MFA in Visual Art Class of Summer 2021 Graduate Catalog

MFA in Visual Art Summer 2021

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Vermont College of Fine Arts MFA in Visual Art Class of Summer 2021 Introduction by Eshrat Erfanian, Faculty ................. 6 - 7 Anna Crow ............................................................................. 8 - 17 Brian Divis ............................................................................ 18 - 29 Feral Fagiola ...................................................................... 30 - 41 Matthew Gernt ................................................................ 42 - 49 Julie Krishnaswami ........................................................ 50 - 61 Anna Mastropolo .............................................................. 62 - 71 Benjamin Metzger ........................................................... 72 - 79 Jess Pope ............................................................................ 80 - 91 Erin Snyder ...................................................................... 92 - 103 Maria Trujillo ................................................................... 104 - 115 Emily Warren .................................................................. 116 - 127

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This is precisely the time When artists go to work.

There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal.

Tony Morrison

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This hopeful and encouraging quote on the making of art as a process of healing in all civilizations, is from Tony Morrison.

Her strong words could reflect our graduating students who studied hard in the face of the Pandemic. They did not give up on making art; and now, in the cautious and hopeful time of Summer 2021, they are graduating. Bravo! for their perseverance, and their recognition of the power of artmaking as a process of putting the broken pieces back together and moving on.

If 2020 was the year of the Global Pandemic, then 2021 is the time to be cautiously hopeful. Our graduating cohort have made art that reflects on their lives and experiences, as a microcosm of the larger society. Their art engages with several contemporary issues which, as a community of artists, makers, and thinkers, they have experienced in this year of global lock-down: their work is concerned with migration, environment, race, queer female poverty and labor; politicization of the female body; and their sexuality.

Several have used materials that carry memories in their texture and physicality, bringing the past and present together, and reflecting on the experiential quality of time: time, that like the pandemic, does not discriminate against race, gender or nationality. Our community of artists at VCFA has gone through the good and the bad times together; and now--more than ever--with each graduating class, our community is reminded that art is part of our shared humanity. In closing, I am reminded of the words of the Palestinian poet, Mahmoud Darwish: “Sowing hope is what we do."

Eshrat Erfanian, MFA in Visual Art Faculty

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ANNA CROW 8

I am a rural artist who lives in southeast Montana.

Currently I have created a series of mixed-media works entitled “Coping with COVID.” In this body of work, I use canvas panels as well as stretched canvas, acrylic paint, photographs, a letter written by my father in 1919, cartoons, face masks, life-sized three-dimensional cardboard faces, and material from obituaries to express the terror as people who live around me become infected and die. I also address the isolation of living over a year in quarantine, the sadness of not being able to say good-bye to friends and family members, and the languishing that results from the uncertainty of not knowing when there will be some semblance of normalcy. In addition, this body of work demonstrates some of the coping skills used to deal with this macabre way of life that now engulfs our world. I have utilized masks and photos from many cultures to demonstrate that this is a pandemic situation, and the whole world is in pain.

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pg 10-13 Untitled, 2021 pg 14, top March - May 2020, 2021 pg 14, bottom June - August 2020, 2021 pg 15, top September - November 2020, 2021 pg 15, bottom December 2020 - February 2021, 2021 pg 17, bottom Untitled, 2021

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Anna Crow is a 71 year old artist from southeast Montana who loves being a rural artist. She is the art instructor at Chief Dull Knife College as well as a studio artist. She currently works in photography, paint, and mixed media in a variety of styles.

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BRIAN

DIVIS 18

My practice is guided by the notion that acceptance of a perpetual fluctuation in our own cultural orientation, as well as that of others, is a crucial dynamic in achieving human empathy and understanding. An awareness of these dynamics in social consciousness, allows for genuine social experiences without prejudice.

My work strives to create a state of material ambiguity by complicating the relationship between sculptural surfaces and the traditions of painting and light. It questions the tactile perceptions and knowledge of the objects in our shared space and prompts the investigation of individual ideas of constructed reality and human interrelations. The material transformation in the work challenges us to engage empathetically with others by fostering an understanding of ourselves and the uncontrollable forces at play in the formation of our objective opinions, often leading to pernicious absolutes and stereotypes.

My material choices of fibrous textiles and metal powder are motivated by a rural midwestern background, which involved being situated between the profound influences of a loving matriarch, skilled in the craft of sewing and working with textiles; along-side a labor driven patriarch who built a career working at the local steel and wire mill.

