All right. Hello, everyone. Welcome to into the studio with our Fine art department. Today, Becky Bosser, the chair of the Finance Department, will be leading through you through what the Finance department has to offer. And what about the fine art department? My name is ASMR as well. I'm an admissions counselor here to help with any questions any of the students might have about admissions. But for now, if you have any questions, feel free to type them in the chat so I can provide them at the end of our session.
As we go along, but in the meantime I will hand it over to Becky and she will get started.
Alright, thank you, Osman.
As I said, my name is Becky Blosser. I'm chair of the Fine art department. I have a presentation here to share with you just a little bit of information about the fine art department and what we have to offer in our program. I have a fairly thorough overview of the courses work that you might create in our program and my hope is to be able to share.
Kind of what your experience might be as a student in the fine art curriculum. From sophomore year through senior year, you'll see lots of images of student work.
And kind of imagine yourself working through these projects, also have some field trip information, career paths. That's always a curiosity within the Fine Arts and some other opportunities as well. So we'll just go ahead and get started.
So in the fine art department, there are a few core studio areas that you build upon each year that you're in the program, and those are drawing, painting for making sculpture in digital media. The the idea is that you're going to build understandings and technical abilities within these mediums, but also have opportunities to experiment and maybe work in a large variety of mediums. You know, things that you wouldn't expect.
Umm, so there's a wide range of opportunities and ways of working within the curriculum.
Fine art courses, things that are sort of core themes, is that you're going to invest in your studio practice. We want you to hone your skills as an artist and as a maker. You're going to have opportunities to critique and communicate your ideas creatively. There is a lot of research when it comes to working creatively and making connections and informed decisions.
About your work, it's all about figuring out how to be motivated in the studio and how to eventually sort of come up with your own practice and understand how that generates work and how your ideas continue to develop. And we want you to become creative thinkers and problem solvers within your community.
This slide or image kind of gives an overview of all the studio courses within the department. I don't expect you to really be able to take all of this in. It's really tiny, but these are all the courses we're going to look through and kind of touch on throughout the presentation.
So starting off sophomore year, these are all the core studio courses that you'll take. Painting materials and methods, digital mixed media per making one and drawing from observation. Fall semester and then spring semester, you'll build upon painting materials and methods with painting from observation, have an introduction to sculpture, and then making and meaning is a course that touches on concept development.
So sophomore year, a lot of the focus is on that technical development. You're sort of taking what you've learned from foundation year and expanding upon that. A lot of the coursework is rooted in working from observation or working from your how to be inspired by the things that surround you. So it's not necessarily only drawing.
What you see, but also how you might interpret those things differently.
So painting methods and our materials and methods, the focus is very much in oil painting. You're going to explore surface, how to prepare surfaces, what are different surfaces to paint on, how to paint, different tools to use. It really dives into those technical elements, you explore color and different color palettes and color families, and you are really working from observation a lot of times when you're painting.
It really is a way or when you're painting from observation. It's about recording light and seeing light and shadow.
Drawing one focuses kind of on similar themes, but you'll have different types of subject matter you're going to work with different mediums such as charcoal, graphite, ink, and there might be some mixed media or sort of digital elements within that class as well.
And different subject matters. And it's it's all about kind of.
Understanding what your subject matter is and and how your mark or the way that you're developing your drawing affects that. So it's sort of recording that information but also manipulating your mediums to sort of create a mood or to understand what exactly it is you're doing. So like in this piece the graphite sort of or the the charcoal gives us super atmospheric kind of emotive mood.
So it's different than if it were drawn very detailed and like with precision. So this gives us different sensibility and you explore that within this course.
This is another piece from this course where you're working from observation, but also abstracting based upon that.
And then print making printmaking is a course that I teach. In printmaking, you're going to explore different fine art printing processes. This is often new to many students, so it can be a little intimidating. But we learn, you learn relief etching, screen printing, and the focus of the course is sort of taking a bit of a historical and contemporary dive into like, what?
Artists might be doing within the medium, but then also thinking about your own ideas, developing those ideas and understanding how the different processes sort of convey or what the visual language is of each process and how your ideas might be interpreted through that.
These are pieces by two students. Umm. The one to the left is Emily Moyer screen print. This is a pretty large scale screen print and then B is etching as to the right.
A big focus in printmaking is process and experimentation. Because of the the way the nature of the medium it it really does give opportunity for unexpected things to happen, and we always encourage students to embrace those moments and see where where it can take you.
