Jenny Fine
Jenny Fine received a BFA from the University of Alabama and an MFA from The Ohio State University. In 2001, Fine taught at China’s University of Geosciences in Wuhan, China. In 2002, she spent the summer working at Susana Homes Orphanage and Women’s Shelter in Nigeria. Fine was awarded a National Windgate Fellowship from the Center for Craft, Creativity and Design in 2006 and a Fergus Memorial Scholarship from The Ohio State University in 2009. She taught art at The Ohio State University in 2011, and the same year was selected as an Artist-in-Residence by The Wellington School in Columbus, Ohio, and was awarded an artist residency in Dresden, Germany by the Greater Columbus Arts Council. Fine is currently an Adjunct Professor in the Department of Art and Art History at The University of Alabama at Birmingham.
Fine has had in solo exhibitions at the Kentuck Gallery in Tuscaloosa, Alabama; City Art Center in Delaware, Ohio; Geh8 in Dresden, Germany; Dublin Arts Council in Dublin, Ohio; The Walnut Gallery in Gadsden, Alabama; The Sculpture Center in Cleveland, Ohio; Children’s Museum of the Arts in New York, New York; and the Wiregrass Museum of Art, in Dothan, Alabama. Selected group exhibitions include: the Columbus Museum of Art, Columbus, Ohio; Wiregrass Museum of Art; The Contemporary Art Center in Cincinnati, Ohio; and the Mobile Museum of Art in Mobile, Alabama.
Jenny Fine received a BFA from the University of Alabama and an MFA from The Ohio State University. In 2001, Fine taught at China’s University of Geosciences in Wuhan, China. In 2002, she spent the summer working at Susana Homes Orphanage and Women’s Shelter in Nigeria. Fine was awarded a National Windgate Fellowship from the Center for Craft, Creativity and Design in 2006 and a Fergus Memorial Scholarship from The Ohio State University in 2009. She taught art at The Ohio State University in 2011, and the same year was selected as an Artist-in-Residence by The Wellington School in Columbus, Ohio, and was awarded an artist residency in Dresden, Germany by the Greater Columbus Arts Council. Fine is currently an Adjunct Professor in the Department of Art and Art History at The University of Alabama at Birmingham.
Fine has had in solo exhibitions at the Kentuck Gallery in Tuscaloosa, Alabama; City Art Center in Delaware, Ohio; Geh8 in Dresden, Germany; Dublin Arts Council in Dublin, Ohio; The Walnut Gallery in Gadsden, Alabama; The Sculpture Center in Cleveland, Ohio; Children’s Museum of the Arts in New York, New York; and the Wiregrass Museum of Art, in Dothan, Alabama. Selected group exhibitions include: the Columbus Museum of Art, Columbus, Ohio; Wiregrass Museum of Art; The Contemporary Art Center in Cincinnati, Ohio; and the Mobile Museum of Art in Mobile, Alabama.
Jenny Fine - Flat Granny as a Costume No. 1, 2012-2014, (archival pigment print)
Jenny Fine - Hello Granny No. 3, 2012 (archival pigment print)
Jenny Fine - Feeding Flat Granny, 2012 (archival pigment print)
Jenny Fine - Flat Granny and Me: A Procession in My Mind (2014 performance photo by Rob Muller)
Celestia Morgan
Celestia Morgan is a photographer working primarily with retrospective imagery. She fell in love with photography in high school with a 35mm film camera. After high school she was inspired to be the first member of her family to receive a college education. She earned her Associate Degree in Elementary Education at Lawson State College, and later earned a BFA in photography at the University of Alabama at Birmingham. She is currently pursuing her MFA at the University of Alabama in Tuscaloosa.
Morgan’s work has been exhibited at the Minneapolis Institute of Art (Minneapolis, Minnesota); Crystal Bridges Museum of American Art (Bentonville, Arkansas);
Birmingham Museum of Art (Birmingham, Alabama); Birmingham Civil Rights Institute (Birmingham, Alabama); and the Mobile Museum of Art (Mobile, Alabama); and is held in numerous private collections.
