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Art + Design

College of Arts and Humanities
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Mammoth Installation
Mammoth Art Sculpture

Entwined - Art & Chemistry
Entwined art and chemistry

A Natural Obsession
A natural Obession

Student Artist Creates Wearables
A natural Obession

Graphic Design Professor
Recognized Internationally
A natural Obession

Former Graduate Students

Masters of Fine Arts 2020

Matthew Wenz


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


Masters of Fine Arts 2019

Jeremy Irvin



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.



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

Link to Facebook page

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.


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