For quite some time now I’ve been contemplating how to merge my love of art and design and my passion for organization. While I was away at Penland I found a little seed that’s germinated and has been pushing it’s way slowly to the surface. In that wonderful nurturing and creative environment I spent a lot of time walking around and observing other artists, their “studio” (albeit temporary for most) spaces and the work being created. One particular evening we were visiting the Resident artists studio’s and the idea really struck me to start a blog interview series with artists about their sense of or lack of organizational skills and how that affects their work.
Above and Below::Studio space of Jewelry Artist Jeong Ju Lee
Above and Below::Studio space of Daniel Marinelli
Below::Studio space of Textile Artist and Weaver Robin Johnston
Today I’m bringing you the introduction to this new series. I can’t promise how frequently I will be doing interviews, much of that depends upon who I’ve come across and their willingness to share their organization or lack of. For many artists and creative types being organized is just not a big priority and often staying organized is a struggle. Revealing this to the world may not be something many artists are willing to share. So many people continue to feel embarassed or asshamed about being disorganized but I am here to say that EVERYONE struggles with organization in some area of their life (or has in the past).
Above and Below::Studio space and workshop of Woodworker Tom Shields
Upon speaking with many artists though I’ve come to realize that for all of us there is a cycle to the way we work. We carve out a space, gather the materials we think we might need to begin and we dig in. For some creators they need to end each work day (or session) with a bit of re-organizing and tidying up. Others will continue to work right along side the ever growing piles of detritus, materials, abandoned projects, dishes, tools and whatever else accumulates. Some artists can go days, weeks or months before they feel the need to stop and tidy up again. What prompts this action? Is it the completion of a big project or a feeling of distraction or getting stuck?
Above and Below:: Iron Forging workshop
Above and Below:: Woodworking workshop and workbenches of student artists
I wonder for each of us, how does the order or chaos of our working environment impact the artwork we create? When you look at someone’s artwork is there any clue as to their working methods? Could you venture to guess if they are organized or dis-organized? How does our environment help or hinder our creations as artists? These are all questions I am interested in exploring further as we meet other artists and discuss their working methods, see behind the scenes into their working spaces and perhaps learn some organizing tips from some of them.
Above and Below:: Metal Casting studio workbenches of student artists and the instructor
Above and Below::Studio workspace of Bookmaking student artists
Above and Below::Studio work spaces of Letterpress student artists
Above and Below:: Studio work spaces of Encaustic student artists and instructor
As I wandered from studio to studio observing and speaking with artists about how they work and taking photographs I found that most of the time people tried to tidy up when I asked if I could photograph them and or their spaces. “No” I said, I want to capture you the way you really work. I really appreciate the willingness of all these artist to allow me to share their working spaces with you here.
Above:: studio workspace of fellow surface design artist Kathleen Bennett Bastis
Call to action::If you are an artist and feel you are particularly organized or dis-organized and want to share your working practices and space I’d love you to comment here or email me.
Above:: studio work space of my instructor Jason Pollen;>)
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- Friday Fieldtrip::Penland the Full tour (hkpowerstudio.wordpress.com)
Another fun aspect of the class was that our instructor, 
This class was primarily a surface design class and we began with limited materials and an 8″ x 8″ format using black backgrounds. The way we see color on black is different and this encouraged each of us to shake free of the “normal” color combinations we might use. We started with only gesso and color and eventually were encouraged to add stitching, collage or whatever else we wanted to. I find it tremendously helpful when I’m creatively stuck to really limit my options, within more restricted boundaries I find my self stretching to explore those limitations. 
After a few days experimenting and playing in this smaller format most of us began to explore other mediums and formats for our work. A group of us in the class began raiding the iron departments scrap pile and we began experimenting with rust dying. There is a good description of this process over 
Completed pieces of rust dye fabrics.
As you can tell we covered a lot of ground in this class. It was so freeing and inspiring, I came home with several new materials, techniques and ideas to work through more thoroughly. Both Jason and our studio assistant 
Jason working on one of his stitched pieces for the auction.
Debra’s scarf and a collaborative piece by Jason and Debra, donations for the Penland fundraiser auction.
Debra modeling a purse made by one of the students for the fundraiser auction.
One of the final projects I worked on was a collaboration with 3 other students which we donated to the Penland Session 4 fundraiser auction. I love to collaborate and this piece turned out well. I wish I knew who bought it…
Next week I will be back to share some of the work I began personally in class. Some of what I started is still incomplete but hopefully won’t be by the time I post again.
Inside the 3rd floor dorm rooms a “typical” individual non-private accommodation (above). Not bad especially with the windows and fans (they provided us with).
Below are some of the typical views looking out across Penland road and along the walkways that run across the campus. Craft House has a fantastic big porch with swings perfect for enjoying sunsets, reading, having a glass of wine and relaxing (although I felt short on relaxation time with all that was crammed into the schedule!).
The meals were really diverse and always included a vegetarian option and a great salad bar. They make a fantastic Wasabi salad dressing, man do I miss it and miss not having to cook (but really I love to cook). Each day the big chalk board in the dining hall told the daily events.
Some of the veggies and herbs are grown at Penland but they feed on average 250 people at lunch and dinner during their 5 summer sessions (each 2 weeks long).
Some of the buildings at Penland are on the National Historic Register (such as the Dye house below) and others are fairly new. They are also in the process of building a brand new dorm building. 
Clay Studio (outside kilns)
Metals Shop
Glass Studio
Northlight, houses Photography, Book making and a large hall for social gatherings and Yoga:)
Walled garden leading behind metals and clay to Lily Loom, it’s covered in clay tiles and found objects and I could always find something new as I walked past it.
View out the side of the Pines on our last morning.
Bon Appetit!