances, and engaging with one’s forebears as a way to form new craft knowledge.

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

WOOD

Functional Optional

Functional Optional Traditional furniture making is intensive and takes years of dedication to learn and master, but sometimes the pressure of creating the perfect heirloom piece isn’t what satisfies our creative initiative. Let’s get together, de-stress, experiment, think about form more than function, and make some furniture-ish things! While it is still crucial to understand the basics of wood science, it is equally valuable to play, experiment, and get the ideas flowing. This workshop will utilize tools, materials, and means outside of the typical—think wire, string, screws, branches, rocks—and include demos and guidance for those interested in applying more conventional joinery techniques. The goal of this workshop is to hopefully send students home with truly inspired pieces as well as a new practice of stress-free creating. All levels welcome.

SIOSI is Audi Culver and Ivy Siosi—(she/her, she/her) a two woman team who blur the lines between life, work, and art. Siosi’s background is in sculpture, printmaking, classic car restoration, and home building. Culver has been photographing her life and surroundings since she was a kid, and received an MFA in Photography. Together, they design, build, and sculpt fine furniture in the middle of the woods, in southern Indiana. They have written for Fine Woodworking Magazine and are profiled in the book, Joinery, Joists, and Gender: A History of Woodworking for the 21st Century siosidesign.com @siosidesign

Michelle Millar Fisher (she/her) is currently the Ronald C. and Anita L. Wornick Curator of Contemporary Decorative Arts within the Contemporary Art Department at the Museum of Fine Arts, Boston, MA. Her work focuses on the intersections of people, power, and the material world. At the MFA, she is working on her next book and exhibition, tentatively titled Craft Schools: Where We Make What We Inherit, which is taking her across 48 contiguous US states via train over the course of a year. The recipient of an MA and an MPhil in Art History from the University of Glasgow, Scotland, Fisher is currently completing her doctorate in Art History at the Graduate Center at the City University of New York. She is part of the 2022 fellow cohort at the Center for Curatorial Leadership. michellemillarfisher.com @michellemillarfisher

SESSION 6

AUGUST 27– SEPTEMBER

CERAMICS

Integrated Form, Color, & Texture

This workshop offers strategies for building form and developing integrated color/texture surfaces. Through demonstrations, students will learn various approaches for the generation of molds that can be used as components of pottery or sculptural constructions. Students will experiment with slab building on molds using custom templates. The instructor will demonstrate his process of colored porcelain blended with local materials to create landscape-inspired slab-built pottery. In addition, the workshop will cover blending clay bodies to create gradation within forms. All levels welcome.

Justin Donofrio (he/him) is a studio artist in Fort Collins, CO. He received a BFA from Colorado State University at Fort Collins and an MFA from NYS College of Ceramics at Alfred University. His work has been exhibited in galleries and museums including Method & Concept, AKAR, Fosdick-Nelson Gallery, and the Huntington Museum of Art. Donofrio has been Artist-in-Residence at the Archie Bray Foundation and a participant in the Walter Gropius Master Artists Symposium. He is an exhibiting artist and is co-coordinator/photographer with the Artstream Nomadic Gallery. @just.donofrio

FIBER

Pattern Play

In this workshop students will take inspiration from their surroundings to create simple, freeform patterns. Using screenprinting as our medium, students will print patterns onto fabric, experimenting with color, layering, and placement. These explorations will culminate in hand-sewn textile collages. This workshop is a great introduction to screenprinting on fabric for both new and experienced printmakers. However, please note that we will not be printing continuous yardage during this workshop. All levels welcome.

Jen Hewett (she, her) is a printmaker, surface designer, textile artist, and author based in the Hudson Valley, NY. Hewett’s work combines her love of loud prints, 1970s maximalism, and saturated colors with the textures and light of the landscapes that surround her. In addition to creating her own products, Hewett designs fabric for the quilting and home sewing market, and home collections for national retailers. She is the author of Print, Pattern, Sew and This Long Thread: Women of Color on Craft, Community and Connection. jenhewett.com @jenhewett

and cotton, 8.5" x 10".

