nscad university graduation catalogue 2008
DESCRIPTION
A catalogue of student work from the Nova Scotia College of Art and Design.TRANSCRIPT
NSCAD University Graduation Catalogue 2008
NSCAD UNiverSity GRADUATION CATALOGUE 2008
Nova Scotia college of art aNd deSigN • Halifax • Nova Scotia • caNada
ANNA LEONOwENs GALLERy DEsIGN & PRODUCTION TEAMCatalogue Designer: tom FroeseGrad Show Coordinator: erika ProctorDirector: tonia Di risioexhibitions Coordinator: eleanor King
SPecial tHaNKS toLinda Hutchison, Adriane Abbott, and Sue Sheehan at University relations for their vision, support and go-getting, President David B. Smith, all department faculty for their coopera-tion and collaboration, print gurus Paul Slipp and Mike vavra at Meridian Communications, Jeff Wry for his patience and expertise in the NSCAD Print Shop, Kate O’Connor at co. & co. for her expert advice, and of course, a huge thank you goes out to the grads, for whom this catalogue has been created and without whose hard work it would not exist.
tHe 2008 gradUatioN catalogUe iS Made PoSSiBle BY tHe geNeroUS SUPPort of tHe rBc eMergiNg ARTIsTs PROJECT
this catalogue accompanies the NSCAD University Graduation exhibition 2008 Anna Leonowens Gallery, April 22 – 27, 2008.
Published by NSCAD University, 5163 Duke Street, Halifax, Nova Scotia, B3J 3J6 Canada (902) 444-9600
visit our web site for the most current program and admission information at www.nscad.ca
© 2008 NSCAD University. All rights reserved. Printed in Canada by: Meridian Communications, Halifax, Nova Scotia www.meridiancomm.ca
Work images © of respective artists. All accompanying photography © 2008 tom Froese except on pages 1 and 2. Photograph of David B. Smith by Kristine richer. Photograph of Frank youden provided by rBC Dominion Securities.
No part of this book may be used or repro-duced in any manner without written permis-sion from the publisher. reasonable effort has been made to identify owners of copyright and to provide accurate information pertaining to students’ work.
NSCAD University does not necessarily endorse or condone the ideas and viewpoints expressed by contributors to this catalogue.
Body text set in rockwell. See Postscript for a commentary on the typefaces used on the cover and throughout this book.
this book is printed with vegetable based inks in Canada by an FSC certified printer, ensuring production complies with international standards governing sound environmental practices. Cover is printed on ChorusArt Silk, 130 lb Cover which is FSC certified and contains 50% recycled content and 25% post-consumer waste. text is printed on Opus Matte, 100 lb text which is FSC certified and is a designated recycled stock with 10% post-consumer waste.
iNtrODUCtOry MeSSAGeS
Message from the PresidentMessage from Our SponsorMessage from SUNSCAD
tHe CAtALOGUe
Craft DesignFine ArtinterdisciplinaryMedia ArtsGraduate Studies
Postscript
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1 NSCAD GrADUAtiON CAtALOGUe 2008
NSCAD University’s 2008 graduation catalogue is a visual feast that displays the work of our exceptional new alumni. it gives me great pleasure to highlight within these pages the work of our talented students. the catalogue’s design aptly captures the unique relationship between history, craft, fine art and design here at the Nova Scotia College of Art and Design. this cover image cleverly speaks to this close relationship between the various disciplines in the College while demonstrating a tactil-ity of our inter-related discourse. As a publication it displays this diversity of studio practice for students found within our curriculum and is a fine testament to the quality of education and learning experiences provided by our faculty and staff. i thank the rBC emerging Artists Project for believing in the creative capacity of our students and for the recognition of this achievement through our partnership with rBC Dominion Securities here in Halifax. Our sincere thanks to tom Froese and erika Proctor, interns at the Anna Leonowens Gallery who designed and developed this lovely publication. it is truly a marvelous compendium of the Class of 2008. i extend my warmest wishes to the students and the parents of the 2008 graduates and hope that this publication will be a trea-sured memento of your experience at this most exceptional of institutions, NSCAD University. i also hope that this publication will remind you in the future that you can accomplish anything!
david B. SMitHPresident
2NSCAD GrADUAtiON CAtALOGUe
As one of Canada’s most respected corporations, we at rBC know that the ongoing vitality of a thriving and innova-tive arts community is in our long-term business interest. We believe that healthy, vibrant communities are a direct result of investing in creative vision and artistic talent. We put our knowledge into action through our rBC emerging Artists Project, through which we fund major arts leadership organiza-tions to help them transition young talent from the academic to the real world of the arts.
