COSS 2024 Art Exhibits – Office of URSCA

Location: Integrated Science Center Commons

A01. “Macroscope”

Artist: Ian Scheele

Mentored by: Dwight Mickelson

Artist’s Statement

Macroscope connects science and art through form and process while also comparing perspectives of scale. Each piece of the installation is composed of two elements, an exterior geometric cage constructed of 3D printed couplers and square dowels, and an interior organic form composed of a sewn fabric sack with a variety of additional protruding branches, bulbs, lobes, and fins. Between the geometric and organic layers, heavy threads hold the two parts in tension. These connections give each piece great strength and rigidity, while allowing them to remain light enough to suspend from the ceiling. The process through which each piece was designed and constructed followed the same procedure. By establishing a set of steps to follow for each form, I gave myself the freedom to experiment with materials, texture and color. Each consecutive step determined the path the next would follow. The resulting pieces, though created via the same framework of choices and decisions, are widely variable and unique. In designing the core and protrusions of each piece experimentally, their forms remained abstract yet familiar. The finished pieces are reminiscent of structures and objects found everywhere. By simultaneously resembling planets, atoms, plants, cells, microscopic organisms, etc. the Macroscope magnifies the relationships between disparate objects, places, perspectives, and ideas. It offers a peek at the big picture.

Location: Olin - Cyrus M. Running Gallery

Senior Art Show

A02. “Warped Evolution”

Artist: Alisha Lokken

Artist’s Statement

Warped Evolution is a multimedia sculpture that explores the idea of change through growth and decay. A metamorphosis of human’s leftover objects over time, an evolution. Exploring the question of, “What would happen to our waste if thousands of years had gone by?” The piece uses nature and materials such as plastic bottles, milk jugs, found objects etc. to create an experience for the viewer. The massive size, bright colors, and warped form engulf the viewer in the process of seeing this change through time. The central focus of Warped Evolution was experimenting and exploring how materials such as the foam, mushrooms, and the bottles can be warped. Just like how something grows and takes over in nature, this piece grew and evolved throughout the entire process. Dreaming of the future and being concerned about our waste provided inspiration to create an alien-like form. The process of creating the sculpture started with creating a skeleton form that mushrooms and other materials like the foam could be attached to. A lot of experimentation occurred from trying to heat the bottles in a kiln and blowing air through them to heating pvc with a heat gun to create the form. Moorhead clean up week provided plenty of thrown out objects to incorporate within this work.

A03. Animation

Artist: Ana Rosa Aguilar Figueroa

Artist’s Statement

In this animation I want to depict the peaceful passing of a soul, enjoying the last moments of freedom in contemplation. Even though its time has been cut short, it enjoys its last moments as its evening cloud transforms into night clouds. But once the sand runs out, the soul is blown away, but the world around it keeps going. This piece is meant to give a sense of peace and playfulness, something that is nice to watch more than once to catch on to all the details happening without being overwhelmed. I chose animation because it has been such a constant in my life. I have always had a fascination with animated media and animation makes the concept much more understandable and eye catching. About the Elements: I wanted to be as obvious as possible with my metaphor, so I referenced “time running out” with the hourglass. The cloud starts out as evening to show that the time is close to running out, the night being the end. The birds are flying around the clouds, enjoying the unusual scene but also bringing company. The birds are the most eye-catching element in this piece, and there is reason for it. They are meant to represent the freedom of the soul’s last moments, flying in and out of the cloud without a care in the world.

A04. Love Letter

Artist: Beth Odden

Artist’s Statement

This is a love letter. As an affectionate nod to how lonely and unsettling the forgotten waypoints of the American road-trip landscape can be, Liminoid began as a series of old maps, family photos, and vague impressions of tourist traps I’d seen during childhood treks across the country. It’s a montage rather than a direct representation; Motels with empty parking lots, dingy 24-hour cafes, and gas stations out of time abound. The last outposts of the suburban sprawl that exists along every highway, cloverleaf, and backroad are highlighted in this series as they in were my kid memory. There is a liminal quality to a long trip in a small car, those wayside stop offs and attractions serve as thresholds for the space between two places. They exist outside of everyday life and are built expressly to be nonpermanent in most people’s lives, so their lasting impressions often don’t fit into a single box, they’re transitional. But they’re ubiquitous too; No matter where you are in the country, you can find a Budget Inn or a Piggly Wiggly, if not in name at least in spirit. They are the American cultural experience of the road, distilled into one Bigfoot Museum and Waffle House at a time. Make a note, move on with your life, they persist.

