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Wonsook Kim College of Fine Arts

BFA Collaborative Group Exhibition

Exhibition Dates: December 7-11, 2020

The BFA Collaborative Group Exhibition is an annual project that students in the Wonsook Kim School of Art Bachelor of Fine Arts studio program work on together every fall semester. With guidance from the Director, Assistant to the Director, WKSOA Instructional Technician, and BFA faculty committee, BFA students design a collaborative approach and strategy, create within a selected conceptual or formal framework, and produce an exhibition which is installed in Transpace Gallery in the Center for the Visual Arts. Due to the unique circumstances of the COVID pandemic, this year we are offering an online digital gallery for viewing of this exhibition.

For our Fall 2020 project, the BFA committee selected pairings of participating students to work in collaboration. A unique challenge for our students this fall was developing creative and thoughtful ways of working together in a COVID safe manner that took into account social distancing guidelines. We are proud of the our BFA students and the collaborations in which they engaged, especially considering the altered circumstances and experiences they are encountering and navigating this year.

Artist collaborations

Olga Coronado (Photography) and Noelle Daugherty (Painting); Kat Naughton (Photography) and Tess Murphy (Printmaking); Kayla Sanders (Photography) and Antonia DiPrima (Painting); Alanna Veitch (Ceramics) and Jacob Clark (Painting); Karlie Uphoff (Glass) and Mya Hildreth (Ceramics); Tate Skinner (Photography) and Jess Dowell (Printmaking); Guste Savukynaite (Painting) and Sara Alfieri (Ceramics); Hannah Songer (Painting) and Amanda Baker (Painting)

Antonia Diprima and Kayla Sanders, "Untitled"

Using self reflection as a general theme, We decided to self-reflect based on each other as complete strangers. Although we both crossed paths unnoticed being in the same program, we had no preconceived notion on the other's work and or life in general. Using this to our advantage, we decided to take a fresh look into each other's lives and have a casual conversation to get to know each other. Based on that single interaction, we decided to create and exchange self portraits. Once exchanged, the other will modify based on the one on one interview exchange. through this process we were able to step out of one's self to truly understand another. Each person, although style may vary, captures the other in a way that speaks to not only them but also their work.

Antonia Diprima and Kayla Sanders, "Untitled"

Using self reflection as a general theme, We decided to self-reflect based on each other as complete strangers. Although we both crossed paths unnoticed being in the same program, we had no preconceived notion on the other's work and or life in general. Using this to our advantage, we decided to take a fresh look into each other's lives and have a casual conversation to get to know each other. Based on that single interaction, we decided to create and exchange self portraits. Once exchanged, the other will modify based on the one on one interview exchange. through this process we were able to step out of one's self to truly understand another. Each person, although style may vary, captures the other in a way that speaks to not only them but also their work.

Antonia Diprima and Kayla Sanders, "Untitled"

Using self reflection as a general theme, We decided to self-reflect based on each other as complete strangers. Although we both crossed paths unnoticed being in the same program, we had no preconceived notion on the other's work and or life in general. Using this to our advantage, we decided to take a fresh look into each other's lives and have a casual conversation to get to know each other. Based on that single interaction, we decided to create and exchange self portraits. Once exchanged, the other will modify based on the one on one interview exchange. through this process we were able to step out of one's self to truly understand another. Each person, although style may vary, captures the other in a way that speaks to not only them but also their work.

Jess Dowell and Tate Skinner, "Untitled"

Self reflection is a vulnerable and often uncomfortable practice. Selfreflection requires you to look into your inner workings as much asyour outer form. Through this process we have learned to work withpieces that we have previously considered “failures” in our art practice,creating a new piece that investigates and exposes itself in anuncomfortable and revealing way.

