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.
Dates: Week 4: August 9-13
Time: 9am – noon
Price: $250 / 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
Sample Projects and Gallery Exhibits:
“Nothing Is As It Seems” – group sculpture
Campers select and bring to camp the “most boring, ordinary” object from home, and create something wonderful. The campers, themselves, will be tasked with determining which item brought in is “the most boring”, but then on close inspection (and maybe some introspection) will reveal that none of the objects is boring, or ordinary.
Campers may be asked to take 15 – 20 different photos of their items. Taking multiple photos of the same, ordinary object is a great way to learn to pay close attention, and to force you (and others) to see that object in different ways. Campers may be asked to write down what’s interesting about each object in a postcard.
From there, Campers will work together to combine the objects in a sculptural piece – to create something they deem interesting, that challenges viewers to see things as the infinitely fascinating marvels they are.
“Nothing Is As It Seems” is the 1st piece encountered when entering the Gallery Exhibit. Sculpture. What’s interesting about a pile of everyday junk? If our guest gets stumped, the children’s ‘discovery postcards’ will be hanging nearby to help.
“A Mess of Feelings” – carving and poured resin
What are you feeling right now? Where do you feel it in your body? Does it have a color or shape or size? Does it affect the people or events around you? In this activity, we’ll be using our emotions to inform our design and create a poured resin sculpture.
“Where Are You, Now?” – individual and collaborative paper sculpture, 3D self-portraits
Who are we? A self-portrait isn’t just a reflection of our physical appearance, it’s an opportunity to tell a story about who we are, where and how we want to focus attention; ours and others to think differently about who we are.
“Where Are You, Now?” brings us into the current moment, and demonstrates that it is endlessly full of wonders and opportunities.
About 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.”