MFA Exhibition Online - University of Montana

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Anything That.......Moves

“Anything That ……. Moves encapsulates all that is shifting around us in our discrete worlds. We invite you to consider that which moves within you, that which moves through you, that which moves outside of you, where you are, where you may be headed. It is our hope that this prompt encourages engagement with the present and reflection on the impending future. Show us your trajectory, show us your trail.”

Thank you for all the submissions and enjoy the exhibition – jurors Sasha Barrett, Kristin Bloom, Lily Kip, Crystal McCallie, Joseph Taylor, Jordan Brist, Jacob Kreiger, Russell Brausch, and Rachel Ingle.

Moist and Naked, Selina Wagner, University of Texas, Best in Show Award
'Moist and Naked' Selina Wagner, University of Texas
BEST IN SHOW AWARD

I reflect on instances that evoke an acute, hyper awareness of my body - summers spent in swampy Florida nudist colonies, a childhood documented on social media, or dreams where my teeth fall out and extra appendages grow. My work contemplates disorienting bodily experiences, both real and imagined. 
These considerations manifest as graphite drawings on paper of the body and other objects - retainers, eyelash curlers, limbs, teeth, baby legs, lamps, pipes, papayas, skeletons, thongs, etc.
The processes I utilize reflect dysphoric perceptions surrounding the body. Through systematized mark-making, image-stretching, tight cropping, and superfluous scaling, I reveal a deep compulsion to abstract and encode within the realm of representation, presenting a familiar body as a foreign object.
'Where is Home' Nina Rastgar University of South Carolina
'Where is Home' Nina Rastgar, University of South Carolina
FIRST PLACE AWARD

I've seen art as a language that focuses on reality and allows me to think visually with freedom and autonomy over space and being. It marks the moment of rejecting anonymity and reclaiming one's identity. In the process, my hand and mind collaborate, imbuing each object with character and intention. This intimate relationship between hand, mind, and object mirrors the very structure of human existence. During my school years in Iran, I became acutely aware of the web of punishments, rules, and laws that molded us into passive, obedient figures in public spaces. Publicly, I became engaged with critical questions about power and the body. I ultimately found how to resist, question, and seek progress. With all the above in mind, in my context, the feminine and queer body, long trapped in a web of political doctrines, became a symbol of my awareness of universal struggles for identity.
83435, Lainie Ettema, University of Florida, Second Place Award
'83435' Lainie Ettema, University of Florida
SECOND PLACE AWARD

Historically in Western culture, the nude female body has been painted nearly as much as fruit. Like women’s bodies, fruit has strong sexual connotations and a temporal quality. Each can bruise and each has a skin, a fleshy interior, and “bodily” secretions. Women's bodies and fruit are only considered valid for a short time and must be packaged and “sold” while they are still fresh. I use this history and comparison to challenge ideas of visual and physical consumption, blurring boundaries and moving toward a future in which we recognize the multitudes contained within the female subject.
Hogtied, Hannah Craft, Rochester Institute of Technology, Third Place Award
'Hogtied' Hannah Craft
Rochester Institute of Technology
THIRD PLACE AWARD

My work centers around deaths that occur as a byproduct of human existence/ civilization/ advancement and deaths that we(humans) allow ourselves to ignore, forget, or become blind to; and especially deaths that we convince ourselves are necessary.  I choose to work with craft mediums, such as metal and ceramic, because these mediums are labor-intensive and time-consuming—they represent an act of intentionality and control amidst the unpredictability of life.
EG, Marisa DeLuca, San Diego State University, Juror Choice
'EG' Marisa DeLuca
San Diego State University
JUROR CHOICE

This body of work develops an archive of light, shadow, and anachronistic architectural details. These features function formally as indicators of space, atmosphere, mood, and time. Light and shadow hover above while simultaneously living within. Intellectually we know these atmospheric qualities move and change, yet in the frozen space of the picture plane they resist impermanence. Conceptually, they allude to the layers of memory and human experience imprinted within a place. These formal elements infuse the work with a hauntological perspective of space – a nonverbal language for the ephemeral.
First Time Outside, Ryan Mitchell, Syracuse University, Juror Choice
'First Time Outside' Ryan Mitchell
Syracuse University
JURORS CHOICE AWARD

My work explores the themes of the redacted, if not fragmented, exploration into the past of my military service, showing how it has shaped me as a person and how it has accumulated into the person I am today. When I joined at an impressionable age, the thought of achieving a meaningful purpose gave me hope. I was disillusioned by the thought that facing death in combat and coming back in one piece was honorable and worth achieving. 

These images are arranged into fragments of dreamlike memories that evoke a longing for combat, and a yearning for self-worth. The manipulation of the images through various methods, including burning and the cutting of multiple photographs to collage into displays of nuanced memories. These recollections are a view into goals never achieved, training for a war that will never see the fruition of experiences. Facing the transitional phase of being thrown out into a world after the military, these memories now haunt you with regret and self-doubt of never realizing your full potential to come to terms with seeking out a purpose.
Memory Board, Shima Mousavizadehmarkieh, Ohio University, Juror Choice
'Memory Board' Shima Mousavizadehmarkieh
Ohio University
JURORS CHOICE AWARD

The Memory Board project began as a university assignment to design a toy for a specific audience. While most classmates chose to focus on children, I decided to address the entertainment needs of the elderly, a group often overlooked in this context. Inspired by my parents, who felt more isolated after I moved out, I wanted to create a game that brought joy and connection to seniors through cherished memories.

The Memory Board includes a CNC-cut map of the user’s childhood town, crafted on sustainable cork, along with markers representing memorable locations—like their first school, favorite play spots, and even their first love. By placing these markers on the map, players revisit key moments from their past, transforming the act of remembering into a meaningful and tactile experience.
This concept moves beyond typical memory games by combining nostalgic engagement with a visually and physically immersive interaction, helping seniors reconnect with positive memories and find warmth and companionship through personal stories in their everyday leisure time.
Out of Place, Emily Everitt, The University of Texas at Tyler, Juror Choice
'Out of Place' Emily Everitt
The University of Texas at Tyler
JURORS CHOICE AWARD

Using sculpture, I create eccentric pieces that serve as vessels for convoluted emotions, each piece being a dialogue between form and feeling. My goal is to ignite a sense of curiosity and playfulness from the viewer about the complexity of what it means to feel and create space for shared emotional experiences.
Presenting Guadalupe, Diego Pablo Malaga, Virginia Commonwealth University, Juror Choice
'Presenting Guadalupe'
Diego Pablo Malaga
Virginia Commonwealth University
JURORS CHOICE AWARD

