GENERAL FINE ARTS 2015
GeneralFineArts2015
The General Fine Arts Department at the Maryland Institute College of Art is pleased to present the 2015 Senior Thesis Commencement Exhibition. The interdisciplinary nature of the group has been nurtured and guided through out the sophomore, junior, and senior years to produce remarkable work. The GFA major exists specifically for students whose work bridges media and disciplines that include multiple departments. A tradition of new beginnings started with Intro to GFA course. The students refine their skills with an exploration of personal expression and ideas. The “Power Hour” is something to remember forever. Whatever medium you have chosen to pursue while you were at MICA will serve you well. I look forward to seeing what you will do with your talent and skills in the future. You possess all the tools you will need for meaningful expression within the social context in which you live and work. I know you are highly motivated to be the best you can be. The world is yours’ to conquer!
Rex R. Stevens Chair, GFA & Drawing departments
When we gathered in Falvey Hall on the first Monday of our weekly Senior Thesis meetings in late August of 2014, graduation seemed really far away. Subsequently, after being assigned a studio in the newly named Fred Lazarus IV Gradate Studio Center and meeting your core peer group, you ventured on a creative journey that led up to your fantastic commencement exhibition. “Visiting Artists at Noon”- our Monday Lecture Series included - Leonardo Benzant, Beverly Fishman, Barbara Friedman, Judy Glantzman, Sharon Horvath, Alex Kanevsky, Fabienne Lasserre, Eddie Martinez, Nick Pappas, Rene Trevino, Alexis Rockman and Beverly Semmes. Judy Glantzman was in residence for the year, serving as the Genevieve McMillan Reba Stewart Endowed Chair. Your final Thesis Defense and first semester Review Board provided intense, focused discussions of your artwork by a three-person faculty jury. You created professional quality artist statements, resumes, narrative biographies and business cards, and you attended numerous professional workshops. Some of you applied to graduate schools, internships, residencies, grants, galleries and prepared for life beyond MICA. Many of you participated in exhibitions on campus and in the greater community. Mainly you spent many hours in your studio developing your art.
This year’s Senior Thesis Core Faculty included Ellen Burchanel, David Cloutier, Marian Glebes, Fabienne Lasserre, Barry Nemett, Phyllis Plattner, Renee Rendine, Robert Salazar, Rex Stevens and Howie Lee Weiss. Seon Park a Mount Royal Graduate Student, was our Program Teaching Assistant. Various artists also visited your core groups at the invitation of your faculty, enabling you to meet and discuss your artwork with professionals in the field. What a year! I wish all seniors the best of luck for a rich and fulfilling artistic life.
Howie Lee Weiss Head of Senior Thesis GFA PTG DRW
Featured Artists
Sam Acuff Jenna Rees Borstelmann Bree Berry Elena Brunner Jeremy Cain Carly Carlock Seowon Chang Shengdan Chen Rae Clatch Joseph Dejoya Jennifer Denham Heather Dorsett Akil Dudley Hannah Elliott Jean-Luc Gallic Vivian Nicole Garcia Skylar Gibbons-Reich Amadeus Guchhait Tamsen Hall Rachel Hayden Mickey Hoover Sydney Hudspeth Amelia Hutchison Brittany Jasin Phillip Jenkins Kat Justen Esther S. Kim Julia Lipovsky Hope Llanso Melissa Mariano Natovian McLeod
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Naomi Miller Narae Mun Annie Murphy Erin Myers Erina Nashimoto Hesuh Park Ian Privett Marisa Quin Connor Rensimer Blaine Roberts Teresa Rodriguez Melissa Schmidt Lessa Selig Jamiee Shim Yehee Shin Gabriella Simpson Emily Smith Beth Sorensen Katelyn Sugalski Meiying Thai Qin Tan Daphne Taranto Benjamin Torres James Trevor Rachel Williams Erika Woo Jane Yoon Julia Zeff Sihui Zhang Yihong (Angela) Zhou Chris Zickefoose
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→ This Plane is Definitely Crashing Oil on Paper 48″ × 30″
Sam Acuff samacuffstudio.com
With a general interest in boxing as a sport and as a culture, I take an interest in rendering frames of action with inherent narratives that are often overlooked in the fast paced consumption of full contact sports. Often looking to instances that contain residual intensity between moments of physical exchange, I attempt to translate the theatrical narrative or phycology of these more telling moments that I feels transcends the theme of the work being solely about the sport, and being able to touch on the humanity of the subjects”
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→ Wedding → Graphite 24″×24″ 2015
No Guts, No Glory Charcoal on Canvas 60″×60″
→ Strange Honor Oil on Canvas 42″×63″
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→ Things About Her Video
Jenna Rees Borstelmann
These still frames are from a series of videos that are part of an interdisciplinary body of work. I am presenting visual, verbal and interpersonal relationships to pose questions concerning intersections of the mental, physical, and digital during a time when these different planes exist with equal importance. By blurring the lines between social and private I am celebrating and exploiting the duality within and around us. The footage is primarily shot on my iPhone. I reveal my medium and process though intentional camera shake, screens, mirrors, and glass, as well as, the presence of my hand and edits crafted to reference the role of the phone in action and reflection. The duality I am interested in forms love shapes with closeness and distance, the romance of blank space and the tragedy of the one step removed, the collective consciousness of the millennials and the individual experience of the ephemeral. →
Dolt, Don't Dolt Video
→ Crushing Video
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Bree Berry
My work offers glimpses into a world seen through the female gaze. In this space, the taboos within personal relationships are explored.
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Untitled Acrylic on Canvas 4'×6'
→ Untitled → Acrylic on Canvas 3'×4' → Untitled Acrylic on Canvas 5'×6'
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→ Industrial Park Charcoal and Conte 15″×14″ 2014
Elena Brunner cargocollective.com/elenabrunner
I draw what I do not understand. These examinations do not achieve intellectual clarity, but rather they help me to reach a state of mental peace.
→ Cathedral Charcoal and Conte 22″×36″ 2014
I find truth in fixation and repetition. There is an intimacy that comes with drawing a place or a face over and over again. I draw to preserve and process pervasive thoughts and feelings, but through re-examination my memories become distorted. My process is heavily based in searching and gathering. I gain security from translating what I see into my own hand and mark. It is an exercise in memory, where I deconstruct and pull out what I feel is valuable or important in a subject. I am interested in withholding parts of the story. My intent is accessed through the drawings ‘cracks’, as peripheral content. I aim to capture something subtle about tender and aggressive marks, quality of light, and an image’s quietness.
