Each of the candidates will share details about their work on display during a virtual reception on Thursday, October 22, 2020 at 4 p.m. EDT. Please visit indstate.edu/cas/uag for the link to attend and join in on the conversation.
Zhengyun Guo, Master of Fine Arts, Painting
Guo uses surrealism and abstraction to record personal reflections on hybridity of both culture and artistic techniques. Rather than expressing only superficial emotion, he conveys deeper concepts of human nature. In his paintings, he tries to create his own world, but this world is not an imaginary utopia: it is a mirror of the real world derived from his observation and thinking of the real world. He extracts from his own experiences of the world, and allows those extractions to transform into abstract brushstrokes and symbols, allowing them to evolve freely in the painting process so that they express his true feelings more truthfully.
Samantha Osborne, Master of Fine Arts, Graphic Design
This exhibition is comprised from finished pieces and behind-the-scenes work from the full exhibition graphic design package for Victoria the T. Rex: the Exhibition. That’s right, this is an exhibition about an exhibition. It’s a culmination of intense, dedicated effort toward a single project, and over a decade of hands-on experience within the museum exhibition industry. The Victoria exhibition project evolved over the course of several years. What began with a paleontological discovery in 2013, led to groundbreaking research and museological opportunities. In stark contrast to grounded, site-specific specimens such as Sue at the Field Museum, Victoria is the first actual T. Rex specimen to travel. After ample studies and research, both scientific and economic, the project was put into motion by a small group of stakeholders.
Julia Reich, Master of Fine Arts, Graphic Design
As an artist, Reich listens to people talk, and captures conversations as they happen in real time using pictures, words and color. This can be done on a large, analog scale using markers on paper – where she is up in front of a room – or digitally for remote experiences such as virtual meetings, as participants watch the drawing take shape on a screen. This kind of work is referred to by many names: graphic facilitation, visual note-taking, scribing, and even visual harvesting. She most often uses the term graphic recording. Regardless of nomenclature, there are three aspects to her process: listening, thinking, and drawing – and she has to do all of these things in quick succession since she is working live.