School of Art

Meet the �鶹��Ƶ Nation: John Forgy

lclarkg — Tue, 24 Mar 2026 14:35:49 +0000

Meet the �鶹��Ƶ Nation: John Forgy lclarkg Tue, 03/24/2026 - 10:35

Name: John Forgy

Job: Environmental Graphic Designer and Sign Program Manager, Campus Planning, Facilities and Campus Operations

Imagine exploring a new location—an unfamiliar city, shopping center, sports stadium, or even a college campus—and not finding any signage to help you get around.

We rely on a countless number of signs each day, whether we are driving, walking through a neighborhood, shopping at the grocery store, or going from building to building on campus. John Forgy, environmental graphic designer and sign program manager at �鶹��Ƶ, creates the wayfinding systems that guide students, faculty, staff, and visitors across the university’s campuses and sites.

All roads lead to George �鶹��Ƶ: John Forgy's work on university signage helps students, faculty, staff, and visitors find their way around the campuses. Photo by Evan Cantwell/Office of University Branding

Enter here: After graduating from George �鶹��Ƶ, Forgy, BA Studio Art ’89, started working at an environmental graphic design firm in Washington, D.C. He worked on projects in experiential design, which merges graphic, architectural, interior, and landscape design to enhance how people interact with built environments.

Points of interest: “I was fortunate enough to work on a wide variety of projects like higher education, museums, sports facilities, concert halls, hospitals, commercial buildings, and campus wayfinding programs,” Forgy said. He always enjoyed higher education projects, which prepared him to start working at George �鶹��Ƶ in 2012.

Brand builder: Forgy’s main responsibility is to integrate the university brand into the built environment. He manages the development, implementation, and maintenance of interior and exterior wayfinding signs, code-required signs, recognition signs, and more. “I also document all of the sign systems in use and plan for the future growth of signage and graphics programs at George �鶹��Ƶ,” Forgy said.

John Forgy is responsible for designing campus signage that translates the university's brand into the built environment. Photo by Evan Cantwell/Office of University Branding

Different directions: Across multiple campuses and sites, there are a lot of signs to design, create, and manage. Signs are fabricated in the university’s sign shop located on the Fairfax Campus or by contractors off-site.

“George �鶹��Ƶ is like a small city, which means I get to work on a wide range of projects for a variety of clients,” Forgy said. “Every day is different, and I’m never bored.”

Caution ahead: Because signage is a long-lasting investment for the university, Forgy must balance his focus between present needs and planning for the future. “Much of what I do sets the standard for the future,” he said. “Sometimes that means taking extra time to think way ahead when a project comes to me without a previous precedent.”

Place-making: Some of Forgy’s most memorable projects include a collaboration with the City of Fairfax to apply “We Are �鶹��Ƶ” decals on several streets in the city and on the campuses, as well as an exterior wayfinding sign refresh taking shape this year. “Anytime you see your work come to life, it’s exciting,” Forgy said. “Getting positive feedback from the George �鶹��Ƶ community, especially from the students, is very satisfying.”

Taking a detour: Outside work, Forgy enjoys history, restoring his ’77 Bronco, and music. He spent more than 23 years working part-time in radio as air talent. Forgy got his start in radio during college at George �鶹��Ƶ’s WGMU, where he worked as a DJ and a production director. “I might have switched majors if I wasn't so far along pursuing my art degree,” Forgy said.

The “On Air” sign takes on extra meaning, in this case.

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Inside George �鶹��Ƶ’s first VR art classroom, students build new worlds

Shayla Brown — Wed, 18 Mar 2026 17:38:20 +0000

Inside George �鶹��Ƶ’s first VR art classroom, students build new worlds Shayla Brown Wed, 03/18/2026 - 13:38

When students step into AVT 496 Intro to VR for the Artist, they're not just walking into another studio course—they're entering entirely new worlds of their own making. �鶹��Ƶ's School of Art launched the course this spring, marking its first-ever deep dive into virtual reality (VR) as an artistic medium.

AVT 496 student presents their virtual reality world. Photo by Ron Aira/Office of University Branding.

Taught by John von Bergen, assistant professor of sculpture and expanded fields, the class meets inside the �鶹��Ƶ Innovation Exchange (MIX) and previously held workshops in the visualization and virtual reality lab in Research Hall. For many students, it's their first time creating art in a fully immersive digital space.

Von Bergen designed the course to give artists hands-on experience with emerging tools shaping the future of digital art. His students primarily use Open Brush, a VR painting program that lets them draw, sculpt, and animate in 3D space using a wide range of virtual brushes.

"I imagine that there will be way more job opportunities for students who have the diverse skillset that relates to new media and potentially digital art fabrication," von Bergen said. "Exploring these tools in class helps students see what's possible."

There are 16 students in the course, which builds on the work students completed in his fall Aesthetics class, AVT 307. Five students from AVT 307 volunteered to create a pilot VR project titled "The Real Reality," now displayed in video form on the Digital Wall at Fuse at �鶹��Ƶ Square.

