Fall 2016 Deadlines*• Submit CSUMentor Application – December 15 • (this is a quick online application + application fee payment )

• Submit Documents to Graduate Admissions – January 12• (this is for official transcripts and GREs IF GPA less than 3.0)

• Submit Supplemental Documents to Department – January 12• (in previous info this was Jan 15th)

PRIORITY CONSIDERATION for APPLICATIONS RECEIVED BY JANUARY 12TH*Competitive applications received by these dates are eligible for specific graduate funding

The three-year SDSU MFA graduate program is a 60-unit course of study in studio, art history, and professional practice, ranked in the top 5 MFA programs in Jewelry and Metalwork by US News and World Report. Technical support and facilities are provided to enable access to the broadest range of materials and processes, including digital fabrication. A weekly graduate seminar in jewelry and metalwork offered each semester provides a dialogue which challenges and encourages students to be ; curious, fearless, rigorous, and inventive, thinkers and makers. Discipline specific courses are complimented by multi-disciplinary graduate seminars, studio electives, as well as dedicated graduate level professional practices and college teaching experience courses. The program hosts an international roster of visiting artists/critics each semester.

First Year Scholarships applicable to fees are offered to all incoming graduate students. Graduate Assistantships which include non-resident tuition waiver are available on a competitive basis. Teaching Assistant opportunities in Foundations/Metals are also available on a competitive basis.

The diversity of work produced in the program is evidence of the multiplicity of concerns that can be addressed within the arena of jewelry and metalwork, as well as the program philosophy which supports the individual voice as opposed to a program identity. The consistent character of the work promoted in the program is sophisticated personal expression finding integrity in the contexts/subjects of jewelry and metalwork- domestic or personal scale, the inherent socio-political functions of decorative arts and fashion, conceptual design, and the languages of material and skill. Students are encouraged to look at a wide range of possibilities for profession. Past graduates of the MFA program have pursued many models of practice and are among the well-known studio jewelers and metalsmiths, designers, gallery owners, and university faculty throughout the U.S. and abroad. …and if you want to learn to surf- go figure…you can get credit for that!

Selected Past and Upcoming Visiting Artists/Critics :

Sofia Bjorkman, SWEDEN, Ruudt Peters, NETHERLANDS, Lisa Walker, NZ, Suzanne Beautyman,UK, Glenn Adamson, USA, Benjamin Lignel, FRANCE, Helen Britton, AUS/GERMANY, Andrea Wagner, NETHERLANDS, Lucy Sarneel, NETHERLANDS, Jennifer Trask, USA, Bettina Speckner, GERMANY, Lola Brooks, USA, Damian Skinner, NZ, Myra Mimlitsch-Gray, USA, Bruce Metcalf, USA, Robert Baines, AUS, Julie Blyfield, AUS, Linda Darty, USA, Lisa Gralnick, USA, Renee Zettle Sterling, USA, Jeffrey Clancy, USA

Current program, student, and alumni images and news can be found at: FACEBOOK: SDSU Jewelry + Metalwork

Application Instructions available at:http://art.sdsu.edu/areas/metals.php Faculty :Sondra Sherman, Program Head, Associate Professor of ArtMFA Munich Academy of Art, GERMANYwww.sondra-sherman.com. Kerianne Quick, Assistant Professor of Art MFA University of Illinois, Urbana-Champaign For Additional Information or to arrange a campus visit contact: Sondra Sherman ssherman@mail.sdsu.edu619.794.8558 (PST)

In the program you have the opportunity to work with faculty from all areas, but the Jewelry and Metals Faculty are your primary mentors, and mentoring students is a role we take very seriously. Both faculty are internationally recognized and active in the field.To see images and the broad range of teaching and professional experience we bring to that role view faculty CVs at:

Sondra Sherman www.sondra-sherman.com (its under the thumbnail of Ann Landers!) Kerianne Quick Kerianne Quick

Distinguishing aspects of the SDSU program :

The size -we are a medium sized program- we have from 7 to maximum 9 students. This fosters a healthy diverse exchange and supportive group rapport, while allowing all sufficient individual attention.The diverse range of work we support. We support the individual's research- not clones of the faculty or program identity. This does not mean 'anything thing goes'- we hold students to a rigorous endeavor to create, articulate and contextualize work, which is absolutely part of the contemporary cultural dialog and expanded range of practice coming from a jewelry and metalwork body of knowledge and way of thinking and working- including digital processes. This is also evidenced by the success of our recent graduates in awards, residencies, and juried exhibitions as can be viewed on our FB page- Facebook: SDSU Jewelry + Metalwork<https://www.facebook.com/pages/SDSU-Jewelry-Metalwork/643259955704390

