The Art Department faculty at EOU are dedicated to bring their diverse experience and artistic explorations to bare in teaching challenging studio and art history courses. We are dedicated working artists with active studio practices and expertise in a variety of media and conceptual approaches to making art.
My current focus is on the relationship between organic and inorganic materials and forms. I am exploring the connections between them physically and aesthetically. It is my intention to meld the materials into one cohesive composition that features characteristics of both materials individually and demonstrates the functionality and beauty of both in our world.
221-05 and 877-7
stainless steel and wood
34 x 22 x 22
wood and steel
30 x 14 x...
My artwork originates from the gap between two different worlds—the privileged and working class. Living between the two and not able to solely belong to either one, I am constantly searching for connections and a sense of place. I struggle with accepting myself as a participant in ether group. I value both the physical prowess of manual labor, and the intellectualism of the elite. I am interested in both group’s limitations and how their vulnerabilities and cultural fears rely on each other and define themselves. These...
My most recently pursued interests include a series in ceramics and painting, both dealing with gender roles and masculinity involved with young men in American culture.
My paintings are the beginning of a series entitled, “In the Pursuit of Happiness.” They are selective instances from ordinary life situations. The scene in Spoon is an image of a
young couple, content as they lay in bed together. The man is positioned behind the woman, gently grasping her hip. This gesture elicits a sense of caring and comfort, but
also a sense of...
The act of relating to other humans is what defines and maintains our species. When specific occurrences such as sex are introduced, the way in which we relate to individuals changes dramatically and immediately. The space this other person inhabits becomes loaded with meaning, and their belongings take on a new significance.
For myself specifically, I was awakened to these ideas after a sexual experience, and was made increasingly aware of my own fluidity and ideas of physical emptiness when that “other” was not still in my physical...
“I remember my earliest crayon-scribbled pictures on that heavy paper from grade school: huge white mountains in the background, low green hills, creek coming down blue with black stones, a gabled house in the center, smoke scrawling gray out the chimney, a few people with hats.”
- George Venn, Marking the Magic Circle
Drawing is the most primal language of people; it is vibrant, experimental, and reveals integrity in both the maker and the viewer. Parenting is human; it is cultivation, it is connecting broken lines to solid lines,...
My work explores the internalization of emotions expected in today’s American society. Everyone has thoughts or feelings that they can’t verbalize or express. So we lie, to ourselves to those around us and to those we love. Eventually this suppression of emotion will find a way to express itself in either a positive or a negative way. The recognition of my own inhibition of emotion came to light through my relationship with my wife. It is from this revelation that my work has evolved. My paintings are about the struggle to become more open...
My current body of work focuses on the relationship between politeness and self-inhibition. I am interested in examining how people negotiate between considering the needs of others and asserting personal boundaries. All too often, I choose the well-laid path of compulsory niceness at the expense of honest communication and self-protection. While this is a struggle embedded in my own identity, I am interested in examining its connection to social pressures and broader human dilemmas.
This struggle for authenticity and self-hood is addressed...
My work references the natural world while questioning the illusion of reality. In my work the absence created by the sanitary white objects correlate to the polluted vacancy in my paintings. Both confront the viewer with a quiet intimacy. The ceramic forms contrast fleshy organic curves with the sterile precision of industry. The forms look to be objects of function but affirm no specific purpose. Their scale and surface relate to body.
My paintings distribute their scale similarly, competing for human space. The large paintings use...
As a woman, I am intrigued with the accentuation of traditional, female gender roles. I ponder where my activities, rituals and reactions fit within society’s construct. Notions of romanticism and a sense of uncontrollable urgency often permeate my work. This brings to light how there is always something that keeps our lives from being perfect; the objectified ideal. Because of this, I am very interested in the conflict between vulnerability and moments of strength and courage.
I find that much of my identity is linked to the loss of...
This work is a mixture of ideas from biological and psychological science. In particular, I am interested in learning and developmental theory. The ideas for this body of work originate from questions raised in these disciplines; the most important questions asking who we are and where our unique characteristics come from. These questions change and grow as I add theories of my own. I use ink because of its special relevance to psychology and projective testing. The ink is applied in a way that parallels the Rorschach test. The drips and blots...