Empathic Living for the Couch Potato

By Steph Wadman

Empathic Viewing for the Couch Potato uses a selection of material, food, and video as a means to equate two separate experiences to another, the physical sensation of pressure from a baby. Using two experiences that are relatable to anyone, sit-ups until exhaustion and eating gaseous foods, the viewer is asked to add them in their mind to equate to the experience of a mother. Realizing that this is an approximation, and not an equalization, I aim to invoke empathy through the effort of the audience participating in metaphysical experiences.    

Mother Lode

By Courtney Kessel

“Mother Lode” was a solo exhibition at the David Brooks Gallery at Fairmont State University, September 3 – October 5, 2014. The work in this show highlights the challenges and negotiations between having time for myself and the constant need and interruption of an other. It is a body of work that has emerged from having a 40 + hour a week job and being a full-time mom. Instead of having the ability to be in the studio all the time and producing a body of work, the time spent installing becomes a durational performance or studio practice. A heavily conceptualized idea is prepared and then executed at the site-specific location of the gallery. The “Mother Lode” is the origin of a treasure or vein of ore, something precious. My use of it here indicates both the above meaning and the origin of me as a mother, which is the child. I am also playing with the word “lode” and...

A Soft Surplus and Soft Surplus+


A Soft Surplus was the first collaborative installation by Collective Springboard (Micah Snyder, Stephanie Wadman, Danny Crump, Siavash Tohidi, Todd Irwin, Barry O’Keefe and Sarah Dahlinger). Held at the School of Art+Design’s Ridges graduate studios, the handmade bouncy castle constructed from recycled and found materials imagined the possibility of an inclusive playland. The interactive art installation invited the public to jump inside the soft sculpture and explore their relationship with fun. In conjunction with Athens’ Nuit Blanche Festival, Collective Springboard bounced back with Soft Surplus+. Installed at the busy intersection by Howard park, the sculpture attracted a diverse range of jumpers from families and children to undergrad bar-goers and professional dancers. Soft Surplus+ created a venue where participants embraced their high flying spirit and bounced to...

Recreating Robert Rauschenburg’s “Monogram”

By Linda Di Bernardo

The job of the props artisan is to create the objects that enhance the believability of the world of the play. If done well, both the audience and actors willingly allow themselves to be transported and suspension of disbelief can only achieved if the props are accurate and authentic. bobrauschenburgamerica, by Charles Mee was the first show of the 2014-15 season produced by the Ohio University School of Theatre. One of the props called for was a reproduction of a well known sculpture by the artist Robert Rauschenburg called “Monogram”, which depicts a life-size goat with a tire around it’s belly and a face full of paint. This required extensive research into not only accurately depicting a life-size goat, but how to do it both cheaply and efficiently – two other important factors of being a props artisan. For roughly $120, and on a three week time frame, the...

Cutrual filters


During my research about the Yao people ceremonial collections, I am thinking it is important to let others understand the difference and similarity between the Yao and their own culture. So I made this installation and try to discuss how the culture shapes us in my sculpture class. I think all the cultures functionally are the same. The cut papers in the middle represented the physical forces which structure our lives. The projected images on the papers and wall represented the ideologies. The projected images are composed by the sacred symbols in the Yao people ceremonial collections. The viewers which are my classmates they could learn the ideas through discussing this work.        

Dump Bucket Aquarium

By Sarah Dahlinger

Dump Bucket Aquarium is a multi-media work in progress that immerses the viewer into the interior of a bar’s drink dump bucket as it fills to the brim. The splashing landscape of fruit garnishes, straws and ice cubes transforms into an underwater oceanic oasis. The video is projected on a shaped projection screen that references an aquarium tunnel. Such architectural innovations enable the magical experience of walking underwater–surrounded by whale bellies and bottom feeders. The attraction and repulsion of the video underscores the duality of indulgence itself as the playful, tranquil, landscape becomes progressively indecipherable and ominous.  

Suspended Communication


This project, a hanging wood-and-wire sculpture onto which I projected words.  I ideated and constructed it in response to a multifaceted prompt that included demonstrating a concept I had learned, assembling cosmetic features of our pieces–patterns, segments, media, etc.–into groups of three or six. Here, the projector displays a looping .GIF over my structure so that the content of the iMessage-like text bubbles would cycle rapidly through visual examples of communication (e.g. a clipping from an ASL learner’s manual, a video of smoke signals from the Vatican).  



