Arts - Buffalo State College

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successful solution I found was to create a PMC metal clay slip, which is basically watered down PMC clay, then paint it on to an unglazed terra cotta claybody. After this is fired, the PMC is fused to the clay and then I can solder the PMC formed and fired metal pieces to the area coated in PMC slip. Through this discovery, I am able to combine these two different materials together to open new possibilities for my work and will allow me to push my ideas in a new creative direction. Presentation Type and Session: Poster III The Marriage of Materials Jacquelyn O’Brien, FAR 343: Advanced Sculpture Faculty Mentor: Professor Elena Lourenco, Fine Arts As a developing artist, I am trying to awaken myself to the joining of materials in a harmonious way. I am deeply interested in exploring the organic curves one can attain in the bending and manipulation of wood veneers and linen fabrics. I am very attracted to the organic and natural elements of these materials, particularly in their relationship with each other and the space around them. Due to this attraction I am drawn to further analyze my interest; I am looking for new ways to interact with the materials so that I can learn new processes that may become useful to my aesthetic and practice and perhaps through further investigation, reveal what it is that pulls me to this organic set of materials and forms. Currently, I am exploring ways to work with sheets of plastic and fabric combined in a harmonious way. I hope to use this investigative process to better understand my materials as well as the process involved. The resulting aesthetic, which is most important, guides my hand and decisions throughout this process. Presentation Type and Session: Poster VIII Metalsmitten: Metal Work Mixed With Chase and Repousse Lena Scapillato, Metals/Jewelry Faculty Mentor: Professor Tara Nahabetian, Design My research during the fall semester was focused on the art of metalsmithing. Metalsmithing techniques started during the Bronze Age between 4000BC- 1000BC and continue to be utilized today. By combining basic metalsmithing techniques with advanced forming techniques I am able to give character to metal forms and vessels. A single vessel may be developed by using multiple metalsmithing techniques. For example, each metal object starts with angle raising, a technique used to create metal hollow forms from flat sheet through hammering. After the overall form is developed, I use chasing and repoussé to add texture and details to organic forms. Chasing and repoussé is an ancient technique that forms the metal by pushing both the front and the back of the metal. Through this technique I can also create low and high relief. Using historical metalwork such as bowls, reliquaries and vases as inspiration I Arts designed vessels ranging from five to twelve inches. During my presentation, I will present images of metalsmithing processes and the finished metal objects. I will present this work with a poster that contains photos of the process as well as finished pieces. Presentation Type and Session: Poster II Molding Young Minds Sarah McNutt, Ceramics and Art Education Faculty Mentor: Professor Elena Lourenco, Fine Arts During my student teaching experience I taught general art K-8th grade at Houghton Academy PS 69 in Buffalo where I had the opportunity to work with two 8th grade classes on this project. I developed and executed an assignment that involved these students with local art community resources and culminated in participation in a Buffalo State College aluminum pour. Students first examined the tile work of Richard Notkin focusing on the way he used symbols to convey larger ideas. The students were then challenged to create unique images and designs that were meaningful to them. After sketching out their ideas, each student transferred their designs on to a sand mold (a block of resin bonded sand made in advance) using the subtractive method of carving. Together with Buffalo State Sculpture faculty and the cooperating teacher at Houghton Academy, Will Cavanaugh, we poured molten aluminum into the students’ carved scratch molds. Though we were unable to bring the students to the Buffalo State sculpture facility to see the actual pour, the whole process was documented through video. After trimming and polishing the tiles, we critiqued with the 8th grade students and watched the footage from the pour. This project taught me a lot about the process of finding funding to support special projects and establishing safety precautions with students in a classroom while working with new materials. It also offered student the chance to create sculptures with aluminum and learn about the art community. Presentation Type and Session: Poster IV Moving Metal: Artisan Gas Forge Construction Glen Stewart, Sculpture Faculty Mentor: Professor Elena Lourenco, Fine Arts The majority of my artwork involves shaped and welded steel as either an internal armature, or as the primary structural element. Shaping of metals for works of art without an adaptable forge to heat them makes for less than ideal finished work, or consumption of expensive fuels and excessive studio time. Forges are used to heat malleable metals such as steel, copper, bronze, and malleable iron for the purpose of hammer forging, drop forging, forge welding, annealing, and other techniques utilized in the shaping and forming of metals. I have researched many gas forge designs and, using the best features of several, intend to construct a portable, flexibleapplication, natural gas-fired, artisan forge to assist me in my studio 35