What does a culture built around a high speed “death machine” signify? The American car, a symbol of class and desire, reflects a society that prioritizes highways over green spaces and historical POC neighborhoods. Cars consume precious resources—obtained through imperialistic extraction processes—while also being one of the leading causes of death. 
Despite this, I love my car. My compact Honda Civic, Guadalupe, is far from perfect. Her A/C is broken, seats are stained, and she needs numerous repairs. Yet, Guadalupe exemplifies the way marginalized communities interact with hegemonic symbols in unique ways, such as low-rider enthusiasts restoring wrecked cars or queer communities personalizing vehicles with bumper stickers and stuffed animals. Guadalupe represents how minority cultures can reclaim and redefine oppressive symbols.
My work explores these contradictory ways of engaging with car culture, and ultimately will make the case that fighting against these symbols is essential for changing and diminishing their power.
Seed Pod from an Unknown Tree, Cassidy Kaufman, Indiana University, Juror Choice
'Seed Pod from an Unknown Tree' Cassidy Kaufman
Indiana University
JURORS CHOICE AWARD

I’m interested in the depth of our world that is only seen when we take a moment to slow down, step in, and take a closer look at the beauty that surrounds us every day. A change in perspective that brings appreciation to the complexity of the natural world that often goes unnoticed in our fast-paced lives. I find myself to be fascinated by the “other worlds” that live within our own, often imagining what it would be like to be small, perceiving the world from an ant's eye view. Looking at forms of lichen, moss, and patterns within tree bark, I use metalsmithing techniques such as casting and hollow forming to create small scale sculptures that call for close inspection to fully appreciate. Focusing on depth and detail, as well as the abstraction of familiar forms to emulate the sense of wonder and curiosity that I feel when looking closely at the details in nature around me. Along with the complexity of form, I’m looking at relationships such as symbiosis between and within living beings in the natural world and the lessons they can teach us about our interpersonal relationships.
Suspension Bridge, CJ Carter, University of Oklahoma, Juror Choice
'Suspension Bridge' CJ Carter
University of Oklahoma
JURORS CHOICE AWARD

At its core, my work is about gender and its relationship to power. I challenge what is thought to be masculine and feminine and seek a future in which we no longer categorize each other in such arbitrary ways. With my Cathedral, I am thinking about how one forges their identity through trauma recovery, not rejecting the events of the past but using it to empower themselves. The second piece, Rococo Compassion, speaks to toxic masculinity, the ability for men to have emotions other than anger, and my desire to see our culture change its expectations of all genders. The third piece is about the fluidity of gender expression, embracing the beauty of physical strength and dedication to the community.
Vessel _ Vessel Installation with detail, Grace Edwards, University of Arkansas, Juror Choice
'Vessel _ Vessel Installation with detail' Grace Edwards
University of Arkansas
JURORS CHOICE AWARD

Vessel/Vessel explores the language of the vessel, and its dependency and interchangeability with the physical body. As the ceramic vessel is gradually replaced by my own body, the ceramic is unable to support itself before becoming nothing more than the decoration that adorns it. Both the weight of the clay and the ephemeral nature of the body are emphasized, their tension what I love most about their relationship.
Whispering Pine, Rachel Lowman, East Carolina University, Juror Choice
'Whispering Pine' Rachel Lowman
East Carolina University
JURORS CHOICE AWARD

The focus of my work is handweaving. Handweaving is my greatest interest in textile design because of the versatility of the art form and the history of the craft. My more recent focus is TC2 Jacquard loom weaving and its many unique capabilities. I was first introduced to TC2 weaving at East Tennessee State University (ETSU), where my passion for the possibilities of this technology was born. My work so far has centered on the technical aspects of TC2 weaving. Conceptual themes of religion, faith, and nature interweave themselves into my art. The knowledge gained from my Bachelor of Science degree in biology from ETSU informs my many conceptual choices when I incorporate natural themes.
Airmail, Installation with detail, Courtney Juen, Texas Tech University
'Airmail, Installation with detail' Courtney Juen
Texas Tech University

I am a collector of written words and scraps of paper. From lunch notes passed between friends in the 6th grade to weekly stamped envelopes sealed with my Nana’s handwriting throughout college, I have always loved the quiet intimacy of the written voice and how simple notes can capture whole people and entire relationships in concrete yet ephemeral ways. The power of words to establish, uproot, heal, break, nurture, enrich, move, and shape our lives is universally uncontested and individually understood. Curious about the personal nature of handwritten communication and its value in an increasingly digital age, I considered what it would look like to capture those often-fleeting yet commonly cherished sentiments in a tangible way, and have turned to clay and thread to help convey this fragile permanence.
An Ancient Observer, Anna Chapman, University of Massachusetts - Amherst
'An Ancient Observer' Anna Chapman
University of Massachusetts - Amherst

Anna Chapman is an artist and educator passionate about continuously exploring transformative approaches to art making, community practice, and connection to land in light of destabilized socio-ecological contexts. Her practice lies at the intersection of art, education, ecology and healing. Believing that interdisciplinary approaches to art and education are necessary to meaning-making in the context of the Anthropocene, her work is inspired by post-colonial, post-human, early European, and indigenous perspectives, aiming to mobilize reconciliatory relationships to place, community, materiality, and voice on the personal and collective level.
'Gomma's Angel Revisited' Eliza Gommas Frensley University of Tennessee - Knoxville
'Gomma's Angel Revisited' Eliza Gommas Frensley
University of Tennessee - Knoxville

I use printmaking to reference the historical and contemporary qualities of communication, documentation, and the archive. I am inspired by the inability to distinguish between the truth of my family's heritage and the tendency to idealize history. My work goes beyond the questions of what is true or not true and reframes reality using existing evidence, such as photographs and storytelling, collaged with visually disruptive textures and metaphors. I explore the significance of origin and how perceptions and expectations are disseminated within families through the created narrative while challenging the concepts of linear time and real and imagined space.
'Biscuit Box' Emilie Fantuz Emily Carr University of Art & Design, Canada
'Biscuit Box' Emilie Fantuz
Emily Carr University of Art & Design, Canada