Celestia Morgan is a photographer working primarily with retrospective imagery. She fell in love with photography in high school with a 35mm film camera. After high school she was inspired to be the first member of her family to receive a college education. She earned her Associate Degree in Elementary Education at Lawson State College, and later earned a BFA in photography at the University of Alabama at Birmingham. She is currently pursuing her MFA at the University of Alabama in Tuscaloosa.
Morgan’s work has been exhibited at the Minneapolis Institute of Art (Minneapolis, Minnesota); Crystal Bridges Museum of American Art (Bentonville, Arkansas);
Birmingham Museum of Art (Birmingham, Alabama); Birmingham Civil Rights Institute (Birmingham, Alabama); and the Mobile Museum of Art (Mobile, Alabama); and is held in numerous private collections.
Celestia Morgan - (Diptych 2 from "Passage") 33° 31’ 18.5”, 86° 49’ 56.2”, 2016 (left); 33° 29’ 49”, 86° 50’ 10”, 2016 (right), (archival pigment prints)
Celestia Morgan - (Diptych 3 from "Passage") 33° 37’ 24.8”, 86° 40’ 42.4”, 2016 (left), 33° 29’ 20.6”, 86° 50’ 54.5”, 2016 (right), (archival pigment prints)
Celestia Morgan - (Diptych 5 from "Passage") 33° 28’ 48.3”, 86° 53’ 4.27”, 2016 (left), 33° 31’ 18", 86° 49’ 56.1”, 2016 (right), (archival pigment prints)
Celestia Morgan - (Diptych 6 from "Passage") 33° 31’ 3.51”, 86° 50’ 3.69”, 2016 (left),33° 28’ 58.8”, 86° 51’ 32.6”, 2016 (right), (archival pigment prints)
Peter Bahouth
Peter Bahouth advocated for environmental issues for 30 years as Executive Director of Greenpeace USA, the Ted Turner Family Foundation, and the US Climate Action Network, before becoming a full-time photographer. His primary medium is stereoscopic/3D photography, a process developed in the 1830s. Bahouth designs his own viewers - often incorporating sculpture, sound, or signage - as an invitation to look. Peering into the viewer removes all other external visual information. This focus through the display onto an image where depth and space are intensified creates a more personal experience with the viewer. There is a sense of being projected into the image, and into another place and time.
Peter Bahouth advocated for environmental issues for 30 years as Executive Director of Greenpeace USA, the Ted Turner Family Foundation, and the US Climate Action Network, before becoming a full-time photographer. His primary medium is stereoscopic/3D photography, a process developed in the 1830s. Bahouth designs his own viewers - often incorporating sculpture, sound, or signage - as an invitation to look. Peering into the viewer removes all other external visual information. This focus through the display onto an image where depth and space are intensified creates a more personal experience with the viewer. There is a sense of being projected into the image, and into another place and time.
Peter Bahouth - Field Experiment 1, 2016
stereoscopic photographs in custom viewer with stand, edition of 5
Peter Bahouth - Field Experiment 3, 2016
stereoscopic photographs in custom viewer with stand, edition of 5
Peter Bahouth - Portrait (Fahamu), 2016
stereoscopic photographs in custom viewer with stand, edition of 5
Peter Bahouth - Portrait (Shana), 2016
stereoscopic photographs in custom viewer with stand, edition of 5
Leonardo Selvaggio
Leonardo Selvaggio's work engages the idea of thinking of identity as data that can be manipulated or even corrupted in the face of social media and our increasingly networked society. He is interested in how this “data” is tied to the larger context of surveillance and how the prejudicial architecture our surveillance systems are built upon affects how we perform those identities in public space.
His work, “URME Surveillance” involves the development of defense technologies used to protect the public from surveillance by using his own identity as material. Rather than camouflage or hide the identities of the masses, this work invites the public to assume and present his identity as an alternative by allowing them to wear his face as a prosthetic. Thus when surveiled, facial recognition systems attribute their actions as his. By assuming this risk and responsibility, “URME” challenges and allows the viewer to consider the malleability of their own identities by misrepresenting and corrupting his own.
