Images provided by Patricia Fay
Sculpture, painting, ceramics, and printmaking are but a few of the mediums represented in this exhibition featuring the Art Faculty of FGCU. This is an opportunity to see the range of subjects and techniques the faculty are researching in their artistic practice. Having this diversity of approaches to art makes for an intriguing exhibition and diverse art program.
Wasmer Gallery - Sponsored in part by WGCU Public Media
Images provided by Patricia Fay
The fifty-seven pots were inspired by images of pouring vessels made by unknown potters working in contexts ranging from Neolithic China to 8thcentury BCE Iran, 13th century England, and the 19th century colonial Caribbean. They are at once my pots and their pots, created in the shapes that fill the spaces between people - cooling water, pouring beer, serving friends and family, or playing their part in burial rites. As were all pots up until less than a hundred years ago, these vessels were finished in kilns fired with wood, a demanding process that is only possible through the collaboration of family, friends, colleagues, and students.
The fifty-seven photographs are dedicated to the many extraordinary women and men I have met over the past twenty years, traditional potters who have made simple pots that have served their communities, using methods handed down for generations. Like the pots, they are rarely named or noticed, invisible yet absolutely essential. It has been the great privilege of my life to visit with them, and to experience their work.
Ehren Gerhard, Staghorn Underhang, 2015, oil on canvas, 48” x 48”
My imagery depicts an intense encounter with time and place. I embrace an emotional response influenced by light, atmosphere, and gestural character. My research follows an outline of scientific observation to comprehend flora, fauna, climate, and season. I combine these emotional and scientific experiences to help me develop an intimate representation of my subject.
James Greco, Dancers, 2015, digital photograph on aluminum, 24” x 16”
Geoffrey Hamel, You Have No Sense, 2015, multi-media, 51.75” x 67.75”
Jake Hand, Not Just A Ghost’s Heart, 2015, acrylic and oil stick on textile, 48” x 36”
I like pop
I like pattern and decoration and new image work
I like pluralism
I like the banal raised to new heights
I like editing and palimpsest
I like pastiche (mimicry w/out irony, mimicry w/out mockery)
I like satire
I like discursive discourse
I like unspeakable discourse
I like being everywhere
I like being in-between
Andy Owen, Arrival, 2015, solar plate, 27” x 24”
I share an affinity to the sea with many people and any free time I have is spent on the waters of Southwest Florida. This series of images is closely linked to personal experience and inspired by time spent in the Ten Thousand Islands. I often seek refuge in the islands, their remote bays and maze of shorelines offer new discoveries with each visit. My memory and experiences in these places create visual associations. This notion of place provides me with a reference point, anchoring me as I am set adrift in the creative process.
The images reflect my experience of Flow, being completely immersed in an energized focus. As I attempt to emulate nature spontaneous gestures provide unexpected discoveries as the image takes form. I look for structures that suggest being shaped by winds and erosion powered by always changing currents. The emphasis on surface in the images captures a sense of the moment; space in the images suggests time. They sit at the boundary between stillness and anxiety, driven by a single-minded and sustained effort.
Preview image provided by the artist.
As a Graphic Designer and Multimedia Artist, I produce a wide range of work both in print and digitally. Brand Identity is the visual representation of an organization and an area of design which draws a great deal of my attention. The logo, color palette, iconography, typography, illustrative components, advertisements, website and additional design elements come together to form a unified voice and company culture. The branding developed speaks volumes about the company itself and acts as their heart and visual soul illustrating the unique services or products they offer the marketplace.
In this digitally enhanced world, filled with media of all kinds, I strive to produce innovative work which is refined and creative. It is essential for a company’s brand identity to stand out in the cluttered and competitive marketplace. In the brand identity collection displayed, my passion for design, attention to detail, compassion and understanding of the company is represented in every element.
As an Adjunct Faculty member of Florida Gulf Coast University I have designed curriculum for several courses within the Bower School of Music & The Arts and The College of Education. In each course, I cultivate a creative community amidst the students and challenge them to become creative critical thinkers and innovative problem solvers.
Morgan T. Paine, Communication Message Center Diptych, 2012-2014, Golden Regular Medium on cork and plastic with hardware, brush and jars, each panels is 19” x 16” x 4.5”
My current work continues to use the foundational substance of all acrylic paint, the nearly colorless binder common to all acrylic paint, gloss acrylic gel/medium. I apply it with a brush, which I hold in my hand, to a surface that has come into my life. The surfaces belong to objects that have complex material, technological, economic, and personal/emotional/associative histories that ultimately bring them to my attention in my studio. I am responsible for their specific selection as surfaces for my painting activity.
My finished works exist in relation to an extended continuum of paintings – works made by other painters and previous works I have accomplished - and it might not be easy to understand exactly where my paintings come from or why they are here now. My analysis of my own work within the history of painting is such that I believe my paintings are more object than picture, more documentation of process than conveyor of message, more specific thing than illusion. Every painting in existence has a complicated network of purposes, practices and relationships to the cultural context from which it comes. My paintings are no different.
I do not have a preconceived idea of how my paintings are going to look when they are done, although I have a plan as to how each will start and generally a way to determine when each is completed. I make them to see what they will look like. My paintings aspire to the quote that the Flemish Renaissance painter, Jan van Eyck is said to have placed below his signature on the back of his work: “As best I can.”
Michael Salmond, still from The Diaries of Professor G. Angell; Deceased, 2015, video game
His art and design work focus on video games, travel and hybrid culture. His book, “The Fundamentals of Interactive Design” published by AVA/Bloomsbury was released in March of 2013. He is currently working on a new book ‘Video game Design: Principles and Practices from the Ground up’, which is due out in early 2015.
Michael Salmond’s work in the FGCU Art Faculty Exhibition is titled: “The Diaries of Professor G. Angell; Deceased.” - In the winter of 1936-27 George Gammell Angell died quite suddenly from no apparent ailment. As sole heir to your granduncle’s estate you have been tasked with winding up his legal affairs and gathering his diaries and writings for archive and posthumous publication. It would seem that his works have lain dormant for some time and may also afford you some insight into what he was researching before his death. You know that Angell’s home has fallen into disrepair over the past few years as the professor was gripped by an all-consuming passion for his research. Although he had grown frail, he expended all his energy becoming obsessed with multiple worldwide outbreaks of mania and insanity. These events, he once told you, seem to coincide with the rise of a hitherto unknown cult.
As you arrive on a fittingly depressingly dark and stormy night, you try to shake off the feeling that there is more to this empty house than you would care to admit to yourself.
This interactive story is a first-person adventure video game for PC adapted from the mythos of H.P. Lovecraft’s ‘Call of Cthulhu’ (1928).
Mary Sullivan Voytek, Golden Proportion, 2011, aluminum, neon, 38” x 25”
My latest series of works has rekindled my love story with nature, coming at a time in my life when I needed to focus on the beauty of simple truths. Nature, even on its surface, tells the direct and simple truth of its existence. The forms, colors and patterns certainly captivate me, but the excitement is in the dynamics of nature: its energy, growth, root systems, cellular structure, smells and shifts in light, form and color. These ephemeral aspects are what make my present life’s art a dedication to the glorious truth and freedom that is nature. I rejoice in sharing something so deeply rooted and exploring lines of continuity that point deep within our collective psyche.
My work seeks deeper meaning and resonance in our lives by exploring our sense of belonging and relationship to the natural, spiritual and man-made worlds. When successful, our inner space and outer space merge to become an undifferentiated mindful unified space.