Making is messy. It is fraught with challenges of material, concept, space, and time. Objects explode. Ideas fail. Studios become cluttered. And time is an uneven partner.
Students in the MSEd Program at SUNY New Paltz understand well these realities of graduate studio work. Yet the work that follows demonstrates not only formal resolution, but a kind of patient fortitude that belies the very real challenges of its making. Post COVID, developing a studio practice while enrolled in a completely online program presents immense obstacles: no dedicated studio; no colleagues lingering late at night; no instruction or critique in front of physical work. Yet again, the work produced is the result of countless serpentine moves, as each graduate has investigated, researched, experimented, and discovered outcomes not previously known, and this is revelatory: not only for the individual artist, but for us as witnesses to their efforts. Struggles with material and process, and the challenges of difficult concepts involving identity, culture, and politics, culminate in work that demonstrates incredible learning in its outcomes.
Education is messy. It requires a kind of humility that is difficult, because true learning asks us to remain open to the possibility of being radically changed. The work in this exhibition is the result of such curiosity, and work, and openness.
Thomas Albrecht Chair, Art Department SUNY New PaltzAs an artist, I constantly find myself exploring themes of personal identity. I feel the need to challenge aspects of my queerness, femininity, and masculinity by juxtaposing them within my work. For this photo series, I wanted to explore the subject of identities using kitsch-inspired sculpture and self-portraiture. As members of a society, how do we choose to present ourselves? How would we like to be seen while we put ourselves on display for the eyes of others? Using myself as subject matter, I can transform into different beings each playing various identity cliches. These characters are each paired with a sculpted cake that ties in connections of my own identity while questioning the presence of these characters within the space. Through these portraits I visit the past, present, future, and what-ifs. I hope the viewer will question the shape human identities can take, and wonder: “Do we choose to present ourselves to be most genuine, or do we produce a character that is merely sugar coated?”
Corbin Clemons
Corbin Clemons
Clown | digital image
Corbin Clemons
Cowboy | digital image
Corbin Clemons
Birthday | digital image
Corbin Clemons
Fisherman | digital image
Corbin Clemons
Fin | digital image
As an artist, I’m always searching for the perfect balance: a balance of colors, imagery, negative space, linework, surface design, and form on any artistic surface I work with. Although balance is something I crave artistically, it is not something that is very familiar to me in life. Even though I’ve been yearning for consistency, peace, and order when everything else has been at odds, I also thrive in the unknown, the discarded, and the invisible. This intersection of insecurity, harsh lows and highs, and identity crisis is where I’ve traversed through my whole life. The weight of other people’s expectations of who I am, and what my art should look like, is a familiar pressure that has guided my creative decision making for a long time, but this series of works finally breaks these chains to truly move forward. The honest story of who I am has been a force that's pushed me to artmaking as a form of escapism or therapy, but not yet as a direct subject matter until now. This ceramic portfolio of artworks begins my journey of sharing and embracing the honest good, bad, and ugly of my experience growing into the person I am today. Topics that are very formative and important to me are finally touched upon in this series; such as mental illness, LGBTQ+ identity formation, inner truth, bullying, and the duality of performing in the public sphere as a digestible, ‘out’ art educator. Each artwork provides another piece of the puzzle that is my relationship with the duality of balance and imbalance. Each artwork, every topic, and all minor details are emotionally revealing in some way, but these dark spots are no longer sources of embarrassment that should be hidden. This body of artworks exists not to put a period at the end of these sentences of trauma, but offers a new beginning and way to recontextualize my experiences, now having healed and learned from them. Making these pieces pushed me to work outside of my comfort zone physically and creatively as a way of providing solace and connection to myself and those who may encounter this work.
Miranda KentMiranda Kent
Brain in a Jar | glass jar, cut prom dress tool, clay, ceramic glaze
Miranda Kent
Brain in a Jar | glass jar, cut prom dress tool, clay, ceramic glaze
Miranda Kent
Brain in a Jar | glass jar, cut prom dress tool, clay, ceramic glaze
Miranda Kent
Brain in a Jar | glass jar, cut prom dress tool, clay, ceramic glaze
Miranda Kent
Before and After “Coming Out” Container | clay, ceramic glaze
Miranda Kent
Before and After “Coming Out Container | clay, ceramic glaze
Miranda Kent
Constant Eclipse | clay, ceramic glaze
Miranda Kent
Pulled Under | clay, ceramic glaze
Miranda Kent
Euphoric Dysphoria Vessel | clay, ceramic glaze, amaryllis flowers
Miranda Kent
Euphoric Dysphoria Vessel | clay, ceramic glaze, amaryllis flowers
Jared Mesibov
From a young age I’ve been Influenced by my grandfather and the lessons he imparted to me on the Saturdays I spent with him in his home studio. I was captivated by his dramatic use of color and his prolific career as an artist, he inspired me to always have fun, to love nature, and to make organized messes. I remember his oil paintings were always the most influential, leading to my fascination with the medium. Oil painting is one of the insecurities I have overcome through trial and error and presently use as a therapeutic outlet to release the imagery of my thoughts. These works reflect the imagery of my hyperactive train of thought. My creative focus when assembling this body of work consisted of unfamiliar color choices, dynamic flowing forms, and visual representations of my young adulthood. My goal is to create engaging work that makes the viewer take a longer look and to provoke a visual exercise.