Banal yarns and fibers, often associated with craft, are integrated with metal to question our conventional orientation to the materials and create a tactile reflective surface worthy of reverence. The gendered histories of the materials are reimagined and reborn into a fresh place of disorientation, presenting an opportunity for individual discovery through reacclimation and awareness. I intend for objects to emerge with a thick presence that raises a curiosity to revisit individual notions of socially constructed objective opinions and beliefs.

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pg 20-21 Untitled V, 2021

pg 26 Untitled IV, detail, 2021

pg 22 Shield (Of Unknown Origin), 2020

pg 27 Untitled II, 2021

pg 23 Shroud, 2020

pg 28, top Untitled I, 2021

pg 24 Get it Done Right, detail, 2020

pg 28, bottom Installation view, Graduate Exhibition @ Watershed Studioworks Gallery, Chicago

pg 25 Definitely Maybe Not (The Uprising), 2020

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Brian Divis is a Chicago area interdisciplinary artist and educator working primarily in painting, sculpture and mixed media. His work strives to create a state of material ambiguity by complicating the relationship between sculptural surfaces and the traditions of painting and light.

Brian has exhibited work in the greater Chicago area since 2000, including gallery representations at Artcetera Gallery, Grayslake IL. Gusfield Glimer Galleries, Northbrook. Josef Glimer Gallery, Chicago and Millennium Gallery, Libertyville IL. He has affiliated and exhibited with the Chicago Artists Coalition, Friends of the Arts and DIALOGUE Chicago.

Recent exhibitions included the 2021 Evanston & Vicinity Biennial curated by Alpha M. Burton, Dan Devening and Kate Pollasch, “IN DIALOGUE” at Governors State University curated by Sarah Krepp and “TOGETHER” virtual exhibition curated by Nadia Martinez in coordination with Now About Art and the Connecticut Office of the Arts. Brian holds a B.A. in Art from Eastern Illinois University, an M.Ed. from Loyola University Chicago and is currently an MFA candidate at Vermont College of Fine Arts.

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FERAL FAGIOLA 30

My sculptures, drawings, videos, performances, and sitespecific installations fantasize bodily possibilities through labor, ritual, and material. My studio practice engages industrial processes, objects, and debris in explorations of how these materials are fetishized and constructed into vehicles of libidinal transformation. Materials and objects are sensualized and charged with a questioning of how one’s body may serve as a departure point for an interrogation of power and desire. My research-based practice not only includes a critical exploration of how modes of production may inform the body with respect to desire and sexuality, but also how labor itself may inspire alternative economies of compliance or transgression.

I mesh and contort bodies with rigid structures in an effort to tease and push through their boundaries. I am interested in the implications of the physical and implied structures of power that affect our desires. Sliced, fragmented, and deformed, the body is erected into architectures that monumentalize these dissonant experiences. In other instances, the body is reduced and objectified into handheld fetish objects. Latex and silicone skins are stretched, pierced, and bound by steel beams and rigging hardware.

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pg 32-33 Heavy Petting Machine, 2019 pg 34 MACHINA projection, 2020 pg 35 MACHINA, 2020 pg 36 Lover on the Wall, 2019 pg 37 Blinks, 2019 pg 38 - 39 Brutal Lover, 2021 pg 40 Tread Lightly, 2020

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Feral Fagiola (all pronouns) is an interdisciplinary artist exploring desire, power, and fetish in their work. Feral’s practice engages industrial materials, processes, and spaces as refractions of physical and implied structures of power on the body. Their sculptural objects, installations, and performances fantasize bodily possibilities through erotic rituals and material transformations.

Their exhibitions include the Atlanta Beltline Exhibition, Studio C Gallery in Los Angeles, CA, Helmuth Projects in San Diego, CA, and the National Ornamental Metal Museum in Memphis, TN. Feral won the International Sculpture Center’s Outstanding Student Achievement in Contemporary Sculpture Award in 2020 and served on the Steering Committees for the 2017 & 2019 National Conferences on Contemporary Cast Iron Art & Practices. They are a contributing artist at Sculpture Trails Outdoor Museum in Solsberry, IN and Atlanta Metal Arts. Feral is currently an MFA candidate at Vermont College of Fine Arts and Artist in Residence at BLDG 15 Studios in the Henry Vogt Industrial Commons in Louisville, KY.

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MATTHEW

GERNT 42

As an artist, I am inspired by moving and still images, how they carry meaning and how they relate to various forms of narration. I often focus on themes of displacement, sensory aspects of life, and what it means to occupy space within a landscape.

