麻豆社

N Ashley Smith 

Artist Biography  

Ashley Smith is a fine artist living and working in Southeast Georgia. She is interested in encapsulating scars through the mediums of metals, embroidery, and mixed media photography. A life-long creative, she received her Bachelor of Fine Arts in Studio Art from 麻豆社 in 2019 and her Master of Fine Arts in Studio Art from Georgia Southern University in 2024.  

Artist Statement  

Life’s experiences impact the living, leaving us with physical and emotional scars. My work explores scars through encapsulation, a desire to enclose and express the emotional scars of memories or my own physical scars of birth. The term scar is used to reference the things left behind - such as surgical or emotional scars. While the word scar can evoke strong emotions and connotations, I am not attempting to recontextualize the word scar itself but rather the view society has of scars in relation to beauty and morality. Through the mediums of metal, embroidery, and mixed-media photography, I preserve these scars into tangible objects.  

Craig Hawkins  

Artist Biography  

Craig Hawkins, a studio artist and educator in South Georgia, centers his studio practice on drawing and painting. With an M.F.A. from the University of Georgia, he skillfully balances being a dedicated studio artist and respected professor at 麻豆社.  

Ancient Hebrew and Greek Scriptures hold a special place in his heart, shaping his creative approach. Hawkins delves into their rhythmic narrative patterns, infusing his art with symbolism and motifs that echo their wisdom. His work beautifully blends chronicles and creativity, using visual art to channel ageless insights. Hawkins states, “My work is a reflection of my experience with scripture, a result of my experience growing up in the south, a response to the inherent value of everyone, and a perceived need for beauty and community in the world.” 

Artist Statement 

“IN THE MIDDLE OF THE GARDEN WERE THE TREE OF LIFE  

AND THE TREE OF THE KNOWLEDGE OF GOOD AND BAD” 
 

— THE BOOK OF GENESIS  

Within a biblical survey of trees, I see them appear at strategic moments in the biblical story. Trees mark moments of choice & testing but also an overlap of God’s presence and human presence. The design and placement of ancient near eastern historical references & contemporary domestic references all become vessels for metaphor. The dichotomy of flat graphics vs. volumetric rendering point to the symbiotic nature of an abstract vs. material world. Through captivating realism, I curate a sense of wonder and curiosity with the use of both toys and religious symbols that point to imagination and meaning in a chaotic world. Within a biblical survey of trees, I see them appear at strategic moments in the biblical story. Trees mark moments of choice & testing but also an overlap of God’s presence and human presence. The design and placement of ancient near eastern historical references & contemporary domestic references all become vessels for metaphor. The dichotomy of flat graphics vs. volumetric rendering point to the symbiotic nature of an abstract vs. material world. Through captivating realism, I curate a sense of wonder and curiosity with the use of both toys and religious symbols that point to imagination and meaning in a chaotic world. 

Joseph Schairer 

Artist Biography  

Joseph Schairer is a mixed media sculptor currently teaching as a Limited Term Faculty of 3D/4D Studio Art at 麻豆社 in Valdosta, Georgia.  Having been born and raised in Connecticut, Joe spends most of his time these days avoiding the Georgia heat, playing videogames, and consuming any form of science-fiction media that he can get his hands on.  He received his BS in Studio Art with a concentration in Sculpture from Southern Connecticut State University in 2019, and His MFA in Sculpture from UMass Dartmouth in 2022. 

Artist Statement  

Recent explorations in my work have centered around themes of existentialism, and more specifically, the weight that has come with a realization that in an inherently purposeless universe, it is up to each person as an individual to find their own reasons to continue to exist.  The “voids” in my work, often manifested as dark and lightless portals to an ambiguous nothingness, represent a personal battle with these thoughts.  They represent an admittance that, much like the physical substance of the voids that I create, the answers to questions concerning “everything” that I find myself desperately pondering will never present themselves in an explicit way.  

Although I have spent my lifetime being nearly paralyzed with fear that the responsibility of giving my existence a purpose lies with nobody but myself, I have recently taken a more optimistic approach to these thoughts.  Philosopher Jean-Paul Sartre has a quote verbalizing this idea, saying that: “Man is condemned to be free; because once thrown into the world, he is responsible for everything he does.  It is up to you to give [life] a meaning.”    

            Perhaps the void doesn’t have to be terrifying.  Perhaps it represents the freedom for a person to elevate themselves to levels far beyond those that could have been achieved by following a path laid out by anyone but themselves.  

