Stuart Kestenbaum + Susan Webster
Words and Images

Session Two - June 17-23, 2018


Course Description
In this class we will make images that inspire writing, writing that inspires images, and create work that can combine the two. Activities will include daily writing and drawing prompts as ways to generate work. Participants will learn various low-tech printmaking techniques including gelatin-plate process, direct stencil, and monotype drawing, and use a variety of tools and techniques — drawing, painting, and collage — to make image and text components. Formats may include simple book structures, one-of-a-kind pieces, and broadsides. The emphasis is on experimentation. All levels welcome.

Artist's Biography
Stuart Kestenbaum is a poet and former director of the Haystack Mountain School of Crafts. He has been a visiting writer at art programs including Penland, Cranbrook Academy of Art, Rhode Island School of Design, and Penn State. His most recent book is Only Now (Deerbrook Editions 2014). He is Maine’s Poet Laureate.

Susan Webster is a visual artist who works with a variety of materials and processes. She has taught at Haystack, Penland, Center for Contemporary Printmaking (CT), Studio Artworks Center (Jerusalem, Israel) and developed a model art program in the prison system in Maine. Recent exhibits include Greenhut Galleries (Maine), Concord Art Association (MA), and Southern Graphics Council (Louisiana).

Stuart and Susan frequently make work together that combines words and images.

Artist's Statement

The work that we make together is a partnership between image and word. One isn’t intended to illustrate the other, but to be a dialog, a conversation. We want echoes, amplifications, and some mystery. Typically, a piece will begin with an image by Susan, to which Stuart adds words — ink-stamped or handwritten. Susan then responds to the words with more imagery. Other times, Stuart will begin the sequence with words, to which Susan responds with imagery. We find that when we make work together, we surprise ourselves with where it leads us. There is no conversation as to intent; after a relationship of over 30 years we respond to one another’s work intuitively and both of us bring to the work elements that combine hope, loss, joy, and memory.

Website: Susan Webster

Supply List:

  • 4 soft rubber printmaking brayers, 4” and other sizes up to 6”
  • One pad of newsprint paper (9”x12”) any brand
  • Pencils and archival pens
  • Scissors
  • PVA adhesive glue (4 oz) - Lineco is the preferred brand but any brand will do
  • Old hand towel and sponge for cleaning up
  • Rubber gloves
  • Self-healing cutting mat (optional)
  • Journal for writing
  • 2 11” x 14” sketch pads (70 lb and over) (we recommend Borden & Riley #234 and #214)
  • Texture producing materials (lace, wooden and rubber blocks and shapes, cheesecloth, etc)
  • X-acto knife and extra blades
  • 12” metal straight-edge
  • Apron
  • Bone folder (optional)
  • 3-5 brushes of various widths; bring what you own - quality not important



Stuart Kestenbaum and Sandy Webster

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