In this series I have created self-portraits captured through reflections in windows – a documentation of my life's narrative.  I seek out physical windows within my environment that become references that I use to communicate my experiences, creating a visual dialogue between the external world and my internal reflections. The windows may have a display with items that I find intriguing or interesting architecture, there is always something that intuitively catches my eye. As I am forming the painting, I alter colour, lighting, and intensity of these scenes to evoke a sense of reality while also blurring the line between truth and interpretation. I am fascinated by the transient nature of reflections, which constantly shift with changes in light and movement. This impermanence establishes my work with a sense of authenticity, making each piece impossible to replicate and capturing a fleeting moment in time.  Through meticulous attention to colour, light, and subtle gradients, I strive to create immersive experiences that encourage viewers to engage deeply with each piece. Ultimately, my goal is to share something truly unique and thought-provoking, inviting viewers to challenge their perceptions and embrace the complexity of human experience.
'Bread Winner' Alex Awuku University of Florida
'Bread Winner' Alex Awuku
University of Florida

The practicalities of growing up in a high expectant society in the African settlement has a level of intolerance, which is a burden to the youth, that compels them to grow into antagonistic people to leave life within a family and society where to accept change, not deemed befitting. Everything I do and represent is infused with affirming the heart of African strength inside myself and others. My artwork draws inspiration from the past while also commenting on the current. I have embraced the use of mixed media to communicate and explore thoughts about intolerance in the African family system and other modern issues facing our origins and future. I aim to produce psychologically demanding art that compels the audience to think about injustices. My representation of mixed media emphasizes different parenting approaches adopted in most African homes due to religious faith that cripple our persona and development. As a Ceramic art Instructor for the past thirteen years, forming a family with students from different backgrounds, I have come to understand why intolerance in our African homes has, over time and in many different contexts, demonstrated high expectations from society.
'Cluster' Grace Tuthill University of Kansas
'Cluster' Grace Tuthill
University of Kansas

'Constant Company' Reece Henderson Ohio University
'Constant Company' Reece Henderson
Ohio University

Through my body of work, I am seeking to create a sense of adventure, joy, and playfulness while confronting the inevitability of death, through creating “otherworldly” scenes, use of cartoon-like characters and soft colors. With this work I aim to create my own fantasy of what the afterlife can look like, while looking to tap into this child-like excitement of exploration in an effort to serve as a reminder of how great of an adventure life is and to embrace the unknown.
'Cup And Saucer With Spoon' PK Woo University of Nebraska - Lincoln
'Cup And Saucer With Spoon' PK Woo
University of Nebraska - Lincoln

The pots I make are meant to be used in the rituals of everyday life. Eating and drinking is how we nourish ourselves, and in my own experience, it is how I feel more connected to the natural world; a world that can often feel distant in the post-industrial reality in which we find ourselves. Using a handmade object is an experience unto itself both visual and tactile, and through this experience the act of eating and drinking can be made more intentional. Whether that be sharing a cup of coffee with a friend, having a cup of tea, or sharing a meal with loved ones, my hope is that using my pots may further enrich those experiences. Growing up in rural Alaska has instilled in me a reverence for the natural environment, which is where the surface treatment of my work emerges from. My current work is inspired by a plethora of sources including but not limited to 18th century European ceramics, walks on trails, Victorian architecture, early American glassware, mid-century textiles, and black and white photography.
enchilada, Savannah Bustillo, University of Iowa
'Enchilada' Savannah Bustillo
University of Iowa

I have always known that words have stakes. It was a sour lesson. Pulling at my nostrils when my grandpa, Yayo, would ask me whether in or on was more appropriate for the bank teller. Pricking my tongue when my second-grade teacher was unable to get the J of my father’s name right at parent-teacher conferences. There was a symmetry to its notes of caustic bitterness. My relatives would struggle to pronounce the a’s of my American first name, just as each of my grade school teachers struggled with the double l’s of my Colombian last name. These flavors still linger in my mouth. My practice explores “authenticity” and identity as types of consumables: memories, bodies, ingredients, and sounds that can be heard, chewed, and written. By bringing together syllables, discarded food containers, and marginalia, I want to ground the expansive and challenging histories of language and labor. How can attention to these consumables allow a visceral understanding of larger abstract systems?
Gilded Ruins, Boateng De-Graft, Miami University
'Gilded Ruins' Boateng De-Graft
Miami University

Growing up in a Ghanaian mining community, I watched my homeland transform from a place of natural beauty to one scarred by environmental devastation. The relentless global demand for gold has fueled illegal mining, or *galamsey*, poisoning rivers with mercury and cyanide and leaving once-vibrant ecosystems in ruin. The impact of this destruction is personal, threatening my family, my community, and the future of generations to come.

My immersive art installation, *Beneath the Gold*, reveals the hidden cost of this unethical pursuit. Using visual simulations of polluted waters, portraits of affected individuals, and depictions of endangered resources, I invite viewers to experience this harsh reality. The installation merges art and data to evoke emotional responses and educate the audience on the consequences of consumerism. 
The process involved collecting stories from my community, creating textured visuals to represent the hidden cost, and incorporating video projections to immerse viewers fully. Each element is designed to connect the audience to the human and ecological impact of gold mining, inspiring reflection and action.
*Beneath the Gold* is a call to protect land, people, and our future, and to advocate for sustainable and ethical practices in a consumer-driven world.
Goldfish Cracker Between Two Buds on Grass with Daisies, Kaitlin Smrcina, University of Iowa
'Goldfish Cracker Between Two Buds on Grass with Daisies' Kaitlin Smrcina
University of Iowa

Fascinated with the fakeness of digital spaces, I utilize satire to simplify classical art elements into components, bits, and pixelated collages, making art objects visually more accessible. My practice holds curiosities for fixations, growth- good and bad, and the sociopolitical nuances of digital media. Using repetition as a ritual, my work idolizes our everyday world. Combining curated virtual elements with the physicality of ceramics, I root the surreal within fictitious, constructed realities that are at once here, and somewhere else entirely.
Ill Anchors Dragged Along, For How Long_, Zoe Nielsen, Purdue University
'Ill Anchors Dragged Along, For How Long?' Zoe Nielsen
Purdue University

Illusions, Hannah Buchanan, University of Michigan - Ann Arbor
'Illusions' Hannah Buchanan
University of Michigan - Ann Arbor

My works revolve around a specific body of water in my hometown in the rural Midwest. This landscape watched me grow up, from fishing off my grandparents' dock to selling worms and minnows at my family's bait shop. Painting is a way for me to dive into the memories submerged in this water as I see what moments and emotions I can bring back to the surface.
Landlords, Ross Owusu, Wayne State University
'Landlords' Ross Owusu
Wayne State University

In my artistic practice, I explore interconnected themes of resilience, dual consciousness of identity, and migration, weaving personal narratives into broader societal reflections. These themes form the foundation for a nuanced understanding of the complexities of human experience. Creation becomes a journey of overcoming emotional, cultural, and political challenges, transforming obstacles into visual narratives of renewal.

