"For 75 days I studied the lavender growth daily, waiting for the purple to appear," wrote Nikole Nelson (B.F.A., interior design, 2007) in a mid-June Instagram post. "And on my last few days in Provence, it did."

Nelson's words represent the wonder of surrender, and the corresponding potential for artistic creation. Of her experience as a Spring 2022 SCAD Lacoste Alumni Atelier ambassador, she says: "Awakening to the earth's rhythms in that place in time was powerful for me."

Founder of the Hawaii-based art and design studio BLKCORAL, Nelson is familiar with great expectations. She has created conceptual environments for clients including Coach, Kate Spade, Tory Burch, and New Balance. For her SCAD Alumni Atelier project, Nelson created botanical artworks from flora sourced in the Luberon Valley. Her sculptural work Emergence, an undulating wave of lavender and pressed peony, was purchased by local collectors Barbara Hummel and Xavier Coll. "I'm thrilled the original piece will live on in Lacoste," Nelson says.

Recounting her Alumni Atelier experience, the artist's gratitude is palpable.

Emergence, lavender and pressed peony, 25" x 30", 2022.

Nikole Nelson:

I was first in SCAD Lacoste as a student in 2006, sixteen years ago, in the fall. Lacoste is a medieval village, so not much has changed aesthetically over time. Being there this spring, I thought it was going to be green and in bloom. Reality connected me to the fact that the seasons have rhythms, just like there's a rhythm within us. The earth was saying, this is the pace, you can't go any faster. There's so much magic in the land that it's undeniable.

The day I arrived I went into Café Beauregard and walked table to table and let the students know to feel free to talk to me. No matter what discipline you're studying there's always an opportunity to collaborate and have a conversation. When students came to my studio, I would always give them something—perhaps a Palo Santo stick and dried flowers and twine—that they could create with in their journals when they left.

I've been mentoring students for 15 years, primarily interior design students, so it was exciting in Lacoste to work with animation and fibers and painting and all kinds of majors. I love giving back to our future generations. SCAD thrives on reciprocity.

My plan in Lacoste was to make a large round sea of lavender. I wanted to sculpt the base then place the lavender over it. I realized I was not going to have access to the lavender I needed. I was going to have to pivot, like I've done with clients a million times. I gathered what I could and went to nurseries and befriended gardeners and got pointers on where to find lavender.

At that point at Acorn Cottage a peony bloomed that was ten inches across. It barely fit in my press. It was so beautiful that it took my breath away. I'd never seen one before in nature. I waited until the bloom period was done to let it be in its full glory. I pressed the peony for a week then put it into the silica so it's still sculptural and retains its depth. The work was photographed by my fellow Alumni Atelier ambassador Justin Zeilke (M.F.A., animation, 2017).

My Alumni Atelier Lacoste experience keeps giving beyond the 10-week quarter. I came home with a bounty of pressed and dried flowers and new concepts to explore. Moving through the power of the blooms I've begun communicating with the roots, going deeper into both myself and the earth. I'm excited to continue a more sculptural approach and see where the French botanicals take me.

Botanical transnational: Nikole Nelson at SCAD Lacoste.

Nikole Nelson would like to extend thanks and mahalo to President Wallace and Alumni Atelier director Tiffani Taylor (M.F.A., painting, 2020; M.A., art history, 2003; B.F.A., painting, 2002).

The SCAD Alumni Atelier, conceived and endowed by SCAD President and Founder Paula Wallace, enriches the creative and professional endeavors of distinguished SCAD graduates.

Learn more about the Alumni Atelier program here.  

More than a lane, Aleatha Lindsay is creating an intersectional superhighway, accessible to all.

Lindsay (M.A., arts administration, 2013), founder of the disability-led arts organization Ikouii, has curated the new book INSIDE THEIR STUDIO: Deaf & Disabled Artists Reshaping the Arts (Ikouii Creative, 2022). Featuring stunning photographs of artists including Chris Fonseca, David McCauley, Ellice Patterson, and Mary Anna Rappazzo, the book showcases versatile practices from painting and sculpture to photography, poetry, film, and dance.

"The works featured in INSIDE THEIR STUDIO are poetic, profound, beautiful, and visionary," Lindsay says. "Drawn from the artists' collections, they demystify the contributions that artists living with disabilities share."