Olga Coronado and Noelle Daugherty, "Untitled"

What does it mean when two art practices intersect? For Olga and Noelle, the intersection took a surprising form. This project united the stories of two people who both study intimate narratives within their own work. How would these stories make sense of one another in a time when authentic human connection is becoming difficult? This piece was an opportunity not only to merge our modes of expression into one but also to experience friendship in an unlikely circumstance. The slow development of our piece revealed the time needed for genuine bonds to grow. We used photography, painting, and collage to express ideas of division and union. We focused on themes that have been prevalent in both of our practices such as family and tenderness. In addition, this collaborative project also allowed us topush ourselves outside of the themes we typically work with. This included working in a whimsical spirit that was both an expression and an escape from the times we are living in. During the process, we realized that it was more about the act of making it together than about the actual object we were making. Cutting, ripping, gluing, painting and stitching became meditative motions that were easy to get lost in. We chose materials in a way that encouraged a deep mental flow in order to create rhythms and patterns internally and visually. The resultant image highlights persistent patterns within a broken context. Through this process we discovered the difference in how we think of creating art. While Noelle has a vision of what her paintings will portray and shoots for it, Olga tends to shoot photographs more freely with concepts in mind and come back later to sift through her options. Instead of our two approaches making a barrier to success, they strengthened the overall process. It was planned and yet intuitive.

Antonia Diprima and Kayla Sanders, "Untitled"

Using self reflection as a general theme, We decided to self-reflect based on each other as complete strangers. Although we both crossed paths unnoticed being in the same program, we had no preconceived notion on the other's work and or life in general. Using this to our advantage, we decided to take a fresh look into each other's lives and have a casual conversation to get to know each other. Based on that single interaction, we decided to create and exchange self portraits. Once exchanged, the other will modify based on the one on one interview exchange. through this process we were able to step out of one's self to truly understand another. Each person, although style may vary, captures the other in a way that speaks to not only them but also their work.

Antonia Diprima and Kayla Sanders, "Untitled"

Using self reflection as a general theme, We decided to self-reflect based on each other as complete strangers. Although we both crossed paths unnoticed being in the same program, we had no preconceived notion on the other's work and or life in general. Using this to our advantage, we decided to take a fresh look into each other's lives and have a casual conversation to get to know each other. Based on that single interaction, we decided to create and exchange self portraits. Once exchanged, the other will modify based on the one on one interview exchange. through this process we were able to step out of one's self to truly understand another. Each person, although style may vary, captures the other in a way that speaks to not only them but also their work.

Karlie Uphoff and Mya Hildreth, "Untitled"

In this collaboration, we both took the opportunity to explore a new way of thinking that allowed us to step away from our current work. Living in these unprecedented times, discomfort is a very prevalent aspect of our everyday lives. Thinking about the idea of comfort and discomfort, we used our mediums to their advantage. Karlie focused on the idea of discomfort and expressed that in the form of glass. Using the fragility and danger that usually surrounds glass, Karlie created a crackled glass form that holds spikes at the top of the piece. Mya focused on the idea of comfort and communicated that through an abstract sculpture made out of stoneware clay. She manipulated the clay to appear soft and cushiony. The juxtaposition between these two intertwined forms creates feelings of uneasiness and solace.

Tess Murphy and Kat Naughton, "Gophers"

For this collaboration we will be engaging with each other through letter correspondenceby the perspectives of characters who are fearful of gophers. This is a self-reflection based oncharacteristics of individuals who have internalized homophobia and project overtly and covertlytheir fear as well as the underlying truth of their own sexuality. Reflecting upon both ourup-bringings as Catholics and examining the reality of what behavior we have witnessed/experienced surrounding internalized-homophobia and policing sexuality.Our process included coming up with a topic for our “characters” to discuss in letters toone and other. We wanted to incorporate both our areas of practice by using photography ofourselves as the characters we created and covering the faces with gopher faces made withlinoleum blocks, we took inspiration from the gophers from Looney Tunes. Tess’s process ofmaking is investigating thermochromic ink that vanishes with heat. We decided to use this ink tocover up areas of the letters that revealed the characters true desires in regards to the gophersand in the linoleum blocks to reveal identity.

Tess Murphy and Kat Naughton, "Gophers 2"

For this collaboration we will be engaging with each other through letter correspondenceby the perspectives of characters who are fearful of gophers. This is a self-reflection based oncharacteristics of individuals who have internalized homophobia and project overtly and covertlytheir fear as well as the underlying truth of their own sexuality. Reflecting upon both ourup-bringings as Catholics and examining the reality of what behavior we have witnessed/experienced surrounding internalized-homophobia and policing sexuality.Our process included coming up with a topic for our “characters” to discuss in letters toone and other. We wanted to incorporate both our areas of practice by using photography ofourselves as the characters we created and covering the faces with gopher faces made withlinoleum blocks, we took inspiration from the gophers from Looney Tunes. Tess’s process ofmaking is investigating thermochromic ink that vanishes with heat. We decided to use this ink tocover up areas of the letters that revealed the characters true desires in regards to the gophersand in the linoleum blocks to reveal identity.