A recurring motif in my work is the duality of fragility and strength, expressed through reclaimed and recycled materials. This approach highlights the beauty of imperfection and invites viewers to reflect on their own resilience. By embracing failure as part of the creative process, I emphasize that growth often emerges from struggle.

In our globalized world, understanding the fluidity of identity is essential. My mixed media installations create immersive spaces that foster meaningful dialogue, incorporating elements of my Ghanaian African heritage. Each piece affirms the identities of people of color and migrants while commenting on the influence of African art in global contexts. Ultimately, my work seeks to deepen our understanding of resilience and shared humanity, inviting reflection on the diverse narratives that enrich our collective experience.
Left Hands, Paul Edwards, East Carolina University
'Left Hands' Paul Edwards
East Carolina University

My artistic practice delves into spaces of self-obliteration, exploring the complexity of the queer experience, data visualization, and posthuman philosophy. Releasing from the present moment through self-obliteration allows the consideration of my own life experiences, social interactions, and past personal trauma. By integrating autobiographical elements, I aim to invite introspection and provoke contemplation, fostering an intimate dialogue between audience and woven narrative. My aspiration is to forge a dynamic synergy between the tangible and the intangible, forging a narrative that is both visually arresting and emotionally evocative.
Neo-Lithic Site, Aurora Pavlish-Carpenter, University of Florida
'Neo-Lithic Site' Aurora Pavlish-Carpenter
University of Florida

Through an interdisciplinary practice focused in ceramics, I explore implications of technological progress as it relates to forms of violence in war, sexuality, and the environment. My work discusses the ways in which we create binaries – between man/woman, human/nature, and human/technology - in order to ignore or propagate violence. By combining imagery from these binaries in abstract and non-explicit ways, I challenge the viewer to interpret how we think about these binaries today and in the future. My sculptures and installations serve as speculative objects from a future humanity, indicating what was and what might be – a time and place where human and non-human lives, along with concepts of gender, sexuality, and technology, entangle in new and balanced ways.
Nike Diptych, Morgan Grigsby, University of Texas - Austin
'Nike Diptych' Morgan Grigsby
University of Texas - Austin

My paintings are inspired by everyday memories from my life on the Gulf Coastal plains of Texas. I combine the stillness of these ordinary moments of Southern black culture with a suburban landscape influenced by modern consumerism. 

My subjects include people in my community engaging in outdoor activities or within a calm domestic interior. For example, In My Nike Diptych oil painting, I painted a pair of my brother's white Nike shoes on my backyard patio twice in one night. His feet are posed casually in both paintings. On the left, he stands firmly underneath the bright warmth of a floodlight. While on the right, his shoelace slowly unraveled after walking around the patio.

As part of my creative process, I use oil paint to create imaginative color schemes while still having the ability to capture realistic effects of the atmosphere. This approach invites the viewer into a unique private space where light and color guide the overall mood of each painting.
Not Daughter Vessel Of Grief, Tamara Deedman, University of Alberta, Canada
'Not Daughter Vessel Of Grief' Tamara Deedman
University of Alberta, Canada

I Investigate how inherited objects hold the physical and emotional weight of human connection, memory, grief, and trauma. I regard these objects as reliquaries, physical holders of past relationships, and markers of intergenerational coping mechanisms. Through lithographic drawings and manipulated scans of inherited possessions and my father’s archive, I convey how traumas and survival mechanisms become embedded in our material worlds. I am negotiating what it means to be responsible for masses of economically, socially and culturally worthless objects that were once emotionally priceless to my late father. Although these items do not seem significant to others, each is a marker of the burdens my father’s family has held for generations. This process allows me to liberate myself through empathic drawing, which allows me to let go of the physical and emotional burdens in which my father has passed down.
On the Ground, Yena Kim, San Diego State University
'On the Ground' Yena Kim
San Diego State University

My art practice is about a series of physical interactions: between myself, the maker, and material; the viewer and a formal object; those objects and the spaces that they inhabit. For me, process and experimentation with three-dimensional materials and form is the point from which my concept is derived. My forms are dictated largely by the physical realities of the material, process, and space, allowing the final outcome to be open to conceptual interpretation: The process generating conceptual connections, rather than vice-versa. My current work investigates traditional basket weaving techniques and uses the inherent qualities of rattan reed in relation to the body. These human-scale and larger objects are often suspended from a ceiling, installed on a wall, and displayed on a floor without a pedestal, emphasizing the scale of the work and inviting the viewer to physically engage. Using the natural resistance and elasticity of rattan, I explore and discover unique configurations of these objects. These bodies of weaving sculptures attempt to construct an unknown world. I challenge the perception of a given space with new sensory experience by creating a dialogue between the viewer’s presence and the large-scale woven forms in front of them.
Peels So Good circa 1944, Alexia Benavent-Rivera, Florida State University
'Peels So Good circa 1944' Alexia Benavent-Rivera
Florida State University

Identity and cultural background is a huge driving force in my art practice. I am Puerto Rican, Panamanian, and Ukrainian, and the diasporas endured by these groups have strong histories that I refer back to in my work. Recently I have been focusing on the banana wars in Central and South America, a time of brutal greed and American imperialism that too often gets brushed under the rug. The effects of these times are still felt today by millions of people in Central and South America,  I work to create awareness of the issue and hold a space for the affected. The frog shapes are hand built out of porcelain clay and arranged into mass swarms or colonies which has an amplifying effect on their presence and ability to hold space. Their coloration is inspired by the history of countless workers stained blue by the Bordeaux Mix pesticide used on plantations, and the bananas are a symbol of a past empire gone to rot and being reclaimed by the land and people it used to rule.
Present Looking Past (Acadia), Chloe Sailor, Florida State University
'Present Looking Past (Acadia)' Chloe Sailor
Florida State University

