UNIVERSITY OF TOLEDO...by our BFA thesis students is thoughtful, magical, confrontational, painful,...

UNIVERSITY OF TOLEDO

BFA THESIS WORK SPRING 2020

The BFA thesis exhibition course enables graduating BFA students to create works of art that reflect the culmination of their undergraduate studio art experience. Students pursue in-depth research and study within a self directed studio concentration that culminates in the public presentation of the BFA thesis exhibition. Additionally, students create a thesis statement and self published thesis book. [STOP]

No one ever sees it coming. It just happens. And in the end, we are left to our own resilience and courage to find our way through. I am so impressed with this years graduating BFA thesis class. For they have found themselves in a place we never truly thought we would be — and they have found a way to thrive, succeed, and create within this pandemic. The following pages are only a glimpse into their hard work and perseverance. The work created this year by our BFA thesis students is thoughtful, magical, confrontational, painful, and beautiful. My hope is that our students will continue their work and recognize the power they have in their ability to create. Additionally, it is my commitment that an exhibition of this years BFA thesis student work will take place in the future. Stayed tuned.

- Brian Carpenter / Assistant Professor / Gallery Director

COLLAGE OF ARTS AND LETTERSSCHOOL OF THE VISUAL AND PERFORMING ARTSDEPARTMENT OF ART

University of Toledo, BFA Thesis Course Spring 2020

HAILEY BECHTELBFA 2D STUDIES

An altar serves as a visual focus for grounding and

setting intentions. In this painting, it represents the individuals

quest for self-ownership. Traditionally associated with

religious iconography seen in churches, temples, and other

places of worship; here we see it placed in the home,

challenging limiting beliefs over self-sovereignty.

Western society has detached itself from ethereal

concepts which has led to structural fragility on the brink of

collapse, and a serious lack of vision. If we want to change the

world, we first must change ourselves, as one cannot pour

from an empty cup. As esteemed philosopher Friedrich

Nietzsche once wrote, “no price is too high to pay for the

privilege of owning yourself.”

Seasons

THESIS BOOK EXCERPTS

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2020acrylic, oil, oil stick on canvas, 4’x 5’

RAYMOND BIEBERBFA NEW MEDIA DESIGN PRACTICES

I combine photography and animations to explore the

environmental and humanitarian impact of increasing

urbanization. My focus on this topic is a response the way that

rural areas are decreasing in population while the people still

there are being blamed for environmental issues beyond their

control. My work is inspired by Ben Windsor’s animations and

Seishi Irimajiri’s storytelling in his short film Borderline which

conveys the global issue of war and territories. I have taken

inspiration from various artists from the Pop art movement in

terms of color styles. I want my work to leave people with a

warning: we all share this one earth; we should not have to

compete for the same parts of it.


RAYMO

ND BIEBER BFA 2020 Sclupture Mix Barred King

Self Portrait Still

Untitled Urban and Rural Text-Based Video Still

Car Dent

Untitled Video Art Still TwoCrop Failure still

Video Art StillsVideo art was a new frontier for me that I had not H[SORUHG�PXFK�EHIRUH�WKH�YLGHR�DUW�FODVV��7KLV�KHOSHG�PH�H[SORUH�D�QHZ�ZD\�WR�PDNH�DUW�DV�ZHOO�DV�VKDUSHQ�P\�YLGHR�WDNLQJ�DQG� editing skills.

Pile-up2020digital animation [still]

TENAYAH BOWMERBFA DIGITAL AND PHOTOGRAPHIC ART

If you look inside The Marvelous Magical Looking Glass, you

will be offered a glance at a world that no human has ever

seen before. In a secret corner of the world, far away from all

living creatures, is a land called Magie. Magie is inhabited by a

community of creatures called JuJu Aliens and is a place that

is luscious and dreamy; everything that grows there is

incredibly soft, colorful, and inviting. Although there are a

multitude of species that live on Magie, they live in harmony

and love to make new friends. The JuJus are genderless

beings that are often characterized by their multiple eyes or

limbs and are usually very hairy. The JuJus have a deep love

and appreciation for the world around them and those that

inhabit it. Sometimes, they like to visit other parts of the world

but are somewhat confused by the complexities of human

nature. They like to show their teeth as they notice that

humans often do it as a sign of happiness or affection; they are

delighted that humans have names like ‘Susan’ and ‘Brad’ so

like to have their own human-inspired names. While the story

of The Juju Aliens can be quite silly, we can all be inspired by

how they value unity, acceptance, and diversity.

