2020 Commencement Catalog by Minneapolis College of Art and Design

TABLE OF CONTENTS

ABOUT i About Exhibition iii Letter from President Sanjit Sethi v Faculty vii Leadership SPRING 03 MA 09 MFA 21 BFA/BA FALL 63 BFA/BA

ABOUT EXHIBITION

This 2020 MCAD Grad Exhibition is a culmination of work by BFA/BS students across fourteen different majors, MA students in sustainable design and graphic and web design, and MFA students in visual arts. These MCAD grads are emerging, creative cultural leaders, prepared to challenge conventions and imagine a better, more inspiring tomorrow. While celebrating ingenuity, skill, and wonders of the imagination, this exhibition also recognizes the crucial role of creative resilience. These two words encapsulate more than the final products that are hung on a wall, placed on a pedestal, bound in a book, shown on a monitor, or activated online. It is a process, a way of coping, and a means of turning adversity into opportunity and growth.

LETTER FROM PRESIDENT SANJIT SETHI

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Last fall we never could have anticipated what 2020 would bring; yet through this time you never gave up. I want to congratulate you and commend you for your fortitude, hard work, and care under such challenging times. I have been thinking a lot about a powerful quote by the Sufi poet Rumi, “New organs of perception come into being as a result of necessity. Therefore... increase your necessity, so that you may increase your perception.” Finishing your MCAD education during a global pandemic has increased your necessity in so many ways. Though I know it has been difficult, I hope that you have found that it has increased your perception in ways that will make you better artists, designers, thinkers, and collaborators. Last spring I shared that same Rumi quote with alumni, and now you are joining this amazing network of creative cultural leaders from MCAD. The world needs artists, designers, and entrepreneurs like you to continue to ask critical questions, take risks, and engage with the world around you. I look forward to staying in touch with you, hearing about your accomplishments, and supporting your work in the years to come. All my best to you, Sanjit

FACULTY

Full-Time Faculty

Natasha Pestich

Robert Algeo

Thomas Pope Retired Spring ‘20

Jaime Anderson

Howard Quednau

Michael Banning

Stevie Rexroth

Arlene Birt

Gerald Ronning

Erik Brandt

Stephen Rueff

Jen Caruso

Gabriel Ruegg

Anna Chisholm

Tom Schroeder

Jason Coyle

Barbara Schulz

Jessica M. Dandona

Rik Sferra

Gretchen Gasterland-Gustafsson

Aki Shibata

John Gaunt

Kristin Solid

Shannon Gilley

Piotr Szyhalski

George Hoagland

Katherine Turczan

Jan Jancourt

Julie Van Grol

Brad Jirka Michael Kareken

Visiting Faculty

Frenchy Lunning Retired Spring ‘20

Genevieve DeLeon

George Mahoney

Chris Gruszka

Ben Moren

Katie Nelson

Erin Moren

Gonzalo Reyes Rodriguez

Lynda Monick-Isenberg Retired Spring ‘20 Kindra Murphy David Novak Retired Spring ‘20 vi

LEADERSHIP

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Board of Trustees

Life Trustees

Greg C. Heinemann Chair

Bruce W. Bean

Tara K. Dev Vice Chair

Cy DeCosse ‘52

Mark D. Pihlstrom Vice Chair

David Hartwell

Bruce W. Bean Immediate Past Chair

Clinton H. Morrison

Sanjit Sethi President Liz Barrere Chris Barry Susan Calmenson Martha Dayton Christopher Hermann Greg Hoffman ‘92 M.E. Kirwan Mitzi Magid David Moore Marion Parke Todd Paulson Mary Bowman Rae Elizabeth Sarquis Gary M. Surdel Rajiv Tandon Greg Van Bellinger Hunter Palmer Wright

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The Spring 2020 MCAD Grad Exhibition features a culmination of work by spring ‘20 BFA/BS graduates across fourteen different majors; summer ‘19, fall ‘19, and spring ‘20 MA graduates in sustainable design and graphic and web design; and spring ‘20 MFA graduates.

MASTER OF ARTS

EMILY CSUY FALL ‘19

GRAPHIC AND WEB DESIGN biplusus.com/

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Bi+ Us Risograph Print 2019

wink Digital Illustration 2019

wink Video 2019

BIANCA IACOPELLI SPRING ‘20

SUSTAINABLE DESIGN biancaiacopelli.com/ Fig. 2

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Waste Knot Website

Sustainable Building Digital

Sustainability in Automotive Leather Digital

STACY MANN FALL ‘19

GRAPHIC AND WEB DESIGN stacymanndesign.com/index.php Fig. 2

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Whole U Capstone Project Game-Based Learning App 2019

The Wizard of Oz 2D Motion Title Sequence 2019

Meet Anu 2D Motion Infographic 2019

Problem In America 2D Motion Kinetic Typography 2019

MASTER OF FINE ARTS

CAMILO AGUIRRE SPRING ‘20

inserting his great grand uncle’s reimagined history in Colombia’s independence Museum: Casa del Florero (Radical, 2016).

VISUAL STUDIES

camilo-aguirre.wixsite.com/comics

Camilo Aguirre received his MFA in Visual Studies at the Minneapolis College of Art and Design (2018-2020). In Minneapolis, Camilo curated the Suitcase Gallery at MCAD and carried out projects like Distant Letters (2018-2019), in which he exchanged images that were shown simultaneously in different countries through printmaking means. Camilo has also participated in the Mobile Printing Unit project at MCAD and made a graphic novel titled What Remains (2020).

Camilo Aguirre is a Colombian artist whose practice shifts between comics and fine arts. In his comics, Camilo uses the elements of documentary format to tell non-fictional stories, implementing anecdotes and interviews from his immediate context, addressing how his own subjectivity is constructed from the Colombian context, and reflecting on this context towards the ideas of globalization and belonging. Camilo has been the author of graphic novels such as Ciervos de Bronce (Bronze Deers, 2014), Calidez Aislada (Isolated Warmth, 2012) and has been coauthor of graphic novels such as Caminos Condenados (Condemned Paths, 2016) and La Palizua (2018). During his career in comics Camilo has been able to implement social research while working with communities in Colombia, in projects that involve addressing dispossession, violent conflict, historic memory, and symbolic reparation.

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In the fine arts field Camilo approaches drawing as a series of strategies more than a medium, including the association of ideas and the relationships between material, formalization, and context as drawing tools. In his long term project Ciervos de Bronce (2011-), Camilo has developed a personal archive of letters, photography, interviews, paintings, comics, animations, and photocopies documenting his father’s participation in the union activism during the nineties and addressing the state violent persecution towards union activists in Colombia. In his project In Blood (2014, 2016) Camilo addresses the political implications in his family history by highlighting chapters of Colombia’s history through his great grandmother (Toni y la hacienda, 2014) and Fig. 2

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What Remains: Colombia from home and a distance (pages 1, 110) Ink on Paper and Digital Coloring 2020

Borders Screen Printed Watercolor on Paper 2018

EMMA BEATREZ SPRING ‘20

VISUAL STUDIES emmabeatrez.com

(body vibration, memory friction, information fog, shifting sound, overtone, fluid image, sculptural transparencies, imposition, resonance, emptiness, fluidity, space, transference, system, amorphous, funnel, presence, frequency, light, sound, material, desire, simulation)

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SnoCone Mary Digital Print 18 x 24 in. 2020

Motherboard Hot Glue, Steel, and LED Lights 42 x 54 x 3 in. 2020

Fire Scan Video Still 1920 x 1080 px. 2020

YUJIE CAO SPRING ‘20

VISUAL STUDIES yujiecao.com

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toki pona (detail) Digital Print 33 x 47 in. 2020

