Multiple Landscapes Exhibition 2024

Multiple Landscapes

Multiple Landscapes

SUNY New Paltz Ceramics

20–23 March, 2024

Coalition Theater

8 W Broad St Richmond, VA

Jeni Mokren

I’m delighted to see the work of our alumni and faculty featured in Multiple Landscapes, in conjunction with this year’s NCECA conference. In keeping with the theme of this year’s conference, I can’t help but reflect on how fitting the word “coalescence” is to describe the transformations our ceramics students undergo—both during their time on campus and after they leave to forge their careers. For our alumni, coalescence is an ongoing process that first occurs as students, when they begin to form their own visions outside their classroom assignments and discover what uniquely moves them as people and artists. They again coalesce after graduation, when their individual paths continuously intertwine to form a lasting network of peers, collaborators, and friends. This longstanding connection is, in no small part, thanks to the strong support and mentorship our faculty provide both on campus and after students have graduated. Ceramics at New Paltz has a strong history and continues to expand into contemporary practice to prepare students for a diverse range of professional endeavors.

Thank you for joining us and viewing Multiple Landscapes, which celebrates the legacy of the SUNY New Paltz Ceramics Program and the union of our students’ past and present lives.

Jeni Mokren Dean, School of Fine & Performing Arts

Thomas Albrecht

In its most basic sense, education is a transfer of ideas. The Ceramics Program at SUNY New Paltz epitomizes this process of exchange. The teaching of Anat Shiftan and Bryan Czibesz has created a learning community committed to histories of material, craft, and making. These significant artists, widely recognized in the field, have committed to mentoring the next generation of artists working with the medium of clay. It is an incredible pleasure to witness what transpires in the ceramics studio at New Paltz, where curiosity and play meet serious research and a respect for skilled craft. The work in this exhibition is of individual minds and hands yet connected in its shared commitments to process and material investigation. What converges is not a unified whole, but a collection of satellite ideas revolving around a common, basic material, transformed into something previously unknown and revelatory. Education—its great potential—creates new worlds. I celebrate the achievements of these individual artists, connected in a shared community of making that transcends time and place.

Thomas Albrecht Associate Dean, School of Fine & Performing Arts

Bryan Czibesz Anat Shiftan

With the retirement of colleague Anat Shiftan after more than twenty years teaching at SUNY New Paltz, the annual gathering that the NCECA conference facilitates provided a great opportunity to organize an exhibition of work that examines the landscape of connections and growing ecosystem that the New Paltz Ceramics Programs have fostered during this time.

Giving current second-year MFA students the role of curators and organizers, the work collected in Multiple Landscapes developed as their look at these connections, with a focus on work that explores the tension between the human body, landscape, material, and our constructed environments.

Drawing on the richness of ceramic history as well as new technologies, the work is grounded in an attention to touch and shows the way material research in clay is connected across diverse outcomes.

If a landscape is an expanse able to be seen in a singular view, we hope this exhibition of current students, faculty, and select of alumni achieves this. But it is just one of many, as the exhibition title intimates. We wish it were possible to include work from all of the artists who remain connected to these SUNY New Paltz Ceramics landscapes. The network formed between our students and mentors is a rich and beautiful entanglement, where individual artistic paths converge, intertwine, and grow in enduring ways, despite time and geographic divergence. It is a pleasure to be a part of this legacy.

Bryan Czibesz Associate Professor

Bryan Czibesz and I began teaching together as a team in 2012. Our goal was to inspire students to be curious, inquisitive, experimental, master their craft and art, and be productive. We wanted students to learn that growth is a process of accepting and rejecting new ideas. We wanted to guide students to discover their visual language, express their concerns, and find their way of processing historical contexts and current affairs in the world in general, and in the field of ceramics specifically. We also implied to them in many ways that they should innovate, and add to the conversations in the field. We hoped that in this formative process, they would leave fulfilled and happy, have memorable bodies of work, and become better at what they already are. Finally, we wanted to facilitate the students in finding their path in the field whatever it may be: a studio artist, production potter, designer, teacher, community leader.

One of the things not evidenced in the work in this exhibition is the influence of continuity in the studio: early on we began to require printed self-published documents for the thesis process and outcome. The rationale for their inquiry, background, images of the work, technical information, techniques, material research, writing, and exhibition images became beautiful documents. These books are a time capsule of a very important moment in their life and also a tool for them as they leave school and step into the ceramics field.