Digital Wall at Fuse at �鶹��Ƶ Square. Photo by Shayla Brown/Office of University Branding.

The project showcases the students' first experiments with Open Brush—floating landscapes, glowing brushstrokes, and imaginative environments that stretch beyond the limits of traditional studio materials.

For sophomore art and visual technology major Ash Porrata, the course has been transformative. "This course experience has not only made me a better artist, but a better team member," she said. "It was really a group effort making something of this scale. We had to communicate constantly and work with Fuse faculty to keep everything on track."

Porrata, who hopes to become an animation director, said the VR tools opened up new creative possibilities. "Having access to the virtual world and virtual art is really inspiring. Getting to explore another side of visual art will be so helpful in the job market."

Junior transfer student �鶹��Ƶ Caporuscio came into the course with no VR experience at all. By the end of the semester, he had built an entire virtual kitchen scene—complete with a fruit basket, a loaf of bread, a bar stool, and a wine glass.

"We each built our own world on the headsets, and the video just rotates through them, kind of like musical chairs," he said. "There was so much variety."

�鶹��Ƶ Caporuscio presents his virtual reality world. Photo by Ron Aira/Office of University Branding.

Other students created fantasy forests, amusement park inspired spaces, and surreal environments that could only exist in VR.

Behind the scenes, the course has been supported by several George �鶹��Ƶ partners. The Department of Computer Science provided much of the equipment, with faculty member Craig Yu offering guidance. MIX makerspace manager Max Kazemzadeh helped the class set up its own VR lab inside the MIX. Additional funding came from the School of Art, the Research and Teaching Support Fund, and the Office of Student Creative Activities and Research. The course will be offered again in Spring 2027.

"There are a lot of technical aspects that aren't typical for a sculpture class," von Bergen said. "Building good relationships with other colleges has been instrumental."

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Alumnus uses his creative voice to build connections, honor heritage, and foster peace

Shayla Brown — Wed, 18 Jun 2025 14:09:19 +0000

Alumnus uses his creative voice to build connections, honor heritage, and foster peace Shayla Brown Wed, 06/18/2025 - 10:09

Federico Frum, BA Art and Visual Technology ’05, believes in the power of art to bring people together. Known professionally as MasPaz—Spanish for “more peace”—Frum has spent his career fusing activism and creativity, using bold street murals, community engagement, and cultural storytelling to spread a message of unity.

George �鶹��Ƶ alum Federico Frum with his mural. Photo by Evan Cantwell/Office of University Branding

A multidisciplinary artist based in Washington, D.C., Frum most recently gained national attention for contributing to the design of a stamp for the Art of the Skateboard stamp series for the U.S. Postal Service, a project five years in the making.

“The graphic designer on the project had seen my work at the Smithsonian Folklife Festival and really connected with it—especially coming from a Latino background himself,” Frum said. “When he reached out, I was thrilled. Skateboarding has been a part of my life for years—I even used to have my own skateboard company—so this project felt like home.”

That deep connection to skateboarding culture is more than a personal passion. Frum has worked in skate shops, helped manage an amateur skate team, and continues to sponsor local youth, offering them skateboards bearing his signature artwork.

While Frum’s work often appears on concrete walls, his art is rooted in something older and deeper—his Colombian heritage, Indigenous traditions, and a lifelong reverence for the planet. He draws inspiration from the intricate geometric designs of molas, the handcrafted textiles created by Indigenous peoples in Panama and Colombia.

“Growing up, my mother would hang molas around the house. They became my connection to our land, our ancestry,” Frum recalled. “Now I keep that tradition alive in a contemporary way—using a spray can or a paintbrush but always honoring that cultural lineage.”

His mural work is widely recognized for its themes of earth preservation, Indigenous identity, and community empowerment. But Frum’s impact goes far beyond public art. He visits high school classrooms, co-creating murals with students that are proudly displayed on campus—an invitation for young people to find their voice through art.

“I’ve always felt connected to Indigenous practices and the family dynamic,” Frum says. “And I’ve always respected the Earth. A big part of who I am is about protecting and preserving the planet.”

As a student at George �鶹��Ƶ, Frum studied photography and digital art, with a thesis in 3D animation. He credits classes in web design and printmaking with giving him the technical foundation to support his creative vision. He also found mentorship from School of Art professor Chawky Frenn, a fellow advocate for art as a force for peace.

“My heart is filled with so much joy and gratitude to see that Federico is using his artistic voice for social change,” says Frenn, a two-time Fulbright Scholar whose own work explores art and peace. “As teachers, we never truly know what seeds we’re planting—but seeing Federico’s journey is a beautiful reminder of what’s possible.”

Frum’s work has been featured by ABC News, Telemundo, and The Washington Post, and he has collaborated with major institutions including Nike, National Geographic, Sierra Club, Smithsonian Institution, the National Gallery of Art, and the New Museum.