Leonardo Selvaggio's work engages the idea of thinking of identity as data that can be manipulated or even corrupted in the face of social media and our increasingly networked society. He is interested in how this “data” is tied to the larger context of surveillance and how the prejudicial architecture our surveillance systems are built upon affects how we perform those identities in public space.
His work, “URME Surveillance” involves the development of defense technologies used to protect the public from surveillance by using his own identity as material. Rather than camouflage or hide the identities of the masses, this work invites the public to assume and present his identity as an alternative by allowing them to wear his face as a prosthetic. Thus when surveiled, facial recognition systems attribute their actions as his. By assuming this risk and responsibility, “URME” challenges and allows the viewer to consider the malleability of their own identities by misrepresenting and corrupting his own.
Leonardo Selvaggio - Mask3
Jakob Dwight
Originally trained in painting and drawing Jakob Dwight was drawn to the digital medium by the opportunity to expand the definition of painting through lighted media. Inspired by the kind of opiated meditative quality of the screen-based televisual space the artist came to see the lighted image as significant to contemporary sensory culture in a transformative way. His work is executed across media including painting, digital photography, collage, animation and domemaster, the circular ‘fisheye’ images for fulldome video systems.
As part of the collective Aesthetics & Therapeutics Lab, a platform developed to initiate installations and experiments in immersive art and healing, the artist was invited to install a MultiSensory Environment in fulldome at LA's Vortex Immersion Media in June, 2014. In 2016 Dwight's work was on view at the Brooklyn Museum alongside 24 artists in the critically-acclaimed exhibition Disguise: Masks and Global African Art, organized by Seattle Art Museum. He is slated to launch a beta version of his ongoing art role playing and world building platform N'CHI in 2017.
Originally trained in painting and drawing Jakob Dwight was drawn to the digital medium by the opportunity to expand the definition of painting through lighted media. Inspired by the kind of opiated meditative quality of the screen-based televisual space the artist came to see the lighted image as significant to contemporary sensory culture in a transformative way. His work is executed across media including painting, digital photography, collage, animation and domemaster, the circular ‘fisheye’ images for fulldome video systems.
As part of the collective Aesthetics & Therapeutics Lab, a platform developed to initiate installations and experiments in immersive art and healing, the artist was invited to install a MultiSensory Environment in fulldome at LA's Vortex Immersion Media in June, 2014. In 2016 Dwight's work was on view at the Brooklyn Museum alongside 24 artists in the critically-acclaimed exhibition Disguise: Masks and Global African Art, organized by Seattle Art Museum. He is slated to launch a beta version of his ongoing art role playing and world building platform N'CHI in 2017.
Jakob Dwight - MSK01 (00225)
digital C-print
still from the video, "The Autonomous Prism"
Jakob Dwight - MSK01 (zyxkqy)
digital C-print
still from the video, "The Autonomous Prism"
Jorge Arcos
Jorge Arcos - The Hidden Perception of the Infinite, 2016
acrylic on canvas
30 x 40 in
Jorge Arcos - Eagle Warrior, 2016
acrylic on canvas
30 x 40 in
Jorge Arcos - Deep Perception, 2016
acrylic on canvas
30 x 40 in
Jorge Arcos - Intrepid Spirit, 2016
acrylic on canvas
30 x 40 in
Graciela Nuñez Bedoya
Born in Lima, Peru, Graciela grew up in the coastal city of Callao near Lima with her family. She is the youngest of two children moved with her family to Lilburn, Georgia in 2000.
Graciela became a U.S citizen in the summer of 2014. She earned her BFA in painting, drawing, and printmaking from Georgia State University where she graduated Summa Cum Laude in 2015.
By focusing on figurative painting, she aims to capture subtle gestures and reflect the human condition.
Born in Lima, Peru, Graciela grew up in the coastal city of Callao near Lima with her family. She is the youngest of two children moved with her family to Lilburn, Georgia in 2000.