Our primary emerging artists project, the rBC Canadian Painting Competition, provides a forum to engage communi-ties across Canada and celebrate the exceptional skill of our up-and-coming visual artists. Other emerging artists programs support developing singers, musicians, dancers, writers and actors.
One of our newest partners in the emerging Artists Project is NSCAD University. this exciting collaboration enables us to feature work by NSCAD students in our Halifax rBC Dominion Securities office and thereby introduce them to our many visi-tors. it also enables us, through our support of the 2008 NSCAD Graduation exhibition and this catalogue, to proudly participate in a celebration of this next generation of visual artists, to see a range of their work, and to be thankful that the arts are alive and healthy here in our community.
fraNK YoUdeNvice President & Branch Manager
rBC Dominion Securities
Painting behind Frank youden by tara MacDougall (BFA 07) Unconscious Construction of Odilon Entropy (The Paint Don’t Lie) 2007 / Acrylic on canvas
3 NSCAD GrADUAtiON CAtALOGUe 2008
NSCAD University celebrated its 120th anniversary in 2007; this year would prove to be one of the most monumental in the school’s history. NSCAD University demonstrated its ability to adapt to change and persevere creatively. For the graduates of 2008 it was a last year full of firsts. the opening of NSCAD University’s 70,000 square-foot Port Campus gave a new home to the ceramics, sculpture and foundation divisions. A student e-mail system was introduced allowing communication to advance with the institution, and NSCAD University students banded together to promote 24-hour access to the school. in 2007 Nova Scotia universities witnessed the first ever tuition freeze! Collaboration between the Students’ Union and NSCAD University resulted in the new Seeds Gallery, a year-round student, alumni, and faculty gallery and shop. the success of this year could not have happened if it wasn’t for the lobbying, and support of the student body. i would like to thank my fellow Students’ Union executives, council members, and each and every student. i would also like to thank tom Froese and erika Proctor for their efforts in organizing the grad catalogue and graduation exhibition. On behalf of the students i would like to thank all the faculty, technicians, staff, and administrators for their hard work and positive outlook. Last but not least a thank you to rBC emerging Artists Project for their support, which allowed us to create this fantastic catalogue.
StefaN HaNcHeroWSUNSCAD President
4NSCAD GrADUAtiON CAtALOGUe
BacHelor of fiNe art WitH a Major iN
the Craft Division offers undergraduate and graduate degree programs in three main areas: ceramics, textiles and jewellery design and metalsmithing. Students have the opportunity to explore traditional methods of craft coupled with the latest technologies, which allows them to learn a diverse range of skills.
this year, the Craft Division saw the expansion of the Ceramics program into the Port Campus, which is fully equipped with Blaauw computerized kilns. As a result of these recent expan-sions, Jewellery gained a newly designed space in the Granville Campus, and textiles expanded into the Seeds Building to work more closely with the fashion component of their program.
the 2007/08 year has been an exciting one. the textiles Department hosted the 18th Annual Wearable Art Show, which showcases innovative NSCAD creations, and in November 2007, Craft students and faculty participated in the sold-out NeoCraft Conference. this year’s Christmas sales were held at the new Seeds Gallery and the Port Campus which resulted in double the previous revenues and therefore further enhancing the visiting Artists Program. in 2007 eleven senior students participated in the One of a Kind Spring Show in toronto and Craft students also participate in the Atlantic Craft Trade Show in Halifax every February. Presently, NSCAD Craft graduates are operating businesses and teaching at institutions across North America and abroad.