Recently, Frum returned to George �鶹��Ƶ’s Fairfax Campus to install We All Belong, a 30-by-30-foot tapestry mural on the Art and Design Building. The vibrant piece weaves together earth elements, ancestral motifs, and community imagery to deliver a powerful message of inclusion.

“It’s about showing that we’re all connected—that we matter,” Frum says. “That art can help us remember: We all belong.”

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Christopher Kardambikis on the Power of Print, Publishing, and Possibility

Lakin Raybuck — Mon, 02 Jun 2025 17:27:21 +0000

Christopher Kardambikis on the Power of Print, Publishing, and Possibility Lakin Raybuck Mon, 06/02/2025 - 13:27

Christopher Kardambikis never set out to create work that would sit behind glass or live in private collections. Instead, he found his voice and purpose through publishing zines, artist books, and prints—things people could hold, trade, collect, and care about without needing a trust fund.

Now an associate professor and director of studio art at �鶹��Ƶ's School of Art, Kardambikis brings that same ethos into the classroom. He teaches printmaking, book arts, and a deeply collaborative publishing minor that opens students up to something much more tangible than the "starving artist" cliché.

"I want the work to be distributed," he says. "I want normal people to actually access it."

It's a perspective shaped not just by art school or gallery walls but by real-world experiences that most students never hear about. Before coming to George �鶹��Ƶ, Kardambikis worked as an artist's assistant and then at an art shipping warehouse in Long Island, New York. His job? Packaging up expensive artwork and preparing it for storage, sometimes indefinitely.

"There's so much work that just sits in crates," he recalls. "These paintings get bought by wealthy collectors, but no one ever sees them. They're not even being enjoyed. They're investments, sitting on shelves."

With print-based art, he found a medium that could move freely, outside the confines of exclusivity.

Christopher Kardambikis of George �鶹��Ƶ's School of Art. Photo provided

His long-running podcast Paper Cuts was born from that same spirit of access. Launched initially during his artist residency at Pioneer Works in Brooklyn, the project started as a way to interview zinesters and small press artists as an excuse to talk to people about the books they make. Over the years, it's grown into a traveling platform for community, collaboration, and archival storytelling.

It also gave him a way to connect. "When I moved to new cities—Pittsburgh, San Diego, LA, New York—I always started a publishing project. That's how I made friends. That's how I met people and became part of a scene."

At George �鶹��Ƶ, he's helping students see how print and publishing can do the same for them.

Students team up with working artists, presses, and organizations across the region through the School of Art's Dynamic Publishing minor. They produce real books, collaborate with local creatives, and watch their work move from concept to finished product—all while developing a skill set that's adaptable, entrepreneurial, and community-focused.

And while he's quick to point out that not everyone needs to start their own press, he wants students to understand the range of what's possible. He introduces them to people building careers through small studios, cooperative print shops, local arts education, and community-centered creative work.

"You're not limited to being in a gallery," he says. "You don't have to wait for someone to give you permission."

One of his goals is to help students see just how resourceful they already are. In his classes, students don't just learn the techniques. They learn how to plan, produce, and problem solve, often using materials or processes far outside traditional expectations. "You learn to do the research, figure it out, and follow your vision wherever it leads. That's not something you can teach in theory. You have to live it."

He also believes deeply in the relevance of physical work in a digital-first world. Books, he says, still matter. Maybe now more than ever.

"Websites disappear. Apps go away. But books can last hundreds of years. They're solid. They hold stories. They're touchable, tangible, real."

It's not about resisting technology. It's about remembering that the physical and the digital don't have to be at odds. In fact, for many of his students, learning how ink interacts with paper changes how they think about design altogether.

"Once they've made something by hand. Once they've printed it, folded it, held it, it shifts how they understand what they're doing," he says. "It gives it weight."

And for Kardambikis, that's the point: helping students create work that carries weight not just on the page but also in the world.

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Graduate student uses the healing power of art to help other veterans

Katarina Benson — Mon, 28 Apr 2025 15:59:31 +0000

Graduate student uses the healing power of art to help other veterans Katarina Benson Mon, 04/28/2025 - 11:59

Death has been the constant companion in Steven Luu’s life—from war-torn Vietnam to the battlefields of Iraq and Afghanistan. But through art, Luu, now a master of fine arts (MFA) student at �鶹��Ƶ’s School of Art, within the College of Visual and Performing Arts, has discovered peace, purpose, and a path to healing.

“All of my artwork is about revisiting,” said Luu. “Art is not to forget, but to express.”

Luu wasn’t yet born when his unlikely odyssey began 50 years ago this month, following the fall of Saigon to the North Vietnamese Army in April 1975. Nearly a year later, he came into the world as his family’s life was upended by war and political upheaval. His father, a South Vietnamese government official, along with his grandfather and uncle, were lost in the war, and the family home was confiscated. When Luu was just a year old, he and his family were sent to a re-education camp, where they endured harsh poverty and uncertainty.

