Sculpture

2009

Previously taught at Longwood University, Anne Arundel Community College, the Community College of Baltimore County, the Baltimore Clayworks, and the University of Arizona

Received the Lormina Salter fellowship for 2005-06 at the Baltimore Clayworks, the Maryland State Arts Council Individual Artist Grant in Visual Arts: Crafts in 2007, and was chosen by Ceramics Monthly as an emerging artist in 2006

Maryland State Arts Council Individual Artist Grant in Visual Arts: Crafts; Lormina Salter Fellowship,Baltimore Clayworks, Baltimore, Maryland; Special Jurors Award Clay: Making Connections, Roswell, New Mexico; Mistro-Ertz Scholarship, University of Arizona, Tucson, Arizona; Albert M. Haldeman Scholarship - College of Fine Arts, University of Arizona, Tucson, Arizona; 2 Medici Scholars Awards - College of Fine Arts, University of Arizona, Tucson, Arizona

National Council on Education for the Ceramics Arts, Baltimore Clayworks member Artist

• 500 Raku, Lark Ceramic Books, 2011.
• Up Front, p.26 "Ceramics Monthly" May 2007, Volume 55 Number 5
• Gallery, p.55 "Clay Times" November/December 2006, Vol. 12 Number 6
• Gallery, p.76 "American Craft" October/November, 2006, Volume 66 Number 5
• Emerging Artists, 2006 p. 39 "Ceramics Monthly" May 2006, Volume 54 Number 5
• Image Transfer on Clay: Screen, Relief, Decal & Monoprint Techniques, p.24, Paul Andrew Wandless, Lark Ceramics Books 2006
• Critic's Choice: Art, p. 70 "City Paper" June 26, 2006

"My parents."

• CERA 125 Introduction to Ceramics
• CERA 300 Architectural Ceramics
• CERA 701 Architectural Ceramics
• DSGN 102 Design II: 3-D Form in Space

"My current body of work revolves around a fascination with the microscopic, with the fragility of life, and the beauty found in parts of nature we tend to ignore. Through my family I have inherited interests in algology and mycology. I grew up exploring the seashores and forests of New England. I would spend hours studying the life in tide pools, or a tiny ecosystem with ferns, toads and fungi on the forest floor. These early predilections have translated themselves into my present interest in representing the unseen, uncelebrated world of microscopic life, the life that, while tiny and ephemeral, supports all other life on Earth.

"I use painting, drawing, and printmaking to apply scientific images to delicate porcelain pieces. I use the fragility of the porcelain as a stand in for the fragility of the organisms I am representing. My work tends be composed of small-scale components used to make up a larger scale installation or freestanding sculpture. I stick to a rather muted color palette, even when I use a brilliant color like red; it is overwhelmed by the whiteness of the clay it is on."

2000

Assistant professor of art; North Central College, Naperville, Illinois; instructor of art, Central Piedmont Community College, Charlotte, North Carolina

SCAD Presidential Fellowship; Fellowship, North Carolina Arts and Science Council; Emerging Talent, National Council for the Education of Ceramic Arts; Artist Project Grant, North Carolina Arts and Science Council; City of Charlotte Matching Grant for Creation of Outdoor Sculpture Installations

National Council for the Education of Ceramic Arts

Lark Book's publication: "500 Ceramics Sculptures"
"Collaborative Brickworks at the Savannah College of Art and Design," Ceramics Technical, Issue 21
"Growth Rings; The Installations of Yves Paquette," Ceramics Art and Perception, Issue 48, pgs. 19-22
"A Sense of Place" Revista Internacional Ceramica, November 2001
"The Best of New Ceramic Art," The Guild Publishers

"To provide students with an outlet for their imagination in various media and at various levels of sophistication. To expose students to different techniques, perspectives and concepts so they can build a 'vocabulary' for artistic exploration."

• CERA 215 Ceramic Tech: Wheel Throwing I
• CERA 220 Ceramic Tableware Design
• CERA 325 Intermediate Ceramics
• CERA 400 Advanced Applications in Ceramics

"The objects or ideas from which I derive my ceramic sculptural forms are usually simple and not too mysterious to the viewer. But by removing the objects from their natural or functional contexts, as a goal, I try to challenge the viewer's perceptions and create a sense of mystery. I never abstract beyond recognition, but by exaggerating, minimizing or distorting certain aspects, I work to bring the objects closer to the viewer and to raise questions. What is this for? What does it do? How do these things relate to each other? Craftsmanship and aesthetics continue to be important to me, as well as the usage of a variety of materials and techniques. With each form I want to show the essential beauty of these objects, and I strive to combine these elements harmoniously within my work."