03 Coneflower by Jen Hewett, 2022. Silkscreen and block print on linen

circumference 165".

02 Treehugger by Kim Bernard, 2022. Upcycled #2 plastic, height 72",

4.5" x 3.5" x 0.25".

powder-coated bronze, prismacolors, graphite, micron pen, steel,

01 Sprocket, the bug hunter by Bie Flora, 2022. Sterling silver,

GRAPHICS

The Paper Monoprint

This workshop will explore the basics of hand papermaking and the many image-making possibilities for creating unique works of art. Fiber pigmenting and modifying will be covered, along with a variety of drawing and painting techniques. Pulp-transfer methods, stenciling, and use of fiber inclusions and embedments, along with a range of pulp painting and glazing techniques, will be demonstrated. The goal is to expand students’ vocabulary in this medium and learn how to bring it back to their own studio practice. All levels welcome.

SEPTEMBER 2 6

Georgia Deal (she/her) is a printmaker and papermaker whose mixed-media works on paper embody these processes. Formerly Chair of the Printmaking & Papermaking area at the Corcoran School of Art & Design in Washington D.C. for many years, she has relocated to Asheville, NC where she is the proprietor of Swannanoa Paper. Deal has conducted workshops in Print and Paper throughout the US, at Penland School of Craft, Haystack, Pyramid Atlantic Art Center, the Paper & Book Intensive at Oxbow, MI, as well as abroad in Cortona, Italy; Skopelos, Greece; and San Miguel, Mexico. Her works are in both private and public collections, including the Library of Congress, the Philadelphia Museum of Art, the Corcoran Gallery of Art, and Yale University Library. georgiadeal.com @gee.deal

GLASS

glassFAB—Digital Fabrication & Glass Processes

Blow and cast glass using tools developed in the Haystack Fab Lab. Combine the efficient precision of digital fabrication with the fluid tactility of glassmaking. Studio prompts triangulate between personal observation or idea, digitally fabricated toolmaking, and hot glass processes. Activities will encourage nimble experimentation to harness each artist’s unique strengths and build new skills. All levels welcome.

Anjali Srinivasan’s (she/her) background in creative practice stems from collaborations with traditional glass artisans in India, since 1998, on research and design initiatives aimed at socio-economic empowerment. She studied Accessories’ Design from the National Institute of Fashion Technology in New Delhi and completed her graduate studies from Rhode Island School of Design. Srinivasan works between India and the US, as Associate Professor at Massachusetts College of Art and Design, Boston, and Director at ChoChoMa Studios, Bangalore. anjalisrinivasan.com @pigtailady @chochomastudios

METALS

Illustrated Adornment: Alternative Powder Coating Techniques

This workshop will introduce alternative ways to apply powder coat. Students will learn how to add patterns and illustrations to the powder-coated surface using liquid powder, Prismacolors, graphite, micron pens, and more. Then, students will use tab setting and or riveting to create a pair of earrings or a brooch. Basic skills such as sawing and soldering are recommended but not required. All levels welcome. Brie Flora (she/they) is an artist and jeweler working in Tennessee. She owns a small business called The Silver Fern and works as the gallery manager. She fabricates wearable art and wall sculptures out of steel, brass, and silver. Flora applies powder coat and illustrations to the surfaces, taking inspiration from folk art, fantasy, and nature to merge her love for drawing and metal fabrication. She has taught workshops for Metalwerx Studios, Pocosin Arts, Appalachian Center for Craft, and Lexington Arts & Crafts Society. brieflora.com @brieflora_art @brie_flora

01

porcelain, local clay, glaze, 4.5" x 4" x 4.5".

Srinivasan. 06 Mugscape by Justin Donofrio, 2022. Colored

gravity and tension, 40" x 20" x 30". Photo by Anjali

fused and slumped under the simultaneous influence of

05 elephant by Anjali Srinivasan, 2015. Glass bangles,

24" x 24".

Handmade paper with pulp transfer and screenprint,

03 04 Southern Charms / Hatbox by Georgia Deal, 2015.