When he was 7, Luu and his family managed to escape Vietnam by sea, in search of freedom in a small boat packed with refugees. Their harrowing journey lasted more than two months; by the time of their rescue by the British Royal Navy, nearly half of the passengers perished from starvation. Luu was just shy of his 8th birthday when he was forced to help push lifeless bodies overboard—a memory that has haunted him since.

After years of adversity in trying conditions in refugee camps in Hong Kong, Luu and his family made their way to the United States in 1991. Following his high school graduation in 1995, he enlisted with the U.S. Air Force and became a medic, driven by a desire to save lives after witnessing so much suffering, and determined to do everything he could to prevent others from enduring the same fate. His 20-year career in the U.S. military included deployments to the Balkans, Iraq, and Afghanistan, often alongside special operations units.

Luu with one of his works. Photo by Evan Cantwell/Office of University Branding

“I have seen the worst part of humanity,” said Luu, who will turn 48 later this year. “And it stays with you.”

In 2012, while serving in Afghanistan, Luu was severely wounded. His lengthy convalescence at Walter Reed Medical Center, then located in Washington, D.C., marked a turning point. There, a hospital official introduced him to the healing power of art by providing him a canvas and drawing utensils.

“In that moment, I saw art as a way to let something inside me out, without having to say it,” said Luu, who while working on his degree also serves as documentarian for �鶹��Ƶ Exhibitions.

He found making art incredibly therapeutic. Sculpture, especially using raw and rigid materials like concrete and epoxy resin, has become a personal healing ritual.

Although he had no formal art background, Luu knew he had found his voice. After earning a BA in theology from Catholic Distance University in 2010, he applied to George �鶹��Ƶ’s School of Art, earning his BFA in sculpture in 2022. He recognized that art was more than a way to help himself, it also allowed him reach other veterans grappling with the same guilt and isolation he felt after leaving the military. He’s on track to complete his MFA in 2026.

All of his sculptures are made with recycled materials. “Like me, these materials have been given a second chance at life,” Luu said.

Artist Peter Winant was the director of George �鶹��Ƶ’s School of Art when he first saw Luu’s early drawings in 2017.

“There was something really deep in them,” Winant said. “Some form of truth that few of us could approach.”

That truth now fuels Luu’s mission to help other veterans navigate their own trauma—a mission he pursues with deep purpose and gratitude for the opportunity. He creates art with a focus on mental health and uses his story to encourage others to find their own form of expression.

In 2024, the U.S. Air Force invited Luu to work with Wounded Warriors, teaching recovering airmen about the healing power of art, and how to channel their experiences into creative expression. He’ll do the same this November, during a weeklong George �鶹��Ƶ conference for 400 recovering veterans spanning all military branches. The week will conclude with a public art exhibit featuring the veterans’ creations.

His solo exhibition Steven Luu: A Path to Healing & Transformation is on display through May at the National Veterans Art Museum in Chicago. It is a powerful testament to one man’s journey through unimaginable pain and his unwavering pursuit of peace.

“Art is the one universal language—it’s always been the language of humanity,” said Luu. “I cannot physically fix what happened in the past, but at least I have closure. Like life as a whole, you adapt in art to survive.”

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Honoring the Legacy of Bill Reeder

Emily Schneider — Wed, 16 Apr 2025 14:33:25 +0000

Honoring the Legacy of Bill Reeder Emily Schneider Wed, 04/16/2025 - 10:33

In This Story

William Reeder

I am so very sorry to share the sad news of Bill Reeder's death, surrounded by his family in hospice care after a battle with pancreatic cancer. Bill was the Founding Dean of the College of Visual and Performing Arts (CVPA), joining us in 2001 to lead the newly formed college after a distinguished career as an operatic tenor and arts administrator.

Bill Reeder at a university event with his customary smile and style.

He served as Dean until May 2015, and continued to work, as a faculty member (and a term as Director), of the Arts Management program, one of three new academic programs (including Film and Video Studies and Computer Game Design) that were launched under his leadership. These programs have helped shape CVPA into the comprehensive arts college that it is today. He had a transformative physical impact on the arts landscape at �鶹��Ƶ as well, securing for CVPA the planned "Academic V" facility, now known as the award-winning Art & Design Building, coordinating philanthropic, state, and university support for the DeLaski Performing Arts Building addition, and the renovation of what became the Music Theater Building.

Carol Merchant Kirby, Bill Reeder (center), and Provost David Wu at the Hylton Performing Arts Center Education and Rehearsal Wing ribbon cutting ceremony in 2019. Photo by Evan Cantwell.