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→ Mira Amongst the Stars Photograph 2'×3'
→ Mojan Tourism Poster Screenprint 13.5″×19.5″
Jeremy Cain jeremycain7.com
I create artifacts detailing the story of a cyber-tropical island paradise called Mojec. The foundational tenet of Mojec is the integration of human beings, sustainable energy, and the Internet into one holistic creature.
→ Ghost In The Ocean Exhibition Gateway Gallery 2 2015
This project began when I printed my own money, with my face on it, using the same process employed to print real money. Now, the artifacts include screen printed tarot cards, gilded deer bone necklaces, religious iconography, and a neon sign. Currently I am collaborating with MICA’s Urban Gaming Club to design their annual Spring Game. Mojec’s civil war will be the theme of this year’s game. For one week in April students will carry Nerf guns and foam boffer weapons to enact the story of how the Voiders, Splicers, and Masters fought for control of Mojec. Final documentation of this project will emulate an anthropological museum, with relics from the war displayed with informative name cards.
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Mari Ghost Dress
Doyoun in Prototits
Carly Carlock carlycarlock.com
My current body of work is an experimental fashion line called WAWA, that deals with the negative and positive aspects of women's sexuality. In popular American and global culture, a recurrent trend appears, one where women are taught to be ashamed of their body and to cover it up, and were they to not to do so, fear being seen as something socially sinful. Women are responsible for giving life and nurturing humanity, and yet they are 2nd class citizens, objects used for recreation and pleasure. Their bodies carry such negative connotations and are seen as scandalous, disgraceful, and the picture of depravity. → Audrey in WAWA Shorts
In a strange reversal of these ideologies, WAWA chooses to display female sexuality in a positive way. Sexuality is not a perversion or a weakness, it is a strength and biological power. Through use of many materials like sheer fabric, sequins, and an array of fibers, WAWA is a bold statement of femininity. It exposes boldly and barefaced, exhibiting the pride that should accompany all womankind.
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→ Leslie King-Hammond Graphite on Paper/Wood 12x18″ left, 24×18″right
→ Mike Tyson Oil on Wood 11x14″ left, 14×11″ right
Seowon Chang seowonchang.com
I work with portraitures, focusing on realism and the process of making. Drawing someone in detail is a way of learning, and a moment to develop intimate visual awareness of him/her. So the work itself becomes a new form of communication and relationship between the subject and me, and also the viewer, through a lens of time, observation and empathy, which makes it more apparent and clear. The void that the figure occupies acts like a room for different interpretations and responses that become a part of the relationship between the observer and the consciousness of the image.
→ Sean Oil on Wood 28″×36″
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Shengdan Chen
→ Untitled Mix Media 20.3 cm ×20.3cm 2015
→ Untitled Mix Media 20.3 cm ×20.3cm 2015
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→ Victoria Oil Paint on Canvas 36″×36″
→ Null Void Video Still 8'×5'
Rae Clatch
L’appel du Vide The call of the void — the recoil to live. My work is an exploration of what lies within the line separating these two forces. When memories, moments, and hopes perfectly align with pain and the temptation to finally rest, what is left? I was born in 1992 and grew up in Chicago. My work is concept-driven, therefore I work in whatever medium is necessary for the clarity of expression.
→ Sagawa Intaglio Print 13″×8″
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Young Lovers I Mixed media 50″×38″
Study After Caravaggio Mixed media 50″×32″
Joseph Dejoya josephdejoya.wix.com/josephdejoya
I strive to make drawings and paintings that contain overlapping colors, forms, shapes and images to enhance the narrative and the concept of duality. My work, which is, in part, inspired by the artwork of Old Masters, is transformed through this layered process. It serves as evidence of my journey or unfolding narrative. The majority of my paintings explore concepts associated with duality in the realm of storytelling between two individuals. Recently, I have been addressing my seven-year relationship with my girlfriend. I use autobiographical material as the starting point in order to create fictional narratives that illustrate connections between us, two opposing, yet interlocking spirits.
→ Young Lovers II Mixed media 50″×32″ inches
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→ Incubator Polymer clay, cotton fabric, mesh, acrylic paint, shellac, wood 2'×3' 2014
Jennifer Denham jendenham.com
Humanity’s preoccupation with power and ritual has been demonstrated throughout history. Beginning with an interest in the excessive visuals of sacred architecture, I began to examine effects holy spaces had on people both on a physical and psychological level. Questioning how easily we are able to let ourselves become submissive. Leading me to investigate the repercussions of building oneself up to a divine position. Through body modifications like eating disorders, much like the ritualistic way of worship, we alter ourselves to defy natural physical boundaries. Humanity has its own rituals based on anxieties/phobias. Many are necessary in placating our subconscious need for perfection, though these routines are mainly met with shame, fear, and regret. Using inspiration from architecture, history, and cinema, I construct small windows into narratives explaining anxieties concerning mortality. I aim to make sense of the ritualistic relationship between humans and the force and fragility of power. →
Purge Cast White Chocolate, Pigment, Sugar 2.5″× .5″ 2013
→ What Happens Now?/ Am I Doing This Right? Intaglio Print 8″×17″/ 6″×8″ 2014
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Heather Dorsett cargocollective.com/heatherdorsett
→ One Cyanotype on paper 8.5″×22″
Faith and spirituality are universal notions, which a person can choose to abide in or not. By choosing to abide in faith, I in turn make work based off of Biblical scripture and the individual relationships people establish between themselves and a higher entity. My work enters a spiritual territory that is not strictly religious but rather a place that is engaging and speaks to the spiritual world. To realize this I do not use traditional religious imagery or icons. By using the cyanotype photographic process I use light to create images, which relates to the notion that God is light. Photographing scenes and manipulating them becomes a spiritual practice within itself, a form of prayer or meditation.
→ Trinity → Cyanotype on Paper 22″×30″ → The Vine Cyanotype on cotton 8.5″×77″
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→ Anticipation Photography 9″×11″
→ Detail Photography 9″×11″
Akil Dudley
→ Pursuit Photography 9″×11″
For my body of work I have made a narrative series of representational surrealist paintings and photographs that have a cinematic quality. I photograph scenes that use highly staged and exaggerated light that strives to have almost the same effect as tenebrism in real life. I have my models in a darkened interior space that have sparing light to create a mental detach between the artificial, staged and polished environment to the depth of the emotion that the protagonist conveys; moments of awkwardness, paranoia, and at the end of my narrative, delusion. I strive for my paintings to appear candid, supremely self-conscious and to have the clarity and naturalism that can only be achieved in photography. For I feel in most representational paintings, the case is it is art trying to imitate life, to where in most photography and film, it is life trying to imitate art; by working from photography I try to blur the lines between photography and painting, and by the end making the pieces about captivating imagery altogether.