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AMy BELANGEROne Stitch. Two Stitch / 2007 Cotton and embroidery thread / 40 × 40 cm, 50 × 45 [email protected]
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Marie-HélèNe BélaNgerComme un million d’aiguilles … / 2007 Steel pins, acrylic, magnets / 18 cm [email protected]
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aliSHa Marie BoYdTerrarium Brooch / 2008 Glass, sterling silver, copper, cubic zirconium, steel / 2.75 × 4 × 4 cm [email protected]
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KriSteN BroWNPower Source/Power Struggle / 2007 – 08 Cotton, pigment / 120 × 120 cm (outlet)[email protected]
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caitliN erSKiNe-SMitHTiming (detail) / 2005 ink on cotton, woven / 87 × 583 cm [email protected]
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SaraH Marie faWSoNCodependence / 2007 Cotton, corduroy, denim, raw silk, leather (performance) [email protected]
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MegHaN gillaNLittle Miss / 2007 Silver, ribbon, makeup (blush) / 10 × 10 cm (necklace)
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NANCy GREENLAwStreet Furniture: Why We Sit / 2006 Mixed media on recycled board (recycled/reused) / 61 × 46 [email protected]
17 CrAFt
laUra HYdePlastic Bag Ocean / 2007 Woven plastic bags, polypropylene, cotton / 43 × 10.5 × 38 [email protected]
19 CrAFt
LEE MEszAROsBe Proud (badge series) / 2007–08 textiles / 5.5 cm diameter each [email protected]
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MeriS MoSHerSmoke Stack (brooch) / 2007 Silver, copper, brass, paint, gesso, enamel, thread, garnet, black onyx / 3 × 8 × 2 [email protected]
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VANEssA NEILyGarden Brooch / 2007 Fine silver, sterling silver, black onyx, enamel, felt, recycled button and earring / 4 × 4 × 2 cm [email protected]
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cHriStoPHer oNYSzcHUKPsychological Needs / 2007 Ceramic tile / 121.92 × 152.4 cm
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MIRIAM ORLANDOUntitled / 2007 Silver / 10 × 10 cm
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HeatHer ratHBUNStereoscopic Series: Alice in Wonderland / 2008 Sterling silver, acrylic, Ceramit, steel, viewmaster photo reels4.5 × 3.7 × 1.3 cm; 3.5 × 2.4 cm; 9.8 × 1.6 [email protected]
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MereditH roBBHardware Necklace / 2007 Stainless steel, sterling silver / 16 cm diameter
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laUra a. SMitHBillows of Grace / 2007 Cotton and merino / Dimensions variable
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deSPo SoPHocleoUSUntitled / 2007 Metal (copper) / 10 × 9 × 1 cm (left), 15 × 10.5 × 2 cm (top-right), 10 × 9.5 × 1 cm (bottom-right)[email protected]
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aKSHaY tYagiStructured Kurta (Road) / 2008 vinyl, foam, silk organza, cotton, thread / 86 × 82 × 82 [email protected] / www.akshaytyagi.com
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cHarleS WilSoNMarilyn #1 and Marilyn #2 / 2006 Jacquard woven cotton on cotton / 23 × 30 cm [email protected]
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sVETLANA wULsTENRussian Traditional Dress / 2007 textiles / 150 × 150 cm
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BacHelor of
Students of Design at NSCAD University are challenged by the diversity of experiences and expertise of the department’s faculty. Graduat-ing students of 2008 are emerging with a Bachelor of Design with an interdisciplinary major—the only degree of its kind in the country. Our grads are thus equipped to handle today’s demand for flexible, multifac-eted creatives who can work across the ever-expanding scope of visual communication and design.
the hallmark of Design studies at NSCAD is its emphasis on socially, environmentally and economically responsible design. Over the fall and winter semesters, students collaborated on real-world projects within the Halifax community: in the fall, studio teams developed proposals for an improved waste sorting and management program throughout the down-town core (including the design of the street collection bins themselves); in the winter, one group worked to create a public installation for a major downtown site, which at the time of this writing has been short-listed among other professional firms in the city. With their cross-disciplinary experience, NSCAD design students are able to take on the diverse set of tasks such projects involve.
Design at NSCAD acknowledges the transcendence of design beyond the practical, design-as-an-end approach; it conceives of and envisions the power of design to shape culture and to effect change—for better or for worse—at the local and global levels.
