We are pleased to announce the opening of the 2016 Art Faculty Exhibition
from Sept. 2 – Sept 30
Please Join us for an opening reception on Wednesday, Sept. 7 from 4-6PM in the gallery
This exhibition will feature work from the excellent instructors teaching our studio art courses. We wish to showcase our faculty as professional artists and to help connect students to the work these individuals do outside the classroom.
We will be exhibiting work by:
Jeremy Ayers: Ceramics
Maea Brandt: Drawing
Brian Collier: Sculpture, Digital Imaging, Video, EcoArt, Jr.-Sr. Studio
Jordan Douglas: Darkroom and Digital Photography
Gordon Glover: Digital Animation, Video
Valerie Hird: Drawing
Meg McDevitt: Foundations, Drawing, Sculpture
Will Mentor: Painting, Life Drawing, Mixed Media, Jr.-Sr. Studio
This exhibition was generously funded by the Marc and Dana Foundation for Fine Arts
Artist Faculty Infromation:
My recent pottery is about elemental relationships between form and surface. I have simplified my color scheme down to just white or black glaze. I am rejecting the colorful glaze palate generally used in functional ceramics. Instead I have kept things neutral in color. This allows elemental contrasts to be highlighted. Contrast between the raw clay and glaze in tone and texture. Contrast between lines of glaze and the repetitive angular forms.
Emphasizing the clay surface is also important to me. The clay exposed between glaze layers is presented on equal footing with the glazed surface. My work is fired in oxidation but I love the raw clay of an atmospheric firing. This white glaze flashes the clay body in the exposed areas giving the illusion of atmospheric conditions in the kiln. This is another contrast existing in this work. These pots celebrate the raw clay surfaces of atmospheric firing but their severe vertical lines and perfectly even melt are clearly oxidation fired.
I strive to make pottery that celebrates the joy of eating and drinking and creates a special relationship between the owner and the object. In the 21st Century, in a world of homogeneous, mass-produced products, a handmade piece of pottery in your hand is a choice that states that you want to slow down and enjoy the beauty of the moment. I make pottery to help accomplish that goal. My pottery becomes a witness and participant to the routines of your daily life. From my hands to your hands, this pot sits and waits for you and is glorified by your use of it. My home and studio are located in Waterbury, Vermont. I live here with my wife Georgia and with our two sons Fletcher and Weston. I make utilitarian pottery in a studio located in our renovated 1870 Carriage Barn in which my great great grandfather made wheels, carriages and sleighs. My studio is usually open Tuesday – Saturday 12-5. Currently my work is fired at cone 6 in oxidation. I have been making pottery since 1996. I received a BFA from Massachusetts College of Art in 1998 and my Masters in Art Education from St. Michaels College in 2010. I sell my pottery in locally and nationally in many different stores and galleries. I balance my time between pottery making and teaching. I teach beginning through advanced pottery classes for Burlington City Arts and I teach Ceramics in Undergraduate Art and Graduate Education at St. Michaels College.
My work is both a working drawing and a finished image on paper as I explore contemporary issues of culture and nature wrestling for space. This series, titled ‘Atomic Blossoms’, combines geisha-inspired hairdos grown heavily outsized and elaborate, floating and emitting puffs of silvery air, or smoke. The nuclear disaster in Fukushima, Japan, provided me with new insight into the relationship of humanity with Nature, and I have explored in this series of twelve drawings the difficult and ongoing imbalance of needs that strangely, make up a sustainable existence.
The long history of works on paper in Asia inspires me, and keeps me close to the raw materials of cotton and wood, graphite and silver. These works are not framed because they are outside the Western traditions of what an artwork should be. Simple forms become increasingly symbolic, and the concepts that marry image and materials float in a space that is my own natural environment.
Artist, educator and re-naturalist Brian D Collier’s interdisciplinary projects manifest as a combination of sanctioned and unsanctioned public projects, exhibitions and multi-media presentations.
