Faculty Biennial Exhibition

Date: 
Thursday, January 31, 2013 (All day) to Friday, February 15, 2013 (All day)

Cazenovia College Art Gallery to Show Art Faculty Work
First Spring Semester Exhibition Opens Thursday, Jan. 31
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The Cazenovia College Art Gallery in Reisman Hall will host the Faculty Biennial Exhibition, Jan. 31 – Feb. 15, with an opening reception on Thursday, Jan. 31 from 4 to 5:30 p.m. The exhibition and reception are free and open to the public.

The Cazenovia College Art Gallery in Reisman Hall, 6 Sullivan St., is on the corner of Sullivan and Seminary streets in Cazenovia. Hours during the academic year are: Monday through Thursday, 1-4 p.m. and 7-9 p.m.; Friday, 1-4 p.m.; and Saturday and Sunday, 2-6 p.m. Summer hours vary. Shows and receptions are free and open to the public. The gallery is handicapped accessible.

For more information, contact Jen Pepper, by e-mail to jpepper@cazenovia.edu.


About the artists:
Heather Bivens Caterpillar Necklace

Caterpillar Neck Piece
silicone, hair and glass

Heather Bivens, associate lecturer of studio art, is a sculptor who works primarily with wearable sculpture and body art. Her research interests include adornment, the female experience, myths and desire. She earned a Master of Fine Arts degree from Syracuse University, and lives in Baldwinsville, N.Y.

Bivens writes, "My wearable sculptures are inspired by the organic growth of nature and its seductive features. The forms I create tease the boundaries of beauty and approach the unreasonable. I enjoy the allure of the strikingly tragic and the tension that surfaces between what could be parasitic, or could be the loving partnership of bodies."


Jo Buffalo Dolores Behind Bars

Dolores Behind Bars, 2013
clay, wood, underglaze

Jo Buffalo, professor of studio art, writes, "A brief narrative of my career will include only my awards and my involvement in a couple of key projects. To list my employment record might mislead one to believe that I had no idea what I was doing for the first twenty years. The jobs were numerous, low paying, and certainly a part of my education. I count veterinary surgical assistant, head mistress at a girls’ school in Kenya, archaeological tech/scientific illustrator, as the high points of that era.

"The interesting part of my life started when I took my first ceramics class in college in 1967. It was love at first pinch. During the time I was an undergraduate I was pretty much covered with clay. I learned to throw, I built kilns, and I discovered salt and used burners that were turbo-charged with my Electrolux vacuum.
Jo Buffalo Monarch

Monarch, 2013
clay, fiber, crystal, underglaze

"The summer after I graduated I taught my first clay class (1973). My clay encounters continued with a project called ‘New Works in Clay.’ It was a grant-funded exhibition that gave established artists working in other mediums a chance to make art from clay with technical assistance. I was one of the techs. I worked closely with Margie Hughto to dry and fire the artists’ work and installed it for the exhibition in January of 1976.

"Adventure and strange jobs took me away from clay for a while. I returned to participate in ‘New Works in Clay III’ as an artist. It was not too long after that that I set up my own clay studio. My connection with the Everson continued when, in 1985, they purchased a piece of my collaborative work with Chris Darling. We worked together for about a year. Chris made the shapes and I worked the surface.

"I have been teaching at Cazenovia College for 25 years - most of the time this has involved ceramic classes, drawing, and design. My association with the College allowed me to apply for and receive a James Renwick Fellowship. The Fellowship funded studying the ceramic collections at the Smithsonian Museums.

The College recently sent me with eight students for a semester abroad to Canterbury, England. I worked with the ceramics department at Christ Church University and had an exhibition at their gallery. I was granted a sabbatical leave in the fall of 2009. My time was spent at Moravian Pottery and Tile Works. I learned production as an apprentice. I created my own new body of work in the studio provided. My latest studio work has been knitting and glass incorporated into ceramic pieces."

Buffalo also wrote "Why people choose to be artists. The truth as I know it."