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→ Fracture Graphite 22″×30″ 2014
Hannah Elliott
I’ve always been fascinated by the shapes and forms constructed by the lights and shadows reflected in glass, and while my drawings are hyper-real representations, they still have a sense of abstraction and distortion of light and shadow. I have brought myself into these drawings, taking them to a more personal level and depicting the emotional state I often find myself in. As I deal with various levels of anxiety and depression, I rarely let others see the side of me that drowns in these feelings. The glass serves as the barrier I place between myself and my surroundings– the transparency allowing others to realize how I distort myself to their eyes, while also exposing to them the troubled state I am in. For me, creating these pieces is a way to cope with the negativity I feel, by serving as a solution to overcome my fears of vulnerability.
→ Refraction Graphite and Charcoal 40″×26″ 2015
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→ Barrier No.3 Concrete, Rubber, and Paint 3.5″×7″ 2014
Jean-Luc Gallic
The infrastructure of the highway removed from the context of the capitalist landscape reestablish moments of stillness, nostalgia, and beauty in the forgotten and passed over.
→ Barrier No.8 (detail) Concrete and Rubber 3.5″×7″ 2014
→ Barrier No.1 (detail) Concrete, Rubber, and Paint 3.5″×7″ 2014
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→ Empathy Charcoal and Graphite on paper 10″×12″ → Tears of Change Charcoal on paper 72″×42″
Vivian Nicole Garcia
Identity and gender are central parts of my work. I particularly focus on female identity that is mostly influenced by idealizations constructed by the media. The exploration of the woman’s experience comes in the form of drawing, printmaking and photography. How women are portrayed and how they portray themselves is an important topic to be discussed today as it was in the past. My working style is built around a narrative portrait and the important readings one can obtain through facial expressions. By using masks and layers, my work explores many sides of the female identity. In my work, lighting and pose are very important considerations. The inspiration for most of my projects come from questions I have about being a woman living in today's society. I avoid answering any questions, I merely want to address them and let them exist.
→ Tears of Grief Charcoal on paper 58″×36″
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→ Untitled Army Cast dirt, cast plaster, wood, dyed fabric 4'×16″×20″
Skylar Gibbons-Reich
My art is influenced by growing up, the feeling of shifting from one being to another. I have been interested in the importance of objects, especially our toys, and the way meaning shift, decays, and mutates over time. I work with a variety of materials: cast dirt and plaster, modeled clays, fibers, and drawing. In my most recent work I have been experimenting with sprouting plants out of my dirt cast sculptures.
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Untitled Faux fur, and cast rubber 11″×10″×7″
→ Ooo-ooo Growing up Cast dirt, Sculpey, and Wood 4'× 5″×5¼″
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→ ProjectBranded.com Advertisement Digital Print on Cotton Jersey, Mixed Fabrics, Digital Photograph, Graphic Design 8.5″×11.7″ 2015
Amadeus Guchhait projectbranded.com
Project BRANDED scrutinizes public reception and conception of intersectional trans identities through the metaphor of branding. Branding is ‘othering’ that strips people of their agency, pigeonholes them, and robs them of individual identities. In a commercial sense, branding also describes the way a singular trans image is packaged and presented to be easily consumable. The biggest concern of BRANDED is how intersectional oppression reconfigures experiences of gender nonconformity. The roles that language, intersectionality, performance, and ‘gentrification culture’ play in the branding of gender and sexual minorities are explored through this multidisciplinary project. BRANDED is focused on individuals. I make every garment to order, from sewing to printing. Everyone is invited to participate in whatever way they feel comfortable; connect with us at projectbranded.com or projectbranded@ gmail.com. By overturning traditional business and advertising practices, BRANDED allows people to take back, as it were, the power of branding for themselves.
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GET BRANDED Coming 2015 Advertisement Digital Print on Satin, Digital Photograph, Graphic Design 11″×11″ 2015
→ Loyaltee Asterisk Tee Page Illustration Vinyl Graphic on Cotton Jersey, Digital Photograph, Graphic Design 11″×8.5″ 2015
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→ Keiro Found Sticks and Branches and Blue Dyed Hemp 3½'×2' 2015
Tamsen Hall
A series of work dedicated to the exploration of combining natural elements with that of the hand. Inspired by the Japanese Wabi Sabi movement.
→ Keiro Found Sticks and Branches and Blue Dyed Hemp 3½'×2' 2015
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→ January Heat, Don't Move, and Club Chuck Acrylic on panel each 14″×11″ 2015
→ Garden Party" Cut, painted and folded paper 15″×15″×5″ 2014
Rachel Hayden cargocollective.com/rachelhayden
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My recent works are foldable popups and acrylic paintings on panel or canvas. The source of information for these works is the life-drawings in my sketchbook -- drawings done out of love -- of friends, home interiors, statues and master paintings. The scenes which come from these drawings are hybrid realities, simultaneously fictional and factual, nostalgic and hopeful.As each piece is built, moments become narratives in small but significant acts of everyday life. Autobiographical bits and pieces are pushed and squished into a new realm, truer than reality. Scenes are set within controlled color atmospheres, with a tone between sweet and somber. Figures are visually stacked on top of one another in a flattened space that has potential to either comfort or suffocate. The paintings are tightly composed in an attempt to control and preserve friendships, relationships, and memories which threaten to fade.
Ballerina Dreams Acrylic on Canvas 46″×48″ 2015
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→ Untitled Newspaper, Masking Tape, Human Hair 8″×6″×11.5″ 2014
→ Untitled Newspaper, Masking Tape, Human Hair 8″×14″×13″ 2014
Mickey Hoover
I work in an organic way responding to found, free, and cheap materials. I build and discover figurative forms by trusting instinct and accumulation. Primarily working with sculpture and drawing, the aspect of process and material are not something I wish to disguise, but embrace.