Sara Alfieri & Guste Savukynaite "Comfort vs. Discomfort Through Destruction & Rebirth"

Through the process of destruction, whether intentional or not, humans are given an opportunity to rise again and build something new. With this specific project, both artists being originally from a place relatively far from Illinois: New York and Lithuania, and this project requiring a shipment to Hawaii, we are called to universal ideas of expansion and comfort vs. discomfort. Comfort possibly being found in what we know as home, discomfort possibly in being distant from where one originated or diving into the unknown in a place unfamiliar. As discomforting destruction can be or feel, like volcano eruptions occurring on the island causing property damage, changing road paths, and in general a lot of the landscape locals were familiar with and using for farming, growth and evolution follow, perhaps more so adaptation and acceptance at first. The volcanic process just goes to show how temporary things are but how much rebirth is possible. The pieces placed on rock formations and lava flow are meant to align with the flow already present; however with the way the curved ceramic pieces are placed, in a manner that almost feels like circular motions could be stirred in the space represents the process leading up to destruction, how at times things build up and concentrate to one specific moment and then cause havoc. The ceramic pieces placed in the lush and freshly rained on foliage however are placed more sporadically or in manner depicting the expansion of things as growth happens similarly… little by little but eventually resulting in new forms of life unimagined previously. Consequently, through discomfort is possibly when most growth can happen. In a way, throughout this series the ceramic pieces are reclaiming their origin, more so in the placements on the rocks, just as local Hawaiians try to do so with the capitalistic motives to bring in tourism and in general historical colonialism.

Sara Alfieri & Guste Savukynaite " Comfort vs. Discomfort Through Destruction & Rebirth"

Through the process of destruction, whether intentional or not, humans are given an opportunity to rise again and build something new. With this specific project, both artists being originally from a place relatively far from Illinois: New York and Lithuania, and this project requiring a shipment to Hawaii, we are called to universal ideas of expansion and comfort vs. discomfort. Comfort possibly being found in what we know as home, discomfort possibly in being distant from where one originated or diving into the unknown in a place unfamiliar. As discomforting destruction can be or feel, like volcano eruptions occurring on the island causing property damage, changing road paths, and in general a lot of the landscape locals were familiar with and using for farming, growth and evolution follow, perhaps more so adaptation and acceptance at first. The volcanic process just goes to show how temporary things are but how much rebirth is possible. The pieces placed on rock formations and lava flow are meant to align with the flow already present; however with the way the curved ceramic pieces are placed, in a manner that almost feels like circular motions could be stirred in the space represents the process leading up to destruction, how at times things build up and concentrate to one specific moment and then cause havoc. The ceramic pieces placed in the lush and freshly rained on foliage however are placed more sporadically or in manner depicting the expansion of things as growth happens similarly… little by little but eventually resulting in new forms of life unimagined previously. Consequently, through discomfort is possibly when most growth can happen. In a way, throughout this series the ceramic pieces are reclaiming their origin, more so in the placements on the rocks, just as local Hawaiians try to do so with the capitalistic motives to bring in tourism and in general historical colonialism.

Sara Alfieri & Guste Savukynaite "Comfort vs. Discomfort Through Destruction & Rebirth"

Through the process of destruction, whether intentional or not, humans are given an opportunity to rise again and build something new. With this specific project, both artists being originally from a place relatively far from Illinois: New York and Lithuania, and this project requiring a shipment to Hawaii, we are called to universal ideas of expansion and comfort vs. discomfort. Comfort possibly being found in what we know as home, discomfort possibly in being distant from where one originated or diving into the unknown in a place unfamiliar. As discomforting destruction can be or feel, like volcano eruptions occurring on the island causing property damage, changing road paths, and in general a lot of the landscape locals were familiar with and using for farming, growth and evolution follow, perhaps more so adaptation and acceptance at first. The volcanic process just goes to show how temporary things are but how much rebirth is possible. The pieces placed on rock formations and lava flow are meant to align with the flow already present; however with the way the curved ceramic pieces are placed, in a manner that almost feels like circular motions could be stirred in the space represents the process leading up to destruction, how at times things build up and concentrate to one specific moment and then cause havoc. The ceramic pieces placed in the lush and freshly rained on foliage however are placed more sporadically or in manner depicting the expansion of things as growth happens similarly… little by little but eventually resulting in new forms of life unimagined previously. Consequently, through discomfort is possibly when most growth can happen. In a way, throughout this series the ceramic pieces are reclaiming their origin, more so in the placements on the rocks, just as local Hawaiians try to do so with the capitalistic motives to bring in tourism and in general historical colonialism.