More FAQs on page 62

M FA S T U D E N T

W O R K

DEMITRA THOMLOUDIS ‘Fabricated Drafts’

Fabricated Drafts is an exhibition of jewelry inspired by the fragmentary aesthetic of informal architectural construction, temporary spaces and bricolage. This work exemplifies a particular act of making, where materials are curated, constructed and remnants from the maker are celebrated. Through the lens of jewelry and changes in scale, weight, and texture, these assemblages ask the viewer to consider new associations to materials through their intimate relationship to the body as adornment.

Residual is comprised of four collections of jewelry pieces, which include, Mended: A Series of Wearables, Collected: An Assemblage of Brooches and Necklaces, Dissembled: Reconstituted Jewelry, and Worn: Tin Jewels.

Objects occupy and populate our lives. What denotes an emotional attachment to a thing? Can objects be used as acts of preservation, physical reminders of a person or place? I am interested in the life of objects, principally detritus because it has lost the personal interaction but still contains the evidence of contact in its form, surface, and appearance.

Residual explores the aesthetics of the urban landscape and the evocative nature of its most prevalent item, waste. The focus of this project is to produce a compilation of jewelry pieces using found objects that demonstrate and exemplify the appeal of the environmental timeworn cityscape. This series of work investigates the use of refuse to analyze the relationships between objects and people, the act of collecting, and the experience of jewelry.

The work has an antagonistic relationship to the body. By composing this conflict, I hope to generate new awareness of the body, wearer and object; and between viewer and cultural predispositions.

I have been strongly influenced by the writings of Bill Brown and Gay Hawkins. Bill Brown’s “Thing Theory” is a philosophy of the world of material things, their functions, semiotics, and their symbolic and commercial value in regards to their current cultural understanding. Once objects are altered from their original function they become able to surpass our preconceived notions of the materialistic phenomenology of everyday life.

My intention is to compose jewelry pieces that give attention to found waste materials and allow for the viewer to see the beauty in the mundane and the new nature in our temporal culture.

JESSICA ANDERSEN ‘RESIDUAL’

Mended: A Series of Wearables

Collected: An Assemblage of Brooches and Necklaces,

Worn: Tin Jewels

Dissembled: Reconstituted Jewelry

Obsessive Compulsive: (dis) Order is a body of work that explores how Obsessive Compulsive Disorder relates to myself, the culture at large, and especially its relationship to the identity and practices of the goldsmith. Obsessive Compulsive: (dis) Order attempts to make visible the never-ending repetitive behavior of the Goldsmith and the Obsessive Compulsive Disorder sufferer, and to their shared attention to infinitesimal details that the average person would overlook.

A prominent aspect of diagnosing Obsessive Compulsive Disorder is not the degree, but the context of the symptoms: “The same behaviors in different cultures might produce different results... If your behavior, say the meticulous lining up of objects, is seen as an oddity, you will be distressed that you do it. If it is seen as the useful quality of a master bricklayer, then you will not be distressed.”

The habits of Obsessive Compulsive Disorder and the practice of the goldsmith are strikingly similar: both have lives marked by repetitive action, most often on a miniscule scale. Both seem to have a heightened awareness of minutiae- they are concerned with the seemingly minor details that the normal observer would overlook. The only difference is that the former is characterized as a disorder while the latter is seen as a certain temperament beneficial to the goldsmith.

ALEXANDRA HOPP Obsessive Compulsive: (dis) Order

The Big Mistake Piece: Comprised of 157 Pieces of Handmade Chain, Links Ranging in Wire Thickness From .010” ( or .254mm) to .064” (or 1.63mm), Lengths Ranging From 3.25”( or 82.55mm) to 30” (or 762 mm), Link Diameters Range From 2.5mm (or .098”) to 4.5mm (or .177”) Consisting of Ten Thousand Six Hundred and Forty Two (10,642) Handmade Rings for a Total Length of One Thousand Seven Hundred and Thirty Six Point Fifteen Inches (1,736.15”) At Each Mistake, the Chain Link Branches into Two More Chains, One of Which Decreases in Wire Thickness by .005”, the Other Decreases in Diameter by .1mm; at Every Subsequent Mistake the Process Continues Until Chain is No Longer Functional, i.e., the Thickness of Stock is So Great as to Impede Closing of Jump Rings; or the Diameter of the Wire Used is so Minute That the Rings Become Easily Deformed. The Chain Also Culminates When There is a Repetition in Ring Specifications. Arrangement of the Chains Is Performed According To a Rigid Structure: For The Left Half Of The Piece, At Every Juncture, One Chain Goes Down, and the Other Goes To the Left. On the Right Half, The Chains Branch Off at Every Mistake Juncture Down and to the Right.