A05. Untitled

Artist: Isabel Aylin

Artist’s Statement

As a child, my artistic journey began with a simple subject: my house. From those early sketches of stick figure families in front of familiar facades, I discovered my connection and interest in architecture. With this work, I am going back to my roots and embracing my enduring fascination with buildings. Through the mediums of watercolor and pen, I have portrayed the homes that have shaped my past and present. Since high school, I have been in love with the pairing of these mediums. The inherent softness and dreamy quality of watercolor pairs wonderfully with the precision and sharpness of pen. These two houses symbolize more than just physical structures; they have been sanctuaries during moments of vulnerability, catalysts for change, and witnesses to immense personal growth. With this art, I honor the significance of these spaces in my life and invite viewers to reflect on their own relationships with the places they call home.

A06. Untitled

Artist: Ives Hilgers

Artist’s Statement

The starting point and emphasis for my work is about communication and putting forth or proposing an idea. Oftentimes I construct a framework that comes from a historical, mythological, art-historical, or literary narrative. I try and take these narratives and present them in a way that reflects and makes sense of the current cultural, and societal environment. My pieces normally include an unexpected or unnatural juxtaposition of objects and figures in scenes, such as people being taken from different time frames or places to build modern narratives. Often, I utilize symbolism and metaphors from objects, animals, and figures that have been inserted into the piece. My goal in this is not to create a very specific or succinct format of reading the painting but to allow the viewer a multitude of entry points regardless of their familiarity with some of the imagery. The investigation of my own intended meaning behind particular figures or objects is contrary to what one of the primary goals of this painting was. This goal is to allow each individual to have their own interpretation based upon how they view the work from their own experiences. Within an art historical context, I feel my artwork aligns with metaphysical art in the way that it combines common objects from everyday life in unordinary contexts. I also strive to create situations that question the viewers’ idea of space and combine different moments in time. Frequently, the themes that I address focus on identity, power struggles, gender roles, and political and psychological tensions. Some especially influential artists who I look in the creation of my work include Edward Hopper, Max Ernst, Edgar Degas, and Paula Rego. These artists combine technical accuracy with creativity, referencing, interpreting, and exploring a vast social and environmental context.

A07. “Sunday Morning Comin’ Down”

Artist: Kathryn Siede

Artist’s Statement

Sunday Morning Comin’ Down explores the hands of the makers and creatives that came before, and the influence they have today. In Grandpa Kolpin’s garage-turned-workshop he made tractors from scratch, a stand for his grandchildren’s paint-by-numbers paints, and an indoor doorbell for Grandma when she went into hospice, among many other creations. Countless days spent observing him immersed in his work, watching his hands force any material into whatever he wanted as he whistled to polka music and Johnny Cash. This piece prompts an exploration of family and its dynamics, intricacies, and impacts as they relate to the viewer as they place themselves within the mirror. The shape of the piece mimics that of a house in the most basic sense: a flat foundation, walls, and a roof. The wood is reclaimed barnwood, and within it lies an aged partial arm cast in bronze lying below suspended fragments of hands, which are suspended above it by a winding, thick metal wire.

A08. “Amorphous”

Artist: Talia Stumpf

Artist’s Statement

Approaching the culmination of my collegiate journey as an Art Education major, I am delighted to share my final piece: “Amorphous”. This piece was created by using a combination of ink wash and acrylic on canvas and has been installed horizontally, inviting interaction from various perspectives. The choice of the octopus as the subject matter is deliberate. It is thought to be a symbol of transformation, adaptability, and wisdom, qualities that have all profoundly influenced both my artistic journey and my path as a student. Transitioning from student to educator, I carry with me the lessons learned and the experiences shared during my time at Concordia. “Amorphous” serves as a reflection of my journey, growth, and a celebration of the transformative power of art. I am excited to continue exploring and sharing this passion with others as I embark on the next chapter of my artistic and educational endeavors.