paquetteart.com

2004

Assistant professor, Central State University, Wilberforce, Ohio; creative director, Burgess and Niple Limited, Akron, Ohio; board of trustees, Greater Columbus Arts Council

Relief sculptures, city of Dublin, 4th Art in Public Places Project; gavel sculpture, Ohio Judicial Center, Ohio Supreme Court; Dayton Fifth Street Bridge, Dayton, Ohio, with Burgess and Niple; aesthetics design manual and pilot projects, Ohio Department of Transportation

The Greater Columbus Arts Council Business/Arts Partnership Award; The Ohio State University Graduate Student Alumni Research Award; The Ohio State University Department of Fine Arts Edith Ferguson Gilmore Award; SCAD Presidential Fellowship; The Ohio Arts Council Individual Artist Fellowship in Visual Arts/Sculpture; the Greater Columbus Arts Council Artist Residency in Dresden, Germany

• "Andrew F. Scott, Digital Explorations in Sculpture. Pulse," Jepson Center for the Arts, Savannah Georgia, 2011
• "Year of the Rabbit," SCAD Hong Kong, 2011
• "A Perfect Storm," Weston Art Gallery, Cincinnati, Ohio, 2004
• "African Influences in Contemporary Art: Artists of the Kwanzaa
• Playground," Columbus Museum of Art, Columbus, Ohio, 1997

"Renee Darvin, my high school art teacher and the greatest art administrator I ever knew; the endless creativity of my students."

• SCPT 110 Beginning Sculptural Practices I
• SCPT 115 Beginning Sculptural Practices II
• SCPT 250 Digital Applications in Sculpture I
• SCPT 275 Direct Metal Sculpture
• SCPT 450 Computer Modeling for Sculpture Practices: Advanced Projects
• SCPT 502 Sculptural Methods Studio
• ELDS 450 Spatial Simulation in Electronic Design
• ELDS 750 Spatial Simulation in the Building Arts

"My artwork serves as a bridge through which I can reconcile and communicate collective cultural ideals. These ideals are expressed as objects or installations which have relevance and significance on a variety of levels to the society in which they exist. As a result, most of my work is conceptually based. Once a concept has been defined, I will seek out and utilize whatever media and means that will best facilitate the realization of my ideas. African American art and culture play an important part in the development and conceptualization of these ideas."

afsart.com

2003

Exhibitions: "4 Fields - collaborations between art and science," Environ Gallery, Rollins School of Public Health, Emory University, Atlanta, Georgia, 2010; "Still Water," Dalton Gallery, Agnes Scott College, Decatur, Georgia, 2009; "Potential Inevitability Systems #1 (Provisioning)," Gallery Stokes, Atlanta, Georgia, 2008

Writing and teaching SCPT 315 Technology in Sculpture; organizing and facilitating the ACA Sculpture Studio of SCAD gallery; Project-181: A collaboration to rework a vacant post-foreclosure Atlanta home into a machine for living collaboratively with nature

Project Grant, Emory University Center for Creativity and Arts; Project Grant, New (genre) Landscape, City of Atlanta Office of Cultural Affairs; Travel Grant, Chase Educational Foundation

Project-181, Alamos Wildlands Alliance, Chase Educational Foundation, Rancho San Silvestre Eco-Community

• Green, Greener, Greenest, Romancing Nature Again Conference, School of Visual Arts, New York City. Lecture: "Project 181: micro to macro," 2010
• CAPSUS Conference, Duluth, Georgia. Lecture: "Repurposing the Trappings of the Petroleum Era," 2009

• SCPT 115 Beginning Sculptural Processes II
• SCPT 250 Digital Applications In Sculpture I
• SCPT 303 Sculptural Trends and Concepts
• SCPT 315 Technology in Sculpture
• SCPT 320 Intermediate Sculptural Practices
• SCPT 360 Installation Art
• SCPT 420 Advanced Sculptural Practice
• SCPT 460 Sculpture In Context: Time and Movement
• SCPT 490 Senior Seminar in Sculpture
• SCPT 710 Graduate Sculpture Seminar
• SCPT 713 Sculpture Studio I
• SCPT 717 Sculpture Studio: Concept and Content
• SCPT 723 Sculpture Studio II
• SCPT 743 Sculpture Studio III
• SCPT 749 Sculpture M.A. Final Project
• SCPT 790 Sculpture M.F.A. Thesis

"Oil is the driving force behind the world's economic, technological and population expansion. The available supply of oil on the planet has reached what geologist M. King Hubert described as 'peak' - peak meaning the point at which the easy half of the supply has been extracted and the remaining supply becomes ever more difficult and costly to extract. The focus of my artistic investigation is the development of systems, structures and devices that will allow small familial and community groups to exist in the rapidly approaching Post-petroleum Age. "

