University of Montana
Trey Hill: Construct I & II, Maple, 2020
Hill is a professional sculptor and Associate Professor at The University of Montana where he teaches ceramics and sculpture. He received his BFA from Bowling Green State University in 1999 and his MFA from San Jose State University in 2002. His work has been shown in galleries and museums throughout the United States and internationally. Trey has extensive travel and creative experiences through his vast artist residencies including: The Archie Bray Foundation in Helena, MT; the LH Project Joseph, OR; Da Wang Cultural Highlands, DaWang, China; HAP Studios, Beijing, China; Fule International Ceramic Art Museum, Fuping, China; and the Rojal Art Laboratory, Roja, Latvia.
Cathryn Mallory: Shifting Currents, copper tubing and wire, 2019/20
This piece is inspired by direct observation of geologic forces, forms, patterns, and surfaces found in the natural world. I frequently use recycled copper and wire to make my forms. Structurally, copper has the ability to hold form, yet remains malleable. Conceptually, copper is a conductor of heat and energy that relates to the everchanging forces of nature. The interplay of line, form, and shadow have a fluid, energetic quality that references a landscape in transition.
Cathryn Mallory is currently a Professor and Director of the Gallery of Visual Arts for the School of Visual and Media Art at the University of Montana-Missoula. She is currently teaching
sculpture and professional practices courses. Originally from the Chicago area, she received her BFA in fiber from Northern Illinois University and MFA in sculpture from the University of Oklahoma.
Her work has been exhibited in numerous exhibitions on a regional and national level, and is featured in the permanent collections of several major museums in Montana, South Dakota, and Nevada. She recently had solo exhibitions at the San Juan Island Museum of Art, Friday Harbor, WA.
Matt Hamon: Ratljóst, # 1, 7, 9 & 13 from the series Ratljóst, archival pigment print, 2019
These images were made while traveling in Iceland during the winter of 2018. I didn’t shoot with the intent of faithfully representing a specific reality. I set out to dismiss the almost unavoidable clichés of beauty that pervade every direction in the Icelandic landscape, while acknowledging that in my vision the eclipse of romanticism via works by painters such as Albert Bierstadt and Casper David Friedrich hasn’t diminished its strength. However, I believe beauty is a legitimate aesthetic device that can be employed to create moods or suspended sensations. As a serial medium, photography invites one to order and sequence a narrative arc. Figures appear sparingly and at diminished scale to invite, even if fleeting, the identification of a protagonist. Photographs are simultaneously ambiguous and specific, ultimately becoming a kind of canvas for the subconscious, where things play out that are connected to the viewer’s search for a narrative.
Ratljóst is a uniquely Icelandic word that loosely translates, “only enough light to find one’s way.”
Jennifer Combe: Untitled, oil on panel, 2020
Jennifer Combe is an associate professor of art at The University of Montana where she teaches art education and foundations. Her visual work has been exhibited at The Missoula Art Museum, Holter Museum of Art, The Gift Shop exhibition space at The Henry Art Gallery in Seattle, and The Washington State Center for Performing Arts.
She is invested in teacher education programs that integrate community arts and social theory. Her educational work has been featured in The Journal of Social Theory in Art Education and The Journal of the Motherhood Initiative for Research and Community Involvement. She has lectured for The National Art Education Association in New York, Chicago, San Diego, Dallas/Fort Worth and New Orleans, and in Florence, Italy, for The Motherhood Initiative on Research and Community Involvement.
Her work explores the interplay between context and form, specifically with the role categorizing plays as meaning is constructed. She draws from abstraction, children’s mark making, and her experiences as a mother.
