May 27 – September 11, 2016
Reception: Tuesday May 31, 5–7pm
**This will be a shared reception with the Art Alley exhibit.
Kiana Honarmand’s work focuses on issues related to her cultural identity, especially the treatment of women in Iran’s society, the male gaze, censorship, and surveillance. These are difficulties that everybody living in Iran, especially women, must deal with on a daily basis.
Growing up in Iran, Honarmand felt stuck between tradition and modernity, as did many others in her generation. Iran had already been westernized before the 1979 revolution changed the culture to a more religious and traditional one. She explores and finds inspiration in the differences between the Mille East, where she grew up, and the West, where she lives now. Merging the imagery of her past with her new cultural environment allows her to address the Western perception of the Middle East.
Honarmand is a conceptual artist; all of the aesthetic and technical decisions she makes are driven by her concepts and ideas. She employs photography as her primary medium, but also includes sculpture, painting, and collage as a means to convey her ideas. She also often incorporates a number of modern technologies, such as laser cutters, CNC routers, 3D scanners, and 3D printers.
Kiana Honarmand was born in Iran and moved to the United States in order to pursue her Master of Fine Arts degree from Penn State, which she completed in 2014. She has exhibited her work both in the United States and internationally. Currently Honarmand resides in Pennsylvania.
An Investigation of Silhouette, Contour & Shape
September 27 – December 4, 2016
Reception: Tuesday November 1, 5:30–7pm
Utilizing clay, paper, and installation, Stephanie Seguin will create an immersive space that is not complete until a viewer is present. Her total installation not only physically immerses the viewer but is psychologically absorptive too — much like how one gets lost in an epic novel or feels fully immersed in a movie or theatre production. By giving the viewer a sense of being engulfed by a space Seguin invites the viewer to sit and spend time with the work and to focus on their relationship to the objects rather than focusing on the objects alone.
Taking into consideration the relationship of the clay and paper vessels, the proximity of the viewer, directionality of the viewer’s gaze, lighting, and shadows, Seguin attempts to create an awareness of how one’s perspective changes their perception. Her minimalist approach allows the viewer to inject their own subjectivity and perceive the work through their own projections and interpretations.
Seguin’s installation includes nearly 100 clay and paper vessels. The cast paper forms mimic the hand-built clay vessels to create a form of after-image and build tension between the differing visual textures and weights. Seguin deliberately chose to work with clay, paper, and wood in this exhibition as these materials are seen frequently through historical and contemporary design, and using them allows her to bridge the familiar with the unfamiliar.
Stephanie Seguin earned her Bachelor of Fine Arts with an emphasis in Ceramics from Minnesota State University Moorhead in 2009. She has since been an Apprentice in Whitefish, Montana, Studio Assistant and Instructor at Maho Bay Clay Works on St. John, United States Virgin Islands, and Workshop and Facility Assistant at La Maridiana; International School of the Ceramic Arts in Italy. She is currently an MFA student at Penn State.
June 7 – September 7, 2016
Reception: Thursday June 16, 5–7pm
Examples of Impressionism, Post-Impressionism, Fauvism, Expressionism, Cubism, and Surrealism supplemented by videos and informational charts provide the viewer with a crash-course in European Art History. The featured paintings, all completed by one very adaptive painter, closely mimic the painting styles of the ‘greats’, including Claude Monet, Paul Cézanne, Vincent Van Gogh, Paul Gauguin, Pablo Picasso, Piet Mondrian, Salvador Dali, René Magritte, and many others.
Wolfgang and Brigitte’s collection of fine art copies began while the two were living in China. During a trip to one of the numerous Chinese art markets, the couple came across a talented young artist. Wolfgang asked her to copy one of his favorite Picassos. Shortly after, the three worked together for almost 5 years to produce around 100 paintings of various artists and movements.
Wolfgang Gunter, a native of Cologne, Germany, received his PhD in Chemistry from the University of Cologne in 1976. His thirty year career in the chemical industry took him around the world, from Germany to Brussels, to the United States and China. After retiring in 2003, he returned to the United States with his wife Brigitte. Wolfgang’s love of art began at a young age, and he is now an avid art lover and collector. He is also a dive master, a hobby cook, and a close follower of astronomy and science in general.
The Importance of the Unimportant
September 28 – November 17, 2016
Reception: Thursday October 13, 5:30–7pm
Henry Klimowicz’s sculptures do not leave the viewer with any questions about what material he uses to make each piece. Collected from multiple grocery stores, hardware stores, and shipments from other artists, Klimowicz gives new life to ordinary single-ply cardboard. He makes no effort to hide or disguise the material’s past as small tears, box creases, and even printed product letters are visible on his sculptures. “It isn’t the material that gives something to the viewer,” Klimowicz says, “it is what I put into it — my vision creates whatever image the viewer takes away from the piece.”
