Bruce Turner

The Eagle has landed!!!  

A steel skeleton covered with aluminum now living in my backyard!!!!

Once Dave Meyer showed me how to flute the feathers, it all started to work.

Ali Ruffner

Ali Ruffner

Without

2017

Instillation- photographs, shoes, wood

19’ x 1’ x 10'

Whose bodies are allowed to stay? Whose bodies are not? 

Coming on the heels of roundups of undocumented immigrants nationwide, this piece is directly in response to asking follow up questions around the #ADayWithoutAnImmigrant protest. What would life, or these spaces, look like when certain people are removed? Stripping away contextual references and one body from the original photographs creates a parallel world in which the subject becomes the eerie focal point amid otherwise normal, domestic and intimate scenarios. What remains after is not an absent figure, but an intensified figure and an intensified absence.

Leah O'Brien

Lightbulb Lampshade

2017

Mixed Media - Light Bulbs, Chicken Wire, Wire 

12"x11"x11"

Andy De Vito

The Angel Doesn't Fall Far From Grace 

Mixed Media

30" x 47" x 55"

Caroline Udell

Caroline Udell

psst

2017

plaster cast, college-ruled paper

9"x11"x11"

Note passing is an odd form of communicati

most private form of communication in public

more obvious than texting cuz there's only like two reasons you would pass a note it's a love note or a rude note

text about anything in class, but there's a lot of intent with note passing

Everyone sees what you're doing but they can't overhear like you would with whispering

Laura Nagle

Laura Nagle

Eye of the Storm

2017

Mixed Media

2' x 3' x 1.5'

Taylor Schomp

PVC New Zealand

Spring 2017

PVC Pipe, landscape photographs

20"x20"x4"

This piece utilizes PCV pipes as windows into the country of New Zealand, by mean of the country's water sources.  The pipes themselves are cut to various lengths to mimick the mountainous lanscape of the island country.

Rachel Cardwell

Skin on Skin

2017

hydro-cal, paint, wax, clothing, mirror

2' x 4' x 3.5'

Skin on Skin focuses on body image and perception. When you don't know if the mirror or your mind is warped, you can't trust your eyes and its hard to even understand what you look like. Skin on Skin personifies those anxieties to create the "monster" in the mirror. 

Andrew Gayda

Bread and Butter
11'x16'x1/2"
March 6, 2017

Brenna Smith

Brenna Smith

Varied Reactions to Neutral Gestures of Hair Pulling

2016

Acrylic Paint, Tape, and Twine on Wall

60"x45"x84"

This piece started off with an immediate idea of what I wanted to do, which was to paint a figure on the wall using stencils cut from illustration board. I then decided that I wanted to add some form of dimension to the piece, as a piece that is more dynamic and less static is often better at generating interest (in my experience). I chose the most generalized color palette I could think of for the figure, which was based on heat signatures (something that all living things have). This was because I wanted to leave the overall message up to the interpretations of the audience instead of assigning the piece one isolated meaning, which meant keeping the figure ambiguous enough that a viewer could step into its shoes.

Rebecca Heringer

Material Wealth

3’X6’X10’

2017

Glass Sead Beads, Washers, Rivets and Copper Wire

Adopting an appreciation of the Masai culture and their jewelry by creating a life-size necklace symbolizing power, beauty and my own process and self.  

Hannah Zimmerman

Hannah Zimmerman 

Uncertainty

2017

Lamp, broken hydro-cal, projector, mp4 video projection (3:21 mins)

12" x 6" x  8"

What is the answer to the worries about tomorrow and if the things we are spending our lives doing are going to be relevant?  How do we pick up on the signals that we attempt to send ourselves, but yet we feel like the message is still clouded and cryptic? Our insecurities and uncertainties spill out of us the more we battle with the things that we cannot control. 

Duncan Parcells

Duncan Parcells

"Ghost"

2017

Particle Board, Found Object

15" x 17.5" x 69.5"

An anthropomorphic relic of our past stands and watches. Its screen displays only the darkened reflection of those who stare into it. Taking design cues from the compact Macintosh computers of the 80s and 90s, its utilitarian  appearance suggests that this piece has a certain function. This creates an unsettling anticipation among those who view this sculpture.