Waiting, monotype, relief, screen, collage & hand drawing, 2019
Span, relief, diffused relief, screen, monotype, 2019
My work examines the landscape and our relation to it within the context of a map and mapping as both objects and as acts. Exploring the systems and conventions of depicting, charting, categorizing and interpreting the environment as well as individual experience. I use of the grid as an organizational system and references a network that is integral to us geographically and biologically. The grid format in general is familiar in many ways; it is how humans organize our countries and cities internationally. The system is also inherent considering the human brain
has neurons that function through grid cells. I intentionally prove that maps and grids are an easy system that we commonly use to understand our world and surroundings. I use diagrams and a personal approach to mapmaking that allow us insight to how I perceive and move from place to place. Maps construct the world they don’t reproduce it. They allow us to show
the landscape without depicting it, like graphic notations of remembered experience.
James Bailey was born in New Jersey, and grew up in Minneapolis, MN. He earned his B.F.A. from the University of Minnesota and his M.F.A. from the University of Wisconsin-Madison. James is currently an artist and Professor in the School of Art at The University of Montana in Missoula.
Sarah Jones: Daphne Leafed, Found Fabric and embroidery, thread, latex, 2017
Sarah Jones was born in Utah. She earned her BFA from the University of Utah and MFA from the School of Visual Art in NYC. Later, living in Arizona, in addition to producing and exhibiting her work, Jones was a Grand Canyon river guide and an instructor of art and women’s studies at Northern Arizona University, Prescott College and Coconino College. In 2002, she moved to Seattle, WA. She was awarded residencies at Ucross Foundation, Haystack School of Craft, Bloedel Creative Residency and will be in residence at Oak Spring Foundation in 2021. In 2019 Jones was a recipient of the Vermont Studio Center Fellowship and an Artist Trust Gap Grant. Jones is represented by Curtis Steiner in Seattle, WA. and Phillips Gallery in Salt Lake City, UT. In the spring of 2020, Sarah Jones relocated to Missoula, Montana. She is currently an instructor of art at the University of Montana and the Laura Grace Barrett Printmaking
Resident at the Zootown Arts Community Center. Jones’ work examines loss, grief and what is hard to see, endeavoring to construct meaning from the ragged and tenuous materials of life, and to chronicle the things that we suffer through and that matter. Currently her work addresses issues of climate change and extinction, and our grief around this loss.
Julia Galloway: Dinner Together… Coming Soon!, Porcelain, wheel thrown and molded Porcelain with inlay and glaze, 2020
I made these dishes in anticipation of a huge ruckus dinner with my family and friends when the epidemic has passed. The abundance of odd matching dishes feels generous and relaxed. The surface decoration is rooted in the skies of Montana, bitter sweet clouds as metaphor for our current condition.
Galloway is a studio potter in Missoula and professor at the University of Montana. She has exhibited across North American and Asia. A dedicated educator she developed the ‘field guide to
ceramic artisans’ education website and is a member for the NCECA Green Task Force. She was recently awarded the United States Artist Fellowship Grant and was named University of
Montana Distinguished Scholar.
Kevin Bell: Sink Hole & Mound, Oil on canvas, 2020
The trace of human intervention is common in the American landscape. Our view of nature thus cannot be wide-angle or unbroken, as it is crowded with discordant elements that often contradict and muddy our perceptions and expectations. We instead experience our surroundings selectively, filtering out what not necessary, ignoring what is irrelevant. Through this process of filtering, we experience the landscape not as a whole, but as a collection of instances, fragments, specimens and objects.
Often what is noticed and selected is dependent on the presence of a man-made element. The curve of a hill or the texture of vegetation is most visible when it is marked, divided or plotted. Such markers also situate the viewer: they offer scale, location and context. Despite very different value and worth assigned to each, nature and human activity are oddly interdependent. Together, they form fragments floating through our view.
Montana State University
Ashley Fuchs: Memories, Monotype Screen print, 2020
Memories is a seven-layer screen print that uses an additive monotype screenprinting process to present unique textures and transparencies. The textures are inspired by fabric textiles from my Grandparent’s farmhouse. The piece aims to reveal more layers as the viewer spends more time with the piece. This reinforces the way memories are created initially and overtime in our minds about a place and event. As we remember more or less about a specific moment or experience, things change, fade or we latch onto one vivid memory. Abstractly, Memories depicts this internal process and struggle we all have with remembering moments in our life.