As years passed, we recognized that something very special was happening in the life of our program. The thesis library in our office became a coalesced union of diverse bodies of work growing together of people, and one complex body of knowledge. We began to notice that this knowledge seemed to “float” in the studio space. Accomplishments of years past influenced future work. As students joined us and left us, they became a link in this creative chain through their contribution to the SUNY New Paltz Ceramics studio legacy. Of this work we have done together, we are very proud. Thank you, students.

Anat Shiftan Professor Emerita

Curatorial statement

In this exhibition, we explore the profound impact of human presence and absence, ranging from evocative repetitive techniques to interactive pieces that engage the viewer. We observe material explorations that stretch the limits of clay and artworks that encapsulate the material’s history through experimental firing techniques.

Artists draw inspiration from a range of historical and cultural influences to articulate critical identities through their creations, while others offer contemplative reflections on the intricate relationships between humanity and the environment, including employing the tradition of still life painting to situate nature within a broader collective narrative.

Certain artworks challenge preconceived notions about dimensionality and digital fabrication, while others delve into these processes to probe the essence of ceramic materials, interweaving narratives of empowerment and resilience.

By highlighting the shared experiences of SUNY New Paltz current graduate students, past and present faculty, and our alumni network, we hope to foster a sense of community and connection that transcends time and space. We thank our alumni network for their contributions to this exhibition and the NCECA community for providing a platform to showcase their talents. Together, we are excited to have you explore both the work and community that defines our Multiple Landscapes.

Emily Parker

Laura Dortmans

Brianna McQuade Master of Fine Arts, Ceramics 2024 School of Fine & Performing Arts

Anat Shiftan

Bryan Czibesz

Lilly Zuckerman

Philip Adams

Geoff Booras

Laura Dortmans

Sarah Heitmeyer

Emilie Kim

Anna Kruse

Brianna McQuade

Bri Murphy

Kayla Noble

Paige O'Toole

Chrystal O'Boyle

Emily Parker

Lauren Sandler

Yage Wang

Avery Wells

Hee Joo Yang

The Flora and Flora and Orchard series explore the tension between renewal and decay in nature. I look at nature in an effort to shift my gaze from the complications human history, and yet, in nature I find similar dynamics of growth and destruction to the ones we experience as humans.

Working with my hands and manipulating materials expresses my humanity. I direct my gaze to nature as the human condition is often unbearable to witness. Yet, my work represents both nature and humanity, both, revolve in a sequence of renewal and decay, growth and destruction.

My natural forms are sourced from an inquiry into historical interpretations of nature rather than nature itself, and thus are invented. They present the fine line between the natural environment and my human imagination of what nature might be.

anatshiftan.info

@anatshiftan

Anat shiftan

Flora and Forest in Green/Yellow Stoneware, porcelain, cone 6 glazes /22” x 19” x 15” /2023

My work is an exploration of the relationships between technology, time, and object histories.

Starting with hand drawn lines, I combine, stack, and layer shapes and profiles to invent volumes that reference both familiar and unfamiliar forms. Generated both by hand and with an extrusion clay 3d printer, these objects operate as technological markers in ceramic material history, explorations of the layers found in architecture and the landscape, and vessels that question our expectations of interior and exterior space.

bryanczibesz.com

Bryan Czibesz

Lilly Zuckerman

Domestic spaces are my frame for where our bodies live out our mundane lives everyday. The bed being the stage where so much of a relationship plays out. Peering into internal landscapes calls to memory, presence, and a shared mental space found in partnership.

Queer joy is the focus of my new body of work. Queerness is so often represented as a dangerous hardship; the gay best friend is never the lead, always unlucky in love, and often dies first. I’m correcting and updating that narrative, centering and celebrating queer existence and joy.

There is power in framing queer existence. There is power in fat bodies existing and unabashedly taking up space. There is power in those fat bodies being tender with one another. There is power in queer peace. There is power in queer safety. There is power in the uniqueness of queer love.

a study in tenderness # 1 Stoneware, our bedsheets, watercolor, blush, paper, romantic lighting /20” x 20” x 12”/2023

I am captivated by symmetry, the ritual of repetition, and creating in the round on the potter’s wheel.

