Six Magazine 2024

2023-2024

College of Fine Arts Leadership Council

Six Art Education Art History

Dance Interior Architecture & Design

Studio Art Theatre

letter from the CHAIR

As I reflect on my journey here at Florida State University, I am immensely grateful for the opportunities and experiences that have shaped my path. From my involvement in the Student Alumni Association to my roles in White Mouse Theater Productions, Surge FSU, and many others, each step has been a building block in my personal and professional development.

Throughout my tenure, I've had the privilege of working with FSU alumni, managing production budgets, drafting legislation to support the student body, and rallying over 200 students to engage with the Student Government Association. These accomplishments wouldn't have been possible without the invaluable support and guidance of the College of Fine Arts Leadership Council.

Within the captivating pages of SIX Magazine, you'll embark on a journey through the boundless realms of imagination, where creativity knows no bounds and artistic boundaries are shattered. SIX Magazine is not merely a publication; it is a celebration of the diverse and authentic creative expressions of our student artists.

Within its pages, you'll find more than just projects; you'll discover a vibrant tapestry of individuality and innovation.

Each piece is a testament to the talent and passion of its creator. It is a celebration of the human spirit, embodied in every stroke, every note, and every word.

Stepping into the council, I encountered peers who shared an unwavering passion for their respective art forms and a vision of bridging the gaps between departments. Despite being one of the smallest colleges on campus, the College of Fine Arts often felt like a world unto itself, with divisions between departments at times seeming insurmountable.

The council set out to change that narrative, working tirelessly to connect students, faculty, and staff across departments.

As Chair, I am proud to present what I believe to be SIX Magazine's best volume yet. It is a labor of love, a testament to the talent and dedication of our student contributors, and a testament to the spirit of collaboration that defines our college community.

To our readers, I extend my deepest gratitude for your support and encouragement. Thank you for joining us on this journey, and I hope you enjoy immersing yourselves in the pages of SIX Magazine.

By collaborating with the Dean's office, the Advisory Council, Career Center liaisons, and other stakeholders, we endeavored to foster a sense of unity and collaboration within the College of Fine Arts. And out of this shared commitment to creativity and community, SIX Magazine was born.

In Seminole Pride,

Erick Rivers Editor-in-Chief SIX Magazine

TABLE of contents Art Education

04

Department Chair, Rachel Fendler

Art History

07

Department Chair, Lorenzo Pericolo

Dance

11

Department Chair, Anjali Austin

Interior Architecture & Design

16

Department Chair, Jim Dawkins

Studio Art

22

Department Chair, Jeff Beekman

Theatre Department Chair, Kris Salata

37

ART EDUCATION

The Memories Sena Karatas-Ozturk

Sena Karatas-Ozturk's artistic journey revolves around the profound impacts of climate change and wars that affect mass populations. Through her contemporary installation work "The Memories", she endeavors to capture the poignant narrative of human migration induced by these socio-environmental injustices and climate change. She firmly believes that when people are forced to migrate due to these crises, they carry with them more than mere belongings. They bear the weight of their cultures, histories, and cherished landmarks solely within their memories, unable to pack them into their luggage.

Artist's art has been a voice for the silent stories of those affected by climate-induced displacement and conflict for years. Each stroke of her brush aims to shine a spotlight on the harsh realities faced by migrants who must leave behind the tangible remnants of their past lives. This contemporary installation work critiques governmental policies and societal indifference toward these critical issues, compelling viewers to confront the stark consequences of inaction. "The Memories", encapsulates the struggle and resilience of individuals navigating these upheavals, striving to find solace and belonging in unfamiliar landscapes. By depicting the emotional landscapes of migration, she seeks to evoke empathy and understanding, Karatas-Ozturk aims not only to document these untold stories but also to advocate for systemic changes and policy reforms that prioritize the rights and well-being of those affected through her art. Her artistic expression becomes a vessel for amplifying the voices of the marginalized and demanding urgent action toward a more compassionate and just world.

5

THE INVISIBLE ELEPHANT Hung Chi Chu

As a former middle school visual art teacher in Taiwan for nine years, my approach was profoundly shaped by my contemporary art training in a studio art program. The essence of artistic creation deeply influenced how I dedicated myself to teaching. I viewed my role as an artist and educator as interconnected, employing creative endeavors to interpret knowledge and education. I defined my teaching practice as an art-making method aimed at actively engaging with and contributing to society.