Graciela became a U.S citizen in the summer of 2014. She earned her BFA in painting, drawing, and printmaking from Georgia State University where she graduated Summa Cum Laude in 2015.
By focusing on figurative painting, she aims to capture subtle gestures and reflect the human condition.
Graciela Nuñez Bedoya - Cajón Peruano, 2016
oil on canvas
36 x 24 in
Graciela Nuñez Bedoya - Activist. Woman. Mother., 2016
oil on canvas
36 x 24 in
Graciela Nuñez Bedoya - Melanin (part one of a diptych), 2015
oil on wood panel
24 x 24 in (each panel)
Graciela Nuñez Bedoya - Melanin (part two of a diptych), 2015
oil on wood panel
24 x 24 in (each panel)
Stanley Bermudez
Stanley Bermudez earned a BFA in studio art in 1990 and an MFA in 2000 with an emphasis on metalwork and jewelry making. Growing up in Venezuela, his mother and his two sisters were also artists, and he began making art at an early age. He has exhibited his work throughout the United States and in Venezuela, and currently teaches art at The University of Georgia, Gainesville State College, and North Georgia College and State University as an adjunct professor.
Stanley Bermudez earned a BFA in studio art in 1990 and an MFA in 2000 with an emphasis on metalwork and jewelry making. Growing up in Venezuela, his mother and his two sisters were also artists, and he began making art at an early age. He has exhibited his work throughout the United States and in Venezuela, and currently teaches art at The University of Georgia, Gainesville State College, and North Georgia College and State University as an adjunct professor.
Stanley Bermudez - Oil Pipe Inspection, 2008
acrylic on canvas
40 x 30 in
Stanley Bermudez - Line, Color, Texture (green), 2010
mixed media on canvas
24 x 48 in
Stanley Bermudez - Line, Color, Texture (red), 2010
mixed media on canvas
24 x 48 in
Stanley Bermudez - Line, Color, Texture (blue), 2010
mixed media on canvas
24 x 48 in
Pedro Fuertes
Pedro Fuertes was born and raised in Lima, Peru. The oldest of four brothers, he sold artwork to tourists to pay for his education at the College of Jose Carlos Mariategui and later at Escuela de Bellas Artes of Peru - against the advice of his family. His work has been featured in over 250 solo and group exhibitions in Belgium, Bolivia, Chile, the Czech Republic, Ecuador, France, Germany, Guatemala, Italy, Kuwait, Peru, Poland, Puerto Rico, Spain, Venezuela, and throughout the United States.
Pedro Fuertes was born and raised in Lima, Peru. The oldest of four brothers, he sold artwork to tourists to pay for his education at the College of Jose Carlos Mariategui and later at Escuela de Bellas Artes of Peru - against the advice of his family. His work has been featured in over 250 solo and group exhibitions in Belgium, Bolivia, Chile, the Czech Republic, Ecuador, France, Germany, Guatemala, Italy, Kuwait, Peru, Poland, Puerto Rico, Spain, Venezuela, and throughout the United States.
Pedro Fuertes - Wind Melodias (triptych)
oil on canvas
30 x 20 in (each panel), 30 x 60 in (overall)
Pedro Fuertes - Coral Reef
oil on canvas
30 x 30 in
Pedro Fuertes - Dawn
oil on canvas
36 x 48 in
Pedro Fuertes - Bird Courtship
oil on canvas
30 x 60 in
Dora Lopez
Dora Lopez - Captive
mixed media on canvas
36 x 48 in
Dora Lopez - Nature
mixed media on canvas
24 x 30 in
Dora Lopez - Petals
mixed media on canvas
30 x 40 in
Dora Lopez - Angel
mixed media on canvas
48 x 60 in
Carlos Solis
Carlos Solis - El Lago, 2016
oil on canvas
20 x 24 in
Carlos Solis - The Right to Joy, 2012
oil on canvas
60 x 48 in
Carlos Solis - The Fishermen Fighting the Creatures from My Imagination, 2017
oil on canvas
35 x 35 in
Carlos Solis - The Pearl, 2016
oil on canvas
54 x 54 in