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Master of Fine Arts and

Masters of Arts in Art Education Class of 2020


Designed By: Mailcole Mamo 2

Master of Fine Arts and

Masters of Arts in Art Education Class of 2020



Introduction This document cannot substitute for the annual MFA and MA exhibitions at the Lois & Richard Rosenthal Center for Contemporary Art that were postponed unexpectedly this spring. Nor will it capture the magnitude of the lessons learned along the way in creating the work you encounter in these pages, or the small moments of inspiration and countless hours of labor that nourished the development of our community of artists and educators. Instead, in this moment, we celebrate the achievements of our Master’s students over the past two years. While we may not be able to experience their thesis work in the way they originally planned, we can see clearly the thoughtfulness and deep engagement with which they have pursued their creative visions. Although the art world’s physical doors may be closed for now, we continue to make and teach and learn with open hearts. We take comfort in thinking about the future, reflecting on how we are all learning to adapt, and gathering strength and new skills to meet the challenges that will test us. The slowing down, staying in place and using what’s on hand while connecting with friends and family will surely impact what we make and how we teach. Vicki Daiello, Director Master of Arts in Art Education Program Katie Parker, Director Master of Fine Arts Program


Table of Contents


MFA, Fine Arts

MA, Art Education

12 – 15

Sebra Debrecht

8 – 11

Latausha Cox

22 – 27

Katherine Gibson

16 – 21

Madeline Foley

28 – 33

Batres Gilvin

34 – 37

Sarah Hopkins

38 – 43

Stephanie Kroth

46 – 49

Cassidy Lenos

44 – 45

Kyle Latino

54 – 59

Adoria Maxberry

50 – 53

Alyssa Maurer

60 – 63

Nick Reader

72 – 77

Emily Van Walleghen

64 – 67

Taylor Satterthwaite

78 – 83

Sheng Yin

68 – 71

Ryan Tinney


MA, Art Education

Illustrative Becoming

Illustrative becoming is a term I coined, as an auto-ethnographic practice of drawing that maps an individual’s past to better understand their artistic identity. Creating a face-to-face conversation with one’s history, the practice of illustrative becoming allows an individual to address memories through an intimately drawn performance of life. This approach reveals connections and themes that provide a space for identity to be found. In this work, illustrative becoming encompasses my development of a series of sketch journal drawings and illustrated collages that visually depict quiet memories. As a black female, I’ve chosen to share my personal story through drawings about my racial history to better understand how my culture influences my artistic voice and my educational practice.

Latausha Cox


Childhood Memories Pen + Ink | 24”x 19”


Art Education Oversights Pen + Ink | 24”x 19”


Future Classroom Pen + Ink | 24”x 19”


MFA, Fine Arts

Do You Know Your Waste?: A Participatory Art Experiment for a More Circular Economy

Debrecht’s research brings awareness to waste disposal and recycling by situating it in an interactive art installation. Recycling is an underutilized resource due to its ever-changing and unclear instructions. She acknowledges that this unseen system is broken, and most participants in the process are confused about how to use it properly. It is estimated that one third of the waste sent to Cincinnati’s landfills could be recycled curbside by understanding what is or is not recyclable. Debrecht aims to demystify the Cincinnati’s curb-side collection programs by exploring the nuances and the lack of clarity surrounding local waste disposal systems.

Sebra Debrecht



Do You Know Your Waste? Final Proposal for CAC Installation Rendering. Plastic Waste Bins, Wire, Post-consumer waste, QR stickers, raspberry pie, acrylic, vinyl 14


MA, Art Education

Wide Aware

Foley’s Wide-Aware explores the relationship between artmaking and dialogue, seeking to empower young people to practice creativity in everyday life. Facilitating moments of wide-awakeness and discovery, Wide-Aware is designed to inspire the kind of unstructured conversations that emerge within small group art activities. Data from Foley’s interactive workshops with students at the University of Cincinnati confirm that the exercises encouraged a range of creative dialogues from topics spanning personal relationships to discussions of death. Foley’s research seeks to learn how partaking in creative exercises could help people develop creative problemsolving skills and ultimately support the dialogues needed to enable positive social change.

