Faculty Exhibition 2025

Petal Plant, 2022
ceramic and glaze, 20” x 12” x 2”

Petal Plant is part of a body of recent work that explores the space and forms of the garden. These pieces are inspired by flowers from my garden and that I find in the world around me. I am interested in the garden as a space for growth, renewal and transformation.

nikkireneeanderson.com
Instagram: @nikkireneeanderson

Bladder, 2025
oil on panel, 4” x 12”

A partially deflated balloon spotted in the underbrush while walking on the Harper campus leading my thoughts to the following:

Stupid balloons! Why does Harper have all these stupid balloons around?!
A Heron could choke on it!
Violet against orange leaves and twigs (late October). Wow. Beautiful.
It looks like a vestigial organ (like my long-gone appendix).
Nature's unwanted organ?
I'll place it in the camera frame so I'm shooting above and centered so it looks like forensic evidence to be examined.
Littering is a crime!
At least when I was growing up.

The Last Kingdom/ Water, 2024/2025 (back side)
mixed media on DuraLar, acrylic, 40” x 25 1/4”

I like to play with space, enmeshed in a mixed language of painting and drawing, language that for the most part is abstract but contains elements of calligraphy, landscapes, building references and animal-like indications. I am concerned with creating a sense of motion never quite obtaining equilibrium. I like to push the illogical through interesting spatial relationships, using biomorphic form that embraces intuition

annblaasart.net
Instagram: @annblaas

Lincolns: Portrait of Hugh Goffinet, 2022
oil on linen, 48” x 36” x 2”

Costumed interpreter Hugh Goffinet posed for this painting at Fort Stevens, just outside the US capital, where President Lincoln stood under enemy fire. Wearing his uniform of the Abraham Lincoln Brigade, Hugh moved through the portrayal of American volunteers fighting Franco’s fascism in the Spanish Civil War.

Girl with Bob Dylan Poster, 2023
oil on linen, 18” x 12”

My favorite subject is the human figure. Among my aims are to continue the traditions of representation in painting, which includes narrative content. A contemporary figure painting can reconnect its audience with the wisdom and delight of myths and stories and challenge the viewer to consider human nature as both progressive and unchanging.

The human body continues to play a vital role in my work, as it allows me to both a meet a technical demand and to explore its spiritual, moral and political condition in contemporary culture. I paint from observation of the subject posing before me, unmediated by photography or digital imaging, with the desire to command my subject to remain on the canvas long after they have departed.

cargocollective.com/andrewsconklin
Instagram: @andrew_s_conklin

Wrapped in Plastic (Hulk 378), 2023
vine charcoal on paper, 23 1/2” x 17 1/2”

My goal is to create work that will justify itself and assert its own logic based upon my own rather ill-defined criteria, which, if reduced to its simplest, would be “Does that feel right or wrong?” My working process consists of improvisational modes where one move dictates the next response, which dictates the next and so on, and more analytical modes where the validity of each move is questioned, leading to simplification, reduction and removal of any portion that does not assert itself as correct. An idea exists at the beginning of each work about the intended course of the process and a vague notion about the shape that the whole will take at the end, but that plan is usually abandoned and reasserted several times throughout the process of its creation.

all ways / open, 2023
screenprint and monoprint on fabric, metal binder clips and grommets, jasmine rice, 21” x 10 1/2”

If the diasporic body is in constant motion in between cultures, how does it come to rest? My practice explores this indeterminacy through entangling stories of geological time and mundane objects. Studying ancestral lineages of these objects and food, I shake them from rest and scatter them into uncertain hybrid forms of newness.

serenahocharoen.fish
Instagram: @ser_ebob

Mammalian-splain, 2024
oil on panel, 18” x 18“

A felt sense is not a mental experience, but a physical one, a bodily awareness of a situation or person or event. It is an internal aura that encompasses everything you feel and know about a given subject at a given time…encompasses and communicates it to you all at once rather than detail by detail.
-Eugene Gendlin, Focusing

This work is part of a larger body that represents felt inner phenomenon composed of transient forms that present as synesthetic reconciliations of image and somatic sensation. As I undergo training towards practitioner certification in Somatic Experiencing, a body-based therapeutic modality aimed at resolving symptoms of stress, shock, and trauma, I have come to further understand some of the unique sensibilities through which stored experience content can become contained and released via body awareness and movement. This body of work explores what it’s like to attempt to grasp the outside trans-subjective world through the wordless language of painting and body-processing exchange. Referencing histories of abstraction in my image construction, my painting process consists of probing for points of clarity within the shifting seas of inward presence. The paintings are both pictures of an all-at-once sensation and a map of the process. Color and form play a central role in aiding to identify expansion and contraction of psychological dimensions.

katherinejost.com

We Still See You, 2024
textile, wax on subfloor panel, 24” x 24“

Object and materials, even those with a function, can all be used as a mode of representation for communities, people, and cultures. When arranged, material can become language or a sign. Under this arrangement, the language or sign (the material) can tell stories or present ideas. This body of work is an attempt at arranging materials to entice ideas while telling a story.