Variation Digital Print 33 x 47 in. 2018

Untitled Interactive Variable Dimensions 2019

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JIAHAO CHEN SPRING ‘20

VISUAL STUDIES xavichen.com

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Isolation World (poster) Printed Matter 11.75 x 16.5 in. 2020

Isolation World (guide) Printed Matter 4.25 x 11 in. 2020

Chinglish Time Printed Matter 15 x 23 in. 2020

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ROSHAN GANU SPRING ‘20

VISUAL STUDIES roshanganu.com

As a visual artist, humor and relatability are key components in my storytelling work and I focus on short and affective narratives. The exaggeration of the mundane makes the work universally relatable, as it seems fictional yet “feels” real at the same time. I am inspired by the vivid evocativeness of daily existence and the profoundly simple yet sensorial experiences we undergo as human beings. My interest is rooted in the absurdities that envelope our worldly existence. In my work, I strive to show you a different expectation of the world. I present to you a commonly occurring situation in an off-centre light. By exaggerating and adding a layer of absurdity to the situation I intend for the work to be accessible to a wide range of audiences through its ability to evoke irony, thus inviting people to spend time with it. The work reveals deeper meaning once the audience moves past the laughter, a quintessential strategy of “humor.” The diversity in presentation techniques is intentional. My work exists as comics, cartoons, zines, sculptural objects, and physical dioramas that serve the narrative in play. The COVID-19 pandemic compelled me to reimagine the physical aspects of my work through the video format. Nonetheless, video helps me safeguard the purpose of accessibility, now making it accessible not only to a diversity of local audiences, but also to broader, international ones.

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The Peripatetic Hamilton Building Mixed Media 16.5 x 32.5 x 1.5 in. 2019–20

East 25th Street Mixed Media 24 x 10 in. 2019

XINGZI LIANG SPRING ‘20

VISUAL STUDIES xingziliang.com

In this thesis project, entitled OnePlus, the main focus of the work is to create a brand around the concept of “couple” and “love.” The intention of this brand identity is for individuals to participate together and show their uniqueness as an individual and as a couple. The OnePlus brand identity is like an “empty container” that can share and record the stories of different couples’ acquaintanceships. OnePlus currently has 16 participants and is showcasing the story of 8 couples. At the beginning of this project, I interviewed 8 couples about their occupations, feelings, stories, appreciations of one another, etc. According to the characteristics I designed the OnePlus logo, posters, and books to illustrate the visual characteristics of different couples, using the three aspects of graphics, color, and tactility.

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The poster design is inspired by each couples’ occupations, in which every pair of them create one poster. On the one hand, it visually expresses the occupational characteristics of 16 people, showing individual differences and diversity. On the other hand, these same 16 people become 8 couples. The combination of individuals forms a unity. I chose the circle graphic, as a carrier to reflect this combination. The two semicircles, which represent the couple and its parts, were filled with 2D and 3D contents, the contrast of the digital image with physical objects enriches the visual language and narration as well as the sense of tactility and interactivity. The entire OnePlus branding is designed as an interactive project, which is mainly promoted on the internet as a platform to activate more public engagement. Fig. 2

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OnePlus - Designer & Artist (poster) Digital Print 36 x 23 in. 2020

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OnePlus (avatars) Digital Print 17 x 14 in. 2020

DAVID RUHLMAN SPRING ‘20

VISUAL STUDIES davidruhlman.com

I depict the natural world as both are simultaneously confusing and wonder producing through the use of common and found materials, alongside painted works and sculpture. I use these materials as a way to understand the area that resides between the individual and the objects that surround them. The materials and images focus on repetition, materiality, and form. I am interested in the liminal space between painting, assemblage, and sculpture. The language of iteration and transformation is a large component of my practice, especially in the studio. I use the studio as an arena to problem solve; it is the place of intention and accident. And, through continual experimentation an object is no longer dogmatically assigned to its original thingness, but becomes blurred and unfamiliar.

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Home Health Bird Nest, Plastic Straps 6 x 4 in. 2020

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Home Health | Home Repair Mixed Media Variable Dimensions 2020

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Hare Krishna Gouache on Wood Panel 24 x 24 in. 2020

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EMMA SHEN SPRING ‘20

VISUAL STUDIES

My works are illustrations, my tools are ink and knives, and the medium is all kinds of paper. Paper was invented to tell stories, so it is the perfect medium for me to convey my imaginings. I devote time to create details and complicated patterns not only because I enjoy the process, but because I hope that there will be more details the audience can explore, more puzzles they can put together, more stories they can dive into so that they might even find new connections between themselves and my work. Cuts on paper nullify paper’s plainness and passivity, intervene with space, respond to the architectural environment, mimic other forms, and breathe life into my visions.

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Nature, culture, and the struggles of life are the underlying narratives in my works. Within the parameters of these three subjects, I create layered and illustrated stories referencing my life experiences and stories from other people’s lives.

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Beneath the Skin- Survive between city and nature Stonehenge Paper 30.5 x 39 in. 2019

Series of Survival- Nest Ink on Paper 16.5 x 22.25 in. 2019

The Rhythm of Nature French Paper 10 x 8 in. 2020

BRAD THOMAS SPRING ‘20

VISUAL STUDIES thomascontemporaryart.com

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Refrain 10 Mixed Media on Canvas 38 x 56 in. 2020

Serenity (Variation 7) Mixed Media on Canvas 32 x 72 in. 2019

Explaining Rabbits to a Painting Video Still 2019

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DAWN YANG SPRING ‘20

VISUAL STUDIES dawnyangart.com

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Mask Trade Digital Illustration 8 x 10 in. 2020

Virus Economic Digital Illustration 8 x 10 in. 2020

Will Vaccines Make the Economy Better Digital Illustration 8 x 10 in 2020

BACHELOR OF FINE ARTS

BEN AUGUST SPRING ‘20

PHOTOGRAPHY ben-august.squarespace.com

I am a photographer interested in analog photography and experimental processes. In my practice, I work with color as well as black and white film and experiment with shooting, developing, and printing my photographs. For me, using analog film allows for accidents and flaws to occur that I embrace with the creation of my work, anything from scratches on a negative to out of this world color shooting across a composition because of a light leak in my camera. These are things that the efficiency of digital photography does not allow for, and that I find to be the most interesting part of creating photographs. Even immediately after a picture is taken the mind starts to change the memory of a moment and experiments allow some of my photographs to convey that feeling of the mind melding reality and what is remembered. It is more about how I make the photograph rather than what I take photos of, and that is why I tend to lean towards the experimental processes of photography. I do not have a specific subject that I shoot photographs of, but rather a few specific techniques that I use repeatedly to unify my work. In the future, I plan on continuing my research into these experimental processes.

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Unseen Light 2 Archival Pigment Print from Camera Obscura Original 24 x 35 in. 2020

Central Park Waterfall Archival Pigment Print from Analog Negative 36 x 24 in. 2020

MEG BAILLIE SPRING ‘20

ANIMATION

megmbaillie.wixsite.com/artgallery

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The Proposal (still) Animation 2020

FRANCIS BARRY SPRING ‘20

ILLUSTRATION fbarryart.wordpress.com

These images are a part of a wider project of concept art for a movie or video game that does not exist. The setting is a temporally ambiguous desert, where gods roam the wastes and the shells of an older civilization lie buried underfoot.

