An Investigation of Silhouette, Contour & Shape
September 30 – 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.
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
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 20, 2017
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.
September 19 – December 5, 2016
Christine Smith has always had a passion for the natural environment. Graduating from Penn State with an environmental education degree, she has explored many sides of northeastern flora and fauna. Through her papercuttings, she enjoys highlighting the beauty that is constantly around us, although sometimes overlooked. She also has a fascination with the idea of made-up worlds. She finds inspiration through her two small children to investigate and to travel into these secret places. Usually, the longer you look at her pieces, the more you will discover.
September 27, 2016 – January 7, 2017
Stephanie Seguin makes functional, decorative ceramic sculptures that are meant to be used and become a part of people’s lives. Decoration is important, as she wants her pieces to captivate the eye in addition to serving their functions. Her decorations are often influenced by quilts, Korean and Persian historical pottery, art nouveau design aesthetics, and she always finds inspiration in nature.
To Seguin, applying slips, carving patterns, and layering glazes is a form of meditation that she tries to pass on to her audience by encouraging viewers to explore each piece’s complexity in design and form. She also tries to provide comfort with her work; whether it is the physical comfort of how it feels in the hand or the comfort of the soul that comes from serving a family recipe in a beautiful bowl.
Art on the Move
September 26, 2016 – January 17, 2017
Jin Yan describes her drawings as randomized daily visions that incorporate the people and interactions she witnesses in her daily life. She finds inspiration in these common moments, whether it’s someone in line at the coffee shop, a conversation she overheard, a quote from the book she’s been reading, or simply an old photograph.
When drawing, Yan often focuses on a single person, intensely observing them. However, she doesn’t draw every line she sees; instead she bends the truth, contouring in a deliberate way by freeing her hands from accuracy and allowing her mind to lead her hand in reflecting an honest depiction of her poetic thinking. Often, Yan combines her poetry with her visuals in order to emphasize the impact of both expressions.
Jin Yan is a current Penn State student majoring in Communications and minoring in English. She describes herself as a poetry lover and a YouTube addict.
Student Health Center
September 20, 2016 – January 9, 2017
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.
**Closed for construction until Fall 2017**
September 13 – December 5, 2016
Alyce Ritti is a mixed-media artist who combines paper cutouts, fabric, jewelry, feathers, and other found objects to create her unique and playful collages. Each collage is created with the intention of starting a conversation with the viewer, often laced with social and political commentaries and accompanied by a touch of humor and absurdity.
Ritti considers herself to be a lifelong artist. She as shown her work in a multitude of venues in the United States, Paris, Venice, Stockholm, Oslo, and Rome. Locally, her work has been shown in the Betsy Rodgers Allen Gallery at Schlow Centre Region Library, the Bellefonte Art Museum, and the Paul Robeson Cultural Center.