Digital mixed media is one of is. It is the only digital course that you'll take sophomore year and it's a time based video course where students learn the Inns and outs of creating video and manipulating the moving image.
These are stills from a video created by the student.
This is a painting from the same by the same student. You can see a similar color palette. It's kind of interesting.
And spring semester, sophomore year, this is painting one. So we're moving on to spring semester. You're still kind of working with similar ideas, but they're becoming more complex. So you're painting, you're building upon what you already understand and what you're developing. You may work larger, your imagery becomes a little bit more complex, the paintings might be more involved, and you have more time to develop.
You might be asked to take ownership of and create your own still life imagery, or experiment or think about how a personal narrative might be conveyed through that imagery.
And of course, continued experimentation, understanding how to use what's around you and how to interpret your surrounding environment in a creative way.
And then sculpture one is very much rooted in those same themes. But you're experimenting through three-dimensional form. So working with introductory themes of you know what it is to model form, how forms sit in space, and also there are opportunities to experiment with found materials and create found object.
Cultures as well, and this class they get into mold making and some other things too.
And then meaning are making and meaning. This is a course sophomore year that kind of allows you to take from all the things that you've been learning in your experience as an art student. And it is like you're thinking concept first. So what is the idea and what medium, what material needs to be used to effectively convey that idea so you might be working.
Traditionally, or more experimentally, this course often is introduced through kind of themes that relate to collage and it's about connecting medium and concept and form.
This is another piece from that same class. It's a video piece this student was creating or the project was about just the innocence of youth she had. She has this projection kind of playing over her and she asked her sister to be involved, so her sisters kind of oblivious, blindfolded, and this projection of a video that she created with lots of different sort of stuff that happens in.
The news that we see on a daily basis, sort of projecting over her.
This was a piece from the same class. Students really kind of take their ideas and run in this class and it's it's a great class for that kind of thing to happen. This was a piece created during the pandemic and it was actually, it's created in her moms kitchen. So she built this structure kind of like a room within a room and it she called it her brain box and it was what she.
Imagined the inside of her brain sort of felt like during the time. So it was kind of like this little cocoon for her while she was, you know, in the pandemic, in her, in her mom's house. So those are really great piece.
And then junior year, you start to expand upon all those things that you're continuing to build your ideas and build your sort of technical abilities. Junior year, the focus kind of shifts more towards idea development. So the projects become a little bit more expansive. You take more ownership of the concepts and themes that you're working with and you're sort of given the tools in the room to be able to do that successfully.
So you have drawing, painting, sculpture, fall semester, and then spring semester you're going to have a course called media form and concept. This is a junior level version of what you would have done in making and meaning in a lot of ways. And then there's for making two painting theme and variation, and a professional practice course, which I'll talk a little bit more about in a couple minutes.
So drawing theme and variation complements the drawing course you'll take in sophomore year in a way that you're working very much experimentally. In this course, where drawing one kind of starts out with a little bit more of a traditional idea of what a drawing course would be, drawing theme and variation is all about experimentation and working.
With a range of different materials depending on what your ideas are and you're working on larger series of of works or sort of like many bodies of works based on concepts and themes that you take time to research and develop.
There are also, you know, like exercises in this course. Like this was an automatic drawing exercise created by the student. So these were two really wonderful drawings. And what automatic drawing is, is drawing from your subconscious. So that can be really hard to do. So it's sort of like you're getting into this meditative state and sort of letting the work create itself in a lot of ways.
This series of works was a project by the student, just all about different interpretations of the eye, different representations. So it was this kind of small series of works just based on that and experimenting with color. There are some layered works and sort of experimenting with different materials, thinking scientifically, but also very painterly with.
The subject matter of the eye.
These two drawings are from that are pieces were from that course as well. Brittany layers work on the left. Both of these works or series of works were created. The project was for students to take a video or shoot a video and it could be any length and then they would use that video in some way as a reference for their series of drawings. So Brittany layers.
This she shot a video of just this little rag that was stuck to the side of a building and the way it was flapping in the wind. So she created this wonderful series of works basically about that movement. And you can see her thought process and experimentation within each of these different pieces. And I think that little kind of scraggly piece to on the end there was a stencil that she had used in some of the other.
Other works and then Mabs work to the right was about there was a video of just movement and I think the sun shining through a room and the way the curtains were sort of moving. So the series of drawings kind of was her attempt at sort of capturing that space in that sensibility.