Evelyn Davis-Walker 

Artist Biography  

Evelyn Davis-Walker holds a B.A. in both Visual Communication and Computer Art from Otterbein University with a minor in world religion and an M.F.A. in Advertising Design from Marywood University. Evelyn is a graphic designer; a maker; an educator; and a socially engaged art activist. She has taught graphic design at the university-level for over 17 years and has run her design business with her husband for the last 21 years.  

Her pedagogy and practice is centered around strengthening the need for care and empathy towards others through visual communication.   

Artist Statement  

Evelyn has a strong affinity for all things paper – from mixed media collage, to creating typographical prints on her letterpress machine. She has received numerous awards and has exhibited in solo, group and juried exhibitions.  

I explore different ways to bring messages and meaning into art pieces. I challenge viewers to question the idea of what type is by exploring alternative materials in order to develop a unique type language.  

The Confessions of the Disheartened series came out of my summer Book Arts Lab Residency at Central Print in St. Louis, Missouri. There, I combined my love of letterpress printing and pop-up engineering into the form of handmade books focusing on my passion for diversity, equity, inclusion, access and belonging. As viewers handle the files they first encounter key words and social perceptions of the individual. As the audience journeys to the end of the handmade book, they are greeted with how the person wants people to see them as–larger than life and excited to impact the world.  

My passion when making artwork is to bring social issues to a new/next generation; for them to find tools and resources to communicate their interests and empathy towards others. 

Abigail Heuss 

Make Your Way Home 

Artist Statement  

The product of a collaborative investigation between myself and metalsmith Ashley Gilreath, the pieces in this series are based on the overlaps in our two lines of creative inquiry. Ranging from jewelry made in precious metals and enamel, to sculptures constructed from reclaimed wood and rusty steel, this series centers around the ideas of memory, locational identity, and lineage. 

Pouring over our two collections of family photographs and memorabilia, we are working to point out parallels, elevate poignant details, and collage interesting overlaps. We have chosen to focus on the architecture of our families’ historical spaces, the objects within, and the plants passed from one generation to the next. Just like the rose bush grown from cuttings by four generations in as many states, my great grandmother’s peonies thriving in my sister’s yard, or the mint moved from Louisiana to North Carolina, we each move from place to place taking root in new surroundings. Like these plants we are each adaptable but have necessary conditions that must be met in order to thrive.  

By removing the people and specific stories from our source materials, we have tried to bring the context into focus. Our design process for this series de-centers individuals and focuses on the backdrop of our family histories. Sharing source material and sketches, we work to flatten and simplify imagery, isolate shapes, and play with perspective. Tracing, re-drawing, and trading imagery back and forth is akin to the process of recreating a memory every time one thinks about an event. With time memories shift, compress, and flatten, experiences are condensed. The texture of our lives and histories smooth over, creating the silhouette of a life lived, or a family history. By collaging imagery together, we hope to design pieces that feel simultaneously familiar, unsettling, and sentimental. 

Mark Errol 

Artist Biography  

Mark Errol graduated from Georgia State University in 2014 with his MFA where he was the recipient of the Ernest G. Welch Fellowship. Mark accepted the position of Lecturer in 2015 at 麻豆社 in Valdosta GA where he teaches Ceramics and is the Gallery Director of the Dedo Maranville Fine Arts Gallery.  

Mark and his husband, photographer Glenn Josey are the co-owners and operators of Plough Gallery in Tifton GA. The gallery’s concentration is on fine art and craft and has been a leader in bringing public art and education to their town.  

Mark maintains an active studio practice that centers around functional ceramic forms that act as a vehicle to share about topics of domestic life, shared loved and his ever-longing quest to win the lottery and build a dream home. In addition to clay, he works with textiles, printmaking, and photography. He has exhibited nationally and internationally, been featured in Studio Potter and Ceramics Monthly. Errol has taught workshops and been a visiting artist at numerous universities and art centers such as Arrowmont School of Arts and Crafts and has been the Clay Coordinator for the Spring Session of Pentaculum since 2020. In 2023, Mark returned to school himself and is a candidate for an M.A in Museum Studies at Kennsaw State University.  

Artist Statement  

Home ownership was once an obtainable option for many in America. In the 1960s, almost 70 % of Americans owned their home where now that rate is at 40%. The cost of a home has increased exponentially while wages have not kept up. These are not shocking facts, but they are the reality to which I base the art I make. Since I cannot own a home, I make objects for it, about it and drive the viewer to both obvious and subtle realities that many face. 

Demense-3 continues a series that investigates thoughts I have about the ownership of spaces. For me it is about a continued questioning of whether we ever own our homes, our land. I am fascinated by the cul-de-sac as a marker of status. As a city kid, hearing folks say they were moving out to the suburbs, for more space, on a cul-de-sac seemed like they were moving out to the vastness of the wild, only to get my first view of it and realize it was an idea, a selling point, or quite frankly, a lie.  

