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FLoCAS | 2009 Juried Exhibition

6 July–20 September 2009  |  FSU Museum of Fine Arts


© 2009 Florida Consortium of Art Schools www.flocas.org All artworks contained within this book are © the respective owner(s). No part of this book may be reproduced or used in any form by any means—graphic, electronic, or mechanical, including but not limited to photocopying, recording, taping, Web distribution, mental telepathy or laser cats—without the written permission of the publisher. Cover: 60 Watt Bulb by Samuel Kingsley Catalog designed by: Philrules.com


FLoCAS 2009 welcome to the 2009 exhibition catalog

The Florida Consortium of Art Schools (FLoCAS) is a collaboration

schools and a forum for objective feedback that one may not receive

between dedicated graduate students and educators at major Florida

in one’s own university setting. This process of exchange also in-

universities who work to create professional exhibitions, lectures,

cludes lecture and symposia, which can be extremely beneficial in

and symposia throughout the year. The participating programs are

enhancing each artist’s professional practices.

as follows: Florida State University, University of South Florida, and University of Florida.

A cross-sampling of he best graduate students from each university are involved in FLoCAS. Since it’s inception in September 2007, there

Much can be accomplished through collaboration. Each univer-

are more than 75 students and faculty who are dedicated to making

sity has access to different exhibition venues in their respective

FLoCAS a professional and nationally recognized organization.

cities, which provides and opportunity for many exhibitions between


Juror


Juror who made the final call?

The juror for FloCAS 2009 is noted essayist, critic, curator and educator Libby Lumpkin. Author of Deep Design: Nine Little Art Histories, holds such positions as Director, Las Vegas Art Museum; Assistant Professor of Art History in the Department of Art at the University of Nevada at Las Vegas; Assistant Curator of Donna Beam Fine Art Gallery; Contributing Editor to Art Issues and Founding Curator of the Bellagio Art Gallery.


List of Artists color-coded in ascending alphabetical order

Ananda Balingit-LeFils

Leah Floyd

Ariel Baron-Robbins

Matthew Gordon

Charles Benton

Lauren Alyssa Howard

Sheila Bishop

Hunter Jonakin

Michelle McKnight Davis

Anna Kell

Robb Fladry

Samuel Kingsley

Amy Fleming

Jacob Christopher Kubisz


Joshuan Caine Kubisz

Scott Robinson

Patrick Le Mieux

Kristin Schimik

Bruce Monroe

Daniel Tankersley

Ellen Mueller

Carmen Tiffany

Jill Mullins

Robin Venable

Chris Otten

Antonia Webb

James Reiman

Mark Zimmerman


The Family gouache on paper

This current series of gouache paintings is an exploration of

ity associated with children’s portraiture. These works take their

the posed child’s portrait. I am interested in the dichotomy of the

inspiration from the flat and decorative elements of paintings by

outwardly endearing face of a child and the complex emotions that

19th century itinerant painters, as well as the posed awkwardness

are within every individual. The static, patterned clothing, and the

of current-day yearbook photographs. The result is images that are

graphic contour lines of the face temper the inherent sentimental-

delicately sweet, and at the same time, unsettling.

Ananda Balingit-LeFils


Night Bus Rider mixed media on canvas | 18" x 36" | 2008

When alone, I am more apt to play and thus to engage in the process

produce non-objective, abstracted drawings, which are drawn from

of making art. I seek to exhibit this process, transferring it from the

daily experience (work, driving, students, etc.) but are loose enough

private to the public realm. I cannot remember a time in my life when

to embody much more than a single reading. I combine these draw-

I did not draw. It is the core of my art, not only in the physical act of

ings, transform them in the studio and take photographs of them. I

drawing but also the mental process it visually disseminates. Drawing

work within different media because the fluidity of my concept, to

extracts non-verbal thoughts from my mind and throws them out into

show movement through time, can be expressed through many

physical space. In my paintings and drawings, I practice automatic

different formats.

drawing, “blind� drawing and other intuitive drawing methods. These

Ariel Baron-Robbins


Untitled (Portrait) photograph

My photographs are made with the intention of investigating photography—the medium, its practice and its reception—through the disassembly and examination of its constituent parts.

