April 29 – July 1, 2021
Curated by Alexis Moline

Curator’s Statement
The 2021 SUMMA Exhibition explores the quixotic, all that is deemed idealistic, starry-eyed and impractical. Working and creating under unusual circumstances, quixoticism has become a liberating vehicle for these artists to explore and sharpen their craft. This show encapsulates the multiple ways that these bright young artists have adapted, grown and investigated the undeniable cruciality of art and quixotic perspective in tumultuous times.

Download the QUIXOTIC catalogue. Print catalogues are also available to order via the student website.

Please note that this virtual exhibition is best viewed on a large screen and may take a few moments to load. To learn more about each artist, click the “view more” button or visit the BFA class of 2021’s QUIXOTIC website.

Artist Gallery

  • Julianna Biernacki

    Julianna Biernacki

    Honours Bachelor of Fine Arts

    Hamilton, Ontario

    My current work combines painting and hand needle punched rugs together to create dynamic diptychs. Conceptually my work revolves around themes of image and how people present themselves to others; voyeurism, making private spaces public. How we are perceived and how we perceive others make up a lot of our lives and I am interested in deconstructing these feelings into ambiguous spaces that also seem personal. Spaces that simultaneously feel familiar as they do unknown.
      1a. Detail of Display and Spying, Acrylic paint and tufted yarn on monks cloth, 3' x 3', 2021
      1. Display and Spying, Acrylic paint and tufted yarn on monks cloth, 3' x 3', 2021
      2. Two sides to every dish rack (front), Acrylic paint and tufted yarn on monks cloth, 9" x 11”, 2021
      3. Two sides to every bed (front), Acrylic paint and tufted yarn on monks cloth, 11" x 11”, 2021
      4. Two sides to every laundry basket (front), Acrylic paint and tufted yarn on monks cloth, 9" x 9”, 2021
  • Evelyn Bohn

    Evelyn Bohn

    Evelyn Bohn aspires to capture intriguing variations of insects’ form and colour in paintings located between observation and geometric abstraction. Referencing abstract art traditions highlights shortcomings of visual communication, which only points indirectly beyond surface interpretations. Her practice is detail oriented, gravitating towards minutiae; the observational approach intends to reflect nuanced sensorial-experiences. Magnifying-lenses are a form of technology that accentuates close-looking. The application of lenses to viewing bugs, while revealing hitherto unnoticed details, still fails to uncover depth beneath exterior appearances. Laterally, subtle variants of colour and shape enliven Bohn’s visual lexicon. The resulting artwork, by virtue of increasing sensitivity towards surroundings, reflects personal encounters with insects.
      1a. Detail of I'llusive, Acrylic and chalk-pastel, 24” x 24”, 2020
      1. I'llusive, Acrylic and chalk-pastel, 24” x 24”, 2020
      2. II’llusive, Acrylic and chalk-pastel, 24” x 24”, 2020
      3. Cybele, Woodcut, 9” x 9”, 2021
      4. Polyxen, Woodcut, 9” x 9”, 2021
      5. Sulphur, Woodcut, 9” x 9”, 2021
      6. Graphing Drawing I, Pencil, pen, wax crayon, 22” x 24”, 2021
      7. Graphing Drawing II, Pencil, 22” x 24”, 2021
  • Jet Coghlan

