Please describe your current work:

This new body of work fulfills a lifelong desire to become a full-time artist. Taking the boundaries of clay to unexpected heights that require months Of meticulous work. Demonstrating that ceramics can be fine art that can be used to convey a story, take you on a trip that requires more than just a quick look.

Sometimes metal, wood and glass are incorporated into these sculptures to achieve a unique experience. Stories are told through mind bending detail. The creative use of color, shape and form are brought to life through tales from our collective past. Whimsy and fantasy abound, you will find yourself transfixed as character after character emerges.

Viewers grab your glasses and be inspired as one-upon-a-time gets a face lift!!

What future direction do you envision your art taking?

Having finally completed and collected enough sculptures to present and promote I would like to find opportunities where others can view my work.

I want to continue exploring the limits of ceramics as I develop new concepts and themes for telling stories or setting the stage for the viewer.

How will you use this award to move toward this vision of that direction?

I would use this award to help pay for presentation materials such as business cards, flyers and videos. This would also help me gain access to additional galleries and small museums.

These pieces are hard to transport, custom shipping containers are sometimes required and can be costly.

Studio time, clay, glazes and firing time are always expensive, any contribution to that end is always greatly appreciated!!

Please describe your current work:

My current work is a combination of small to large multifaceted works of art. These works revolve around my exploration into depth, color and shape utilizing subject matter I find beautiful, joyful and captivating to the eye. What began as thin scraps of cardboard lead me into learning new skills such as woodworking, metal working and mural painting. Each piece begins with the need to experiment with a new style or technique. The subject matter varies, dependent upon inspiration I find around me, including photography, graphic design, books and even advertisements. I often jot my ideas in a sketchbook and develop the idea until ready to execute.. Upon finding more and more inspiration, the idea is altered accordingly, often with the end product being much different than the original plan. I find this continuous cycle of everyone finding inspiration from everyone astounding. Creating is the accrual of all inspiration and experiences life has to offer.

This fascination has inspired me to utilize my desire to experiment by contributing to the community through large-scale art. I believe art is meant to inspire and connect others to their creative selves. Therefore, I have begun the journey into public art, sharing my passion with everyone around me and challenging the world to be in touch with their own imaginations.

What future direction do you envision your art taking?

After working with nearly every medium readily available, I want to challenge myself by exploring the facet of public art. This involvement will allow me to contribute to the community by sharing my perception ofjoy and beauty and liberating dull environments with art. Going into public art will not only allow myself to experiment with new materials and processes, it will provide new challenges with proposals, budgets, limitations, and clientele.

I have taken every opportunity to grow in new skills to reach this goal. Currently, I am working as a muralist and exhibit artist while continuing to develop my portfolio. I am now learning digital art to create mock-ups to send out to future clients. In addition, I am participating in networking events and webinars to expand my knowledge through other public artists and their artistic endeavors. It was through my internship with Stephen Wheeler, a previous winner of this grant, I was directed to apply.

During the past year, I have had the privilege of creating three large-scale metal sculptures for the city of Crestview Hills in the middle of a medical complex. These sculptures provide Healthcare workers a space where they may enjoy their breaks in the park surrounded by pleasurable imagery. In the past two months I have facilitated the creation of a 1200 sq. ft mural for the city of Pendleton. Upon seeing the difference my sculptures had on the Healthcare workers in Crestview Hills, I wanted to integrate the neighborhood in the vicinity of the mural even further. I took initiative to organize a community paint day where parents and children were encouraged to participate in the painting process, fostering a profound sense of community involvement. This engagement has inspired me to continue this involvement with the public in future endeavors.

How will you use this award to move toward this vision of that direction?

My creative journey in public art relies entirely on my ability to reach those who are looking for public art. Therefore, this grant would play a significant role in enhancing networking and outreach efforts, as well as covering application fees for future public art opportunities.

Most importantly, if selected, I will use the funds to make a significant contribution to the realization of a 2000 sq. ft. mural project taking place in Louisville, Kentucky this autumn where heavy equipment and hired help will be required. I know that with this support, I can continue to make a positive impact by blanketing the community in joyful works of art and implementing more community engagement projects while satiating my need to explore and grow in new materials and techniques. I appreciate everything Summerfair has done for the community and thank you for considering me.

Describe your current work:

My sculptural explorations are a gateway to the complex essence of human existence, connections, and the intricate interplay between the light and shadow of our shared human experience.