Charles Benton


Charles Benton


Untitled (Cut) photograph


Bishop Bishop Finishes Saving You from the Same Old video

Bishop Bishop had an epiphany, complete with blinding lights and

cided to focus some of her (e)missionary work spreading The Good

angels singing. At least, that is how she tells it. She saw people at art

(and Not So Good) Words on the art world by subjecting, I mean

galleries, film festivals, cabarets and other artsy events searching

treating them, to some of her Vermons (video+sermon=Vermon).

for something. On the off chance that they were searching for the

With that in mind, she is Saving you from the same old same old.

(debatable) spiritual sustenance she has to offer, Bishop Bishop de-

Sheila Bishop


Fallon painting

The portrait of Fallon, is one of a series of portraits that reference

provides her with a semblance of identity by way of her name, which

advertising cards from Las Vegas. The cards advertise prostitutes, a

is the title of each piece. She seems to be reaching for an authentic

profession where a woman becomes a commodity and her identity,

self in an inauthentic world and it consumes her. Within the tragedy

as she knows it, is at risk. In my paintings the face, which is the vi-

of each woman’s life she clings to the air of the dream.

sual point of identity, is skewed and obscured. Semantics, however,

Michelle McKnight Davis


In Exchange For Money video | 00:03:51.0 run-time | 2008

In Exchange For Money reflects the idealism of how Hollywood

work revolves around the idea of the remix and popular culture. I

depicts the prostitute. Using footage from both Pretty Woman and

believe that anything I have to say already exist in a tangible form. I

American Psycho exemplifies the highs and lows of how we see this

am currently investigating how we consume and process the media

profession. The stark contrast between the scenes is indicative of

presented in regards to gender, sexuality, economics, government

how the prostitute is both the princess and the victim.

and religion.

Robb Fladry

My current


Smoking, Drinking book

This book is a little collection of some of my favorite vices. The idea

My work is about discards, junk, salvage items—things that have lost

came from looking at a lot of artist’s books, and finding that many of

their luster and have been tossed out. In Smoking, Drinking, I have

them embody a kind of preciousness. I wanted to make a book that

brought together elements of the junk yard with some of the finer

was the Anti-Precious; a celebration of things that are bad for you.

things in life—vodka, cigar tobacco, and Krispy Kreme.

Amy Fleming


#1 (from Conversation Pieces) wood, screws | 33" x 42" x 18" | 2009

Dealing with issues of social interaction and the transmission of

collaborating with local artisans and producing structural furniture

knowledge, Leah Floyd’s work hinges on different structures of

whose design suggests interaction.

exchange. Currently she is focusing on the specific relationship of

ferent strategies used to highlight performance work done outside

the master and apprentice found within the traditional structures of

traditional art spaces, questions the function of the institutionalized

craft.

gallery space, comments on economies of exchange/production,

This process of learning a trade under skilled craft practitio-

ners is something that she has incorporated into her art practice by

Leah Floyd

Her practice addresses dif-

and considers the value of a romanticized agrarian craft culture.


When Conall First Rode drawing

At some point all living creatures make the decision to let go of their fears and inhibitions in order to transcend. As the most elegant flower strives through desolate conditions to grow, so does a mother lion fight to the death for her young. This work focuses on the times at which a living thing decides it is necessary to transform itself into something larger for a higher purpose.

Matthew Gordon


Portrait of an Icon polyresin, upholstery, frame | dimensions vary | 2009

I use deconstructed memories of rural lower class as a vehicle

furniture indicative of lower class homes in the 1970’s and 1980’s

for stimulation through texture, color, and investigation in order

into non-traditional places, allows for a break up of the space and

to comment on the gender roles of the “Southerner.” By placing

an interruption of the viewer’s notions of reality and memory. At the

objects of the grotesque next to or inside small, decorated spaces,

same time, through the use of symbols like deer and sheep; mascu-

a discomforting tension is created that I explore through the use

line and feminine become ambiguous as humans interact with and

of drawing, painting, and sculpture. Placing upholstery, carpet, and

morph into animals.

