Work of art in pastel by artist Kelsey Shurbet as part of a 2020 MFA Exhibition, entitled "Counting Seconds".

Work of art in mixed media by artist Kelsey Shurbet as part of a 2020 MFA Exhibition, entitled "Counting Seconds".

Work of art of Paper, fibers, paint, ink by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections". Recordings of daily setbacks or successes with Body Dysmorphic Disorder.

Work of art of Paper, fibers, paint, ink by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections". Recordings of daily setbacks or successes with Body Dysmorphic Disorder.

Work of art of Glass, paper, fibers, crochet, resin, ink, paint by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections".

Work of art of Mixed Media Immersive Installation by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections".

Work of art in laser cut cardboard, CNC routed wood, vinyl by artist Morgan Grasham as part of her 2020 exhibition, entitled "Memory Beast".Image of installation view of 2020 MFA exhibition by artist , entitled "Memory Beast".

Work of art of exhibition: monotype, screenprint by artist Aunna Escobedo, as part of a 2020 MFA Exhibition, entitled "Navigating the Waters". L to R: A Swiftness, Accumulating: slow and steady, Shifting: between states.

Work of art of Blue ink on found paper by artist Jordan Black as part of a 2020 MFA Exhibition, entitled "Heeding the Underbelly"

Work of art in Threads, wood, foam, plaster by artist Kyung Hee IM as part of a 2021 MFA Exhibition, entitled "Entanglement"

Work of art in Threads, wood, foam, plaster by artist Kyung Hee IM as part of a 2021 MFA Exhibition, entitled "Entanglement"

Work of art of tea bags, bed sheet, book remnants, string, steel by artist Traci O’Dwyer as part of a 2020 MFA Exhibition, entitled "Of My Own Making".

Work of art of Glass, paper, fibers, crochet, resin, ink, paint by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections".

Work of art of Glass, paper, fibers, ink, paint by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections".

Work of art of Glass, paper, fibers, ink, paint by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections".

Work of art of Glass, paper, fibers, ink, paint by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections".

Work of art of Glass, paper, fibers, crochet, bronze, ink, paint by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections".

Work of art of oil on canvas by artist Hannah Aaron as part of a 2020 MFA Exhibition, entitled "A Narrative Rewritten"

My background in fashion relied on the use of sewing machines as tools to create garments made of new materials. My current artmaking has evolved away from the body and functionality to become relief sculptures in cloth. This work is the embodiment of moments in time and space that have stopped me mid-stride, compelling me to closely examine the details. As a fine artist, I translate these observations of nature into my art by using a needle and thread to hand stitch on reclaimed cloth. I invite the viewers to pause, wonder, and think about their place in the world.

Brachaid is a collection of photographs that explore the blindness of our perspective that is informed by images. By photographing peripheral landscapes like wastewater processing facilities, the edges of temporary streams, and stormwater basins, the project uses the landscape and its perceived neutrality to foreground how the production of images constructs our perception. The work in Brachaid emphasizes the production of images, from subject and framing choices to the use of imaging software, to demonstrate that such production is regularly and radically obscured in most of the images we consume, and that this same structure exists in our lived reality.

Photography, as a way of recording, is often high-definition and highly descriptive. Therefore, photography has a close relationship with visual perception. In my soft and abstract photographic images, the particularity of time and place is deliberately diluted, and the traditional objects in the photographic images are eliminated to challenge the viewer to locate themselves in relation to the photographs. The ambiguity of the photograph stimulates the viewer's self-consciousness to the greatest extent, while also spurring profound examination of the particular ways one expects photographs to affect them.

Since my youth in Ukraine, I have been inspired by the first cosmonaut, Yuri Gagarin, who went to outer space in April 1961. Since then I have been imagining the fragments of an unknown space that is divided into a variety of different felt locations. I am interested in envisioning fractured terrains, where the intrusion of sharp elements interact with a soft transparent and atmospheric space. I want to create a sense of discord as a metaphorical reflection on the absurd, political situation in Ukraine where I am originally from. For me, navigating or transitioning from one imaginary space to another through the act of making painting feels equivalent to experiencing a new place for the first time.

Black’s work presents The Ubiquitous, an entity that propagates into subhuman beings that ravage the deserts in search of sacrificial circles or homing beacons. Their physical nature is heavily influenced by: Languid, liquid human body language; the otherworldly visage and tenacity of plant life; the heaving monstrosity of mountains and rock formations; and the joyous allegory of movie monsters, puppets, and pulp fantasy. The Ubiquitous is explored in Black’s whimsical writings and intensive drawings which are characterized by her mark’s immediacy; and her work seeks to understand this Being’s purpose, function, and correlation to her own life..

Belief is our acceptance of an optimal truth. We embed a belief into the things in our life that give us comfort or strength. Whether they are recognizable in popular culture or are our own private object, their value shifts to what we need them to be. My current work is inspired by multi-cultural historic luck or from my own practice of object collection. They are physical objects that are representative of ritual or ones that “bring” luck. The objects are primarily wearable jewelry, although I have included the pocket as a location of wearability. Regardless of how or where they are worn, they are meant to be valued by the wearer in some capacity.