This 10-page sketch project is my interpretation and emotion of affect theory. Time and space are crucial framing elements for this piece. Within the forms I constructed, viewers will see on a 2D surface a series of blurred drawing traces that unfold over time. Simultaneously, through an aperture on each page, the underlayers become visible, influencing each other at once. As viewers flip through the pages, the sequence dictated by time limits the interaction between the planes, affecting the viewers' perceptions and recognition of these images. The intention is to guide viewers in appreciating different surfaces and experiencing how their own encounters shift their consciousness as they flip through. In the final image, a recognizable figure emerges – an elephant, which serves as a linguistic metaphor for "the elephant in the room" in English and Mandarin saying " " (a blind man feeling an elephant). As affect theory reminds us of the impact external factors have on consciousness, it attempts to alter the audience's interpretation of previous messages, breaking time and destroying their knowledge of the senses.

盲人摸象

6

ART HISTORY

The Sacred Arts: Exploring Santería and Vodou in the Works of Wilfredo Lam and Eduoard Duval-Carrié Victoria Rogers-Rivera Wifredo Lam and Eduoard Duval-Carrié utilize their cultural background as inspiration for their works.

Both artists are part of a larger history of Caribbean artists who are non-practitioners of religions like Santería and Vodou that take from their cultural histories as sources in their works that speak as a criticism of colonialism and a celebration of the African diaspora.

Although from different movements and periods, both artists trained in Paris and became international figures who utilized their ancestry as a source for their art. While the authenticity of their subject matter is questioned due to their lack of involvement in the practices themselves, their pieces emulate the practices of these religions by taking the scraps of memories they have, integrating them with research and exploration, and using these collected ideas and memories to create transcendence in their understanding of the world, just like in Santería and Vodou. Speaking on the conditions of their nations after colonization and the state of being African in the Caribbean, both artists engage with elements from the African diaspora in their art to continue these histories interpreted through their mediums.

him to other key artists at the time, like Joan Miró and André Breton. While practicing in Paris for three years, he became interested in the surrealist movement but has claimed “Surrealism gave me an opening, but I haven’t painted in a surrealist manner” which makes him difficult to define as a surrealist. For this reason, much controversy surrounds many of his works over whether their subject matter takes from aspects of Afro-Cuban culture as an appeal to Eurocentric surrealist audiences or his use of supernatural entities employed magical realism instead. For Lam, surrealism was an avenue to explore different approaches to form through African techniques he was interested in and culturally connected to. Lam lived with André Breton in Haiti for four months and learned about Vodou practices and their origins.

Overall, Lam had a great interest in the history of Cuba, the practices of Santería, and the African diaspora which are all concepts present in his paintings.

Wilfredo Lam was a modernist with an interest in surrealism and cubism. He was born in 1902 in Sagua La Grande, Cuba in the province of Villa Clara (sugar growing region) and he was the son of Yam Lam, a Chinese migrant, and Ana Castillo who was a mulatto woman with Spanish and African ancestry.

His godmother was Matonica Wilson, who practiced Santería, and he was raised surrounded by Catholicism and Santería. In 1938, Lam moved to Paris and befriended Pablo Picasso who introduced

Keep Reading by Scanning this QR Code:

8

From Public to Private: Framing Icons to Change Their Function Allison Boroff

This paper resulted from a semesterlong research project on Byzantine micromosaics in which I chose to study the St. John the Theologian mosaic, ca.

14th century. My thesis stems from the lack of information regarding this object's provenance, as well as its ownership or donorship prior to ultimately residing at the Great Lavra monastery on Mount Athos. This paper takes a formal and analytical approach to discuss the object's potential meaning and function, as I theorize who owned this icon and why they may have altered its composition.

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John the Theologian, mosaic icon with silver gilt frame, 14 x 17 cm with frame and 7 x 10.5 cm without frame, c. 14th century, Great Lavra monastery, Mount Athos.

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The Art of Bonding: Third Places in Museum Exhibitions Shena Kamata

Research Poster

Exhibition Website

Third places are a space outside of the home and work, first and second place respectively (Oldenburg, 1989).