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Matron Digital Print 19 x 35 in. 2020

The Wedding Digital Print 13 x 20 in. 2020

Chase Digital Illustration 20 x 13 in. 2020

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ERIN “BLUE” CONLON SPRING ‘20

ANIMATION

ecconlon29.wixsite.com/bluesbits

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The Ruby Key (poster) Digital Drawing 11 x 17 in. 2020

Evil Queen Digital Illustration 11 x 17 in. 2020

Dark Forest (background) Digital Illustration 1920 x 1080 px. 2020

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CURTIS CRAVEN SPRING ‘20

FILMMAKING vimeo.com/ccraven

Curtis Craven is an experimental-narrative filmmaker working and living in Minneapolis. He seeks to broaden perspective on film by approaching the medium through an experimental lens. Using conventionally accepted visuals and format as a lure, he seeks to catch his viewers off guard to teach them something they perhaps didn’t want to know. Inspired by Art House, World, and Fringe cinema as well as mainstream culture, he seeks to bridge the gap between art and consumer film. He has recently graduated from the Minneapolis College of Art and Design with a BFA in Filmmaking. He aims to make poignant and disturbing films that educate, entertain, and enlighten audiences, as they both work towards the truths of our existence. His thesis work, Flocks and Pebbles, explores the culture of high corporate through an abstraction of time and space, examining what happens to the persona when offered an opportunity for a different kind of success. He is currently working on writing for future pieces, and is looking for work with collaborations and other projects. He thanks you for your time and compliments you on the lovely shirt you’re wearing today.

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Flocks and Pebbles (stills) Film 1920 x 1080 in. 2020

MOLLY HANSEN SPRING ‘20

ANIMATION

mollyhansenj.wixsite.com/mollyhansen Fig. 2

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Sonny Willow (detail) Digital Drawing 1920 x 1080 px. 2020

The Cat’s Apprentice (poster) Animation Render 1920 x 1080 px. 2020

Sonny Willow (character sheet) Digital Drawing 1920 x 1080 px. 2020

Theo (character sheet) Digital Drawing 1920 x 1080 px. 2020

KATHRYN HEALEY SPRING ‘20

COMIC ART kt-healey.com

KT Healey is a graduate of the Minneapolis College of Art and Design with a BFA in Comic Art. They are a freelance illustrator living in Minneapolis, and their professional area of expertise is in creating children’s media, inspired by four years working with children ages 9-14. They have received recognition from Society of Illustrators of Los Angeles, and their work has been featured in City Pages’ Comix Issue (2018), Light Grey Art Lab’s #LOVESONA gallery (2019), as well as published in MCAD’s Comics! Comics! Comic Anthology Volume 1 (2019).

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Psychic Investigators, Evil Exterminators (page 1) Digital Drawing 6.25 x 8.25 in. 2020

Psychic Investigators, Evil Exterminators (cover) Digital Drawing 6.25 x 8.25 in. 2020

Psychic Investigators, Evil Exterminators (page 4 detail) Digital Drawing 6.25 x 8.25 in. 2020

JOSEPHINE HOFFMAN SPRING ‘20

FINE ARTS STUDIO josephinelynne.com

Memengwaa (Butterfly) began as a video project and it serves as a type of self-portrait. It displays two types of dance overlapping one another. One being fancy shawl dancing, a type of pow wow dance, and the other being aerial acrobatic movements while suspended in a fabric apparatus. Fancy shawl dancing is commonly known as the dance of the butterfly. I juxtapose this next to my aerial movements as I see these movements as a type of butterfly dance as well. Covid-19 has put a halt on the progression of this project, but when it is safe and feasible to execute, I hope to show it as a performance piece. Dance in multiple forms has been a big part of my creative outlet from a very young age, just as visual arts like sculpture, drawing, and installation has for me. I used to hold these things separately from one another. But later in my time at MCAD, I realized that it is important for me to have these things work together to inform my work. This understanding has me enthusiastic for the development and evolution of my practice that is to come.

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Memengwaa (Butterfly) (stills) Video 1920 x 1080 px. 2020

AMABELLE JOHNSON SPRING ‘20

ANIMATION amabelle-johnson.com Fig. 2

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Mom (character turnaround detail) Digital Drawing 2020

Melody (character expressions) Digital Drawing 2020

Spike (character expressions) Digital Drawing 2020

Melody (character turnaround) Digital Drawing 2020

JAMIE KUBAT SPRING ‘20

FINE ARTS STUDIO jamiekubat.com

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Untitled (Spine Piece) Mixed Media 38 in. 2019

We Dug Trenches And Buried Ourselves In Them Mixed Media 6 x 4 x 3.5 in. 2019

i bought myself flowers so you wouldn’t have to Mixed Media Variable Dimensions 2019

TANVI KULKARNI SPRING ‘20

DRAWING AND PAINTING tanvikulkarni.org

I am an interdisciplinary artist with a focus in painting. My compositions focus on landscapes and my relationships with them. They provide a conceptual representation of the place and the emotional connection with space. My artworks also revolve around the idea of exploring the place, and how it relates to identity. I believe in revisiting a concept through different forms which results in a deeper understanding of the subject matter to me. In the series Unforgotten, I am painting scenes from my hometown. In the work, the buildings are carefully described, but the context (trees, streets, people) are not included. The absence of people, trees, ground, and sky speaks about loss. The paintings create a space that I remember before moving away from my hometown, Badlapur, India, and the loss I feel of a home. I paint the same structure with different colors, focusing on various details in it, and from different perspectives to suggest the changes in the structures over the years and memories I carry from five years ago. The structures of the buildings speak about permanence and the idea of rejuvenation. I paint from my intuition and memories to evoke this sense of place. The series addresses the distance and my recollection of my hometown and broken relationships through unfinished structures, wiped out parts, and black/white negative space. I aim to play with ideas about existence and reality.

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Unforgotten 2 Acrylic on Paper 16 x 12 in. 2020

Unforgotten 4 Acrylic on Paper 16 x 12 in. 2020

Unforgotten 5 Acrylic on Paper 16 x 12 in. 2020

WEI VIVIAN LU SPRING ‘20

ANIMATION weivivianim.com

I am Wei Vivian, an artist born and raised in Taipei, Taiwan. I am currently based in Minneapolis. My work explores a variety of media ranging from traditional to digital media. I focus on surreal environments and charismatic character design including bright concept art and vintage animation. I like to use organic line work to visually convey the spirited personality of the subject matter. I enjoy crafting relationships between figures and their surrounding environment—immersing the audience for a deeper dive in the fictional worlds.

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Global Warming is Here Digital Illustration 10 x 8 in. 2019

Taking Risks Digital Illustration 35 x 25 in. 2019

Rowdy Round Up (poster) Digital Illustration 25 x 35 in. 2019

GEONETTE MARIE SPRING ‘20

ILLUSTRATION geonettemarie.com

Geonette Marie is an illustrator, based in Roseville, Minnesota. Her areas of focus in the illustration field include the children’s market, editorial, and product/ surface design for textiles, apparel, and home goods, as well as an interest in hand typography and lettering. She works both traditionally and (primarily) digitally, and common themes within her work include botanicals, animals and aquatic creatures, food, soft pastel color palettes, whimsical depictions, textures, and detailed line work. Recently she has found a love and appreciation for historical-themed/inspired illustrations, specifically within the Victorian and Edwardian Eras, which has become more apparent within her heavily line oriented and detailed work. This new-found appreciation has led her down the path of exploring historical fashion concept work, as well as character design.

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Bleeding Hearts Botanical Digital Drawing 8 x 8 in. 2020

Wicked Apothecary Digital Drawing 4 x 5 in. 2020

Clarence and Henrietta (character design) Digital Drawing 7 x 4 in. 2020

KALEIGH MILLER SPRING ‘20

ILLUSTRATION Fig. 2

kaleighmaeart.com

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Bedding Spec Sheet (detail) Digital Print 11 x 17 in. 2020

Camping Friends Book (spread) Digital Print 17 x 8.5 in. 2020

Mermaids Book (spread) Digital Print 17 x 8.5 in. 2020

Hanging Out with Humans Makes this Bird Bad at its Job: Weka Digital Print 16.5 x 12.25 in. 2019

SETH MOULDER SPRING ‘20

ANIMATION

I’m a 2D animator, with an interest in both experimental techniques and hand-drawn character animation. My work contrasts elements of horror and the grotesque with bright, reactive color combinations. I am interested in generating digital effects and styles, largely based on the aesthetics of the old web, as well as improvisation and chance. Due to this, the majority of my creative process is experimentation. While I use a variety of programs, tools, and processes, there are many constants within my artistic practice. I find color fascinating, and am interested in creating tension through unnaturally reactive color combinations. My interest in anatomy also plays into my work, revealing itself through a focus on monster design and body horror. I love to use gestural bodily distortion to express energy and emotion. In character animation, I portray both the impact of intense action-based animation, as well as the build-up of slower, more subtle acting. In general, I aim to push all of the aforementioned elements to the limit, combine them, and see what happens.