→ Untitled Newspaper, Masking Tape, Human Hair 8″×6.5″×8″ 2014
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→ Buddies Socks and upholstery Scraps Various
→ Exploded Socks Pen, 2x5 rows of 3″×2.5″ squares
Sydney Hudspeth
This work represents an investigation of socks. It grows from a consideration of the socks functionally, but also as consumable goods, a means of personal expression, comfort items, and art materials. The work utilizes my relationship with hand crafting and sock collecting to explore the distinction between habitual and compulsive action. These pieces were prompted by the physical evidence of years spent acquiring socks and are a means to contend with the accumulation. Developing a meditative practice provides a space to reflect upon this drive to collect. I am interested in the concept of collecting useful items that are not directly useful to the collector (my collection includes children’s socks that I cannot wear.) Through this work I aim to combine my need to make art with other personal compulsions, such as sock collecting. I rely on craft traditions, notions of play, and self-reflection in order to achieve this goal.
→ Hello Sock Eater Socks, Glow-in-the-Dark Paint, UV paint Various
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Unititled Mixed Media Quilt 5'×5' 2015
Unititled Mixed Media Quilt 5'×5' 2015
Amelia Hutchison ameliahutchison.com
My father, Bob, was killed on New Years Eve of 1997. He was beaten to death by two men. After five years of silence police arrested Ryan Aldridge. My mother and I both chose to meet Ryan face-to-face to understand what had happened. My artwork addresses the void left by my father and the complicated compassion I have for Ryan. I use video, collage, foundobject sculpture and a mixed media quilt to explore grief, restorative justice and forgiveness. The cornerstone of my thesis is a quilt project inspired by Ryan’s newborn son. It tells the story of my father’s death, the surrounding media coverage and reconciliation. The quilt takes the rough pieces of our shared story and transforms them into an object of safety and comfort for a baby, who for me, personifies the healing that has taken place between our families. → Untitled Collage 8.5″×11″ 2014
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Meadowgrass Silk organza stretched over painted wood 3'×4' 2015
Little Brother Lost My Balloon Acrylic on Silk Organza Stretched Over Painted Wood 3'×4' 2015
Brittany Jasin Brittanyjasin.com
Through writing, drawing, and painting I revel in the beauty and mysteries of life and nature. My work whispers the evidence of time and emotion through material and meaning. The process of making provides means for catharsis and understanding. Each piece is a trace, a fleeting moment, captured for its beauty and seductive powers that encourage further contemplation.
→ Various Paper Pieces Stacked Largest Size 8.5″×5.5″ 2014-2015
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→ Wave Theory Latex and Acrylic 2'×2'
Phillip Jenkins pjart.carbonmade.com
My art is a call to arms, a return to action and a celebration of spontaneity and passion in art making. With these pieces, I seek to explore not only the medium of painting, but those of dance, performance, and zen-like simplicity and poetry. Utilizing intuition, knowledge of yogic and martial arts, a love for calligraphy, swordplay, rhythm, and music; as well as a fascination with minimalism; I explore energy, improvisation, overstatement, and understatement to create flashes of play and fervor. The works stem from a combined method of interpreting visions that come to me while meditating and looking inward, as well as experimentation with various techniques and letting go, allowing the strokes to land where they may. The pieces are focused on gestural strokes: I jump to and fro and strike the canvas as though my brush were a sword, a concentrated force of my will. Inspired by the language of Musashi’s Rings of Power, I make calligraphic actions and different “blows” to the surface. I use found objects and surfaces, building my own tools and implements in conjunction with traditional materials such as ink and acrylic paint. The works are a collection of happy accidents, focused effort and bold strokes.
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One Latex and Acrylic 6'×2'
→ Eye of the Storm Latex and Acrylic 6'×4'
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→ In the Face of Death Oil on Canvas 48″×30″ 2015
Kat Justen katjusten.com
Dark and timeless symbols permeate my paintings and illustrate a preoccupation with death, time, emotion and art as a historical subject. The style and naturalism harken to the Baroque and Neo Classical periods when artists fooled the eye and filled the heart with somber ruminations. Drawing influence from artists such as Caravaggio, David and Bouguereau, the work reanimates a tradition of naturalism steeped in technique and craftsmanship. Materials therefore become an integral part of the process and include hand-made oil paints, cold windmill-pressed linseed oil, natural hog, mongoose and Kolinsky sable hair brushes, and hand-constructed maple, birch and cotton surfaces.
→ Violin Still Life Oil on Canvas 48″×26″ 2013 → Portrait of a Pensive Woman Oil on Canvas 20″×16″ 2014
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→ Untitled Acrylic Painting 30'×40' 2014
→ Untitled Acrylic Painting 30'×40' 2014
Esther S. Kim
→ Untitled Water Color 13'×15' 2014
I love to observe, paint and draw people’s expressions and emotions. I have always been interested in observing people and imagining what they are thinking and feeling. But as I got older, I felt more responsible for my emotional behavior. I noticed adults smiled less. I was less honest about my feelings than in childhood. I believed that controlling my emotions would show maturity. Also I think my mother’s illness contributed to my need to control my emotions. Now I regret the loss of emotional communication between us. In my recent acrylic paintings I really want to explore my emotional relationship with my mother. I use images from old family photos to capture those fleeting emotional bonds. I believe I would be happier and more fulfilled if I were more honest and spoke from the heart – like a child.
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Mouth Gouache on paper, scanned 1.5″×2″
Breathing Acrylic on paper 11″×7.5″
Julia Lipovsky julialipovsky.com
It’s the “not quites” that intrigue me: forms that are not quite an “O,” not quite a mouth, not quite a landscape. By accepting materials with open arms, I seek out a process that allows itself to surprise me, choosing to be both the maker and receiver of images. And then I look at those arms outstretched and consider how they can bend and shift beyond their true form, the way that letterforms blur to illegible marks the longer you stare at them. This gesture of language becomes somatic, like a limb, and I think of the way we, as humans, communicate with one another and the toll and blessing it has on a life. I am interested in the relationship of language and the body, the act of making as a celebration and a record, and the sweetness of being tragic and alive.
→ Abstract American Landscape I Manipulated Photograph Copied, Collaged, and Scanned 11″×8.5″
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→ Intact Watercolor 24″×40″ 2014
Hope Llanso
→ Momentary Watercolor 24″×40″ 2014
I strive to convey purity in my watercolors. As humans, we have an eternal bond to water; we developed in a womb, we use it as a major resource for survival, hygiene, and finally, our bodies are mostly composed of water. My inspiration comes from the serenity that I find in water and art as a holy experience. I study the experience of giving and losing control of pigment within water on large-scale absorbent surfaces. I am interested in the ways in which these organic series of poetic strokes, specimens, and experiments can have a larger influence upon visual practices in meditation.
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→ Untitled Gauche on paper
Melissa Mariano
True light weaves neatly through the course of balance. Maintenance of balance is what I attempt to achieve.
