Meet Our Graduate Students
Katayoun is an Iranian-born ceramicist and sculptor. She belongs to the generation of Iranian women who experienced a childhood of wartime and an adolescence of social and political turmoil under the post-revolutionary regime. Shortly after immigrating to the United States, she came to realize that what she had left behind was more than material belongings, friends, or family members. Rather, she found herself stripped away from the familiar cultural context that had once constructed her sense of Self.
Andrew Fladeboe is a first-year MFA candidate who primarily works in photography. Prior to starting this program, Andrew was awarded a 2014 Fulbright Fellowship to New Zeland, during which he undertook postgraduate study in a one-year Honours program at the University of Canterbury. His work from this time is featured in a solo show at Peter Hay Halpert Fine Art, in New York City
“In printmaking I find a back door to image making. As I work, I am paying attention to what happens as I ink the plate, as two plate marks overlap, or as the pressure from the press wrinkles a newsprint mask. I am on the lookout for errors, following, cultivating some and eliminating others. There is an ongoing tension between wear and care in relation to printmaking matrices and sculptural objects. I am drawn to the moral ambiguities of sanding, polishing, oxidation, and stains. My images tend to be partial, isolated fragments that, because of their intimate scale and means of selection, suggest a wider field of information. In the relationships between visual fragments or objects, I am looking for a certain balance point, a tension between resemblance and difference which resists closure.”
Brittany Kieler is interested in encounters that one might have with a new object, being, land, or concept and in the pursuit of documenting them. She considers the print as a nomadic site for self-guided education and as a repeated object that must, by nature, be created and understood communally.
Marc La Pointe
Marc La Pointe is a hoarder and a thinker. Fundamentally interdisciplinary, Marc uses a range of material and conceptual approaches to negotiate and undermine perceptions of stability and comfort. Rather than offering answers, his studio practice is empowered by the goal of inciting questions that expose the disconnection and threat within structures of intimacy and safety.
Reb L. Limerick is a multi-media performance artist and first-year MFA candidate in the area of Interdisciplinary Art and Social Practice. She studied experimental film/video and writing at UC San Diego, graduating with a BA in visual arts media and earning Magna Cum Laude honors. RebL’s loopy character-driven maximalist musical storytellings aim to locate and explore breaches and recursively engage the spectator!
Danny McCarthy is a multidisciplinary artist from Albuquerque, New Mexico. He holds a BFA in studio as well as a BA in art history from the University of New Mexico. McCarthy is the recipient of numerous grants and endowments; his work can be found in a growing number of private collections.
Nina O'Leary is in the Photo & Moving Images discipline. O'Leary graduated with honors and as a scholar of the college from the U of M, Morris in 2015 with a degree in Studio Art & Art History. She is currently under contract with Michigan State University Press to publish a book of her photographs and interviews of Native American college students across the US. She is attending the University of Minnesota as a DOVE Fellowship recipient.
Kevin O'Meara is a Minneapolis-based photographer. After graduating from Augsburg College with a BA in Screenwriting, Kevin refocused his work to still imagery, particularly silver-based processes. His first book was released in 2016 on A Love Token Press and explored self-identity and regionalism. His work has shown in Minneapolis, Chicago and Los Angeles.
Roger Ourthiague (aka. Roger O. Jr) is an interdisciplinary visual artist with a process rooted in drawing and printmaking. Influenced by dissent, consumerism, and cartoons, he strives for a humorous practice, but often, his punchlines charmingly miss the mark. Hailing from the Bay Area, Roger has collaborated and shown throughout California and beyond.
Jasmine Peck is a first-year MFA candidate that explores the intersection of ceramics and drawing. Her work examines the constructed layers of conscious and unconscious thought, memory, and experiences that cumulate into a singular version of reality. She received her BFA from the University of Wyoming in 2014, and completed a one year post-baccalaureate program in ceramics before attending the University of Minnesota.
Alex M. Peterson
Iowa-born, Minneapolis-residing artist Alex M. Petersen creates highly refined graphite drawings and painted imagery that unapologetically presents topics of sexuality and primal instincts. Much of his work explores human nature through a subversive look at animal behavior, and draws out our inner wants and worries through a raw depiction of human desire.
Enthralled by the memory functions of the mind, Hillary Price seeks to replicate the way in which the mind operates. She works with a range of materials and paint to capture the erratic nature of reminiscences. Choosing to be in dialogue with the ever changing developments in neuroscience, she is constantly adjusting the approach that she uses to create an experience that will allow viewers to connect not only to the memories being displayed but their own.
Dillon Rapp joined the University of Minnesota MFA program the fall semester of 2015. He completed his undergraduate studies at CSU Chico receiving a BA in art education and a BFA in printmaking. In 2013, he received the AMAMINA grant to teach art lessons at the Nasi Community Center in Amami-Oshima, Japan. His work can be found in the collections of the Janet Turner Print Museum and the Museum of Northern California Art (monca).
“Fit is a constant, reoccurring theme in my work. I feel that dress (in all its complex elements that extend far beyond garments) never seems to fit me in all of the ways I need. Further, I have little context for how I am interpreted and how I should interpret my own identity. I exist in space and have to navigate through it, so I need to see and understand my body, as I want it to be, in the context of space. Art allows me to create that space to observe myself, whether it directly incorporates my own body or uses a proxy.”
Emily Swanberg's work is influenced by the environments, histories, and materials inherent in architecture and design. She uses primarily sculpture to explore the psychology and deconstruction of built environments, pushing towards a fresh examination of assigned meaning. She received her BFA as well as a BA in Psychology from Bethel University in 2016.
Erika works primarily in printmaking and ceramics crafting multi-work installations in these mediums. She is fascinated by the interaction between organic patterns of decay and human-made objects and structures. Her work uses time and labor intensive making processes to investigate these relationships between the human and natural, the organic and the inorganic. Erika received her B.A. in studio art from St. Olaf College in May of 2016 after which she took part in St. Olaf’s 5th Year Emerging Artist Program.
Asia Ward works between the realms of science, art, and education. Through her work with the Science Museum of Minnesota, REcharge Labs, and grant funded residencies and projects, Asia creates public art projects and educational activities about the environment, water systems, and electric power production. Recently Asia was involved in two large public art projects, the downtown St. Paul spectacle called the Plume Project, Plume Coloring Contest, and a 27’ solar powered sculpture Solar Tree at Franconia Sculpture Park.
“My work examines Hmong female experiences and the reproduction of culture in the Hmong identity today. As I engage drawing and painting with Hmong textiles, I began to experience textiles figuratively and inseparable from the female body because they shared common narratives. Female narratives are often retold by men and appropriated by others, and Female labor and work are overlooked because they are expected to exist as cultural commodity in the Hmong identity. However in my experience, I grew up surrounded by women who created textiles for love of the craft. It was their medium to express themselves in ways in which words were not able to communicate. To them, each mark was intentional. They control the materials, narratives and time it took to create a product. Inevitably, textiles unintentionally recorded the memories of their makers.”