His crowning achievement was the successful realization of a long-held community vision for an arts center serving Manassas and Prince William County. Bill's tenacious, loquacious, always-optimistic advocacy, expressed in countless breakfast meetings in diners, neighborhood gatherings, political forums, and rounds of golf with prospective supporters, led to the creation of the Hylton Performing Arts Center on what is now the Science & Technology Campus. At times it seemed as if Bill was almost single-handedly willing the center into existence — but it was really his tireless behind-the-scenes coordination of university, civic, and volunteer energy that carried the day. He was honored for his accomplishment at the Hylton Center's 5th Anniversary Gala in 2015. At this year's Gala, we will take a moment — or three — to remember Bill's foundational contributions.

Bill will be remembered for his energetic and passionate advocacy for artists of all kinds and at every stage of their journeys. I will always be grateful for his friendship and mentorship over 25 years of personal and professional collaboration.

Bill Reeder and Dean Davis celebrating together at an Arts Management program event before Reeder's retirement from George �鶹��Ƶ. Photo by Setarra Kennedy.

Details regarding memorial arrangements will be forthcoming. If you would like to share memories and photographs of your experiences with Bill, please submit them through this form.

Bill's full obituary, provided by his family, can be accessed here.

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New art course teaches students how to think differently about design

Shayla Brown — Wed, 02 Apr 2025 15:49:48 +0000

New art course teaches students how to think differently about design Shayla Brown Wed, 04/02/2025 - 11:49

“Furniture isn’t just a tangible item that’s supposed to mold to your body, but it can also mold to your lifestyle,” said Katherin Salazar, a �鶹��Ƶ senior art and visual technology major.

She is currently taking a new College of Visual and Performing Arts special topics course, AVT 496, which focuses on furniture design and is offered through the university’s School of Art.

AVT 496 students discussing their sculptures. Photo by Ayman Rashid/Office of University Branding.

“The goal is to teach students about the power of furniture and how the built environment is constantly communicating and reorchestrating hierarchical structures,” said Mallory Kimmel, a Washington, D.C.-based interdisciplinary artist who created and teaches the course.

“We’re learning how to cultivate a greater awareness of the intended power dynamics in space, and also to become a curator of reshaping hierarchies in space to be more oriented to social justice ethos,” she said.

Salazar, who has contracts with Smithsonian Folklife Festival and Skate Folk creating competitive atmospheres that serve as a gateway for local skaters, is currently building a quarter pipe ramp for a class project.

AVT 496 student showcases the functionality of a sculpture. Photo provided.

“The techniques we’re learning in this course go hand in hand with building a lot of structures related to skating,” said Salazar, who works as a student monitor in the university’s Sculpture Studio under the supervision of Ben Ashworth, sculpture and foundations supervisor in George �鶹��Ƶ’s School of Art.

“Mallory and Ben have taught me the ways of the art world and how it's constantly changing and growing. The biggest lesson I’ve learned so far is to take pride in my skills and realizing the worth of them,” she said.

As a part of the course, the students will tour the National Gallery of Art and put what they’ve learned to practice by identifying and recommending ways to create a more welcoming environment for people to experience the art.

The students will also present how their finished sculptures address hostile architecture, which Kimmel defines as the “built environment containing features that aim to reject certain people or behaviors.”

An example of hostile architecture is public benches that have handrails in the center so that it's prohibitive for the houseless population to lay down, explained Kimmel.

AVT 496 student showcases the functionality of a sculpture. Photo provided.

“[This course] has allowed me to expand my thinking beyond just the functions of furniture, but about its design ethics and the body itself,” said Roland Payabyab, a senior art and visual technology major.

For Payabyab’s first project, he focused on posture in honor of his parents.

“I'm noticing as they age, they're developing a lot of back problems, so I'm creating a bench meant to relieve some of that pain by incorporating a function within this piece to move with them as they need, for example, when they’re bending over to put on shoes,” he said.

Payabyab was able to build his project with techniques, such as woodworking and joinery.

AVT 496 students discussing their sculptures. Photo by Ayman Rashid/Office of University Branding.

“Joinery was one of the things I was most excited to learn about, and it just so happened to be the first topic we would cover,” said Payabyab. “Now I know how to combine different materials without nails or screws to build my sculptures, which is great for me because that’s what I’d like to do as a career after I graduate.”

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CVPA Announces Recipients of the 2025 Young Alumni Commissioning Project Awards

Emily Schneider — Wed, 19 Feb 2025 16:28:07 +0000

CVPA Announces Recipients of the 2025 Young Alumni Commissioning Project Awards Emily Schneider Wed, 02/19/2025 - 11:28

�鶹��Ƶ’s College of Visual and Performing Arts (CVPA) announces the recipients of the sixth round of its Young Alumni Commissioning Project Awards. Two alumni were chosen based on the artistic excellence, career impact, and feasibility of their proposals and will receive financial, marketing, and production support to have their projects presented by the college at a �鶹��Ƶ Arts venue during the 2025–26 season.

“This year’s Young Alumni Commissioning Project Awards continue our mission to support emerging artists across the spectrum of disciplines that we practice and teach in �鶹��Ƶ Arts. The projects are compelling in both form and content, rising to the top of a very competitive pool of proposals,” said College of Visual and Performing Arts Dean Rick Davis. “We are equally excited to showcase the work we’ve supported in recent cycles, proving the value of this program not only to the artists themselves, but to the community at large, as we add more highly accomplished artistry to the world’s inventory.”