36 Arts practices. It will be built using proven burners to assure appropriate temperature and efficient fuel usage and incorporated into a flexible forge designed that will accommodate metal stock and pre-shaped pieces that most forges cannot. Thereby giving me the ability to exert a greater degree of finesse and control of over my work. Presentation Type and Session: Poster VIII Naturalistic Pictorial Space To Formalistic Reconstructions: A Search For Direction and Growth As a Painter Brian Nacov, Painting Faculty Mentor: Professor Lin Xia Jiang, Fine Arts During the Summer 2011 I embarked on a painting tour of New York State to create plein air paintings in a naturalistic, pictorial style from the unique features of New York State Parks. Afterwards, I broke these paintings down and created new, abstracted, formalistic compositions from their elements focusing on line, shape, value, and color. I looked to landscape painters such as George Inness and Albert Bierstadt, and formalistic artists like Piet Mondrian and Richard Diebenkorn for direction and inspiration in this endeavor. After viewing original works of artists pertinent to my goals on display at local galleries including the Albright Knox in Buffalo and The Memorial Art Gallery in Rochester, I set out to paint in areas such as Niagara Falls, Allegany, the Catskill Mountains, the Hudson River, and the Adirondacks. After completing a variety of plein air landscape paintings I returned to my studio and began to analyze and reorganize their formal components. I used the elements of the plein air studies to create formal reconstructions in which the colors became more vibrant, pictorial space was collapsed, and what were once recognizable objects began to refer to themselves as planes of color. Through this project I gained great insight into the creative process, as well as growth in my direction as an artist, my personal style, and my abilities as a painter. Presentation Type and Session: Poster VII Exhibit in the Mezzanine Level Nature Made Sculpture Materials Leigh Johnson, FAR 343: Advanced Sculpture Faculty Mentor: Professor Elena Lourenco, Fine Arts I often combine a variety of natural materials in my work. I choose these materials based off of the emotional response triggered by their texture, color, or other inherent qualities. I often try to create the feeling of skin or organic tissue in my work in an effort to provoke the feeling of a living creature, or something that was once living. I have recently been introduced to rawhide as a sculptural material. I am attracted to rawhide because of what it literally is: rawhide is actual skin so it is of great interest to me. The texture, color, and manipulability of rawhide are very different than many of the materials I have previously worked with. In addition to rawhide, I have explored various other materials, specifically animal products such as horsehair, deer sinew and dewclaws, as well as dried furbearer paws (raccoon paws for example). I have been working on combining these new materials with the natural materials I have previously worked with, such as wood, wool and clay. I feel that using materials made by nature makes my work stronger and reinforces the natural themes found in my work. Presentation Type and Session: Poster VII Non-Traditional Bookbinding David Huurman, Printmaking Faculty Mentor: Professor Anthony Gorny, Fine Arts The focus of my research took shape with non-traditional bookbinding, especially the Coptic and Caterpillar stitch methods. Additionally, I explored the use of unconventional materials, such as Plexiglas for the book covers. I am very interested in the aesthetic features these techniques and materials have provided. I also realized how they are used in creating visual composition over my book covers and spines while still employed as constructive elements. I discovered how to utilize such practices with a conceptual base, pushing the boundaries of Book Arts to transcended into a realm of sculpture in my work. I will present my finished work along with any prototypes and notebooks I created. Presentation Type and Session: Poster V Not Just Fish: The Spanish Musical Tradition “La Tuna” Rachel Giuseppetti, MUS440: Ethnomusicology Faculty Mentor: Professor Carolyn Guzski, Music When you think of tuna you probably think of the fish. I did, too, until I recently studied abroad in Spain and was introduced to la Tuna—part of the Spanish rondalla musical genre traditionally performed by university students. Inspired by the four talented and charming musicians who performed at my university, I was led to explore the history and traditions of la Tuna. Members of a tuna, called tunos, perform a variety of love songs, old and new, and accompany their singing with traditional Spanish instruments such as the guitar, bandurria, and lute. My research focuses on the historical roots of la Tuna, its transformation into a living, modern form, and associated customs such as traditional costumes worn by the performers. I have discovered that while la Tuna is a medieval tradition dating from the 8th century, it continues to gain popularity across Europe, Central America, and South America today. My presentation will explore the traditions of La Tuna and will include a musical transcription of a typical Tuna song, as well as audio/visual examples (taken from my own experiences in Spain) that highlight the Tuna sound. Presentation Type and Session: Oral – Humanities III
Page 2 and 3: Editor Jill K. Singer, Ph.D. Direct
Page 4 and 5: Welcome Statements ________________
Page 6 and 7: Welcome to the 14 th annual Student
Page 8 and 9: Congratulations to all the student
Page 10 and 11: ‘Year of the Arts’ Events: Warr
Page 12 and 13: Information Assurance Through Cyber
Page 14 and 15: Poster Sessions and Displays Butler
Page 16 and 17: Sooner Rather Than Later: The Role
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