The Marvelous Magical Looking Glass


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2020mixed media collages on slide film with custom view master

JASON CHAPPUIESBFA NEW MEDIA DESIGN PRACTICES

I strive to find connections between geometric forms and

typography. For this work, I have assembled cut photographic

negatives with typographic elements taken from antique

magazine clippings. The structure of the work places each

collaged component on separate planes overlapping each

other to abstract the photographs and create depth among the

elements. The high contrast of the black and white

photographs paired with the stark whites of the typography are

the central focus. Connecting the geometric aesthetic of mid-

century typography with graphic elements captured with my

camera allows me to utilize my contemporary perspective to

revitalize the time period.

Fractured


2020archival pigment print on Dibond, 48’’ x 43’’

Lahhmbg`�Z�khee�h_�Ûef�\Zg�[^�[bmm^klp^^m'�Ngebd^�ma^�bglmZgm�lZmbl_Z\mbhg�h_�]b`bmZe�iahmh`kZiar%�Ûef�Z]]l�Zghma^k�lmî�mh� reveal itself. It is this factor of the “unknown” maZm�aZl�]kZpg�f^�mh�ZgZeh`�iahmh`kZiar'�?bef�iahmh`kZiar�_hk\^l�mbf^�Zg]�iZmb^g\^�mh�ieZr�Z�fhk^�bfihkmZgm�khe^'�Mahnà�B�Zelh�lahhm�]b`bmZeer%�Ûef�ikhob]^l�Zg�Zli^\m�maZm�can not be found when behind the lens of a digital camera. With a limited frame count i^k�khee%�^Z\a�lahm�bglmZgmer�[^\hf^l�\Zk^_neer�thought out. With this fact in mind, I have _hng]�maZm�B�inla�ma^�\hfihlbmbhg�h_�^Z\a�lahm�to be as successful as the shot before it. The iahmh`kZial�_^Zmnk^]�iZr�\Zk^_ne�Zmm^gmbhg�mh�\hfihlbmbhg�Zg]�\hgmkZlm�makhnàhnm�[hma�35mm and medium formats.

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(Right)Protect 2019 Cut Negative Collage 8 x 8 in

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Ma^�bgÜn^g\^�h_�fb]&\^gmnkr�]^lb`g�bl�ikôZe^gm�makhnàhnm�fr�phkd'�B�aZo^�l\neim^]�fr�aesthetic around rules and structures from ma^�*2.)l�Zg]�/)l�maZm�eZb]�ma^�_hng]Zmbhg� _hk�`kZiab\�]^lb`g�Zl�p^�dghp�bm�mh]Zr'�:_m^k�nlbg`�Z�*2.)l�^kZ�\Zf^kZ�mh�\Zimnk^�ma^�iahmh`kZiab\�`khng]phkd�h_�ma^l^�\heeZ`^l%�B�_hng]�bm�pZl�hger�ZiikhikbZm^�mh�nl^�mrih`kZiab\�ê^f^gml�_khf�mabl�^kZ�Zl�pêe'�The cut negative collages include a range of mrih`kZiab\�^qZfie^l�_khf�LIFE magazine

Z]o^kmbl^f^gml�_khf�*2.)l�Zg]��/)l�maZm�correlate with the forms and structures found pbmabg�ma^�iahmh`kZial'�Ma^�\heeZ`^l�p^k^�k^Zll^f[e^]�mh`^ma^k�mh�Ûm�bglb]^�Z�-�q�.� bg\a�g^`Zmbo^�\Zkkb^k�Zg]�ikbgm^]�hg�k^lbg& \hZm^]�Zg]�Û[^k�[Zl^]�iahmh`kZiab\�iZi^k'� Ma^�oZkbhnl�fZm^kbZel�Zg]�mkZgliZk^g\b^l� ikhob]^]�m^qmnk^l�Zg]�bfi^k_^\mbhgl�maZm� p^k^�\hgmkZlm^]�Z`Zbglm�ma^�Ûg^�`kZbg�h_� the negatives.