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In this current project, I have created three short experimental animations, in a variety of styles, loosely tied together with a horror theme. The first two animations, Pelicoil and Melting Sun, include aspects of eco-horror, taking inspiration from pollution and the trajectory of climate change. Swamp Wisp does not include typical body horror, but the wisp’s form supplies the only light to see by, illuminating an uncertain environment as it searches for something unknown.

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Pelicoli (stills) Animation 2000 x 1125 px. 2020

ANAVI MULLICK SPRING ‘20

DRAWING AND PAINTING anavimullick.com

I see you, I see me, is a series of watercolor and oil, monochromatic paintings, in which I investigate isolation. My paintings explore ways to visualize my feelings of isolation. I paint strangers that I observe around the city. A lone woman struggling to carry multiple bags of groceries, two men engaged in conversation on the bus, a person walking in the middle of a heavy snowstorm; there is something about each one of these people that I relate to. I imagine myself in their shoes and create fictional stories about their lives as if I were them. I paint the people I observe as I remember seeing them. I remove the context of place, isolating the figure in an empty/flat colored background. In doing this, they become reflections of myself, mirror images which help me understand my own sense of isolation. It is through the process of making, writing stories about each individual, and then painting them that I build a stronger connection to my environment and sense of place.

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In the present time period, as we isolate ourselves and stay home to prevent the spread of a pandemic, my work has come alive in a new way. Aloneness has become a common reality. In addition to painting people I observed, I began to paint what I imagined people were doing in their homes; sitting in the garden, sleeping in a hammock, standing on a balcony looking down at the street activity, longing to escape this loneliness.

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Cap Front, Cap Back (detail) (from the series I see you, I see me) Watercolors on Paper 11 x 15 in. 2020

Nothing to Do (detail) (from the series I see you, I see me) Watercolors on Paper 11 x 15 in. 2020

KIRA OLSON SPRING ‘20

GRAPHIC DESIGN kiraolson.com

I am a graphic designer based in Minnesota who has a passion for inclusive design. My senior project came from my personal experience overcoming challenges that many kids with a learning disability face. I created the Inspire Learning typeface and the corresponding phonics kit to allow kids with dyslexia the chance to learn to read with fewer barriers to understanding and recognizing individual letters. The typeface combines elements of balance and grounding of the letters to a defined baseline. Tilting of the strokes helps individualize each letter which removes the chance of confusing letters which is a common dyslexic trait. My goal in design is to help all children create a passion for learning. Fig. 2

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Inspire Learning Phonics Kit Mixed Media 12 x 10 x 2 in. 2020

Inspire Learning Phonics Letter Sounds Mixed Media 8 x 10 in. 2020

Inspire Learning Phonics Cards Mixed Media 4 x 4 in. 2020

RYAN OLSON SPRING ‘20

ANIMATION

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Product Scene 3D Model 2020

Cat Woman’s Apartment 3D Model 2020

Floral Arrangements Scene 3D Model 2020

Storage Unit Scene 3D Model 2020

ANDY PAN SPRING ‘20

GRAPHIC DESIGN pandystudio.com

Andy Pan is an aspiring graphic designer and freelance photographer in the Twin Cities. He graduated from Minneapolis College of Art and Design with a BFA in Graphic Design. His designs focus on sustainability and minimalism, along with a heavy focus on integrating his photography with design.

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Nature and wildlife are what Andy loves capturing the most; they are his main source of inspiration. He was a nature boy ever since he was little, and his creativity has derived from his experiences of outdoor activity like fishing, hiking, camping, and group gatherings at parks. His goal is to help solve global warming and bring conservation into a bigger picture in society through his design and photography work.

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Idols Series (MJ) Graphic Design 2019

Chlorophyll Graphic Design 2019

Self Portrait Mixed Media 2017

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CAMDEN RAMIREZ SPRING ‘20

ANIMATION instagram.com/cam.den.draws

My work as a character designer and storyteller often draws upon themes of queer identity, self-exploration, and family, as well as an overarching theme of finding support and acceptance. I enjoy exploring LGBT youth and gender ambiguity in the characters and stories I create with the goal of encouraging more representation and conversation around such communities and experiences. By focusing on telling the stories I felt were often left out in media when I was growing up and entering the field, I feel I am better able to express what I care about and represent the communities with whom I work. I seek to showcase nuanced life experiences and add variety to the stories we see in discussions of identity and body image.

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Meeting Fig Paper Book, Acrylic, Watercolor, Ink Pens, Collage 9 x 5 in. 2020

Finish the race Paper Book, Acrylic, Watercolor, Ink Pens, Collage 9 x 5 in. 2020

Last night Paper Book, Acrylic, Watercolor, Ink Pens, Collage 9 x 5 in. 2020

MOLLY ROBERTS SPRING ‘20

ANIMATION instagram.com/velxeno Fig. 2

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Demo Reel 3D Modeling 2020

KATIE SARTORDUCHENE SPRING ‘20

ILLUSTRATION

katiesartor-duchene.squarespace.com Katie Sartor-Duchene is a Minnesota-based illustrator. Her work is heavily inspired by telling stories, creating characters, and the worlds they live in. She uses digital and traditional watercolor mediums in order to create the window into her world.

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Endeavor’s Flame (detail) Digital Illustration 22 x 17 in. 2020

Crime Scene Digital Illustration 17 x 22 in. 2020

Will o’ The Wisp Digital Illustration 22 x 17 in. 2020

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RACHEL SCHROEDER SPRING ‘20

COMIC ART

In my comic work, I create full, wildly ambitious and deeply colorful projects, which some would deem too big or complex for just one person. I crave adventure in real life, so that is what I make my comics about; exciting and arduous adventures in fantastical realms and with a variety of compelling characters. I believe that wondrous things can be found everywhere in the world, and in some sense thus, I believe magic is real. But even believers such as I need an escape sometimes, into worlds and stories that only exist in colors and lines and words on paper and screens. It is these escape routes from the real world that I make, for anyone who has ever craved real adventure.

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Project2 (detail) Digital Drawing 1200 x 2000 px. 2020

Comic3 Digital Drawing 1400 x 2000 px. 2020

Project1 (detail) Digital Drawing 1200 x 2000 px. 2020

HILLARY SHEPARD SPRING ‘20

SCULPTURE hillaryshepard.com Fig. 2

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Foam Wove Upholstery Foam, Embroidery Floss 10 x 3 x 10 in. 2019

I can’t hear you the water is running (detail) PVC, Embroidery Floss 1/4 x 7–18 in. 2019

Surface (detail) Packing Peanuts, Cotton Thread 3 x 4 ft. 2017

Detka (1 of 14) Upholstery Foam, Yarn 7 x 10 x 5 in. 2018

TREVOR SKARIE SPRING ‘20

GRAPHIC DESIGN shreddesignco.com

In search of deep understanding, I have undergone a daily design exercise in hopes of better understanding the relationship between visual art and music through the lens of the classic 12” album cover.