“Trichotillomania Chain” Unbleached Muslin- Fifty Six Inch Long by One Inch Wide, Embroidered With the Artist’s Own Hair. The Loss of Which is Caused By the Condition Known as Trichotillomania, in Which the Sufferer is Compelled to Pull Out One’s Own Hair. Hair Selection and Preparation: All Hairs Pulled out Are Collected, Sorted According to Length, and the Shorter Lengths Discarded. The Hairs Are Then Washed, Conditioned, And Dried The Number of Hairs used per Needle Averaged About Twenty (20) - Although as Few as Twelve (12) or as Many as Forty (40) Would be Used to create Diverse Effects. Each Needle Threaded With Hair Resulted in Less Than a Dozen Stitches, Due to the Length of Available Hair.

Trichotillomaniac’s Inner Monologue ChainFifty Foot Chain, Each Link Representing a Letter of the Alphabet Plus Punctuation. Alphabet : Brass Round, Square, Flat, Half-Round Stock : Ten Thousandths of an Inch (.010”) to Thirty- Five Thousandths of an Inch (.035”) Jump Ring Size : Two Millimeters (2 mm) to Five Millimeters Diameter (5 mm). Jump Ring Shapes: Round, Oval, Pear. Inches = Wire Thickness Millimeters = Ring Diameter (A) .015” x 2 mm (B) .020” x 2 mm (C) .020” x 3 mm(D) .030” x 2 mm (E) .035” x 2mm (F) .040” x 2mm(G) .030” x 5mm (H) .025” 2 mm (I) SQUARE .030” x 3mm (J) SQUARE .035” x 3mm (K) FLAT .040” x 2.4mm (L) .015” x 3mm (M) .025” x 2mm (N) .025” x 3mm (O) .030” x 3mm (P) .035” x 3mm (Q) .040” x 4mm (R) .010” x 3mm OVAL (S) .035” x 4mm (T) .025” x 4mm OVAL (U) HALF-ROUND .045” x 4mm(V) .015” x 4mm OVAL (W) .020” x 5mm PEAR (X) .025” x 5mm (Y) .010” x 2mm (Z) .035” x 5mm Punctuation : Copper : (.) .025”x 2mm, (‘) .020”x 2mm, (!) .025”x 4mm, Question Mark .030 “x 4mm, () FLAT .040” x 2.4mm Drawn, Coiled, Cut (5/0 blade), Assembled, Soldered

Excerpts-“I Cannot Stop Pulling My Hair. I Can’t Help Myself. I Can’t Stop Myself. I Cannot Help Myself. I Cannot Stop Myself.” (and) “I am So Goddamned Tired of This Shit. No Matter What I Say, People never Understand, No Matter How Hard I Try to Explain. Why Can’t you Understand? This Is Beyond My Control. It’s Not a Matter of Willpower. I Most Certainly Do Not Lack Self Control. Fuck You. How Dare You Insinuate That This is a Personal Failing or Weakness. This Has Been a Constant Struggle For Me My Entire Life.” (and) “People Don’t Realize How Exhausting It Is. Pretending to Be Normal Is Totally Fucking Exhausting. I’m Worn Out From Acting ‘Normal’. I’m Sick of Having to Feign Normalcy.” (and) “I Can Say It’s Related to Tourette’s, That It’s a Part of the Brain Misfiring, That It May Be an Inherent Grooming Behavior Gone Haywire. I Can Go Into Excruciating Detail About OCD Research and the Science Behind It. In Short, I Tell Them It’s a Real Medical Condition. In Other Words, a Disease. It’s In the Fucking DSM. It’s Real. Inevitably, After All This, People Always Ask “Why Don’t You Just Stop?”.

Trichotillomaniac’s Inner Monologue Chain – with title and letter guide

Three Collars About Alignment: Two Thousand, Seven Hundred and Twenty One (2,721) Commercially Manufactured Sterling Silver Earring Posts, (3/8”x .029”) Arranged in Such a Manner That All of the Carat Stamps (.925) Are Lined Up. Noteworthy to Mention That Although the Earring Posts Are Machine Made, They are Not All The Exact Same Length (There is a Plus or Minus Tolerance of Approximately .5 mm) Consequently Irregularities Occur in the Exterior Shapes.