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pg 44-48 Passage, video stills, 2021

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Matthew Gernt is an artist and educator based in Marseille, France. He works primarily in video, photography, and painting and has shown his work throughout the United States and France. His practice focuses on the quotidian aspects of life and narratives of place in relation to larger social, political, and historical issues concerning society.

Currently, Matthew is a member of Fuite Atelier, an artistrun space in Marseille.

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JULIE KRISHNASWAMI

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Office work; School work; Home work.

Bodies are shaped, contorted, and deformed by labor. My work focuses on the conditions of labor in everyday life and how those conditions impact the body. By interrogating my experiences as a woman, mother, lawyer, academic librarian, and medical patient with a chronic illness, I aim to unpack norms around work, and how labor structures physical time, expectations, habits, and routines. On the surface, it may appear that I am the subject of my work, but my work is not about me per se.

Instead, I use my body as a stand-in for the body of everyone who labors. In doing so, my goal is both to present this image to others for contemplation and to occupy my body’s intimate experience of the conditions of labor from a slightly distanced perspective. Addressing anyone who works—domestic or outside of the home, in whatever form —I aim to translate the affective experiences of work into consciousness.

Constrained and motivated by educational credentials and the collection of career “gold stars,” I’ve spent my whole life working towards or shirking forms of work. The residue of this search and the absurdity of the white- and pink-collar spaces that I am privileged to inhabit has left its trace on my body and my psyche. Drawing on the conditions in contemporary work spaces, including the classroom, academy, household, and medical office, among others, I spotlight collective pressures and sites of peril foreshadowing possibilities for protest, resistance, and humanity. Awareness surrounding the robotic assumptions and behaviors about one’s working conditions sparks contemplation, inquiry, and perhaps imagination.

I produce artist books, interventions, performances, works on paper, and textile/fiber-based materials. Drawing from social and legal history as well as critical theory, taking my inspiration from conceptual and feminist art practices, I use interdisciplinary research methods to frame my analysis. But I come to my work from the practice of law. The forms and dialects of my legal training organize my artistic practice resulting in subtly humorous but structural observations about contemporary conditions of labor.

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pg 52-53 A Body of Footnotes D2D Page, 2019 pg 54, top A Body of Footnotes Page, 2019 pg 54, top A Body of Footnotes Page, 2019 pg 55 Interruption List Paper, 2020 pg 56 Interruption Series, 2020 pg 57 Interruption Series, 2020 pg 58 The Prefix Dis-, and detail, 2020 pg 59, left Consuming Cosmetics Outfit, 2019

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pg 59, right Working Hands Booth, 2019 pg 59, bottom Working Hands Soft Book, 2019 pg 60 What Should I Wear, cover and page, 2019

Julie Graves Krishnaswami (b. 1976) holds a BA in history from Reed College, a JD from CUNY School of Law, and an MLIS from Pratt Institute and is completing her MFA in Visual Arts from Vermont College of Fine Arts (VCFA). Julie is licensed to practice law in New York, and she has published articles on legal research pedagogy and regulatory research. Currently, she is the Head of Research Instruction at Yale Law Schoolwhere her Advanced Legal Research courses are regularly oversubscribed.

Most recently, Julie has exhibited her work at the Ely Center of Contemporary Art in New Haven, CT, the Yards Collective in Rochester, NY, the National Collage Society (online), the Yale Divinity School in New Haven, CT, and the Turner Center for the Arts in Valdosta, GA. Juliezing.com Instagram: @juliezing

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ANNA

MASTROPOLO

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My work is inspired by the Pattern and Decoration Movement and Abstract Expressionism. By using patterned paper and textiles (often hand-knit) to create mixed media compositions, I am driven to celebrate femininity and further empower “women’s work” as deeply important.

Over this past year, I’ve begun to focus on costume and fashion; a toxic, yet cherished field for me. I have been brainwashed by the fashion industry my entire life regarding skeletal “hanger” models. I have worked very hard at becoming healthy and bodypositive and want to exhibit looks on models who surpass the model standard. I want to join the body-positivity movement, changing the dynamic of the fashion world. This semester for my thesis project, I am creating a high-fashion Alexander-McQueeninspired fashion line, using friends with vastly different body shapes and life histories, which I am weaving into the designs I chose for them. Unlike contemporary fashion designers whose work often creates anxiety and low self-esteem, I aim to create individually inspired designs to enhance a specific person’s natural beauty.