• potentialinevitability.blogspot.com
• project-181.blogspot.com

2000

More than 20 years of teaching and six years of department leadership

Lives and works on sustainable projects part-time in Alamos, Sonora, Mexico, with Board of Rancho San Sylvestre Ecological Community and Alamos Wildlands Project, Najapatia, Sonora, Mexico

International visiting artist, TCE Foundation, Cordoba, Argentina; SCAD Presidential Fellowship; Tucson artist in Residence Installation Grant; Yale University, Blair Dickinson Award; Skowhegan School of Painting and Sculpture, tuition scholarship; Emanuel Hahn Sculpture Award

SCAD press release (March 20, 2012): "SCAD chair Susan Krause named 2012 Georgia Higher Education Art Educator of the Year"

Foundations in Art: Theory and Education, SECAC, College Art Association, ISC, Board Member of Rancho San Sylvestre Ecological Community, Alamos, Sonora, Mexico, member Alamos Wildlands Project, Najapatia, Sonora, Mexico

• Presenter: Think Tank 5, Integrative teaching and learning
• Panelist/presenter: SECAC panel discussion on 21st century curriculum
• Presenter: Foundations in Art: Theory and Education (FATE)
• Presenter: Instituto Sonorense de Cultura, Alamos, Mexico
• Presenter: El Museo Costumbrista de Sonora
• Visiting Artist: University of Tucamon, School of Art, Tucamon, Argentina
• Visiting Artist: University of Salta, Salta, Argentina

"To prepare talented young artists to be the next generation of leaders who define sculptural practice."

• SCPT 205 Figure Modeling Clay/Plaster
• SCPT 305 Portrait Sculpture
• SCPT 779F Graduate Field Internship
• SCPT 785 Graduate Independent Study
• SFIN 431 Critique As Process
• SFIN 731 Critique As Proccess Grad Studies

"To explore cultural issues, experiences and events that bring together an awareness of what is common in all of us."

thisissusankrause.blogspot.com

2010

Freelance artist and fabricator working in Atlanta and across the U.S.; Exhibitions: "Moonlight, Mai Tais and Magic" Spring Benefit, Allegra LaViola Gallery, New York, New York, 2011; "Launch-11," Salt Lake Art Center, Salt Lake City, Utah, 2010; "LeFlash," Castleberry Hill Arts District, Atlanta, Georgia, 2009; "Free Range," Work Gallery, Brooklyn, New York, 2009; "Tabula Rasa," Gallery Aferro, Newark, New Jersey, 2009

International Sculpture Center's Outstanding Student Achievement in Contemporary Sculpture Award; Awards of Excellence, Rhode Island School of Design; RISD Graduate Sculpture Fellowship; finalist, "New York, New York" juried competition by MyArtSpace.com

Publications

• "20UNDER40: Re-Inventing the Arts and Arts Education for the 21st Century." Bloomington, Indiana: Authorhouse (2010).
• "Nothing Makes Sense," Self-published (2009).
  

Lectures
Harvard Arts and Creativity Research Colloquium. Harvard University, Cambridge, Massachusetts, 2009

"As a believer in communicative rationality, I find that the closest we can come to any truths are through dialogue. I find the academic setting to be the most productive environment for discovering the best means of communication and cultivating meaning."

• DSGN 204 4-D Design
• SCPT 204 Moldmaking and Casting Sculptural Practices
• SFIN 716 Theories and Processes I
• SFIN 756 Theories and Processes II

"My work focuses on that which is conjured, the invisible 'non-things' we call upon to fill in the gaps of our explanatory beliefs and theories: gods, Higgs boson particles, grids, superstructures, etc. Whether I use light and minimal forms, or try to boil down an encyclopedic amount of information into one short phrase, I always employ a reductive process to point toward interstitial space, a site that is at once a definition of nothingness for some and a site of existence for others. I do this as a means for exploring the possibility of using minimal (formal) means to produce maximal (conceptual) effects. I am continually questioning the idea that perception is reality. My work is an inquiry into that which is, and is not, perceived and if and how it affects the human condition."