Painting from observation, memory and synthesis, this is a really great painting course. Junior year. It complements the drawing course and that it it's very similar in the way that you're thinking about painting. It's about kind of merging different areas of influence and how you might be more inventive and sort of construct your paintings, but also again.
How to use your surroundings and and what's around you as inspiration.
And this is some preliminary work for that painting that you just saw and that's like preliminary work during junior year. And that idea development is something that's really important and that's something that you'll take with you as you move into senior year.
This is another painting from from this course.
Sort of this inventive, imaginative space.
In sculpture you are exploring different mediums, carving, working with experimental materials. This is a giant mushroom carved out of foam.
Media form and content are is a course that.
Is very similar to sculpture. You get a little bit more into installation with this course, and it is a course that is shared between fine art and photo and video students. So it's a really great opportunity to work with another department of of Students and kind of see what they're up to and get inspired by how they're interpreting the projects as well.
This was an installation created. In that class there's a projection. It was all. The piece was all about nostalgia and memory. And there's this old TV with that has a projection of a video onto the TV. So it's sort of like reinterpreting or or thinking about the the material and the space and just reinterpreting that idea.
Painting theme and variation is another painting course, but with this you're experimenting a little bit more with your ideas and themes and your materials. If you look really closely at this painting, you can see there's this sort of like jagged line that is a sewn line where she's like stitching into the painting and and really thinking about the different ways that she can use Mark making within her work and how that connects to the content.
So being a fine artist requires a commitment to a process of personal development that takes a high level of motivation, independent thinking, and creative use of material and technology.
That is definitely true and that's that's kind of you really sort of.
Kind of. Those are the themes that resonate throughout the department, but definitely through junior and senior year. So per making two, your building upon what you've learned in from making one and kind of making larger more intricate works, but also exploring how your themes might translate across mediums and thinking about how you might mix media.
And and also experiment with the the printing processes.
Junior year, you're going to start to be introduced to professional practices courses. So in the spring of junior year you'll take professional practices one and then the spring of senior year you take professional practices too. And these courses are designed to help you just gain some practical information thinking, sort of like with that business mindset of what your opportunities are with within the the art world.
What you might do or what you might pursue, what your career paths might be in the junior year, there's a big focus on internships. This is something that is really encouraged. We encourage students to pursue these internships.
These are opportunities that can expand your knowledge, skills and experiences and artist, and also build connections with other professionals. Time and time again, I've seen these internships be a foot in the door to either a connection, a friendship, a job you know, a further something you're going to further pursue academically. Many fine artists, when they take internships, they use what they learn in the work that they're creating later on in senior year.
This is an image of Cory Kermiche, who did an internship at City Arts in New York City. And those internship opportunities are very specific, in particular to what your interest might be. So it's something that's not necessarily prescribed, but it's what you're pursuing. So we've had students do internships at upholstery.
Menu not manufacturers, but upholsterers mural arts, UM, pottery, ceramicists at Glass blowing studios, with specific artists at galleries and museums. So there's a wide range of different focus areas, and it's dependent on what your interests are.
And in these internships, and when you're thinking about that and thinking about, you know, professional practices and what you might do with a Fine Arts degree, some things that you might think about are like, what are your skills? You know, the skills that you acquire are a little bit more broad and expansive in the Fine Arts. So not only are you developing a body of work.
And really understanding who you are as an artist and and what you want to make and what you're thinking about. You're also, in a more broad sense, understanding how to creatively interpret and communicate your ideas and emotions. You have the ability to critically analyze the subject matter and give critical feedback. The ability to research, make creative connections, and informed decisions you have the ability to make things with.
Strong skill sets and a range of media find attention to detail, refined craft and skill, and at times a prolonged attention span and the ability to collaborate as well as take on projects independently. So those are are things that people desire, are professionals want to work with you because of these abilities. So it's not necessarily specific, but it's applicable to a wide range of different career paths.
And some career paths that you might find yourself pursuing are, you know, this is.
A list of a few, and there are more. It is very much a creative path, and it's a.
Of the pursuit, the journey that you're on on is creative when you're in school, and it continues to be that when you when you graduate. So that creative mindset leads you to the next thing. So you might find that you're interested in education and you want to be an educator, or maybe you want to be working in a gallery as an art handler or maybe as a framer, some things that students have done after graduating.