As Jenna Reid, Artistic Director at Kickstart Disability Arts & Culture, writes in the foreword: "Being a disabled artist is fraught with challenges: this world was not built with us in mind. But our studios are spaces for dreaming, creating, and making in ways that bring our ancestors' dreams to life."

Lindsay and Ikouii are dedicated to manifesting those dreams. In addition to the new book, the org's current online exhibition, Bodies, on view through July 9, is "one of our most provocative exhibits," Lindsay says. "We provided a space to celebrate all types of bodies. Viewers have really resonated with the experiences on view and the vulnerability of each artist."

As a creative business leader, Lindsay is also a stakeholder in an ongoing Fulton Country Arts & Culture study assessing accessibility to performing arts facilities for individuals with disabilities. "The study focuses on developing best practices for engaging artists with disabilities in cultural facilities," Lindsay explains. "The need to ensure access for the disability arts community of greater Atlanta has never been more urgent, and this study can help steer us in the right direction."

Lindsay relishes the issues inherent in promoting individuals with disabilities as artists, art professionals, curators, and patrons of the arts. INSIDE THEIR STUDIO demonstrates her ever-evolving vision.

David McCauley by Lisa Presnail, from INSIDE THEIR STUDIO: Deaf & Disabled Artists Reshaping the Arts.

"With the new book, it was important to feature a diverse body of deaf and disabled artists from, but not limited to, the BIPOC, LGBTQIA, and Neurodivergent communities," Lindsay says. "This reflects one of Ikouii's core values: to provide space for diversity. These artists, like many that go unmentioned, deserve a rightful place in the larger global art landscape and deserve straightforward unhindered access."

Perhaps the biggest challenge comes in balancing the attention paid to artists across such a diverse community.

"Disability is not a one size fits all. Within the D/deaf community alone, you may find some who prefer lip-reading and are verbal, while others may primarily use sign language and are non-verbal, and some who are in between. You have some individuals who have multiple disabilities, and there are variations within each disability. For me, the best approach is to meet each individual where they are and consider their specific needs. Representation matters."

Above, Aleatha Lindsay, at work in her studio. Photo courtesy Aleatha Lindsay.


"I create jewelry that is imbued with meaningful intention and made for self-expression," says Melanie Clarke (B.F.A., jewelry, 2003). "Everything is energy and energy is everything."

After graduating from SCAD, Clarke relocated to San Francisco, working for many years at fine jewelry boutique Trabert Goldsmiths. She connected deeply with a spiritual practice in tune with her designs. Her own jewelry line, Mana Combe, infuses history and mysticism into gorgeous pieces that, as Clarke explains, represent "activations."

After close to two decades in California, Clarke has recently returned home to Georgia. A jaunt to Savannah means the healer will appear in person at this week’s SCAD Jewelry Trunk Show. 

SCAD: How do you balance your work between tradition and experimentation?

Melanie Clarke: My education at SCAD helped build a foundation of essential skills that has served me millions of times. The jewelry department provided my formal jewelry design discipline, while my fine art classes and historical studies sowed seeds of inspiration. I have expanded this 'garden' into the mystic realm—mostly through curiosity. I push myself to travel alongside the world of sacred geometry and ancient studies. I find the greatest inspiration by exploring the mystery of old-world artifacts and modern-day technologies. I use CAD software to render some of my overly complex designs that would otherwise be impossible. I approach my work with zero limitations. If you can envision it: it is possible! 

SCAD: How does your jewelry connect to your commitment to transformational wellness?

MC: I recently found my 2003 senior thesis artist statement and it is nearly identical to my ethos of Mana Combe. I want people to wear my work and draw kindred spirits into their space, so that they can connect and share a moment of loving exchange. I believe anything infused with loving intention can activate the subconscious, opening all sorts of fabulous doors, leading to expansion. What better way to experience joy than with the visual health and wellness of beauty, color, and form!

Melanie Clarke, 'Barakat // Blessings,' 2022, handmade 18k yellow gold pendant approx. 1" long x ½" wide; 18" diamond-cut chain.

SCAD: Which pieces of yours are in this year’s SCAD Trunk Show?