    Jet Coghlan

    Bachelor of Fine Arts

    Toronto, Ontario

    To begin to explain my work, I believe its necessary to express that I am a neurodivergent, autistic, queer individual. This reflects on the way I approach solutions for my practice. My name is Jet, I am an immigrant from Mexico who has made this place their home for the last 10 years. When I became a citizen, I saw a very different face of the “Canadian multicultural mosaic”. I believe it is imperative to actively learn from Indigenous peoples in relation to the land, how to become a positive part of a place that is undergoing the process of decolonization. My artist statement is to create safe spaces. These spaces and pieces are intended to spark conversations that are not often openly discussed. My work can bring up feelings that can be frowned upon to discuss, as there is a sense of guilt, punishment or retaliation when expressing ideas outside the mainstream ideology of capitalism. By bringing dialectical outlooks into my work, I am able to juxtapose reality with a new possibility. I create spaces where we have learned how to live without capitalism. My art attempts to present counter narratives that highlight the possibilities we are working to achieve. The reality of this capitalist world in which we live is that for the system to exist must create a repressed individual that must exchange their free time for money. This is why I make free art. To see more of my work, please visit globalrevolution2150.ml
      1. Roxa Luxembourg, Wheatpaste poster, 13" x 19", 300 ppi
      2. Anuradha Ghandy, Wheatpaste poster, 13" x19"
      3. Jing Qing, Wheatpaste poster, 13" x19"
      4. Revolution is irresistible, Digital painting, 13" x19"
  • Juliana Duimstra

    Juliana Duimstra

    In my practice I experiment with high-key, vibrantly coloured, sometimes abstract landscapes, ocean scenes and distorted self-portraits on canvas and wood board. I attempt to convey stimulating and spiritual experiences that are better articulated with paint rather than words. I am particularly drawn to the ocean, where I see metaphors and lessons for life. My work takes on a personal narrative when I include myself in the composition, literally or metaphorically. I utilize distortion, movement, saturation, and exaggeration in my paintings to allude to what is transcendent and divine. My faith in God as a Christian fuels my work, as I seek to articulate my connection to God and bring attention to His dynamic qualities, e.g., gentleness and power, love and justice, simplicity and intricacy.
      1a. Detail of Swell Swell, Acrylic on wood, 2' x 2’, 2020
      1. Swell Swell, Acrylic on wood, 2' x 2 ’, 2020
      2. Underneath (Self Portrait), Acrylic on wood, 2' x 2’, 2020
      3. Formation, Acrylic on canvas, 2' x 2’, 2021
      4. Camp-Perrin, Acrylic on canvas, 2' x 2’, 2021
      Georgian Bay in Autumn, Acrylic on canvas, 12" x 12”, 2020
  • Teba Faisal

    Throughout my life in Canada, I have become more conscious of depictions of Arab culture and Islam in the media and the way it mobilizes racism and xenophobia in the Western world. Xenophobia and white supremacy has been perpetuated historically through Hollywood films; this recognizable and easily accessed form of media has informed the Western world’s view of marginalized communities. Hollywood has created fictional narratives of these communities and their cultures. In the case of Muslim-Arabs, Hollywood often showcases Arabs as a violent, barbaric, oppressive, and uneducated group of people. I am inspired by Legacy Russell’s “Glitch Feminism: A Manifesto.” Russell references the piece NOPE (a manifesto) by artist E. Jane in which they demand safe spaces for Queer-Black bodies, stating that Queer-Black folks are not grappling with their existence, instead are demanding safety and safe spaces where they can hide, be loved, and feel safe while being as expansive as they want to be. In my current work, I clip scenes from Hollywood movies that depict Muslim-Arabs in a racist manner and use audio and visual editing to disrupt and refuse them. To do this, I use basic video editing methods as well as data-moshing, a process of manipulating the data of media files to achieve visual or auditory effects when the file is decoded. The titles are used to carry humour and sarcasm to further critic these depictions in Hollywood.
      1. The Many Faces of Rudolph Valentino, Video editing, 32 seconds, 2021. Footage sourced from The Sheik, 1921 film directed by George Melford.
      2. Ahh Yes, The Only Arab Male Personality Trait, Video editing, 3:01 minutes, 2021. Footage sourced from The Sheik, 1921 film directed by George Melford.
  • Lynda Dong

    Lynda Dong

    Honours Bachelor of Fine Arts

    Toronto, Ontario

    My work often combines Chinese traditional culture with Canadian contemporary art. My practices seek to innovate through experimentation and exploration of materials. Recent works include concerns over environmental issues and include insights and reflections on the inheritance and development of traditional culture. My goal is to foster traditional art practices in the context of our contemporary culture and society, which is a response to increase cultural awareness in our generation by preserving and making beautiful things.
      1a. Detail of Baroque, Eggshell, 1.8" x 2.5'', 2020
      1. Baroque, Eggshell, 1.8" x 2.5", 2020
      2. Lotus, Cowhide, 4.4" x 4.4", 2020
      3. Marine Mask, Mixed media, 7" x 4", 2021
      4. Marine Mask, Mixed media, 5.5" x 3.5", 2021
      5. Party on the beach, Mixed media, 1" x 1.5" - 3" x 3.5", 2021
      6. Sunday breakfast, Nonwoven, 10.5" x 10.5", 2021
  • Cait Gautron

