Upper School Art Teacher
Tenure at Shipley: 8 Years
Uncertainty, sacrifice, and erasure of the self confront the discomfort of materiality. A swerve in the clinamen questions the acceptance of infinity, producing a desire to step outside of cyclical time.
Two hares sink into complexity, desiring nothing more than a reduction of complexity to understandable formulas. Fractal geometries in their regularity act as both anchor and amputation.
Wendy Eiteljorg '86
Director of Curricular Innovation and Learning Design
Tenure at Shipley: 18 YearsArtist Statement:
I have spent over a year doing individual blackout poems and collages in the same book. This is a practice that I return to again and again-almost like a warm-up exercise. Although my work often combines text and image, recently I have also been using white paint to cover or hide text, on boxes, containers, and cards, and, therefore, either avoid or assure misunderstanding of words. The act of painting layer after layer is soothing as many, many thin layers are required to cover, or mostly cover the labels and writing. The boxes then become building blocks for either combined sculptures or something else entirely (as in the upholstered pizza boxes). All of the boxes and materials used for these sculptures are found (in my house) objects.
Meredith Rizzo Turner
Upper School Art TeacherTenure at Shipley: 2 Years
Co-Chair Pre-K-12 Visual Arts Department and Galleries
"Drawing as Evidence of Thought"
In choosing these pieces for the group show I am struck with the reality that I have spent a majority of my life teaching art to others. When people ask me what kind of work I make, I often say, "I make examples." While I see my hand and thoughts in these works, what is communicated most strongly to me is what I was trying to teach my students. Each of these was painted in a different context and was attempting to demonstrate different techniques and mediums.
Upper School Art Teacher
Tenure at Shipley: Years
This work stemmed from an unexpected discovery of needle felting in December of 2019. It started with a mushroom, then a chipmunk, and the menagerie has grown from there. Many of you may recall seeing those pieces in an earlier exhibit. I am not sure I would have discovered felting were it not for the pandemic; however, to be clear, I did not need another hobby. That said, what has had such a tremendous impact on me is the meditative escape and process of creating a recognizable form.
The work represented here was completed this past spring and over the summer. Some felted pieces are original designs, specifically the butterfly, tiger, herons, and loon. The others are inspired by the online tutorials I have taken through the Sarafina Fiber Arts website where I learned the technique. This spring, I became a Sarafina Certified Instructor (SCI) and I have already enjoyed teaching private lessons and group lessons.
If you are interested in learning more about felting or reaching out to me to inquire about the availability of a particular sculpture for purchase, please contact me at the below email.
FiberArtistrybyChristine@gmail.comLower School Art TeacherTenure at Shipley: 1 Year
Jeff Hanna '90
Middle School Art Teacher
Tenure at Shipley: 24 Years
My works are about water and waterscapes. Most of the time the pieces are tranquil and serene. But this particular piece speaks to the damage we are doing to the environment. Everyday toxins, medical waste and other pollutants seep into our water. It is an environmental disaster. A Nasa Scientist who studies biological systems and climate recently chained himself to a bank calling for immediate action to address the climate crisis. This bank spends a great deal of money on fossil fuels. Purchasing a Tesla will not solve the problem. The title of this work is E.P. Emergency Position, Every Person, Elon’s Precedent, Estrogen Pollution, European Parliament……...
As a mixed media artist, I create works that explore identity and its influences. Each composition addresses identity, race, stereotypes, and societal ills. My work showcases experiences, observations, and reflections, both personal and of others. For the past five years, my focus has been on today's Black identity and what it truly means to be Black in America.
After a year of feeling uninspired, I began my current series titled Still (2020), following the brutal and unjust public lynchings of Black people in the midst of a global pandemic. Feeling at a loss for words, I felt compelled to capture visual stories through a lens. Despite having to witness history repeat itself, a sense of hope remains. Each photo displays moments of stillness during tragedy with a spark of resilience, pride, and power
that remains contagious.
Still Black. Still proud. Still here.