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Sage College of Albany
Art + Design BFA 2020
Annual BFA exhibition representing student work from the Art + Extended Media, Graphic + Media Design, and Interior + Spatial Design programs.
Thanks to: Sage Art + Design faculty
Participating Students
- Derek Halloran
- Jossalynn Harris
- Julia Rose Miner
- Justyn Werts
- Katelyn Pohlmann
- Madison Scisci
- Nicky Pepper
Derek Halloran
Design has been an important part of my life for the past five years thanks to one of my closest friends. He showed me the ropes of Photoshop, which piqued my interested in field of graphic design. The desire to solve a problem or perfect a process has been inside me for as long as I can remember. One summer, I spent the majority of my free time watching tutorials on how to use creative software, then started working on projects of my own. The satisfaction of seeing my work improve is immeasurable. There is nothing better than knowing that you, and only you, are responsible for your improvements. This is something that I've learned from other struggles in my past. Putting hours into my craft to produce something that is successful and worth a damn is what I crave most. That is my goal each day, and that is what drives my passion as a designer.
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Stu Mascot Logo
Meet Stu, Overit Design Agency's mascot! He represents the heart and soul of the studio, and is a close member of the family. He'll be printed on stickers, t-shirts, and more for the team to use. In addition to the primary mark, a secondary mark and team jersey have been designed as well.
Stu Mascot Jersey
Meet Stu, Overit Design Agency's mascot! He represents the heart and soul of the studio, and is a close member of the family. He'll be printed on stickers, t-shirts, and more for the team to use. In addition to the primary mark, a secondary mark and team jersey have been designed as well.
Derek Halloran
Design has been an important part of my life for the past five years thanks to one of my closest friends. He showed me the ropes of Photoshop, which piqued my interested in field of graphic design. The desire to solve a problem or perfect a process has been inside me for as long as I can remember. One summer, I spent the majority of my free time watching tutorials on how to use creative software, then started working on projects of my own. The satisfaction of seeing my work improve is immeasurable. There is nothing better than knowing that you, and only you, are responsible for your improvements. This is something that I've learned from other struggles in my past. Putting hours into my craft to produce something that is successful and worth a damn is what I crave most. That is my goal each day, and that is what drives my passion as a designer.
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Jossalynn Harris
I'm caught in a duality of being a rebellious skateboarder fitting in with the guys and a girl fighting fucked up beauty standards. I was born into a body that will never be enough for anyone. The sexual objectification as a girl rips me off from being treated equally. My aggravations take the form of idealized girls, resembling myself, who commit violent acts in order to disrupt the lives of these ignorant people who think I need permission to be angry. I use unfiltered jokes to exploit the sexual appeals of the male gaze with socially considered gross acts. My performances through photography and videography reveal society's ugly side to evoke deep visceral reactions. My confrontational illustrations indulge in pleasures that humiliate the patriarchal society that I'm battling to get away from and fit into. I reveal the repulsiveness I find within myself and the abusive acts have taken to reject these parts. My work is a tedious process because I feel the need to prove myself. As much as these expectations try to control me, I attempt to take back what is rightfully mine through my artwork as a way to end this struggle, but it is my fault too. I also define myself by these expectations and objectify myself because of them. When I attempt to break these rules, I'm shot down again by others, a never-ending cycle. My insecurity heightens along with my frustration. I just want to be enough for someone.
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Did You expect It To Be Pretty?
2020, Acrylic paint and ink on skateboard decks. What did you think? You're the only one? I bleed where you want to eat, and I'll rip a fat one too. So what the fuck is the difference? Let me relax without your fucking comments. Either take it or leave it.
Untitled
2020, Digital Illustrations
Father, Daughter. Daughter, Father.
2019, Performance documentation. I read a monologue etched onto plates of texts my dad sent to me on days when his depression got the best of him. Guests met over dinner, a commonplace of interaction and connection. Once they left, I documented the amount of my dad's sweet-smelling pasta dish that they ate. They didn't touch the food or simply couldn't, just as I can't on these days. It's hard to swallow and my plate is full. Now as I empty my plate, I begin to fill yours.