Sara Alfieri & Guste Savukynaite "Comfort vs. Discomfort Through Destruction & Rebirth"

Through the process of destruction, whether intentional or not, humans are given an opportunity to rise again and build something new. With this specific project, both artists being originally from a place relatively far from Illinois: New York and Lithuania, and this project requiring a shipment to Hawaii, we are called to universal ideas of expansion and comfort vs. discomfort. Comfort possibly being found in what we know as home, discomfort possibly in being distant from where one originated or diving into the unknown in a place unfamiliar. As discomforting destruction can be or feel, like volcano eruptions occurring on the island causing property damage, changing road paths, and in general a lot of the landscape locals were familiar with and using for farming, growth and evolution follow, perhaps more so adaptation and acceptance at first. The volcanic process just goes to show how temporary things are but how much rebirth is possible. The pieces placed on rock formations and lava flow are meant to align with the flow already present; however with the way the curved ceramic pieces are placed, in a manner that almost feels like circular motions could be stirred in the space represents the process leading up to destruction, how at times things build up and concentrate to one specific moment and then cause havoc. The ceramic pieces placed in the lush and freshly rained on foliage however are placed more sporadically or in manner depicting the expansion of things as growth happens similarly… little by little but eventually resulting in new forms of life unimagined previously. Consequently, through discomfort is possibly when most growth can happen. In a way, throughout this series the ceramic pieces are reclaiming their origin, more so in the placements on the rocks, just as local Hawaiians try to do so with the capitalistic motives to bring in tourism and in general historical colonialism.

Sara Alfieri & Guste Savukynaite "Comfort vs. Discomfort Through Destruction & Rebirth"

Through the process of destruction, whether intentional or not, humans are given an opportunity to rise again and build something new. With this specific project, both artists being originally from a place relatively far from Illinois: New York and Lithuania, and this project requiring a shipment to Hawaii, we are called to universal ideas of expansion and comfort vs. discomfort. Comfort possibly being found in what we know as home, discomfort possibly in being distant from where one originated or diving into the unknown in a place unfamiliar. As discomforting destruction can be or feel, like volcano eruptions occurring on the island causing property damage, changing road paths, and in general a lot of the landscape locals were familiar with and using for farming, growth and evolution follow, perhaps more so adaptation and acceptance at first. The volcanic process just goes to show how temporary things are but how much rebirth is possible. The pieces placed on rock formations and lava flow are meant to align with the flow already present; however with the way the curved ceramic pieces are placed, in a manner that almost feels like circular motions could be stirred in the space represents the process leading up to destruction, how at times things build up and concentrate to one specific moment and then cause havoc. The ceramic pieces placed in the lush and freshly rained on foliage however are placed more sporadically or in manner depicting the expansion of things as growth happens similarly… little by little but eventually resulting in new forms of life unimagined previously. Consequently, through discomfort is possibly when most growth can happen. In a way, throughout this series the ceramic pieces are reclaiming their origin, more so in the placements on the rocks, just as local Hawaiians try to do so with the capitalistic motives to bring in tourism and in general historical colonialism.

Sara Alfieri & Guste Savukynaite "Comfort vs. Discomfort Through Destruction & Rebirth"

Through the process of destruction, whether intentional or not, humans are given an opportunity to rise again and build something new. With this specific project, both artists being originally from a place relatively far from Illinois: New York and Lithuania, and this project requiring a shipment to Hawaii, we are called to universal ideas of expansion and comfort vs. discomfort. Comfort possibly being found in what we know as home, discomfort possibly in being distant from where one originated or diving into the unknown in a place unfamiliar. As discomforting destruction can be or feel, like volcano eruptions occurring on the island causing property damage, changing road paths, and in general a lot of the landscape locals were familiar with and using for farming, growth and evolution follow, perhaps more so adaptation and acceptance at first. The volcanic process just goes to show how temporary things are but how much rebirth is possible. The pieces placed on rock formations and lava flow are meant to align with the flow already present; however with the way the curved ceramic pieces are placed, in a manner that almost feels like circular motions could be stirred in the space represents the process leading up to destruction, how at times things build up and concentrate to one specific moment and then cause havoc. The ceramic pieces placed in the lush and freshly rained on foliage however are placed more sporadically or in manner depicting the expansion of things as growth happens similarly… little by little but eventually resulting in new forms of life unimagined previously. Consequently, through discomfort is possibly when most growth can happen. In a way, throughout this series the ceramic pieces are reclaiming their origin, more so in the placements on the rocks, just as local Hawaiians try to do so with the capitalistic motives to bring in tourism and in general historical colonialism.