(INTERDIsCIPLINARy)
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MereditH BaNgaYThai Cuisine Menu / 2007 Print design (illustrator, printed on cardstock) / 28 × 15 cm when closed
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sPENCER CREELMANKeep Your Change / 2006 Print design (illustrator and Photoshop)
38DeSiGN
JANAyA GILLIsHow to Fish in Six Steps / 2007 Digital illustration (hand-rendered, Photoshop, and inDesign) 91.4 × 21.4 cm (reformatted to fit this page)[email protected]
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MicHael d. HarriSKnightfall / 2008 Animated short based on the Batman Franchise; debuted at Merkin Gallery, 17 April 2008
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aNgie HodderMonarch Metamorphosis / 2007 Digital illustration / 15.24 × 15.24 [email protected]
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RUI (AsAM) LINBangkok – Air Canada / 2007 Billboard and magazine advertisements / Dimensions variable [email protected]
42DeSiGN
Katie MaaSiKEclectic Magazine / 2007 Print design (magazine) / 21.5 × 28 [email protected] katiemaasik.carbonmade.com
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sUMMER MEyERGeneral Opinion on Global Warming / 2008 Publication design / 25 × 20 [email protected]
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MattHeW MorgaNNSCAD Mapping Project / 2007environmental design (wayfinding) / 27.94 × 43.18 [email protected]
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HarrY olSoNIt’s Complicated / 2007Print design (magazine) / 21.59 × 27.94 [email protected]
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FATEME REzAEIANRumi / 2008 Poster / 50 × 50 cm
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VANEssA wILsONYucky Bunny Engineer / 2008 Logo (Adobe illustrator) / 27.94 × 43.18 [email protected]
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ANDREA wRAySpiced Cork Wine Bar Identity and Promotional Package / 2007Coasters (inkjet print and Photoshop) / 8.89 cm diameter [email protected]
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EMPATHY SUITThe empathy suit is designed to allow able-bodied individuals to experience advanced age. The individual components in the suit act as a system to restrain and restrict the movements and action of individuals wearing the suit, thereby simulating the effects of aging. Through adjustable components the user is able to experience different levels of aging to better understand the obstacles that the elderly face on a daily basis.
DEsIGN sTUDIO GROUPEmpathy Suit / 2007rui (Asam) Lin, robyn Dowling, Michael Harris, David restoule, Michal Piotrowski,* Kristine richer*
* Degree in progress
Physical Problems Occurring in Elderly People
Neck: Aging degenerates spinal joints and discs. This reduces mobility and causes stiffness in the spine and neck.
Elbows and Knees: Osteoarthritis affects one in 10 Canadians; 85% of those affected are aged 70 to 79.
Balance: Loss of vision with aging significantly increases sway and instability in older adults. One-third of older people fall at least once a year, with many suffering multiple falls.
Spine: Between the ages of 60 and 79, Five to six inches of height is lost. Spinal curvature then develops and becomes visible.
Osteoarthritis: Occurs in joints, it can make it painful to even bend at the joint, and it makes it difficult to straighten the leg or to shift weight from one position to another.
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Key Features
Simulator Suit
A combination of zippers, straps, and bungee cords provides for a comfortable one-size-fits-all suit that mimics the effects of aging.
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DEsIGN sTUDIO GROUPMy Brand Is … / 2007Group Members: Daewoong Cha,* Michael D. Harris, rui (Asam) Lin, Harry Olson, vincent Perez, Katie tower, Jess Myra, Min yang
* Degree in progress
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the NSCAD Collaborative Design Group is a collective of students, alumni and faculty from NSCAD University in partnership with construction industry professionals.
We are interested in the proposed monument to the fallen peace officers of Nova Scotia for the collaboration it implies, not only between ourselves but together with the HrM, the peace officers and the citizenry, whose participation will ultimately define the public artwork.
Nova Scotia Fallen Peace Officers Monument Proposal / 2007Written proposal with digital and hand renderings, and a model made mostly of MDF/ Dimensions variableStudio 5 2007 Class
tHe NScad collaBorative deSigN groUPNova Scotia Fallen Peace Officers Monument Proposal
54DeSiGN
Our concept for the monument begins from a careful consideration of Grand Parade Square and its landmarks as an evolving site of human activity. Our form, a freestanding arch, drawn from the centre of the roman architectural tradition, promises to respect the past, enhance the present and accommodate the future of the space while paying appropriate reverence to the fallen peace officers whose memories will officially reside there.