Give Me Some More
2019, Acrylic paint and ink on paper. A tease Just one lick Fuck That's good Craving some more Need to get closer I'll take control God, you taste so good Give me some more
Untitled
2020, Archival Inkjet Prints. In an attempt to show a body as an object rather than a person, I created these medium format exposures to abstract the body. Throughout my life, I have seen many deadly car accidents, and with that many dead bodies, and as a female, my body is constantly being objectified. The body is seen as an object, not as a person and it no longer has a connection or personality. A floating, lifeless, faceless body is what is left.
What Are You Looking At?
2020, Acrylic paint and ink on skateboard decks. Oh hey there, do you like what you see? I'm the girl of your dreams. You're too busy looking at my tits and wishing you were fucking me. That's all you can see. While I'm here just being me, and fucking with you. Ruining where you'd want to be by owning what is me. Bet you don't want me now.
Jossalynn Harris
I'm caught in a duality of being a rebellious skateboarder fitting in with the guys and a girl fighting fucked up beauty standards. I was born into a body that will never be enough for anyone. The sexual objectification as a girl rips me off from being treated equally. My aggravations take the form of idealized girls, resembling myself, who commit violent acts in order to disrupt the lives of these ignorant people who think I need permission to be angry. I use unfiltered jokes to exploit the sexual appeals of the male gaze with socially considered gross acts. My performances through photography and videography reveal society's ugly side to evoke deep visceral reactions. My confrontational illustrations indulge in pleasures that humiliate the patriarchal society that I'm battling to get away from and fit into. I reveal the repulsiveness I find within myself and the abusive acts have taken to reject these parts. My work is a tedious process because I feel the need to prove myself. As much as these expectations try to control me, I attempt to take back what is rightfully mine through my artwork as a way to end this struggle, but it is my fault too. I also define myself by these expectations and objectify myself because of them. When I attempt to break these rules, I'm shot down again by others, a never-ending cycle. My insecurity heightens along with my frustration. I just want to be enough for someone.
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Julia Rose Miner
My textural paintings of abstracted landscapes explore the ideas of innocence and decay. I use a pallet that consists of candy, stuffed animal materials, and vibrant pastel colors. I play with the corrosion of nostalgia while holding onto a childlike optimism. At the age of seven I was diagnosed with Stargardt's Disease leaving my world altered with a constant vibrating visual texture. I use the sense of touch as a source of sight to navigate through life and art. I translate bits and pieces of visual information to fabricate a new reality that lies in the comfort of unease. The deterioration of my sight has become unavoidable in my life and is no longer a burden, but a part of me. I welcome and encourage both delight and putrefaction to coexist in my work. Building layers I construct and paint distorted and discolored imagery inspired by my everyday surroundings. My work embraces the ideas of joy and deterioration while abstracting the world.
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Forever Melded
Acrylic Paint, Joint Compound, and Sugar with Glue on Board, 2020, 24"x24"
Formed A New
Acrylic Paint, Faux Fur, and Joint Compound on Board, 2020, 36"x24"
Tarnished Comfort
Acrylic Paint, Glue with Dirt, and Faux Fur on Board, 2019, 48"x12"
Vibrant Serenity
Acrylic Paint, and Joint Compound on Board, 2019, 36"x24"
Never What Was
Acrylic Paint, Gel Medium, and Assorted Candy on Board, 2020, 2 - 24" x 24"
Julia Rose Miner
My textural paintings of abstracted landscapes explore the ideas of innocence and decay. I use a pallet that consists of candy, stuffed animal materials, and vibrant pastel colors. I play with the corrosion of nostalgia while holding onto a childlike optimism. At the age of seven I was diagnosed with Stargardt's Disease leaving my world altered with a constant vibrating visual texture. I use the sense of touch as a source of sight to navigate through life and art. I translate bits and pieces of visual information to fabricate a new reality that lies in the comfort of unease. The deterioration of my sight has become unavoidable in my life and is no longer a burden, but a part of me. I welcome and encourage both delight and putrefaction to coexist in my work. Building layers I construct and paint distorted and discolored imagery inspired by my everyday surroundings. My work embraces the ideas of joy and deterioration while abstracting the world.