My current work includes an ongoing series of sculptures called "Twoods" (rhymes with moods). The ambiguity of these abstracted figurative forms continues to surprise and engage me. Over time, they have collectively become my muse, helping me explore and make sense of the duality of the human condition, interpersonal relationships, and yearning.

Cloaked in monk-like robes, "Twoods" are genderless and emotionally ambiguous. Seemingly masked and void of facial expressions, their exposed extremities reveal their inner humanity while their gestures and interactions with one another are open to interpretation. My goal is to engage the viewer to decipher the ambiguity of the forms and create their own narrative.

What future direction do you envision your art taking?

Humanity and the human form never cease to amuse, amaze and intrigue me. My work is ongoing exploration of all aspects of the human condition in both two and three-dimensional forms, but primarily through sculpture. I intend to continue investigating my sculptural muse, Twoods, and follow their lead into new narrative directions, including illustration, paintings, and sculptures.

I am also exploring several more surreal, visceral figurative works. Some of these will resolve as sculptures, while others will as paintings. I'm ready to go anywhere the work takes me, and I look forward to the journey.

How will you use this award to move forward this vision of that future direction?

I am currently refining concepts for several new sculptures. This award would help bring these sculptures to life by contributing to the costs casting services.

Please describe your current work:

My artwork uses playful and joyful colors and textures to create spaces for viewers to get lost in. I use everyday materials (such as paper, fabric, and plastic) because I want viewers to already have a

tactile connection to the textures. My work explores tactility and its ability to embody feelings of play or joy immaterially.

I transform a physical space or surface of a paper into a whimsical environment using colorful patterns, textures, and ornamentation. The inspiration for my intricate patterns and design elements derived from everyday objects, like wallpaper, decorative china and playgrounds. With overstimulation from screens and a fast-paced accomplishment culture, the physical nature of textures and patterns can bring viewers into the physical reality.

Viewers can feel connected to the tangible space that surrounds them. My goal is to use the movement of an individual's body to empower their imagination. I often find that my bright colors and patterns remind individuals of an experience or an object. I want people to be empowered to make their own connections when looking at my artwork. Simply looking at and observing abstract art is play.

What future direction do you envision your art taking?

We live in a world that is constantly seeking attention. There are constant updates on social media, endless emails from employers, and a 24-hour news cycle. Installation art is a way to allow the viewer to be immersed into a completely new environment. A space that is too complex to capture with one photo.

I envision taking my installation art in the direction of completely immersing the viewer. Typically, viewers have been below and to the side of my work. I want to use rugs to place the installation below the feet of the viewer. I will cut patterns and layer the rugs to echo the other patterns in my installations.

I have frequently used flat wooden beams in my work as support structures that I hang cut paper and fabric on. I envision building more complicated structures. To accomplish this, I will get a membership and take classes at The Manufactory, a community makerspace with a wood and metal shop. Here, I plan on using classes to have a better understanding of the structures I create and experimenting with new materials such as plastic and metal. I want the wood, plastic or metal to not simply be a support structure. I want them to be integral to my patterned compositions.

I also want to incorporate new materials to build up the space of my installation. Last year, I painted beach balls (see Enchantment, 2022). I loved the texture they created. They gave my installation a full feeling. I want to continue to push my work in this regard by playing with more materials like hula hoops and inflatable pools supplies.

How will you use this award to move toward this vision of that future direction?

I want to use the Summerfair Individual Artist grant to push my work into a new phase. I am at a crucial moment in my career path as an artist. I have begun to show my artwork regionally in the midwest. While this has been exciting, traveling has also drained my money for art supplies. I have an upcoming exhibition in Wisconsin in 2024. I will not be receiving a stipend to cover the cost to travel.

I want this installation to challenge my use of materials, and I want to use a membership at The Manufactory to push my use of support structures. I also want to experiment with new materials, such as hula hoops and inflatables. The money from this grant would support the large amount of materials, experimentation of hanging devices, and transportation costs required for this exhibition along with additional future exhibitions.

Pushing my use of materials is more than purchasing materials. It is also about pushing how I think and use my materials. Along with supplies and travel, I would also be using this grant to attend two virtual residencies with the Thrive Together Network. This artist network has two residencies a year with one flat fee. I want to discuss my layout and use of materials. Speaking with other artists will give the necessary feedback to ensure that I am meeting my goals.

The Individual Artist Award will give me the ability to challenge my creative process and give transportation to exhibitions of my installation art.