Being an artist allows you to express yourself in beautiful complex visual ways.
Being an artist means you don't have to retire.
Being an artist means it doesn't matter how you appear--people look at your work.
Being an artist is never boring because you are always making something that doesn’t exist.
Being an artist is a great excuse to learn all kinds of arcane but fascinating things.
Being an artist gives you social leeway to not follow the social rules as closely.
Being an artist means you don't have to make excuses when you want to be alone.
Being an artist allows you to make things in school rather than take exams.
Being an artist doesn't make as much money as other professions but it makes a lot of satisfaction and you don’t have to buy décor.
Corky Goss, professor of studio art, specializes in murals that interpret local history. His public mural projects can be found in Syracuse, Utica, Weedsport, Clyde, Lyons, and Newark. Two murals are currently being developed for Canastota, N.Y. His studio work focuses on painting and often develops themes relating to how our inner (private) and outer (public) lives intersect. Merging these personal and natural forms into flowing and colorful compositions that invite an open interpretation by the viewer is the intended result.

He writes, "The way a painting evolves for me is often an open-ended process that requires a building up of marks and form, with a sense of visual adventure and a kind of forgetting what I want to see in the work. This tension can become a struggle within the painting toward what I envision, or want to see. Requiring the painting to assert a direction of its own is paramount to what I hope is visual discovery. Overriding themes of inner/outer, macro/micro, solid/amorphous, meaning/non-meaning, allow continuity with past works, presented in current work in newly found ways."
Scott Jensen Digby Cartoon
Scott Jensen, assistant professor of visual communications, also practices design and illustration professionally. He creates a line of greeting cards for Oatmeal Studios and a comic strip for The Hardware Connection. His Headwaters Trail logo, designed for the Greater Stamford Area Trust received an American Graphic Design Award. He lives in Hobart, N.Y.

Jensen writes, "I believe it's important to practice what I teach, and I'm fortunate to have the opportunities to continue drawing and designing outside of the classroom."

Left: This Digby's Hardware comic strip, by Scott Jensen, originally appeared in the July/August 2012 issue of The Hardware Connection, a trade magazine for hardware retailers and distributors.





Jen Pepper Magnolia

Magnolia 2012 (detail)
aluminum casts with chain

Jen Pepper, associate professor of art and design, is the director of the Foundation Studies Program and director of the Cazenovia College Art Gallery in Reisman Hall. She has exhibited in solo and group shows in international and national venues since 1990. Her work is included in the Flatfiles at Pierogi Gallery in Brooklyn, N.Y. A solo exhibition of her work including video projection with sculptural components was mounted in the Everson Museum of Art, Syracuse, N.Y., and was reviewed in Sculpture magazine Vol.30 No.2, March 2011.

Pepper has been the recipient of granted awards including NEH, NYFA, NYSCA, Astraea Foundation and Saltonstall Foundation for the Arts. She has been an artist in residence to Art Colony Galichnik, Macedonia (2006), Foundation Valparaiso, Spain (2003), The Virginia Center for the Creative Arts, Anam Cara Colony, Ireland (2001), Yaddo (2000), Sculpture Space, (1997), Millay Colony for the Arts (1995). Pepper has been a guest panelist at national Women’s Studies, Social Science and Society for Aesthetics annual conferences presenting papers on feminism and photographic explorations of identity, and visiting artist at University of Wisconsin at Eau Claire (2013). She holds a Bachelor of Fine Arts degree from The Maryland Institute College of Art and a Master of Fine Arts degree from The University of Connecticut at Storrs.

Pepper writes, "My work explores the intersection between language and the body, and the interaction of the two with the physical and emotional environment. Language is as important a part of our world as clouds, forests and oceans and is as mutable. Words and phrases become concrete building blocks of humankind and our world. Found texts from everyday life, philosophy and art are made physical and brought into objecthood in my work, exploring language’s impact on each individual. Using fragmented sentences, language is presented elusively in my work to suggest its transformative and buoyant qualities --implying that language is under constant r/evolution; reshaping our world physically and imaginatively. Visit www.jenpepper.com for more information.
Jeremy Randall Yellow and Green Lidded Tank

Yellow and Green Lidded Tank

Jeremy Randall, visiting instructor of art at Cazenovia College, owns and operates a studio in Tully, N.Y. He received Bachelor of Fine Arts degree from Syracuse University and a Master of Fine Arts degree in ceramics from the University of Florida. He has been involved in numerous national and international shows, is represented by Red Lodge Clay Center in Red Lodge, Mont., Mudfire Gallery in Atlanta, Ga., and the DeCordova Sculpture Park in Lincoln, Mass. He also has work included in the permanent collections of Robert and Jane Myerhoff in Baltimore, and the Southern Illinois University Museum in Carbondale, Ill.