We've had students become floral designers, we had a student doing design at the skate park, students, our studio artists or work in studios or our makerspace space technicians, or we've had students pursue art therapy. So they're just a handful of different things that you could possibly pursue, but it is in this realm of what your interest.
Yeah, so the idea is to just think about.
What direction you want to go and also to understand that that that comes. You know, as you as you work and as you're working through the department and the programming. By the time you're a senior you you might have a sense of what you want to do when you enter the program. You may not know, and that's totally fine. You should be focusing on your studio work, and that's all you really need to do.
So by the time you make it to senior year.
You have all of this technical and idea development that you've been pursuing through sophomore and junior year. You have ideas of the direction you want to go. Senior year on the focuses on studio practice and and you're working towards building a body of work.
That you will then have an exhibition of for senior show in celebration at the end of the year after you graduate or as you graduate. So all of your courses are sort of revolving around your studio work and you can see in this image. This is Kylie Heilman in their studio. Kylie graduated in last spring and this was a photo taken.
Very close to the end of senior year in the spring, I believe so studios full lots of things going on and that gives you a sense of what that studio space might be like.
Umm, so fall semester you're taking directions and contemporary art senior studio one and multimedia drawing class and then spring it's professional practices to senior Studio 2 thesis and critique. And when you're in senior year, your professors are kind of, in a sense, more like mentors than they are. You know, they're not specifically telling you what to do.
Specifically, they are just kind of guiding you and giving you options and it really is on you to figure out what direction you need to take the work.
So here's a photo of seniors on a field trip to Street Rd space. So there are different sort of field trips and opportunities within the program.
Senior reviews are something that's really important. Senior reviews happen during the junior year or no, sorry, during the fall semester of senior year. There are also reviews that take place sophomore and junior year that are equally as important. And there are an opportunity for students to get together with a group of faculty and and really just get feedback about their work.
In senior year, it is about what you're starting to create in your studio and how all of that work is working together to create a body of work. Sophomore and junior reviews are more about how the work is developing across courses and you know things that are working really great and also looking at things to improve upon.
This is another image of senior review. Critique is really important in the fine art department. Senior reviews are a form of critique where we give, we look at the work, give feedback, and just sort of look at it and pick it apart and talk about it.
This is where it created by a senior in drawing and multimedia, which is a course that kind of asks seniors to experiment a little more and maybe move outside of their comfort zones. Rachel Bolt, now Rachel Wolfe. But at the at this time, Rachel Bolt was or is still very much a painter in a traditional sense.
But experimented with a lot of sort of other mediums within the periphery. In this piece, Rachel was trying to merge some of those different sensibilities where she created a digital drawing or digital painting and then printed it out and painted over top of it, and was kind of reworking the surface and experimenting in a way she wouldn't normally work. This is another piece created by Rachel.
And it actually is an animation where that strawberry is kind of expanding and consuming this astronaut suit and Rachel's work. She used a lot of symbolism in her imagery and all had sort of certain personal meaning.
To what she was was doing.
This is work by Samantha Ferrazzi, who had done an internship at an upholsterer and learned how to build furniture, how to upholster furniture, how to fix furniture, and from that in her senior year, her body of work. All of her thesis work, was about merging nature with these constructed forms and nature furniture, nature and comfort.
Had these sort of creative ideas revolving around that. These were two of her early pieces when she was thinking about this work.
Uh, this is work by Saras Hofinger, who created Saras was inventing a mythology, and this was kind of like the early stages of creating these animals, inventing these animals and mythologies that go with them. So this was a series of prints that she had, or that they had created, or he had created and.
Also a sculpture that goes along with those prints.
And this is all stuff that takes place during that fall semester and then at the end of the semester.
Seniors typically have an exhibition. In the past couple years we've been able to have our exhibitions at the DeMuth Museum in town here in Lancaster. This was this is an image from the senior exhibition last year. So last December it opened and it is just a showcase of the work that seen some of the best work that they've created from that first semester as seniors, so.
They start off, they do all of the work in a lot of ways. They create the poster for the work, hang the exhibition with help from dimuth staff, and they start off the semester sort of taking a look at the space and doing a walkthrough so they can see the space that they're going to have one of their works or a couple of their works exhibiting in at the end of the semester. So these two images are students kind of walking through that space.
This is an image of the exhibition opening on December 3rd.
Spring semester, senior year seniors are really starting to kind of feel the pressure, a little bit of sort of that upcoming deadline of the senior show and trying to get all their work done.
Their work is really taking form, and it's just a matter of.