A09. Untitled

Artist: Tierney Jo Stewart

Artist’s Statement

Laughter is one of the most beautiful and precious things in life, and can have a contagious effect. Laughter also comes in many different forms. Sometimes we laugh to calm our nerves, to make an uncomfortable situation less awkward, or because something is just enjoyable to experience. We often laugh at old memories and there is sadness or longing wrapped up in it as we reminisce. Even in the darkest of times, laughter can bring light and healing. Laughter is such an important part of being human, yet few really ever dwell in it. Not only are everyone’s laughs different in sound, but also in physical expression; laughter can make a good still moment in a single frame, but the movement of it is what inspired these images. Laughter is seldom still, it’s a very physical act. Some people hide their face and giggle and others laugh outwardly with their whole body. Slowing the movement down and looking at it frame by frame makes it possible to take time to notice someone laughing in a way you maybe haven’t before. Simply observing laughter or being around it can trigger even a smile in the viewer. There was a joy in creating these images that is meant to be shared.

A10. Untitled

Artist: Wes Wasson

Artist’s Statement

Portrait paintings hold a special place to me, and the process of creating a representation of a child has served as a challenging but playful one. Needing to stare at the same person for hours can be tedious, but it is certainly rewarding as well. These paintings explore the idea that children often represent innocence in historical paintings, and to exaggerate this idea I chose to satirically twist these portraits into ‘mock-saints’ using reference photos of myself and family members. The gold paint serves to emphasize and elevate the sitters as well as the random objects in their possession, much like in a “Holy Hand Grenade of Antioch” Monty Python manner. I’m happy to answer any other questions about the work that you might have.

A11. Flora

Artist: Mary Noah

Artist’s Statement

During the highest and lowest milestones in our lives people communicate through flowers. Tender loss or congratulatory praises are instances in which flowers are the intimate vessel used to tell one another that you love them. Flora introduces intoxicating scents, textures, and colors. Physical and emotional benefits of flowers immerse the viewer in an inviting display that keeps your eyes fluttering along its scheme. Displaying the pieces in a set of 3 allows your focus to shift and travel along the entirety of the piece. The ceramic vessels and the white oak table provide a home for the flowers to stretch forth. I invite you to in envelop yourself in the scents, colors, and textures of Flora. They may resurface special memories, give you a moment of rest, or allow you to delight in their sense of play.

A12. Untitled

Artist: Emily Johnson

Artist’s Statement

In this artwork, inspired by the intricate beauty of Markus Åkesson’s paintings, I explored the captivating concept of figures wrapped in fabric intertwining with their surroundings. This piece initially began as a generic metaphor of maintaining a façade of happiness throughout difficult times through the portrayal of a person suffocating in cloth while expressing no signs of struggle. However, halfway through I was confronted with a personal adversity, and my connection to the veiled figure deepened, echoing my own struggle between concealing inner turmoil and presenting a composed exterior to the world. Through intricate shadows and highlights, I sought to capture the essence of realism and emotional depth, inviting viewers to contemplate the complexity of human experiences and the resilience found in moments of vulnerability.

A13. Untitled

Artist: Zoey Zachek

Artist’s Statement

These three pieces refer to the cycle of life and death focusing on the scenes that are left after a loved one is gone. This work was inspired by my late mother, Wing. You’ll see three scenes: her empty nursing home room, our home piano (of which her ashes lay atop of), and her college journal and other personal items that I now keep with me. These settings intentionally unfold the narrative of someone who has departed, having left behind echoes of their presence. The process exhibited here is called a linocut. I was drawn to linoleum for its smooth, soft, but resilient texture. With this material, I wanted to focus on the intricate lines, rather than color, which is exactly why I knew that monochromatic prints would be the most appropriate. The black ink emulates the sense of isolation and numbness I felt previously, while also capturing the therapeutic balm creating art has been for me currently, in a way that color cannot. I urge you to pay attention to the fine detail of each object, as there is a story within them all. Not only is there significance within the physical items, but there is significance in the seemingly impossible coincidences that happen in everyday life. I will share the honor of graduating on the very same day as my mom, as one example of these bouts of fate. Those that know me personally will understand more of the individual and intimate nuances of this story, but any observer will be able to appreciate and feel her legacy. Wing was a friend, a daughter, a wife, a mother, and a role model who lives on through the stories, items, and relationships she left behind. As you understand even a sliver of who she was to me, know that each of us will eventually fill this part in someone else’s story.