Recently, museum spaces have been utilized as a place of community and learning, which many have observed can be considered a third place. While the need for third places for young adults has been noted, there is little research concerning university students specifically. Florida State University’s Museum of Fine Arts (MoFA) is a small museum extending from the College of Fine Arts. By curating an exhibit with interactive features directly addressing the audience, and catering to FSU students and faculty, a third place can be created for members of the community. The Art of Bonding was cocurated by MoFA staff members, including student interns, and featured artists, Hu Bei and Hu Bao, twin sisters. Their works and the show had a theme of human connection and belonging, tying into the idea of third places, especially for university students. Through analyzing survey data and documenting visitors' comments, we can observe how the MoFA space is viewed by the FSU community.

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DANCE

reverse radiate Photographs by Sarah Kate Stolz Dancers: Ariana Walker and Yuki Colombo

This collection is inspired by photographer Nick Fancher, and his use of bold colors, dramatic lighting, and unique projected shapes. This collection explores the opposite emotions of what the color red is typically associated with. Stillness for passion. Indifference for love. Delight for anger. Simultaneously, it may not deny the undeniable, that red attracts significant attention.

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over the sea Photograph by Sarah Kate Stolz Dancer: Elizabeth Mineau

This image is a product of shifting perspectives in a space to take the viewer to an unexpected place. The photo prompts the feelings when glancing at a destination right before arriving. Expectant, excited, and a little reluctant of the unknown.

13

Headshots: the series Photographs by Amanda Tanner

Subjects (left to right, high to low): Sarah Kate Stolz, Katherine Enoch, Alex DiCastro, Katheryn Green, Elizabeth Mineau

This series encapsulates personal headshots taken where the photographer was required to use different lighting positions to capture different effects on the face. They were taken for a photography assignment within the Dance Department’s creative dance technology track and each photographer was given the freedom to choose what subjects were used for certain lighting techniques, cumulating to the creation of “Headshots: The Series.”

14

Casual Friday Abigail Nelson and Emmett Higgins

Scan the QR Code to see the full project

We were exploring the limitations and effects of unconventional dance attire with choreography and improvisation. We wanted to create our own sound score utilizing our denim jeans. We needed to use our proprioception and awareness to sense each other in order for us to achieve synchronicity.

Developing Distinctions Video by Katheryn Green

by Gemma Leary Scan the QR Code to see the full project

This promotional video made by Third Year Dance MFA Kathryn Green captures a glimpse of the lighthearted, passionate, relaxed, welcoming, hardworking, and explorative process of Developing Distinctions.

Developing Distinctions is one of three works that Gemma Leary has presented for the Days of Dance concert at Florida State University. Leary’s satisfying and dynamic choreography in this piece explores internal and external growth. The cast’s openness and adaptability and Leary’s intentionality and creativity come together to develop this work of Developing Distinctions.

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INTERIOR ARCHITECTURE & DESIGN

Monograph Museum: Displaying the Sculpture Artwork of Lynda Benglis Katherine Wankelman Lynda Benglis is a pioneering feminist artist who redefined abstract expressionism sculpture art.

Throughout her career, she experimented with a variety of materials like polyurethane, corrugated aluminum, and wire to create unique textures in her work. Similar to how Lynda Benglis’ sculptures evolved, this museum will take visitors on an exploration-like journey through the timeline of her artworks through the lens of materiality. The design of the space captures the idea of exploring materiality with an interactive zone to engage with the materials used by the artist and wall partitions that separate the different eras of her work. Also, curvilinear seating mimics the forms of sculptures such as contraband and quartered meteor. The guided pathways suggest how one should navigate through the space to see the evolution of Benglis’ work.

Scan the QR Code to see the full project:

17

SRO Loft hobby project Alisson Angarita This project aimed to design a Tiny studio apartment that can serve as a multifunctional space. The purpose of the design is to positively encourage its user to engage in the hobby of cartooning in the most comfortable and space-efficient ways.

The design recognizes cartoonists' creative and inventive nature and their need for structure and storage of their many tools, inspiration, and projects.

The function of a pinboard inspired the concept, as it collects ideas in a structured way to maintain the flow and harmony of a project. The rooms utilize scale, contrast, and form to organize and display project highlights by separating the living and work areas. The design uses subtle variations of form and scale, such as curved lines in doorknobs and light features to contrast the rectilinear cabinetry and furniture to convey doodle streaks, pins, and connecting yarn, creating visual interest that enhances focus and guides the eyes for intuitive use of the rooms.

