• The art of fashion: exploring the boundaries between ceramic materials and human dress and adornment

      Gumbrecht, Rachel (2019-05)
      I am most interested in drawing closer connections between the distinct fields of fashion and ceramics. Influenced greatly by clothing and the flexibility of textile materials, my ceramic work is often inspired by the softness of fabrics and feminine figural forms. Using processes of research and design, I strive to create intelligently functional ceramic works. Fabric and clay are equally intriguing to me; while the two have vastly different properties, they are united under their quality of usefulness.Both clay and fabric can be manipulated to create new, functional forms, designed with pure purpose and attention to aesthetics. The 3–dimensional clay forms I make generally include vessels such as vases, bowls, cups, and jars, which are meant to be used daily. I also look for opportunities to create objects that are not found in the kitchen, but are equally useful in daily life. The Art of Fashion is meant to be a self-portrait that explores the way in which garments are enhanced by the addition of handmade ceramic buttons and jewelry. The elegance of my work in these varying materials derives from the simplicity of the forms in conjunction with a smooth, pastel palette of glazes. My finished products display elements of reverie and timelessness.
    • Art, objects, and memories

      Voska, Katherine (2021-05)
      As humans, there are millions of factors that shape our identities. From culture, geographic location, and family life, to education, career path, and sexuality, every aspect of our lives make us who we are. For me, the work I make as an artist and a student is a result of my identity. I am a straight, half Japanese, half American, cisgendered woman, raised in the same small town for most of my life. My parents were married for over 25 years until they separated the summer before my senior year of high school. I am the third generation of my family to be living in the same childhood home. I was raised to appreciate nature, history, and to be more giving than those who gave to me. I attend a liberal college where I majored in art but took classes in history, philosophy, music, film, language, and culture. All of these things have affected my perspective of others, the world around me, and how my work fits into it. As a society that prides themselves on the things that they own and possess, what do the objects I create add? This exhibition highlights my life and how the objects I create are influenced by other objects, my identity and experiences.
    • Tracking the history of maritime art and its display

      Hawkins, Natalie (2021-12)
      Depictions of nautical vessels can be found as far back as the beginning of image making itself. Nautical art would begin to find its central themes and mediums in Medieval Europe through ship maps and illuminated manuscripts. However, it was not until the 17th century that the modern concept of maritime art would truly emerge. This genre of painting would be developed by Dutch painters at the time. This would then spread to the art of the rest of Europe and eventually to the United States. The popularity of maritime art was deeply connected to its original imperial use. Some of the first strictly maritime artists were exclusively commissioned to work on voyages of exploration, mercantile ship portraits, and naval war scenes. This history was tracked extensively up until the late 20th century, though there has been little scholarly attention given to maritime art since the 1990’s. In order to understand the way maritime art may exist in the modern world, it is crucial to look at the way that modern museums display maritime paintings. In looking at maritime art from its imperial origins to the present day, one can also see the ways in which contemporary artists are using the genre to comment on modern, post-colonial issues.