Lauren Alyssa Howard


Go Home Now!: Topographic Map ink jet print on paper | 48" x 48" | 2008

I use imagery of geologic events as a metaphor for psychological

studies for drawings as well as topographic maps and mono-prints.

trauma. The geologic events do not exist in reality but are instead

I liken the scars of the earth to scars of the psyche, in that they

created with 3-D modeling software on a computer. I then use the

are ever-changing and eroding due to the passing of time and the

output and still renders from this program in order to produce light

defects of human memory.

Hunter Jonakin


Red on Blue Hothouse mattress painting

This piece is one from a series of mattress-paintings that attempts

mediating or limiting our natural, human experiences. Through the

to expose “the natural� as a social construction in a culture that

application of paint, the once unassuming mattress surface is forged

rewards standardization and homogenization. I chose to focus

into the silhouette of a greenhouse, asking viewers to think about the

on the mattress as an example of a highly commonplace object

relationship between the two forms.

that, while decorated with natural forms, actually has the effect of

Anna Kell


60 Watt Bulb photograph

I am a Tinkerer, an Amateur Sorcerer, and a Pseudo-scientist.

incandescent light bulb as well as the exact moment the light bulb

Through my work I explore the possibilities of the existence of

releases its life force. Once I have obtained enough data, I plan on

magic hidden within science’s technology. An existence invisible to

harvesting this raw energy to power my large constructs of sensory

the naked eye but revealed at the instant of the machine’s failure.

enhancement.

Within this series of experiments, I have captured the mortality of the

Samuel Kingsley


Surfer Trap sculpture

Refusing to acclimate to our environment, we attempt to control our

and nature reserves are fast becoming the final frontier for some

surroundings. I’m inspired by an animal’s ability to peacefully coexist

species. I commend, but do not presume to facilitate the valiant,

with nature. A delicate balance in this give-and-take relationship is

yet futile efforts of the conservationists. My sculptures are poignant,

the wall that stands between survival and extinction. Modern con-

but often satirical, reflections of life’s fragility and of the implacable

venience has replaced our dependency on our habitat. Parks and

struggle to survive.

zoological gardens offer us a synthetic fix for our intrinsic curiosity

Jacob Christopher Kubisz


Prototype plaster life casts | 72" x 60" x 4.5"

Our naivety predisposes us to the media and allows commercial

every deficiency, there seems to be a simple remedy and the chance

advertising to propagate our suspicions. The fragile defense of our

of tragedy, no matter how significant, isn’t enough to concern us. In

mental stability is plagued with irrational paranoia. Our desire to be

this particular work, I deal with the absurdity of the ideal image that is

perfect is fueled by our desire to improve; it is in our nature. The

marketed to the public, the idea of cloning, and the commodification

perspicacious acceptance of our own uniqueness is subjugated by

of our bodies.

the media’s ability to penetrate the barriers of our own self-worth. For

Joshua Caine Kubisz


Red Andy Warhol Crash Infinite Times mixed media interactive installation | 36" x 18" x 18" | 2008

Red Andy Warhol Crash Infinite Times (2008) depicts the artist driving

canvas tallies Warhol’s progress, functioning as a large scoreboard

a crashed car from Orange Car Crash Fourteen Times (1963). This

which reflects it’s opposite. By sequencing Warhol’s series of red

crashed car has been modified into an automatic screen-printing

self portraits in time, the artist appears constantly electrocuted as

device, constantly tracking trace elements of the fourteen car

the crashed car bumps along. How long must one play before the

crashes around one of the two monochromatic canvases. The other

death drive is satisfied?

Patrick Le Mieux


HIV

collagraph on laminated Nishinouchi paper with Screenprint on Stonehenge | 39" x 29" x 3" | 2008

Most of my current work represents my exploration of the AIDS

More importantly, I want to create work that pulls back the curtain

virus, its pathology, and how homoeroticism can be related to it.

on risky practices that are contributing to the rise in HIV rates in gay

I am fascinated with the seductive beauty of the viral structure,

men today.

knowing that it causes disease and death by violating the very

fantasies, and fetishes within gay sexuality, perhaps as a rejection of

DNA of the body. I present the virus as a beautiful object in un-

today’s fear of gay assimilation in the larger culture. Eventually, these

expected compositions, often erotic and sometimes humorous.

may be intertwined with the AIDS imagery to explore the physical,

I hope my work will begin to draw new attention to a disease

social, and financial consequences of flirtation with the virus.

that has grown stale in the media and the minds of gay youth.