(Top) Tethered Pipe (Bottom) Congruous Peak 2020 Cut Negative Collage 6 x 6.5 in

(Top) 1967(Bottom) Overlay 2020 Cut Negative Collage 6 x 6.5 in

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No. 92020Gelatin Silver Print8 x 10 in

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Structured Mechanisms2020Gelatin Silver Print8 x 10 in

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The drive to work digitally grew once I discovered the ability I had to control ma^�_ng\mbhg�h_�]^lb`g�hg�Z�\hfinm^k'� B�ehhd^]�mh�fb]&\^gmnkr�`kZiab\�]^lb`g� and was immediately drawn to the use of geometry and lines. Lines and grids are the _hng]Zmbhg�h_�`kZiab\�]^lb`g�Zg]�B�pZgm^]� fr�phkd�mh�k^Ü^\m�bml�bfihkmZg\^'�?nlbg`�mabl�b]^Z�pbma�mrih`kZiab\�^qiehkZmbhgl� Zg]�ma^�bg\hkihkZmbhg�h_�beenlmkZmbhgl�Zg]� iahmh`kZiar%�ma^�Z^lma^mb\�B�pZl�ahibg`�create was achieved. I continuously draw _khf�Ûef%�ihi�\nemnk^%�Zg]�fhlm�bfihkmZgmer� fr�`kZg]_Zma^k�l�[h]r�h_�phkd'�

(Left)Confrontation (No.1) (Detail) 2019 Digital Collage 36 x 24 in

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1969 2019 Digital Collage 36 x 24 in

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Caged 2019 Digital Collage 30 x 34 in

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Archive1 pZl�ma^�Ûklm�l\neimnkZe�ib^\^�mh�^g\Zl^�fr�`kZg]_Zma^k�l�phkd'�Ma^�[hq�pZl�\hglmkn\m^]�pbma�mp^gmr�iZg^l�h_�èZll�maZm�ahe]�beenlmkZmbhgl%�Ûef�g^`Zmbo^l%�fZ`Zsbg^�Z]o^kmbl^f^gml�Zg]�iahmh`kZial�maZm�p^k^�Z�iZkm�h_�fr�`kZg]_Zma^k�l�i^klhgZe�\hee^\mbhg'�Ma^�lnli^g]^]�bm^fl�\Zg�[^�ob^p^]�_khf�mph�sides with illustrations marking the start of ^Z\a�\hfihlbmbhg'�Ma^�phkd�bgobm^l�ma^�ob^p^k�mh�bgo^lmb`Zm^�makhnà�ma^�iZg^l�h_�èZll�Zl�b_�ma^�ihll^llbhgl�p^k^�Z�li^\bf^g�hg�Z�fb\khl\hib\�leb]^'�

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(Left)Archive1 (Detail) 2020 Glass Light Box 9 x 11 x 12 in

(Above & Right)Archive1 (Detail) 2020 Glass Light Box 9 x 11 x 12 in

Who Really is Safe? 2017:k\aboZe�?hhmZ`^�Ob]^h3 min

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(Left)Frostbite Frenzy (Detail) 2019 2D Video Game Created in Unity

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:_m^k�li^g]bg`�r^Zkl�h_�ieZrbg`�ob]^h�`Zf^l%�it never occurred to me that they were a form h_�Zkm'�K^fhobg`�ma^�\eb\a^�mkhi^l�maZm�fhlm�video games fell into was where I needed to lmZkm'�:]]bg`�f^Zgbg`_ne�\hgm^gm%�Zg]�ngbjn^�Zkm�]bk^\mbhg�aêi^]�fr�`Zf^l�mh�lmZg]�hnm�from the traditional video game and avoid a \hhdb^�\nmm^k��ZiikhZ\a'�=b_Û\nemr�]^lb`gbg`�the look of my video games never seemed to challenge me as much as writing the code that formed the framework and mechanics of the game. Through hours of frustration I phne]�k^_nl^�mh�e^m�ma^�\hfie^qbmr�h_�\h]bg`�overwhelm me. Writing code for each game ô^gmnZeer�_hkf^]�Z�iZmm^kg%�Zg]�ma^�_ng\mbhg�of algorithms I was wriitng became clear. Fn\a�ebd^�ikZ\mb\bg`�Zg�bglmknf^gm%�\h]bg`�Z�game becomes easier to understand the more I wrote it. By the time I created my second game I had embraced the mechanics that made it function. I needed to challenge myself to exceed the basics of game design.

CHEN GAOBFA NEW MEDIA DESIGN PRACTICE

I came to the United States from China. My time in America has made it possible for me to observe and understand my home country from a distance, and I feel a responsibility to use my art to expose the social problems that I see.

China has developed a cult of plastic surgery - an addiction to the fake - even more widespread than in America. I create digital collages that examine how people are assembled when they are addicted to plastic surgery. I use photo editing tools like a surgeon to represent plastic surgery. The patch tool, pen tool, and other functions in Photoshop are brought together to generate a new image. As the number of repairs increases, the picture changes beyond recognition - fragile “beauty” that is merely a self- indulgent illusion.