As an interdisciplinary designer having a background in architecture and graphic design Fuchs’ work strives to merge the best qualities of each discipline to create work that speaks about our
current urban condition and an individual’s relationship to place. Her intentions are to find a way to merge the spatial qualities of architecture design with the obtainable design scale that graphic design offers.
Josh DeWeese: Jar, Basket, Platter, wood fired salt/soda glazed stoneware
Jars, Baskets and Platters are familiar forms for me to explore the potential of the ceramic process. The familiarity is comforting and allows for exploration of different modes of expression. I’m drawn to the beauty and mystery of high temperature ceramics and the element of chance that occurs in the firing, in the subtle qualities of raw clays and the vibrant depths of a transparent glaze. I have a passion for painting with ceramic materials on a threedimensional form and having the rhythm of the pattern unfold as it moves around the pot. I enjoy
the phenomenon of the melt and the quality of color and depth that develops through the glaze. The loss of control is important, blurring the initial pattern made with the hand. The viscosity, depth, and movement of the glaze are important elements in the final surface.
Jeremy Hatch: Cheapshots: 1st Montana Edition
Erin Corsi (graphic design), ceramic work by Josh DeWeese, Kelsie Rudolph, Michelle Summers, Perry Haas, Jon Bashioum, Courtney Murphy, Stuart Gair, Adam Field, Bill Wilkey, Rat Trap Clay Club, Jesse Albrecht, Chris Beineik.
1st Montana Edition is a collaborative project between myself, Erin Corsi (graphic design) and a curated selection of 12 established studio potters in Montana. My interest lies in (absurdly) merging individually crafted, handmade pottery with strategies employed to market mass consumer products, such as toy action figures. Conventionally, studio pottery is valued for its unique qualities, the makers touch and sensibility, as well as its ability to function as both an aesthetic and utilitarian object. By branding and packaging these items, I want to provoke questions about how categories of things are valued in our culture and where that value lies. Both studio pottery and vintage toys can be associated with a kind of collector culture, but in
vastly different realms. I’m curious how creating a mash-up such as this can alter a viewer’s/user’s preconceived notions.
Jeremy Hatch is currently Associate Professor of Ceramics at Montana State University and founder of Ricochet Studio, a design lab that explores the intersections of art/craft/design by collaborating with artists from various disciplines.
Dean Adams: Rhinoceroses and Unicorns, Whiteware Ceramic, 2020
Chandelier, the French word meaning candlestick, maybe thought of as a decorative light fixture or as status symbol. This chandelier is inspired by rhinoceroses and unicorns and meant to be more than a light fixture. This piece is part of Adams’ body of work informed by ancient Greek and Roman goodluck charms, such as the flying phalluses from Pompeii. This piece represents uninhibited phallic energy which is negative to neither men nor women. Adams states he de-eroticizes the penis by shifting the context from human-centric to work that pays
homage to the kitsch figurines of the 19th and 20th centuries. He intends humor as a subversive way to engage viewers and permit them to consider the often-taboo subject of sexuality. He considers the work to act as positive male sexual icons for culture that does not have many. His work pushes against cultural connotations of maleness characterized by hypermasculinity, homophobic, phallocentric and phallophobic characteristics.
Dean Adams was raised in Billings, Montana. He earned his MFA from the University of Iowa. With Josh DeWeese, Adams is co-director of the International Wild Clay Research Project at MSU, an interdisciplinary research and teaching vehicle based on indigenous ceramic materials. Adams works as the director of the Center for Faculty Excellence at Montana state University.