Bruce Monroe

Much of my other work celebrates many of the desires,


The System Triptych and Illustrated Manual digital prints and paperback book | 11" x 17" (each) and 6.88" x 4.25" | 2009

Recently, I have focused on humans relating to each other through

can relate. Exposing these relationships is an underlying goal of

the shared experience of passing time. Noticeably, some individu-

my works.

als have a distinct struggle with the passage of time. Their struggle

determined to maintain control of her life. She has developed The

seems to stem from a resistance to change, and a grasping for

System, a new approach to time traveling, and attempts to share it

control. These are two very human qualities to which most viewers

through a live infomercial.

Ellen Mueller

This work follows Valerie Hartman, a character who is


Ellen Mueller


Commercials for The System video | 00:01:19.0 | 2008


Landscape sculpture

My art is centered on my understanding of the complex relationship

centricism that has led us to become the species most capable of

between nature and human culture. I use my art practice to explore

altering the world and the most conscious of that ability. In my work,

contemporary and historical aspects of what I see as an oppressive

this need for justification has led me to question the uniqueness of

relationship between humanity and the natural world. I am interested

our role on this planet. Through this I seek to bring attention to the

in creating little worlds that mimic the oppressive aspects of our

fact that, at the bottom of it all, we are just another species living on

world. I need to justify human existence to the historical anthropo-

this planet.

Jill Mullins


Cotton Bales: Jackson County, OK archival ink jet print | 12" x 32" | 2008

My work explores the relationship of quotidian objects to each

for its aesthetic values, or environmental concerns. Often there is

other and the vast spaces of the American landscape. Through my

a tension between the nostalgia and the possible consequences of

photographs I explore the ways in which Americans are using the

using the land for personal or public disposal yards. Since our desire

cherished landscape of the American Southwest as waste sites. The

for consumable goods seems to be ever increasing, one wonders

viewer can interpret the body of work from different perspectives;

how this will impact the land for future generations.

Chris Otten


Chris Otten


Scrap Yard: Jackson County, OK archival ink jet print | 12" x 32" | 2008


Sometimes I Flex So Hard I Pee a Little archival ink jet print | 34" x 40" | 2008

Sometimes I Flex so Hard I Pee a Little is from a series called

Muscle

resentations

Bound, of

“strong

explores man”

my

interest

archetype.

in

rep-

as professional sports, action movies, and competitive body building, just to name a few.

By photographing men with physiques

He-man

that would be considered by contemporary American standards

action figures from my childhood, comic book superheroes I read about

to be less than ideal and isolating small portions of their bodies,

as an adolescent, and movie characters such as Hercules, Rambo and

de-constructing them in a sense, I digitally put them back together

Tarzan that I have watched throughout my life all epitomize “ideal”

again and make them fit the mold - in this case, with an iconic profes-

men as imagined through core American values. Strength, power,

sional bodybuilder as my blueprint. The figure has been measured

and the ability to become a “self-made” man are all inherently part

and shaped to perfection worthy of Mr. Olympia, yet the surface

of these heroic characters. The value of a strong built body has

reveals flawed individuality and shortcoming when compared to the

become a collective desire through contemporary institutions such

unattainable “standard.”

James Reiman

the

which


Rocket Garden archival ink jet print | 34" x 40" | 2008

Rockets propped up like stiff corpses echo the ancient Greek sentiment that in the time of gods, men were stronger and more virtuous. In the rocket garden, the corrosive power of nature tames fire-breathing giants. Rust bubbles beneath fresh paint like a skin disease. Scratched-in graffiti makes a powerful engine into a toothless, clawless, spiritless bear in a small cage. Saturn, Mercury, Gemini, and Jupiter are mythical once again.