Unmoored whispers of maternal histories are alive in archives, burrowed- the pieces need to be unearthed, excavated, dredged to breathe. I collect these loose threads of memories from my maternal ancestors who have called Maine home for generations and use Critical Fabulation to repair them, darning them with fiction and thread. My work resides in between painting, fiber arts, photography, and writing, often softening the preconceived limits of each medium to create punctuated landscapes. Following in the steps of my maternal ancestors who created quilts from scraps to keep warm from harsh winters, I gather secondhand fabrics from Maine, giving them new life with paint and cyanotype. 
Women’s history is often an oral one, passed down between generations but forgotten over time without being recorded in the archive. My practice restores some of these histories by weaving together a new narrative of Maine history.
Red, Phoebe Shuman-Goodier, University of Texas - Austin
'Red' Phoebe Shuman-Goodier
University of Texas - Austin

Much of Phoebe’s work emerges from her intimate relationships and connection to her childhood home-turned-junkyard. Phoebe approaches accumulation, waste, and debris from the perspectives of art, hoarding disorder, and American consumerism. Her practice is a cathartic tool that she uses to navigate life. This involves serious play; transfiguring trash, observing breakdowns of value, negotiating function, and making magic from the everyday. Phoebe believes in the power of collaborative art making to demonstrate alternatives and create new paths that challenge the status quo. This can range from reconsidering responses to mental illness and repairing relationships to reclaiming agency within alienating systems.
Riverside, Hannah Odum, Radford University
'Riverside' Hannah Odum
Radford University

I specialize in painting landscape scenes influenced by weather. My compositional inspiration comes from my photographs of Appalachian Mountain scenery. I am interested in exploring the relationship between the immediacy of photos and the gradual, additive process of painting and the ability to infuse scenes with ambiance, energy, and depth.

I often depict landscapes altered by atmospheric conditions like wind, cold, fog, and clouds. These elements let me obscure and reveal parts of the image, creating an emotional aura. By balancing the revealing and concealing, I make the environment somewhat unknown, omitting elements like the sun to challenge the viewer's perception of time.
Searching for Comfort, Jackson Shaner, University of South Carolina
'Searching for Comfort' Jackson Shaner
University of South Carolina

In my work, I explore how strong emotions interact with the body. I find that emotional experiences often somaticize physical symptoms like tension, discomfort, or even pain. I often reflect on these felt experiences and attempt to make them tangible. My studio practice allows me to create space for my emotions, process them, express their sensorial effects, and explore facets of my identity in a cathartic and healing way. 

These two pieces reflect the palpable discomfort and 'otherness' associated with my experiences growing up as a queer man in the South. In creating "Centipede," I was reminded of the novella "Metamorphosis" by Franz Kafka. In this story, a mysterious event turns a man into a large insect who is then neglected and imprisoned by his family. When I came out as gay, I felt as though I went through a similar transformation in how I was perceived by society and some of my peers. In referencing this story of transformation, I play on themes of disgust, fear, and anger, all the while expressing my struggle to feel safe and my desire to be loved.
Shrine to an Alcoholic, with detail, Sheldon Wong, University of Hawai_i - Mānoa
'Shrine to an Alcoholic, with detail' Sheldon Wong
University of Hawaiʻi - Mānoa

In a century, our bodies will be no more, but our archives may persist. 
My work examines how personal and ancestral experiences intersect with the politics of memory, questioning who gets to claim space within diasporic spaces. I interrogate the structures that determine which narratives are preserved, inserting myself as an active participant in preserving my own history.
Through intimate, meditative mark-making, I explore the generosity of clay, reimagining extraction as a reciprocal dialogue rather than a one-sided process. The material holds these exchanges, conscious of the intimacy between us. What does it mean to hold something? What does it mean to be held?
Clay is elemental, the earth is flesh, bodies are vessels archiving time on this Earth.
Silence, Beth D_Elia, Lesley University
'Silence' Beth D'Elia
Lesley University

My latest body of work, called Silence, bridges the unique photographic object with digital post processing. I began experimenting with putting black and white silver gelatin photo paper inside old cameras instead of film. Through long exposures, I create unique ephemeral 2 x 2 inch paper negatives that I subsequently scan once and invert in Photoshop. The positive image yields a unique color based on the properties of the photo papers I use — both current and expired. Essentially, the ephemeral paper negative is a lens-based lumen print.
Slipping into Darkness, Richard Rodriguez, University of Miami
'Slipping into Darkness' Richard Rodriguez
University of Miami

As a contemporary artist, I use calligraphy and provocative symbols to speak about social issues and create visual narratives. My artwork reflects my own experiences, the pre-literate word-of-mouth histories, barrio folklore, my indigenous background from Mexico. I incorporate Printmaking in my practice because of the many techniques that complement my art. I use color as a symbol and an additive element to add depth to each piece and use cultural symbols that connect me to my heritage and identity. Recently in my practice, I have recently used Monoprinting to create abstract figures for subject matter to explore expression, color and texture. The artists who influence my art are Diego Rivera, José Guadalupe Posada, Leopoldo Méndez.
Virginia (so ends my holey night), Nika McKagen, University of Wisconsin - Madison
'Virginia (so ends my holey night)' Nika McKagen
University of Wisconsin - Madison

My work feeds on the urge to represent the moments of emergent belief that occur when one finds themselves in the deep, whether physically or metaphorically, especially regarding how we might be able to access these meaningful impulses in the everyday. Much of my work is produced by printing on expired silver gelatin paper from the 1980’s and collaging them together to create photographic objects and diptychs. This paper produces a solarized (or x-ray) effect due to its age; the paper has been scarred by light over the course of its lifetime, making the imagery that etches into it reflect the dim conditions of the underworld. I also consider alternative methods of traditional photography, such as utilizing infrared film to help uncover another realm that is not visible to the human eye. I consider different mythic entrances into the underworld in my pieces, including what my Russian culture believes: that the entrance to the underworld is deep in the forest, behind Baba Yaga’s hut. My recent work focuses on the depths of the forest as another location to access confrontations of bigness and grief, and how they contort the body.
Something in the Sight, Marita Manson, New York State College of Ceramics - Alfred University My new studio features large windows, opening up onto a sidewalk where people can stop and watch me. I'm not used to being surveilled while I am working. I consider the digital landscape and the ubiquity of online surveillance, how easily we open ourselves up to be watched, and how eagerly we watch in turn. I question in this surreal world, are we the watched, or are we also the snake, watching, shrouded by the cloth we shed.
Something in the Sight, Marita Manson, New York State College of Ceramics - Alfred University
'Something in the Sight' Marita Manson
New York State College of Ceramics - Alfred University