Ceramics is at the center of my research as it is grounded in utility, shared experiences and has historical and contemporary relationships to all aspects of the home. I make vessels that originate in function but also question use by creating misconceptions of perceived spaces or purpose. The surfaces are multilayered, often dense, overpopulated and employ gridded areas, pattern and colorful shapes that allude to interior and exterior architecture. I introduce the figure to be more forthright about identity, gender, relationships as well as show the awkwardness of intimacy or of shared existences.  

Arthur Blake Pearce 

Artist Biography  

A native of Georgia, Arthur Blake Pearce received his Master of Arts degree from Ball State University and his Master of Fine Arts degree from Southern Illinois University at Carbondale. He has been at 麻豆社 for over thirty years serving as a faculty member, Department Head, and Dean. He currently serves as an executive director in Academic Affairs and a chief advancement officer in University Advancement.  

He is a member of Alpha Chi and Phi Kappa Phi Honors Societies. He is a member of the Southern Graphics Council International, the South-Eastern College Art Conference, the College Art Association, the International Council of Fine Arts Deans, and the National Council of Arts Administrators. His works have been exhibited in local, regional, and national exhibitions. His most recent works have been in the areas of painting, drawing, and printmaking. 

Artist Statement  

The recent work in this exhibition reflects an interest in observing light, and textures found in local landscapes, and the structures within, or changes made to these spaces. I have been interested in the transient nature of light within a landscape and surprised by the sometimes-radical visual changes I observe in the land and space caused by development, seasonal agricultural activity, and natural forces. It may be debatable to a viewer whether changes such as fires, floods, storms, development, or agriculture are “good” or “beautiful” rather than “routine”, “seasonal, or “inevitable”. The effect of development or agriculture; any “intervention” by humans, or natural events, on the land can be interpreted as a form of environmental sculpture, always changing, moving, and growing. These observations may depict a space or object, or may be more meditative and abstract 

Kyoungim Park 

Artist Biography  

Kyoungim Park is an Associate Professor of Interior Design in the Department of Art & Design at 麻豆社 with a diverse background in fine arts and interior design.  She is an interior design educator as well as an artist with an MFA degree in Painting.  She has actively exhibited her works regionally as well as internationally, including in Florida, Georgia, Poland and South Korea.  She is also a LEED accredited professional ID+C.  Her research focuses on the design of environments for the elderly.  She is also interested in biophilic design, sustainable design, and interior design that promotes human health and well-being within a built environment.  

Artist Statement 

My painting is personal expression to find the beauty of images and negative space.  It also points out the beauty of vitality in nature and life.  The focus of my painting is to harmonize the intended single image with the negative space. To express the beauty of vitality, I use emotions and moods about particular areas such as the strength of color and light and shadow.  And I also choose the single object and create the black with white background to visualize my painting.  Visualization is more important than symbolization in my painting. 

One single object which is a flower is a main element of composition.  And another is the black or white background.  The use of negative space is a key to aesthetic composition of my painting.  The black background is not just the empty black space.  I describe the negative space with balance of black and white and this background composition comes from my intuition and experience.   

The contrast between the bold black background and the figure gives the balance and the synergy effect. The centeredness of the single flower against the empty blackness leads to emphasize not only color contrast but also vivid representation. The flower stands alone in the composition as a bold, independent subject and evokes a sense of strength and resiliency. This contrast complements each other and it maximizes the beauty of vitality at the same time. A view-from-above perspective is influenced by flower photographs. Composing the flower as the viewer is sees it at eye-level submits the viewer into the painting to interact with the flower, rather than merely isolating the audience into observation. 

Even though my painting reflects the beauty of life and vitality, they do not convey any messages or symbolic representations.  I do not mean to express a critical view of political, social, and cultural issues. Meaning of my painting is committed to audiences. The most import thing is how the audiences feel and communicate with my painting.  My painting is personal expression to find the beauty of images and negative space.  It also reflects the beauty of vitality in nature and life.   

Dr. Jenny Evans 

Artist Statement 

Dr. Jenny Evans, Not just a Pretty Face, 2024 

The pieces included in this show are Under the Shadow of the Tree of Knowledge, Holding Curves and Holding Space are a combination of baskets and 2D work. My baskets are functional art, made with a purpose in mind.  While the 2D work was created with left over materials from multiple projects.  

The baskets are made with reed material, typical for baskets.  But that is all that is typical between both.  Holding Curves includes experimental media with paper/wire weavers and a leather rim, while the Holding Space starts square which traditionally is a start/stop method and instead follows a 3:1 pattern and is a continuous weave to terminate with a round opening.  