我来⾃中国。在美国⽣活的这⼏年，远距离让我更加清晰的审视中国的⽣活。近些年来，中国的整容风潮愈加流⾏，我感觉到我⾝兼的责任感激发⾃⼰运⽤作品来展⽰其中的⽭盾，吸引⼈群从⽽使问题得到解决。这幅以拼贴为主题的海报夸张的展⽰了⼈们过度整容的样貌。图⽚编辑软件就像是整容所;编辑器，例如钢笔⼯具和修补⼯具，就像⼿术⼑。在这种拼贴的“美化”过程后导出⼀张“新照⽚”(整容后的样貌)。随着修补次数的增多，图⽚也就变的⾯⽬全⾮。这“脆弱的美”就仅仅成为了⼀种⾃我沉迷的错觉罢了。


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!"#$%&'$$()*+%,)"-+�FGUKIPGF�VJG�DQQM��6JG�5NGGRKPI�%KV[��VQ�TGƃGEV�VJG�RGTUQPCN�GZRGTKGPEG of a western city as seen by an outsider from the east who has lived in that city for more VJCP�VJTGG�[GCTU��6JG�DQQM�KU�FKXKFGF�KPVQ�VJTGG�EJCRVGTU��Symbols of the City, Traces of the City, and Portals of the City. I revisited some of the places I had been to before. Although these were the places I believed I was familiar with, the more I saw them, the more unfamiliar they felt to me. At these times, the city seemed emptier than ever. The sense of being left behind came to my mind and grew stronger and stronger. The feeling of not belonging made me remember the bustle of city life in China. I made this photo book, The Sleeping City, to record my left-behind feeling as an outsider.

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6JG�RQQT�JWOCP�DGKPIU�NKXG�KP�C�EQHƂP�TQQO�GXGP�DGHQTG�they are dead, but the living space is still much bigger than the urn they live in after death. These storyline-based RCKPVKPIU��FTCYP�QP��Z��KPEJ�RCRGT��FGRKEV�VJG�HGGNKPIU�QH�RGQRNG�EQPUVTCKPGF�KP�EQHƂP�TQQOU��+�EJQUG�VQ�ETGCVG�VJGUG�paintings in a very small format of paper to convey my own understanding of being constrained and having a sense of oppression.

$NQEM�UJCRGF�RGTUQPU�U[ODQNK\GF�CU�GUEWVEJGQP�RNCSWGU�stand in the space, their color or monotone forms U[ODQNK\KPI�VJG�UVCVG�QH�RGQRNG�YCKVKPI��NKXKPI��CPF�F[KPI�YKVJKP�CP�KPƂPKVG�NQQR��VJWU�EQPHTQPVKPI�RGQRNG�YKVJ�VJKU�serious social problem and let more people be aware of the problem itself.

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$%&'()*+,!-./)0+“ӶᯅᏱ�5QNKVCT[�*WPVGT�q�KU�C�HQQF�FGNKXGT[�EQORCP[�+�simulated, designed to call people’s attention to empty-nest youths, who are a group of individuals living alone outside of VJGKT�JQOGVQYPU�KP�%JKPC��GURGEKCNN[�KP�VJG�ƂTUV�VKGT�EKVKGU�NKMG�Beijing and Shanghai. I designed a set of food packaging, complete with typography and logo design.

6JG�NQIQ�GZRTGUUGU�VJG�HGGNKPI�QH�C�RCKT�QH�NQPGN[�G[GU�UGGMKPI�YC[U�VQ�GUECRG�VJG�HQQF�DQZ��CPF�NQQMKPI�HQT�HQQF�and companions. “ӶᯅᏱq�OGCPU�C�RGTUQP�YJQ�KU�GCVKPI�alone. The elongated Chinese characters with sharp edges at the end of the strokes and the partial roundness of the whole typeface reinforce the loneliness of the empty-nest youths.

The audience for my designs is those members of the Chinese population who are likely to eat take-away food daily, even three times a day. I intend to use my design to call people’s attention, especially people who are already in this situation, to the need to hang out, and enhance their social network to reduce the distance between people.

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Plastic Surgery Addiction2020archival pigment print, 35.5’’ x 22’’

ROBERT GILSDORFBFA 2D STUDIES

Everything in our world is susceptible to change, humans being no exception. We are brought into this world with no preconceived thoughts, but are later shaped and continuously affected by our environment. These interactions include the natural world, superficial space, human engagement, and one's own genes. By borrowing the techniques and pictorial devices from art history, the undeniable connection between the past and present becomes evident. My work explores the process of elevating the mundane to the sublime, and how this relation contributes to the interpretation of the human psyche.