MC: I am selling a variety of designs I've made through the years, showcasing a range of favorites. I have everything from a super crisp and sparkly diamond ring to a golden crystal-grid 'artifact' ring to dainty little bands. I also brought some chunky animal pendants as well. All my pieces tell their own little story and I hope they find their happily-ever-after!

SCAD: What does Trunk Show 2022 mean to you as part of the SCAD jewelry family?


MC: I only recently moved back home to Georgia, and it's been nearly 20 years since I graduated, so this show is very exciting. So many formative moments happened here while I was learning my way around metal. Professor Jay Song was one the most important teachers I've ever had. She still teaches me today. When she speaks, I listen, because I trust her and love her. She wants her students to succeed. She is tough when she needs to be but always supportive in helping her students grow to be the best artists. I am a better artist today because of my experience at SCAD and my time in the jewelry department.

Meet Melanie this week at SCAD Jewelry Trunk Show 2022!

"You can sketch something wonderful and beautiful," says Ashley Boyle, "but then you have to sit down and think, 'Can I make this?'"

This question became the challenge at the center of Boyle's senior collection, Olympus. A dean's list scholar and Fahm Hall studio monitor, Boyle (B.F.A., jewelry) created over 200 sketches as she designed Olympus' sumptuous centerpiece, a crown called Hephaestus. But could she turn it into a crowning achievement?

"I have witnessed Ashley maturing as an artist, designer, and maker," says jewelry department chair Jay H. Song (M.F.A., jewelry, 2000). "Her body of work proves a high degree of intellectual depth, imagination, and sensitivity. She successfully manipulates materials to complement the content of her work. Ashley continues to be a creative individual with incredible potential for success."

In advance of this week's SCAD Jewelry Trunk Show, Boyle discussed her extraordinary journey.

Ashley Boyle, 'Persephone,' 2022, 14k gold-plated sterling silver earring, lab-created and natural rubies; modeled by Ella Kerner (B.F.A., jewelry).

Ashley Boyle:

I grew up in Shirley, New York, on Long Island, and attended William Floyd High School. After I graduated it took me a while to figure out my next step would be. When I decided that I wanted to go to art school, I did a google search and found SCAD. I liked that SCAD offered so many majors to choose from. I went through a couple of majors before landing in the jewelry department. When I took Introduction to Jewelry: Material and Processes (JEWL 120) with professor Adam Grinovich, as soon as I pierced out my first copper shape, I thought, "This is it!" I'd found a place where I belonged.

In Fall, 2021, I took Collection I: Research and Development (JEWL 400) with professor Jay Song. That's when I began developing my senior collection, based on the symbolisms and traditions associated with Greek wedding culture. I wanted to have a floral-inspired and garland-like wedding crown be the center of my collection. Professor Song was there for every step of the process, critiquing sketches, pushing us and our designs to their fullest potential, guiding us to the point where we could confidently say that our collection was achievable.

I utilized many techniques throughout my collection: wax carving, casting, hand fabrication, soldering and forging. I knew the crown was going to be my biggest feat. I took the time to figure out how many leaves would fit comfortably around the crown, give me the shape and the look I was going for, while still being comfortable to wear.

I ended up with 18 leaves total, nine pierced-out, nine wax-carved. I soldered them all to a half-round silver wire, so it would sit comfortably on the head and forehead. The process included using investment to create a one-time mold and putting it into the kiln for the wax to melt out. The last step is using the centrifugal to cast. This machine spins with enough force to push the molten metal into the mold.

Ashley Boyle, "Dionysus," 2022, 14k gold-plated hair comb, sterling silver, lab-created rubies.

My senior collection includes two pairs of earrings, two tie-clips, a backdrop necklace, a hair comb, a pair of cufflinks and one wedding crown. The whole collection has a satin finish, which I achieved using a diamond bur engraving tool to make the surface texture sparkle, followed by a 3M wheel to soften it up. I incorporated both natural and lab-created rubies, inspired by the symbolism of pomegranates.

This quarter, I am taking Haute Couture Jewelry: One of a Kind (JEWL 411). Designers Sybil and David Yurman donated over $1.6 million worth of stones to our department, and our class has been fortunate to work with and incorporate the stones into our pieces. My neckpiece, titled Wonderland, features three gemstones lemon citrine, rose quartz, and blue topaz. David and Sybil Yurman, the founders of the company, were kind enough to come to the jewelry department and be a part of this fun, challenging experience.  I had the opportunity to share my process and receive feedback from them. It was an amazing experience.