→ Untitled Gauche on paper 8.5″×11″
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→ Harmony Acrylic Wood 6'×4″ 2014
Natovian McLeod
My color choices create an illusion of space that are influenced by the feelings I have with going through changes with the people in my life. By focusing on the frame, I am inviting the viewer to reflect closely on their lives and the people around them. The colors in my paintings change with each movement of the eye, being unsure if the color of the existing structure is a shadow or reflection. Having one edge slightly lighter than the one next to it, the perception of space is altered. As the eye attempts to focus the image, there is a vibration between the colors and verticality.
→ Gentle Agression Acrylic, Wood 13″×1.5″ 2014
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→ Quilted Popcorn Recycled Upholstery Fabric Forms Stuffed with Shredded Paper. Various Sizes, No Larger than 18″ 2015
Naomi Miller naomimillerart.com
I am exploring different methods of soft sculpture and quilting. The forms I create are multiple times the actual size of the object that I am referencing. This extreme scale confuses the eye and offsets the normal association that the viewer has with the objects. Working with fabrics and other soft materials, I create sculptures that involve fondness for comfort and sometimes food. My process includes listening to stories from friends and strangers. I reference puns from my grandfather, secret traditions in Amish quilt-making, and popcorn. I make nouns. I create forms and objects that are on a quest to develop their own language in a familiar world.
→ And if the Cat Falls Through Various Fabrics, Recycled, Vintage, and New, Cotton Batting, Thread 48″×48″×25″ 2014
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→ Fungus Knitting Thread 8″×8″
→ Reminiscence Silk Screen Fabric 4″×4″×5.5″
Narae Mun naraemun.com
Time exists but it is finite. Eternity is an illusion. When one feels stability, there is a desire to arrest the moment, to protect and secure it. I am inspired by this idea in its extreme form. ‘Peter Pan Syndrome’ describes a psychologically immature adult’s absurd desire to remain a child. Ever-accumulating forms reference anxiety and create delusions that a moment can last forever. For me, houses represent nostalgia. I visualize times from my past that I long to revisit, but only memories remain. Memories can be unspecific and glorified, but the idea of home reflects an ongoing unattainable desire.
→ Ambiguous Gap Acrylic on Canvas 40″×48″
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Annie Murphy cargocollective.com/annie-murphy
My work is a collection of fetish objects— objects that I think are inexplicably beautiful and wonderful on their own, and even more beautiful and wonderful when they exist with one another. I’m drawn to objects and materials that feel powerful, autonomous and iconic. I like things that are manmade, I like making new things out of manmade things, and I especially like when manmade things pretend to be what already exists naturally.
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Untitled Acryliconduralar 34″×38″
Untitled Acryliconduralar 52″×27″
Erin Myers erinmyers.virb.com
Color, line, shape, and texture, are just a few things that I consider while making my work. My work is about process and aesthetic. I like to start with a piece, cut it up, dissect it, and then put it back together as if I were creating a new piece altogether. I also enjoy breaking the expected rectangular outline of a piece of artwork; I try to avoid any edges that may even hint at a rectangular surface.
→ Untitled Acryliconduralar 63″×21″
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→ Rotten Oil on Canvas 34″×14″ 2014
→ Toast Oil on Canvas 26″×18″ 2015
Erina Nashimoto
I’ve been painting to document time. I prefer painting realistically in order to project life as I see it. My past work deals with my emotions involving people who are significant in my life. Recently, I came to realize that everything in existence has an expiry date. In my work, I mainly focus on personal fears surrounding the passage of time. For example, close friendships lose their intensity over time, often with no discernible cause. These changes occur naturally but I can’t help wondering about fact and fiction within relationships. As I paint I think about how fruit helplessly rotten over time. I get caught up in stream of conscious thought and feeling of containment.
→ Remigration Paper and Silk 6' 2014
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Hesuh Park hesuhpark.com
I make happy paintings of sad people. My current work consists of narrative oil paintings based on personal experiences. Although the details of the actual event are not necessary, I am interested in depicting sad and melancholic emotions. Many paintings consist of an apathetic figure in a regular and almost mundane environment, although personal and specific. My painting style is often both very graphic and illustrative, yet painterly, where many color blocked shapes sit alongside active brushstrokes, and heavier paint application. Color theory is also important to my paintings as it plays a role in creating space and an overall mood to the piece. In my paintings there is always a juxtaposition of a depressing undertone to what visually looks like a more "happy" painting. If my paintings invoke a mixture of emotions ranging from amusement to confusion to pity in the viewer, then I am satisfied.
→ After School Activities → Oil Paint on Canvas 40 ″×40″ → Bolt Bus Oil Paint on Canvas 3.5 ″×5'
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Ian Privett pokemodernism.com
Electrode, Diglett, Nidoran, Mankey, Venusaur, Rattata, Fearow, Pidgey, Seaking, Jolteon, Dragonite, Gastly, Ponyta, Vaporeon, Poliwrath, Butterfree Venomoth, Poliwag, Nidorino, Golduck, Ivysaur, Grimer, Victreebel, Moltres Nidoking, Farfetch'd, Abra, Jigglypuff, Kingler, Rhyhorn, Clefable, Wigglytuff, Zubat, Primeape, Meowth, Onix, Geodude, Rapidash, Magneton, Snorlax, Gengar, Tangela, Goldeen, Spearow, Weezing, Seel, Gyarados, Slowbro, Kabuto, Persian, Paras, Horsea, Raticate, Magnemite, Kadabra, Weepinbell, Ditto, Cloyster, Caterpie, Sandshrew, Bulbasaur, Charmander, Golem, Pikachu, Alakazam, Doduo, Venonat, Machoke Kangaskhan, Hypno, Electabuzz, Flareon, Blastoise, Poliwhirl, Oddish, Drowzee, Raichu, Nidoqueen, Bellsprout, Starmie, Metapod, Marowak, Kakuna, Clefairy, Dodrio, Seadra, Vileplume, Krabby Lickitung, Tauros, Weedle, Nidoran, Machop, Shellder, Porygon, Hitmonchan, Articuno, Jynx, Nidorina, Beedrill, Haunter, Squirtle, Chansey Parasect, Exeggcute, Muk, Dewgong, Pidgeotto, Lapras, Vulpix, Rhydon, Charizard, Machamp, Pinsir, Koffing Dugtrio, Golbat, Staryu, Magikarp, Ninetales, Ekans, Omastar, Scyther, Tentacool, Dragonair, Magmar, Sandslash, Hitmonlee, Psyduck, Arcanine, Eevee, Exeggutor, Kabutops, Zapdos, Dratini, Growlithe, Mr. Mime, Cubone, Graveler, Voltorb, Gloom, Charmeleon, Wartortle, Mewtwo, Tentacruel, Aerodactyl Omanyte, Slowpoke, Pidgeot, Arbok. 83
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3rd Place Larger then Life Ribbon made from Screenprinted Letters, Fabric, and Frisbee 12″×36″
Doe III Etching and Aquatint Printed on Photo 18″×24″
Marisa Quin Marisaquin.com
I try and explore the concept of “backwoods” American culture and rural Americafrom an outsider view. While I grew up in suburban New Jersey, this interest began with a simple adventure to sleep away camp at age thirteen located in a smallAppalachian area tucked on the side of New Jersey.