02 34 SESSION 6: AUGUST 27–SEPTEMBER 2

WOOD/MIXED MEDIA

Trash to Art

Participants will work as a collaborative team to transform plastic trash into an upcycled sculptural installation. After choosing an environmental issue to address, we will explore the topic and use our findings to inform and design our sculpture, then clean, shred, and extrude #2 plastic jugs into our site-specific installation. The focus of the project will be to inspire and raise awareness about the importance of preserving our precious natural resources through creativity, community engagement, and environmental awareness. All levels welcome.

Kim Bernard (she/her) creates sculpture that is recycled, kinetic, interactive, public, and involves the community. Combining creativity, community engagement, and environmental awareness, she creates installations upcycled out of trash and is currently focusing on transforming plastic waste into sculpture using her portable recycling machines and PopUpCycler, a mobile makerspace/pop-up/camper. Bernard exhibits and teaches nationally, as a visiting artist, and mentors artists individually. She received a BFA from Parsons School of Design and an MFA from the Massachusetts College of Art and Design. kimbernard.com @kimbernardart

WRITING

Telling Stories with Sound: Narrative Audio Storytelling

In this workshop, participants will learn techniques to create narrative audio stories. Through writing and recording exercises, soundscape recording sessions, audio editing, and experimental sound making, participants create short audio stories that emphasize sound as a narrative tool. Participants are encouraged to experiment—a “narrative” could be a poem, a short story, an edited interview, etc. All levels welcome.

Galen Koch (she/her) is an audio producer, sound artist, and writer based in Portland, ME. After studying at the Salt Institute for Documentary Studies, Koch worked as a freelance journalist. She has written and produced stories for BBC World Service, NPR’s Morning Edition, The New York Times, and various nationally-syndicated podcasts. In 2017, she founded the community storytelling project The First Coast and began documenting the lives of coastal Mainers. As part of her work with The First Coast, Koch teaches radio storytelling at the College of the Atlantic and produces the Island Institute’s podcast “From the Sea Up,” and she creates audio exhibits and immersive sound installations in rural Maine fishing towns. In 2021, she founded Maine Sound and Story, an online database of Maine oral histories and stories. galenkoch.com thefirstcoast.org @galenkoch @thefirstcoast

RECOGNITION

Designed by noted American architect Edward Larrabee Barnes, Haystack’s iconic campus on Deer Isle is considered an outstanding example of modernist architecture. The timeless design of the buildings and their relationship to the surrounding landscape have a profound impact on the experience of being at the School. We are proud to be the stewards of such an extraordinary architectural treasure.

“ ”

Haystack is a wonderful arena to experiment with pedagogical approaches to skills. I always appreciate how Haystack brings together such diverse students in terms of age, background, and artistic experience. This has often given me a chance to reconsider approaches and ways of teaching—to grow and adapt to the differing needs of students with experiences, expectations, or other differences I have not encountered at the University setting I typically engage.

JOVENCIO DE LA PAZ 2022 WORKSHOP FACULTY

Robert Campbell, member of The American Institute of Architects and architecture critic for The Boston Globe, described the School as “so perfectly fitted to its site and its purpose that you never afterwards forget it.”

2021 The New York Times Style Magazine features Haystack Mountain School of Crafts as one of the 25 most significant works of postwar architecture.

2016

The Haystack Fab Lab (established in 2011 in partnership with MIT) is awarded the Distinguished Educators Award from the James Renwick Alliance; this award—the first given to a program—acknowledges the larger influence of the Haystack Fab Lab.

2009

Haystack is awarded a Maine Master Craft Artist Supporter Award from the Maine Crafts Association in recognition of the School’s distinguished mark of excellence.

2006 Haystack is added to the National Register of Historic Places.

1996

Haystack receives The American Institute of Architects’ Twentyfive Year Award in recognition of the School’s design excellence.

1987 Haystack is awarded the American Craft Council’s Gold Medal Institutional Award for “trailblazing leadership and longtime service in education.”