The space combines storage and separation by incorporating way cool features like the multifunctional closet/vanity, customized Cube-within-cube sofa/dining table, TV stand/coffee table, and smart glass walls for privacy. The contrast in shapes, scales, and materials represents the creative side of a cartoonist and enhances creativity; meanwhile, the ingenious separations, smart storage, and layout represent the critical thinking side. Overall, the design provides a structure for many diverse ideas to come together in order and harmony; in the same way, a pinboard would allow an artist to organize creative ideas in a structured and innovative manner.

18

Residential patio design Reegan North

The goal of this design was to create a space with lots of character that encourages family & friend gatherings. The clients, Mr. and Mrs. Smith, value time spent with family, so the design of their exterior patio space includes multiple features to promote gathering and socialization.

19

Christy dawn workplace design Frances Cowles This office design is for Christy Dawn, an innovative fashion company focused on sustainable and regenerative farming practices. They have a regenerative cotton farm and textile production unit based in India. The office design draws inspiration from the company's values and traditional farming practices in India to create a design based on restorative connections. Each space encourages collaboration and improves employee wellbeing. Ergonomic and personalized workstations combined with large communal work areas ensure the office is productive and active. A natural color palette, organic and sustainable materials, complex patterns, and unique textures support employee efficiency while maintaining a calm and focused atmosphere.

20

Terra Mater Pediatrics Steph Rodgers & James Dzwil The rustle of lush foliage, the pitter-patter of animals treading about, the soothing sounds of water and wind all create an enriching environment for its inhabitants. To do just the same, Terra Mater Pediatrics in downtown Baltimore takes a page out of nature’s book and function as a smoothly interconnected ecosystem. Terra Mater Pediatrics serves patients from 0 to 18 and treats physical and behavioral health conditions. The design creates a sense of community by weaving the local Baltimorean vernacular and environment with the concept of interconnected ecosystems to involve families and staff in a holistic approach to pediatric health.

Like ecosystems are a collection of smaller pieces, the design of Terra Mater Pediatrics is built on intuitive and inclusive details, like custom millwork that emphasizes functionality and accessibility, ADA room signage that continues the neighborhood theming, and environmental graphics integrated into hospital-grade wall protectant. Overall, Terra Mater Pediatrics considers the physical and emotional well-being of workers, patients, and caregivers through interconnected ecosystems to create an inclusive and supportive space for all.

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STUDIO ART

5

Chip On your Shoulder Cyan Moore

This piece challenges the distinction between high and low art by using plastic chip bags originally consumed by prison inmates, now mainstream and sold as "Shabang" in gas stations. The sculpture takes the form of a quilt with magnetic adhesive, allowing for interactive arrangements of plastic chip bag tile pieces in various colorways and designs. Through this piece, I aim to foster a sense of connection among humanity while shedding light on the capitalist aspects of the prison industrial complex. The juxtaposition of materials and the interactive nature of the sculpture serve as a commentary on the intersection of art, consumer culture, and social issues.

23

Escape by way of Wildflowers Rachel Ostrander

In this painting I wanted to consolidate my experiences understanding my queer identity with concepts I had already been exploring surrounding the cowboy as a symbol representing masculine ideals. The identities of the cowboys in this scene are kept ambiguous and they are minimalist in appearance since they are meant to reference our ideas about the cowboy and the memories we have of them. They often give us a sense of nostalgia or remind us of a simpler time due to the western genre's popularity being at its height in the 50s-60s, but they also represent an idealized male identity. An identity which feels antiquated and even a little over the top in its presentation when looked back on through a modern lens. This is in contrast to the landscape and horses, which are full of bright colours and flowers. These elements are meant to be read as more overtly feminine in contrast, but come from my own interests in colour and in floral prints. This new landscape is now the means by which typical cowboy movie action and drama can be recontextualized to be about embracing other aspects of self and identity. The composition was created through a collage of construction paper, which was further collaged digitally.