• caseylynchart.com
• imcompletelywrong.blogspot.com

2006

Visiting faculty, Atlanta College of Art, Atlanta, Georgia; adjunct instructor, University of Montevallo, Montevallo, Alabama; resident artist, Sloss Furnaces National Historic Landmark, Birmingham, Alabama

municipalWORKSHOP, York, Alabama: public art residency, resulting in two pieces of public work

Phi Kappa Phi Honor Society; Award for Excellence in Art (Patricia Tillberg Hasselmo Fellowship), University of Minnesota; Emerging Artist Award, Magic City Art Connection 17, Birmingham, Alabama; Best of Show Award, "Juried Student Annual Exhibition," Birmingham-Southern College, Birmingham; Latin American Studies Student Travel Grant, Birmingham-Southern College

• International Conference on Contemporary Cast Iron Art, Kidwelly Industrial Museum, Kidwelly, Wales, U.K. Multiple panels as well as performance art, 2010
• National Conference on Cast Iron Art, Sloss Furnaces National Historic Landmark, Birmingham, Alabama. Guest furnace: "Acacia," 2009
• Southern Conference on Cast Iron Art, Sloss Furnaces National Historic Landmark. Performance art: "Interlink," 2007
• Fourth International Conference on Contemporary Cast Iron Art, Johnson Atelier, Trenton, New Jersey. Workshop: "Bonded Sand Moldmaking." Performance: "Colony," 2001

"My best teachers at every level of my education, and the best of my students from each year that I teach."

• SCPT 110 Beginning Sculptural Practices I
• SCPT 271 Introduction to Foundry
• SCPT 275 Direct Metal Sculpture
• SCPT 320 Intermediate Sculptural Practices
• SCPT 360 Installation Art
• SCPT 371 Intermediate Foundry
• SCPT 375 Advanced Metal: Foundry and Welding
• SCPT 420 Advanced Sculptural Practices
• SCPT 490 Senior Seminar in Sculpture
• SCPT 704 Sculptural Studio Processes
• SCPT 713 Sculptural Studio I
• SCPT 775 Advanced Sculptural Studio
• SCPT 790 Sculpture M.F.A. Thesis

"I am fascinated by the interconnections surrounding the individual in the world. I tend to explore themes of system and community in my work, in which individual elements often combine to form structures based on interrelationships. I enjoy making work in which small elements add up to form a whole, the complexity of which is compounded by the interrelationships present. I create rules for myself, opening possibilities for a body of work by closing others. I become a worker for myself, or the player of a game, or a participant in a ritual. The process of making art furthers an investigation of the forces at work around me. The result is a map of this journey. My hope is that the viewer may see the possibilities at play within the structure of the work and accompany me on a journey of inquiry."

allenpeterson.com

2010

Studio artist; art instructor/artist-in-residence, Georgia Council for the Arts, Young Audiences, High Museum of Art, Atlanta Contemporary Art Center, Michael C. Carlos Museum and numerous public and private school systems; public art coordinator, Fulton County Arts Council, Atlanta, Georgia; adjunct instructor: Atlanta College of Art and Georgia State University, Atlanta

"Completion of the three-year 49th Parallel Project focusing on the 1,270-mile section of the U.S./Canadian border formed by that parallel. While traveling by foot and bicycle along its course, I interviewed individuals affected by the consequences of line drawn on a map. The project included artist residencies for the production of artwork and exhibitions of related installation works in both countries as well as the broadcast of a documentary video on public television stations. The project was part of the Cultural Olympiad for the 1996 Centennial Games."

Working Artist Project grant by the Museum of Contemporary Art of Georgia; Alternate Visions Grant: National Endowment for the Arts/ The Rockefeller Foundation/ The Andy Warhol Foundation

Public Arts Advisory Committee, city of Atlanta (mayoral appointment); founding member, chair, Metropolitan Public Art Coalition, Atlanta; board member, ART PAPERS

Solo exhibitions

• Astolfi Art, Atlanta, Georgia, 2011
• Delaware Center for the Contemporary Arts, Wilmington, Delaware, 2005

Public art installations

• Jacksonville International Airport
• Atlanta Hartsfield-Jackson International Airport
• Birmingham Fire Station, Alpharetta, Georgia

Public lectures

• University of KwaZulu-Natal, Pietermaritzburg, South Africa, 2008
• Michael C. Carlos Museum, Atlanta, Georgia 2006

"Faculty in graduate school."

• SCPT 115 Beginning Sculptural Practices II
• SCPT 402 Sculpture in Context: Public Art
• SCPT 420 Advanced Sculptural Practices
• SCPT 717 Sculpture Studio: Concept and Content

"I am a topophiliac. My affection for place and all things geographic is manifested through sculpture, public art installations, photography and works on paper. The appeal is not the actual geographic information as much as what that information tells us about ourselves as individuals and as a culture. Through my art, I tend to focus on the fundamental qualities of mapping- the mysteriousness, inherent biases, cultural authoritativeness, and ability to simultaneously represent and distort reality."

gregorturk.com