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letterPreSS WorKSHoP groUP Knuckle Sandwich / 2007 Letterpress / 31.5 × 46 cmMembers: Carley Colclough, vincent Perez, Katie tower
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BacHelor of
57 FiNe Art
With the support of faculty who bring a wealth of experience and diversity to their classrooms, students in the Fine Arts Division explore the possibilities of painting, drawing, print-making and sculpture. these studio courses are enhanced by academic studies in art history, theory and critical studies. in their final year at NSCAD, students work towards the development of their independent portfolios which can be presented as their graduating exhibition.
expansion into the new Port Campus has provided the Fine Arts Division with spacious new facilities for students and facilitates a cross-pollination of disciplines from the founda-tion year to MFA students. this new, fully-equipped space accommodates students’ large-scale and semi-industrial projects in an open concept environment that is flooded with natural light and overlooks the Halifax Harbour.
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ELLEN CEREUntitled / 2005 intaglio / 85 × 71 cm
63 FiNe Art
aiMée clarKThe Curious Boy / 2007Acrylic on canvas / 76 × 183 cm
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MacKeNzie doNegaNClose to the Edge / 2006Acrylic on board / 120 × 120 [email protected] doneganskins.tripod.com
69 FiNe Art
ecHo dYaNTrollop & Tramp: A Disturbance in the Force / 2006Acrylic on canvas / 61 × 122 [email protected]
70FiNe Art
ANGELA ENMANLittle Things / 2007 video / 9:10 minutes
71 FiNe Art
JAMEs FARRELLBack and Forth / 2007Water colour, chalk pastel 60 × 90 cm
73 FiNe Art
joSHUa HitSMaNInsomnia / 2007 ink on paper / 10 × 10 [email protected] joshuahitsman.awardspace.com/motion_manor
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daNiela jUlia HolleNBacHThree / 2007 Mixed media (acrylic paint, spray paint, ink, charcoal, etc.) on found bed sheet / 185 × 140 cm
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JEssE JAMEsWhat a Girl Wants … (Anvil) / 2008 Cast resin, wood, nuts and bolts 77 × 27 × 15 cm (general dimensions)[email protected]
76FiNe Art
MacKeNzie KroegerRubbings / 2007 Latex paint on fabric / 210 × 240 cm
82FiNe Art
KYle MoNcHUKVolume 1 / 2008 46 volumes of Stoddard’s Lectures / Dimensions [email protected] www.kylemonchuk.ca
83 FiNe Art
NatSUMi NiSHitaNiDoodle × Mechanics × Depth / 2008 Mixed media / 22 × 28 × 15 cm
85 FiNe Art
eriKa ProctorLeptis Magna / 2007 Gesso, oil and acrylic on canvas / 76 × 101 [email protected]
86FiNe Art
MAGGIE ROssArgyle Obscura II / 2008 Colour photo inside camera obscura / 120 × 50 [email protected] www.maggieross.info
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tHoMaS SPeNcePoints of View: Hartman’s Halifax / 2007 Oil on canvas / 30 × 60 [email protected]
89 FiNe Art
giNevra SYPereKLeader (Renaissance Portraits) / 2007 Hand-mixed oil paint on canvas / 122 × 122 [email protected]
90FiNe Art
cHaNtal tardiffYour Door is Ajar / 2007Kinetic sculpture / 45 × 45 × 61 [email protected]
92FiNe Art
ANNE TwEEDSound Shape #1: Muffled / 2007Mixed media / 50 × 71 cm
93 FiNe Art
CAROL A. wEIsERBlack Queen, White Queen / 2007Mixed wood and metal assemblages from Pawn in Their GameDimensions variable
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BacHelor of fiNe art
the Bachelor of Fine Arts (interdisciplinary) program offers students opportunities to explore a variety of media and practices in fine arts, media arts, craft and design. Following their Foundation year, students work in a range of disciplines at the introductory, intermediate and senior levels.