Brianna Camp is the 2025 recipient of the Young Alumni Commissioning Project Award. Photo provided

Brianna Camp

Brianna Camp, BFA Art and Visual Technology ’23, received the Young Alumni Commissioning Project Award and $5,000 in commissioning support for Flare: Finding a Sense of Place in the Chronically Ill Body. This work will consist of a series of large-scale oil paintings, each accompanied by documentary photographs and poetry. In exploring her personal experiences with navigating the ebb and flow of her chronic illness, Flare offers audiences the chance to reflect on how we process pain over time and the vastness of the potential for healing.

Camp is interested in pursuing a career in art therapy and hopes this project will serve as a starting point toward her future practice. Reflecting on her time at George �鶹��Ƶ and the impact that the faculty had on her development as an artist, Camp said, “When I make work from a place of authenticity, allowing for potential mistakes, changes, and discoveries, I am able to get closer to expressing what feels true. Their belief in me helped me find my voice and understand the importance of sharing my perspective. I hope to create my project from this place of openness and authenticity that they helped foster within me.”

Marina Vianello is the recipient of the 2025 Young Alumni Creative Development Award. Photo provided

Marina Vianello

Marina Vianello, BFA Dance ’18, received the Young Alumni Creative Development Award and $2,500 in commissioning support for Three Generations of Bach, an intergenerational multimedia dance work. Vianello will work with her mother, Andrea Skowronek, a retired professional dancer, to recreate and blend together inspiration from an original dance work that Skowronek developed early in her career, set to music accompaniment from her own father. Collaborating as co-directors on this new piece, Vianello and Skowronek will incorporate live flute accompaniment of Bach’s Partita in A Minor, video footage of Skowronek performing as a young woman, and live performances by Vianello and Skowronek—solo and together.

A professional dancer and choreographer herself, Vianello aims to explore how the passage of time affects movement, memories, and mindsets, and wants audiences to consider what is lost and what is gained as one ages and releases themselves from the limits of ageism and judgment. Reflecting on her journey after graduating from George �鶹��Ƶ, Vianello shared, “I have such admiration for the dance artists who continuously create opportunities for themselves and others, and this is something I champion and will always strive for and hope to forever do.”

Over the past five years, 18 CVPA alumni have been granted awards anywhere from $2,500 to $5,000 to support the creation of a new artistic work for projects in film, dance, visual art, music, and game design. To be considered for this year’s award, applicants must have graduated from CVPA from the class of 2014 and after. Proposals could include original new work in any art form suitable for performance, exhibition, or screening in a �鶹��Ƶ Arts venue. The size, length, duration, magnitude, and content are at the artist’s discretion. Potential venues include George �鶹��Ƶ’s traditional theater spaces, galleries, and cinemas, but proposals for non-traditional venues, including digital spaces, were also considered.

During the 2023–24 award cycle, Jumana Al Refai, BFA Dance ’17, received the Young Alumni Commissioning Project Award and $5,000 in commissioning support for Tashkeel َتْشِكيل,, a short film that explores all aspects of “Haraka”—the Arabic word for movement. Rebecca Wahls, BFA Theater ’15, received the Young Alumni Creative Development Award and $3,000 in commissioning support of Him, a feature-length ensemble comedy film. The film follows the final five contestants on a reality dating show, whose world is turned upside down as they discover a dark truth about their “suitor.” Wahls directed, co-wrote, and co-produced Him, alongside actor and writer Trey Higgins. The screening at George �鶹��Ƶ’s Fairfax Campus will take place on March 21, and a screening at Carnegie Mellon University’s Los Angeles Campus is also planned.

The Young Alumni Commissioning Project is made possible by a generous bequest from the estate of Linda E. Gramlich for the support of young artists, and by donors to George �鶹��Ƶ’s previous Giving Day, including Shugoll Research.

�鶹��Ƶ the 2025 Award Recipients

Brianna Camp (she/her) is a visual artist living in Fairfax, Virginia. She received her Bachelor of Fine Arts degree with a concentration in painting from George �鶹��Ƶ’s School of Art in 2023. Camp plans to combine her creative practice with her passion for social engagement and advocacy. In the coming years, she hopes to receive a graduate degree with a focus in art therapy. Camp’s first solo show, Lightkeeper, debuted at the Lake Frederick Shenandoah Lodge Art Gallery in December 2023. Her work has been shown at other galleries across the Northern Virginia area including the Kunsthaus Gallery, Open Space Arts, The Torpedo Factory Art Center, and the Gillespie Gallery at �鶹��Ƶ. Camp will be a guest artist at the Torpedo Factory Art Center in February 2025. She has also participated in chalk art events, receiving first place in the professional category at ChalkFest in Reston, Virginia, and Chalk the Walk in Virginia Beach, Virginia. Camp’s paintings, murals, and drawings emphasize light and utilize an impressionistic and painterly approach. As a chronically ill artist, Camp is inspired by the healing connection that can be facilitated through art, both on a personal and societal level. She recognizes art as a potential form of social action and as a tool to build community. Her site-specific works and murals often involve her peers and local organizations. Camp is drawn to portraiture and landscapes in her more personal pieces. She finds her artistic process to bring inner healing, allowing her to process pain and uncover the places where the light shines in.