The contemporary artists that I feel my work is in conversation with are Mickalene Thomas, Lisa Anne Auerbach, Kehinde Wiley, Alexander McQueen, and Celia Pym. Thomas and Wiley create large -scale paintings featuring representational figures amidst colorful, patterned environments to speak about culture and decorative motifs. Auerbach and Pym create handmade fashions in a feminist way that critiques the fashion world and celebrates the handmade. I am drawn to Alexander McQueen’s experimental fashions, yet have always been inspired by Stella McCartney as well.

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Anna Mastropolo is a textile artist, jewelry designer, and gouache/ mixed media painter. She creates hand-sewn and embroidered wearables, jewelry, and large-scale gouache paintings with patterned papers and textiles. She uses hand-knit pieces in her works and paints abstract and portrait compositions. She also creates video work and her concepts revolve around social justice.

She is inspired by the Pattern and Decoration Movement, Mickalene Thomas, Kehinde Wiley, Lisa Anne Auerbach, Celia Pym, Versace, Stella McCartney, and Alexander McQueen, to name a few. She has shown her work in many gallery exhibitions, breweries, and craft fairs. She attended RISD, University of Hartford, and VCFA, receiving her Bachelor’s in Painting from University of Hartford and Masters in Fine Arts from VCFA. She has been awarded winner of the Collinsville Chalk Walk, a Painting award from Tunxis Community College, and winner of a painting competition at the Westfield Art Walk. She teaches art in New Haven, CT. at a K-8 school and has been in the teaching field for over five years. She taught at the Sustainable Farm School in West Hartford, Pulaski Middle School in New Britain, and currently at Augusta Lewis Troup School in New Haven.

pg 64 Beineke, 2021 pg 65 The King, 2021 pg 66 Kota Banks, 2021 pg 67 Dark Queen, 2021 pg 68 Rainbow Warrior, 2021 pg 69 Winged Queen, 2021

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BENJAMIN

METZGER 72

I continue to seek balance at a point between the extremes of craft and design.

I am a maker, I craft with my hands but I use my entire body in my works. Drawing resolve to make from the generations of craftspeople in my family that have preceded me, generations of sensitivity to materials and unbounded curiosity that have percolated into my DNA. I am driven, in my works, through the experiential process of crafting. The tools and processes that I've accumulated through the tutelage of utilitarian crafting as a means of profession, are allowing me to modify and sometimes subvert as traditional methods - allowing for traditional materials to be showcased in unconventional expressions.

The experiential process of crafting objects drives my passion for divining answers to questions that live beneath the obvious veneer of day to day existence. The examinations of life, connections and balance. My comfort with passion for creating objects is utilized in the challenges of expressing my beliefs of interconnection and the critical importance of empathy in the world.

At this point in history, it is impossible to talk about any social issue without considering how it is threaded through capitalism.

I am fascinated with contradictions: the exception that proves the rule, how polar opposites usually contain a common thread, the notion that greed is the single largest threat to existence and my belief that empathy is the cure for greed.

My works are indicative of a personal belief of interconnection and the critical importance of empathy in the world, and that there is a connection to others even in the midst of differences. It is my desire that my works help foster these understandings in others.

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Arts Education 1982 - 1984 Phillips Exeter Academy, Exeter, New Hampshire - part time student in the Art department 1990 BFA (Illustration) Rhode Island School of Design, Providence, Rhode Island 2001 - 2003 Boise State University, Boise, Idaho - enrolled in MFA Painting program Presently enrolled at Vermont College of Fine Arts, Montpelier, Vermont - anticipated MFA in Visual Art July of 2021 Professional achievements 2002 Boise arts Council, Boise, Idaho - finalist for airport public art contest 2020 The acceptance of my sculpture design, “Tipping Point” for a two year contract of display at the 2021 Woodstock Sculpture Festival is not only the most recent artistic achievement for myself, but is definitely the most exciting to date.

pg 74-75 Tipping Point, 2021

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JESS POPE 80

My work finds its point of view through gender, erotic power, and queer mothering. I strive to lean into the full intersections of my experiences and embrace queerness as a disruptive and generative force, not just a predetermined identity. To embody this through dance, performance, and story-sharing, with the goal that the hierarchy between viewer/audience and performer will dissolve and that social connection and consciousness become part of the narrative. When the body is fully engaged with its most profound levels of construction, a performer is fully embodied by its identity and point of view. By merging video art along with performance allows my work to be presented in multiple forms. Showing the video work on a large or small and intimate scale shifts and shapes the viewers' experience and interpretation.