Deciding what's possible within the next couple months. This is work by a student named Leo Walt. Leah is actually coming back as our fine art alumni artist and resident this year, and these were this and the previous image are both works by Leah, and they're sort of these paintings that reflect upon personal narrative and have sort of a surrealist sensibility.
This is work by Shalen Otto, and it's all this work is like super simplistic and beautiful and form, and the ideas and themes are really about comfort with one's body and finding beauty in the human form.
This is some of the work by Seth Crater. Some of the themes that he was thinking about senior year, just different ways of interpreting information and and how that might be translated through different forms of drawing. Seth Crater actually went on to get a Masters degree at Pratt in data visualization and he is a visual analyst now and I believe he's teaching courses.
That pcad from time to time.
This is work by Melanie Vera during her senior year, and Melanie filled an entire space for her, her exhibition of these strange, plush, kind of gross forms. And her work was really about that tension that exists within these forms. Or they're sort of like plush and soft and feel like they should be comfortable, but they're a little unsettling because of the way she's dyed them and the shapes of them.
So it's that comfort discomfort and you would walk into the space and just be surrounded by these forms. So it's almost like you're on the inside of somebody's body in in a lot of ways. Melanie went on to study John at John Johns Hopkins as in museum studies, I believe.
This is work by Thomas White. In his thesis work, he was really exploring memory and emotion and how maybe memories fade or change, and how that's translated through form and writing and different material John or Tom went on to. I think he was designing skate parks for a little while. He was an avid skateboarder as well.
This is more work by Rachel, some of the later works that she had created where she's really developing her symbolism and sort of the narrative within her work. The theme for her thesis work was about exploring love and what love is and how it's how difficult, how difficult it is to articulate exactly what love is.
These are two works by page Hershey of Fine Arts senior, where she was creating these digital drawings, printing them out really large and then cutting them out and organizing them, creating these kind of installed forms. So she was working on her tablet a lot and just experimenting with cut paper and collage.
Paige has a really strong interest in tattoo art and tattoo design and and you can kind of see it here in this work.
These are works created by Mandy Hall, who was focusing a lot on family nostalgia, memories and just kind of there's this sweet sensibility with wanting to hold on to like wanting to freeze time in a way with with a lot of her work. So she works in a mixed media sort of fashion and.
I was very much interested in installation and Mandy has gone on to grad school at Moore College of Art.
So that kind of gives you a sense of the the wide range of different themes and things that that seniors are focusing on. And it really is there's a lot of freedom in what you explore and it develops out of all of the work that you've done previously to build up to that point when you're in senior year.
Then, at the end of the semester, this is that spring semester. You graduate, and this is an image of one of the exhibition spaces for a senior show in celebration. This is an image of Adelaide's work from last year, where she is showing and has installed all of her work, the body work that she'd been working on from the beginning of of that year.
This is a really great image of the seniors from last year. Behind them is Cassie's work, so you can see a little bit more of that exhibition space, but they're all super relieved and happy. They've just graduated and it's a really great night. It's a fun night. There's lots of people that come to check out the work and just a really great celebration.
So some other things that take place within the department. We have visiting artists come each semester. We'll have artists come and visit specific classes sometimes, and then also artists that come and visit the department. Seniors will get studio visits with those artists. So you get some outside feedback from somebody that hasn't seen your work on a daily basis. It can be really helpful.
This is just another image of one of those studio visits.
In the pandemic, we had virtual visits, which was really wonderful. It helped us bring in artists that might not have traveled to pecan, so it's something that we keep in mind for the future.
Called in from Texas somewhere, so or I think, I think it was Austin, TX. So it was really great to have that range of different people coming to visit even though we had that limitation of the pandemic.
Field trips are something that's really important in the department. Each semester will go on a field trip. In the fall, we'll usually go to Philadelphia or Baltimore depending on what what exhibitions are happening and you know what the plan is for that semester. And then in the spring we we've always gone to New York City for a field trip. Lancaster is really wonderfully located where we're fairly close to a lot of really great.
Cultural areas. Lancaster itself is a really great community, but then we, you know, we're close to Baltimore, Philly, New York, DC even Pittsburgh gets to be a little bit further away, but it could be accessible.
This is the department visiting the fabric workshop in Philadelphia. We're going to head back there in November this year, so it's super exciting.
Here's an image of a group of students meeting in the print archives in the New York City Public Library, which in and of itself is an incredible space.