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Investigating Album Artwork Digital Collage 12 x 12 in. 2020

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CHINY SOUKHOUMMALAY SPRING ‘20

ILLUSTRATION chinyillustration.com

A Vietnamese descendant, born and raised in Laos, Chiny Soukhoummalay moved to Minnesota in 2011. Chiny is an illustrator and graphic designer. She is always exploring different mediums such as clay, digital animation, and physical prints. She works digitally in Procreate and traditionally using watercolor, colored pencil, and gouache. Her work consists of foods, anthropomorphic characters, and narrative works with a touch of humor.

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Flip (detail) Watercolor, Gouache on Paper 9 x 9 in. 2020

Beauty Digital Painting 11 x 17 in. 2020

Flip According Book (detail) Digital Painting 55 x 3 in. 2020

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AZ SPERRY SPRING ‘20

COMIC ART azterry.com

a.z.terry (she/her) is a Minneapolis-based cartoonist making comix about herself, high school teenagers, sex, and drugs. Some of her stories are real, some are made up, but she can no longer tell the difference.

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I Don’t Want to be Famous (cover) Sumi Ink on Bristol 6 x 9 in. 2020

I Don’t Want to be Famous (page 25) Sumi Ink on Bristol 6 x 9 in. 2020

I Don’t Want to be Famous (page 13 detail) Sumi Ink on Bristol 6 x 9 in. 2020

NICOLE STIEGART SPRING ‘20

DRAWING AND PAINTING nicolestiegart.com

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You Oil on Panel 42 x 48 in. 2020

Downstairs Oil on Panel 36 x 36 in. 2020

December 5th, 2019 Oil on Canvas 48 x 48 in. 2019

NICOLE TESCH SPRING ‘20

GRAPHIC DESIGN

I am a designer, creator, and crafter currently based out of Madison, WI. In my last semesters at MCAD, I found inspiration from looking toward my personal identity (and newfound obsession with maps) by retracing photos, keepsakes, and memories from my past. Many of my final projects incorporated themes from these sources and explored them across multiple media types. I translate this form of personal storytelling into freelance work and enjoy making things for others, even if it’s a kitschy craft. Fig. 2

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Adickes Acres (logo exploration) Digital 2020

Where I’m From Mixed Media Collage 20 x 20 in. 2020

Cascade Falls (identity) Digital 2019

JAMIE-LYNN TIETZ SPRING ‘20

ILLUSTRATION jetillustration.com Fig. 2

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Wild Paws (poster) Digital Illustration 16 x 20 in. 2020

The Vaulter Meets the Water Spirits Digital Illustration 20 x 11 in. 2020

Haast Gates Digital Illustration 27.5 x 17 in. 2020

Prophecies (detail) Digital Illustration 22 x 8.5 in. 2020

SUE MEI VUE SPRING ‘20

ILLUSTRATION suemeivueart.com

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Eos Digital Illustration 15 x 22 in. 2020

Ashnah Digital Illustration 15 x 22 in. 2020

Water (detail) Digital Illustration 14 x 18 in. 2020

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SHAELYNN WASEKA SPRING ‘20

ANIMATION artstation.com/shaewaseka Fig. 2

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A Lantern in the Woods (still) Animation 1920 x 1080 px. 2020

Store (still) Animation 1920 x 1080 px. 2020

Old Woman 3D Rendered Image 1920 x 1080 px. 2020

Steam Punk Retro Gun 3D Rendered Image 1920 x 1080 px. 2020

RUBY WATKINS SPRING ‘20

ILLUSTRATION rwatkins70.wixsite.com/mysite

Ruby Watkins is an East Coast transplant who currently resides in Minneapolis. Her illustrations focus more on education and world-building in digital and traditional mediums. When she isn’t working, she spends her time knitting or caring for her cat Lucy Moo.

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Metroblooms Digital Illustration 16 x 20 in. 2020

Untitled Digital Illustration 12 x 18 in. 2020

City Digital Illustration 18 x 12 in. 2020

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IRENKA WEGNER SPRING ‘20

ANIMATION irenkawegner.com Fig. 2

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Lukus Movie (poster) Digital Drawing 11 x 17 in. 2020

Serpent Demon (background) Digital Drawing 19 x 11 in. 2020

Relic Digital Drawing 17 x 11 in. 2020

Orbit (detail) Digital Drawing 36 x 11 in. 2020

SAVANNAH WILLIAMS SPRING ‘20

COMIC ART thatoneonfire.com

I believe that comics are an ideal medium to tell a wide variety of stories, which is why I’m drawn to them and their potential for storytelling. Much of my work could be classified as “magical realism” as I enjoy the idea of the mundane meshing with the fantastical. Whether it be a girl learning her cat is beginning to speak, or a strange encounter with a mysterious man in a field, the idea of the unknown encroaching upon our lives is one of which I never grow tired. I consider myself as much a writer as I would a cartoonist, as I have a deep love of words and the act of storytelling itself. I hope to continue to inspire and invigorate others with my stories just as other stories have done for me over the years.

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The Man in the Field (spread) Ink on Paper 28 x 11 in. 2019

Sherlock Holmes (book cover) Digital Print 17 x 22 in. 2018

Bird Whistle (detail) Risograph Print 11 x 17 in. 2018

PEYTON WOLLER SPRING ‘20

FURNITURE DESIGN pwkdesign.co Fig. 2

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Bench Stained Maple 6 ft. x 20 ft. x 31 in. 2020

The Fall 2020 MCAD Grad Exhibition features a culmination of work by fall ‘20 BFA/BS graduates across fourteen different majors.

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ANTHONY AANERUD FALL ‘20

ANIMATION

I am a 3D generalist who uses Autodesk Maya to model, rig, texture, and animate. My main focus is to animate characters with realistic and interesting movements and expressions. My work includes creating character designs of monsters for short horror films sculpting realistic human bodies, rigging heads with a variety of emotional expressions, and modeling interior environments and props for a scene. I love to create 3D digital media because I can focus on a structural, step-by-step workflow, and to be animating within a world where all the models have been rigged is satisfying to me. The process of creating 3D animation is very intriguing to me, which is why I have trained intensively in each field of development. My favorite step in the process is animating, but I have about as much focus in modeling, rigging, and texturing characters and objects. One of my main inspirations for creating 3D animation is from playing video games. One artist that has been inspirational to me is Wei Xing Yong, who worked on the beautiful facial animations for the main characters from Supermassive Game’s Until Dawn. My love for horror comes from Konami’s Silent Hill series and Masahiro Ito’s gruesome, distorted creature designs.

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My current solo project is titled The Varulv, and it will be released for viewing in December 2020. It is about a huntress’ struggle to survive a vicious beast somewhere in the harsh forest of Norway. To increase the horror factor of this short film, the rendering process involves lots of contrast lighting, with half of the environment in each camera shot hidden by black shadows, and the other half barely lit by blue moonlight. The journey of developing this personal project has been a huge milestone for my skills and career as an animator. Fig. 3

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Demo Reel Animation 2020

ALANA BAASI FALL ‘20

ILLUSTRATION

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Sharp Objects Digital Print 19 x 22 in. 2020

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Ketchup & Mustard Digital Print, India Ink 7 x 10 in. 2020

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The Watchers Digital Print, India Ink 12 x 9 in. 2020

RYAN BABB FALL ‘20

ANIMATION vimeo.com/user48712968 Fig. 2

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The Collectors a Pitch Bible Digital Drawing 2000 x 1200 px. 2020

Sister Digital Drawing 2000 x 1200 px. 2020

Son Digital Drawing 2000 x 1200 px. 2020

What is a Collector? Digital Drawing 2000 x 1200 px. 2020

ELIJAH BAILEY FALL ‘20

COMIC ART elijahnikolai.art

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Falling Panel (detail) Ink on Paper 11 x 17 in. 2020