Madeline Foley


Cardstock, Ink, Thread


Workshop participant completing a Creative Exercise 18

Creative Exercise Cards, handmade by artist 19

Workshop participants manipulating magazines 20


MFA, Fine Arts


Habitus/Habitat is a painting series depicting girls in the woods. Gibson highlights the contradiction between her desire to separate young women from the media and her own complicity painting young female subjects. The Gathered Stitch is a series of protective coverings using methods traditionally associated with the feminine and domestic. Gibson envisions her blankets and cloak as safe spaces of refuge for adolescent girls to create their identities within, hidden from view. She stitches the fabrics with painstaking care, while knowing that to trust in the protective power of her quilts is like trusting magazines to raise young women.

Katherine Gibson







MFA, Fine Arts

Other & Self

Batres Gilvin is the artist collaboration of Karla Batres and Bradly Gilvin. The couple met while studying at the Art Academy of Cincinnati. They later formed their collaborative during graduate school at the University of Cincinnati’s College of DAAP in 2018. Batres Gilvin utilizes a multidisciplinary approach to art making combining techniques like collage, assemblage, installation, and sculpture. They explore the hybridity, duality and polarization that occurs throughout their experience as a multi-ethnic team by utilizing iconography related to Mexican American culture and the American South, while also referencing the political parallels that exist at the regional and national level.

Batres Gilvin







MA, Art Education

Creative Madness

This work is a presentation of my journey and battle with my mental health through my time as a college student. Representing different parts of this journey, each section displays my thoughts and struggles, as well as questions which dive into the dialogue surrounding mental health. The pieces of this artist’s book are all derived from ephemera collected over the past six years; sections from journals, class notes, doodles, and unfinished art work, all contributed to telling this story. Handmade, hand bound, handwritten, the book illustrates the story and the imperfections of my mind.

Sarah Hopkins





MFA, Fine Arts

The Raw Canvas Series

Stephanie Kroth’s current body of work explores estranged relationships based around various types of domestic partnerships. Her maternal line has been made accessible through collections of family photographs and archives. These nostalgic images are translated by minimal paint handling of controlled line work. The image rendering between figure and space on raw canvas is a deliberate metaphorical approach to de-cluttering inherited behaviors.

Stephanie Kroth


A Gathering of Sorts Acrylic and Wallpaper on Raw Canvas, 2019


Sports, 2020 Acrylic, Fabric, Vinyl, and Wallpaper on Raw Canvas


My Turn, 2020 Acrylic and Vinyl on Raw Canvas


Casual Relations, 2020 Acrylic, Fabric, Vinyl, and Wallpaper on Raw Canvas



MFA, Fine Arts

The Book of Common Games

The Book of Common Games is a collection of poetic games that can be played in quarantine. The artist invites you to play these games to own this moment of solitude and engage in activities of self-discovery.

Kyle Latino


The Book of Common Games, HTML


MA, Art Education

Staircase Wit

The French phrase l’esprit de l’escalier, coined by Diderot in the 18th century, translates to Staircase Wit, denoting an idea or reply that occurs too late—such as on the staircase as one is leaving. Lenos’s project, Staircase Wit, is a meditation on missed opportunities and toolate wisdom in the form of questions inspired by the anxieties of student teaching. Finding staircase wit insights within her post-teaching reflections, Lenos explores the creative transformations of thinking that can occur when one contemplates the uncertainties of an experience.

Cassidy Lenos





MFA, Fine Arts

Digital Barmecide

Maurer exhibits the precariousness of home in others by investigating perceptions of origin, displacement, and belonging. By examining trace materials left behind from others and our ties through telecommunication, she showcases the ways in which objects relate to identity, and how we establish connection with others. The artist uses installation of wallpaper, collage, sculpture, and video performance to show the evolution of familiarity in a given place in confluence with the overwhelming obligation of maintaining long-distance relations. The wallpaper detail consists of small, trace elements from people Maurer met and moments with them during her two year stay in Cincinnati.

Alyssa Maurer


Fibre of Being Earphones made from Epoxy Resin, Thread from Hair, 2020 51

“Fam!”, She Exclaimed, 2019–2020 Repeating Adhesive Pigment Print 52


MA, Art Education

Pillow Family: Connecting Art and Meaning Making

Pillow Family features an introspective view into the memories and stories that shaped Maxberry as an artist and educator. Her work explores the assumption that the more we explore our past, the more we will see how we have been impacted, which informs our perceptions of the present. Using auto-ethnography and narrative inquiry, she researches the topic of identity while exploring familial relationships. As an art educator, Maxberry seeks to cultivate a respect for diversity that will encourage the discussion of culture, identity and their relation to art making within the classroom.