→ Memory from a Hike Embroidery 10″×12″
As I spent summers there, I began to grow up and start a relationship with the local inhabitants including my boyfriend. Being with him, opened my eyes to another world as I was introduced to his home which was surrounded by mechanical clutter, forgotten by a working mother and a father crippled by Lyme’s disease. It was here that I decided I wanted to create art that makes the viewer wonder and appreciate thehidden cultures of America and the lives of those who live and work there. I use severaldifferent printmaking techniques including etching and screen printing, as well as drawing and embroidery, to express my views. I hope that my choice of mixed media serves as a way to further push my ideas, as to me it symbolizes my memories and places of interest, located within Sussex County, New Jersey, that constantly collide.
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Connor Rensimer connorrensimer.com
Derived from the 1979 NASA Voyager flyby photos of Jupiter, an observed miracle, my interpretation with paint embraces ephemerality, assuming ambiguously fleshy form, expressing the contradictory 19th century idealist notion that the external world is a product of our sense organs, and serving to fill the gap between the storm system–the cosmos–and the observer. The visual remnant of this turbulent event will likely never be revisited, with regard to our exploratory means and the life stages of the planet. Rarity and preciousness is resultantly expressed with these factors in mind. As a cosmic event, it is beyond direct physical experience and will remain so. The forces we surmise to be at work are beyond the capacities of our bodies or technology to fully comprehend, hence it assumes a metaphysical status.
→ Melphace 6.1 Oil on Canvas 48″×70″ 2014
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Blaine Roberts
Am I dead? Yes. What was I searching for? Fire. Where was it? Within.
→ Ice Scape Digital image of sculptural installation 2015
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→ Model 2 (detail) Multimedia
→ The Italian Dream Video Installation
Teresa Rodriguez teresarodriguezart.tumblr.com
I am always interested in finding the connections within contradiction. Or seeming contradiction, anyway. During my semester in Europe, and now that I have clicked back into the mold of American existence, I aim to pierce through the layers of time and dimensions of perception (past and present, culture and culture, personal and universal). My goal is to arrive at something; an understanding of the world and its effect on my private world (my life), and thus begin to grasp at something else: a wild dream of happiness. Whole swaths of humanity living in a similar quiet desperation as I have been could benefit from the power of subversive thought. I explore thousands of years of the Why, while at the same time offering a study in my (all-too-common) frustration. The eternal Feminine, the internal Feminine, the oppression of both, the futile struggle for Good Living, society’s aesthetics and its absurdities are all exciting parts of this extravaganza.
→ Model 2 (detail) Multimedia
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→ Trunk Mixed Media 18″×30″×22″ 2015
Melissa Schmidt melissaschmidtart.weebly.com
Stories have been around since ancient times, when bumps in the night had a million and one possibilities. As humans became able to question what happens in the world, they had to come up with the answers themselves. It is this legacy of story making that fuels my artmaking. Behind each of my pieces is a lustrous narrative. Within my trunk is a collection of moments, snapshot, and artifacts from a world at the edge of the universe. It’s not so important to know the story it istelling as it is to fill in the blanks with your own.
→ Trunk Mixed Media 18″×30″×22″ 2015
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Lessa Selig lessaselig.com
Technology surrounds us in every aspect of our lives with cell phones,computers, and every other electronic device, but I often find that the artistry involved in these interfaces is lacking. Everything is small, square, streamline, and looks the same as everything else. I want to find ways to break free of the uniformity of technology and create mechanical art that crosses into the organic realm. I want to make people question what is real, what is possible, and consider how we interact with technology. My robotic characters change the figure into something surreal. I utilize Arduino Micro controller based robotics, fabricated in plastic. I choose to utilize the Arduino because when we see an inanimate figure in motion, it becomes something we perceive as real or alive. I hope to someday create animatronics that are so refined that they truly look like the impossible has become reality.
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→ Guzzler MixedMedia 29″×22″×22″ 2014
→ Pluck MixedMedia 11″×36″×14″ 2014
Jamiee Shim
If I wasn’t an artist, I would be a scientist because I am fascinated by systems. I love learning about our body: the basic cell, our bones, organs and the individual functions of each. I also love learning about humans and our society throughout history. My work questions the relationship between our body and society’s approach to it. I ask questions like “why is shame associated with certain parts of our body” and then respond with “how can I make this feeling of shame funny, more uncomfortable, or approachable?” I think about how toilet humor can be funny to some and offensive to others, then I create a middle ground between the two. Through texture, form, and arranged interactions among the sculptures, I present the body in a new system that analyzes the intersection of the existing anatomical and societal systems.
→ BoBoBo MixedMedia 50″×27″×27″ 2014
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→ Songbirds Decorative Lokta Paper, Canson Paper, Ink, Satin Ribbon 3.5″×5.5″
Yehee Shin yeheeshin.com
Since when I was young, I have encountered many different people and cultures. I was effected by the underprivileged families and children living in an environment without hope. Seeing that, I wanted to present optimism and comfort to those who viewed my artwork.
→ Stay Strong Decorative Lokta Paper, Canson Paper, Ink 3″×3″
Choosing vibrant colors for my work is intended to brighten and cheer the viewers. Mixed media including decorative Lokta paper, ribbons, collage materials, and a variety of drawing/painting mediums are used. As an artist, I continue to work with sincere effort to lift the viewer’s mood and to engage the viewer with playful qualities that leave a positive impression.
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Gabriella Simpson
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The photographic series, _Ruins,_ centers on the recent fire-related collapse and disintegration of a large Baltimore City warehouse. The four-story warehouse had previously been vacant before a threealarm fire took place last November. High winds caused hot embers to fly over several blocks causing an additional five vacant buildings and two boats to catch fire. My photos depict my interest in the enormous number of vacant and deteriorating buildings and homes that occupy approximately 30,000 properties in this city. My images are shot with a medium format camera and printed on cool toned, silver gelatin paper.