Klimowicz has been working with cardboard as his primary material since 1986. Armed with a utility knife and a hot glue gun, he methodically transforms it into large-scale sculptures, pushing the material as far as possible. Working with cardboard allows Klimowicz to create a dialogue between art and the natural world, and the adaptable nature of his work allows him to work freely. When he begins his sculptures Klimowicz does not set out with a clear idea of how the finished piece will look. Instead, he lets the piece develop itself, making aesthetic decisions along the way and without consciously thinking about where a piece is going or if it’s going well.
“Cardboard is simple and straightforward,” says Klimowicz. “It is also a severely limited material. It has an ever-present cultural bias related to its past uses as a container or its present use as waste. I love it when the material transcends its cultural confines. If I can make something beautiful from cardboard, I have then said that anything can be made valuable, fruitful, or hopeful. I see this work as very positive because of the lengths that have been traveled by the material from trash to beauty. It is a statement about the possible — that all things can be redeemed, often for more that what was deposited. Creativity can be that redeemer.”
Henry Klimowicz grew up in Milwaukee, Wisconsin and graduated from the University of Wisconsin with a Bachelor in Fine Arts Degree. He earned his Master of Fine Arts from Tyler School of Art in Philadelphia and currently resides in Millerton, New York.
May 20 – September 18, 2016
Reception: Tuesday May 31, 5–7pm
**This will be a shared reception with the HUB Gallery exhibit
Painting and sculpture can be defined by their differences in viewer interaction; a sculpture is intended to be viewed from various different perspectives and angles, whereas a painting is intended to be viewed from one side. Joe Vescovich’s work, however, can be truthfully referred to as sculptural paintings, as they do not exclusively fit either definition. Combining wood, metal, and photography with encaustic, a form of painting that utilizes melted wax, allows Vescovich to create these dynamic wall sculptures that are intended to be viewed from a variety of perspectives.
To create his encaustics, Vescovich applies a mixture of heated beeswax, pigments, and dammar resign to the sculptures. Beeswax is used specifically for its receptivity to oil paint and other pigments and its malleability; however, wax’s essential characteristic is to harden as soon as it leaves the heat source, so Vescovich must work quickly to make decisions and let the wax find its place. After the wax has cooled, he can manipulate its surface by scraping, carving, or adding more layers. Vescovich compliments this layering process with lines, textures, geometric shapes, and repetition to create dynamic patterns and an appearance of depth in order to draw the viewer’s eye into and around the surface of the piece.
Joe Vescovich’s education includes studies through the DeMazia Foundation of the Barnes Art Museum, the University of the Arts (UArts), and the International Encaustics workshop. He has exhibited his encaustics at the Philadelphia Welcome Center, at Derrek’s in Manayunk, Philadelphia, and at Abstract Expressions Gallery in Mount Holly, NJ.
September 29 – December 11, 2016
Reception: Friday, September 30, 4–6pm
FaceAge is an immersive three-screen visual and audio installation which functions as the centerpiece of the FaceAge exhibit. Cross generational encounters are conveyed across six sensory-rich sections, each designed to shift the observer’s embodied experience of aging. Viewers may enter the 55 minute film loop at any point for any amount of time — each encounter will provide its own experience. This project provides a much needed space within a culture where generations tend to be dispersed physically.
Led by the power of the arts to engage communities and ideas, the FaceAge collaboration is an innovative template for cross-disciplinary research and intergenerational community engagement.
FaceAge has woven together a broadly cross-disciplinary group of research collaborators from the arts, gerontology, nursing, and the humanities.
As a model for transdisciplinary arts research, FaceAge offers a timely case study for examining and exploring innovative ways in which third-space collaborations — particularly in Arts & Health — can be extended into the sphere of public engagement, with measurable outcomes and impacts. We aim for a deeper understanding of the lived experience for individuals across generations and how the arts can impact people’s perceptions of aging.
The FaceAge creators are interested in extending FaceAge as an embodied, experiential template for engaging the public in other important medical concerns such as end-of-life issues, child abuse, nutrition, and active lifestyles.
FaceAge community engagement efforts begin with the personal experience encountering the installation, witnessing intergenerational interactions on the screen, and listening to powerful stories revealed by filmed FaceAge individuals. Following their experience of the installation, visitors are invited to create their own FaceAge experience by participating in an intergnerational Story Circle.
Following this Penn State residency at the HUB-Robeson Center, FaceAge will be touring to museums, arts and film festivals, universities, and health care centers throughout the US and internationally.
FaceAge Core Partners: Arts & Design Research Incubator, Penn State College of Arts & Architectur; Center for Healthy Aging, Penn State College of Health and Human Development; Penn State College of Nursing; Department of Film Studies, University of North Carolina – Wilmington
The Stomper Project
September 16, 2015 – May 30, 2016
The Stomper Project is the result of a collaboration between the Jana Marie foundation and local artists Annalisa Baron, Chris Bittner, Mel Forkner-Lesher, and Mark Pilato. The Stomper Project is a community art project that engages community members, students, artists, and professionals in discussions of mental health issues in order to raise awareness about mental and emotional health. Life-sized sculptures called Stompers are fashioned out of used sneakers to symbolize the effort to stomp out the stigma surrounding mental health.