My new studio features large windows, opening up onto a sidewalk where people can stop and watch me. I'm not used to being surveilled while I am working. I consider the digital landscape and the ubiquity of online surveillance, how easily we open ourselves up to be watched, and how eagerly we watch in turn. I question in this surreal world, are we the watched, or are we also the snake, watching, shrouded by the cloth we shed.
Space Between, Matthew Wilhelm, Indiana University - Bloomington
'Space Between' Matthew Wilhelm
Indiana University - Bloomington

My work is made as a consideration of the object. I have a belief that all objects have an influence on the spaces in which they inhabit, the people that share proximity, and on the other objects in which they reside with. These influences are intriguing to me as an observer and maker. As a maker of space, I find the role of considering the relationships of these objects within themselves and the impact on those around them to create powerful conversions. I consider these conversations more as a visual interaction, more than a manifestation of verbal chatter. This visual chatter is the formal interactions of form, texture and surface. Creations of space, open and contained, are bounded by the proximity of space. Those spaces between objects are a way to consider relationships of self and others.
The Reconstruction of Self, Ehrald, Lesley University
'The Reconstruction of Self' Ehrald
Lesley University

My latest work, Euphoria and Innocence, explores the complex interplay between youthful joy and the underlying solitude often experienced within family dynamics. These pieces delve into childhood memories, highlighting the contrast between the external exuberance of youth and the quieter, more introspective moments. Through vibrant colors and muted shadows, the series conveys both the innocence of these moments and the emotional depth hidden beneath the surface.

As I continue developing Euphoria and Innocence, I focus on using personal photographs as inspiration, transforming these moments into larger works that reflect my evolving artistic practice and my ongoing exploration of memory and identity. This continuity in subject matter and process reflects a natural progression in my artistic practice. As I layer these images with vibrant colors and introspective compositions, I seek to uncover the emotional complexities beneath the surface of childhood memories—exploring the innocence of youth and the solitude and yearning that accompany it. Through this series, my goal is to capture this duality, inviting viewers to reflect on their own experiences of nostalgia and emotional depth.
Through the Stalks, Amber Hart, Louisiana State University
'Through the Stalks' Amber Hart
Louisiana State University

What a landscape this place has become. A place I didn’t even know I had cultivated all 
these years. It’s frightening in a way. In a place where I am the creator, why do I feel the need to observe from a distance. I creep along the mud and weeds like a cat. Silent and still at moments when a bellow escapes from afar. Even the tips of my ears flicker like a feline or hound. 

The work is a depiction of a physiological landscape. A world created through distorted 
memories by the passing of time and iconographic symbols acting as placeholders for parts of me that I have yet to completely unravel. A game with myself so to speak. A game with the viewer and what they see. A game that I do not know how to play but have slowly begun to understand. It is as if part of me is leading the other whose eyes cannot see what is beyond the hill.
What a Long Day, Chrystal OBoyle,  SUNY New Paltz
'What a Long Day' Chrystal O'Boyle
 SUNY New Paltz

I’m inspired by quiet, introspective moments that reveal our inner worlds. These overlooked interactions—private times to recharge and reflect—are where I find the deepest expressions of self-reflection.
My sculptures capture solitary figures, often women, immersed in thought, recharging, or navigating the complexities of their inner worlds. Through each posture, expression, and environment, I aim to spark a dialogue that invites the viewer into introspection. I focus exclusively on the female form to offer a contrast to the historical male gaze, which often reduces women to objects of visual pleasure. Instead, I portray them in unposed, relaxed moments, emphasizing their humanity rather than idealized beauty.
I integrate a sense of timelessness by “plucking” moments from reality and infusing them with weightless, dream-like qualities. Using milk paint and surface treatments, I create ambiguous textures and washed-out colors that suggest a tenuous connection to reality, while metal elements ground the figures, hinting at unseen, internal landscapes. Through these inanimate forms, I hope to communicate a universal, physical language that resonates with human experience.
Studio Escape, Maya McDonald, Clemson University
'Studio Escape' Maya McDonald
Clemson University

We can view the figure as a set of contour lines, but everything represented within the facial expressions, body language, and context empowers each piece to be much more. Through the figure's ability to communicate within art, these paintings allow viewers to create various interpretations as individuals connect to each of these figure’s physical and emotional appearances. Through my work, I explore these connections and emotional reactions while continuing to study and experiment with the technical side of oil painting.

‘Where is Home’ Nina Rastgar
University of South Carolina
FIRST PLACE AWARD

I’ve seen art as a language that focuses on reality and allows me to think visually with freedom and autonomy over space and being. It marks the moment of rejecting anonymity and reclaiming one’s identity. In the process, my hand and mind collaborate, imbuing each object with character and intention. This intimate relationship between hand, mind, and object mirrors the very structure of human existence. During my school years in Iran, I became acutely aware of the web of punishments, rules, and laws that molded us into passive, obedient figures in public spaces. Publicly, I became engaged with critical questions about power and the body. I ultimately found how to resist, question, and seek progress. With all the above in mind, in my context, the feminine and queer body, long trapped in a web of political doctrines, became a symbol of my awareness of universal struggles for identity.

‘Blinking Fish Does Not Daydreaming When Swimming’ Boya Liang
Emily Carr University of Art + Design

Blinking Fish Does Not Daydream When Swimming is a video poetry piece that reflects on the fleeting nature of life and our connection to the world around us. Inspired by a dream of becoming a goldfish flowing in the air, the video weaves together images of rivers, oceans, and skies, evoking thoughts of origins, journeys, and the unknown future. Words flow like water, capturing moments of transformation, memory, and the pulse of existence. The poem carries a gentle yet elusive presence, inviting a reflection on the fluidity of our journey and the unseen currents that connect us. It brings forth a sense of drifting through a dream-like state while still being anchored in reality, embodying the shared experiences and transient moments that shape existence.

‘Passing Through’ Hamidreza Noroozi
University of Alabama

Improvisation and unconscious play a vital role in my artworks.  I usually delve into the details of ideas that accidentally come to mind and try to indicate them in an absurd theme, to find an answer to the question: What does our constant movement mean?

‘Thus Spoke Mudpuppy’ Kai Mote
University of Tennessee

I explore the interconnectedness of ecosystems within our bodies and external environments through my sculptures, which resemble microbes. These pieces exist alongside viewers, responding to their presence. For example, a proximity sensor may trigger sound, which then vibrates water—mimicking the chain reactions found in natural ecosystems, where every action causes a ripple effect.
In my installations, I treat sound as a form of touch. Sound waves act as a bridge, connecting participants through an invisible but physical force. When viewers interact with proximity sensors, they create a network of sound-based interactions, linking everyone in the space.
I create sound collages using field recordings, drawing from natural environments and human-made sounds. These recordings adapt to shifts in the space, mirroring how ecosystems respond to change. Through this process, I aim to highlight the impact of critical global issues on our shared environment.

