GRADUATE ROSTER-FALL 2017
Metalsmithing and Jewelry
Body Idioms –The basic precept of a visual artist is communication with the viewer through optical perception of a variety of two-dimensional and three-dimensional works. In contemplating this concept I began by thinking of communication generally; speech, language and how ones thoughts are guided and molded by early patterns of language. One of my influences when I was learning to speak was my grandmother and she used many idioms. These phrases always fascinated me because the words she spoke held different meaning than the actual words themselves.
I am interested in creating work that is understood and accessible to the viewer, containing familiar associations. My current work is intended to inspire nostalgia, an awareness of how we use language, how words are interpreted and what it means to take something literally (and figuratively). I am exploring visual constructs and personal meaning through figurative, wearable objects.
“Characteristically, we seem compelled to project our own nature onto nature. Man in his arrogance thinks himself a great work, worthy of the interposition of a deity.” – Carl Sagan
My work is a collection of thoughts and observations based on my own reflections about my time on this planet. Through great feats of exploration and scientific discovery, we humans have; in many ways, sought to dominate this Earth. It seems, at times, we have lost our sensitivity for the other spectacular creatures that also inhabit this world. Like us, other animals have overcome hardships to have survive on a planet we humans have made. We have so many similar characteristics to other creatures, yet we tend to overlook them, disregard their uniqueness, and have jeopardized their very survival.
Humans have a great understanding of the Earth, its origins and the danger and harm we continue to cause to it. However, because we have conflicting interests of religious and scientific beliefs, we continue to struggle with the correct solutions for problems we face. As we grow and learn, humans choose a specific set of beliefs and morals and share this knowledge with one another. Each and every one of us is entitled to our own ideas about the meaning of life; this is a very powerful and amazing ability we posses, and it should not be taken for granted.
All of my imagery is intended to raise questions and awareness for all creatures through images of the sacred and secular. My aim is to increase our awareness as a demanding presence on our world and also our miniscule participation in the universe. I use unexpected juxtapositions throughout my work to aid in identifying ourselves and our relationships with the unusual and unfamiliar. Through this latest body of work, I strive to provoke thought, imagination, and curiosity through a sense of whimsical images composed from layering information and unique mark making.
My paintings explore the longing for safety and the items that bring the feeling of security. In my works, relics (ancestral quilts and field guides) from my childhood place of sanctuary are juxtaposed with salvaged patterns of discarded security envelopes. The childhood objects represent refuge while the envelope patterns act as a motif exploring mankind’s desire for control. The ability of encaustic to embrace the serene and ethereal aesthetic of safety, while also highlighting the ephemeral nature of control, makes it an ideal material for these pieces. Vellum and Dura-lar create a similar aesthetic as encaustic and are visually cohesive for developing color studies.
Emily Boutilier Sullivan
Painting connects me to truth. I crave the sun as it illuminates the ocean and in the wind as it rustles trees and pushes clouds across the sky. In these observations, and my paintings, I work to capture and experience a timeless truth in the world around us. Compositionally, a viewer explores the painting, just as the painter explored the landscape. I consider myself equal parts artist and adventurer. Artists have trekked the United States in search of a venture that awakens the mind and spirit, and would come back to their studios to create massive landscape paintings to be shared with the burgeoning country. I associate nature with emancipation, freedom, and independence, but also togetherness, community, and family. Cycling with my family throughout my childhood brought many experiences in Ohio and Midwest landscapes, and culminated in a cross-country cycling adventure. As a family, we experienced the beauty, magnificence, and diversity of the American landscape. During a three-month solo painting trip following Hudson River School painters’ footsteps, I discovered that even during peak tourist season in our nation’s most popular national parks, one can still find silence and solitude. The lands in our country, and throughout the world, tell stories one must be present to hear – by painting en plein air, I am witness to and inspired by these narratives in a way I cannot be from an indoor studio. I believe, as Asher B. Durand did, that the best studio and instruction is in nature itself. If not through on-site painting, having an experience of the landscapes I paint is crucial to my creative process. These places are our nation’s antiquities, more ancient and beautiful than anything created by man. My paintings capture both the quiet solitude and shared community of public landscapes, which are sacred, alive, and spirited.
To write and artist statement is to ask me to limit my art; To limit pure intuitive, authentic, vulnerable truth. I present to you, all that I can offer. To write a statement is equivalent to writing over my art. With every word I limit myself; constructing a framework for you to deconstruct the mystery of my works. I do not wish to participate in the murder of meaning instead I wish the viewer to crawl, struggle, and fight at ground level for the meaning and truth. Why ask the artist to write what is seen in its most genuine form inside your mind? We do not ask the writer to draw a picture to summarize their book, we do not demand the composter to write a statement to define their music.