Three Hundred and Seventeen Cast Sterling Silver Basket Settings Arranged in Order of Best to Worst, Moving from Left to Right, Based on Four Criteria: 1) Completeness of Casting 2) Number of Prongs 3) Amount of Flashing (excess material)4) Regularity of Texture Arranged 8 Millimeters Apart Totaling 8 Feet in Length. Fabricated (1 pc.), Molded(1 pc.), Wax Injected(563 pcs.), Sprued(351 pcs.), Cast, Filed(317pcs.), Sanded(297 pcs.) Polished(254 pcs.)

The variations in casting are dependent on the process. An original basket setting is made, then a sprue (a.k.a. a gate- in this case, a 1/32” brass rod is soldered on. then a flexible rubber mold is made of the setting. A relatively flexible wax is injected into the mold, resulting in a copy. This process (the wax injection) is repeated hundreds of times in order to acquire the needed amount of settings. as there are often incomplete injections, as well as casting failures; one must make more than the desired amount. The wax settings are affixed to a central rod of wax that is attached to a rubber base. The central rod with the sprued wax models is commonly known as a tree, then a flask- a section of steel tube - is inserted into the rubber base; completely enveloping the tree. Then a silica based plaster is poured over the wax tree which is then kiln fired for a period of eight hours increasing gradually to a temperature of fourteen hundred degrees. This process burns out all traces of the wax. The flask is then inserted into a centrifuge, and the required amount of metal heated with an oxygen acetylene torch until molten. The centrifuge is then deployed, forcing the metal into the cavity in the mold caused by the burnt out wax. Then the entire flask is quenched in water, boiling off the plaster. This results in a metal copy of the wax tree. All of the models are cut off using a 2/0 Sawblade. The models are then filed, sanded and polished to the desired finish.

Bibliomaniac’s* Chain –Paper Chain of Descending Size Links Books ( published 1938 - 1954) : Bright White Glossy Pages, White Matte Pages [German Text], Ecru Matte Pages With Glossy Color Plates, Yellowed Pages Newsprint Consistency,Glue: Krylon Super Quick Grip Spray Adhesive, CRC Industrial Spray Adhesive, Elmer’s Multi- Purpose Spray Adhesive, Mod Podge Matte Adhesive, Harbor Freight Tools Quick Setting Two Part Epoxy, Elmer’s Carpenter’s Wood Glue, and Alumilite Low Viscosity Super Light Liquid Casting Resin Sealants: Valspar Clear Flat Interior/ Exterior Premium Enamel, Liquitex Gloss Varnish, and Krylon Crystal Clear Acrylic Coating. Process: Glued, Cut, Carved, Linked *Bibliomania is a Symptom of Obsessive Compulsive Disorder Which Involves the Hoarding of Books

AMANDA PACKER ‘Recollect’ 2013

Recollect is a body of work that exhibits the valuable yet fragile nature of autobiographical memory. Memory assists in constructing individual identity by allowing us to recall moments from our past in relationship with, and in contrast to, acquired knowledge and recent experience. However, memory is transient and is easily manipulated, reconstructed, and altered which leads us to question its reliability to represent an accurate account.

Recollect is comprised of four collections of jewelry pieces, each which embodies various physiological aspects of memory as well as sentiment from the artist’s personal memories.

The collections of jewelry; Recollect: A Collection of Pendants, Fragment: Three Pendants, Elicit: 21 Brooches, and Account: Three sets of two dual necklaces, are all comprised of wearable jewelry pieces constructed primarily out of metal with the inclusion of other materials such as found wood, thread, and yarn.

The concept is realized through the format of jewelry for its distinct and intimate relationship with the body. The pieces are intended to be worn and carried on the body; the pendants, at a length where they can be clasped in the hands to be admired and contemplated. The sensation of touch can often be a trigger of memory. Each piece serves as a souvenir, or a physical representation of an intangible moment from the past that one longs to preserve and keep close to them. Additionally, choosing to adorn the body with jewelry is an expression of identity, the very identity formulated by moments that comprise the past.