Vessel _ Vessel Installation with detail, Grace Edwards, University of Arkansas, Juror Choice
'Vessel / Vessel' Installation with detail, Grace Edwards, University of Arkansas
Sasha Barrett, University of Montana-Missoula

Sasha Barrett, MFA University of Montana-Missoula

Jurors Choice: 'Vessel / Vessel' Installation with detail, Grace Edwards, University of Arkansas

I absolutely love this installation, performance, and concept. As a trained potter, the vessel is such a powerful metaphor for the human body. The jurying process for this exhibition was no easy task—nearly 700 submissions, and we could only select 50. It was intense to say the least. “Vessel” was a standout for me. It stayed in the top 50 for much of the jurying process and, at times, even floated into the awards lineup. But in the end—much to my frustration—it didn’t make the final cut. I fought for it, cheered for it, and ultimately selected it for my jurors choice placement.

That said, beyond this exhibition, this body of work truly holds its own. I’m grateful to have been introduced to both the artist and their work. The unity of flesh tones, the fabric, the imagery, and the vessels themselves create such a visceral experience. The amphora-like forms with their cutouts make me imagine stepping right into those fleshy clay vessels myself. I am happy to choose this work as my Jurors Choice.

@therealsashabarrett
www.sashabarrettceramics.com

EG, Marisa DeLuca, San Diego State University, Juror Choice
Jurors Choice: 'EG' Marisa DeLuca, San Diego State University
Joe Taylor, University of Montana-Missoula

Joe Taylor, MFA, University of Montana-Missoula

Jurors Choice: 'EG' Marisa DeLuca, San Diego State University

My Juror’s choice for the “MFA Online Exhibition” hosted by the graduate students from the University of Montana, and Montana State University is Marisa Deluca’s “EG”. It was a marathon of a selection process as we received over 600 submissions and were required to whittle it down to 50! I was struck by Marisa’s work from my first look through the submissions and chose “EG” because it stayed with me to the end.

I was drawn to Marisa’s work because the paintings highlight a quiet moment that often goes overlooked. I greatly value the power of looking closely at the world and could tell that looking was central to the practice of making this work. Marisa’s work references photography in a way that gives the painting a sense that they are reflections on the past which are now interacting with the viewer in the present. You might call it nostalgic, but I think they are more than that because of the way the subjects project qualities of light and well worn surfaces that speak to an ongoing use or current opportunity to find light playing in a similar way. I see the practice of working from photos as a chance for the artist to curate or impose alternative realities into the captured history, and wonder if anything has been altered and what those decisions might reveal. The paintings are believable as representations, while remaining mysterious, personable and communal at the same time.

@joegingles
www.jtaylor.art

First Time Outside, Ryan Mitchell, Syracuse University, Juror Choice
Jurors Choice: 'First Time Outside' Ryan Mitchell, Syracuse University
ryan_mitchell

Kristin Bloom, MFA, University of Montana-Missoula

Jurors Choice: 'First Time Outside' Ryan Mitchell, Syracuse University

As the spouse of a veteran, this piece really resonated with me. I think civilians often struggle to grasp the true depth of the sacrifice that service members make. Most enlist at a tender age and are not only forced to grow up at a rapid-fire pace, but also often face situations that most adults will never once experience in their lives. The ones that are lucky enough to come home carry invisible scares that the rest of us often can’t see and are asked to assimilate back into a society that’s largely forgotten their sacrifices. First Time Outside is a distinct reminder that these are not faceless warriors. Nor should they be forgotten.

@kristinbloom
www.kristinbloom.com

Presenting Guadalupe, Diego Pablo Malaga, Virginia Commonwealth University, Juror Choice
Jurors Choice: 'Presenting Guadalupe' Diego Pablo Malaga, Virginia Commonwealth University
Lily Kip, University of Montana-Missoula

Lily Kip, MFA, University of Montana-Missoula

Jurors Choice: 'Presenting Guadalupe' Diego Pablo Malaga, Virginia Commonwealth University

I have selected Diego Pablo Malaga’s Presenting Guadalupe for my Juror’s Choice
Award. Guadalupe is one of those rare art pieces which blends heart, humor, and technique to capture a niche facet of contemporary culture with such moving acuity, that she has haunted me since I first laid eyes on her. Guadalupe has got me by the throat, not a day has gone by since jurying that I haven’t thought of her eyelashes, her hands. Malaga’s depiction of his beloved subject blends painterly skill with postmodern pastiche via eyelashes, hoop earrings, hands. The inclusion of text nods to internet meme-ography, pulling the piece deliberately into conversation with the complex arena of online image making. In his artist statement, Malaga rhapsodizes on the tragedy of the American road vehicle, an enforcer of societal structures as “a symbol of class and desire” and a scourge of community in prioritizing “highways over green spaces and historical POC neighborhoods.” And yet, Malaga loves Guadalupe, a blue-mantled madonna emblematic of the role care culture plays in marginalized communities, through “low- rider enthusiasts restoring wrecked cars or queer communities personalizing vehicles with bumper stickers and stuffed animals.” In this manner, Malaga is able to hold multiple contradictory realities in a refreshingly contemporary painting. I was blown away by the multi- layered intentionality of Malaga’s vision. Through the cipher of Guadalupe, Malaga captures the most critical catch-22 of 21st century American life: we are dependent on capitalist products which are literally destroying us, and yet, those products constitute the fabric of our lives. I have not seen many other pieces which so tightly communicate this complex discord of American life, let alone with such humor, grace, and compassion.

Jurying Anything That Moves has been a complete and utter delight. I have been
inspired, emboldened, and brought to my knees by the work of my academic peers. Thank you to anyone and everyone who shared their work with us!

@kilylip.oil

Memory Board, Shima Mousavizadehmarkieh, Ohio University, Juror Choice
Jurors Choice:'Memory Board' Shima Mousavizadehmarkieh, Ohio University
Crystal McCallie, University of Montana-Missoula

Crystal McCallie, MFA, University of Montana-Missoula

Jurors Choice:'Memory Board' Shima Mousavizadehmarkieh, Ohio University

The 2024 MFA Online Exhibition, Anything That Moves, encompassed hundreds of submissions from around the world that included media of drawing, painting, sculpture, ceramics, printmaking, video, installation, and photography. The jurying process, a collaborative effort of our faculty advisor and exhibition’s founder and a group of a dozen western Montana Grad students took countless hours to complete. We were thorough, fair, firm, and sometimes conflicting. However, in the end, we all agreed that the top 50 exhibition selections and top four prizes were well deserved based on conceptual themes, originality, and excellence of media handling. Through this process, each of us were allowed to choose one work that stood out above all the others that was shockingly original, had superb handling of our favorite medium, or just spoke to us personally.