The thing I love most about the SCAD jewelry department is how small and close-knit we are. We have the ability to develop close relationships, which is special. This is the first time I will be participating in our department's annual Trunk Show. I am proud to be a part of and represent SCAD jewelry.

See more of the work of Ashley Boyle.

"Design is design is design," says graphic design professor Nicole Roberts. "That becomes clear when you're working around multidisciplinary designers—we speak the same language."

A notable double alumna, Roberts (M.A., interior design, 2011; M.F.A., graphic design, 2010) teaches from expansive experience. "It's not a far leap from graphic design to interior design to architecture, especially when working in the built environment. We're all talking about the human condition, and the human experience, and we're in the same lane."

Originally from Cincinnati, Ohio, Roberts excelled in the design firm realm as creative director at Kolar Design, and as design director at FRCH Design Worldwide. She also taught at multiple institutions of higher-ed, before joining SCAD faculty full-time in Fall, 2021.

"Nicole is a force," says Michael Mikulec, SCAD chair of graphic design. "Her professional experience and exceptional skill set help further the dialogue around what a 21st century graphic design practice can be. Her understanding of design for physical environments provides our students with top-of-the-line insights into thinking beyond standard expectations. The university, department, and our students all greatly benefit from her presence."

Now based in Savannah, Roberts is known for her bonhomie, her Chi-Poo pooch named Logo ("A designer dog deserves a designer name!"), and her devotion to academic rigor. This quarter, she is teaching two sections (one in-person, one via SCADnow) of Graphic Design Portfolio (GRDS 408).

"We work to create the portfolio that will get you where you want to go," she says. "How do you define your mission, vision, and values? What are your specific goals for your career? Some students want to work at big agencies, some want to freelance, some are on the fence. I tell them about my own professional experiences, and let them know it's only one person's experience."

Roberts also helms graduate-level courses Experience Design for Physical Space (GDVX 757), and User-centered Strategy and Process (GDVX 770), the latter about "building human-centered design in the digital realm."

"Students develop a user app, allowing research to drive their design decisions," she explains. "Their project involves interpreting an analog game into the digital realm, without sacrificing the fun of sitting with family and friends and having a tactile experience. It's a deep dive into the human experience of fun."

Tactile and digital, research and fun—these dualities achieve unity through Roberts' pedagogy.  Working in Adler Hall, she sees the efficacy of a building that houses multiple degree programs, and what that does for students.

"There's not a hardline between departments. In my graphic design and visual experience design courses, I have advertising students, LXFM students, and fashion students, all coming in from adjacent industries."

She offers a knowing smile. "In the classroom we replicate the true experience of working in design."

SCAD proudly announces the appointment of Lace Walker as the university's new director of inclusion. Walker, a Savannah native, is a SCAD alumnus, with an M.A. in creative business leadership and a B.F.A. in sound design. She will work closely with SCAD students, faculty, and staff at all SCAD locations to ensure a culture where all members of the university community feel welcomed, valued, respected, and empowered to thrive.

"SCAD is my family, my home," Walker says. "It is my intention to ensure every member of our SCAD community feels seen, celebrated, and cared for. It is important that we continue to engage in a culture that accepts all people with respect and open arms."

Walker is being promoted from within the university. Prior to her new role, she has an 11-year tenure at SCAD, working at the university's locations in Savannah, Atlanta, and Lacoste, France as a student success advisor and admission records specialist, developing authentic relationships with students and families.

"I was afforded memorable moments to contribute to embracing our diverse and inclusive culture," Walker says. "When the opportunity came along to work with the office of inclusion, I saw it as a chance to extend my heart, care, and concern for the greater SCAD community, and duplicate my efforts to faculty and staff."

The SCAD office of inclusion engages the collective ingenuity of its students, faculty, and staff to create opportunities and inspire inclusive innovation within the university community and the creative industries in the disciplines SCAD teaches.