Jared Mesibov Rocklandia | oil on canvas
Jared Mesibov
Wheelock | oil on canvas
Organized Chaos | oil on canvas
Jared Mesibov
Jared Mesibov
ADHD | oil on canvas
La Mancha | oil on canvas
Jared Mesibov
My art is built on everything I am as a person. It is my diary, my journal, and myself. It is based on trials and tribulations, a never-ending desire for a true home. In Search for a Home is a puzzle of snapshots; single moments captured and preserved. By predominantly utilizing materials such as pen and ink, watercolor paints, and collage for their permanence, I further attempt to explore the ideas of transparency and translucency by burning and cutting away the surface of my drawings. Through layering, and therefore its absence, this body of work grows to facilitate every aspect of my existence; the identities, and marks I carry daily. My identities as a human, child, adult, immigrant, artist, and teacher have an impact on my physical and emotional state. I seek to understand how my markers affect the person I am, how I view my environment, and my selfappointed journey of finding the meaning of a home. In my continuous search, this narrative has but an open ending.
Kalina ParankinovaKalina Parankinova
A Force in Calmness | watercolor and fineliner pen
Kalina Parankinova
Spiraling in Unease | acrylic paint and ballpoint pen
Kalina Parankinova
The Chaos of Anxiety | ballpoint pen
Kalina Parankinova
Drowning Exhaustion | watercolor, ballpoint pen, tracing paper, acrylic paint
Kalina Parankinova
Hope and Anticipation | watercolor and fineliner pen
Kalina Parankinova
Denied and Deprived | fineliner pen
Kalina Parankinova
A Spark and Snap | charcoal
Kalina Parankinova
Loss and Lost | watercolor and fineliner pen
Kalina Parankinova
Under the Eyes of Judgment | watercolor, fineliner pen, and flame
Kalina Parankinova
The Quiet Flood | watercolor, fineliner pen, and flame
Growing up, I always spent my time outdoors, whether playing in my backyard or hiking with family in upstate New York. My parents eventually purchased a vacation home so we could have a place to escape together. The focal point of these paintings is a view from my family vacation home. It has always brought so much joy and excitement knowing our home sits amidst this breathtaking landscape. This particular view is a significant representation of my time spent in this home. It is the first view you see pulling into the property, and out of the driveway as your adventurous weekend comes to an end. Through a vibrant and harmonious color palette, I intend to evoke emotions that pour from the core of my family’s memories of this place. Warm earth tones wrap the scene, reminiscent of the sun-kissed afternoons and evenings spent exploring the wilderness, while soft blue hues gently sweep across the canvas, recalling the tranquil evenings of reflection and contentment. These paintings invite viewers to reflect on their own memories and connect with spaces that define “home”. Just as nature evolves through seasons, so we transform with time, yet the memories engraved in the core of our being keep us grounded, offering solace during moments of change. Ultimately, this body of work is a celebration of family bonds, of the precious connections that weave through generations, and the enduring spirit of the mountain view that watches over each passing moment. As viewers delve into the canvas, I hope they find solace in the embrace of nostalgia and carry with them a renewed appreciation for the ephemeral beauty of life's journey.
Kaela Sullivan
Untitled | acrylic paint
Kaela Sullivan
My art-making practice begins with the packing of my easel, acrylics, some brushes, a snack, and a desire to scout a new moment to document on a panel. Landscape painting en plein air continually provides me with a holistic experience of awareness, creative impulsivity, and memories I can hold onto. The landscape is a subject of common relation; It is a shared human experience. The landscape can be beautiful, ugly, and mundane. Interpreting such relatable and multifaceted content through my art materials is what gives my painting practice purpose. I find excitement as I feel the sunlight moving, the colors changing, and the weather progressing all around. I aim to demonstrate a feeling of immediacy and movement, as no moment of the outdoors can ever be completely replicated. I want the viewer to experience a fleeting moment with me. In my paintings of the landscape, I encourage the viewer to think about the ever-moving sun and changes of the seasons.
Elise Weber Elise Weber Captree State Park | acrylic on panel
Elise Weber Bayard Cutting Arboretum | acrylic on panel
Elise Weber Kings Park Bluff | acrylic on panel
Elise Weber Massapequa Preserve | acrylic on panel
Elise Weber Northport Harbor | acrylic on panel
Elise Weber
Final Series Compilation | acrylic on panel
As a potter, my passion lies in creating contemporary tableware with a focus on form and function. These objects are made to fit seamlessly into daily life in the domestic setting, so I create this functional work because I am excited to decorate and enhance other peoples’ homes. In terms of form, I think about ergonomics to ensure that my pottery is comfortable when these objects make contact with their user. When thinking about function, I design work that is universal for different foods and beverages wherever it may be. This body of work is made with red stoneware on the potter’s wheel, complemented with a warm white glaze on the surface to hold the food within it. Additionally, I have designed floral decoration to highlight the rims of the forms as a way to show the slippage of the human hand on each object in the set. The neutral white glaze allows the work to fit into each domestic space seamlessly, while the surface decoration gives the work its own bit of character. For me, making forms for others to use in everyday life is why I became a potter in the first place and I am excited for this body of work to be used as a whole. Whether it's a quiet dinner or getting together with friends and family, I want my work to be a part of the everyday ritual of gathering.
Elena Yess
Elena Yess
Untitled Tableware Set | clay, ceramic glaze
Elena Yess
Untitled Tableware Set | clay, ceramic glaze
Elena Yess
Untitled Tableware Set | clay, ceramic glaze
Isabella Canino
The series Comfortable At Last creates a tangible version of gender and body dysmorphia through ceramic sculptures. At 21 I came out as lesbian and finally began to feel comfortable with being attracted to women and less comfortable in my own skin. Two years later the dark part of my brain continues to focus on how the two weights on my chest could be the part that brought me the most pain physically and emotionally. To bind them down feels a lot less painful just so that I don’t have to see them. I feel a lot more comfortable with the back, chest, and rib pain caused by the tank top like garment when I see a flat chest in any type of reflection. Even though my breasts are securely attached to my body, I have never felt so disconnected from something before.