Falling (panel) Digital Print 5.5 x 8.5 in. 2020

Synaesthetic (panel detail) Risograph Print 8.5 x 11 in. 2019

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AARON BENNETT FALL ‘20

ILLUSTRATION

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NAMI Walk Digital Illustration 16 x 20 in. 2020

Solstice Digital Illustration 18 x 12 in. 2020

The Search Digital Illustration 17 x 9 in. 2020

Right Whales Digital Illustration 22 x 14 in. 2020

EMILY BEWALDA FALL ‘20

DRAWING AND PAINTING emilybewalda.squarespace.com

In this body of work, I explore various concepts relating to the notion that we as humans are a part of the natural world and despite this fact we form divides from these natural roots. Through rapid urbanization and technological advances, we have become more distant from nature than ever before. Through modern conveniences we have far surpassed the need to fend for ourselves and live off of the land. In my work, I address these subjects through use of unconventional materials and a contrast of natural color with artificial color. The combination of natural color palettes intertwined with bright pops of color suggests the divide between the artificiality of this man-made world we have created and the natural environment we have built around. The materials I use add context to the work. Butcher paper, canvas, and bedsheets, for example, all have natural sources, yet have been transformed through man-made processes. By contrast, other materials, like plastic bags, are entirely man-made and will be left to decompose far beyond any of our lifetimes. The repurposing of these materials suggests elements of decay and touches on the impact we as humans have on the environment.

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Isolation is Desolation Mixed Media 37 x 67 in. 2020

Pretty Colors Can’t Disguise That This is Waste (detail) Mixed Media 30 x 40 in. 2020

Infectious Growth Mixed Media 50 x 66 in. 2020

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SONNY BOYER FALL ‘20

ILLUSTRATION instagram.com/sonic.bean

I work in digital and traditional illustration as well as photography. The inspiration for my work revolves around nature, culture, and aspects of mental illness that I live with every day. I combine bright, intriguing, and inviting color palettes to contrast the darker themes in my illustrations. My intention is that my work will help make talking about the effects of mental illness easier—to show that it is okay to not be okay and to find an outlet that lets one express their emotions in a healthier way. Even though not having arms can make things harder, I always find ways to make different art mediums work for me. I hope to discover new forms of illustration that I can add to my already developing techniques and journey as an artist.

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Haunted Paths (detail) Digital Painting 9 x 12 in. 2020

Demon Cake Digital Painting 9 x 12 in. 2020

Monsters in the Sky Digital Painting 9 x 12 in. 2020

Dream State Digital Painting 9 x 12 in. 2020

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ALYSSA CAVANAUGH FALL ‘20

ENTREPRENEURIAL STUDIES ssaly.com/about

I’m a big-idea type of person but I love getting into the nitty-gritty when it comes to creative solutions and visually representing the results. That’s why my main squeeze is my camera, but I also dig graphic design, and sometimes just straight-up making things with my own two hands. Besides my creative problem solving and artwork, I’ve been talking to people about their most vulnerable experiences as the host of the podcast, Let’s Figure This Shit Out Together. I’ve grown to learn how much I enjoy helping others, so you can also find me holding online yoga classes centered around healing through spiritual growth.

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Are We Really “All in This Together?” Digital Print 24 x 36 in. 2020

Let’s Figure This Shit Out Together (logo) Digital 1080 x 1080 px. 2020

BROOKE CESAREC FALL ‘20

ANIMATION brookecesarec.com

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Celestial Court (detail) 3D 2000 x 2000 px.

Cozy Campsite 3D 2000 x 2000 px.

Studio Space 3D 2000 x 2000 px.

MARVIN CHANG FALL ‘20

GRAPHIC DESIGN hellomrdesigner.com

My background is rich in multi-cultural diversification. In 2014, I emigrated from China to study and gain experience in the United States. In addition to fluency in Mandarin, I possess a strong command of the English language. Equipped with skills and experience from both cultures and with a specialization in the creative arts, I have developed excellent relationship-building design skills throughout my college and professional career path.

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I grew up in China, studied abroad in the UK, and now live in the United States. Throughout my upbringing, I have experienced three completely different societies in multiple aspects. Therefore, my designs attempt to convey a global perspective, connecting multiple cultures. I aim to create works that are impactful and invoke a sense of inspiration, collaboration, and cohesion. As it is my dream to bridge cultural gaps and increase global awareness with my stories, I long for a stage, as an aspiring designer, to deliver a unique perspective to the design world. Fig. 2

My design works are inspired by the German-style, the International Typographic Style (aka Swiss Style), as well as cubism and minimalism, with their objectivity, essentialism, and heavy use of forms. Mies van der Rohe famously said that ”Less is More.” He believes it is the core point of visual communication and it inspires his meticulous aspect. It is graphic design in its essence, as a way to efficiently convey a message without being superfluous or over-designed.

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Chinese Allegories Digital 17 x 11 in. 2020

20 Acts in 60 Minutes Digital 36 x 24 in. 2017

Chinese Radicals Digital Print 4 x 6 in. 2020

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JONATHAN CHIU FALL ‘20

FURNITURE DESIGN jonathankaeruchiu.com

I experiment with an unconventional furniture aesthetic that is approachable and encourages interaction. It is integral that the pieces do not overwhelm the viewer with complexity, but create natural consideration for how they relate to a person’s body and hands.

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I rarely begin with an idea of how the finished piece will appear because as I learn while making an object I become informed of how it best functions. The concepts I work in revolve around unexplored ideas of gesture and performance rather than models that reflect traditional furniture. I aim to take pre-existing functions and transform them into new gestures. This requires risk and uncertainty in visual aesthetics and in how the work will perform or be understood. Softwoods such as pine and cedar are materials I choose to carve. As construction lumber, they hold an unassuming quality and lack of preciousness that give me room to consider a wide net of ideas. I use tools such as angle grinders to sculpt the form into different organic and irregular shapes. I work to express intentionality and care in the making of the object, but I avoid refinement that would cause people to approach the object in a preconceived manner.

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As my practice develops, I intend to explore how furniture informs body language and gestures that people perform in defined spaces. My goal is for the work to reflect a consideration for how the body interacts with an object and how those objects contribute to the understanding of an environment.

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Sand Table Cedar and Miscellaneous Wood 3 x 6 x 3 ft. 2020

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Little Rocker & Reading Bench Pine Wood 17 x 20 x 24in.; 16 x 22 x 36 in. 2020

NICKY DOLAN FALL ‘20

GRAPHIC DESIGN instagram.com/nicolette_dolan

Nicky Dolan is a graphic designer and visual artist based in Minneapolis with a BFA from the Minneapolis College of Art and Design. Nicky currently works as a part-time designer for DesignWorks, MCAD’s in-house design studio. They are passionate about working independently and collaboratively to design identities for exhibitions, programs, and promotional materials for the institution. Outside of pushing pixels, Nicky can be found reading, turning out prints, or practicing their lettering.

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Words Four U Digital Collage of Physical Posters 8 x 5 in. 2020

Words Four U: I Wish I Could Hug My Grandma Digital Collage of Physical Poster 8 x 10 in. 2020

Words Four U Digital Collage of Physical Posters 2000 x 1400 px. 2020

JANELLE EDSTROM FALL ‘20

ILLUSTRATION instagram.com/janelle_imagined

A storyteller at heart, Janelle has been creating worlds in her head since she was very young. Making those imaginary worlds come alive on the page is her passion. She is now using the visual communication skills she has learned at MCAD to find ways to bring her stories, and the ideas of other writers, to life.