24

Seeking the Horizon Raven Watkins

With the hardships faced in my life, I learned to try my best to make the most of every day. With that, I have placed a high regard for adventure and new experiences in my life. This alongside my lifelong love for marine biology has drawn me to the forgotten world of pirates. Once the kings of the sea, now mostly a memory to the world. But this way of life continues to fascinate me, and I continue to find inspiration and passion from the adventurous lifestyles of pirates and the exploration of the sea. This piece represents leaving what you find to be most comfortable in pursuit of the knowledge of something new to you.

25

Simple Times Sabian Buxton

This submission stems from a film photography series in which I give my best attempt at capturing the essence of Florida State University. Through this work I wanted to convey the beauty, history, and feeling the makes this university so special. "Simple Times" is set in the middle of Landis Green, centering its focus around the renowned Legacy Fountain. Taking into account the symbolism of this prominent monument, I aimed to highlight the subject while simultaneously composing a visually compelling work. I decided on film for this series because I felt the grain would add a nostalgic feeling to the piece that is difficult to simulate artificially.

In order to capture the authentic essence of Florida State, I wanted to use authentic techniques.

26

Capturing Wildlife Samantha Haas

Most of the photos I capture are of wildlife and natural landscapes. I take them while traveling, hiking, at zoos, or even at home. No matter where I take photos, my primary goal is to capture the beauty of the natural world around us. I want to create a world that viewers, including myself, can imagine stepping into. Photography is more than just pressing a button; it is a process and I love every part of it. From creating the perfect composition to editing, each step allows me to express my creativity and passion of photography.

27

Fata Morgana Nicolina Morra

As an artist, I am deeply influenced by the concept of participation mystique derived from French philosopher Lucien Lévy-Bruhl and later articulated by the Swiss psychologist Carl Jung. This idea denotes a particular psychological connection with certain objects and consists of the fact that you are bound to it by a direct relationship which amounts to partial identity. I believe that we are intimately connected to things that surround us, regardless of the irrational nature of the relationship, and that these objects have the power to shape our identity and our sense of self. This interconnectedness is rooted in a shared, unconscious realm of symbols and archetypes I reveal in my work.

28

Deprivation Alex Davidoff

“Deprivation” encapsulates the dynamic dance of overlapping water reflections, presenting a vibrant portrayal inspired by the divergent tales of my family’s summers at lakes and my year-round explorations in Florida’s pools and lakes Delving into the significance of bodies of water as a unifying element, the artwork prompts introspection, acting as a visual bridge connecting our experiences from opposite ends of the world.

29

Other(ed) Clay Barczak

Within their practice, Clay Barczak merges queer imagery and stylings with southern gothic influences and religious themes. Their work explores personal relationships with family, gender, identity, and otherness. In Other(ed) (2023) Barczak looks at their religious upbringing and sense of shame consistent throughout their childhood surrounding their budding nonbinary identity; Other(ed) (2023) aims to confront the viewer through direct eye contact from each of the figures presented as well as through the aggressive text sourced from Christian church signage. This work investigates the condemnation often faced by queer individuals raised and living in the American South and refuses this reductionary perspective through reclamation of the aggressive linguistics used against the queer community. While Barczak does investigate themes of shame, their work aims to educate those in the South on the effects of religious shame and aggression towards queerness and the persistence of queer voices.

30

Charred Victoria Pagan

Charred is a layered combination of watercolor, colored pencil, charcoal, and conte, and was created for an exploration of ecological life in Drawing II. I chose to draw this tree in particular because of its fascinating shape and almost burnt appearance that gave it very nice potential for contrast.

31

Event Horizons Anna Speer

"Event Horizons" is from my past series on REST (Restricted Environmental Stimulation Therapy) and the creative process. The work is a product of experiential creative research on the impact of sensory deprivation flotation therapy and its effects on ideation. Additionally, visual elements of the work lend themselves to the contrast between our overstimulated modern realities and the extremely dark and still environment of a floatation tank. The moments of blank steel blue visual silence contrast the child-like, gritty scribbles that frame the semi-realistic bottles in the middle of the work, creating the silhouette of entangled hands and arms out of negative space. Each painted bottle resembles a portal, pool, or entrance to another world, further emphasized by the swirling red staircases that lead to their tops. Overall, in "Event Horizons," I focused on using visual elements such as color and line to create points of tension and release.

