Laura Nagle

Laura Nagle

"Bullseye"

2016

Mixed Media

32"x32"x30"

A sister to my earlier piece, "Eye's Cream," Bullseye exemplifies the dark implications that can arise from the physical manifestation of a simple play on words. 

Caroline Udell

Caroline Udell

IDIK

2016

acrylic, wire mesh, tissue paper, plexiglass, wood

23" x 78" x 7/8"

"me loving you is so important that it shouldn't be important to you at all"

This piece is about taking something pixel small and blowing it up – in a few different respects. Our typical throwaway phrases and abbreviations are useful for stowing away more intimate words for safekeeping. What's intended for one person I choose to instead make for everyone. I don't look at it as hiding my intentions so much as yelling them quietly – putting everything out there so that it's unclear how or on what to focus. Given the time, I think things are rarely as illegible as we make them out to be.

Taylor Schomp

Taylor Schomp

Boxes 
2016

11' x 23' x 12' 
9" square cardboard boxes, tape, paint, found object

Working with the idea of multiples, this piece includes 48 9" cubed boxes.  Some are left raw an exposed, blue tape visible, while others are highly covered in a variety of materials.  The covered boxes mosty align with the lighter tiles on the floor.  The tallest point in the installation is found at a stack of tall, unvoered boxes that go from the floor to and through the ceiling.  The exposed tape of the raw boxes as as leading lines, keeping the viewers eyes moving smoothly around the piece.  The installation also invites viewers to interact with it, walking throug the installation, sitting down beside the boxes, and touching the different surfaces of the covered boxes.

Joseph Gardner

Untitled

2016

65" x 48" x 48"

Joseph Gardner

Dissection

2016

53" x  28" x 24"

Joseph Gardner

Don't Look At Me

2016

36"x 28"x 36" 

Kenny Testa

 

Kenny Testa

City of Avalon

2016

wood, aluminum

20" x 36" x 36"

One of my interests has always been architecture so I started cutting wood into architectural shapes. As I created these forms the concept of a city became apparent.

Taylor Schomp

Taylor Schomp

The Destruction of Curiousity, 2016

Installation with glass, metal, charcoal, and paper

A room of white walls, floors, and pedestals with intricate glass pieces, the viewer is faced with struggle.  The glass cannot be fully experienced from outside the room, but a an unavoidable threshold of crushed charcoal surrouned by crumpled paper encircles the rooms entrance.  To enter the room, viewers must step on the charcoal, dragging it onto the white paper floor, slowly deconstructing the floor.  The installation also utilizes sound.  When stepping on the charcoal, a crunching sound is heard, signifying the transport into or out of the room.

Taylor Schomp

Taylor Schomp
Puddles, 2016
Mixed Media Room Installation

An exploration of glass.  The piece allowed for an investiagtion on the proceedures for melting glass.  The focus is on the materiality of glass and how it interacts with other various materials when melted.  The broken pieces of the puddles allow the layering process of variously colored glass to be viewed.

Hair Stories

Ali Ruffner
Hair Stories, 2016Perfomance
12' x 12' 

Hair Stories was a performance and sculptural piece that involved looking at issues of race, identity, femininity, and female relationships as told through hair. Throughout history, hair has taken on a variety of social and political implications—from stigmas against hairstyles to hairstyles being reclaimed as symbols of empowerment and protest. The act of doing another person's hair is culturally, historically, and socially relevant. What does it mean and what can it look like to engage with other women, cross-culturally and cross-generationally, in this act of doing hair? In light of our current political landscape highlighting the aspects of our society that are as sexist, racist, biased, and ignorant as ever, hair doesn’t seem like a very important topic. However, it is apparent through the piece that the topic of our hair experience is an axis of truth and empowerment for a greater understanding of identity, sexuality, race, and gender politics across the board. Fourteen women including the artist herself were involved in the making of this piece. The task they were performing was simple: entering the room and engaging in the "act" of doing each others hair. The audience saw knowledge sharing and identities changing, as well as some participating as bystanders. A variety of questions arose in conversation around the piece--What does it mean to see a white woman shaving a Latinx's woman's head? What questions come up when hair experiences are being shared between black and white women? Between older and younger women? What is expected of women in terms of knowledge of or relationship with their hair? How do we conceptualize or think about overtly feminine tasks? What does it mean to engage with a simple act of hair doing in an art setting?

Rachel Cardwell

Rachel Cardwell

Hey Mom and Dad

2016

15' x 1' x 1.5'

concrete, photograph, rope

 Illness can strain a relationship, especially your relationship with your family. Reaching out for help can be embarrassing and vulnerable, and there is a risk that your need for help will be denied. Hey Mom and Dad explores the challenges of explaining your illness, as well as the uncertainty and possible futility of asking for help. 

Katie Chavatel

 
















Katie Chavatel
In My Room, 2016
Mixed Media Room Installation
In My Room was a process. I began by scanning my personal drawings and then printed hundreds of them out. I then sat in my studio for days, creating petal after petal, eventually forming these origami flowers. The process was lengthy, but comforting by its repetition. At the end of it all, I found myself in my studio, immersed in this garden of drawings. There were extra prints all over the floor; art supplies like thread, glue, scissors, and tape all scattered around me. I was in my space, lost in creation. I felt comforted, yet trapped. 

Sanjay Pelinski

Sanjay Pelinski

Human Framework

2016

Steel wire

3.5' x 2.5' x 1.2'

I studied the human figure by exploring the physical space of our bodies. I bent and welded steel wire to create a grid that shows where the surface of our bodies begins and ends, creating cycles of inhalation and exhalation.