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As an illustrator, she is heavily influenced by all things watercolor. She has a particular fondness for rendering backgrounds and environment. She never gets tired of drawing trees; one might even say she enjoys it to her very roots. Though majoring in illustration, Janelle likes to work with all kinds of media, and especially enjoys taking time to learn and experiment with any medium outside of her comfort zone. Fig. 3

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Anger Digital Print 20 x 14 in. 2020

Bargaining Digital Print 20 x 14 in. 2020

Depression Digital Print 20 x 14 in. 2020

Acceptance Digital Print 20 x 14 in. 2020

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LEAH ERSTAD FALL ‘20

FINE ARTS STUDIO www.lrecreations.net/artwork

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UntitledGreenPeaks Latex Paint on Stretch Canvas

UntitledbBlue Latex Paint on Stretch Canvas

AMEEN EVERETT FALL ‘20

GRAPHIC DESIGN ameentaahir.com

Ameen is a young visual / design-oriented artist based in the Twin Cities. This Brooklyn Park native started designing for himself at the age of 12 and began freelancing at 15. His love for painting, drawing, and sculpting at a young age eventually lead him into the world of design. One of Ameen’s many strengths is being able to adapt and learn relatively quickly. Ameen is passionate about the idea of utilizing art to express and reshape society by offering new perspectives. He also has a goal of creating opportunities and resources for other aspiring creatives.

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The 5x Sticker Collection Illustration, Sticker 2020

Trippy Skateboard Illustration 2020

Taaheezy Shop Store Front Signage 2020

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ARIEL MIKA GORSKI FALL ‘20

ILLUSTRATION mikagorski.com

I am a Polish-American illustrator based in the Chicago area who works within the realm of fantasy, exploring a world of technological advancement intersected with social and environmental stagnancy. My work is primarily digital, using vivid and contrasting colors to create moods that are recognizable, yet otherworldly. I place an emphasis on characters in my work—a tendency which brings with it a devotion to narrative and an attention to detail.

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Stay Digital Print 18 x 24 2020

Alumit Digital Print 11 x 17 in. 2020

LOVE ME Digital Print 10 x 8 in. 2020

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ABIGAIL GRIFFIN FALL ‘20

ILLUSTRATION

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Split Pea and Ham 2 Risograph Print 11 x 17 in. 2019

Dad Band Relief, Screen Print 8.5 x 11 in. 2019

Rooted in Place Digital 2019

NICK GRINER FALL ‘20

GRAPHIC DESIGN nick-griner.com

Nick Griner is a graphic designer from the frigid, yet beautiful state of Minnesota. His passion for music, movies, and good design keeps his creative juices flowing. Nick loves logo and type design, creating unique visual identities for brands of all kinds. With a certificate from Brainco College of Advertising and Design coupled with a BFA from the Minneapolis College of Art and Design, Nick is well equipped to solve any design problem.

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Space Flight Risograph Print 11 x 17 in. 2020

Wesley Andrews (branding design system) Digital Variable Dimensions 2020

Message of Hope OCE Print 36 x 42 in. 2020

THIEN HO FALL ‘20

ILLUSTRATION thienhoillustration.artstation.com

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Tra Sua Digital 2019

Black Panther Digital 2020

Team Rocker (detail) Digital 2020

NOOR CYNTA CAMILIA BINTI IBRAHIM FALL ‘20

ILLUSTRATION j4lly.com

I am a queer Malaysian artist (who is also known as J4LLY online) based in Minneapolis. I am currently finishing my degree in Illustration at the Minneapolis College of Art and Design as well as pursuing my art career as a freelance illustrator and potentially future educator. I draw a lot of silly comics based on my life, deeper meaningful comics about my thoughts, and make tons of little doodles whenever I can. I tend to create a lot of illustrative work when I am able to draw, design characters, and build worlds for them to live in. My style can be best described as fun, bright, filled with abstract shapes, textures, and teetering on cartoony surrealism.

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Most of my work is influenced by my Malaysian culture/ heritage, growing up aggressively Southeast Asian, and my love for cosmic horror mixed with a touch of sci-fi. I am now obsessed with printmaking, and feel that the linocut printmaking process is my newfound thing. In my spare time, I play games, cook, adore her sassy cat Biru, and binge a lot of Adventure Time.

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That One Summer Digital Illustration 18 x 24 in. 2020

Nujum Pa’ Belalang / Pak Belalang the Fortune Teller (detail) Digital Illustration 40 x 16 in. 2020

AILI JUUSOLA FALL ‘20

GRAPHIC DESIGN instagram.com/squirrel_has_a_q Fig. 2

Aili Juusola is a graphic designer and illustrator currently based in Saint Paul. While her major is in graphic design, she loves to make things that exist outside the screen, specifically analog illustrations, hands-on publications, and versatile patterns. Always creating, asking questions, and learning, she builds work with character from big ideas and concepts. When she’s not glued to her computer, you can find her drawing, painting, or caring for her encumbering indoor jungle of house plants.

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Obey: Now & Then (book) Printed Publication 8 x 11 in. 2020

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Blue Sun Soda Shop’s Whistler (mural) Digital Print 17 x 8 ft. 2020

Four Horsemen of the Apocalypse (playing cards) Digital Prints 2.5 x 3.5 in. 2020

VINCENT KNISLEY FALL ‘20

WEB AND MULTIMEDIA ENVIRONMENTS vknisley.tiiny.site

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Website Digital

EMMA KONRAD FALL ‘20

DRAWING AND PAINTING emmalekonrad.com

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Before Me - Wayne Oil on Stoneware Slab 8 x 10 in. 2020

Before Me - Christmas Oil on Stoneware Slab 16 x 20 in. 2020

Before Me (installation) Oil on Stoneware Slab Variable Dimensions 2020

SAMUEL LARSON FALL ‘20

ANIMATION

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The Selkie (stills) 3D Animation 2020

LIZ LAT FALL ‘20

ENTREPRENEURIAL STUDIES

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Wooden Boat and Summer Solstice Festival (triptych panel 2) Digital Print 17 x 22 in. 2019

Life is a Bowl of Jackfruit Newsprint 22.75 x 33 in. 2020

JUNE LE FALL ‘20

ILLUSTRATION junehienle.com

I am a Vietnamese illustrator/designer based out of Minneapolis. My work has been featured by Society of Illustrators Los Angeles. I love telling stories and expressing my feelings through drawing. Apart from making art, I also like reading books and drinking tea.

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NAMTEA – The Four Seasons is a special gift set of Vietnamese high-quality teas for “Tet” – Vietnamese Lunar New Year. The concept is inspired by the idea of the flowers of the Four Seasons, which is found in Chinese, Japanese, and Vietnamese cultures. These flowers symbolize luck, uprightness, purity, humility, and happiness.

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NAMTEA - Peony Digital Drawing 10 x 6 in. 2020

NAMTEA - Apricot Blossom Digital Drawing 10 x 6 in. 2020

NAMTEA - Chrysanthemum Digital Drawing 10 x 6 in. 2020

NAMTEA - Lotus Digital Drawing 10 x 6 in. 2020

CLAIRE LOES FALL ‘20

GRAPHIC DESIGN claireloes.com

Claire is a designer and artist based in Minneapolis, with a BFA from the Minneapolis College of Art and Design. Her work seeks to thoughtfully arrange collections of images, words, and digital media. She’s currently working on a collection of ascii art books, and is looking forward to future motion–based projects, web and installation work. This winter, Claire will be spending more time making music, writing, and reading at their home in South Minneapolis.

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Connect Automatically Digital Collage on Two Risograph Poster 11 x 8.5 in. 2020

Connect Automatically: connect automatically Digital Collage on Risograph Poster 11 x 17 in. 2020

Connect Automatically Digital Collage on Two Risograph Poster 11 x 8.5 in. 2020

JARED MAIRE FALL ‘20

GRAPHIC DESIGN jaredmaire.com

Jared is a designer, illustrator, and community organizer, currently based in Minneapolis. With roots in activism, their aesthetic is highly influenced by cultural creatives who cultivate social change through art and protest. Over the last 5 years, their visual and curatorial work for gallery spaces, club nights, and drag performances has become a visual calling card for the local queer community. Fig. 2

Jared misses the YMCA steam room, and thinks Minneapolis needs a queer bar that serves Banh mi ASAP.