Adoria Maxberry


Pillow Family honors the legacy of the artist’s grandparents, James and Alberta Pillow, and their 58-year marriage. Stuffed forms made from Alberta’s housecoats represent the family name “Pillow”. Fraying edges, ripped seams and unraveling are indicative of the Alzheimer’s disease that impacted the family. While illuminating the process of aging, Maxberry reveals the endurance of love, and strength of memories that sustain her personal art and teaching practice.


Mr. and Mrs. Pillow, the artist’s grandparents enjoyed a 58-year marriage. Mr. Pillow, an army veteran and tailor, and Mrs. Pillow, the housewife are depicted together on their wedding day in 1945.

“I love you a bushel and a peck...” A popular rhyme shown handwritten by Mrs. Pillow is still sung to those she loves. 56

Pictured with both of her grandparents as a child, Maxberry vividly recalls these cherished moments.


With each pattern, there is a dierent housecoat that was retired and transformed into a pillow. 58

Each fiber holds a memory, just as the fibers are worn away so are the memories that are ravaged by the eects of Alzheimer’s disease. What always remains is the love shared.


MA, Art Education

Process: A Study of Artistic Practice

Nick Reader’s research and art delve deep into the mind of the artist. Using both a reflective and an outward approach, Reader studies the iterative conventions of making that are commonly referred to as artistic process. Through several conversations with artists, Reader brings attention to the unique characteristics of individual artistic practice, the truths that these processes reveal for the artist and others, and how artistic processes can serve as research methods within an artist’s work.

Nick Reader


Process 1 Graphite and Digital Video Projection | 48’’ x 72’’ 61

Process 1 Frame Still 62

Process 1 Frame Still 63

MA, Art Education

Garments for Treading the Unknown

To learn and grow, we must leap into unfamiliar spaces, reside in uncertainty, become uncomfortably entangled, and tread the unknown. Satterthwaite’s Garments for Treading the Unknown are physical manifestations of the psychological equipment needed for venturing into uncertainty. A bulky cocoon wraps you in comfort and security; a hood provides retreat for introspection. A tightly-laced corset holds you together like an armored hug within the permeable, personal bubble of hoop skirt and epaulets. A dressing gown facilitates future choices without demanding decisions now, allowing for all potentials. These garments provide tangible contact with abstract ideas that are essential to learning.

Taylor Satterthwaite







MA, Art Education

The Digital Wonderemporium: Learning Through Video Games and Unleashing the Imagination by Exploring the Creation of Digital Media

Tinney builds upon young people’s interests in technology with a digital museum emphasizing the educational potential of video games. Through studying game development, Tinney discovered core principles that exemplify good pedagogy while showcasing video games as art form and mode of museum exhibition. Exploration, creation, imagination, and play are united in Tinney’s virtual museumworld, where secrets lurk and knowledge awaits discovery in a gallery or within an imagination gift shop. Expanding digital media to encompass museums as well as education, Tinney’s work invites teenagers and young adults to explore new ways of experiencing objects and places while learning in the process.

Ryan Tinney



The Digital Wonderemporium Detail View


The Digital Wonderemporium Detail View


MFA, Fine Arts

“Figure 1�

A figure is not, in fact, a representation of data that tells the objective truth but instead infiltrated and enshrouded by a hopelessly tangled subjective reality of sensationalism where no data can be trusted. It is the process of obscuring and blowing up the data that becomes the truth where meaning lies in the translation and multiplication of the figure itself rather than the final outcome. Through fiber work that explores time, labor, and the relationship between process and outcome Van Walleghen investigates the explicit and hidden forces subverting data collection and dissemination.

Emily Van Walleghen


Mutant p53







Figure 1


MFA, Fine Arts

Time, Space and Memory

Time, Space and Memory describes Sheng’s anxiety about different stages of life in today’s highly competitive society. His nostalgia for the good memories of the past and his fear of confusion for the upcoming graduation from Fine Art School, and whether if he wants to stay in The States or go back to China. The movie “Interstellar” and its depiction of five-dimensional time and space theory inspired Sheng’s creation of this installation. Unlike living in a four-dimensional space, the protagonist in the movie can roam freely in five-dimensional space and time. In five-dimensional space, time exists as a solid. Time, Space and Memory aims to show previous times and memories in a physical sculptural form.

Sheng Yin