The Components


2020oil on canvas, 42’’x 50’’

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LUCYA KEUNEBFA DIGITAL AND PHOTOGRAPHIC ART

It’s been said that we as humans our minds are divided

between the conscious and unconscious. Our consciousness is

dominated by reasoning and restrained by social mannerism.

Where our unconscious minds are hidden reservoirs full of

instincts, desires, and unprocessed experiences that our

conscious minds work hard to contain. Through overlaying,

collaging, and blending modes I create a surrealist world

within a space that lets my subconscious mind play and

experiment. Though I am containing a world within a mirror.

That world is exploring the colors, textures, and colors of

nature and making her into one. Surrealism emphasized on

the mental investigation. It was creating the notion for artists

to bring out aspects of outer and inner “reality” together into a

single position. Creating by chances and taking risks means to

let go of norms and conform to your imagination.

Surrealism Nature’s World


2020digital film [still]

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It’s been said that we as humans our minds are divided between the conscious and

unconscious. Our consciousness is dominat-ed by reasoning and restrained by social

mannerism. Where our unconscious minds are hidden reservoirs full of instincts, de-sires, and unprocessed experiences that

our conscious minds work hard to contain. Through overlaying, collaging, and blending

modes I create a surrealist world within a space that lets my subconscious mind play and experiment. Though I am containing a

world within a mirror. That world is exploring the colors, textures, and colors of nature and making her into one. Surrealism emphasized on the mental investigation. It was creating the notion for artists to bring out aspects of outer and inner “reality” together into a sin-

gle position. Creating by chances and taking risks means to let go of norms and conform

to your imagination.

25

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ROSE MANSEL-PLEYDELLBFA 2D STUDIES A relationship is defined as the way in which two or more

concepts, objects, or people are connected, or the state of being connected. As I imagined this work, I thought I knew how the physical elements would relate, the structure that would hold them, and the kinds of tools and hardware I would use to secure them. But when I got my hands on the materials, I realized the process would be much more fluid. As though building a relationship, I had to compromise on some of my preconceived plans to find the best way to actually marry my concept to the physical properties of these raw materials. I felt as though I was conversing with the work, acquainting myself with one piece of wood whilst introducing it to another, mimicking the contours of the live walnut with the plywood, trying to achieve a smooth finish where the panel edges and the frame met. I learned how every inch of these boards felt beneath my hands. I searched the surface of the veneer for patterns in the grain that appeared serendipitous, beautiful, and chaotic and followed them with a wood burning tool. It was like speaking a language that isn’t your own; I may not have understood what the lines meant but I loved how it felt to say them. Covering the plywood with wax both brought out a richness in the wood’s surface and also created a blurred, softened, out-of-focus effect. The panel, receding back into space, left the walnut slab floating, sharing the space with the viewer. The slab is the symbol of a healthy marriage. It is not perfect or symmetrical, it is fragile in some places, but overall it is harmonious. The growth rings tell a story of two separate branches that were knit together into one flesh as the tree matured. This union is immortalized, floating in the frame, interrupting the disordered patterns with stillness and a unique beauty, one which is mysterious and precious.

A mature tree is a complex vascularized organism, anchored by roots which deeply permeate the earth to nourish vast systems of branches. These intricate, living beings seem to exude charisma and wisdom even in their stillness and silence. Trees provide one of the most versatile materials for construction and even when wood is lifeless and processed, playful evidence of its former life undulates across the surface as woodgrain patterns. Throughout history humans have not only relied on trees for lumber and other goods but also as instruments of allegory because they speak a visual language we find beautiful and relatable. In my work, I use elements of trees to simulate familial and matrimonial relationships, exploring themes of growth, unity, severance, and diversity. While accentuating or mimicking the alluring language of wood grain, I experience sensations that seem to embody the idea of home and family. Something is familiar and comforting in the earthy, sweet scent of beeswax, the peppery smell of burning wood, the warm, rough texture of the grain and bark beneath my fingers. Exploring relationships between my materials inspires me and offers insight about dynamics in my own family and relationships.

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2020Pine, black walnut, white oak, brad nails, encaustic, 43’’ x 43’’

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ALEXA MCLAUGHLINBFA DIGITAL AND PHOTOGRAPHIC ART

Dealing with chronic pain is impossible to describe. There is

no scientific study that adequately explains the reality of what

is felt both mentally and physically. Effects of chronic illness

and the medications prescribed to combat it, go hand-in-hand

in causing deterioration.

