We invite you to come explore the boundless creativity and endless discovery that is art!
Whether we’re experimenting with new mediums, or inventing creative new methods for old ones, we aim to look at everything in wondrous new ways.
Camp Weird is an Art Camp with the goal of fostering curiosity, welcoming discovery, and doing so with intention. We’ll guide students through a variety of project-based lessons utilizing a full assortment of artistic mediums, including painting, sculpture, ceramics, mixed media and more. Geared toward hands-on visual art creation and exploration, Camp Weird wonders and wanders fearlessly bumping into the scientific, dabbling in dance and movement, or sampling music and poetry– whatever engages our creativity in the moment. Leave your expectations at the door and welcome curiosity.
Both group work and individual art-making activities will be undertaken as we have fun together, learn, and let our creativity flow like paint! Attend one or two weeks, projects won’t repeat.
Each week ends with a pop-up exhibit in the gallery of campers work.
Week 3: July 25 – 29
Time: 9am – noon
Ages: 8 – 10 year olds
Price: $300 / week
Price: $300 / week
Registration Limited to 8 campers
Parents will need to complete the following forms in advance of the 1st day of camp: emergency contact, camper allergy, photo release & waiver
About Instructor Cherie Lee:
Cherie Lee is a self-taught, Philadelphia-born artist, who utilizes high speed rotary equipment to reduce genuine Ostrich Eggshells to small-scale, subtractive-sculpture commentaries appreciating, and testing, the limits of faculty and frailty. Whether her subject matter be ecological, sociological or anthropological, she unites substance and subject, gingerly evoking one basic concept: what you have is fragile, no matter it’s strength. Having grown up suburban-poor, her earliest materials were found objects in nature and readily available household items, predominantly paper. These early works resulted most often in two distinct forms: elaborate dimensional paper sculptures that are white-on-white plays of light and shadow, or intricately detailed, flat black paper-cuts. Both styles notable for what they lack, or what’s been taken away; a concept she hopes might foster a more solid appreciation for what is there.
Shortly after recognizing the humble chicken egg as a perfect 4-dimensional ‘canvas’, one of her first pieces was admitted to the United States White House Permanent Collection. By 2018, she acquired the tools necessary that would allow her to focus solely on her preferred medium, the thick and sturdy ostrich eggshell. Her current body of work explores how much can be taken away from something, be it natural, man-made or conceptual, without removing it’s integrity. “However,” she cautions, “if the strength of an eggshell allows me to push it to it’s furthest limits, it’s fragility reminds me not to.”