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MicaH adaMSMy Personal Olympic Stadium / 2007 Brass, copper, silver plated / 3.7 × 3 × 1.5 [email protected]
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MacKeNzie W. BUrKeUntitled Works / 2008 Mixed / Dimensions variable
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eriKa arBoUr-NeviNSBBBB / 2007 ink and watercolour on paper / 100 × 70 cm
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zacHarY MattHeW BarKHoUSePortrait of America / 2006 Spray paint and plaster on canvas / 90 × 60 [email protected]
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gaBriel dale-HillChair / 2007 Ceramic, foam and felt / 39 × 39 × 43 cm
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JOëL DOyLEA Holding Breath / 2007Ceramic sculpture / 58 × 38 × 25 [email protected]
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sTEwART w. FANNINGLine Drawing 2 / 2007-08 Gel pen and marker on canvas / 274 × 274 [email protected]
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cHriS foSterUntitled / 2007 Drawing pen and ink 28 × 36 cm
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ABBy FRyAnthro Po Magnetic All / 2007 Magnetite / 152 cm radius
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gale HagBloMCheapside Café / 2007 Oil on canvas / 122 × 122 cmin private collection of Penny [email protected]
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StefaN HaNcHeroWErsatz / 2007 / Latex on canvas 40.6 × 40.6 cm each (16 total)
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YolaNde laKiNgPersonal theatre / 2007Acrylic, canvas, wood, spoken word, dance, metal hardware / 183 × 183 cm (approx.)[email protected]
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JORDON LINDOFFChildhood / 2002Bronze / 30 × 10 cm
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AMy MacKeNzieUnsatisfied / 2007Photograph / 40.6 × 50.8 cm
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JOLENE McCLELLANDHybrid Heart / 2008 vinyl, recycled nozzle, recycled vinyl, air
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ALLysON McNEILSix Phases of a Project # / 2007 textile composition
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leSlie MeNagHLint Song (documentation) / 2007Audio collage composed of the sounds collected during a public grooming project / 12 minutes
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IsABELLE PINEAUCan You Fly with Tiny Wings? / 2007 Mixed media / 46 × 94 [email protected]
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jaSoN MaxWell PreSSMaNFiore Di Vita Medallion / 2006 Sterling silver and raw silk / 8 × 7 [email protected]
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sTACy sMARTUntitled (Detail) / 2007Nylon and polyester fiberfill / 170 cm (height)[email protected]
MEDia ArtsBacHelor of fiNe art WitH a Major iN
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NSCAD’s Media Arts Division encompasses photography, film, sound, installation, performance, video, interactive and web media, and printed matter. Students in Media Arts attend classes at both the Granville Campus and the Alliance Atlantis Academy Building. these sites are equipped with multimedia facilities, photography labs, and studio spaces, some of which are accessible 24 hours a day, seven days a week. Students in the Media Arts are introduced to a wide variety of approaches to art making and have the opportu-nity to develop an awareness of the historical and conceptual roots of their work.
MEDia Arts
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cHriStiNa arSeNaUltUntitled Collage / 2007 Digital image / 40 × 60 [email protected] www.christinaarsenault.ca
120MeDiA ArtS
CANDICE BALDwINBrenda / 2007 120mm photograph, digital inkjet print / 61 × 61 [email protected]
121 MeDiA ArtS
sUzANNE (sUzI) CAMERONUntitled #1 / 2007 Colour inkjet print / 61 × 51 cm
124MeDiA ArtS
Nadia dziUBaNiWSKYSituation Number 1 / 2008 video installation
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NiKolai gaUerPickle / 2008 video installation
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BoNita HatcHerSideways / 2007 video still / 1:56 [email protected] www.bonitahatcher.com
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joel aNtHoNY MacKeNziePoster for the Short Film The Werejerk / 2008 Digital print / 21.59 × 27.94 [email protected] www.flickr.com/photos/joelmackenzie
128MeDiA ArtS
jeSSe MattHeWSSteroid Advertisement / 2007 Collage (magazine cover) / 7 × 10 [email protected]
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KriStiN alaNa NeSSWeight / 2006 / SculptureLife-size bag and rack
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LINDsEy NOLANNikolai / 2007 Black and white photograph / 27 × 37 cm
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sCOTT sAUNDERsConversations / 2007 video installation
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jeNNifer rUtH StotlaNdThe Wounds of Trees / 2005 – 08 Graphite on paper / 27 × 35 [email protected]
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REBECCA VIAUUntitled / 2007 C-print (colour photograph)60 × 63 cm
MAsTER OF FINE ARTs AND MAsTER OF DEsIGN
NSCAD University’s MFA program provides students with the opportunity to develop their work in a context of intense critical discussion. Academic studies in art history or other relevant subjects form an integral part of the program. Students are selected for their capability as artists or craftspeople, their understanding of related historical and critical information, and the personal qualities and interests that might be expected to contribute to their success as teachers and scholars. Since its inception in 1973, Graduates from NSCAD University’s MFA Program have gone on to achieve national and international prominence in their respective fields. NSCAD Alumni are some of the most successful curators, critics, authors, directors of museums, galleries and artist-run centres. the group of graduates represented in this catalogue demonstrates both the breadth of projects and exciting developments in art, craft, media arts, and design. NSCAD University’s MFA and M.Des programs encourage students to think and work across the disciplines and to relate their work to the public sphere.