COMMUNITY CAMPUS

CREATING COMMUNITY

Everyone coming to Haystack commits to a culture in which all members feel personally safe, listened to, valued, and treated with fairness. Gathering together is an intentional act and a reciprocal process, with every individual sharing responsibility to contribute positively to the community. A shared understanding of our common goals is how we create community.

The campus and programs foster a culture of generosity, investigation, and exchange through the exploration of new ideas in a supportive and inclusive community. We serve an ever-changing group of makers and thinkers, working and learning alongside one another while exploring the intersections of craft, art, and design in broad and expansive ways.

Studio culture is central to the Haystack experience. Individuals must be respectful of shared space and resources, equipment, tools and materials, personal space, and follow the School’s safety and community guidelines at all times. It is essential that individuals listen to others and consider multiple perspectives, including in group discussions.

Haystack celebrates a community built on broad views and backgrounds that includes a multiplicity of experiences and voices. Haystack is committed to a culture of diversity, equity, and inclusion. We do not discriminate against any individual or group of individuals on the basis of age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. All are welcome.

Read more about Haystack’s Community Guidelines at haystack-mtn.org/community-guidelines.

2022 WORKSHOP PARTICIPANT

VACCINATION, FACE COVERINGS, AND SOCIAL DISTANCING

For the health and safety of our community, Haystack currently requires all staff, faculty, visiting artists, and program participants, to be fully vaccinated against COVID-19. Full vaccination means at least 14 days need to have passed between the final dose of any of the currently approved vaccines before your arrival. All program participants and staff must comply with masking and social distancing guidelines if the School deems it necessary, based on key metrics related to COVID-19 levels in our region and recommendations of the CDC and public health agencies within the State of Maine.

“Haystack exceeded my expectations in every way. I learned so much in my workshop, but was also consistently met with generosity from other staff/ faculty/students in sharing their knowledge and skills. The community sharing on campus makes my experience here amazing, even life changing.”

INFORMATION GENERAL

TUITION, ROOM & BOARD

SHOP FEES

Sessions 1–5 Session 6

General Tuition per session $1,370 $730

Glass Tuition per session $1,820 $990

Room & Board

Single with bath $2,920 $1,645 limited availability

Double with bath $1,955 $1,085

Quad with bath $1,860 $1,005

Double $1,305 $725 near central bath

Triple $775 $430 near central bath

Dorm $590 $340 near central bath limited availability

Day Student $535 $325

Meal costs are included in all Room & Board rates, including Day Student rate—meals are never a separate or prorated cost. There are no exceptions.

For participants who use the Fab Lab, there is a one-time shop fee of $25 for use of tools and equipment.

Shop fees cover the cost of materials and supplies used in common in your studio. These costs are the financial responsibility of each participant, including fellowship students and Technical Assistants. Shop fees include supplies your faculty has ordered or supplied. Depending on which workshop you are in, shop fees can include: kiln firing, new glazes made for your class, small gas tanks used, coal, cullet, sawblades, sandpaper, any demo materials, etc. Haystack calculates these costs at the end of each session to most accurately reflect the amount of supplies used during your workshop. These costs are then divided evenly among the workshop participants.

Estimated common shop fees range from $50 to $250 (2 weeks), $25 to $100 (1 week). Shop fees do not include the cost of clay, wood, or steel. Visit Haystack’s website for more details.

MATERIALS

Material costs are not included in the estimates above. All workshop participants, including fellowship students and Technical Assistants, are financially responsible for individual amounts of materials used. The campus store stocks clay, wood, and steel in the studios. Other materials/ supplies are also available for purchase in the store. A student memo and prep sheet detailing the workshop supplies, and other personal items you will need to bring from home, will be emailed upon enrollment in a workshop.

ACADEMIC CREDIT

Academic credit for workshops is available through arrangements Haystack has with the University of Southern Maine and Maine College of Art & Design. If interested in earning college credit as listed above, visit haystack-mtn.org/summerworkshops-details for additional information and instructions.