Scott Robinson


Drifting

vitreous black clay with slag inclusions from mining waste, metallic oxides, porcelain, glaze, enamel | 10" x 20" x 2� | 2008

My work is constructed from a black-firing clay with a high metal content, and also contains slag, a metallic-glass waste product from the mining industry, that is embedded into the surface. These materials are similar to the primordial materials found within meteors and deep beneath the Earth’s crust. Dense and heavy objects float in space, with the universe itself shifting and drifting, expanding outward.

Kristin Schimik


Lindsey Lohan Drugs mixed media

Lindsey Lohan Drugs is an animated portrait highlighting the distributed location of the body in electronic media. It stems from an ongoing collaboration between a human artist and automated SPAM bots. The work challenges notions of authorship, viewership, and the individual.

Daniel Tankersley


If You Can’t Save Me, At Least Give Me Candy ceramic and mixed media | 16" x 96" x 36” | 2008

Winners always lose, and losers always die. I replicate toy-like

adulthood. Playthings and media fully support modern ideology

objects out of ceramic and mixed media, in which I use caliginous

that a child needs special objects for play and that their existence

plots to exaggerate my experience as a member of the underclass

is lucid and imaginative. Separating childhood and adulthood also

where I grew up in the rural American west. The figurative toys, often

suggests that a child’s tolerance and understanding of reality are

anthropomorphic doll-like objects, are accompanied by would-be ac-

not developed. My inquiries are driven by the antagonistic parallel

cessories that suggest an obscure toy store environment. Through

between the societal nature of toys and the primal play their design

the use of poorly crafted multiples to convey ideas of collection, I

is meant to provoke.

emphasize the value of quantity over quality that is embedded in

my cultural experiences. Working with personal subject matter al-

American culture.

lows rawness true to the nature of the work. Beauty is often polished

The cultural construction of American (and

similarly Victorian) childhood now is intrinsically separate from

Carmen Tiffany

I feel my role is to visually record and critique

rot. Polishing that rot is what motivates me.


A Break-Up mixed media

In the wake of the vacuum created by postmodernism, there is a

take full form. Similar to the decorations in a precious reliquary, the

hunger for spiritual renaissance. Human souls crave inclusion rather

portals of a cathedral, or an illuminated manuscript, the patterns

than exclusion, so I seduce the viewers with texture and intimate

point to our attempt to make sense of life’s complexity. Dark and

scale in the hopes of recreating my own religious revelations for

light battle over the souls of the figures as the figures become more

them.

integrated into their rich and complex spiritual history.

I place figures in ornate patterns from another time. Almost

lost in the complicated surfaces, the figures work to emerge and

Robin Venable


Satin Longoria painting

Being a perfectionist can be advantageous to art making, but it can

its place on the canvas, where I hope it stays. As I paint, I pursue

also make one go slightly nuts. I channel my nervous energy into

beauty, and illuminate the struggle between imminent decay and

painting. By manipulating the painted figure, I exorcize the urge to

constancy. I am interested in the line between cultivation of beauty

control my own body. The dormant compulsion to deprive myself ba-

and the self-destructive obsession with an impossible ideal.

sic pleasures in pursuit of an impossible ideal seems to have taken

Antonia Webb


Radcliffe, KY photograph

Cemeteries have continued to fight a losing battle for more land.

other ways to mark the life of a person.

Where will we be buried when the cemeteries are full and burial

in life only reside within our memory, the moments of loss create a

becomes nothing but lost existence? Memorials will continue to

disconnect that is difficult to ignore and will last in our memory for as

exist but on a different level. Our culture will begin to realize that the

long as we remember.

tradition of burial is coming to a halt and our society will have to find

Mark Zimmerman

The moments we have


Artist Biographies you met the work, now meet the artists

Ananda Balingit-LeFils

Charles Benton

Ananda Balingit-LeFils is currently a Master of Fine Arts candidate

Charles Benton received his Psychology BA in 2005 at the University

at Florida State University. She graduated Phi Theta Kappa with an

of Central Florida where he also completed some MFA coursework.

Associate in Arts degree in studio art from Florida School of the Arts

He began the MFA program at the University of Florida in 2007.