135 GrADUAte StUDieS
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Frame / 2007 / Clay and glaze / 22 × 28 × 4 cm
138GrADUAte StUDieS
KorY BogeN / MFA CerAMiCS
the notion of excavation is tied into my work and the realm of ruins. the pathology of the excavation is a concerted devia-tion from stability and preservation to disruption and removal of information from the earth. i am using the notion of ruin to also deviate from traditional surface through nontraditional combinations of ceramic materials. excavation is an idea that is related to surface, as the digging and scooping of materials is essential to the ceramic process and ceramic materials. through the ideology of excavation and architectural ruins, i am striving to reach a personal theory of ruin value and visual ruination.
cHriStoPHer deaN / M.DeS
Figure 1: Christopher Dean, typographer, reads while wearing eye-tracking equipment
GrADUAte StUDieS 140
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Figure 2: Christopher's saccade and fixation map
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MariaNa frocHteNgarteN / MFA [email protected] / www.nanafro.com.br
Nomadic Dressesthe Nomadic Dresses project is a collective work, through which shared aesthetic experi-ence is emphasized as both a focal point and fundamental contributor to social interactions.
Participants from around the world correspond through e-mail and conventional letters, while working on the surfaces of dresses that go from one person to another, evolving organically as each artist adds to them.
the letters form an archive of ideas, feelings, handwriting styles, and cultural idioms. the dresses themselves provide space for develop-ment of symbolic constructions and creative diversities, transporting memories and stories through time and space.
in the social life of collective art works, the project sustains and exemplifies intercon-nectivity and reciprocity within ritualized experiences of daily life.
The Feast (top plus detail); The Voyage (Bottom plus detail) / 2006 – 07 textiles / 90 × 140 cm each
143 GrADUAte StUDieS
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MattHeW Hollett / MFA MeDiA [email protected] / www.matthewhollett.com
island / 2007 inkjet print 84 × 112 cm
145 GrADUAte StUDieS
Untitled (Didi and Gogo) / 2007 / Oil and alkyd on canvas / 120 × 120 cm (each)
146GrADUAte StUDieS
Antonin Artaud wrote, “the theatre is the only place in the world where a gesture, once made, can never be made the same way twice.” Attempting perfect repetition with painting, as in the theatre, reveals a subtlety of difference that in turn elicits instability within expectation. As the viewer changes their vantage point in relation to the paintings, contrasting brush-strokes catch incidental light and the fugitive image of a stage reveals itself from the monochromatic surface. to complete the works, oil paint is applied through the use of syringes in a carefully choreographed orchestration of gravity-induced pours. the pours introduce the agency of the material itself as visual incident, thereby foregrounding difference inhabiting repetition.
Untitled (Didi and Gogo) refers to Samuel Beckett’s 1949 existential play Waiting for Godot in order to look at its central themes of repetition, difference and circularity. the play features two hobos going about the business of fulfilling the promise of the title of the play. estragon (Gogo) and vladimir (Didi) wait in act one and they wait in act two. Godot never appears. this tragic aspect of the story is played against the comedic antics of the two characters as they quarrel, make up, lament their physical ailments, contemplate suicide and repeat. Pragmatically the second act of the performance is a repetition of the first and the only new meaning it applies to the story is by compounding the futility and comedy of the situation; waiting for salvation in the eternal return.
daNiel BoWerS HUtcHiNSoN / MFA [email protected]
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BeBeachHead 2002 / 2007 / Oil on canvas / 118 × 145.5 cm
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NAM DUC NGUyEN / MFA [email protected] / www.nampainting.com
the starting point for my paintings are digital photographs of ordinary, banal things and spaces. these digital photographs serve as my raw material that i transform using a variety of tools that range from traditional drawing implements to com-puter graphics programs. i am not interested in a sociological study of a subject or an earnest attempt at communicating a particular experience. rather, what i find exciting is the surprising results that can arrive out of my process.
the title of the painting, BeBeachHead 2002 references an outdated video game of the “future,” and a stutter that in its utterance reconfigures a visual form. the painting explores traditional techniques of illusion that are subtly yet intention-ally disrupted. At once both seductive in its illusionistic quality, and unnerving in its depthlessness the image raises questions without answers. Flat areas of color are painted in contradic-tion to careful modelling. Seams that suggest collage are carefully painted, and qualities of light and space do not give cues of a recognizable scene, confounding a usual sense of reality. the figure is doubled, frozen in the moment of pulling a trigger. the suspended moment suggests a kind of impotence, a refusal of closure, which is also implied by the emptiness of the game screen.