Marina Vianello is a dance artist, choreographer, and arts administrator based in New York City. She grew up in Kansas City, Missouri, and began her training at City in Motion Dance Theater’s School of Dance. She graduated magna cum laude with a BFA in Dance and a minor in global systems from George �鶹��Ƶ, where she was awarded an annual Dance Talent Scholarship. Throughout college, she was cast in pieces by Alejandro Cerrudo, Robert Battle, Lar Lubovitch, Susan Shields, Christopher d’Amboise, and David Grenke, and she choreographed three pieces for the �鶹��Ƶ Dance Company. She has trained with the Mark Morris Dance Group on full scholarship, with Rioult Dance NY, with DanceWorksChicago, and with Shannon Gillen at the b12 dance festival in Berlin, Germany where she performed at the dock11 theatre. Professional performance credits include the Lyric Opera of Kansas City (West Side Story and The Pearl Fishers), Yoo & Dancers (92NY Artist in Residence), JKing Dance Company, As Arts NY Dance, and Terre Dance Collective. She is fluent in French and has performed internationally at Châteaux en Fêtes (Festival of Castles) in Dordogne, France, and recently returned for their 2024 festival. She currently dances professionally with Ballaro Dance, Mari Meade Dance Collective, and Arsenal Movement Dance Project. Her choreography has been presented at the Tada Theatre, Chain Theatre, and Arts on Site in NYC, and the Gem Theater and Folly Theater in Kansas City. She teaches dance and Pilates throughout NYC and serves as the Director of Operations for Pony Box Dance Theatre.

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Rick Davis

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Metro’s Art in Transit Program showcases George �鶹��Ƶ students' work

ckearney — Wed, 04 Dec 2024 19:33:02 +0000

Metro’s Art in Transit Program showcases George �鶹��Ƶ students' work ckearney Wed, 12/04/2024 - 14:33

Four students in �鶹��Ƶ’s College of Visual and Performing Arts (CVPA) will have original animations displayed on screens in six Metro stations as part of the Washington Metropolitan Area Transit Authority’s (WMATA) Art in Transit Program, beginning the first week of December 2024.

These George �鶹��Ƶ student animations will be on rotation in the Metro stations for a full year. Photo by the Art in Transit Program

These animations will be on rotation in the stations for a full year. Additionally, through a new five-year partnership with Metro, CVPA students from the School of Art and Film and Video Studies and Computer Game Design Programs, will have ongoing opportunities to participate in this innovative learning experience.

The process began in fall 2023, when School of Art Professor Gail Scott White, Film and Video Studies Adjunct Rebekah Wingert-Jabi, and Film and Video Studies Program Director Cynthia Fuchs met with Metro’s Art in Transit team to discuss how George �鶹��Ƶ students could participate in the WMATA’s digital art initiative.

“From the very first meeting, I was drawn to the Art in Transit Program’s evolving nexus of art, culture, and community,” said White. “It seemed like the perfect experiential learning opportunity for CVPA students to work through the processes of idea generation and concept development, receive individual mentorship, and to create frame-by-frame animations of their own design that would be publicly displayed, reaching Metro viewers from all walks of life.”

In spring 2024, White reached out to current CVPA students—computer game design major Valeria Hunt and art and visual technology majors Taka Hunter, Joseph Cameron Rhodes Murdock, and Jennifer Perez—about joining a pilot program, in which each would create a 20-second animation to be displayed on screens in the Crystal City, Farragut North, NoMa–Gallaudet U, Gallery Place–Chinatown, L'Enfant Plaza, and Metro Center stations. The students began working in earnest on their projects in the summer and early fall of 2024.

Here the CVPA students talk about their work:

Valeria Hunt, Man with the Suitcase

“My stop-motion cut-out animation, Man with the Suitcase, portrays moments from everyday life that many people can relate to. I used watercolors and ink, scissors and glue, found materials, facial expressions, and physical gestures to visually engage and emotionally connect with the viewer. Inspired by personal experiences and observations of social interactions, this short film encourages viewers to reflect on their own experiences of human nonverbal communications. Man with the Suitcase is about daily struggles, with a touch of humor to help us get through the day.”

Taka Hunter, Ichi Nichi

“Ichi Nichi (One Day) is a short piece made up of day-to-day moments. Animated in Clip Studio Paint, the work features a set of characters inspired by treasured experiences and people in my life. Through my art I aim to appreciate every person’s pursuit of happiness and the inherent beauty of our mundane lives. I hope that viewers can connect with elements of the work in whatever small way. If there’s anything I want to achieve with Ichi Nichi, it’s to make someone feel seen.”