The baskets are functional art. I struggle with making art that does not have a purpose. Whoever gets the basket and decide if they want to use it or just keep it as an artwork. The 2D work is an emotional outpour. Trees are my connection to the earth, the tree of knowledge, family tree, etc.  By using all materials that I had was leftover or left behind it is my homage to connecting to what was left over (leaves or seeds of a tree) to the potential of what it could be. 

I continue to challenge myself with a variety of media, often making projects, unmaking and reworking ideas, media, and even purpose. It’s a challenge with baskets, because if the function is to hold items, for example a moses basket holds a baby, the basket needs to be engineered to function properly. The artwork displayed in this show is linked by the connection of seeking knowledge and applying it for practical purposes.  

Tommy J. Crane 

Artist Biography  

Tommy J. Crane is a professor of interior design at 麻豆社. He earned his undergraduate degree at the University of Southern Mississippi and Master of Fine Art at Florida State University. He has been an educator for nearly 20 years with 13 years here at 麻豆社.  

He has earned his National Council for Interior Design Qualifications (NCIDQ) certification and is a Leadership in Energy and Environmental Design (LEED) accredited professional. He also is a member of the Interior Design Educators Council (IDEC), the American Society of Interior Designers (ASID), and the International Interior Design Association (IIDA).  He is also a registered interior designer in the states of Georgia and Florida.  

Tommy also is a member of the Valdosta Historic Preservation Commission and a member of the Valdosta Heritage Foundation aka Historic Valdosta.     

Artist Statement 

Design Statement for Unmistakably Gray:  

This piece plays with color interaction and how “gray” is such a broad term. The use of undertones intermingles to demonstrate how those hues create visual interest within a multitude of neutrality. The repetition of elements intertwines to develop the pattern of interconnectedness that represents the how things evolve into a final piece, yet hints at its continued evolution. It also allows one to not focus on details nor the whole piece but how it takes understanding to grasp fuller meaning, much like life.     

Dr. Selena Nawrocki 

Artist Biography 

Dr. Selena Nawrocki is a Professor of Interior Design/Art at 麻豆社. Dr. Nawrocki received a B.F.A. degree from Mississippi University for Women in Interior Design/Art, an M.F.A. degree in Interior Design from the University of Memphis, and a Ph. D. degree in Technology Education from Mississippi State University. In 2005, she received the 麻豆社 university-wide Excellence in Teaching award. She is a professional member the Interior Design Educators Council (IDEC) and has been accepted to present at their regional and national conferences in Atlanta and New York focusing on collaborative studio and building codes. She is certified by the National Council for Interior Design Qualification (NCIDQ #020443).  

Dr. Nawrocki has exhibited her work extensively in juried art exhibitions. Her artwork has appeared in over 175 state, regional, national, and international art competitions with 38 awards. Selected exhibitions include the 51st International Award Exhibition at the San Diego Art Institute (Best in Show); Dimensions 50th Anniversary Exhibition in Winston-Salem, NC (Best in Show); 17th Annual Rio Brazos Art Exhibition in Granbury, TX (Best in Show); and Digital Magic Juried Art Exhibition in New York. Her artwork is represented by Venvi Gallery in Tallahassee, FL.  

Artist Statement 

My works of mixed media images represent compositions utilizing the common thread of Interior Design. Traditional boundaries of Applied Arts have been shattered, with my axonometric drawings and renderings yielding a bas-relief sculptural quality associated with the fine arts media. An abstract room interior, rendered in informal balance, is created with line, plane, plus tints and shades of color. The effect I am seeking is a mechanized, industrial structure designed to simulate architectural construction elements. Every composition reveals, by its unique strength, how it would resolve itself as it follows the tendencies of its internal forces. I am interpreting nature in its purest, abstract state – constructing a rhythm of pictorial lyricism using reflective objects and staircases. Objects never end – forms intersect with infinite combinations of sympathetic attunements and clashing aversions.  

The dominant element in my work is a staircase or group of staircases, which indicates a variety of symbolic meanings. The process of ascending a staircase provides a feeling of a positive, hopeful, or purposeful journey; however, descending a staircase may imply negative, confusing, or depressing sentiments. A traditional staircase is straightforward and proposes an uncomplicated route, but a spiral, twisted staircase may suggest mystery and disorientation. My work typically utilizes a series of staircases both curving and angular providing a dynamic sense of movement while suggesting a complicated, mysterious path ultimately uniting places, ideas, and emotions.  

The honesty of materials is my principle focus in developing a machine-age quality enhanced with shadows and light. Even with the constant threat of chaos with the extensive use of diagonals, sharp angles, informal balance and bold color, I have sought an intuitive sense of ideal order.