Monthly Archives: September 2013

Amanda Dabel’s BFA Show: Limerence

Here are some glimpses of Amanda Dabel’s BFA show last semester, titled “Limerence.” Limerence is a term from psychology –

the state of being infatuated or obsessed with another person, typically experienced involuntarily and characterized by a strong desire for reciprocation of one’s feelings but not primarily for a sexual relationship.

The video was shot and edited by SNC students (Maggie Newman did the heavy lifting on editing) as part of a media class last semester.

Jessica and the Glow-Cloud

Welcome to NightvaleAlum Jessica Hayworth has created artwork for Welcome to Nightvale, a terrific podcast “in the style of community updates for the small desert town of Night Vale, featuring local weather, news, announcements from the Sheriff’s Secret Police, mysterious lights in the night sky, dark hooded figures with unknowable powers, and cultural events.” Above is her image from a limited-edition postcard series, which can be ordered here. And below is a T-Shirt design, only available through the month of September, available for order here.


“Welcome to Night Vale” was the #1 podcast on iTunes this June – there’s an excellent article on The Awl about Nightvale and its popularity: “America’s Most Popular Podcast: What The Internet Did To “Welcome to Night Vale.” Here’s a teaser quote:

In a pinch, fans tend to describe “Welcome to Night Vale” as a Lovecraftian love-child: “A Prairie Home Companion” as narrated by Rod Serling, and so on—comparisons which Fink has called “reductive” without saying they are wrong. (In the same interview, he said that fans from Texas assume, without much evidence, that the show is set in their state.)

Starting around July 5th, Sebela said they began seeing the fandom “spiral out of control” on Tumblr: During the seven days before we spoke, there were 20,000-plus posts about “Night Vale,” with 183,000-plus individual blogs participating in the conversation, and 680,000-plus notes. A common tag appears in all-caps, like, “15 eps in 2 days WHERE AM I.” Sebela described another common refrain: “I just marathoned. I know I’m going to finish it tomorrow morning on the subway.”

Jessica runs her own, highly entertaining tumblr at

Nick at Alfred & Beijing

Here’s an update/message from SNCFA alum Nick Geankoplis – with some pictures from his MFA show at Alfred University:


Hello SNCFA!

Alumnus Nick Geankoplis here, thought it might be a good time to a send quick note about what has transpired since we said our good byes back in 2011.  My MFA experience was exceptional, of course there were moments of cavernous doubt, but I think that is at the core of anything profound or important.  I was lucky to have a diverse faculty and a great group of peers, both of which challenged and supported me.  I had the first show of the year this past April 13th and because I was the first, I got a solo exhibition.  It was the first solo exhibition to utilize both floors of the gallery; I also installed a 5-story sculpture in the stairwell connected to the gallery. Here is a description from a book I just put together of images from the show and my written thesis:

“The Turner gallery presented an installational challenge as well as an opportunity. It is a multi-story arena with complex architectural elements that contain galleries within galleries, thresholds, vantage points and isolated spaces.  The work grew into and out of the space. The sculpture, ceramic objects and video media worked in unison as an instillation, as components of a whole experience informing and compounding one another, begging for a physical reemergence of the work just seen and out of view.”


I’m working with similar conceptual tissue and strategies as was at SNC but with a deeper understanding that only can come from a multi year acute focus.  I describe them as this in academic vernacular:


“My work leverages the geological, technological and sociological materiality of clay to examine legacy, codification and decay through the plight of the individual and ubiquity of a society. Utilizing an analogue and binary mash-up, I create installations with ceramic sculpture, video media and a conceptualized version of the print process. These installations are steeped in a geological practice akin to the orogenic cycle and its subsequent phases. My work also possesses newness. Vivid color, high definition resolution and process based gestures imply recent or partially completed steps in a given system.  The ingress of the outer/present and inner/past signals, present a temporal duality with in my installations. This paradoxical dichotomy disrupts our relationship with the scope of time distorting/bending acuity within a space or experience.”


I have known for a long time that as well being an artist I wanted to teach and to teach at a university or college level.   In December last year I applied for a number of teaching positions in the United States.  I had a few nibbles and one interview but no offers. I continued to apply for positions during my final semester while working on my thesis.  In the end I was approached and offered a position at a program that Alfred University and the Chinese Central Academy of Fine Arts developed in collaboration eight years ago.  It is a Ceramic Design for Industry program at CAFA (Central Academy of Fine Arts) in their School of City Design. It’s an interesting program where the students, all Chinese, are taught with a hybrid model of eastern and western methodologies. It incorporates material knowledge through typical western collegiate studio instruction (making with their own hands), along with conceptual/sculptural problem solving. In their junior year the students start doing market research for utilitarian or domestic items for Chinese consumption. They begin working with ceramic factories in a typical eastern fashion having their designs made by expert craft/tradesmen, ultimately learning to work with someone else’s hands.  The program culminates in a senior thesis exhibition that often takes place at a gallery in the 798 district, the main art area of Beijing.  I am one of three faculties in the program and the only westerner.


So you are probably asking yourself why the hell did they hire Nick, a ceramic installation artist at a design school?  As I have come to understand, it’s my role to introduce the more obtuse conceptual or sculptural conversations, so that our students can apply this kind of thinking to their making.

Oddly enough there are very few Chinese designers in China designing for Chinese.  The vast majority of the things made in China are designed by foreigners or copied from foreign designs.  These objects in the end have very little cultural significance or value. One of the major goals of our program is to create Chinese ceramic designers and object makers aware of the contemporary art climate but not blind to their rich cultural heritage. That would ultimately create objects that are significance and have a domestic relevance for the immerging modern Chinese Society.


I’m very excited to be here in Beijing but Incline and SNC will always be near and dear. It seems at the same time so long ago, and like it was just yesterday, that I was on the lake, or in the studio, at the Hacienda or hiking Tamarack.   I sort of understood that when I was there but not really… as the Japanese proverb says “it is always darker beneath the light house”.

Here’s a preview and a link to a book Nick put together for his show:


“Points of Flux”

Katie Lewis and Rick Parsons

Exploring ideas around notions of landscape, time, and states of flux artists Rick Parsons and Katie Lewis collaborated to make a two-part installation with Lake Tahoe as the point of origin. Parsons and Lewis visited seven different site around the lake with the criteria that each site must have a creek or tributary that feeds into Lake Tahoe.






A total of ninety-eight jars were collected during the site visits and are marked according to the site number and the order in which they were collected. Referring to the idea of sediment and the passage of time the jars are placed according to the same GPS mapping system used during collection, but all seven sites are combined and layered on top of one another to create one composite view.The element of chance and the unknown played an important role in this project. The parameters and methods of working were established before the site visits occurred, but what happened during the visits such as which pigments were found and where, created a point of flux—in a sense the landscape itself determined the final visual outcome. The project also refers to other artistic methods of either interpreting or documenting the landscape such as painting or photography. For example, in the same way a photographer records the landscape the drawings and jars abstractly document the different points around the lake both through the coloring and placement of the pigment.

For a full project tour click on start Prezi.