I explore the extremities of gravity and balance in clay through columns of interchangeable vessels. Referencing a rich ceramic history and alluding to utilitarianism, the vessel is my vessel to a rticulate my own intimate purpose and meaning.

The vessels collaborate with one another to create a greater form when stacked. As I assemble, the act becomes a choreography of defiance and fragility. My intention is for these vessels to be prodigious and monumental while assembled, yet individually unique and refined while apart.

philipadamsceramics.wordpress.com

Philip Adams

Untitled Stoneware, cone 10 soda /17” x 12” x 84” /2024

Glazed ceramic elements on wood panel with acrylics and silicone /48” x 36” x 3”

/2020

Rockfield

I position natural materials up against symbols, systems, and geometries of the built environment; rigid patterns and systems are simultaneously swallowed by and drawn out of molten, fractured surfaces. My sculptures are portals with pitted and hand-marked surfaces to transport each onlooker into the shadowy interstitial spaces of our bodies, architecture, and cosmos. The objects hold the fleetingness of control and the freedom of entropy, quietly asking: can one become in-tune with the secrets of geology?

Recently, my work has become a more personal inquiry into the multiple meanings of how the natural world vibrates through my life. My exploration has as much to do with the physical material as a rumination on the idea of the material

geoffbooras.com

@geoffbooras

The vast open sky, rolling green hills and jagged sandstone cliffs of my home in south-eastern Australia have shaped who I am and how I work. Within my body I carry the piercing aliveness of that wild place: sweltering heat, dry, scorched earth, the sweet scent of eucalypts, the sting of southerly coastal winds. Colors, textures, sounds and scents of home linger, not as memory but as feeling beneath my skin. It’s in my bones, my blood. This vitality – in land, body and materiality – is central to my work.

The intense physicality of my process draws on this embodied sense of place. This work is intended not as a representation of land, nor body, but as the feeling of land, the feeling of the body. The language of abstraction is employed to express the vitality and materiality of my body, an echo of my physical and emotional presence in the world.

lauradortmansceramics.com

@lauradortmansceramics

Ripples

This waterscape offers a restorative experience by distilling the movement of rippling water into channels for thought. The pattern is scrambled, teasing your eyes to find where there is order and repetition. Referred to as soft fascinations, these visual movements give our eyes something to focus on so our mind can wander and rest.

This piece was created by interpreting photographs of water using computer aided design. The result is then sculpted into a tile and a prototype is 3D printed. The prototype is used to cast a plaster mold for slip casting. Custom glazes are applied by considering how the materials will move across the form, pooling into valleys and breaking on sharper edges.

Sarah was a NCECA Emerging Artist in 2019.

sarahheitmeyerceramics.com

@sarah_heitmeyer

Porcelain, glaze /36” x 36” /2023

Being bicultural means being multicultural; I am forced to create and carry multiple versions of myself to find belonging and navigate societies that demand both conformity and uniqueness. My work explores the bittersweetness of being Korean-American. Using clay and glaze, I recreate real and surreal environments inspired by personal experiences that have shaped me positively or challenged me.

My work discusses the aspects of community, chaos, and transformation found within the Korean-American background, reflecting on the relationship between one’s personal experiences and the broader cultural context.

My sculptures are the physical embodiment of my memories that often make me question my relationship with my cultural background. By recreating detailed familial kitchens, I explore the complexities of memory preservation and the influences of assimilation on one’s domestic space and cultural identity. Translating the intangible through the tangible, I unravel the intricacies of identity and the ongoing quest to simply be ourselves.

@emmipetrichor

Emilie Kim

Mid range clay, cone 1 glazes /48” x 24” x 24” /2024

You were never going to apparate in my room

My work is an exploration of the manifestation of relationships throughout one’s life. The space between two people, words left unsaid, a hand reaching without reciprocation, these moments are the impetus for the work.

Anna Kruse

Forms and imagery are derived from botanical structures, the visual dialogue of tubes and playground equipment, and gestures of intimacy. Shadows and repetitive patterning suggest a sense of movement in an otherwise static object. Muted colors speak to loss, and hesitation, while brighter ones incite feelings of potential. The work explores these moments of almost coming together, of consuming the other, and of lives intertwining.