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Sequins and Silver Lining: Reframing Disability Kat Chidy

My work uses repetition, accumulation, and embellishment to elevate the rituals and history of disability. The acts of stitching, beading, sewing, sculpting, printing, and collecting mirror the daily acts of disability without being literal documentation or social performance. These different processes can directly reference a type of medical care, such as sewing running parallel with suturing, or the act of creation can connect to an act of care through its circadian rhythms. The visual presence of a repeated act becomes an artifact of history, a physical representation of effort, focus, and resources. Both the materials used and how they are manipulated become the vehicle through which I make the invisible visible. My symbolic lexicon evolved naturally by creating several key pieces, being more a collection of material manipulation techniques than a set of visual symbols. Leaving certain threads of the fiber pieces untrimmed, decorations with masses of beads or notions, faux materials, and the repetition of forms dictate how I engage with any found object, image, or experience.

The transformation of the materials into the correctly balanced embodiment of my experience becomes an experience in and of itself. The meditative state that emerges from these repetitive acts recontextualizes my disability.

1. Sick Coat, 2021, thrifted men's coat, thread, vinyl, netting, notions, buttons, studs. 2. Anxiety Suit, 2022, silkscreen cotton, polyester, polyfill, faux pearls, thread 3. Shed, 2022, silkscreen on cotton, netting with beads and thread, silkscreen on physical therapy bands cut up.

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Feelings Leah Linkogle

This quadriptych was created almost subconsciously. I knew what I wanted to do, the poses I wanted to use, but each panel came into being on its own. I used this work as a way to process specific feelings I had, and sometimes still have, with my body. Feelings of discomfort, melancholy, aversiveness to touch... there are many that I find I still lack the words for. I know that they're not completely ineffable, but the 'Feelings' visualized, I feel, are deeper than words. I use my own personal feelings and experiences as a way to understand myself and my personal identity better, but the themes presented extend beyond myself to other women and young people who have had similar experiences, such as growing into womanhood or an ‘adult’ body, insecurity, and discomfort.

These four panels have their own meanings and emotions that come together as a more complex experience.

Similarly to how people and their emotions are deeply layered, I chose to use mixed media for this work. It is important for me, in the use of different media, to unify materials into a cohesive work that has body and depth of meaning. So many different things that work towards a single goal and understanding, just as human beings are made of experiences, emotions, thoughts and values that come together to create a whole person.

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Self-portrait 2 Lamoria Brady

This self-portrait was drawn with charcoal. Like one’s self-concept, one misstep can cause charcoal to change. I wanted to challenge myself, not only with an unfamiliar medium, but looking at myself for an extended period. It is easy to find the flaws within your face, but harder to find the admirable traits. What started as a case study became a celebration of my physical appearance.

35

Break a Leg : Series Book Sofia Abreu (Abreufusion)

Photography is my lens to the world, a tool that allows me to pause time and capture candid moments that I believe are special. In my photographs, I try to achieve the most filling emotions I can capture, depending on the angle or color of the scene. Whether it's the play of light on a city street or nature's patterns, I aim to show the beauty that often escapes our hurried gaze.

Ultimately, my art is a celebration of life's unpredictable beauty. My art invites you to join me on this visual journey, where we can pause, reflect, and find meaning in the world's infinite stories, each captured through the lens, etched onto paper, or embodied in design. I find the middle ground for us to connect between art and the human experience.

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THEATRE

UnBoxed Amber Daniels

Act 2 Scene 1

Act 2 Scene 3

Act 2 Scene 5

These are bits and pieces from a show I'm writing called UnBoxed. In my living and observance of life, I noticed we as a human race are obssessed with placing things in categories. It offers the illusion of complete understanding and makes us feel more in control. However, people are more complex than that. We try to put people in categories, but it's just not how humans work. We're complicated. We are more than what meets the eyes of others.

UnBoxed is a story that was birthed from my own personal adventures of not fitting into the boxes that others have tried to put me in, the lessons I learned from my failures in attempting to conform to those boxes, my experience in grappling with the values I hold dear, and the acceptance of myself. This is a show about true friendship. This show is about brokenness. But most of all, this is a show about love, and the myriad of ways in which it takes form.

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The Bug Collector Sidney Barmoha

Scan for Full Video

As a young couple tries their best to support each other during a turbulent time in their relationship, the two will discover what it means to create peace in a little world for someone you love.