    Cait Gautron

    I have always been fascinated by ideas of bodily autonomy and its limitations, which are enacted through policing by cultural and societal norms and governmental controls. The social climate in Canada is one that idealizes the able-bodied, both physically and mentally, which can often lead to an undervaluing of the differently abled experience. To me there is something powerful to be found in one’s otherness, as is related to queer and disabled theory, lessons to be learned through our pain, struggles and overcoming of adversity. We are more than our reproductive abilities, our mobility, or the sum of our physical parts. I am examining modes of individuation and their physical and psychological manifestations, from an anthropological perspective, eschewing judgement. The universal icon of the body/flesh is used as an entry point to the specific distortions or perception of my creative process. Fragmented, stretched, squashed, or dissected the viewer searches for familiarity in the works, a dichotomy created between the brains desire to anthropomorphize and its disgust and fear of the uncanny. I am challenging what is recognizable as human, probing the borders of humanity and invoking criticality in the judgements that are elicited by these outliers.
      1a. Detail of Antithesis A, Silicone, Polyurethane foam, Ink, Hair and oil paint, 18" x 15" x 18”, 2021
      1. Antithesis A, Silicone, Polyurethane foam, Ink, Hair and oil paint, 18" x 15" x 18”, 2021
      2. Antithesis B, Silicone, Polyurethane foam and oil paint, 18" x 15" x 18", 2020
      3. Antithesis C, Silicone, Polyurethane foam, Hair and oil paint, 18" x 15" x 18", 2021
      4. Just Break me, Acrylic on board, 12" x 16", 2020
      5. Untitled, Silicone, Ink, and Iron nail, 4" x 8" x 1", 2020
      6. Untitled, Digital sculpt, 2021
      7. Prosthetic Sculpt, Clay and thermoplastic, 1" x 1" x 3", 2021
      8. Video still of Antitheses, Silicone, Polyurethane foam, Wood, Steel and oil paint, 5' x 4'7” x 1’4.5”, 2021. Link: https://vimeo.com/541743597
      9. Video still of Ear, Digital sculpt, 2021. Link: https://vimeo.com/541744527
  • Payton Husk

    Payton Husk

    Bachelor of Fine Arts

    Waterloo, Ontario

    I make video installations using GIFs, projection mapping and audio. My ‘monstrous’ imagery walks along the lines of being dark and disturbing while still retaining comedic and approachable elements. The spaces themselves are designed in a way that resembles a considerably safe space being invaded by things that are unknown. The monstrous imagery tends to interact with the space itself with no knowledge of a viewer or audience being around them. My art is a physical, psychological, and visual experience into my own mind and experiences. My work consistently deals with issues and awareness regarding several different mental health related issues in hopes of abolishing the stigma and promoting conversation and awareness. Although my artwork is a physical representation of my own thoughts, visions, and experiences, I hope to disconnect myself from my art in order to allow these thoughts and feelings to exist on their own. My work provokes emotions such as fear, anxiety, and vulnerability to audiences as a means to initiate conversations. I hope to develop a conflict of emotions within my works by allowing them to be both comforting and unsettling. My art speaks to the importance of being aware of your own vulnerability and fears and coming to terms with them. By accepting fear as a primary force in our lives, we become stronger, smarter, and more accepting of new experiences and are able to evaluate our lives in a completely new way.
      1-6. Detail, This is as Sane as it Gets, Multimedia digital installation, 10' x 6', 2021
  • Amanda Jameson