For my Juror’s Choice Award, I chose Shima Mousavizadehmarkieh’s The Memory Board. According to their artist statement “The Memory Board project began as a university assignment to design a toy for a specific audience. While most classmates chose to focus on children, I decided to address the entertainment needs of the elderly, a group often overlooked in this context. Inspired by my parents, who felt more isolated after I moved out, I wanted to create a game that brought joy and connection to seniors through cherished memories. The Memory Board includes a CNC-cut map of the user’s childhood town, crafted on sustainable cork, along with markers representing memorable locations like their first school, favorite play spots, and even their first love. By placing these markers on the map, players revisit key moments from their past, transforming the act of remembering into a meaningful and tactile experience.”

This concept moves beyond typical memory games by combining nostalgic engagement with a visually and physically immersive interaction, helping seniors reconnect with positive memories and find warmth and companionship through personal stories in their everyday leisure time. The Memory Board is beautifully conceptualized, utilizing modern technology to craft a collaborative work of art for all ages to enjoy. This game is special to me because I could have imagined playing it with my great grandmother after she suffered a massive stroke and lost the ability to verbally communicate. She and her fellow residents at the nursing home would have loved playing this game. It would have allowed her to have a nostalgic, social experience with her friends and family without using her voice. Now, my own family are collectors of unique board games that have clever objectives, clear instructions, aesthetic appeal, and fun engagement for all ages. The Memory Board is not only a lovely work of art, but a game that could be put into production for many people to enjoy.

@crystalmccallie
www.mccallieart.com

Suspension Bridge, CJ Carter, University of Oklahoma, Juror Choice
Jurors Choice: 'Suspension Bridge' CJ Carter, University of Oklahoma
Jordan Brist, University of Montana-Missoula

Jordan Brist, MFA, University of Montana-Missoula

Jurors Choice: 'Suspension Bridge' CJ Carter, University of Oklahoma

For my Juror’s Choice, I chose CJ Carter’s “Suspension Bridge”. I was stunned by all of CJ’s work but when I saw this piece I immediately knew that it would be hard for anything else to surpass the admiration I have for this sculpture. The artist perfectly captured the strength and determination of this godlike figure as it holds a bridge to support the rest of the community. I am especially drawn to the technical aspects of this work—the rendering of the human form, the intricate details, and the painting. Everything is done so marvelously that I wish I could see it in person. I find this sculpture to be truly inspiring and can’t wait to see it in its entirety once the other half has been completed.
Jurying this show was an interesting and rewarding experience. Though deliberations were long, I found it incredibly fulfilling to view such amazing work from fellow MFA students representing diverse perspectives and mediums. This collaborative effort was challenging at times, but hearing others make compelling cases for specific works helped me understand some of my unconscious biases. Engaging in this process highlighted the importance of collaboration in understanding art.

@jordanbrist.art
www.jordanbrist.art

Out of Place, Emily Everitt, The University of Texas at Tyler, Juror Choice
Jurors Choice:'Out of Place' Emily Everitt, The University of Texas at Tyler
Jacob Kreiger, MFA, Montana State University-Bozeman

Jacob Kreiger, MFA, Montana State University-Bozeman

Jurors Choice:'Out of Place' Emily Everitt, The University of Texas at Tyler

I love this submission. I found the way Emily chose to take a highly recognizable subject matter and change everything about it from size, material, and context to create a curious, and unconventional piece that embodies complex emotions. I like the juxtaposition between the bright, fun eggs in contrast with the very abandoned looking environment to show the emotional dissonance the creator is feeling. The piece does a good job of being thought provoking and emotionally striking while simultaneously being very playful and curious. A lot of the time, I think it’s easy to make darker work when it comes to the topic of emotional complexity, so it was refreshing to see a lighter take on it.

@dirt_kettle

Whispering Pine, Rachel Lowman, East Carolina University, Juror Choice
Jurors Choice: 'Whispering Pine' Rachel Lowman, East Carolina University
Russell Brausch, Montana State University-Bozeman

Russell Brausch, MFA, Montana State University-Bozeman

Jurors Choice: 'Whispering Pine' Rachel Lowman, East Carolina University

For my jurors choice award, I chose Rachael Lowman’s piece, “Whispering Pine”. Lowman is from East Carolina University working in textiles and weaving. This piece stood out to me from its strong use of color combined with visual imagery. It very much resembles a tree, whilst posing movement through the weaving and inversing of colors. This piece exemplifies the show’s theme “Anything that moves” through capturing the gestural movement of both the tree and in the weaving itself. Lowman describes their work’s meaning,  “Conceptual themes of religion, faith and nature interweave themselves into my art.”  Upon first glance I had a similar response to this work that moved me and stuck with me throughout the jurying process.

@russbrausch
www.russellbrauschfineart.com

Seed Pod from an Unknown Tree, Cassidy Kaufman, Indiana University, Juror Choice
Jurors Choice: 'Seed Pod from an Unknown Tree' Cassidy Kaufman, Indiana University
Rachel Ingle, Montana State University-Bozeman

Rachel Ingle, MFA, Montana State University-Bozeman

Jurors Choice: 'Seed Pod from an Unknown Tree' Cassidy Kaufman, Indiana University

When I saw Cassidy Kaufman’s Seed Pod from an Unknown Tree, I knew I was looking at something special. I was instantly transported not only to a new world but to a new way of being, one in which the miniature gains a special significance, where the tiny becomes the mighty. In the gallery space these tiny worlds can become lost amongst the large-scale installations and exciting interactive displays. In an online show, it is easy to be impressed quickly when we view massive two-dimensional work. Seed Pod from an Unknown Tree upends those expectations with a dramatic shift in scale and exceptional craftsmanship. I appreciate Kaufman’s attention to the theme of movement, not only does Seed Pod from an Unknown Tree use metal to convey such a wonderful sense of visual movement, but the time scale on which trees grow is one that is purposefully slowed, intentionally noticed, bringing mindfulness to viewing and, for me, the jurying process.

@inglehouseart

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