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Justyn Werts
I make art to depict the horrors of war and poverty as well as addressing the issues we believe to have vanished long ago but still persist to this day such as imperialism and slavery. I create these works to satisfy my own need to have voice in the matter, my dad being a marine inspired me to delve into the themes of war and my own experiences with poverty and class struggles has made me even more invested in the social issues my works wish to depict. I take these experiences and mix them with cyberpunk and futurist as an aesthetic since they provide a platform for which I can show that themes of war, poverty, slavery and imperialism, implying that they will persist into the future since they still persist today. I believe wars connect to these things since it is through poverty a war machine can continue by grabbing up kids from impoverished backgrounds and putting them into uniforms, a sort of militarization of poverty. With these ideas in mind I sketch and create characters that live through these experiences and the situations they see in war and everything that surrounds it showing disdain for it.
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The Assault
This piece is a representation of the approaching storm that is war. It was completely in digital and is a large format print. I created this piece to represent the effect a coming battle can have on the mood of a piece. The roaring winds and rain storms are added to allude more to the "storm" that is coming which is war.
The Merchants of Akash
This piece depicts the sale of weapons that fuels a conflict within this universe I have created with spider like creatures dealing behind the scenes.
The Sun Will Not Set On Us
This a scene showing the conquering of another species as a a tidal wave of soldiers slaughter them and burn their city the ground. This is more violent then the rest of my works but keeps up with the same themes of war and colonization.
Justyn Werts
I make art to depict the horrors of war and poverty as well as addressing the issues we believe to have vanished long ago but still persist to this day such as imperialism and slavery. I create these works to satisfy my own need to have voice in the matter, my dad being a marine inspired me to delve into the themes of war and my own experiences with poverty and class struggles has made me even more invested in the social issues my works wish to depict. I take these experiences and mix them with cyberpunk and futurist as an aesthetic since they provide a platform for which I can show that themes of war, poverty, slavery and imperialism, implying that they will persist into the future since they still persist today. I believe wars connect to these things since it is through poverty a war machine can continue by grabbing up kids from impoverished backgrounds and putting them into uniforms, a sort of militarization of poverty. With these ideas in mind I sketch and create characters that live through these experiences and the situations they see in war and everything that surrounds it showing disdain for it.
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Katelyn Pohlmann
Hi there, I'm Kate! My focus is branding and advertising, though I'm interested in motion design and illustration as well!
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#BK Delivers Campaign
Sage College of Albany's senior capstone class was run like an ad agency, with five creative briefs over two semesters. One of my clients was Burger King, my task being to develop an idea that uses delivery as part of the Burger King app to delight and surprise 18-24 year old BK guests. I created a three-phase plan to achieve just that. See all three phases on my website: https://www.katelynpohlmann.com/work/bk-delivers
#BK Delivers Campaign Postcard Front
A postcard designed to be handed out by the King as he visits college campuses to share free Whoppers.
#BK Delivers Campaign
The King's campuses visits are only phase one of this three phase experience. A PR stunt to get people talking. Phases 2 and 3? Well, you'll have to check out my website to get the full #BKDelivers experience. https://www.katelynpohlmann.com/work/bk-delivers
The Alqemy Hotel
For this project, I lead a team of interior and graphic designers to invent and brand a boutique hotel. We chose to focus on molecular mixology, a style of mixing drinks that involves manipulating ingredients on a molecular level. The Alqemy would be located along the San Antonio River Walk, a city ranking 5th in its love of cocktails with a beautiful river walk for exploring, dining, and drinking. https://www.katelynpohlmann.com/work/the-alqemy-hotel
The Hangover Kit
The Alqemy Hotel cares about guests' experiences with molecular mixology before, during, and after the drinking. To show this, The Hangover Kit comes complimentary in every room. The Hangover Kit comes with a water bottle filled with Ooho water balls, balls of water encased in algae. It also includes "Elixerlytes" or branded electrolytes, "Tablets of Ether" (aspirin). and a refreshing face mask to ensure guests feel rejuvenated after a night of drinking.