    Amanda Jameson

    In my practice, I focus on the themes of abstracted memories, nostalgia, landscape, nature, visual poetry, ancestry and isolation. In working with collage, I enjoy the tactility of paper and pairing them with found objects to create something new. Playing with the ideas of belongings and collecting, both physically or mentally, I am examining how objects pass hands and how memories become attached to them. There is beauty to everyday objects. I am inspired by ancestry and family relations, working with still life to evoke memories of domesticity. In these paintings, I play with the ideas of time and memory creating tension between the objects using space and background. My art is created from a personal and authentic place in hopes to connect with others.
      1a. Detail of Memory Collage, Acrylic on wood, 12" x 12", 2021
      1. Memory Collage, Acrylic on wood, 12" x 12", 2021
      2. Faded, Acrylic on wood, 12" x 12", 2021
      3. Reflection, Acrylic on wood, 12" x 12", 2021
      4. Fragments in time, Acrylic and pencil on wood, 16" x 20", 2021
      5. Lost Memory, Acrylic and pencil on wood, 24" x 30", 2021
      6. Segments, Acrylic and pencil on wood, 18" x 36", 2020
      7. Reminiscence, Acrylic and pencil on wood, 18" x 36", 2020
  • Jill Letten

    Jill Letten

    Honours Bachelor of Fine Arts

    Hamilton, Ontario

    Climate change has presented humanity with the most profound and urgent challenge ever faced. Reflecting upon my understanding of rising environmental concerns, I use my practice to combine art with research to address how we interact and perceive the natural world. Using SketchUp and Photoshop, I collage together texturally contrasting imagery to create surreal environmental spaces that I translate into medium-scale acrylic paintings. I construct scenes from photographs collected from various library digital archives, specifically using images from the 1950s to comment on the lasting effects of the second and third Industrial Revolutions. The introduction of automated mass-production occurred during the Industrial Revolution and combined with the economic growth of the 50s, significantly contributed to how our global society has embraced exploitative human activities, both socially and systemically. These human activities have dominated and disposed of the natural environment through capitalistic values. I view this imagery from a time of ignorance and naivety regarding human-induced climate change and consider it through present socio-political and economic contexts. The intertwining of factual information with bombardments of fake news, has made addressing climate change a complicated battle. These pieces feature a digitally rendered dollhouse that plays upon its function to be manipulated and deconstructed, connecting to the intensifying natural disasters that have devastated houses and lives. The dollhouse, symbolizing the home, hovers above a distorted and abstracted water texture with saturated and inorganic colours, visualizing the toxicity of what we put into our environment. In my art, I work to find a balance between visualizing chaos and tranquility; by depicting the naivety of those who are withdrawn by their busy consumerist lifestyles. Absorbed by material goods or media, society is left idly unaware as our world progressively deteriorates.
      1. Watching the World Burn, Acrylic on wood panel, 20” x 15”, 2020
      2. The Hosts, Acrylic on wood panel, 24” x 16”, 2020
      3. Reinforcement, Acrylic on wood panel, 24” x 16”, 2020
      4. Oh No It’s Burned, Acrylic on wood panel, 25.5” x 17”, 2020
      5. Delivery!, Acrylic on wood panel, 24” x 15.75”, 2021
      6. At Your Service, Acrylic on wood panel, 24” x 16.5”, 2021
      7. The Chemical War is Never Won, Acrylic on wood panel, 24” x 16.5”, 2021
  • Antonella Mendola

    Antonella Mendola

    Honours Bachelor of Fine Arts & Minor in English

    Hamilton, Ontario

    I am a Canadian artist of Italian and Portuguese descent. I was introduced to the art world at a young age, learning to draw from videos from contemporary artists. Throughout my years at McMaster, I have explored many mediums and have fallen in love with painting and abstraction, which is the base of my current work. My practices focus on the possibilities of abstraction, the act of painting itself and the movement of my body when I create. My painting process references 20th century abstract expressionism both conceptually and visually. Quick brush strokes, gestural mark making, and the fast application of paint works to express my personal feelings, emotions and experiences. I work on medium scale canvases and create paintings with a monochromatic colour scheme. I like to explore different textures that are responsive to my movement and emotion. I make my work as a way of expressing how I am feeling instead of suppressing it. I address the internal feelings, positive or negative and find that my practice can be a stress reliever, a form of self-care, as well as a tool for meditation and reflection.