So in the fine art department, we also have the alumni artist in resident program. This is something that's fairly new IT was started in 2019. We've had three artists in residence this past year. Karen Wingenroth was our artist and resident. She kind of, she has a studio space or the artist and resident has a studio space in that's in the same room as the senior studio spaces.
And they work in alongside them and they're just there. They have access to all of the facilities at peak had and they're there for the whole year and just they have the space and the time to create a new work and just kind of get back into that studio practice or build upon whatever they've been doing since they've graduated and then at the end of the year, the artist and resident.
This year was able to have an exhibition in the main gallery at Pcas. It was really great.
And then the last thing that I have to share is some of the fine art faculty and and a few images of their work. We have really great faculty in the department. They're all professionals within their field, have really strong areas of expertise and are really diverse and what we're what we're interested in and and how we think about work. So I think the faculty and the fine Art Department really complement.
Each other well, so there's myself. In an image of my work. Professor Thompson teaches painting in the department and drawing and works with the seniors. I myself work with the seniors and teach printmaking and drawing. Professor Kitson teaches drawing and painting.
Professor Bishop teaches sculpture.
The media Foreman concept class is really great with material and kind of doing lots of things with experimental materials.
Professor Gepford teaches printmaking and some of the more contemporary courses, and Professor Artinian does the same thing, teaches more of the contemporary courses. So that's it. And there are other faculty in the department as well.
But it's a really great group of people to work with.
And thank you for listening to me speak about the department that ends my presentation. Are there any questions?
Looking at the chat here and didn't see any questions come up in the chat, but I have a couple of follow-ups. One or two questions I could ask these both at the same time.
I know you touched on the business classes that the students will take.
During their time at Peacock. But if you could get into the specifics like do they learn like the business side of their career path, whether it's like, you know me being a museum curator or you know, exhibiting in galleries, do they learn that side of things and then to follow but the follow up.
Our students limited to a certain style, you did kind of show examples of how diverse the students are overall, but just in general, are students limited to the style that they want to do or they, you know, obviously find out their lives to branch out a lot more. But is there a certain style that you teach or are they really like open to any kind of interpretation when it comes to finer?
Well, for the OK for the first question.
I would say not necessarily specifically everything because there are so many different sort of career paths that you can take. But the one great thing in the professional practices courses we do have visiting artists come in to those courses or like a visiting curator or visiting guest speakers from different professional fields and they give them kind of like a window.
Into what it might be to to work as a curator specifically, or, you know, we will visit studios during field trips.
And students will get a window into what it might be to work as a studio artist and how you might navigate even accessing that in the professional courses and professional practices. One, along with the internship sort of preparation students learn about, you know, building their resume, writing a cover letter, how to reach out to different types of professionals, what those different types of professionals would be and sort of how to get your foot.
In the door in some aspects and which would hopefully lead to something else. So and then professional practices too kind of builds upon that. But a lot of the focus during that course is also in preparation for senior show helps to sort of support that. But you know how do you speak professionally as an artist. The students do artist talks in the atrium and just kind of.
Uh, start to sort of move through the space a little bit more as a professional?
And then your second question was about.
So I would say that is dependent on, on you as an artist. The one thing that we encourage during senior year is that you know you're sticking to building a body of work. So all of those work should be cohesive. So you know, it's like stylistically there that's there's one thing happening in that body of work. So it's thematically similar, so a lot of times.
Style can be connected to theme and the way you might personally, you know, visually articulate, whatever it is that that you're thinking about or working with so.
In a broad sense, that those stylistic choices are up to you as an artist, and my my hope is that through the curriculum you're exploring those different sensibilities and are open to lots of different style. One thing I try to discourage, you know, especially students that are just entering the program, is try not to have a style. Try to be open to just experimentation before you make those decisions, because you end up limiting.
So I have one more question just to end this out. And this is kind of a general question, but overall as an artist yourself.
What's one piece of advice you would give anyone going into the Fine Arts major or going into art school in general?
OK, so overall I would say be curious. Be curious about everything. Be hungry to learn and explore.
Be willing to put in a little bit of extra work, maybe, and keep a sketchbook. Be actively working and drawing and, you know, doing that, that stuff that that you love to do so.
I wholeheartedly agree. Be curious. Do everything you can to learn.
Becky, thank you so much for staying on and explaining the fine art department. Everyone that tuned in. Thank you so much. But Becky, you have a great night. Everyone else, have a great night and thank you so much.