Alanna Veitch and Jacob Clark

There is an opportunity when engaging with a work of art, to form an intimate connection with something new, important, and or forgotten. Alanna and I, as the artists were fortunate enough to experience this connection through the process of creation. How can we invite everyone else into this experience? How can we translate the metaphysical intensity of nature for all to feel and grasp in the physical world? All the artist can do is form a natural and authentic connection with the piece, a relationship where both the artist and work are expected and encouraged to grow. To grow and learn, is to let die and regrow, it’s rebirth. Letting a preconceived idea of something we thought to be true, die, is painful, because to be right is to feel safe and in control and to be wrong is to be in chaos. We suffer more when we resist, when we cling to the need for control. But nature is quite chaotic, and there isn’t anything we can do to stop its cycle so we ought to let go, accept, and surrender to the path of least resistance. This piece reflects and dives into the interconnection of nature, relationships, and intimacy. The biomorphic form made for a canvas that is already speaking, having a need to be listened and responded to. There’s a navigation between when to let nature take the wheel and when to take control. Flaws come from moments where the wrong choice was made at the wrong time, caused by resistance, flaws later to be made intentional. Moments of beauty come from the right choice at the right time, through listening, accepting, and extenuating forms already present. The piece asks to come close and hold it, to notice these moments in every detail. Holding the two broken halves together at first felt like an inescapable cliche of holding together a damaged relationship, but quickly became internalized as opposed to dismissed. The cracked nature of the piece was nothing that could be changed, leaving a trail of tension. A tension and duality between physical body/matter and the metaphysical feeling/energy, between self conscious and self aware, between order and chaos. Duality is rooted in nature. Having two sides allows us to navigate between, bringing awareness to our relationships; with self, others, nature, or any other place a bond of intimacy can be formed.

Alanna Veitch and Jacob Clark

There is an opportunity when engaging with a work of art, to form an intimate connection with something new, important, and or forgotten. Alanna and I, as the artists were fortunate enough to experience this connection through the process of creation. How can we invite everyone else into this experience? How can we translate the metaphysical intensity of nature for all to feel and grasp in the physical world? All the artist can do is form a natural and authentic connection with the piece, a relationship where both the artist and work are expected and encouraged to grow. To grow and learn, is to let die and regrow, it’s rebirth. Letting a preconceived idea of something we thought to be true, die, is painful, because to be right is to feel safe and in control and to be wrong is to be in chaos. We suffer more when we resist, when we cling to the need for control. But nature is quite chaotic, and there isn’t anything we can do to stop its cycle so we ought to let go, accept, and surrender to the path of least resistance. This piece reflects and dives into the interconnection of nature, relationships, and intimacy. The biomorphic form made for a canvas that is already speaking, having a need to be listened and responded to. There’s a navigation between when to let nature take the wheel and when to take control. Flaws come from moments where the wrong choice was made at the wrong time, caused by resistance, flaws later to be made intentional. Moments of beauty come from the right choice at the right time, through listening, accepting, and extenuating forms already present. The piece asks to come close and hold it, to notice these moments in every detail. Holding the two broken halves together at first felt like an inescapable cliche of holding together a damaged relationship, but quickly became internalized as opposed to dismissed. The cracked nature of the piece was nothing that could be changed, leaving a trail of tension. A tension and duality between physical body/matter and the metaphysical feeling/energy, between self conscious and self aware, between order and chaos. Duality is rooted in nature. Having two sides allows us to navigate between, bringing awareness to our relationships; with self, others, nature, or any other place a bond of intimacy can be formed.

