Art + Design

Former Graduate Students

Masters of Fine Arts 2022

Megan Hansen

Megan Hansen is a photographic artist from Denver, Colorado. She has a BA in Film and Photography with a minor in Art History from Montana State University. She recieved her MFA from Central Washington University in 2022. Influenced by her experiences growing up in the West, she creates work that speaks to individual and geographic identity, using a variety of photographic based medias, including small, medium, and instant format film, digital photographs, found imagery, installation, and bookmaking.

Masters of Fine Arts 2021

Lindsay Peyton

Lindsay Peyton fell in love with oil painting at a young age. She enjoys exploring place, emotion and memory in her compositions. She has exhibited her work in galleries and gathering spaces in her hometown of Houston and in her new home, Seattle, where she moved in 2014. After earning her Bachelor of Journalism degree in photojournalism from the University of Texas at Austin, she worked as an art teacher, gallery director and freelance journalist, writer and photographer. She also served as a member of the Spacetaker artist advisory board and the Houston Arts and Culture board. Peyton currently works as the principal of Cadence Enterprise, a creative firm specializing in public relations and artist consultation services. She had residencies in Kentucky, Nebraska and Washington. Her current studio is located in Seattle’s Pioneer Square.

Jerry Slough

I am a lens based artist. That started at CWU as a graduate student in the fall of 2018. I left a previous career to come here and complete a life long dream of graduate school in the arts. I was born and raised in Southern California, I spent the last 10 years in San Diego explore the area and beaches. I received my BA in visual arts from California State University San Marcos in 2016. Much of my work is process based, and often involves transferring, alternative process, or a physically destructive process itself.

Masters of Fine Arts 2020

Matthew Wenz

WenzCreative

Earth Brand: The Reality of the Crisis in the Media Environment

Masters of Fine Arts 2019

Jeremy Irvin

Jeremy Irvin Work


Aveline Layne

Masters of Fine Arts 2018

Drew Liedtke

Jacqueline Trujillo



John Giesen

Brock Jensen

Masters of Fine Arts 2016

Chase Grover

The forms are meant to be ambiguous with reference to the human body so the audience can associate them with what is already in their visual vocabulary. Many of the forms are shown as protecting, holding, and containing smaller forms. Those forms represent the protection of the pure, of all that is still well in our lives. Other modifications show what we are willing to do to remain "normal". When finished, they portray absurd and excessive repairs, which represent the extreme situations we go through to keep a life, or live life as desired.

Philippe

A painting is a paint-made view — an always simulated view that weaves the physical world around and within on the same plane. On it, paint is the figure and the ground, whether it is on a wall, on a canvas, or on its material self. The texture of the paint-made surface then can be perceived as an extension of a physical reality (internal and external) and of an already-simulated space (experience), connecting through a sense of touch. Constructed upon systems of signification, self-referentiality, and differences, paint takes on the form of an interpretative tool in order to give shape to sensible yet invisible thoughts. Ambiguously structured in its form and content, a painting acts as a figure grounded in meaning and also as a ground on which the meaning resides. Affecting and affixing the seeming duality with layers and references, a painting simulates its capacity to not only enhance the perceivable world but also introduce another by generating its own meaning.

In simulation, I zoom into a drop of paint and thread it as a paint-made view in the effort to see how it sees.

Masters of Fine Arts 2015

Danka Jeng


Jewelry has been used as symbols of personal identity since the beginning of human existence; its history has grown closely with the changing of people's aesthetic, appreciation, and technology. I believe jewelry is the perfect combination of artistic and technique, and the forms we make carry the historical sociological, and emotional meanings into our lives.

Brian Kooser

Most of my work has been either in a theater or a grass roots setting, and I find that both have power to move people, while at the same time having limitations. A theater can create the illusion of people living lives and overcoming conflicts, but the audience rarely suspends their disbelief to the point that they forget they are sitting in a theater watching. Street Theater can reach an audience outside of these boundaries, even surprise people going about their day, but is difficult to fun and gain permits for.

Seth Charles

Seth Charles Facebook

I create forms and textures that respond well to ash deposit and the passage of flame from wood firing. The wood ash produces a naturally occurring glaze. The textures I use on my ware are designed to catch the melting glaze, breaking and pooling along this texture enhancing the variation on the surface. I purposely emphasize handle attachment points and intentionally leave marks of my hand and my tools. These marks are an integral part of my process and I believe they help foster a relationship between user and maker. The wood firing process produces surfaces that are rich with complexities and I hope the user finds them both intricate and compelling while remaining quiet and contemplative.