Iliahai Anthony
I am a designer of simple and quiet forms used to facilitate gatherings, from small- scale exchanges to large communal events. They are tools supporting and enriching the events of everyday life.
I am a designer sensitive to concerns of necessity, function and the use of space. Individual lifestyles and behaviors of communities are important to the context of my work. I want my design to support lifelong practices, participate in the communal exchange, and endure through use.
I am a maker intimate with my material resources and the environments they come from. My work is about connections, physical and symbolic. Through the use of cordage and weaving techniques I explore forms in fiber, wood, plastic, and metal.

Amanda Brown
My work explores the intersection of intention and process in a dance of light, people, and material that creates an intimate experience for the viewer in a layered environment. The sculptures have a moving surface where the narrative is intricate and sparse, involving relationships between people, the self, and the space. Air and negative space are integral to my work as light and shadows inform and conceal layers of mystery and discovery.
A fusion of sculpture, dance, and video, my work explores the intersection of intention and process in a dance of light, people, and material that creates an intimate experience for the viewer in a layered environment. I work collaboratively with actors, dancers, and other artists to capture the nuances and contradictions of the human condition. I am interested in exploring issues of beauty, mortality, fragility, ritual, and isolation.
Narrow River is a dance piece that was projected onto a tiny sculptural set of a wooded beach and then filmed again. The bodies of the dancers become a canvas for the details of the set as the figures move in and out of view. Fountain is video collage, which is projected onto a ceramic object. With both object making and video, I am exploring materiality, and movement in time with its pauses and reflections and offering a chance to linger in a fleeting moment, giving permanence to the fragile and ephemeral.

Tamara Johnson
My work starts with a negotiation between the body and an object.
I deconstruct the conditions of physicality, materiality, and performance by transforming objects' interactions with the body -objects become bodies and bodies become objects. I cull the affects of impact to redefine traditional notions of dance, expanding the concept of choreography to serve as a set of instructions that coerce physical and emotional senses. This type of choreography becomes a tool to transform physical limitations and collaborative improvisations with objects into open-ended invitations for contact.

Kimo Nelson
I find a viable painting position in abstraction based on lived experiences in the wilderness. Reflecting on my experiences has developed into a project that investigates what it means to use nature as a point of departure. My project started in the Grand Canyon. I was lucky to have had the opportunity to live and work in a preserved wilderness. However, the Grand Canyon as I experienced it is not the unknown wilderness of the 19th century. The landscape of the 19th century-described by Burke as the sublime, a place of humbling fear-has been reduced to a site of recreation in contemporary society. The terms nature and wilderness become problematic in this context. Subjective assessments determine what constitutes their definitions. If this is the case, how do we deal with these terms when their definitions are in flux? I explore this question through the process of making. I paint abstractions that favor the incident and the painterly event as a greater signifier of nature and natural events than a representational image of nature or landscape. I am interested in evoking my lived experience in wilderness areas through chance operations. Exploring the intersection of the controllable and the uncontrollable is to explore a perspective in which there is no separation between ourselves and the systems that surround us. The moment at which paintings approach metaphor but dissipates into materiality alludes to the presence of various systems interacting, a conscious system, an unconscious system and a material system.

Joe Reynolds
I find a viable painting position in abstraction based on lived experiences in the wilderness. Reflecting on my experiences has developed into a project that investigates what it means to use nature as a point of departure. My project started in the Grand Canyon. I was lucky to have had the opportunity to live and work in a preserved wilderness. However, the Grand Canyon as I experienced it is not the unknown wilderness of the 19th century. The landscape of the 19th century-described by Burke as the sublime, a place of humbling fear-has been reduced to a site of recreation in contemporary society. The terms nature and wilderness become problematic in this context. Subjective assessments determine what constitutes their definitions. If this is the case, how do we deal with these terms when their definitions are in flux? I explore this question through the process of making. I paint abstractions that favor the incident and the painterly event as a greater signifier of nature and natural events than a representational image of nature or landscape. I am interested in evoking my lived experience in wilderness areas through chance operations. Exploring the intersection of the controllable and the uncontrollable is to explore a perspective in which there is no separation between ourselves and the systems that surround us. The moment at which paintings approach metaphor but dissipates into materiality alludes to the presence of various systems interacting, a conscious system, an unconscious system and a material system.

Stephan Sagmiller
In a world where technology is becoming fully integrated into the process of understanding, the direct experience of nature is being replaced by representations. It is more often the case that an individual defines nature through the interpretation of the natural world vis-a-vis photographs or paintings, rather than knowledge derived from personal experience.
Nature is chaotic, unbalanced, and wholly without ethical agenda detached from it's ideological apparatus: In these photographs, surfaces that claim truths within the context of the Natural History Museum become fragments or details, stripped of their original meaning. Some images appear almost stereotypical through their ordinariness, interchangeability, and ubiquity, and hence serve to reflect on the discourse of the iconic landscape photograph. The photographs from the Natural History Museum are juxtaposed with photographs from the 'real' world, drawing attention to the slippage between the real and the simulated, the known and the knowable.

Jon Seals
It’s hard for me to remember details; in fact, it’s hard for me to remember at all. This is why I make art. My paintings are created in the pursuit of reclaiming the memories of people from my childhood and the environment that surrounds my family history. We are the sum of our experiences and the experiences of those around us. Our memories shape our identity. My paintings and drawings exist to reconcile my past and my present.
The memories I have are often distortions of truth. Time has altered my perspective of those moments. Conditions, circumstances, and events are all factors that have skewed my recollection of moments in time. When I am painting, I think about how time and flawed human perception alter my identity. My aims are not purely mimetic; I try to capture lost moments through the act of making art. Paint, like time, is fluid; it can be sped up or slowed down. I hope to suspend time for a short while, so that I can meditate on what has been lost and what has been gained.
I paint mostly from photographs. A photograph can take the soul from a thing; it is subtractive. Sometimes actual objects are exhibited with the paintings; objects such as historical documents, blueprints, or schematic drawings. They are positioned just outside of the picture plane and inform my subjects.
I infuse life back into memory through art making. The photo is the present, the memory is the past, and the painting is a reconciliation of future hope. The act of painting is itself a hopeful endeavor giving life to a new creation. The canvas, wood or paper is merely a working space; like my room, or my backyard.

Jason McCloskey
Woodworking and furniture making have been a passion of mine for over ten years. I started paying attention to the finer aspects of the craft during college when I built sea kayaks. Since then I have worked and learned in many shops from a small unheated shop in southwest Colorado to my
apprenticeship and teaching position at the Masterpiece School of Furniture. During my time at the Masterpiece School I gained a great appreciation for English period furniture. This appreciation has influenced my work in that some traditional lines have found their way into my modern designs as well as compelled me to continue to produce museum quality period furniture. Japanese styles also creep into my work. Fine clean lines, elements of curves, and exploring different ways of manipulating wood to catch a viewer’s eye are a few of the goals for each piece. Function and the relation to the surroundings and viewer are important aspects that are considered for every design. I prefer to have people touch and feel and use the piece, after all it is furniture. My method of work depends on what I am making. Period pieces have strong traditional methods employed in their production. Modern pieces receive experimental methods with both machine and hand tools. All of my work has a large hand tool component, giving it a human touch.