I use photography to examine and ‘mutilate’ the images of

the body. The disruptive battle of affliction is represented

metaphorically through digital collage of both physical and

drawn elements. I use various overlay styles, burning of the

image, and drawing of hair like strands, to create the feel of

unease and tension in the viewer towards the photo.


Chronic2020archival pigment print, each 17’’ x 40’’

DOMENIC PENNETTABFA 2D STUDIES

The artwork I create is interested in exploring the

intersectionality between aesthetics and biology. I work both

traditionally and digitally by juxtaposing various drawings,

sketches, and symbols into collaged compositions.Through the

use of many combined elements I am able to create an

immersive experience that entices observation and discovery.

A recurring theme in my prints is the incorporation of insect

specimens and their diverse morphologies. The assimilation

of unusual entomological forms act as a symbol for the

synthesis between art and science; bridging the two

disciplines with their aptitudes for examination.


DOMENIC PENNETTA!e University of Toledo

BFA 2018 - 2020

www.domenicpennetta.com

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SCULPTURE

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BIODESIGN CHALLENGE

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MEDICAL HEADREST

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ARIEL CORPORATION

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ARIEL CORPORATION

[installation of prints and sculptural works]2020archival pigment prints, expanding foam, wire

ANDREA PRICEBFA 2D STUDIES

Society has a tendency to celebrate superficial forms of

beauty, which can mask unpleasant issues beneath the

surface. The white fabric represents the structural norm that

has been built by and for a very specific group of people. The

hand crocheted yarn on top serves as a beautiful distraction.

The words inside are a few of the myriad of issues and

historical events that affect the people society was not

designed to accommodate.

Power is a unique and beneficial perspective that allows

you the privilege of ignoring the presence of something

beyond the superficial. Engagement within this space requires

you to relinquish some power. It may involve you bending,

kneeling, or at the very least following directions. The problem

is we all have varying levels of access.

I invite you on to my hand-crocheted rug and to open my

tent. Be aware of how the outside and the inside make you

feel. I challenge you to think about how much power you hold

and how this may affect your ability to see the structural

issues in our society.


People have an inner desire to feel and be seen as powerful. Power is constantly evolving based on age, maturity, occupation, and life circumstance. I photograph each woman in positions they feel�V��v�ÀÌ>L�i�>�`�V��w`i�Ì�in. The struggle to become an entity we are content with is shaped by societal norms of race, class, and gender. Strength is exerted when we set aside our inner V��y�VÌ�>�`�v�VÕÃ��Ü�>Ì�makes us comfortably us.

HandCrocheted Rug

This is Not My Art History

Issues2020cloth, pic pipe, hand crocheted yarn, approximately 3.5’ x 4’ x 2.5’

LYDIA YANTBFA NEW MEDIA DESIGN PRACTICES

I am fascinated with the interplay of how I create with

thought and how I create with impulse. My current body of

work is a series of collages that explores breaking materials

by hand and framing them to create a new sense of space. I

use cold, clean-cut boxes to frame this work to create solitude

and confinement that forces you to look into the abyss of the

collage. I have taken prints of my previous digital work and

combined them with found paper from my home that I have

collected over the years, implementing my personal

belongings to create these collages. Tearing and arranging the

pieces intuitively has pushed these two dimensional images

into a three dimensional form. Exposing the raw edges and

layers of the paper enables the viewer to see the details of

textures and forms within each layer. My work reflects my

process of destroying and creating simultaneously, resulting in

found elements that were intended for a separate purpose

merging together as a new abstract form.


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NEW MEDIA DESIGN PRACTICES

THE UNIVERSITY OF TOLEDO2020

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LIGHT SWITCH #22018

Digital photograph, archival inkjet print on luster paper11 in x 8 1/2 in

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LIGHT SWITCH #62018

Digital photograph, archival inkjet print on luster paper11 in x 8 1/2 in

GROCERY SHOPPING #12020

Mix media, digital photograph, paper7 in x 10 in

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GROCERY SHOPPING #42020

Mix media, digital photograph, paper7 in x 10 in

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TURNING PAGE2020

Digital video1:22 minutes

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Abyss Through The Aperture2020mixed media, paper, photographs, wood

UNIVERSITY OF TOLEDO...by our BFA thesis students is thoughtful, magical, confrontational, painful,...

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