Please describe your current work:

My current body of work is sculptural vessels, many incorporating natural elements and adornments, and all done mindfully. I consider my work a visual meditation. Mindfulness plays a significant role in my life and in my art making process, so naturally I find myself incorporating it into my work. I do this by consciously making each side of my ceramic vessels different, as well as creating various textures and marks, encouraging the viewer to explore the piece. The viewer is provoked to look at the variations in texture, discover small details and focus on the work. Naturally this causes the viewer to slow down and be present, becoming an unintentional moment of mindfulness, or what I call a visual mediation.

What future direction do you envision your art taking?

There are two things I envision when thinking of the direction of my work. The first one being to discover new glaze and surface techniques that will aid in capturing the viewers attention, as well as help me achieve a desired look that feels closer to nature. Having only an electric kiln, some of the atmospheric and natural looks that come from a wood or gas kiln are difficult to obtain, so exploring new techniques and materials could help me realize the look I would like to achieve.

Secondly, because I find so much value in art making and mindfulness, I have created a curriculum where I teach both. I became certified in mediation, and also received credentials in mindfulness and stress management. I use this knowledge to lead guided meditations, followed by a discussion on mindfulness skills, and then I teach an art project (in various mediums including clay) that corresponds with the discussion. The meditation, discussion and art making creates a very therapeutic experience. I have already taught these classes at numerous venues, including at St. Elizabeth's Cancer Center, however I want to increase my skills and become certified in breath work. My intention is to be better equipped to go into more organizations, such as the local rehabilitation center, to provide them the opportunity to be creative and the skills to find mindfulness.

How will you use this award to move toward this vision of that future direction?

Receiving this award will provide me enough funds to attend a course in different glazing techniques, as well as purchase materials so that I can do tests. It will also provide me with enough funds to get additional education, particularly in breath work, so I can pursue my desire to help the community through art and mindfulness.

Describe your current work:

My practice involves an insatiable fascination with architectural spaces that evoke a sense of physical and psychological disorientation. This compulsion toward an aesthetics of bewilderment fuels two concurrent modes of work — installation and sculpture. Each format articulates differing aspects of my chosen subjects — often feeding upon and cross-pollinating one another in the process.

My installation work comprises the larger trajectory of my practice. Within this mode I fabricate odd intimate spatial scenarios into which the viewer is invited to physically enter and explore. These hybrid constructions inhabit a tenuous space between architecture, environment, installation, sculpture, and theatrical stagecraft — and act as delivery systems for the often-baffling species of subjects I am interested in communicating.

I seek to disorient the viewer to break the staid, often detached, passive, and familiar approach to consuming artworks. I believe that it is in this close space where authentic communication between artist and viewer occurs. To this end I employ tactics of individual viewer experience-such as inviting the spectator/inhabitant to crawl, crouch, lay, or adopt an atypical body position as they explore the confines and sensory stimuli of each piece.

My recent work investigates the tenuous co-existence between the rational (post-Enlightenment materialist worldview) and the irrational - and how these antagonistic ontologies often co-mingle to shape our current cultural landscape. A recovering child of Catholicism and the Cold War, my works possess an acute fondness for cultural marginalia: the science-fictional (the post-apocalyptic, the weird, the eerie), the occult, alternative history, and anomalous phenomena.

What future direction do you envision your art taking?

Most recently I have been working on drawings, designs, models, and castings for a new sculptural installation project that fuses the unlikely subjects of climate apocalypse, Catholic mythologies, and anomalous phenomena. I envision these subjects to be incorporated into a hybrid immersive architectural system such as the one shown in my submission image 10 - called "S.C./l.f. (Sensitive Compartmented Information Facility)".

I also intend to explore new aesthetic directions by utilizing a dynamic range of alternative casting materials (silicones, plastics, foams), digital fabrication processes (3D print, CNC), and exploring more a vivid and evocative color palette attuned to the conceptual requirements and contemporary nature of these prospective projects.

How will you use this award to move toward this vision of that direction?

I will use award funding to support two areas pivotal to the creation of my new works: procurement of alternative casting materials and use of digital fabrication software and production processes.

New casting materials such as silicones, foams, resins, and plastics are often quite costly - award monies will allow me to utilize these critical materials to achieve the new aesthetic qualities that I seek to articulate in my future works.

In addition to developing a new material palette, I seek to inflect the aesthetic imprint of our current digital landscape into my three-dimensional works. Award funds will greatly assist me in procuring digital design software programs such as 'Rhino', and also to acquire digital print and fabrication assistance and labor integral to the generation of my sculptural works.