Account 1

Account 3

Elicit (brooches)

Fragment

Tammy Young Eun Kim‘Embodiment’

Embodiment is inspired by a family experience with cancer and my consequent health anxiety. I have generated forms that reference microscopic images of diseased cellular structures using Computer-Aided Design (CAD) and 3D printing processes. The process by which forms are created in the computer program is similar to how cells replicate, multiply and mutate in the body. The sterility of the process and the resulting material enables me to address my anxiety from an emotional distance. By making the cellular forms into something tangible and placing them on the body, the interior becomes the exterior, potentially revealing an intimate narrative that is particularly potent and relevant in the format of jewelry.

Translating my personal narrative into a tangible form has been a liberating process. I have found comfort in externalizing repressed emotions and memories of cancer as jewelry. Furthermore, I am fascinated by different compositions, colors and formations of these diseased cellular structures. The aesthetic pleasure found in diseased cell structures is antithetical to the emotional response evoked when they are identified. Despite the sadness and unease I have about cancer, I have grown to find these structures beautiful.

This body of work is comprised of ten wearable pieces. The materials are consisted of Alumide, sandstone, frosted detail plastic (UV cured acrylic polymer), Acrylonitrile butadiene styrene (ABS), and flexible Elasto plastic, along with copper, brass, sterling silver, and steel. Each cellular form is rendered on a computer program, printed three dimensionally then combined with handmade components. Encountered in the personal and public space of jewelry, Embodiment encourages others to talk about cancer and their collective experience of health anxiety. Ultimately, this body of work expresses the intimate narrative of cancer through an exploration in making cancer beautiful.

removal

formation

marked

resilient

growth

decay

Kyleen Jeans

‘Accoutrement’ brass, colored pencil

‘Power’ object- brass, nickel plate, colored pencil

‘Partnership’ brass

FAQ's

NEW!! -NO GRE REQUIRED!!! (with GPA of 3.0 or better)

Applications received by January 15th have priority consideration, - competitive application received by this date are eligible for particular graduate funding but the final deadline for completed application is March 1st. READ THE APPLICATION INFORMATION ON THE WEB SITE VERY CAREFULLYThis is a two part application- one part goes to the University Grad Admissions and the other to the School of Art, Design, and Art History- some materials such as transcripts need to be part of both packets -so they are double. (details and addresses on the web site)

The most common delays are:>Missing official transcripts in the packet sent to Grad Admissions. Regarding the specific materials for the School of Art Design, and Art History part of the application- the packet is to include approximately 20 images of your work on CD (with thumbnail /contact sheet printouts) (IT CAN BE MORE IF NEEDED)*make sure your images are not excessively large files which take long to upload, a PowerPoint presentation is preferred, but not necessary. In the Metals and Jewelry program we look for those images to present a breadth (range of metals related technical experience), and depth (the exploration of a design concept, content, or process addressed in 3 or more works.)

Additional First Year Graduates Scholarships Scholarships applicable to additional fees are offered to incoming graduate students on a competitive basis in exchange for lab assistant responsibilities. Students not awarded a GA position receive higher incoming scholarship awards to help offset fees. These awards have usually ranged from $1500.-$4300. and occasionally more, for the year.

ELIGIBLE GRADS MAY APPLY FOR PAID TEACHING ASSISTANTSHIPS AND THERE ARE MANY COMPETITIVE SCHOLARSHIPS STUDENTS CAN APPLY FOR DURING THEIR STUDIES. THE M+J AREA HAS BEEN VERY SUCCESSFUL WITH THOSE SCHOLARSHIPS

Is the cost of living in SD prohibitive? The cost of living in SD as a student compares to living in any major city, or near a coast . It is equal to places like Providence, RI, New Paltz, NY, Boston, MA, and Savannah, GA. As with all cities- rent varies with neighborhoods – there are many economic options near campus.

The neighborhoods students usually live in are all close to downtown , campus or the beach and have more or less niches of cafe's, shopping, etc in relative proximity A car is probably more convenient, but not necessary.How far is the beach? ;-) or other regional places of interest?The beach is 20 minutes by car from campus.LA is 2 hours by car or trainCamping in the desert is also popular Sailing/kayaking on the bayTiajuana/Baja Mexico

Sondra Sherman, www.sondra-sherman.comAssociate Professor, Program Head

MFA, Munich Academy of Fine Art , GERMANYBFA metals and painting - Tyler School of Art, Philadelphia, PA. Previous teaching positions include: Rhode Island College, SUNY New Paltz, Rhode Island School of Design (RISD), and Savannah College of Art and Design (SCAD).