Alanna Veitch and Jacob Clark

There is an opportunity when engaging with a work of art, to form an intimate connection with something new, important, and or forgotten. Alanna and I, as the artists were fortunate enough to experience this connection through the process of creation. How can we invite everyone else into this experience? How can we translate the metaphysical intensity of nature for all to feel and grasp in the physical world? All the artist can do is form a natural and authentic connection with the piece, a relationship where both the artist and work are expected and encouraged to grow. To grow and learn, is to let die and regrow, it’s rebirth. Letting a preconceived idea of something we thought to be true, die, is painful, because to be right is to feel safe and in control and to be wrong is to be in chaos. We suffer more when we resist, when we cling to the need for control. But nature is quite chaotic, and there isn’t anything we can do to stop its cycle so we ought to let go, accept, and surrender to the path of least resistance. This piece reflects and dives into the interconnection of nature, relationships, and intimacy. The biomorphic form made for a canvas that is already speaking, having a need to be listened and responded to. There’s a navigation between when to let nature take the wheel and when to take control. Flaws come from moments where the wrong choice was made at the wrong time, caused by resistance, flaws later to be made intentional. Moments of beauty come from the right choice at the right time, through listening, accepting, and extenuating forms already present. The piece asks to come close and hold it, to notice these moments in every detail. Holding the two broken halves together at first felt like an inescapable cliche of holding together a damaged relationship, but quickly became internalized as opposed to dismissed. The cracked nature of the piece was nothing that could be changed, leaving a trail of tension. A tension and duality between physical body/matter and the metaphysical feeling/energy, between self conscious and self aware, between order and chaos. Duality is rooted in nature. Having two sides allows us to navigate between, bringing awareness to our relationships; with self, others, nature, or any other place a bond of intimacy can be formed.

Alanna Veitch and Jacob Clark

There is an opportunity when engaging with a work of art, to form an intimate connection with something new, important, and or forgotten. Alanna and I, as the artists were fortunate enough to experience this connection through the process of creation. How can we invite everyone else into this experience? How can we translate the metaphysical intensity of nature for all to feel and grasp in the physical world? All the artist can do is form a natural and authentic connection with the piece, a relationship where both the artist and work are expected and encouraged to grow. To grow and learn, is to let die and regrow, it’s rebirth. Letting a preconceived idea of something we thought to be true, die, is painful, because to be right is to feel safe and in control and to be wrong is to be in chaos. We suffer more when we resist, when we cling to the need for control. But nature is quite chaotic, and there isn’t anything we can do to stop its cycle so we ought to let go, accept, and surrender to the path of least resistance. This piece reflects and dives into the interconnection of nature, relationships, and intimacy. The biomorphic form made for a canvas that is already speaking, having a need to be listened and responded to. There’s a navigation between when to let nature take the wheel and when to take control. Flaws come from moments where the wrong choice was made at the wrong time, caused by resistance, flaws later to be made intentional. Moments of beauty come from the right choice at the right time, through listening, accepting, and extenuating forms already present. The piece asks to come close and hold it, to notice these moments in every detail. Holding the two broken halves together at first felt like an inescapable cliche of holding together a damaged relationship, but quickly became internalized as opposed to dismissed. The cracked nature of the piece was nothing that could be changed, leaving a trail of tension. A tension and duality between physical body/matter and the metaphysical feeling/energy, between self conscious and self aware, between order and chaos. Duality is rooted in nature. Having two sides allows us to navigate between, bringing awareness to our relationships; with self, others, nature, or any other place a bond of intimacy can be formed.

Alanna Veitch and Jacob Clark

There is an opportunity when engaging with a work of art, to form an intimate connection with something new, important, and or forgotten. Alanna and I, as the artists were fortunate enough to experience this connection through the process of creation. How can we invite everyone else into this experience? How can we translate the metaphysical intensity of nature for all to feel and grasp in the physical world? All the artist can do is form a natural and authentic connection with the piece, a relationship where both the artist and work are expected and encouraged to grow. To grow and learn, is to let die and regrow, it’s rebirth. Letting a preconceived idea of something we thought to be true, die, is painful, because to be right is to feel safe and in control and to be wrong is to be in chaos. We suffer more when we resist, when we cling to the need for control. But nature is quite chaotic, and there isn’t anything we can do to stop its cycle so we ought to let go, accept, and surrender to the path of least resistance. This piece reflects and dives into the interconnection of nature, relationships, and intimacy. The biomorphic form made for a canvas that is already speaking, having a need to be listened and responded to. There’s a navigation between when to let nature take the wheel and when to take control. Flaws come from moments where the wrong choice was made at the wrong time, caused by resistance, flaws later to be made intentional. Moments of beauty come from the right choice at the right time, through listening, accepting, and extenuating forms already present. The piece asks to come close and hold it, to notice these moments in every detail. Holding the two broken halves together at first felt like an inescapable cliche of holding together a damaged relationship, but quickly became internalized as opposed to dismissed. The cracked nature of the piece was nothing that could be changed, leaving a trail of tension. A tension and duality between physical body/matter and the metaphysical feeling/energy, between self conscious and self aware, between order and chaos. Duality is rooted in nature. Having two sides allows us to navigate between, bringing awareness to our relationships; with self, others, nature, or any other place a bond of intimacy can be formed.