GENERAL SELECTION CRITERIA

Applicants must be 18 years of age or older to participate in session workshops. Except where noted in the workshop descriptions, workshops are open to all levels of students—from beginners to advanced. Enrollment in each studio is limited. Applications are reviewed competitively and selections are based on the need to have:

· a balance between first-time students and past participants

· a broad geographical distribution of participants

· a wide range of students from varied backgrounds and skill levels—from beginners to advanced professionals— who have a clear sense of purpose as to why they want to take the workshop/s they have selected.

Application is for an entire one-week or two-week session. When filling out the application form, please indicate your first and second workshop choices. Every effort is made to place applicants in their first workshop choice. However, due to the high volume of applications to some workshops, applicants who cannot be placed in their first choice frequently are placed in their second choice.

POLICIES

General Cancellation Policy

When planning and preparing for programs, Haystack devotes substantial time and resources, and vacancies can be difficult to fill. A $100 cancellation fee is necessary to offset the cost of cancellations.

All cancellations must be made in writing by mail or email (no phone calls please). If a cancellation is received 30 days before your session begins, deposits are refunded* less the $100 cancellation fee. No refunds will be issued after this point.

If it becomes necessary for Haystack to cancel a workshop for any reason, students will be notified and a full refund of tuition, room and board will be issued.

In the event of any type of cancellation, Haystack is not responsible for refunding airline tickets or other travel costs.

*All refunds are made by check within 21 business days from notice of cancellation.

Nondiscrimination Policy

Haystack is committed to a culture of diversity, equity, and inclusion. We do not discriminate against any individual or group of individuals on the basis of age, color, disability, gender identification, national origin, race, religion, sexual orientation, economic status, or veteran status. All are welcome.

HOW TO APPLY

Before starting the application process, we encourage applicants to scroll through our extensive list of Frequently Asked Questions on our website.

APPLICATION FEES*

$60 for General Workshop and Open Studio Residency

$30 for Technical Assistant and Fellowships

*All application fees are nonrefundable.

DEPOSITS

Upon notification of acceptance into a workshop, a $300 deposit for each session is required by April 17, 2023 and will be applied to tuition, room and board.

FINAL BALANCE

The full balance of tuition, room and board must be paid no later than 30 days prior to the start of a given session. Session 1 final balance is due May 11, 2023.

QUESTIONS?

Contact us at haystack@haystack-mtn.org. Staff are available Monday through Friday, 8:30 am to 4:30 pm EST for questions about your application.

PROGRAM FELLOWSHIP

Fellowships provide tuition, room and board, plus a stipend for students to attend a Haystack workshop. Haystack has generous supporters who make it possible for us to award full fellowships by creating named endowment and current year funds. These fellowships annually support more than 25% of students attending the School. In 2022—our most recent year of programming—these fellowships supported more than 165 students (recent high school and college graduates, retirees, parents, emerging artists, and more) from as near as Deer Isle to as far away as Uganda, New Zealand, and Norway.

Fellowships are created by foundations and individual donors through Haystack’s annual and endowment fund contributions, end-of-session auctions, annual summer gala, and grants.

Haystack is fortunate to have generous supporters who make it possible for us to award full fellowships to more than 25% of students attending the School.

“Haystack has been a life-changing experience. I am so grateful for this opportunity and loved every moment.”

MARCINE MILLER, 2022 WORKSHOP PARTICIPANT

HOW TO APPLY FOR A TECHNICAL ASSISTANTSHIP OR FELLOWSHIP

Application Deadline: February 1, 2023

TECHNICAL ASSISTANTS

Technical Assistants (TAs) must be familiar with equipment, processes, and safety of studios. They assist workshop faculty, connect with Haystack staff, support students, and provide supervision in the studios.

TA positions are professional development opportunities through the Haystack fellowship program, receiving tuition, room and board, plus a stipend. TAs are financially responsible for travel, shop fees, and any materials they use during their workshops. Visit our website for more information about TA positions and a list of workshops in which TAs are needed and to which you can apply.