Often, the fear of discrimination for disclosing the possibility of a mental or emotional problem causes sufferers to feel shame and silently delay seeking treatment for their mental illness. By engaging local schools and organizations, the Jana Marie Foundation and their team of artists work with the various groups to help them capture and share their personal stories related to mental health and mental illness.
Penn State Center for Arts & Crafts
Annual Artists and Instructors Exhibition
March 24 – September 2, 2016
This exhibit showcases the talent and hard work put forth by the artists and instructors at the Penn State Center for Arts & Crafts (CFAC). The three-dimensional artwork displayed here represents a portion of the wide range of classes available at the CFAC.
For more than 40 years the Center for Arts & Crafts has provided quality programs and services for the ever-changing social, educational and recreational needs of the Centre County Community. Their main office and classrooms are located in Ritenour Building at the corner of Pollock and Shortlidge Roads, and the Ceramics Studio is located in the HUB-Robeson Center.
The Center for Arts & Crafts offers a variety of non-credit adult art classes during Fall and Spring semesters, and children’s art camp in the summer. All classes are taught by Penn State University Art majors, Art Education majors, graduate students and professional artists.
Art on the Move
February 4 – September 18, 2016
Howie Schultz is a sports and landscape photographer from State College, PA. Throughout his travels over the past 20 years he has been fortunate to capture powerful images of both iconic destinations and places off of the beaten path. Schultz often leads photography workshops in the State College area for beginner and intermediate photographers.
February 4 – September 18, 2016
Maryanne Fyda responds to the beauty of objects, people, and places through a variety of mediums, including pencil, pen and ink, watercolor, charcoal, mixed media, and pastels, which are her favorite. She enjoys the entire creative process from start to finish, and lives for the thrill of completing a piece. She is also makes dichroic glass jewelry and is a calligrapher.
Maryanne is a graduate of Wayne State University, where she earned her BFA in Fine Arts. She now lives in DuBois, Pennsylvania, and runs her own art studio, Marianne Fyda’s Studio, where she offers classes for adults and children in drawing, watercolor, pastel, and calligraphy. Marianne is involved in numerous arts organizations, including the Central Pennsylvania Pastel Society, the Degas Pastel Society, and the Pastel Society of America.
Student Health Center
January 20 – May 25, 2016
Miranda Holmes’ work is an exploration of White supremacy in the contemporary American household. The over-abundance of food, pleasure, and human listlessness is a vehicle to both make visible and critique White America’s complacency and compliance with racial inequities. Her paintings reflect her curiosity in the ways in which White privilege manifests in her life and in those around her. Through her depictions of sickeningly sugary desserts Holmes is able to portray privilege as enticing and toxic, superficially delicious but deeply damaging.
Holmes’ work also explores sexual desire in relation to power and entitlement. Are our intimate spaces inherently dictated by power imbalances? Is there a space in which bodies can merely exist, or is the definition of Whiteness inseparable from that of the consumer? While her paintings may raise more questions than the answer, Holmes hopes that they will still spark conversations among viewers who dare to examine the daydreams in which they may live.
Miranda Holmes is a State College native. She is a junior at Penn State studying painting and drawing in the Bachelor of Fine Arts program, and is currently studying abroad in Florence, Italy at Studio Art Centers International. She hopes to attend Graduate school to continue her fine arts education.
June 3 – September 15, 2016
Misty Frederick-Ritz is a local mixed media artist; teacher & workshop facilitator with a passion for helping others learn methods of creative expression for healing, personal transformation, growth and self-discovery.
Misty enjoys creating workshops and other events that provide opportunities for women and girls to come together in community “circles” and to create positive and meaningful connections. She offers individual and group classes on intuitive painting, art journaling and mixed media art - designed for people of all experience levels. She founded the State College Women’s Creativity Circle.
Misty has studied intuitive painting and intentional creativity with internationally-known, Visionary artist, author and founder of the Color of Woman School, Shiloh Sophia McCloud, since 2012. Misty became a Certified Intentional Creativity Coach and Color of Woman™ Intuitive Painting Method Teacher in 2014. She was the school’s first graduate from Pennsylvania and has been a member of the faculty since completing her training. She also mentors new teachers and provides coaching on project management, goal setting and event planning.
Misty’s paintings, prints, jewelry, digital and mixed media art are displayed sold both locally and online. She accepts commission work on a limited basis and teaches art for groups, businesses, private parties and events. She can be reached at 814 -689-9463 or via email.
Closed for the Summer.
Fall Exhibit information coming soon.