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Health is Not an Abstract Idea Vinyl Installation 151 x 116 in. 2020

Never Again is Now Digital Print 36 x 20 in. 2020

Teaching Artist Workshop Series Digital Illustration 4 x 4 in. 2020

VERA MALANINA FALL ‘20

ANIMATION

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Comic Digital Illustration 9.75 x 13.5 in. 2020

Illustration Final Digital Illustration 8 x 6 in. 2020

Komodo Ink on Paper 6 x 4 in. 2020

SHANNON MCVAY FALL ‘20

ANIMATION

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Senior Project Overview (storyboards and animations) 2D Animation 2020

FRANCESCA MIGUIELES FALL ‘20

DRAWING AND PAINTING fmiguielesart.com

I am a visual artist whose work ranges from oil paintings, charcoal, and ink drawings to photography, collaging, and mixed media. My work is from my personal experience as a queer Latina immigrant. My early pieces focus on the female nude figure and illustrate my varied emotions on how women’s bodies are perceived, consumed, and affected by society. My recent work searches to open awareness within the discourses of personal identity, the human experience, and the intersection of the idea of “self” and one’s body.

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Sophie Charcoal, Graphite, Pastels on Paper 40 x 50 in. 2020

About Me, But There Is Also A Little Bit About You In Here (installation) Mixed Media, Handmade Book (Scrapbook) 6 x 8 in. 2020

Boundaries of Hope Oil, Charcoal on Canvas 57 x 48.5 in. 2020

JACOB NOLLETTE FALL ‘20

WEB AND MULTIMEDIA ENVIRONMENTS jacobnollette.com

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Web Application Dashboard 2020

Web Application Geo-Location Interface 2020

JACK POWERS FALL ‘20

PHOTOGRAPHY

Jackpowersphotography.squarespace.com

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Branching Views Archival Pigment Print 13 x 19 in. 2020

Viewpoints Archival Pigment Print 21 x 22 in. 2020

The Spring Archival Pigment Print 19 x 13 in. 2020

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BRIAN PUCKETT FALL ‘20

COMIC ART brianjpuckett.com

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Snowy City Digital Drawing 1294 x 2000 px. 2020

We Need To Talk Digital Drawing 1294 x 2000 px. 2020

Stairs Digital Drawing 2000 x 1375 px. 2020

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BAILEY REBER FALL ‘20

DRAWING AND PAINTING baileyreberart.com

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Sedona (detail) Cut Paper on MDF 49 x 36 in. 2020

Sedona Cut Paper on MDF 49 x 36 in. 2020

Sedona (detail) Cut Paper on MDF 49 x 36 in. 2020

LINDSEY REID FALL ‘20

ANIMATION instagram.com/fantasygundam Fig. 2

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Broken Satellite (stills) 2D Animation 2020

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STEPHEN RISK FALL ‘20

GRAPHIC DESIGN stephenrisk.com

Design. I enjoy good, systematic design – whether that’s in music, engines, or the space of a room. Originally going to school for Electrical Engineering and mathematics, I decided to change my major to a more creative field where I could actually see the changes in front of me instead of just numbers or charge in a circuit. I consider myself a practical person, someone who finds value in working with one’s hands. This is evident in the motorcycle I own and occasionally tool around with... or bang my head against the wall with. What drew me into graphic design was an affinity for photography, something I enjoy as a selfish hobby rather than a career path, but one that pushed me into the design world nonetheless. Ultimately, I want to make good designs. I want my design to be well thought out and adhere to a message that is clear, but also interesting and unpredictable. The design should carry with it a strong conceptual idea. And if I fail, I only have more to learn.

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Rebranding for KEF Audio (poster detail) Digital Print 28 x 21 in. 2020

Four Posters for Suzuki’s 100 year Anniversary Digital Print 33 x 48 in. 2020

Cut. Question. Construct. Collaborative Project with Blake Dahlquist and Andy Pan 5.5 x 8.5 2020

ALEJANDRO ROMERO FALL ‘20

GRAPHIC DESIGN alejandro-design.com

FRAMd MOTIONS is what became the concept for my senior project. A series of type-centered animations, it frames the spirit and technique behind my design direction by defining a few values, unison and sequence, convergence, peripheral view, a resonance, and an essence. Within each animation, the defined value is expressed by the interaction of forms moving together or in response to an audio element. I selectively chose Alain Bellaiche’s Sea Fluorescent and Sun Blues as the soundtrack for its rhythmic electronic quality paired with more instrumental sounds. The motion aspect utilized the use of expressions in After Effects, in an attempt to remove the human hand from the motion. Primarily the index property between multiple shapes weaves a simple thread into the complexity of trying to animate a larger system of shapes. This is comparative to the sensory characteristics of a person, in which they see, hear, and interact with the world.

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Unison Chair Installation 2019

FRAMd MOTIONS Type Motion Series 2020

Mars Display Typeface 2020

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SIERRA SCHAEFER FALL ‘20

ENTREPRENEURIAL STUDIES

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Into the Fibers Yarn, Metal, and Fabric 60 x 48 in. 2020

Dehumanized Yarn and Wire 48 x 38 in. 2020

Thunder Wire 36 x 12 in. 2020

ANDI VALDES VALDES FALL ‘20

GRAPHIC DESIGN

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in-out.xyz

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In/Out - Main Page, Zahra’s Page, Claire’s Page, Deima’s Page, Cynta’s Page Digital Publication and Website 2020

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APRIL VANG FALL ‘20

ANIMATION apticho.com

I find myself drawn to stories of all sorts, whether it is an obscure anecdote or a grand tale of adventure. They all encompass a hidden uniqueness that when refined through the visions of an artist, can resonate strongly to both themself and the viewer. One of the objectives in my work is to elevate the aspects of the story that it feels tangible—everything from the emotions the characters are feeling to their environments. This method of storytelling is paired with my affinity for child-like magic and energetic movement. I am heavily inspired by Studio Ghibli and Studio Trigger’s work. They are both on opposite ends of the spectrum in the way they present stories. I want to be able to bring the best aspects of both and create my own style. With the knowledge I’ve gained during my time at MCAD, I created my animated film Wind of Hope as a love letter to my Hmong heritage. I feel a sense of duty to present this magical retelling of the Hmong diaspora during the 1970s. With the start of a new chapter in my artistic career, this film also serves as a cathartic reminder to myself to never lose hope. My original characters including the main heroine of the film serve as a medium to allow me to interact with my thoughts. I am able to explore many facets of the human experience. My end goal is to be able to facilitate empathy and compassion through this exploration.

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Wind of Hope (concepts) Digital Drawing 2910 x 1080 px. 2020

FINISHING MOVE (series detail) Digital Drawing 1920 x 1080 px. 2020

ABOUT MCAD

Mission The Minneapolis College of Art and Design educates individuals to be professional artists and designers, pioneering thinkers, creative leaders, and engaged global citizens. Non-Discrimination Policy The Minneapolis College of Art and Design does not discriminate on the basis of race, color, national origin, sex, sexual orientation, gender, disability, marital status, or age in its programs, activities, scholarship and loan programs, and educational policies. Accreditation The Minneapolis College of Art and Design is accredited by the North Central Association of Colleges and Schools and the National Association of Schools of Art and Design, and is a member of the Minnesota Private College Council and the Association of Independent Colleges of Art and Design.

MINNEAPOLIS COLLEGE OF ART AND DESIGN

Catalog Designed by Jared Maire ‘20 DesignWorks

2501 STEVENS AVENUE MINNEAPOLIS, MN 55404 MCAD.EDU #MAKEMCAD