"SCAD has so much to engage in—from museum exhibitions, workshops, events, training, student clubs, alumni affinity groups, tours, library resources, gender-inclusive restrooms, and programs, to name a few. No goal of mine is ever short-term. I do everything with passion and longevity in mind and want it to resonate as a legacy, building a foundation to grow and change with our cultural climate."

In her new role, Walker will develop and administer diversity and inclusion learning for the university community. Her focus will include implementing programming that engages diverse ideas and perspectives, broadening recruitment and hiring practices, engaging in proactive community collaborations through SCAD SERVE, and amplifying the work and ideas of artists, designers, and educators who are members of historically marginalized groups.

Learn more about the SCAD Office of Inclusion.

With strings and sighs, the book comes alive. Partway through a webinar for teachers interested in the app Novel Effect, a reading of the book Hair Love is, as intended, "making story time more magical." It's impossible not to sense the educators' delight as sound effects and music cues accompany Dr. Natasha Rachell delivering the tale of a young girl falling in love with her fab 'fro.

"It's amazing the community we've been able to build around our commitment to making reading more engaging for kids," says Novel Effect Chief Product Officer Melissa Hammersley (B.F.A., graphic design, 2008) the following day. "People have a strong, positive reaction to Novel Effect, and that inspires us to continue to want to make it better."

Co-founded in 2015 by Hammersley and her husband Matt, Novel Effect uses voice recognition software to provide music, character voices, and relevant sound effects when children's books are read aloud. With a library of over 700 supported titles, the mobile app is available as a free download in the App Store and the Google Play Store.

"Supporting Novel Effect is an ideal partnership for us," says SCADpro Fund manager Ray Crowell. "Melissa and Matt believe in the power of tech-enhanced literacy, and instilling creative learning as a life-long discipline, which is fundamentally aligned with the SCAD mission. Plus, the app is super fun!"

Melissa—SCAD friends may remember her by her maiden name Furze—sees a direct connection between her SCAD experience and her current work. "What we're creating is very much like an art form, and it's affirming to have that recognized and supported by SCAD."

As a high school student at W.T. Woodson in Fairfax, Virginia, Melissa participated in the Rising Star summer program in Savannah, before returning years later to study graphic design.

"When I was studying graphic design at SCAD, the amount of learning and work that I had to do prepared me for the environment of operating a start-up. The underlying vision of what we've built at Novel Effect is the thing that keeps pushing us forward, the same way that the love of art and design kept me going through my challenging courses at SCAD."

Being a mom means that for Melissa, Novel Effect is a ubiquitous presence. Recent hits in the Hammersley household range from Llama Destroys the World to The Proudest Blue: A Story of Hijab and Family. "My son's absolute favorite book is The Little Shop of Monsters by R.L. Stine. The characters called Piggler Gigglers just laugh, and he laughs too and wants to repeat it over and over again. It's so good!"

In a moment when access to books is being politicized, Melissa is keen to affirm Novel Effect's mission, exemplified by the range of curated titles supported by the app. "All kids deserve to see themselves reflected back from the pages of books, and that's one of the things we want to ensure happens. Books are magical on their own, and we've been able to take technology and add a little bit more magic to it."

Story time with the Hammersley family!

"I want my work to have a strong sense of visual literacy," says Saira Mary Netto (B.F.A., fibers). "I want to tell stories through texture and color."

A senior standout and SCAD Student Ambassador, Netto is currently completing her thesis, an installation series she calls "Rebirth + Regeneration." "My work is highly labor intensive," Saira says, holding up fluffy fistfuls of fabric, "but so fun when it comes together."

"Rebirth + Regeneration" embraces techniques Netto learned in an early fibers course, Textile Structures: Material, Form, and Function (FIBR  170). Compositional drawings, collages, and watercolors come first. Then she begins felting, riffing on cut-stuff-stitch. This is Saira's world now, a riot of chimerical fabric, caffeinated positivity, and exuberant chromaticism. She intentionally manifests influences from her personal pantheon, from Bauhaus pioneer Gunta Stölzl to polka dot superstar Yayoi Kusama.

"How do we apply history to our own circumstances, and do something we love?" Netto asks. "The way to innovate is to look at the past, interpret, take inspiration, and move forward."

