The Speculative Studio: High School Workshop with Derek Owens | Wednesdays 1-3pm | 2/18, 2/19, 2/21 | Spring 2026

The Speculative Studio: High School Workshop with Derek Owens | Wednesdays 1-3pm | 2/18, 2/19, 2/21 | Spring 2026

Teens | Available

107 East Deer Park Road Dix Hills, NY 11746 United States
Studio 9
All Levels
2/18/2026-2/21/2026
1:00 PM-3:00 PM EST on Wed Th Sat
234.00 USD
Member Discount Available

The Speculative Studio: High School Workshop with Derek Owens | Wednesdays 1-3pm | 2/18, 2/19, 2/21 | Spring 2026

Teens | Available

This series of three, two-hour workshops is intended for sophomore, junior, and senior high school art and/or creative writing students interested in exploring experimental mixed media artists and writers. The goal is to expose students to creatives whose work--which can be risky, crazy, absurd, strange, hilarious, and controversial--has the potential to open new directions for young artists and writers. This is not an art history course but an energetic tour of artist/writers working in more than one media, including collage, assemblage, poetry, video, installation, sound arts, film, artists' books, sound poetry, performance, and fiction. Although not a traditional pre-college portfolio workshop, the instructor will work one-on-one with students to better understand their artistic and writerly interests, and assist students in writing artist's statements or their creative writing.

Each two-hour workshop will feature open discussion, brief screenings, journaling, and  "show and tell" where relevant materials are passed around and interested students might share their work. For a glimpse into the type of art and writing to be featured in this workshop, please consult the website for a longer seminar version also offered through the Art League of Long Island: The Speculative Studio.

About the instructor: Derek Owens is an artist and writer whose work can be found at derekowens.net. He's been a professor at St. John's University for 30 years; before that he taught at Harvard University and in the Experimental College at Tufts University. He has taught students at all levels--middle school, high school, undergraduate, and graduate--and specializes in student-based pedagogies and multi-modal composition. Interested applicants are welcome to contact him with any questions at contact@derekowens.net.


  • A tiny sampling, in no particular order, of the many patron saints whose spirits will guide us throughout the seminar: William Blake, Zhang Xu, Kurt Schwitters, Georges Mélies, Joseph Cornell, Jess, Pipilotti Rist, Vanessa German, Arthur Jafa, Gins + Arakawa, Adrienne Piper, Maya Deren, Hilma af Klimt, Henry Darger, George Herriman, Adolf Wolfli, Paul Metcalf, Stan Brakhage, Xu Bing, Anne Carson, Robert Smithson, John Cage, Arthur Bispo do Rosário, Hannah Weiner, Eugene Von Bruenchenhein, M. NourbeSe Philip, Jenny Holzer, Hannelore Baron, Susan Howe, Jack Whitten, Bernadette Mayer, Basquiat, Susan Hiller, Gee's Bend quiltmakers, Philip Taaffe, Kamau Brathwaite, Tom Phillips, Plunderphonics, Refik Anadol, countless indigenous events, folklore, and rituals, etc., etc., & etc.


  • Participants are encouraged to bring any and all materials (paper, fabric, unfinished paintings, sketches, photos, bits of prose) for their own compositions, as well as to share with others if they wish.

Derek Owens

I'm an artist working in mixed media and a writer of fiction and poetry. My painting and collage reflect a fascination with sampling, remixing, and salvaging found materials. I'm drawn to discontinued fabric samples, library book discards, and anything old, worn, or forgotten found in flea markets, garage sales, and roadside garbage.

My painting process is one of layering--usually ink and acrylic first, then oil stick, then paper ephemera, string, zippers, dried flowers, peppercorns, etc. (I suppose here the compositional impulses resemble that of a bower bird.) My collage method involves hours of looking through old magazines and books for the unexpected off-kilter image to juxtapose with morsels of text from arcane sources—manifestoes on personal magnetism, weird medical histories, old timey elementary textbooks, and the like. My fiction has a magical realist bent; the poetry, like the visual collage, remixes language from discarded sources like vintage newspapers, pulp novels, and treatises by clairvoyants.

My work has been described as whimsical and surrealist. But a current running through my efforts is also solastalgia, the anxiety and melancholia we feel at impending environmental risk and crisis--what some have described as a kind of pre-traumatic stress disorder, a pervasive anxiety and apprehension at living here in the anthropocene. This mixture of melancholy and wonderment, disquiet and delight, echoes throughout the work. Seeking the fantastical in a saddening world.