This Empty Place, 2025
gouache, gesso, and conte on mdf, 7 1/4” x 9”

Chilly, cloudless night
The stars swallowed by the moon
Lovely Empty Place

Parcos Ghandi, Mumbai Airport, 2024
digital photograph, 13” x 10”

This image functions within the time-honored tradition of straight photography, an approach typified by Alfred Stieglitz. This practice emphasizes the inherent qualities of the photographic medium by rejecting extensive manipulation beyond subject matter, composition, and in-camera framing. The photographer’s role is, essentially, to recognize the photograph from what already exists in the world, rather than to construct a scene before the camera or alter it substantially after the fact.

The ironic use of Gandhi as a device to sell luxury consumer objects is what drew me to make this photograph. I was also attracted to the formal geometry of the scene and the multiplicity of reflections within the image. The nearly life-size mannequin’s uncanny realism and seemingly inexplicable hand gestures, compounded with its absurd display within a glass vitrine—as if a museum display or a valuable object protected behind security glass—allow for further layers of meaning to be excavated.

Section 3:4, 2024
acrylic, wood, stainless steel, aluminum, 35” x 45” x 8”

The things I make are part of an ongoing exploration of light, material, space, and place. In both my large installations and smaller sculptural constructions there is a dialogue occurring between their materials and the space they occupy. Light and place are key elements of the language used in this dialogue. I often use maps and the information they contain as a way of defining site. In the same way light and shadow can heighten one’s awareness of space, maps widen our experience of a space to a much broader concept of place. This expands the definition of site and the idea of site-specific in my work.

jasonpeot.com

The Skys In My Head Are Busy With Thoughts, 2024
acrylic paint wood constructions, 24” x 30 1/2” x 1 3/8”

My painted constructions hover between painting and sculpture and are intended to invite a meditative encounter. Though these works sometimes reference everyday objects, usually those associated with childhood play like toddler toys, candy, gameboards, etc., they are ambiguous enough to allow viewers to make their own connections. My interest in formalism is based on the idea that the whole can be greater than the sum of its parts because when this happens, there is the potential to move viewers beyond material, information, and knowledge.

perrypollock.com
Instagram: @perrypollock.art

Backup Parachute, 2025
window cling, 3” x 16”

I am pursuing my dream of becoming an artist but keeping my day job as my backup parachute.

Through the Looking-Glass, 2024
viscosity mono-print, 8” x 11”

This image was generated from a matte board printing plate with an application of modeling paste, manipulated while wet with various tools and techniques and allowed to cure. The technique of viscosity printing was developed in the early to mid-twentieth century by an English chemist and artist named Stanley William Hayter, who founded a printmaking studio in Paris known as the Atelier 17 which was associated with the Modernist and Surrealist movements. The process incorporates relief or intaglio plate surfaces of multiple levels and allows the artist to apply multiple layers of ink and color to a single plate, without relying on multiple plates and color registration. By varying the amount of oil medium in successive rolled applications of color, inks are allowed to be accepted in some areas and rejected in others, allowing for dramatic color and value contrasts.

Cosmos, 2023
wood, steel, ceramics, plastic, fabric, cord, 22” x 12” x 5 1/2”

The sequential process used to create my work reflects the mechanism of human memory that forms a new interpretation of events every time we recall them. This fluidity is a powerful coping adaptation that allows us to rewrite the past to embrace the present.

Instagram: @sitnikov_anastasia

Axis Mundi (section), 2024-ongoing
plywood, steel, paint, caulk, 60” x 48” x 30”

I explore the intersection of time, history, and cosmological philosophies, blending randomness with divine proportions to understand the built and natural world. Inspired by classical philosophers, mathematicians, and astrophysicists, I investigate how people collectively seek belonging.

The object on display in this gallery is a representation of a much grander work, called Axis Mundi, that I have been working on for more than a year. When the artwork is fully assembled, it stands 5 feet tall. It is 10 feet wide, and 15 feet long! Essentially, Axis Mundi is a stage for music and dance, and I am working with dancers and a choreographer to ‘activate’ it. Through this work I am investigating the ways that sculpture and installation influence viewer interaction, using visual art to guide movement and performance, fostering collective thought and community engagement in the process.

philipspangler.com
Instagram: @the.phil.spangler.rodeo

Flowers, 2024
ceramic, wheel thrown and carved, 20” x 12” x 2”

Once upon a time, I was told that if my mother didn’t like my artwork, I was doing something right. To disprove this theory, I decided to make something she would love. It turns out I love it too.

kristenwalk.com