Originally from Kerala, India ("Savannah reminds me of home, being in tune with nature"), Netto has designed a thesis project literally connected to her roots. "A few years ago, my dad wanted to construct a house on top of our ancestral home, and we had to dismantle my grandma's garden. She took down the plants, kept some, and gave some to family members. I decided to translate the soul and essence of the garden into fabric."

Saira Mary Netto, "Final Composition 1" from Rebirth + Regeneration, fibers senior thesis, 2022.

Over time, Saira herself has grown into the international student experience. When she arrived in Savannah in 2018—her first time in the U.S.—her intention was to study fashion. "My second quarter here, a friend said, ‘Hey let's go to Open Studio in Pepe Hall' and when I saw all the fibers work, I realized this is what I want to do. I changed my major the very next day."

Yet her affection for fashion has not wilted. This year, she collaborated with NBAF 2022 Fashion Forward Award winner D'on Lauren Edwards (B.F.A., fashion) on silk organza print patterns for Edwards' senior collection "The Messenger."

"Working with Saira was wonderful," Edwards says. "I'm drawn to her meticulous methods, and the cultural influences she pours into her prints. It's important to me to find someone able to combine beauty and artistry, all tied to the values prevalent in my collection. I'm so glad that person is Saira."

In her official role as Student Ambassador, Netto communicates with prospective students and parents about her SCAD experience. She also represents a fibers program that focuses both on commercial potential (typified by the annual Kravet Design Challenge) and avant-garde artistry.

When Andrew Clancey, creative director of outré fashion label Any Old Iron, gave a guest lecture at SCAD in early 2021, Netto emailed him samples of her work. Clancey subsequently hired her as a freelance pattern designer and illustrator. Netto embraces the commercial imperative while pushing the outer limits of experimentation. "You want to be an artist and be free, but you need to survive," she says, simply.

Saira is currently finalizing the staging of "Rebirth + Regeneration." She hopes her thesis is a step towards creating immersive installations that will occupy "hotels, and other buildings in the hospitality industry." In the meantime, the inevitable "What's next for you?" question gets a good-natured laugh.

"More drawing, more exploration, more innovation, more fun!"

Connect with Saira Mary Netto on LinkedIn!

"How does the paint behave?" asked Katharina Grosse, from the stage of the Trustees Theater. The potential answers seem as limitless as the artist's own works.

SCAD deFINE Art 2022 came to a stirring conclusion as Grosse, this year's honoree, engaged in hourlong exchange of ideas, discussing her career from her student days in Düsseldorf to her deft new exhibition Chill Seeping at SCAD MOA.

Alumna Bethani Blake (B.F.A., painting, 2021) presented Grosse (b. 1961, Freiburg/Breisgau, Germany) with the deFINE award from the historic Trustees proscenium. "Challenging our perceptions of surfaces and ideas of spectatorship, she creates rich connections between colors, shapes, and elements of architecture and landscape," Blake said of Grosse. "The artist's unique creative process, which involves the use of an industrial spray gun, and the resulting gestures and movement coalesce in otherworldly installations that expand the dimensions of painting."

Though Grosse has worked and traveled extensively in the United States, it was her first time in the city of Savannah. "To see the work in the context of the artists in the other galleries, which I would never be able to see staying home, gives you the feeling of being and belonging to a larger field of other artists being honored, that you have taken inspiration from and that you are grateful for," Grosse said. "To have the work here is important for me. It was a great process to think about the show for this very dramatic space."

The space Grosse spoke of is the Pamela Poetter Gallery at SCAD MOA, where her large-scale acrylic on canvas paintings and diaphanous drapeworks transform the corridor-shaped gallery.

"I am grateful to [curator] Humberto [Moro] for going through this process of developing the show," Grosse said. "I would love to thank SCAD for having me here tonight, to share my thoughts and stories."

In front of a theater filled predominantly with SCAD students, Grosse was joined on stage by arts writer and educator Dan Cameron, who asked Grosse to speak about her own days as a student.

"I started to paint really late in life, when I was 20 years old. I thought I would be a psychologist," Grosse said, getting a laugh. As a student, Grosse took classes from major artists including Joseph Beuys, Gerhard Richter, and Nam Jun Paik. "Bit by bit I started to develop a method of questioning my work. Of asking small questions. I realized it was raw color that was the leading agent in my work. So, I decided to reset it all and start again and only use those raw colors, without any kind of idea or concept that I would paint something I saw, or imagined I saw."

