Make a Pint Mug Date Night Experience

with Michael Stek

Friday, June 7 · view days & times
Price: $75 | $67.50 ArtsQuest Member
Fees: $5 Visual Arts Service Fee on all orders
Additional taxes and fees may apply

Venue: Ceramics/Clay Studio
Ages: 18+

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1 Day Workshop

Friday, June 7 | 6-9 p.m.

For this workshop, one ticket = one person, couples must purchase two tickets.

Have a ceramic date night during our June First Friday! This short and sweet workshop is for all levels of students. Using slab building & inlay technique to create unique patterns and surface design, this mug making workshop will encourage participants to explore the versatility of clay and discover the joy of shaping it with their own hands. Our experienced ceramics instructor will guide you through each step of the process, rolling out slabs, measuring at cutting them to size, and assembling your piece. This workshop focuses on mindfulness as you create a meaningful object that hopefully will be a part of your daily routine! Pieces will be fired and glazed in a final clear coat by instructor. Final pieces will be available for pick up on a later date. The turnaround time for work to be completed and ready for pick up is approximately 3-5 weeks. Note: the email used to register for the class will be used to communicate for pick up at the Banana Factory.

Whether it is sculptural or functional (or both!) our workshop begins with an introduction to different types of clay and hand-building techniques, including pinch, coil, and slab methods. You'll learn how to prepare the clay, understand its properties, and explore various textures and surface decoration techniques to add your personal touch.

Throughout the workshop, you'll receive hands-on assistance, tips, and tricks to ensure your cup turns out beautifully. The instructor will demonstrate various shaping and joining techniques, sharing their expertise and helping you troubleshoot any challenges along the way to achieve your own dreamy creation.

I have had a strong fascination with archeology, anthropology and art since childhood. Some of my greatest influences have been the primal forms and stories of traditional cultures from around the world. Primal art forms have influenced the imaginations and the works of artists throughout time. Indigenous artists were masters of utilizing materials from natural resources, as well as materials imported or manufactured by outsiders. Each form, whether a totem, mask, shield, body art or figurine was created as a means of connecting human beings to each other and to the spirit world. These works functioned as a bridge creating a sacred communion or dialogue between the physical and spirit worlds.

The creative problem solving process has been a vital part of my life. I have been active in teaching and producing art in public and private venues to children and adults throughout my adult life. It was really during later part of my undergrad studies where I began using my early life experience years growing up where I was traveling the world that my area of personal interest began to focus on clay and in particular, figurative, gestural clay sculptures. My process evolved as integral components of rituals and influenced civilizations over time. Living the cultures of some of the world along with research and study (BFA in painting, MFA in Ceramics and Painting) highly influenced my own creative endeavors. That interest continues to lead me toward a deeper understanding of how the daily experiences of traditional cultures, and ours, were/are interwoven with our natural environment and spiritual concepts. This process is also evident in my more functional works, being hand-built to wheel thrown.

Each creation I design may be based on a cultural observations to convey my own personal narrative. My sculptural works are mostly hand built, high-fired clay forms. The surfaces may be impressed and/or incised with a compilation of natural and manufactured textures, patterns, and symbols to convey a story or idea. Colour is incorporated predominately through the application of oxide stains, coloured slips, and the method in which its fired (anagama fired, salt, raku, or reduction). Metal, hemp, raffia, and other materials may be added to elaborate and exaggerate the forms. My objective with each piece is to create a contemporary interpretation and visual narrative of primal concepts.

Venue Information
Ceramics/Clay Studio
Banana Factory
25 W Third Street
Bethlehem, PA 18015
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