Gesine Janzen: 24th Street, wood block print, 2016
Album 1: Dwelling Place
hand-bound book with woodcut, monotype, inkjet, and typewritten text on found paper, 2020
Gesine Janzen investigates the meaning of place, belonging, landscape, and memory through her work in printmaking, drawing, and book arts. Her work has been exhibited widely across the United States and abroad, and was most recently placed in the collection of the Library of Congress. She has taught at Montana State University since 2002, where she lives with her family and two dogs.
Minjee Jeon: The Cat Scroll, Digital file, 2020
Have you ever experienced social media fatigue? The Cat Scroll is a playful representation of the hypnotic effect that we face with the infinite scroll.
Minjee Jeon is a designer and Assistant Professor in the Department of Graphic Design at Montana State University. Her research interests focus on the analysis of how media paradigms have evolved in correlation with rapid technological advancement, and their direct impact on human behavior.
Sara Mast: Deception, Burned, Medicine, found snakeskin & skunk head, encaustic, paper mounted on board, burned brush on linen, 2020
Sara Mast received her MFA from Queens College in New York. Her work is in over thirty collections worldwide and is featured in several publications that include: Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax (Watson-Guptill, NY, 2001), Art & Science Now, (Thames & Hudson, NY, 2010), and Encaustic Art in the 21st Century (Schiffer Publishing, Ltd., 2016). Mast is the lead artist for The Einstein Collective, which produced the artscience collaboration Black (W)hole in 2013, which was featured on the cover of Leonardo (MIT Press, February 2016) and has been exhibited nationally and internationally. Her most recent artscience collaboration, CAVE, was exhibited at the Holter Museum of Art, Helena, MT, in 2017. Mast is a professor of Drawing and Painting in the School of Art at Montana State University in Bozeman, MT.
Jeffrey Conger: Defender Three (003), Giclee Canvas Prints, 2020
Occasionally a photoshoot goes amazingly well, the location is spectacular, the weather is perfect, and the custom build is simply over the top. Photographing this one of a kind Defender 110 near the Sawtooth Mountains in Idaho was one of those magical shoots. Every morning started at 5:30 a.m. for Jack the owner and myself, with two coffees each that included a double shot of espresso to wake up followed by an Americano as the morning light rolled across the valley floor while exploring different locations. Driving up the twisted gravel road to Trail Creek Summit, across picturesque Corral Creek, and down to the fishing holes along Wilson Creek.
This Defender is a mashup of British and American styling, with a blissful 6.2-liter Corvette V8 stuffed under the Land Rover bonnet. The custom interior has all the essential comforts including hand-tooled leather upholstery, air conditioning that works plus a kickass sound system. The aluminum body is skillfully wrapped in an all-steel roll cage that is appointed with enough off-road lights to rival the Aurora Borealis. These images tell the story of that adventurous shoot and the stunning details of this raucous custom build.
Jim Zimpel: Corded Drill & Jigsaw ,particle board, poplar, glue
Jim Zimpel’s work constructs factual and imaginary entry points and rituals-they are the means to process, explore and understand things that are actually, or perceived as, inaccessible. A meaningful fishing experience, a trip to a natural wonder, a project built together in the garage shop behind the house. His practice is an attempt to attend to actual and desired familial bonds. It is location, object, or activity. A fire ring, a broken engine, a hug, the forced proximity between two men dictated by the hull of a 14’ fishing boat. It is recollection and recognition, an interpretation of traditions, fiction and history; an exploration of the terms of patrilineal relationships as he understands them. Born in Saint Paul and raised in Minnesota, Jim moved to Chicago Illinois at age eighteen. He attended The School of the Art Institute of Chicago and the University of Illinois at Chicago for his undergraduate degree and eventually traveled to
New York for a graduate degree from The Milton Avery Graduate School of the Arts (Bard College). For approximately ten years, Jim taught courses at Columbia College Chicago and managed the Art + Design Department’s Fabrication Facilities. In 2013, Zimpel accepted a tenure track appointment at Montana State University in Bozeman MT. Zimpel is currently the Associate Dean of the College of Arts & Architecture and an Associate Professor of Sculpture + Extended Media.