Grosse determined her painting would be aggressive, "but not aggressive in negativity—aggressive in getting very close to your system."

She has achieved this by her gallery work, as well as painting directly on dirt, houses, roads, beaches, and other public spaces to expand and explore perceptions of where and how painting can and should exist.

"Monet and his large water lily paintings were a real epiphany about how to relate the image to the surface," Grosse said. "Maybe the image he paints is bigger than the canvas, so its relationship to the edge of the canvas is open."

Cameron asked Grosse if she meant that the edges of a painting can be ambiguous. Her response went deeper, asking us to consider a work as a worldview:

"The painting is the membrane perforated by the necessities or conditions of the everyday life."

Katharina Grosse, "Untitled," 2021, acrylic on canvas, 117 3/4 x 387 in. © 2022 Katharina Grosse and VG Bild-Kunst, Bonn. Courtesy of Gagosian. Photo by Jens Ziehe.

A special thank you to honoree Katharina Grosse, and everyone who attended SCAD deFINE Art 2022.

When alumnus Jon Gosier returned to SCAD Savannah in early February to be a judge at StartUp 2022, it was a homecoming over two decades in the making. It was also a moment of confluence, as the serial entrepreneur's newest venture, a fin-tech company called FilmHedge, was recently awarded backing by SCADpro Fund.

"I like to share knowledge," says Gosier (B.F.A., sequential art), "and I enjoy addressing the business challenges people face that I think I can solve."

With FilmHedge, Gosier has created a company that is both a marketplace for film investors and a database of financial information. FilmHedge allows filmmakers to use debt to finance their films, while providing investment partners with opportunities to earn passive income from media lending. "By answering questions of efficiency and trust on the investor side, we make it easier for filmmakers to gain necessary access to capital," Gosier explains.

"FilmHedge is the first time where all my passions, skills, and interests have aligned: it's finance, it's media, it's tech. One of the biggest challenges for young filmmakers is rarely do they learn the financing side. Because that's a critical piece, it sets a lot of people back. I get to remove a complex barrier that they often don't know how to solve."

"Providing SCADpro funding to FilmHedge was something we went into without hesitation," says SCADpro Fund director Ray Crowell. "What Jon previously created with companies like Audigent demonstrates how far ahead he is of the competitive media curve. The fact that he is also a deeply empathetic speaker, writer, and leader makes him a perfect fit."

Conversation with Gosier is wind-ranging and edifying. He speaks of his post-collegiate days in Atlanta working as a sound engineer for everyone from Tyler Perry to André 3000, then details the years he spent living in Kampala, Uganda, where he founded the tech consultancy known as Appfrica.

While in Africa, Gosier, a prolific blogger, received an email from tech entrepreneur Angela Benton (M.F.A., graphic design, 2007). At the time, neither Benton nor Gosier knew that the other had attended SCAD. But after Gosier moved back to Atlanta in 2017, Benton mentioned that SCADpro Fund had backed her new venture Streamlytics. Gosier's own SCADpro Fund experience was on the near event horizon. In storytelling terms, this was Jon and SCAD's callback moment.

In 1998, after graduating from Cedar Grove High School in Ellenwood, near Atlanta, Gosier enrolled at SCAD Savannah to study sequential art. "SCAD did a great job bringing leaders from the comic book industry in to review student portfolios. The artist Joe Quesada came and complimented my work while giving me honest criticism. I realized I wasn't all-in with drawing, but I knew I couldn't give up storytelling."

Fastforward to StartUp 2020, when Gosier listened to dozens of pitches from SCAD student teams for products and services that served needs in the marketplace. It was the storytelling component of those pitches that, in Gosier's estimation, proved a key differential.

"At first I thought the students had been working on these projects all year, but no—most of them were created within a couple weeks, and they'd also being doing this during midterms. Their pitches were deeply impressive, and made me reflect on my own foundational SCAD experience," Gosier says.

"I'm happy to be part of what SCADpro is doing, both for FilmHedge, and for the new generation of SCAD students. I love SCAD. The SCAD ethos of creativity has guided me throughout my life."

Photo: Bret Hartman.