I hold a mirror up to myself to reveal fragmented, overlapping, contradicting meaning and memory. My memories are yours to interact with, collapsing the distance between my mind and yours. The act of viewing dissolving time which leads to a rhizome of memory and a melding of minds. Personal, public and private histories all comingle, illuminating how information is consumed by the individual and calling into question methods of control based in the former. The onslaught of information creates a new, truer form of thinking and memory in which everything is tried and tested, and nothing is left sacred. Our life is built on the bones of the failures of our forefathers. In order to construct a new world based in a new era to push out the old, we must exhume the bones for all to see, to put our demons on display and shine the spotlight on them until, they are ashamed and embarrassed.
Carrie is currently working on her MFA with a Fibers concentration at Colorado State University. She received a BA from the Evergreen State College in Olympia, Washington. She also received a Fiber Arts certificate from the University of Washington in 2011. Carrie’s work is primarily wearable forms that she makes from paper and hand printed fabrics. She has been teaching workshops, classes and private lessons in sewing and textile arts since 2010. When not working in the studio, Carrie is proud to be the Teaching Assistant for Pretty Brainy, a STEAM organization in the Fort Collins area.
Graphic designers add the music to visual media. We control the tone, the style, the feeling, and the emotions reflected in the piece of art. Each element has meaning and symbolizes the goal or message. There is not one solution but many. Design takes technical skills as well as creative flare and imagination. Since 2000 I have worked for and with many clients in a multitude of industries. I spent the time pushing the boundary of the expected, excelling in a deadline driven environment, exploring the fundamentals of design and the technical aspects of the graphic design field, acquiring business best practices skills, learning marketing fundamentals, researching what defines a successful visual piece, gaining skills in relationship building and management, and mastering how to obtain the desired results in the end. Teaching has always been my dream. I look forward to utilizing my creative side as well as my goal of helping others through teaching.
Metalsmithing and Jewelry
Life is not static, not fixed. It is comforting to presume that some things are assured, things like: where you are from and who you are. I struggle with the idealistic concept of a fixed sense of home and place in connection with personal identity, particularly within current cultural context. The navigation of our internal realities is determined by our interpretation of the external physical world. This is a flux between interior and exterior, concrete and abstract, used to create a construct of belonging.
I aim to capture the essence of the liminal transitory state of life by referencing passageways, thresholds, and openings. My work is rooted in metalsmithing techniques and I rely on the semiological qualities of materiality to understand and create an expression of the spaces that are in-between.
I am intrigued by a dichotomy. There is a collective human need to live in close proximity to the natural world, but in this age of technology it is increasingly more convenient to live out of sync and alienated from a natural existence. I find the process of making to be a fluid way of retaining a connection to my physical and present place, to elicit pure and naive wonder that came so easily to a younger me, and as a way of forming a steadiness which grounds the passage of time in something measurable in moments rather than seconds or years. I see the landscape and its inhabitants change over time, due to natural cycles and human intervention, and I worry less about the physical changes and more about a mental alienation from our roots. We are natural beings living in unnatural ways, but through the physical and bodily act of making in the land and with the earth I feel most acutely connected to my place and sense of self. I try to keep in mind the complexity of life, the inevitability of death, and the possibility of a collective unconscious that embraces humanity in a web of biology.
The process of creating these prints has become as important as the images themselves. These images explore the environments I exist within. The work is intended to capture moments that stand out—the reactions of time and memory—this individual-internal reaction to the external world. Using the print process my images depict the transition of how everything is in constant flux changing from one thing into another. For me this starts at building a composition, putting this basic idea onto a perfectly machine polished piece of zinc, and through discourse with nitric acid, coming to an agreement between the idea conceived and the final product.
The plate becomes a symbol for place, and the process of making a printable matrix, becomes time; taking a fixed point, solid material object, and making it into something else entirely, a finished piece of artwork on paper. I am currently only using intaglio for this end, as I feel the processes involved, are more directly related to the ideas I am working with. The main processes I focus on are spit bite, deep etch, and finish with viscosity printing. Spit bite offers less clear imagery, with subtle, but extensive value changes. Most of the time I will also use a deep etch to juxtapose the softness created by the spit bite; it offers hard lines, crisp shapes, and aggressive textures. The deep etch also allows for better results with a viscosity print, because it creates definitive levels of etching so that there can be color mixing as well as pure hues, to help add another level of visual dissonance, and an emotive quality.
It is important for me to explore my subconscious through restrictive processes. I deny myself visual reference to better understand the inner workings of my mind. It is only after I finish an automatic drawing that I feel It can be reflected on. I reflect on these states of being by reworking the original drawing and using it as a foundation for secondary or tertiary works of art. Each time the work is carried over I let it remain open to change and evolution. My goal is to refine the new image to a point where I feel I have communicated a lesson learned during the automatic process itself. Reworking the original image is an act of meditation, remembrance, and transfiguration.
Samuel Dong Saul
Graduate Studio Phones
Computer Lab; 491-3514
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