Ruins1 Archival Silver Gelatin Print 16″×16″
→ Ruins2 → Archival Silver Gelatin Print 16″×16″ → Ruins3 Archival Silver Gelatin Print 16″×16″
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→ Self Sabotage Mixed Media Sculpture 5.5'×4' 2014
→ Spew Acrylic on Paper 42″×68″ 2014
Emily Smith cargocollective.com/OmilySmith
In my practice I explore a multitude of materials that fluctuate from one project to the next. I work mainly in sculptural installation and acrylic painting that incorporate elements of collage and textural substances mixed into my paint. I use elements of gesture to express and evoke emotion through abstract, line - based, tube - like forms as well as figurative forms. Tubes and wires are key elements in my work due to their representation of industry as well as their ability to form simple, yet incredibly complex gesture.
→ Without a Concept of Nature Mixed Media Installation 7'×6' 2015
I have been exploring human inclination to break down our surroundings into information in order to more comfortably understand our reality. In attempts to simplify, we create a reality in which we perceive most things from a second - hand entity. Intangible information separates us further from reality and we therefore look at the world subjectively; as if we, as human beings, occupy our own separate level of existence. There is a fabricated illusion that “society” is reality. We only see our surroundings outside of society to be relevant because we require resources from our world to progress. I am fascinated by the idea that we impact the physical world, yet we continue a cycle of consuming and ignoring reality by simulating a more pleasant alternative. Under the veil of affability, my work wonders: Are we self-sabotaging?
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→ Idea Paper 10'×12'
Beth Sorensen sorenbeth.wix.com/portfolio
My work illustrates the process I use to transform a simple word into a larger idea. Each part of the tree symbolizes one element of my thought process. The leaves of the tree represent simple words. Its branches symbolize the transformation that occurs when words are connected into phrases. The trunk of the tree denotes an idea. I surrounded the tree in black to represent my inner thoughts. All of these elements combined, complete my vision of how an idea is born out of a single word.
→ Idea (Close-up) Paper 10'×12'
My process starts with one word, for instance the word “moment.” I mull over the word until it leads me to other words. In this case the words are “time” and “flash.” Linking these words together, I get the phrases “a flashback” and “a moment in time.” Combining the phrases brings me to the idea of a flashback for a moment in time. Ideas can then be combined to create new ideas. I chose to use paper because both paper and thoughts are fragile. Paper is easily torn and thoughts are momentary. A simple event such as a sudden loud noise or interruption can easily alter my thoughts. I depict these changes by making cuts in the paper therefore altering its look. The many paths, the cuts create, indicate changes.
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→ Życie, śmierć, duch (life, death, spirit) Stoneware Ceramic 5″ to 6″ 2015
Katelyn Sugalski katelynsugalski.com
I strive to test the boundary between the dead and the living. These pieces in their essence and patterns resemble static, yet living creatures, such as coral. Using a combination of ceramic bodies and robotics, as well as other media, this work has become an extension of myself, creating abstract, sculptural, non-figure self portraits. These cocoons are personal meditation centers, breathing with artificial life. Every piece is so uniquely different, due to the nature of the material. They cannot be exactly replicated, like individual memories, one layered upon another.
→ Cocoon Stoneware Ceramic 17″×13″ 2014
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Meiying Thai
Come closer, and fall in love.
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→ Revelry in Limbo Oil paint on canvas 48″×60″
Qin Tan qintan.net
The inspiration for my pieces comes from my experiences with the world, such as my relationship to music, people and environments. The pieces I create therefore are personal translations of what I feel from the subject. The compositions are almost never planned ahead, because I enjoy the process whereas the image could grow spontaneously. Visually, I work abstractly using mainly lines and patterns. These bits compile continuously from one point in the composition and stop when a structure is formed. Within this structure, I create different movements and rhythms. The energy or dynamism within the image is what I consider the most important, they carry the spirit of what I want to portray.
→ Rhythm Formation #1 Pen and ink on paper 18″×24″
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→ TINY Multi-format art book publication 6″×4″×4″ 2015
Daphne Taranto daphnetaranto.com
Experiencing life in and around New York City while growing up influenced my interests in the arts as a medium, a market, and a cultural institution. In my academic major, I am currently researching the contemporary art culture of the United Arab Emirates. In 2011, along with my RISD-attending twin sister, I co-founded an art book zine that I edit, manage, and produce called YTB (Why The Beef) between our competing art schools. YTB is released in biannual, multi-format editions featuring an array of student artwork, poetry, and interviews, with collaborative contributions from both Baltimore and Providence. The theme of each issue dictates and inspires the form that the printed matter and its release event will take; the sixth and seventh issues’ themes were TINY and PATTERN. The handmade printed issues of YTB are distributed on each campus in a total edition of 300. → Pattern → Multi-format art book publication 12″×9″ 2015 → Pattern Multi-format art book publication 12″×9″ 2015
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Benjamin Torres
While on his weekly walk in the park Benjamin collapsed. His autopsy tells us that he died of a sudden heart attack but the world’s leading historians know otherwise. Benjamin spent his entire life running. From what we do not know. Perhaps he was running from the truth, or perhaps from himself. A brilliant artist and entrepreneur, Benjamin Torres left mankind with meaning. He left us with the knowledge that we exist for a reason and that there is still hope, but in his own life, Benjamin never found what he was looking for. In the end, it was emptiness that killed him. Benjamin Torres died with tears in his eyes.
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Monogamous Moose
→ Camel → → Late for Work
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Table with Bowties IKEA table with veneer 24″×24″×24″ 2014
Table with Bowties (Detail) IKEA table with veneer 24″×24″×24″ 2014
James Trevor cargocollective.com/Jamestrevor
I have a fascination with our relationship to furniture. We interact with it every day, and we place blind trust in its presence. We assume a chair will support our weight and that a desk will sit at a convenient height. By taking traditional forms found in furniture and altering them slightly, I can create surprise and delight while maintaining the piece’s original integrity. I’m passionate about finely crafted furniture, and I strive to use purely wooden joints that will hold up for years to come. In direct opposition to the value I place on craftsmanship, most people purchase furniture based on practicality and cost. Companies like IKEA thrive even though they produce a nearly disposable product. My attempt to fix or alter these objects invites comparison to highly refined wooden pieces.