      1a. Detail of Dark Abyss, Acrylic on canvas, 24" x 24", 2020,
      1. Dark Abyss, Acrylic on canvas, 24" x 24", 2020
      2. Yellow & Wine Series, Acrylic on canvas, 16" x 20", 16" x 16", 14" x 14", 2021
      3-4. The Blue Series, Acrylic on canvas, 16" x 20", 2021
      5-6. The Red Series, Acrylic on canvas, 16" x 20", 2021
  • Megan Mercier

    Megan Mercier

    My practice explores the various relationships found within nature and the different ways they can be interpreted. I visualize a new perspective toward natural elements that often are seen as an afterthought. I use printmaking processes, mainly woodcuts, to create two-dimensional work. I enjoy playing with shapes for the piece to be displayed on, and seeing how those shapes affect the meaning and viewing of the artwork. I use digital printing alongside traditional printmaking methods to create a contrast of realist vs abstract textures. My inspiration comes from the imagery I capture, and experience, at my cabin in northern Quebec. Although my work is not site-specific, it is the experiences that I have had with nature that inspires me. My art offers viewers the chance to reflect on the different ways that one can be connected to nature. I accentuate elements such as trees, plants, water and fungi to open up viewers' eyes to the inner workings of the life that surrounds them. The beauty of nature is in the small elements hidden in plain sight, the secret sites found on a trail you never knew existed. These are the parts of nature that I enjoy exploring, researching and recreating in my own interpretations.
      1a. Detail of Symbiotic, Collograph, Acrylic, Woodcut, Photo chinecolle, 2021
      1. Symbiotic, Collograph, Acrylic, Woodcut, Photo chinecolle, 2021
      2. Untitled, Photo chinecolle, Screen printing, Woodcarving, 2020
      3. Cellular, Collograph, Acrylic, 2020
      4. Hydroponics, Collograph, Woodcut, Acrylic, 2021
      5. Water Ways, Photo Chinecolle, Collograph, Wood carving, 2020
  • Donna Nadeem

    Donna Nadeem

    My work takes a critical view on how art and architecture has played a significant role in Persian culture, specifically observing the geometric designs and patterns used. I primarily paint these designs on glass and plexiglass as natural and artificial light can then be used to further dimensionality in the work, extending reflections of the designs to activate the surrounding space and work beyond its borders, representing hope and the possibilities outside of its constructs. I have further explored these patterns by laser cutting into plexiglass, layering, and painting on fabrics and unstructured materials. My academic practice extends from my artistic, examining how this unique exploration of my heritage breaks the norms of how we view and understand our history.
      1. Twinkling Shadows, Laser cutting on black sparkle acrylic sheet, 12" x 12", 2020
      2. Iridescent Reflection (Video), Laser engraving on iridescent acrylic sheet, 2" x 2", 2020
      3. Reflections, Celine relief and glass paint on acrylic sheet, 32" x 30", 2020
      4. Wildflower, Celine relief and glass paint on glass sheet, 18" x 20", 2020
      5. Soroor, Celine relief and glass paint on framed glass sheet, 5" x 8", 2020
      6. Violet & Kiwi, Celine relief and glass paint on framed glass sheet, 6" x 12", 2021
      7. Triptych, Celine relief and glass paint on framed glass sheet, 3" x 6", 2021
  • Eryn Penner