He has exhibited widely in the U.S. and abroad. A partial list of exhibition venues include: Neues Museum Weserberg Bremen, in Germany; Boulder Museum of Contemporary Art, CO; University of Kansas Natural History Museum; University of Colorado Museum of Natural History; Wesleyan University in CT; Power Plant Gallery at Duke University; Galeria Raul Martinez, Havana, Cuba; and BCA in Burlington, VT. Collier’s work has been written about in numerous publications including Art in America, Afterimage, Orion: Nature Culture Place, and The New York Times. His work is featured in several books including Art & Ecology Now from Thames and Hudson Press, The Object from MIT/Whitechapel Press both published in 2014.
Hird’s work explores cultural mythologies and the roles they play in Eastern and Western societies. The conversations Ms. Hird is interested in having are a result of the years she’s spent moving across cultures and developing a sense of which images can be both local and universal. Hird is particularly interested in how organic forms – familiar to all – can be interpreted by viewers in different countries and cultures.
For the past decade, using a range of visual and digital media, Hird has been creating an alternative cosmology celebrating a complex primal world. These visual narratives are based on her travel and study with indigenous peoples from the Berbers of Northern Africa to the Inuit of the Pacific Northwest, blending their vast panoply of creation stories into an original narrative.
Professor of Art, Saint Michaels College, and Professor of Visual Linguistics, CORE Division, Champlain College, in Vermont. BFA from Rhode Island School of Design. MFA from Vermont College. Represented by the Nohra Haime Gallery, 730 Fifth Ave., New York and the McGowan Gallery, Concord, New Hampshire. Recent exhibitions include MASSMoCA, Porsmouth Museum, Tampa Art Museum, DIVA in Paris, American University of Dubai, Global Center For Drawing, Melbourne, Australia and at the American Corner, University of Jordan in Amman, Jordan.
The Fingerprint Series began in 2013, as an investigation of the aesthetic possibilities of one of the most recognizable symbols of our shared humanity. Each print was produced wholly through chemical process–with black-and-white film and in the darkroom–without ink nor camera. The Fingerprint Series has been exhibited at the Burlington City Arts Metro Gallery (June/July, 2014) and at Champlain College’s President’s Suite (Nov/Dec, 2014).
Jordan Douglas teaches both darkroom and digital photography in Fine Arts, runs the darkroom in Sloane Hall (open to all students and faculty), and supervises the Photo Club. Jordan also teaches at Champlain College and the BCA center. He has exhibited his alternative analog photography throughout Vermont.
Gordon Glover is a critical multi-mediator who has taught students at every level from pre-kindergarten through graduate school. Formally schooled as a fine artist in film and animation, he has gravitated to memetics and media studies. Glover currently plays original music with his band REDadmiral and teaches Motion Graphics, Animation, and Media Studies around the Greater Lake Champlain Region.
Meg McDevitt grew up in Levittown Pennsylvania. She grew up surrounded by art and artists. Her Father was a working artist and taught Commercial Art. She received a BFA from Cooper Union and an MFA from The Pennsylvania Academy of the Fine Arts.
She moved to Vermont in 1996 to put together the sculpture program for the Vermont Studio Center, an artist residency program in Johnson, Vermont.
Meg began teaching at UVM in 1997, where she is currently a full time senior lecturer. She also curated the annual outdoor sculpture exhibition for the Helen Day Art Center from 2004 to 2010. She began teaching at SMC in 2013.
Meg has exhibited her drawings and sculptural work nationally and internationally. She lives in Johnson Vermont and her art studio is in Eden Vermont.
Will Mentor is painter living and working in Vermont, where he teaches art at St. Michael’s College. Born in 1958 in Longmeadow, Massachusetts, Mentor received his BFA at the Rhode Island School of Design. Mentor burst onto the New York art scene in the early 80’s, gaining instant success for what critics referred to as his “Neo-surrealist” abstract oil paintings. Dividing his time between New York and a farm in Iowa, Mentor became interested in the spectacle of consumerism and the business of agriculture. His more recent works explore these notions through geometric abstractions of bar codes color-coded with agribusiness logos. Mentor’s concern with agriculture as a product of labor, biochemistry and industry influences not only the subject of his paintings, but also the way he makes them. His computer-manipulated, hand-painted images of barcodes are analogous to the interaction between humans and machines.