Moments of tension remain, with many of the arms frozen in motion, having yet to find the right opening. In this piece, I explore the mutuality of touch, the power of interstitial space, and in this pursuit awaken a visceral desire of intimacy.

annakruse.com @ceramic_beans

I exploit humorous imagery as it juxtaposes the mental landscape I’ve existed in since childhood. It’s funny when a kid has a fear of death, right? Disjointed fingers, rotting teeth, bug infestations, bones, and bulging eyeballs reveal peculiarities associated with my psyche.

Clay is a still of the internal struggle I am entangled in. I press and pinch, managing a tug-of-war between obsession and paralysis, mirroring compulsions that infiltrate my routine. I deflect, I crack a joke, make, and deflect again.

Brianna McQuade

Humor emerges to convey distress through laughter—a shield of self-protection and distraction. My brushes, levity, and satire personify recurrent thoughts, which become fragmented narratives in my work. Irrational fears loom and materialize in distortion of forms—reflecting fear and embarrassment that has stained my memory, illuminating absurdity found amidst chaos.

stuffbybri.squarespace.com @sprayboothgremlin

My work is a result of interdisciplinary material exploration grounded in extensive historical, anthropological, and sociological research. A deep appreciation for craft is paralleled by an intrinsic desire for tinkering, a tenuous relationship that in a digital world offers opportunity for critique. The democratization of technology through open-sourcing produces a vast range of applications that challenge notions of freedom and accessibility.

Through both digital and analog manipulation, as well as the mediation of machines such as 3D printers, my work endeavors to interpolate existing and well-known national iconography to expose the fault lines of the American myth.

As a maker, I am motivated by this spectrum of possibility, which offers a potent metaphor in our contemporary moment. The contradictions inherent in the very nature of the digital age parallel the conundrum of American democracy, which began as a far from equal enterprise

brimurphy.com

@brisketmurphy

Familiar Vestige

Slipcast porcelain, glaze /15” x 10” x 9” /2024

The process of woodfiring shifts my practice from private to communal. I relinquish control and extend trust to my community. The sensuality and tenderness of my making methodology is contrasted by the fierceness of the kiln.

My relationship with clay is deep. It is both romantic and empirical. Working with local and wild materials further deepens this connection. Engaging with local geology sets my practice in space and time; the materials I use have existed long before me and will continue to exist long after I am gone. In a world often governed by precision and uniformity, my pursuit of woodfired pottery is an homage to the unpredictable, the primal, and the beautifully imperfect.

Conceptually and visually, I am inspired by abandoned and decaying dwellings-sacred and ruined. I explore containment and service. My current body of work functions as an exploration of intimacy and connection; meditating on the power of touch.

kaylanoble.com

@mud_wench

Kayla Noble

Kiln Kiss Woodfired stoneware, carbide shelf drip /12”

I play with the fantasy of allure, desire and grandeur while also capturing a sharp and chaotic sense of discomfort that lives in the finished object. I think about excess — where is the point of too much and is there a point of too much. The work hovers on the line of decadence and decay. Picking at wealth and social classes and how excess in those spaces can become a kind of moral decay.

My touch in clay is both immediate and archival, lasting and tangible evidence of me. The objects I create have a cloying play between beauty and grotesque that speaks to the nefarious nature of their inspiration. My practice is a merging of opposing forces, like when sweetness begins to rot

paigeotoole.com

@paigeotoole

Armchair in Green

Terra-cotta, glaze /32”

x 27”

x 41” /2023

I am inspired by the endless variety of human expressions that I witness in day-today interactions between people all around me. Although human interaction can be made non-verbally through facial cues such as a furrowed brow, a smirk, or even roll, the emotion you see may not accurately represent how someone is truly feeling on the inside.

By using the figure to communicate my message, I can portray the innate emotion that is put forth and then transfer it to the audience. The animated facial expressions depicted in my work allow the pieces to interact with one another, as well as with the viewers who come into contact with them. I am intrigued by the notion that these inanimate objects can be imbued with the ability to communicate not only with one another but also with the viewer in a physical language inherent to the human experience

@chrystaloboylepottery

Terra cotta, underglazes, glaze /10” x 12” x 36” /2023

how long does it take for a wilted plant to recover

Through the tactile act of coiling and pinching forms, I create a realm where I wield agency and control, offering respite from the immutable realities of existence. Memories and observations converge to construct a preferred world, weaving past and future narratives into a timeless moment

Emily Parker

Repetition, a thematic heartbeat, pulses through my work. Rows of nails, uniform molded shapes, and a methodical pinching technique become the chorus, fostering connections and dialogues between each constituent part. This repetition is a meditation on the narcissism of small differences, where in the subtle nuances reveal truths about individuality and meaning.