Technical Assistant applicants will pay a nonrefundable application fee of $30 at the submission of their SlideRoom application.

FELLOWSHIPS

The Haystack fellowship program supports more than 100 individuals each season to attend workshops at the School with financial support covering tuition, room and board, and a stipend. Students receiving a fellowship award must be 18 years of age or older. Fellowship students are responsible for travel, shop fees, and studio materials.

Fellowship applicants will pay a nonrefundable application fee of $30 at the submission of their SlideRoom application.

Haystack assembles independent committees to select Technical Assistants and Fellowship recipients through a competitive review process.. In advance of applying, we strongly encourage reviewing the list of Frequently Asked Questions on our website. Please note that all applications must be submitted online.

Apply online at haystack.slideroom.com

PROGRAMS COMMUNITY

STUDENT CRAFT INSTITUTE

Each year, high school students from throughout the state of Maine are nominated by their teachers to attend this spring program, staying on the campus, and studying with nationally recognized faculty.

STUDIO BASED LEARNING

Supporting high school students from the greater Blue Hill Peninsula, this fall program brings cohorts of students from area schools to stay on the campus, working alongside one another in workshops taught by nationally recognized faculty.

MENTOR PROGRAM

A winter program providing opportunities for high school students from the greater Blue Hill Peninsula area to work alongside professional artists in their studios.

OUT MAINE

Our first dedicated campus program for LGBTQ high school students in Maine, designed to empower and inspire young people to see themselves in their fullest capacity and model an open and out life in the arts.

K-12 EDUCATIONAL INITIATIVES: IN-SCHOOL RESIDENCIES

Partnerships in the local school system, providing training, curriculum development and classroom resources in digital design and fabrication to area teachers and students.

COMMUNITY PARTNERSHIPS: OFFSITE WORKSHOPS

Haystack is working to expand its impact around the region by partnering with organizations, such as Blue Hill Public Library, to offer workshops for our local community.

ISLAND WORKSHOP DAY

This one-day program, our opening campus event of the season, brings together community members from Deer Isle, Stonington, and the greater Blue Hill Peninsula to participate in workshops taught by area artists.

OPEN DOOR

Open Door is an intensive three-day program for Maine residents. Our closing program of the season, the program is held in mid-October with workshops for people of diverse backgrounds and skill levels taught by nationally recognized faculty.

FAB LAB PROGRAMS COMMUNITY

During the winter months, the Haystack Fab Lab serves as a vital resource for community-based education, outreach, and digital fabrication training. We have been building capacity to expand our work within the local school system on Deer Isle and around the broader Blue Hill Peninsula by integrating digital technology and design proficiency into area classrooms.

COMMUNITY WORKSHOPS

The Fab Lab offers short community workshops and programs exclusively for local residents of Deer Isle and the Blue Hill Peninsula. These workshops are for anyone interested in learning more about computer design, 3D modeling, laser cutting, 3D printing, and creative applications of electronics + coding.

OPEN HOURS & PUBLIC ACCESS

November–April, the Fab Lab provides open hours to community members who would like technical assistance on their projects, utilize equipment such as laser cutters and 3D printers, and work in a communal environment.

COLLABORATIVE PROJECTS

Haystack’s collection of digital fabrication equipment and knowledge can provide a unique resource for community organizations trying to solve problems, and provide realworld learning opportunities for local youth to develop technical skills. Some of the projects taken on by the Fab Lab include:

· COVID PPE: manufactured and distributed over 3,000 PPE items to the region

· Deer Isle-Stonington Elementary School Nature Trail Sculptures and Signage

· Plastic Recycling and Reuse Project, a new collaboration with UMaine Sea Grant to help turn retired fishing gear into objects using the Fab Lab

Youth + Education

HIGH SCHOOL INTERNSHIPS & APPRENTICESHIPS

Haystack’s paid internship program is an exciting opportunity for high school students to work directly with our Fab Lab team and learn new skills. Interns receive a crashcourse in digital fabrication, learning some of the most important and common skills utilized in the space. After a training period, interns work directly with workshop participants, providing technical support for a variety of projects.