The Mix Kit
Mixology is fun and fascinating, and if guests want to do your own cocktail experimentation from home, we offer The Mix Kit for purchase at the bar. The Mix Kit includes a shaker, strainer, bar spoon, muddler, citrus juicer, channel knife, a jigger, and a bar knife all in a gold finish so guests can show off their new hobby in style. The items are homed inside a gorgeous leather box that is packed into a clear tote bag to show off this exciting new purchase in style.
Katelyn Pohlmann
Hi there, I'm Kate! My focus is branding and advertising, though I'm interested in motion design and illustration as well!
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Madison Scisci
Hello, my name is Madison Scisci, an award-winning artist and filmmaker living in Upstate New York. I interchange between media such as painting, photography, and film. I explore surreal, innermost fears and emotions that are found through body language, eye contact, and sound. My goal is to entertain my audience by giving them a unique representation of a narrative in different mediums. With my drive, creativity, and determination I will work hard to be a woman who will change film.
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No Nonsense
Year: 2020 Medium: Cyanotype collage, watercolor, red ink, micron pen, acrylic paint, and decorative paper Statement: It's your turn, smile! We all fit in here. Is it all too much? This might be the only way to communicate. You say no nonsense, but this is all we know.
The Ocular Entertainer
Year: 2020 Medium: Acrylic paint, colored pencil, and micron pen Statement: Sewn in a permanent state, their movement is limited. They watch him closely and rely on his presence to have a purpose.
Identity
Acrylic on paper, 18" x 24", 2019
The Connection
Graphite on Paper, 3' x 9', 2019
Unacquainted
Photography, Still Frame from my short film, "Unacquainted", 2019
Undisclosed
Gelatin Silver Print, 2020
Madison Scisci
Hello, my name is Madison Scisci, an award-winning artist and filmmaker living in Upstate New York. I interchange between media such as painting, photography, and film. I explore surreal, innermost fears and emotions that are found through body language, eye contact, and sound. My goal is to entertain my audience by giving them a unique representation of a narrative in different mediums. With my drive, creativity, and determination I will work hard to be a woman who will change film.
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Nicky Pepper
I don't like to be vulnerable, it makes me uncomfortable. When situations get too heavy, I make them lighter by making jokes or inappropriate comments. I have big emotions but it is hard for me to express them, when I am sad I act mad. I bring these feelings and frustrations into my work. It also focuses around mental illness and how the death of my father has affected me. When he died, I developed an unusual relationship with reality, sometimes I will feel like the world isn't real or that I am not actually here. Through my studio process I lighten my experience with reality and death by making them comedic.
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Self Destruction
We all do this Even if you don't know We know it's wrong But we continue We know it will hurt Oh well.
Self Destruction
We all do this Even if you don't know We know it's wrong But we continue We know it will hurt Oh well.
Self Destruction
We all do this Even if you don't know We know it's wrong But we continue We know it will hurt Oh well.
Self Destruction
We all do this Even if you don't know We know it's wrong But we continue We know it will hurt Oh well.
All on Me
If my mouth is shut Am I here? If I'm silent Can you see me? If I move Do you notice?
All on Me
If my mouth is shut Am I here? If I'm silent Can you see me? If I move Do you notice?
Nicky Pepper
I don't like to be vulnerable, it makes me uncomfortable. When situations get too heavy, I make them lighter by making jokes or inappropriate comments. I have big emotions but it is hard for me to express them, when I am sad I act mad. I bring these feelings and frustrations into my work. It also focuses around mental illness and how the death of my father has affected me. When he died, I developed an unusual relationship with reality, sometimes I will feel like the world isn't real or that I am not actually here. Through my studio process I lighten my experience with reality and death by making them comedic.
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