Of his work he writes, "Familiarity evokes memory and I look to this association to present nostalgia through form. My reference to rural American architecture and antique rural implements places the viewer in a familiar setting which is layered with time, function and history while color creates celebration in these iconic objects. The vessel forms tie these objects back to the domestic space, enriching ones living environment while allowing for quiet contemplation and a reminder of a simpler time."


Allyn Stewart Untitled

Untitled, 2012

Allyn Stewart, associate professor of visual communications, grew up as part of an extended army family and spent her childhood traveled around the world. She has co-produced, directed, edited and videotaped a number of video documentaries: The Figure in the Landscape, at Stone Quarry Hill Art Park. Cazenovia; From Sheltered To Integrated Work, Special Education Department, Syracuse University; Women of Steel (project director and co-producer), an independently funded project for Mon Valley Media, Pittsburgh, Pa.; and was the project director and co-producer for Caring With A Contract, produced in conjunction with the United Steelworkers of America International Union. In addition to her collaborative work in video, Stewart’s art videos have won numerous awards; her video A Desperate Woman was seen on national television through the program Through Her Eyes, which was produced by the The Learning Channel.

Stewart has a Master of Fine Arts degree in art media studies from Syracuse University, a Master’s Degree in museum, editing and archival studies from Duquesne University, Pittsburgh, Pa., and a Bachelor of Fine Arts degree in art history/painting from Syracuse University. She has received numerous awards and honors, and her work has been published in a number of publications.

Stewart will show work from The Geography of Landscape. She writes, "The collages included in this exhibition describe the narrative of a landscape and the language of memory. Intrinsic to the work is a sense of geography, of mapping and finding one’s way. I have always been interested in the idea of becoming lost – and what we see when we do not recognize a particular location.

"The work explores a visual relationship between a landscape, (the aspect of the land characteristic of a particular region) maps (defined as charts, an atlas, a drawing showing route or locations), geography (the layout of a place, physical features, typography) and becoming lost (lost has a myriad of meanings, many unrelated to the geographical concept of being Lost: unable to find a way, gone, destroyed, preoccupied, mislaid, missing, vanished, gone astray, off course, etc.). By using found ephemera, historical images of the natural world, bits and pieces of directions and maps, the collages comment on what we see as we travel.

"I always get lost the first time I go anywhere new. I get lost on the subways. I get lost taking short cuts. I get lost every single time after I drop my mother off at the airport. It’s not a problem going to the airport; she sits in the front seat and gives me directions. It’s on the way home that the geography of the landscape suddenly seems peculiar, nothing looks remotely familiar. I cannot seem to find any topographical landmarks. And, every right hand turn looks the same. I have been known to drive 50 miles in the wrong direction before I realize that I do not live on Oneida Lake. Maps don’t seem to help much. The work in this exhibition responds to that experience of gone astray, of being off course, of having vanished.
Kim Waale I Need a Lullabye

I Need a Lullabye (detail)

Kim Waale, professor of studio art, and director of the Studio Art Program, has been an artist-in-residence in Spain (2010), Macedonia (2008), and Ecuador (2007) and has received grants and residencies from organizations including I-Park, Sculpture Space, Light Work, the International Studio and Curatorial Program in New York City, the Saltonstall Foundation and the Millay Colony. In addition to recent exhibitions at the Everson Museum and the Warehouse Gallery in Syracuse and Memorial Art Gallery in Rochester (where her work won multiple prizes), her work has been shown in at Hallwalls Contemporary Art Center in Buffalo, the A. I. R. Gallery in New York City, the McCormick Freedom Museum in Chicago, and museums and galleries in Wales, Bulgaria, Macedonia and Spain. In 2003, she co-authored the book A Due Voci: The Photography of Rita Hammond (Syracuse University Press) with Dr. Ann Ryan and Dr. Julie Grossman.