Joseph Cameron Rhodes Murdock, The Magnificent Pixie Titans and the Workshop Varmint

“In this animation, the Wessel, a small creature who loves shiny objects and getting into mischief, breaks into a magic workshop and wreaks havoc. The Magnificent Pixie Titans use their magic to outfox the Wessel and restore order. My greatest joy is to create inhabitants of worlds, not just creatures that look cool but ones that have purpose. I love weird and kooky creatures, from mythology, fantasy, sci-fi, or just reality. Encouraged by my sci-fi loving mother, I grew up reading global folklore and myths. Every creature in those tales had a narrative purpose and a natural place in the worlds they inhabited—just like the Wessel and the Pixie Titans.”

Jennifer Perez, Stardust Playground

“Stardust Playground is a fantastical, loose reimagining of a childhood memory of a family trip to a swimming pool. In this animation, the pool is outer space while the characters are animals. I am played by a penguin. I chose the other three animals—the acrobatic ferret, a high energy dog, and a cat who is cool and calm—for their exquisite movements and behavioral traits. These free-spirited animal characters joyfully play in zero gravity among the stars.”

The Art in Transit Program enhances the experience of customers, communities, and the Capital region by incorporating visual and performing arts experiences into the Metrorail system and Metro facilities. With Metrorail serving nearly half a million commuters every weekday, on average, the talents of these four CVPA students will reach an exponentially increasing number of people in the region while contributing to the program’s enriching mission.

This new partnership with Metro exemplifies the kinds of connections and opportunities uniquely offered to students as part of their educational experience within CVPA. Other examples include the Murals at �鶹��Ƶ program by �鶹��Ƶ Exhibitions, which develops and manages contracts for local artists—often CVPA students and alumni—with public art opportunities in the Washington, D.C., area; the Film and Video Studies Program’s traveling showcase of student films each fall—Best of Film at �鶹��Ƶ—with free public screenings at various locations, including a recurring fall showcase during the Washington West Film Festival; and the Reva and Sid Dewberry Family School of Music’s �鶹��Ƶ Music Productions, which manages opportunities for student musicians to be hired for private and public events. Faculty and staff throughout CVPA actively explore and create hand-on experiences for students, from supporting research and scholarly activities to curating showcases of student work in local galleries and museums and hiring students as members of production teams that travel the world.

The Art in Transit Program’s Digital Art Initiative was launched in 2018 to develop partnerships with local arts organizations and institutions to facilitate the presentation of original digital artworks for Metro's digital displays at the following stations—Crystal City, Farragut North, NoMa-Gallaudet U, Gallery Place-Chinatown, L'Enfant Plaza, and Metro Center.

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Frenn awarded Fulbright to pursue arts-based research in India

ckearney — Mon, 01 Jul 2024 12:49:54 +0000

Frenn awarded Fulbright to pursue arts-based research in India ckearney Mon, 07/01/2024 - 08:49

�鶹��Ƶ professor Chawky Frenn, a painter and an associate professor in the School of Art, has received a Fulbright-Nehru Academic and Professional Excellence Award for research and teaching for the 2024-25 academic year. As a Fulbright U.S. Scholar, he will conduct international research while teaching at Banaras Hindu University in Varanasi, India, in the fall.

Chawky Frenn. Photo by Evan Cantwell/Office of University Branding

“My research will evolve around the role of art as a bridge between cultures, religions, and classes,” said Frenn. “In my teaching proposal, I emphasized the potential of art to cultivate connections between diverse cultures and communities. I will teach studio art and guide students in creating artwork addressing pressing societal issues of their choosing.” At the end of the semester, Frenn will curate an exhibition of student work at Banaras Hindu University.

While abroad, Frenn will focus on creating his own art, documenting his research and travels, collaborating with Banaras Hindu University’s faculty on art projects, and putting together an exhibition of his work before returning to the United States.

This is Frenn’s second Fulbright. His first was in 2017 when he pursued his international research in New Delhi, India. “During my 2017 Fulbright, I connected with people from various walks of life,” he said. “I am excited to be given another opportunity to establish new relationships, collaborate with new international partners in art and education, and build another body of work informed by my experiences and travels.”

He added, “[During 2017] I forged many meaningful connections with artists and academics who, upon learning about my upcoming Fulbright, have already invited me to visit their universities.”

Frenn was born in Lebanon and immigrated to the United States in 1981. He has a BFA from the Massachusetts College of Art and Design and an MFA from Temple University. His work has been featured in solo and group exhibits in galleries and museums across the United States, France, Germany, Italy, Lebanon, Paraguay, and India.

In 2009, Frenn received George Maso’s Teaching Excellence Award. He was a finalist for the same award in 2002 and 2006 and was also nominated for the award again in 2021.

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