    Eryn Penner

    As an artist and art student, I have worked with a variety of different mediums and subjects. Recently I found my passion in the investigation of historical techniques and materials. Historical and modern art has been integrated into my practice through technical study of the human figure. I have a background in Human Anatomy which bled into my art practice when I began this program, studying the poses of a variety of figures, especially those of Greek sculpture. The influences of these sculptures on historical paintings brought me to explore where this art came from and how it has evolved in technique, subject matter and materiality. The investigation of historical material has led me to research the conceptual story in art historical work. I have delved into the dissection of these works, picking through the history of a painting, what story the artist was telling at the time, what this story means and how it translates into the present day world. My intention is to create really simplified sculptural works that completely encompasses a historical work and bring it into a present-day art piece that relates to a contemporary audience through new perspective and understanding.
      1a. Detail of Dissection of La Primavera, Mixed media still life, 36" x 48" x 18", 2020
      1. Dissection of La Primavera, Mixed media still life, 36" x 48" x 18", 2020
      2. Dissection of The Toilette of Venus, Mixed media still life, 36" x 48" x 18", 2021
      4. Detail of Venus, Dissection of The Toilette of Venus, Mixed media still life, 2021
      5. Dissection of The Death of Adonis, Mixed media still life, 36" x 48" x 18", 2021
      6. Detail of Adonis, Dissection of The Death of Adonis, Mixed media still life
  • Ashley Plante

    Ashley Plante

    What is Feeling? Feelings are within us, are felt, heard, seen and unseen, but the word feeling has a very vague definition. Within my practice I work to develop and find an applicable visual definition of what feeling is. I would label myself as a psychedelic surrealist with a conceptual focus on mental illness and the feelings associated with said illnesses. Each work consists of personal memories and feelings associated with drugs, major depressive disorder, generalized anxiety, social anxiety and PTSD. My works include conceptual connections to mental illnesses, entwined with colourful, psychedelic and surrealist imagery that is meant to convey or present a “feeling” to the audience. I use myself as a figurative stand in for humanity. I do not depict myself in my true form, but a simpler version of the human form that is not compliant to gender. I make my work feel universal by not stressing gender.
      1a. Detail of Disembodied, Digital painting, 2021
      1. Disembodied, Digital painting, 2021
      2. Shower Therapy, Oil and acrylic on canvas, 3’ x 4’, 2021
      3. Mind Melt, Digital painting, 2021
      4. Visually Uncomfortable, Acrylic on circular canvas triptych, 1.5’ x 1.5’ each, 2021
  • Mariana Quinn

    Mariana Quinn

    Honours Bachelor of Fine Arts

    Whitby, Ontario

    I make a variety of two-dimensional works that are an examination of the connections between invasive species and the deterioration of ecosystems. I am reacting to the remnants of Imperialism that can still be seen in North American ecology today. I depict a variety of invasive species in my practice and contrast them with the native species that they are eradicating. I express environmental concerns for how desensitized we have become to the swarms of invasive flora and fauna around us. In a society that pushes the concept of “post-colonial,” I display the tensions within our environment, of native species struggling to survive within the ever-growing populations of invasive species, to show how the latter has colonized and shifted the native landscape permanently. I question if the land can ever actually be post-colonial if colonialism is imbedded in the physical spaces around us all. These ideas are currently being explored in my body of work through drawings using archival ink, watercolour washes, as well as oil paints and woodcuts. The irreversibility of invasive species is reflected in the permanence of the ink I utilize.
      1. A Rapid Reproduction, Archival Ink on Fabriano, 2021, 60” x 26”
      2. A Rapid Reproduction (Panel 1), Archival Ink on Fabriano, 2021, 20” x 26”
      3. A Rapid Reproduction (Panel 2), Archival Ink on Fabriano, 2021, 20” x 26”
      4. A Rapid Reproduction (Panel 3), Archival Ink on Fabriano, 2020, 20” x 26”
  • Selena Schaefer