AFTERSCHOOL PROGRAMS

Haystack supports the local school system by providing afterschool programs for K-12 students that expose students to various exciting technology areas through handson experience with support and mentorship. In the past, we have offered programs for elementary, middle, and high school students.

PIONEER PRIZE

Haystack has recently taken on a leadership role with the Pioneer Prize, a digital technology-driven competition for area teens.

Established in 2017 by Blue Hill Peninsula community members, this competition has awarded over $25,000 to students in Deer Isle and on the Blue Hill Peninsula who demonstrated innovative digital skills that will help them bridge the geographical gaps for high-value economic opportunities. Participation is completely free—Haystack provides access to resources that would otherwise be cost prohibitive to students, such as programmable circuit-boards and electronic components. The prize awards $5,000 in cash each year to three students.

For more information, please contact fablab@haystack-mtn.org.

“Haystack has opened a 21st-century door for our Island community…The possibilities for inspiration, learning, and design are infinite. Growth of the Haystack Fab Lab program and training expands the opportunities for our children exponentially.”

MICKIE FLORES RETIRED, LOCAL SCIENCE EDUCATOR

WE ARE HAYSTACK

CATALOG

Design

Might & Main

Editors

Annaliese Jakimides

Photography

Haystack Mountain School of Crafts

Grace Gershenfeld

Dan Rajter

Rick Stark

FUNDING

Funding for Visiting Artists/ Writers is provided by: Haystack’s Charlie Gailis Fund Stuart Kestenbaum Fund for Writing

Francis S. Merritt Fund for Innovative Programming Windgate Foundation

Funding for Yoko Sekino-Bové’s teaching position is provided by: Haystack’s Samuel J. Rosenfeld Faculty Fund for Sculpture in Ceramics or Wood

Funding for Madoda Fani’s teaching position is provided by: Haystack’s Equity Fund for Visiting Artist/Faculty in honor of Paul Sacaridiz

Funding for international faculty travel is provided by: Stuart Kestenbaum International Travel Fund

STAFF

Perry A. Price

Incoming Executive Director

Julie Adley Office Coordinator

Ginger Aldrich Development Director

Molly Flanigan Development + Database Coordinator

Isaac Goss Maintenance Assistant

Marissa Hutchinson Programs + Studio Coordinator

Annette Huval Student Accounts

Walter Kumiega Facilities Director

James Rutter Technology Director

Mia Sartori Studio Technician

Marilyn Smith CFO

Sarah Tietje-Mietz Digital Content Editor

Ellen Wieske

Outgoing Interim Executive Director/Deputy Director

Brad Willis

Studio Technician

Josh Worthington Operations Manager

BOARD OF TRUSTEES

Ayumi Horie President

Fabio Fernández Vice President

Laura Galaida Treasurer

M. Rachael Arauz Abigail Barrows

Brett Bentson

Sonya Clark

Sara Clugage Annet Couwenberg

Tanya Crane

Andres Payan Estrada Mickie Flores

Sarah Khurshid Khan

Helen Lee

Roberto Lugo

Sarah McNear

Márçia Minter Alison Croney Moses John Ollman

Peter Roth

Alexis Vaughn Namita Gupta Wiggers Valerie Wicks Joe Wood

LIFE TRUSTEES

Arline Fisch

Wayne Higby

Richard Howe

Lissa Ann Hunter

Marlin Miller

Eleanor Rosenfeld Claire Sanford Cynthia Schira

FOUNDERS

Haystack was founded in 1950 by a group of Maine craftspeople—primarily Edgar and Marjorie Sewell, Elizabeth Crawford, and William and Estelle Shevis—and made possible through the extraordinary support and vision of Mary Beasom Bishop.

Renowned textile artist Jack Lenor Larsen (1927-2020) was an early and recurrent Haystack faculty member and trustee. Pivotal in identifying Edward Larrabee Barnes as the architect for the award-winning Deer Isle campus, he contributed significantly to the evolution of the School through his singular role as its longtime Honorary Chair.