Lately I have been exploring the idea of sensory deprivation and sensory overload. A common experience in a sensory deprived or over stimulated situation is that your mind compensates. I am interested in the reactions that individuals have to a situation that both isolates and overloads. By recording and editing a simple sound I hope to create the sensation of a happening inside of the viewers head.   http://www.aesthetictechnologies.org/atlab/wp-content/uploads/tdomf/9983/expectation%20shorten.mp3...

Reactionary Movements


This is an exploration of reaction and perspective, through tracking the strain of the back in reaction to the physical strain of the front. The mind and the body are able to adapt to copious amounts of stress and unpredictable actions. My interests lie within the moment that object and person become overwhelmed. The chemical construction of the body interacts in the same manner that people do. On a basic level an exchange is made. I am interested in the unforeseen outcomes of basic exchanges, while simultaneously confronting my audience with the possibility of disorder through exertion.

The Eyes

By Hannah Cameron

In my most recent work, I arrange seemingly disparate objects and materials hoping to inspire a psychological reaction in the viewer. With the use of photography I am able to curate exactly how the viewer is to look at these objects. The white back ground in my photographs serves an informative purpose; it is clinical, clean and straight forward, presenting the subject with no outside distraction. Using the Create Space technology, I am able to make a drastic shift in scale. These images were printed at 18 x 24.”

Heads and Tales


My installation is a womb-like tent in which people are seduced into due to the projected imagery and colored lights. However, once inside, one is trapped by the hanging cloth and thread.

Non-Archival Decay & Reaction To Process


Non-archival Decay: This is an exploration of the decay of a medium, specifically a non-archival one. I used the GoPro as a means to capture the evolving decay of dried out unfired clay as I used the car jack to put strain on it. The three stills were compiled to show the sequential downfall of the form when confronted with time and force of action. In other works I deal with found materials that are also subject to these forces and will eventually show their own wear and decay. Reaction to Process: In the beginning of this exploration I wanted to use the GoPro to capture my hands as they were tying knots in the rubber. I had done many sessions of tying the knots which had chapped and hurt my hands. I was interested in capturing actions that my hands were taking in comparison with the abuse they were getting. In the end I became mush more interested in the movement of my back in...



Hello! I am an OU senior studying sculpture. Currently, I am working on stop motion animation & performance video art. My thesis show is in the spring, so I am in much need of technological guidance. I am grateful to Nathan Berger, for lending me camera equipment and a projector. I have started to explore a sort of personal narrative style of filming, one I hope to refine for my thesis show. In Bravery/Hero, my most recent piece, I am breaking down formal associations within Western culture by montaging together stop motion animation, found footage, and personal footage. In my work, a frequent theme is the exploring the female experience. The installation, Bravery/Hero, was located in Seigfred Hall, room 123. Objects that appeared in the video were featured alongside the projection,casting shadow onto the moving image. Thus oscillating between the virtual in the real and the real...

Rotten Apples

By James McGee-Moore

Hi! James here. Let’s start off with a little background on me so you can understand my project. I’m a fifth year, which means I was a senior last year and got de-railed by the change to semesters. I’m a sculpture major and I’m gearing up for my thesis exhibition at the end of next semester (it’s a big deal art show I have to finish to graduate). I’m supposed to be making art that develops my “Body” of work, which just means I need to stop floating around and start making works that all fall under a unified idea or theme. I’ve defined myself as a video artist (you may be thinking “Video’s not sculpture” and who knows, you may be right, but we’re all crazy and jumbled up over here in art world, so sculpture is where I ended up) and I tend to make feminist themed works about personal and human issues. Since...

Now We’re Sharing the Same Dream

By Andy Sloan Jackson

“Now We’re Sharing the Same Dream” is the thesis exhibit for my MFA in Ceramics at Ohio University. This six-channel piece includes large and small scale sculpture, video loops, and fiber sculptures. It would never have been possible without the resources of the @Lab and the incredible help of Nathaniel Berger. Thank you. I explore how objects function on multiple, simultaneous, and contradictory levels. We engage the world of objects with every action, taking comfort in those that surround and adore our homes. These objects include plates commemorating a special event, souvenirs from vacations long ago, or figurines linked to an emotion or rite of passage. How do these objects navigate a tenuous boundary between meaning and obscurity? What power do they still hold as a souvenir not only of a vacation, but of a memory, of an event. In my work I create tableaus that...

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