My work stages these questions: Who is allowed to fail forward/ upward, and who isn't? How deeply do our human experiences resonate in our cells, and how does the process of unlearning, reshaping, or retelling a prescribed existence present itself?

And, how can embracing the physical and the spiritual through erotic connection and presence connect us to what is fixed and rich within ourselves?

The works of Francesca Woodman, Pina Bausch, Hannah Willkie, Carolee Schneemann, and Ana Mendieta, and the writings of Audre Lorde, Charlotte Perkins Gilman, and Amelia Jones have allowed me to view the history of feminism through art and poetry through the particularized voices. Still, it has provided me with guidance on how I can have my work interact with the world.

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pg 82-83 M-Other, 2021 pg 84 Biblical Theme Park, 2019 pg 85 Induced Rapture, 2019 pg 86-87 How To Be A Lady, 2020 pg 88 How To Be A Lady, 2020 pg 89 Residing With the Deviating, 2021 pg 90 I Used to Weave a Basket of Ambrosia, 2019

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Jess is an American, Intermedia Artist. She graduated from Ringling College of Art and Design with her B.A in 2019 and finished her MFA in Visual Art at Vermont College of Fine Art in 2021. Her work explores gender identity, mothering, sexuality, and transformation. Her thesis work explores the concept of queer mothering less as a gendered identity and more as a possible action, highlighting the people who provide a mechanization for transformation every day and how they are teaching and influencing the world and upcoming generations.

Jess has performed with Moving Ethos Dance Theatre Company since 2008. Performances include As We Fall, To Have and Uphold, And Back Again (Urbanite Theatre, Sarasota), and Girl Woman (Historic Asolo Theatre, Sarasota). She has had works shown in the Festering Liberation Show at the University of Minnesota Morris in 2019 and Rain Studio and Gallery. Her work was also among the Best of Ringling in 2019.

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ERIN

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My most recent work comprises a series of small sculptures made from plaster, clay, and silicone that combined form a surreal, biomorphic landscape and figures that inhabit this landscape. Accompanying these sculptures is a large charcoal drawing that serves as a backdrop.

Inspired by source materials as diverse as Ovid's Metamorphoses, H.R. Giger, Patricia Piccinini, or Donna Haraway's writings, these landscapes are composed of an amalgam of human anatomy and non-human life forms, including animal and plant life. Unlike my previous work, these sculptures are intended to be individual pieces that compose a larger landscape that they inhabit. The inspiration for my work, be it sculpture, drawing, or painting, is the ambiguity inherent in the humanity has sought to segregate either itself – via race, gender, class, etc. or itself from the rest of creation – i.e., non-human life forms. While one can intellectualize the implications of this sorting, there is discomfort when confronted with its representation. It is through combination and recombination that I find the greatest joy in my work.

In my work, I seek to engage the viewer as a co-conspirator in the narrative. This collaboration with the viewer has produced outcomes that I, as the artist, had never dreamed of. While I may control the imagery in my work, this engagement with the audience offers alternative interpretations that had meaning to my paintings, drawings, and sculptures.

The images present in my work are a product of source imagery and imagination. In a process that is not unlike finding shapes in the clouds, I look at source images for the organic forms of animals, plants, and body parts. I then combine them to create a provocative hybrid. For my work, materials are essential to the formalization of my key concepts. I prefer to find mediums that best express my ideas rather than being married to one form or the other. To this end, I have fluidly moved from drawing and painting, to sculpture, to an installation that combined both drawing and sculpture.

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pg 94-95 forest and cave, 2020 pg 96 tower, 2020 pg 97 mountain, 2020 pg 98, top Cebia, 2021 pg 98, bottom Nereid, 2021 pg 99 mother creator, 2019 pg 100, top untitled, 2020 pg 100, bottom untitled, 2020 pg 101 over, under, through, and back, 2020 pg 102, left untitled, 2019 pg 102, right map, 2021

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Erin Snyder was born in Naples, Italy and grew up in Dale City, Virginia. She obtained a BA in Classical Studies with an emphasis on Art and Archaeology from Indiana University in 2005. Erin is currently an MFA candidate in visual arts at Vermont College of Fine Arts, class of summer 2021.

While Erin originally was a 2D artist, she has recently expanded her practice to include sculpture and multimedia installation. Her work explores the arbitrary nature of society's boundaries between the genders, the human and non-human, inside and outside. Intentionally vague with her narrative, Erin seeks to build a personal relationship between her work and the viewer.