She writes, "I am interested in how we translate and re-present the natural world to ourselves. Increasingly, nature has become an idea, a cultural construction, and a commodity. We are attempting to generate a natural world that we can control and therefore comfortably enjoy. My work relies on artifice (insincere behavior, ploys, clever tricks and pretense). I reproduce nature-based forms using decidedly unnatural materials. The act of making (hand-spinning plastic wrap and knotting unnaturally oversized webs) positions me with one foot in the natural world and the other in the world of contrived cultural production."
Anita Welych Passenger Pigeon

Passenger Pigeon (detail)

Anita Welych, professor of studio art, is a Syracuse-born artist of Colombian heritage. She studied painting and natural sciences at Cornell University, and studied in London. After earning her Bachelor of Fine Arts degree she received a Fulbright Grant to continue her studies in painting and lithography at the Universidad Nacional in Bogotá, Colombia. She completed a Master of Fine Arts degree in painting at Syracuse University and was awarded a Fulbright Teaching Grant to Colombia in 1995.

Welych was a co-founder and co-director of the Syracuse alternative gallery Altered Space from 1990-1996. Most of the exhibits focused on social or political themes, such as women and health, consumerism, mental health issues and hate crimes. Altered Space made a commitment to empowering the artist in everyone.

Welych creates narratives exploring aspects of everyday life. Her work combines painting, drawing and nontraditional materials such as hair, makeup, fingernails and vintage linens in artist’s books, collages and installations. Her current work, titled Extant/Extinct, explores extinction of bird species.

In her artist’s statement, writes, "As a young girl, I became enamored of the birds in our small inner-city backyard. My father unexpectedly supported my interest, giving me a bird book and binoculars: the best gift ever. Is it a surprise that I turn, after my father’s death, to birds as subject matter? Ultimately I am translating a private experience of loss to one on a far broader scale, one we all share. Is the loss of something unknown still perceivable? Is loss still tragic even if we have never met an Eskimo Curlew, a Heath Hen, a Bachman’s Warbler? In this ongoing body of work, I investigate the nature of loss and the loss of nature.

"Extant/Extinct is an ongoing project exploring the life history of North American bird species that have become extinct or critically endangered. Each mixed media sculpture references birdhouses (through the presence of a roof or other human construction) as a metaphor to convey the frequent futility and inadequacy of human response to environmental crises. Built elements contrast with natural elements to elicit aspects of each species’ natural history as well as our role in their demise. As we face the increasing threats of global environmental degradation, this work serves as either an elegy or a call to action."
Lori Wilson Expanse

Expanse, 2012
acrylic

Lori Wilson, associate lecturer of studio art at Cazenovia College, is the application specialist at Golden Artist Colors, Inc., an employee-owned manufacturer of acrylic materials for professional artists. She tests and helps develop products for both decorative and fine art markets, serves artists with technical assistance and conducts workshops for practitioners in both fields. An important aspect of her job is to continuously learn about new products, techniques and uses of materials.

Wilson participates in an annual color projection project to stay in touch with changing color trends. She has worked abroad as a consultant to decorative painters in Shanghai, China, and on a high profile job in London, England. In 2008, she presented a lecture entitled: "Modern Materials and Technique: Decorative Craftsmanship in the 21st Century" at the Architectural Paint Research Conference held at Columbia University in New York.

She earned her Bachelor of Arts degree in fine art and art history from Hartwick College, and her Master of Arts degree in art history focusing on glass from the Victoria University of Manchester in Manchester, England, and has spent over three years training in Europe.

Of her art, Wilson writes, "With a background in glass and nearly twenty years of working with acrylic, my work focuses on clear and translucent materials and expression of what can be considered non-material (light, shadow, emotion, ideas, connections)."