(FloArts) and Summa Cum Laude with a Bachelor of Fine Arts in studio art from FSU. Some of her awards include the Outstanding Student in Visual Arts Award from FloArts, the Painting Faculty Award from FSU and the prestigious University Fellowship Award from FSU. When not in the studio, Ananda spends her time solving crossword puzzles, procrastinating and playing with her daughter, Olivia.

Sheila Bishop Born in Gainesville, Florida, Sheila Bishop received her B.A. in Humanities from New College of Florida in 1995. After four years in San Francisco, she returned to the land of sweet iced tea and thunderstorms because she thought the South would best feed her

Ariel Baron-Robbins

creative inclinations. Since moving back, she has created, produced and publicized hundreds of events including cabarets, plays, fundrais-

Ariel Baron-Robbins is an emerging artist currently living in Tampa,

ers and lectures. She is pursuing an MFA in Digital Media Art at the

Florida. In her career as an artist she has had five solo exhibitions

University of Florida. She currently serves as chief do girl for Bishop

of her paintings and drawings and been involved in numerous group

Bishop’s mission to save the whole wide world and little old you.

exhibitions. She is currently showing with the collective [5]art in their West Tampa gallery. She is pursuing her Masters of Fine Arts at the University of South Florida where she also teaches drawing and is an exhibiting artist. She is formerly the President of USF’s Master of Fine Arts Organization and has received a scholarship from the Las Damas Des Artes group.


Michelle McKnight Davis

Amy Fleming

I was born in Austin, Texas under my mother’s easel and I have

Amy Fleming received her BFA from Old Dominion University and

always known that creating marks was just life. In fact so many

is currently an MFA candidate at Florida State University. She grew

people in my family make some form of art that is surprising that I

up in a rural part of Tidewater, Virginia, where automotive salvage

became serious about it later in life rather than earlier. Once I real-

yards were a common part of the landscape. As a result, these junk

ized this was my chosen profession I proceeded as fast as I could, I

yards have found their way into her work. Fleming has a continuing

got my BFA from the University of Alabama, in Tuscaloosa in 2003

interest in things that are decayed, broken, and have been tossed

and an M.Ed in 2005. I am now approaching my third year in the MFA

into the refuse heap.

program at Florida State University.

Robb Fladry

Leah Floyd Leah Floyd received her BA in English from Stetson University, she

Robb Fladry is a digital video and sound artist exploring pop cul-

then moved to Argentina to teach English as a second language

ture and digital technologies. He holds a BFA in Studio Arts from

to business professionals. She returned to the US to attend the

Austin Peay State University, and a MA in Theatre from the same

University of Florida and is currently living in Gainesville as an MFA

institution. He is nationally and internationally known for his video

candidate in Creative Photography. Magnetically drawn to South

installations and live video performances. He has exhibited works

America, Leah plans on living abroad again after graduation.

the Frist Center for the Visual Arts in Nashville, the BEA Festival for Media Arts in Las Vegas, Electronic Language International Festival FILE: Rio de Janeiro 2009 and FILE: SĂĽo Paulo 2008. Fladry enjoys the music of Billy Idol, Billy Joel and Billy Ocean among others.


Matthew Gordon

Hunter Jonakin

Matthew Gordon, originally from Vicksburg, Mississippi, received

I was born and raised in North Alabama where I lived for twenty-

his BFA in Sculpture from the University of Southern Mississippi and

three years. I then moved to Minneapolis, Minnesota where I spent

his MFA from Florida State University.

thirteen years in a partially frozen state. I received my BFA in Fine Art from the University of Minnesota in 2007. I am currently an MFA

In his undergraduate studies, Matthew worked in wood, steel, cast

candidate at Florida State and will graduate in 2011.

iron, ceramics and mixed media sculpture. After coming to Florida State, he realized that Art is a language in which artists should be fluent in more than one They also need to be flexible to heed the calling of whatever medium their ideas warrant.