Erin is currently based out of Stafford Springs, CT, where she lives with her husband, cat, and a greyhound.

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MARIA TRUJILLO 104

As an artist, my desire is to advocate for those whose voice is silenced. Animals of different species have been put in a box and silenced due to the actions we as humans create. I shed light on these events and the various circumstances that they face every day. Within my work, I am responding to the ecological crisis and its effects on the Animal Kingdom, the fight against the superiority of the natural food chain, and animal cruelty. As a human, I acknowledge my strengths and the position I am in when it comes to living on this earth versus an animal's life. In portraying and raising awareness of these acts of crime against these defenseless animals, I use different sculptural materials such as clay, wood, and other natural materials to create sculptures or various events that show the life of a particular animal. I also use painting, drawings, and photographs to portray animals and focus on the beauty they express; I also depict imagery using wood-burning techniques on wood slabs. Keeping in mind the scenario I am focusing on, my work lives between the outside natural world or inside a gallery space, depending on the subject matter. I use my artwork to speak for those who can't. I use my position in the art world to advocate for animals and the natural world by using this platform to raise urgencies to my audience.

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pg 106 Fade Away, process, 2020 pg 107 Fade Away, 2020 pg 108 Regrowth After Devastation, process, 2020 pg 109 Regrowth After Devastation, 2020 pg 110-111 Deceive, 2021 pg 112 Deceive, process, 2021 pg 113 Deceive, 2021

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pg 114, left Deer Family, 2021 pg 114, right Oh, Deer... NYC, 2021 pg 115 Oh, Deer... ,2021

Maria Trujillo is a New Jersey-based artist who uses different sculptural materials such as clay, wood, and other natural materials in her practice.

She often paints and uses wood-burning techniques on wood slabs to illustrate animals and agricultural landscapes to depict imagery. Maria also uses photography to capture images related to her subject matter of the vegetation domain and Animal Kingdom. Her desire to advocate for animals of different species and the natural world has been a continuous theme in her work as an artist. Throughout her career trajectory, she focuses on the injustices on the animal species and sheds light on the different circumstances they face every day. Maria uses her platform to advocate for a species whose voices are silenced by the inhumane acts of cruelty humans exposed to them. Through her practice, Maria creates works that specify certain animals and sometimes highlight the effects humans develop on the ecosystem. Maria responds to the ecological crisis and how it affects the animal kingdom, the ongoing conflict on who is titled superior in all organisms, and cruelty towards animals in her work. As an artist, Maria devotes her career to speaking for animals and the planet.

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EMILY

WARREN 116

In the past, I have used painting as a type of meditation or a vehicle for self-exploration. Be it my anxiety related to class, gender construction, or master narratives in general, my paintings have explored still-life as a way to disrupt or pause the provocations of the cultural moment.

After studying the historical and cultural baggage associated with painting, I wanted to incorporate a more accessible medium into my art practice. The events of this last year have only served to elevate my concerns related to social inequity even more so. Digital animation offers me a readily available way to share ideas to maintain my passion for the process of painting whilst sharing my ideas with a larger more inclusive audience.

This body of work is the culmination of documenting my experience as a mother and educator. I began this work by exploring the joy and love of my community alongside the uncertainty of the future. By adding digital “suggestions” to my fully- rendered paintings of domestic imagery, I look to build a narrative where courage and connection can exist within a field of despair and uncertainty.

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pg 118 Submerged, 2020 pg 119 Rain on a car window, video stills, 2019 pg 120-121 July 1, 2021, video still, 2021 pg 122 16 Million US Children in Poverty, 2020 pg 123 Again, video stills, 2020 pg 124 Quantity Over Quality, 2020 pg 125 Wide Mouth Jar, 2019 pg 126 July 1, 2021, video still, 2021 126

Emily Warren is an artist living and working in Nashville, TN. She studied illustration at the School of Visual Arts in New York and humanities at Trevecca University. Her paintings are part of the permanent collection at the Brooklyn Art Library. They have been in exhibitions at the University Club of Vanderbilt University, The Towne Centre Theater, and Tennessee State University. Emily received a Jerry Goldstein Award in 2019 and a Janet Kaplan Memorial Scholarship from the Vermont College of Fine Arts. Her animated paintings are the result of play as work. She creates repeating narratives where courage and connection can exist in the face of uncertainty.

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