THE BUG COLLECTOR has been in a serious relationship for a few years now, however, in the past months paranoia and anxiety surrounding the past began to sneak into the mind of their partner, THE LOVER. This fear manifests itself as a fear of bugs. The couple, who live in the countryside, unfortunately, have bugs creep their way in all the time. Being the loving partner they are The Bug Collector gives themself the responsibility to catch and free the bugs in the house. However, over time what was once a simple gesture given without a second thought, becomes the burden of their relationship.

On the other hand, The Lover finds themself grappling with how their grasp on reality keeps slipping slightly away. A deep twist arises in their stomach any time they spot a bug in the room and suddenly buried memories are brought to mind. Outside of these experiences, they can recognize the toll their current state is taking on their relationship with The Bug Collector.

As the struggle in their daily routine ensues, there are precious moments in between that give The Lover the chance to show their appreciation when they can and remind The Bug Collector why they must at least try to make a perfect life for their love.

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Meet the Council Chair

Vice Chair

Secretary

Treasurer

Admin Team

Erick Rivers

James Dzwil

Luci Easterly

Abigail Stinnett

Alex Davidoff

Admin Team

Design Team

Admin Team

Launch Team

Design Team

Allison Boroff

Shena Kamata

Jovan Osborne

Sarah Downing

Sofia Abreu

Thank you I want to give a thank you to everyone in the Dean’s office who has helped make the council function smoothly: Scott Shamp, Rachel Collins, Jessica Comas, Shelby Heitmuller, Monique Jones, Jamie Rager, and all the other staff in the Dean’s Office.

I thank Cristina Sorensen for stepping up as the council’s advisor and putting 110% into her new role.

Design Team

Admin Team

Sarah Kate Stolz

Sarah Hinzman

Not Pictured

I would like to thank my Vice-Chair, Jamie, who has worked with me on the executive board of the leadership council for two years, first as the treasurer. Thank you for your dedication to the council. Thank you to Luci, who joined and hit the ground running with the council. I can't wait to see what else you are able to achieve. Thank you to Abi, who stepped up as the council’s treasurer and helped manage the biggest budget the council has ever seen.

Thank you to all the council members for their help with the council, their hard work, and their dedication to the council.

Finally, thank you to the College of Fine Arts for giving me and every other student a space on campus to express our creative side and fostering the expansion of art.

Nat Jiménez Torres- Design Team Erick Rivers Chair of College of Fine Arts Leadership Council

About the College

The Florida State University College of Fine Arts is a place where learning and creativity are nurtured through instruction, research, and practice. The College is a closeknit community of faculty, students, and professionals that functions as an arts conservatory within a major university. It is home to a unique combination of visual and performing arts studios, classrooms, performance spaces, and museums. Our students are some of tomorrow’s most promising artists, researchers and professionals in their fields.

The College offers degree programs in Art, Art Education, Art History, Dance, Interior Architecture and Design, and Theatre. The College also houses several non-academic units including the Museum of Fine Arts, the Facility for Arts Research and the Maggie Allesee National Center for Choreography (MANCC). Many of our programs rank among the most respected in the nation. We are proud to feature specialized programs that leverage relationships between departments and museums to enrich the degreebased curriculum.

The College of Fine Arts has undergone an extensive selfassessment and strategic planning process. As a result, the College has developed a clear mission and related objectives that are encapsulated in the following statements. These statements fortify our resolve to offer the finest arts instruction and training in the nation.

Artistic Excellence: We uphold the highest standards of artistic and academic excellence, nurturing creativity, wellness, innovation, and artistic integrity in all disciplines.

Research and Scholarship: We embrace rigorous research, artistic practice, critical inquiry, and scholarly engagement to advance knowledge and innovation in the arts and design disciplines.

Collaboration: We promote a collaborative and inclusive community that values diversity and fosters interdisciplinary exchange, supporting the interconnectedness of the disciplines within the College of Fine Arts and beyond.

Student-Centered Education: We prioritize student success, providing individualized support, mentorship, and transformative learning experiences.

Community Impact: We actively engage with local and global communities through our arts and design research and practice to catalyze positive social, cultural, and economic change.

2023-2024

Six

College of Fine Arts Leadership Council