Awards: Individual Artist Fellowships from the Rhode Island Council on the Arts (2002, 2005) Louis Comfort Tiffany Foundation Emerging Artists Fellowship (2001), Pennsylvania Council on the Arts (1990) the Mid-Atlantic Regional National Endowment for the Arts (1989) as well as a Fulbright Scholarship for Study Abroad (1988). Public collections: Los Angeles County Museum of Art (LACMA), the Philadelphia Museum of Art, the Boston Museum of Fine Arts, the Metropolitan Museum of Art, NY, the Museum of Arts and Design, NY, the Racine Art Museum, WI, the Renwick Gallery-National Museum of American Art of the Smithsonian Institution, DC, Rhode Island School of Design Museum, RI, and the City Museum of Turnov, Czech Republic. Sherman’s work has been published in Europe and the U.S., including, Contemporary Jewelry in Perspective (Art Jewelry Forum-Lark Books 2013), Jewelry by Artists: 1940-2000 (Boston MFA 2010) Glasswear (Arnoldsche 2008),Jewelry in Europe and America (Thames and Hudson, 1996) One of a Kind: American Art Jewelry Today (Abrams, 1995),Munich Goldsmiths. A feature article, "Both/And: Sondra Sherman", written by Bruce Metcalf was published in Metalsmith, Winter 1997.

Rorschach Corsage: Belladonna II, 2015, brooch: steel, 18k

Rorschach Corsage: Papaver Somniferum, 2015, brooch: steel,

‘Found Subjects’ – installation at La Jolla Athenaeum 2010Jewelry in altered books with presentation tables

‘Listen the Wind’ , 2010, Silver Hollow Constructed Pendant in altered book

‘Sumpf und Wasserpflanzen’: brooch in altered book, steel, cubic zirconia, mother of pearl

Kerianne Quick Kerianne Quick_Source MattersAssistant Professor-starting Fall 2015

Kerianne Quick received her MFA from University of Illinois Urbana Champaign in 2011, and her BA from San Diego State University in 2002. Previous teaching positions include SUNY-New Paltz, and Univeristy of Illinois, Urbana Champaign.

As a recipient of a Kate Neal Kinley Fellowship, she researched the connections between cultural structures and aesthetic production, specifically within Dutch contemporary jewelry. While in the Netherlands she worked as research assistant and project facilitator for Gijs Bakker and Chi ha paura…? foundation’s current project Global Identity, producing a major exhibition at the Salone Mobile Milan.

Her work has been shown at the Museo Franz Mayer in Mexico City, at the Salon Mobile in Milan Italy, and Design Week Amsterdam, and is included in major collections such as the Houston Museum of Fine Arts and the Stedelijk Museum s-hertogenbosch.

Kerianne mixes traditional and digital making with ethnographic and sociological research to consider source, geography and material specificity, and is interested in

craft and materiality as cultural phenomenon.

‘Greetings from Mexico!’ or Souvenirs from the Border, 2013 Laser engraved and hand tooled vegetable tanned leather,steel, powdercoat

Cartel Cameos: Arellano, Guzman, Cardenas, 2009Laser engraved and hand tooled vegetable tanned leather,sterling silver, copper, stainless steel

Allegiance Series : Fifty pieces of fabric taken from particular articles of clothing were folded into rosette patterns. Events were held where the rosettes were offered. A written survey was taken at the time of the photograph to determine what attracted the person to the piece.

iMonocal, 2012For Chi ha paura…?’s recent project, Global IdentityStainless steel, machined glass

iMonocal, 2012For Chi ha paura…?’s recent project, Global IdentityStainless steel, machined glass

And things like this grow here!!

Yes, it really looks like this…

Photo credits- Pages:9. Sondra Sherman10-11. Seth Papac12. Demitra Thomloudis13. Seth Papac14-15. Demitra Thomloudis16. Sondra Sherman17. Mike Ryan19-23.Jessica Andersen24. top – Seth Papac, bottom Jessica Andersen25-26. Jessica Andersen27-28. Jessica Andersen31-32. Sondra Sherman33. Seth Papac34-35. Sondra Sherman36. Seth Papac37-38.Sondra Sherman39.top Sondra Sherman, side Seth Papac40. Sondra Sherman41. Seth Papac43. top Amanda Packer, bottom Sondra Sherman44.Amanda Packer45-49. Sondra Sherman50. Seth Papac51. Sondra Sherman52-54. Seth Papac57. Tammy Young Eun Kim58-60. Seth Papac61-63. Tammy Young Eun Kim64-65. Seth Papac66 -73.Kyleen Jeans75-79. Sondra Sherman81. Mike Holmes82-84 Kerianne Quick85.Chi ha Paura…?