Anna Kell Anna Kell grew up in Columbus, Indiana. Anna attended Saturday art classes at Herron School of Art throughout high school and began

Lauren Alyssa Howard

her college career at Miami University in 2001. At Miami, Kell was awarded the Robert Wolfe Scholarship for excellence in printmak-

Lauren Alyssa Howard was born and raised in a small town in

ing and a U.S Summer Scholars award, among other honors. After

Southeastern Alabama. After moving to the Metro-Atlanta area in

graduating with a Bachelor of Fine Arts in painting and printmaking,

1996, she attended the University of Georgia where she received

Kell worked as a substitute teacher, part-time gardener, and t-shirt

her Bachelors of Fine Arts with an emphasis in Drawing. She cur-

designer. In 2006 she was awarded an Alumni Fellowship at the

rently resides in Tampa, Florida after having received her Masters of

University of Florida to pursue her Master of Fine Arts in painting.

Fine Arts degree. Her current work reflects growing up in Southern Alabama via investigations through texture, color, and form. Drawing from her rural upbringing, Howard uses references from a particular lower-middle working class history to address identity, gender, and place.


Samuel Kingsley

Joshuan Caine Kubisz

Samuel is entering his third and final year as an MFA candidate in

Joshua Caine Kubisz was born in Hinsdale, Illinois in 1977. He re-

photography at the University of Florida. He received his BFA in two-

ceived his BFA (2007) in Sculpture from Indiana University. In 2008,

dimensional studies in 2006 at the Bowling Green State University in

he was awarded a Graduate Assistantship with the University of

Bowling Green, Ohio. This will be Samuel’s second annual showing

Florida. He currently lives in Gainesville, Florida where he is a MFA

in the Florida Consortium of Art Schools.

candidate in the Sculpture Department. Kubisz’s work examines the ways in which the media’s ideology shapes our understanding of knowledge, and the natural world. He creates work that questions

Jacob Christopher Kubisz

the distinctions between rational actions and irrational influences.

Jacob Christopher Kubisz was born an identical twin in Hinsdale, IL, in 1977. Kubisz graduated with honors and received a BFA in sculpture at Indiana University, Bloomington, in 2007. IU exhibitions

Patrick Le Mieux

include the 2007 Buffet Show, 2007 BFA Thesis Group Show, 2006

Patrick LeMieux is an MFA candidate in Digital Media Arts at the

Buffet Show, and 2006 Satellite Show. His sculpture “Don Lawn

University of Florida. His work features custom video games which

Flamingo”, a world record sized 15’ pink fiberglass replica of Don

explore concepts of mark-making, viewer agency, subjectivity, and

Featherstone’s iconic lawn ornament is on public display in Bloom-

gameplay as critical entryways into the history, production, and in-

ington, IN at Arlington Park Apartments. He received the University

terpretation of art. Modeled after the juxtaposition of Ad Reinhardt’s

of Florida’s Alumni Graduate Fellowship Award in 2008 and 2009.

stark, black monochromes and wry, pedagogical comics, the video games stage imaginary confrontations between the figures of seminal artists within the landscape of their minimal works—interaction signifying interpretation.


Bruce Monroe

Jill Mullins

Bruce Monroe was born in Roswell, New Mexico and grew up in

Jill Mullins was born and raised in Nashville, TN. She is currently

Texas, where he received a Bachelor of Science degree in Zool-

seeking her MFA in Photography at the University of Florida, Gaines-

ogy from Texas A&M University. After a twenty-year career as a

ville. She received her BFA in Photography from Watkins College of

fundraiser, Bruce decided to pursue a Masters in Fine Arts degree

Art and Design in Nashville, TN in 2006. Her art work expresses her

from the University of South Florida. His work has been seen in the

deep love of nature and earnest need to change the perception of

“Poseurs” group show at the William and Nancy Oliver Gallery in

nature in our society as something to be dominated and exploited.

Tampa, Florida and is included in the permanent collection of the Brookhaven College School of the Arts in Dallas, Texas.