Alanna Veitch and Jacob Clark

There is an opportunity when engaging with a work of art, to form an intimate connection with something new, important, and or forgotten. Alanna and I, as the artists were fortunate enough to experience this connection through the process of creation. How can we invite everyone else into this experience? How can we translate the metaphysical intensity of nature for all to feel and grasp in the physical world? All the artist can do is form a natural and authentic connection with the piece, a relationship where both the artist and work are expected and encouraged to grow. To grow and learn, is to let die and regrow, it’s rebirth. Letting a preconceived idea of something we thought to be true, die, is painful, because to be right is to feel safe and in control and to be wrong is to be in chaos. We suffer more when we resist, when we cling to the need for control. But nature is quite chaotic, and there isn’t anything we can do to stop its cycle so we ought to let go, accept, and surrender to the path of least resistance. This piece reflects and dives into the interconnection of nature, relationships, and intimacy. The biomorphic form made for a canvas that is already speaking, having a need to be listened and responded to. There’s a navigation between when to let nature take the wheel and when to take control. Flaws come from moments where the wrong choice was made at the wrong time, caused by resistance, flaws later to be made intentional. Moments of beauty come from the right choice at the right time, through listening, accepting, and extenuating forms already present. The piece asks to come close and hold it, to notice these moments in every detail. Holding the two broken halves together at first felt like an inescapable cliche of holding together a damaged relationship, but quickly became internalized as opposed to dismissed. The cracked nature of the piece was nothing that could be changed, leaving a trail of tension. A tension and duality between physical body/matter and the metaphysical feeling/energy, between self conscious and self aware, between order and chaos. Duality is rooted in nature. Having two sides allows us to navigate between, bringing awareness to our relationships; with self, others, nature, or any other place a bond of intimacy can be formed.

Alanna Veitch and Jacob Clark

There is an opportunity when engaging with a work of art, to form an intimate connection with something new, important, and or forgotten. Alanna and I, as the artists were fortunate enough to experience this connection through the process of creation. How can we invite everyone else into this experience? How can we translate the metaphysical intensity of nature for all to feel and grasp in the physical world? All the artist can do is form a natural and authentic connection with the piece, a relationship where both the artist and work are expected and encouraged to grow. To grow and learn, is to let die and regrow, it’s rebirth. Letting a preconceived idea of something we thought to be true, die, is painful, because to be right is to feel safe and in control and to be wrong is to be in chaos. We suffer more when we resist, when we cling to the need for control. But nature is quite chaotic, and there isn’t anything we can do to stop its cycle so we ought to let go, accept, and surrender to the path of least resistance. This piece reflects and dives into the interconnection of nature, relationships, and intimacy. The biomorphic form made for a canvas that is already speaking, having a need to be listened and responded to. There’s a navigation between when to let nature take the wheel and when to take control. Flaws come from moments where the wrong choice was made at the wrong time, caused by resistance, flaws later to be made intentional. Moments of beauty come from the right choice at the right time, through listening, accepting, and extenuating forms already present. The piece asks to come close and hold it, to notice these moments in every detail. Holding the two broken halves together at first felt like an inescapable cliche of holding together a damaged relationship, but quickly became internalized as opposed to dismissed. The cracked nature of the piece was nothing that could be changed, leaving a trail of tension. A tension and duality between physical body/matter and the metaphysical feeling/energy, between self conscious and self aware, between order and chaos. Duality is rooted in nature. Having two sides allows us to navigate between, bringing awareness to our relationships; with self, others, nature, or any other place a bond of intimacy can be formed.