    Selena Schaefer

    Honours Bachelor of Fine Arts

    Hamilton, Ontario

    I am a multidisciplinary artist currently based in Hamilton. I most often work with portraiture, representing the people around me in paintings and sculptures. My most recent work is an exploration of fashion history, drawing my concepts from both observed fashion and historical research. With my fashion based work, I will explore the underlying symbolism of fashion and the industry’s effect on the world. Specifically how western colonialism has continued to play out through a violently capitalistic fashion industry, and the effects that this has on the environment. I hope to uncover how fashion interacts with the environment and influences socio-political landscapes. My work has a strong focus on feminine and abstract imagery, usually mixing the baroque and surrealistic. In my portrait work, I stage settings that look strange and unrealistic with the incorporation of historic, contemporary and surreal elements. Bright colours or graphic, modern shapes are often contrasted with more conventional themes, colours and styles in my work. Film is very influential to my work, especially various uses of cinematography, sets and costumes. Researching the connection between renaissance fashion and current issues caused by the western eurocentric fashion industry has been the driving force behind my thesis work.
      1a.More (detail), Acrylic on wood, 2021
      1. More(Full Triptych), Acrylic on wood, 2021
      2. Virtem Forma Decorat (Beauty Adorns Virtue), Acrylic on wood, 16" x 20”, 2020
      3. What is Left, Acrylic on wood, 16" x 20”, 2021
      4. More, Acrylic on wood, 16" x 20”, 2021
      5. More (detail,) Acrylic on wood, 2021
  • Taylor Tabry-Dorzek

    Taylor Tabry-Dorzek

    My current artistic practice consists mainly of large scale abstract paintings in a variety of bold, monochromatic colours. Throughout my artistic career my practice has grown and changed greatly as I have, shifting from realism to a more distorted approach. I paint predominantly with acrylic paint on hand crafted wooden canvases and am inspired by distortion and the natural form of wood grain. It has taken me a very long time to really figure out why I paint how I do and what drives me. I used to use my art as a way to cope with the multiple brain traumas I have suffered and would draw distorted lines and shapes to help calm my mind and focus my thinking. These patterns have since then developed into more realized pieces and continue to change year to year. I really found something that interested me when I began to paint on wood. The forms matched the shapes that I had been seeing in my mind and I was able to bring them to life by enhancing what was presented to me. The weight of the substrate itself also interested me because it is a heavy and difficult surface to paint on. In the future, I will continue to explore my practice from a conceptual standpoint, while enhancing and disrupting the natural forms I am given with shapes I have created.
      1a. Detail of Divergence, Acrylic on wood, 48” x 48” x 2", 2020
      1. Divergence, Acrylic on wood, 48” x 48” x 2", 2020
      2. Flow, Acrylic on wood, 72” x 48, 2020
      3. Deformis, Acrylic on wood, 48” x 48”, 2021
      4. Scramble, Acrylic on wood, 36” x 48”, 2020
      5. Interference, Acrylic on wood, 36” x 36”, 2020
      6. Lapse, Acrylic on wood, 36” x 36”, 2020
  • Javan Wellum

    Javan Wellum

    My art practice consists of oil painting on wood board. I primarily source imagery from reflecting on moments, environments, and people in my life. I try to combine these elements into compelling compositions. I am intrigued by the application of ideas into everyday existence via habit and ritual. I strive to make work that adds to life and doesn’t merely comment on it. Frequent themes of my work include; the passage of time, loneliness and spiritual awakening. I try to paint the natural world with reverence for its author. I try to paint cathartic experiences. The sudden emergence of the sublime mingled in the day to day. The experience of flow or profound moments of stillness. I navigate schools of philosophy like stoicism and existentialism and Christian apologetics to support the foundation of my personal ideas and convictions.
      1a. Detail of Vision, Oil on plywood, 2' x 2', 2020
      1. Vision, Oil on plywood, 2' x 2', 2020
      2. Spirit in the Courtyard, Oil on wood board, 16" x 16", 2020
      3. Jesiah, Oil on wood board, 16" x 16", 2021
      4. January, Oil on wood board, 12" x 19", 2021
      5. Slow Ooze, Oil on wood board, 12" x 19", 2020
      6. Queen of Pavement, Oil on wood board, 12" x 19", 2020
      7. Main Street East, Oil on wood board, 12" x 19", 2020

Artist Talks

  • Juliana Biernacki

  • Evelyn Bohn

  • Jet Coghlan

  • Lynda Dong

  • Juliana Duimstra

  • Cait Gautron

  • Payton Husk

  • Amanda Jameson

  • Jill Letten

  • Antonella Mendola

  • Megan Mercier

  • Donna Nadeem

  • Eryn Penner

  • Ashley Plante

  • Mariana Quinn

  • Selena Schaefer

  • Taylor Tabry-Dorzek

  • Javan Wellum