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grace NicKel / MFA [email protected] / www.gracenickel.ca
in my thesis work i have been investigating themes of devasta-tion, loss, and recovery. Broken and cut fragments of trees, de- stroyed by natural means such as floods, tornadoes, and hur-ricanes, or through human intervention, are collected and cast in plaster. embedded into the walls of the rebuilt ceramic trees, or applied to the surfaces, are traces of branches, leaves and veins, vestiges of a former existence. Fragments of architectural ornament also suggest a record of past history. Certain poignant words such as “devastated” and “remembered,” or the Latin, devastatus, devastare, rememorari or memor are repeated in clay slip, proliferating across the surface in an effort to create a new bark or protective sheath for the ceramic reconstructions. While my fragmented ceramic trees stand as memorials to loss, they also suggest hope for recovery.
Waterline / 2008Ceramics / 131 × 36 × 36 cm
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NATALIE-ANN ROy / [email protected]
Design & CollaborationDuring the fall semester, i attended the icograda World Design Congress. it allowed me to tap into a broader contemporary discourse of Design, confirming my sense of an identity crisis, within both the professional and the educational realm. i also discovered stories, case studies, and relevant debates, all of them directing me to further my thoughts on the role of Design in encouraging social responsibility.
it is not enough for the Design discipline to maintain its existing strategies; in order to ensure its relevance, Design would ben-efit immensely in undertaking social collaboration practices of an inter-disciplinary nature.
i am investigating:Professional identity >Collaborative models >Current Design process models >Social Design: case studies >New process model >Collaboration exercises >University curricula >
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154GrADUAte StUDieS
cHriStoPHer ScUllY / [email protected] / www.ateliernac.ca
Visual abstractionas an ideation strategyas a communication toolas metaphor
Abstraction is commonly brushed off as just another style, a distant notion offering little insight into our everyday routine, when in fact, it is a significant part of the very fabric of our thoughts: it helps us come up with ideas, communicate them, and generate analogies conducive to their understanding.
this work attempts to demonstrate the powerful potential of abstraction for communication designers and to contribute to sharpening the design discourse.
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KatHeriNe WarreN / [email protected]
Clockwise from top-left: Annual report spread and inside graphic; Typography book excerpts; Poster for children’s circus exhibit; Art gallery catalogue poster / various dates and sizes
Business card ‘spur of the moment’ idea: Gerry O’Neill, Director, Atlantic Abalone 2002 Ltd 158
the wood and lead types on the cover and throughout this catalogue are from the Dawson Print Shop collection, now at home at NSCAD’s Granville Campus. these are a very important asset to the university both in their rarity and in their relevance to the recent renaissance in letterpress printing. the images were created by arranging them by hand and then capturing them on a flatbed scanner.
the now antiquated but beloved letter-press technology and process combine the skills and sensibilities from art, craft and design and thus represent NSCAD, its activities of higher learning in the arts, and its students. the act of scanning and electronically appropriating the wood type forms (rather than using their im-pressions in a traditional manner) merges historical processes and technology with
those of the present. this beautiful and quirky hodge-podge aesthetic of combin-ing and appropriating a variety of wood letterforms has been mimicked using electronic type throughout this book and further combines the old and the new in a visually exciting way.
it is interesting that the words formed in this manner—a pastiche of sometimes wildly different letterforms—remain clear and legible. Like these different compo-nents working together to create mean-ing in a way that is fresh and innovative, the spectrum of work represented in this catalogue communicates the richness, growth and experience of the graduating students’ time at NSCAD University.
Tom FroeseCatalogue Designer
Facing page: the cover image in the making (wood types arranged on a flatbed scanner).
5163 Duke Street Halifax, Nova Scotia, Canada b3j 3j6(902) 494 8251 tel, www.nscad.ca