Chris Otten Ellen Mueller

Chris Otten was born in Altus, OK. In 2007 he received a BFA in Photographic Arts from the University of Central Oklahoma. Cur-

Ellen Mueller was raised in Fargo, ND and currently lives and works

rently, he resides in Tampa, Florida where he is working on his MFA

in Tampa, FL. Recent exhibitions include “Old School” at UPPER-

at the University of South Florida. His work has been included in ex-

CASE Gallery in Alberta, Canada, and “Complete with Illustrated

hibitions at the University of Central Oklahoma’s Donna Nigh Gallery

Manual,” at the William and Nancy Oliver Gallery, Tampa, Florida.

(Edmond, OK), Oklahoma City Science Museum, and the Florida

She received a BA in Theatre and Art, and a BS in Design Technol-

Consortium of Art Schools 2008 Traveling Exhibition (UF, FSU,

ogy from Bemidji State University. She is currently pursuing her

USF). His work is included in the University of Central Oklahoma’s

MFA in Studio Art at University of South Florida. Her work includes

Mass Communications Department as a permanent collection.

performance art, drawing, installation, and video.


James Reiman

Kristin Schimik

James Reiman’s work investigates the origins and manifestations of

Schimik earned a BFA in Sculpture, with Honors from Northern

gender through individual identities. Through this lens, Reiman has

Michigan University in 2000. She has been awarded residencies

focused his work on the foundations of masculinity though his work.

by the Archie Bray Foundation for the Ceramic Arts in Montana, the

Reiman is interested in how men identify with other men in order

Holter Museum of Art in Montana, Umdang Ceramics in Thailand,

to shape and define their personal and cultural identities. Reiman

and was the Artist-in-Residence in Spatial Art at San Jose State

was born in Wenatchee, Washington in 1979. He received his BFA

University in California in 2007. Schimik is the recipient of an Alumni

in Photography with a minor in Art History from Central Washington

Graduate Fellowship Award from the University of Florida and will

University in 2005. He received his MFA in May of 2009 from the

graduate with an MFA in Ceramic Sculpture in 2010.

University of South Florida.

Scott Robinson

Daniel Tankersley Daniel Tankersley is a digital media artist at University of Florida

Scott Robinson was born in Valdosta, Georgia on September

whose multimedia practice questions the construction of identity,

3, 1982 and was raised in Adel, Georgia. Early in life, his uncle,

place, information, reality, and language. He teaches time-based

who worked for NASA and his two grandparents who taught art at

media and digital imaging.

a local high school, were major influences. He graduated with a BFA from Valdosta State University in 2006. His topics of interest include mythology, nostalgia, and the absurd. Scott has a teaching assistantship at the University of Florida and will be entering his third and final year of graduate school in the fall of 2009, pursuing an MFA in painting.


Carmen Tiffany

Antonia Webb

Born and raised in Wyoming, Carmen has since resided in Minne-

Antonia Webb was born in Tallahassee, Florida in 1982 into a large

sota, Oregon and Florida. Carmen completed her BFA at Minnesota

Catholic family. She graduated with her BA from the School of the Art

State University in 2005 with emphasis in ceramics.She is currently

Institute of Chicago in 2006. After a short stint as a middle school art

working on her MFA from the University of South Florida and antici-

teacher in central Florida, she came back to Tallahassee to attend

pates graduation in May 2010.

Florida State University, where she resides with her husband and three cats.

Robin Venable I am originally from Nashville, TN, with short stints in Jefferson City,

Mark Zimmerman

TN and Tallahassee, FL. One of the earliest examples of my artistic

Mark S. Zimmerman was born in Louisville, KY in 1982 where he

leanings is a picture that my mom took of me in Sunday School - 4

continued to reside until moving to Savannah, GA to work towards

years old, red paint, paintbrush in hand, white smock over a Sunday

his Bachelors of Fine Arts in photography, which he received in 2004

dress, and a huge smile on my face. I love medieval manuscripts,

from the Savannah College of Art and Design. After his graduation

transparency, and ornate designs. I also love Nutella, Madeleine

Mark moved back to Louisville, KY where he worked as a photog-

L’Engle, and Eternal Sunshine.

rapher until he decided to pursue a Masters of Fine Arts degree in photography at the University of Florida. Mark is entering his third year and anticipates a graduation of Spring 2010.



2009 FloCAS Exhibition Catalog