@embullyy

Clay as archival material tells stories. I utilize the layered and complex history of clay as a place to unearth stories, particularly those that have been erased, distorted, or rewritten. I employ the familiarity and accessibility of ceramic objects to serve as an entry point and engage viewers for a closer examination to consider the layers of context. With adornment and obsessive detail, the objects convey a visual abundance. Through tactics of ornamentation and accumulation, the pieces strive to challenge the presumptive neutrality of material culture.

My work considers the extraction and production of tea, sugar, coffee, salt, and other goods, and systems to examine economies of control that constitute migration, occupation, commodification, and labor. With discursive content, the objects signify the monumental and mund ane, function and adornment, domestic and sacred across time and place. Lauren Sandler

laurensandlerstudio.com

@laurensandlerstudio

Yage Wang

Sometimes, a piece of pottery would appear in a painting: a plate in Matisse’s “the Red Studio” and another plate under a bite of bread in Picasso’s “the Blind Man’s Meal”; a vase in Hockney’s “My Parents” and another vase hidden behind a framed picture in Charles-Francis Marchal’s “Penelope”… This body of works stemmed from specific moments in art history where concrete and identifiable ceramic objects are translated into gestures, strokes, symbols and motifs.

I re-interpret historical artifacts to explore the role of traditional craft in contemporary culture. Using both digital technologies and traditional production techniques, I create trompe l’oeil details referencing the most assumed foWrmat of paintings: stretcher bars recreated in clay as foundational structures and canvas mimicked by thinly-rolled slabs to create forms. My final sculpture is not a replica of the original object, but a translation of the translation.

madebyyage.com

@sponsor_content

Still Life in ‘My Parents’ by David Hockney Porcelain, stoneware, underglaze and epoxy /13” x 9” x 8” /2023

I come from a long line of southern matriarchs whose deftly made quilts, clothes, and other crafts speak to both necessity and overflowing creativity. I am inspired by the sincerity present in each object my family has kept, the exuberant combination of kitsch, tradition, and experimentation. My work is simultaneously a celebration of my family’s legacy and an attempt to carve my own place within it.

In all of my work, there is a desire for unselfconscious joy. I celebrate the awkward process of “becoming,” a time full of possibility that exists between a flat idea and tactile reality.

Wells

Through the vessels and botanical sculptures I create, I seek my place within my lineage and the larger historic narrative of women working in the decorative arts. My practice gives me the space to question and subvert traditional feminine values, creating lasting ceramic monuments to curiosity, vibrance, and imperfection. Avery

avery-ceramics.com

@avery.ceramics

Hee Joo Yang

I am examining ways of understanding myself through objects by focusing on giving form to invisible embodiments of states like emotions, memories, and experiences. Exploring these unshaped things in my studio work allows me to give form to my accumulated experience over time. All of the work synthesizes and catalogs my relationship with myself through the objectification of invisible things.

I began to ask questions about the relationship between the object I made and me, and ways to express some phenomena such as the touch of clay, sound, and movement. This experience allows me to explore the circumstances surrounding me and ask: Where do I get inspiration from? What do I hear and feel? How do I process the memories of everything I have been through?

This work expresses fragile, organic, and flexible flows as objects. I want to be an artisan as I preserve the past, collective memory, and knowledge of doing, knowing, and making.

foundwork.art/artists/heejooyang.com @hee_heeu0u

Flow of Memory II

Stoneware /18” x 14.5” x 17” /2024

What is something specific you learned or developed at New Paltz that you've continued in your work?

This new body of work is actually a return to some of the technical research I was doing at SUNY even though the concepts I’m working with are completely different. I first developed methodologies for creating prototypes through digital fabrication there, using both the laser cutter to etch prototypes for making lithophane molds and creating slipcasting molds from CNC or 3D printed models. I have found a lot of opportunity working in the spaces between ceramics, sculpture, and digital fabrication, and that sort of interdisciplinary attitude towards research was instilled in me as a BFA student at New Paltz.

Take risks, test everything, the question is sweeter than the answer.

I learned about being in a community and what it means to be a good community member. I learned a lot of technical skills in my work that are the foundation to the more complicated research I’m doing now.

Working hard, doing things again and again until successful is rewarding.