→ Light Cabinet Plywood and IKEA blinds 4'×3' 2014
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Rachel Williams rachelallerwilliams.com
→ The Water Goddess Mixed Media 36.5″×24.5″
If I had to describe my work in just one way, I would say it is as if I dumped the entire lifetime supply of crafting materials collected by a grandmother onto a wooden board covered in glue. In these mixed media portraits, I collage together magazine clippings, glitter, beads, foil, fabric, paint, and found objects that are specific to my subject, to depict hidden qualities of their character. The “portrait self” is an alter-ego that expresses my respect and love for each individual. The people I depict do not consider themselves artists, but admire artistic expression and have influenced my own artistic production by collaborating with me during this project. By mixing traditional and non-traditional art materials, and by celebrating each person through portraiture, I bring my cherished friends into my artist world.
→ The Water Goddess → Mixed Media 36.5″×24.5″ → The Bride Mixed Media 24″×70″
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→ Erikawoo 1 Stain Acrylic on Mylar, then Digitally Printed 16.5″×25″
Erikawoo 2 Stain Acrylic on Mylar, then Digitally Printed 16.5″×25″
Erika Woo
I am interested in how each viewer of my works brings a unique interpretation to the configuration of the puzzle pieces that comprise my abstractions. I find it fascinating to see how the marks I employ transform the object I create when those marks and the overall image are significantly enlarged. Going through the scanning process, the colors get vibrant and the images become sharp. The colors express themselves differently on different types of papers. Printing on various textured surfaces is the experiment, and there are limitless outcomes. Often, viewers mistake the prints as paintings. The process of creating the prints has a few steps. First, I trace the shapes after painting the Mylar with acrylic and gel mediums. Then I place them together in many compositions and begin scanning. I resize the images using Photoshop and begin printing on different types of paper.
→ Erikawoo 1 Stain Acrylic on Mylar, then Digitally Printed 20″×25″
As I play with all those cutout pieces on a white background, I get inspiration from their shapes, colors and textures, as well as the way they communicate—or play—together.
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Jane Yoon janeyoonart.com
My studio practice is experimenting with new materials to create sculptures that come together to make surreal installations. These installations transport viewers into magical realms that trigger curiosity. By manipulating materials such as mirrors, flocking and anything you can possibly imagine, I create illusions of new forms existing in our space. Mirrors are collaged on top of mirrors to make the illusion that there is an existing space within a space that actually does not exist. I am tricking the eye and brain into believing my sculptures are real. In my work I take into consideration all age groups of viewers, specifically children. Coming from a family of lots of young kids, it is important to me that children can be “wowed!” when they see my work so they can experience art like adults.
→ Land Reflective Mylar, Insulation Foam Board, Peg Board, Mirror Sheets, Spray Paint, glitter, glue 20″×24″×6″ 2014
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Spring Perler Beads and Monofilament Line 14″×14″ 2014
New Mexico Perler Beads and Monofilament Line 13″×19″ 2015
Julia Zeff juliazeff.com
Stemming from an interest in color irregularities in hand-dyed weaving processes, I work to replicate, in a more deliberate physical manner, similar organization with beads. Combining the digitized language of white noise with visibly handcrafted labor I hope to compress the two worlds into a familiar visible field.
→ Mirror Perler Beads and Monofilament Line 36.5″×10″ 2015
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→ Cat Oil on Canvas 2015
Sihui Zhang
I always want to focus on realistic artwork. My interest in art is creating two spaces in one painting. The cat becomes an element for me use in the artwork. It represents not only a shape but also a side of myself. The cat is existed just like me exist in the school. However, the head is like a cutout and put on the background very unnaturally. I want the cat looks like separate from the background just like me want to separate from the people in school. I find the cat can be used to show my personality in the painting.
→ Cat in Grass Oil on Canvas 2015
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→ Kimchi Rice Chinese Ink on Xuan Paper 8.5″×14″
→ Little Mermaid Chinese Ink on Xuan Paper 11″×16″
Yihong (Angela) Zhou
My art practice is not only as an artist and teacher, but also as a gourmand. I use one of the human universals, food, to make connections with my audience. A great divide stands in the realm of art and viewer where an artist’s concept cannot be understood by the audience. I chose food not only for my obsession with it, but because it can bridge that divide. In the Chinese culture, food is taken very seriously and I take great pride in conveying that thinking through my art. I use _guohua_ – the traditional water on paper painting style of China that involves the use of _xuan_ paper, Chinese ink, and both dye and pigment based gouache. The paintings are then bound in traditional book structure in my effort to reconnect with a past and to preserve a tradition of craft and art.
→ Dragon Blossom and Blue Rock Chinese Ink on Xuan Paper 7.5″×11″
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Chris Zickefoose chriszickefoose.com
→ Cadenza #2 Oil on Panel 48″×56″ 2014
Particle board is often perceived as ugly or mundane, which is why it makes an interesting surface for aesthetic inquiries. I am tempting the viewer to see beauty in the material's preconceived ugliness. Each painting is a process of creating space, perspective and movement by utilizing the existing qualities of Particle board. I spend hours observing and listening to the harmonies inherent within. Each piece has its own order and logic with underlying imagery and structure. Within the chaotic terrain of OSB or particle board, there are shapes and compositions that are waiting to be brought forth, similar to Michelangelo's view about every block of stone having a statue inside it, that the task of the artist is to discover it. I begin a dialogue with the material that is akin to the dialogue of chess. Each shape that I paint onto the surface is like moving a piece in a chess game, in that I must be strategic and responsive. No piece ends as planed. I am collaborating with the material, rather than controlling it.
→ Prelude N. 1 → Acrylic on Panel 36″×36″ 2014 → Cadenza #1 Oil on Panel 24″×24″ 2014 131
Founded in 1826, Maryland Institute College of Art (MICA) is the oldest continuously degree-granting college of art and design in the nation. The College enrolls more than 2,000 undergraduate, graduate, and continuing studies students from 46 states and 53 countries in fine arts, design, electronic media, art education, liberal arts and professional studies degree and non-credit programs. Redefining art and design education, MICA is pioneering interdisciplinary approaches to problem solving, research, and community and social engagement. Alumni and programming reach around the globe, even as MICA remains a cultural cornerstone in the Baltimore/ Washington region, hosting hundreds of exhibitions and events annually by students, faculty, and other established artists.
For more information on featured artists and programs of study please visit the General Fine Arts home page at: http://www.mica.edu/Programs_of_Study/Undergraduate_Programs/General_Fine_Arts.html
General Fine Arts Department Maryland Institute College of Art 1300 Mount Royal Ave. Baltimore, MD 21217 Office: 410-225-2260