I found what kind of art I wanted to show to myself and others. It developed and continues to this day through countless conversations and relationships with people I met at SUNY New Paltz.

“To keep digging one hole” always guided me through my practices. It’s easy for me to keep jumping around many things. But I always try to remember this advise to really explore something deeply and understand why it work or why it won’t work before expanding my explorations.

Working large scale, which is now almost exclusively what I do. It took a while, to get the building right and the firing right so that my failures became fewer, but now it seems to happen with relative ease.

Designing for production, such as considering manufacturing processes when designing an object and planning a system for creating multiples. I recognized my fascination for water and learned how it could provide content for creating patterns in tile, as well as content for the emotional/mental experience I wanted to create. I learned how to incorporate my experience with photography into multi-media displays as well as using it in computer aided design.

I have learned how to communicate with my peers, professors, and cohort in a way that is generative for the community at SUNY. It is so important to me that the friends and connections I have made here continue after I leave. I’ve been positively impacted by others around me and I am so thankful for that!

I developed a lexicon of visual language during my time at SUNY that has elevated my work in ways that wouldn’t have happened if not for being in this program.

I went to graduate school to learn how to speak about my work and understand how my practice fits into the field of contemporary art. Through that process, I ended up learning more about the practice and importance of intentional curiosity.

My work changed so drastically in grad school! New Paltz was the push I needed to start working in low-fire clay and pushing myself with color and surface. I still work in low-fire clay and have continued to play with majolica as a surface treatment.

The importance of mopping!

The expansiveness of the vessel as a way to explore a multitude of themes; personal, cultural, historic, political, economic etc.

Knowing what you know now, what would you tell your past student-self?

I was such a diligent and hard working student, if anything my past student-self needs to come give my current self a little nudge. But actually... I think I would tell baby me to have more confidence in your ideas/work/self. Confidence is everything, even if you need to be a little delusional!

Don’t talk yourself out of trying a new idea

Spend as much time in the studio as you can and work with conviction.

Take it day by day and just keep swimming.

I would definitely want to be kinder to myself. I think that being more confident in my decision-making earlier on in the program could have brought me towards my goals a bit quicker.

Explore, experiment, make and fail and make again. Don’t hold too tightly to the outcome of the work. Don’t follow trends or perceived expectations of what your work should be. Connect with the people around you, they may be your support, friends, and collaborators for many years to come.

Stay focused on developing your work and your community, even when things aren’t perfect. Study business, marketing and finance regardless of career goals! Reach out to people outside of your circles because being a student opens doors.

You have to do more crazy things!

Keep in touch with people. Since New Paltz, I’ve done a number of incredible residencies with serious artists. Those connections are vital to an artist.

Take the time to surround myself with loving and artistic people, to scroll less and say “yes”

If you were a ceramic material, what would you be, and why?

Spodumene; that’s the flux material given to me for my material class to make various glazes. I hardly use it for any of my recipes now but every time I sees it in a recipe I think of the time at New Paltz playing with these materials.

I want to be clay body itself. There are various changes in form and materiality, and I want to be that kind of person.

I would be a flux that joins all materials together.

I think I would be Manganese, it’s one of my favorites. It has such a fantastic ability to be so soft, but also utterly ominous and dark.

I think I would be lithium because I’m rare, expensive, and unpredictable.

Lithium Carb - few can afford

Orange and Red Iron Oxide because it’s such a powerful and rich colorant. It also represents the color of the clay I grew up with in Pennsylvania.

Mother of Pearl Lustre

Laterite - the dark red dress of materials

Borax - makes everything a little bit fun

Probably some kind of ball clay - little dirty, very useful.

Wood ash - simplicity, predictability, uncertainty and excitement of its transformation

Grog: gritty and recycled.

This publication was created in conjunction with the exhibition Multiple Landscapes at Coalition Theater, Richmond, VA, March 20-23, 2024.

With thanks to the following for their generous support in making this possible:

School of Fine & Performing Arts

Department of Art

SUNY New Paltz Foundation

Campus Auxiliary Services, Inc.

New Paltz Ceramic Co

Exhibition curated and organized by: Brianna McQuade, Laura Dortmans, Emily Parker

Catalog Design: Alyssa DiBartolo

newpaltz.edu/art/ceramics @newpaltzceramics

© 2024 State University of New York at New Paltz