Delaney DeMott (MFA 2013)
Delaney DeMott produces work that hybridizes two- and three-dimensional objects and images, allowing material, photography, and installation to affect the final pieces. She focuses on the body, creating collaged "humanesque figures.” This hybridization explores relationships between individuals through space. This, she says, "represents being human; it is sloppy, messy, compartmentalized, and stretched.” For now, DeMott works as an art teacher and hopes to continue exploring new sides of her work. Her role as an educator, she says, informs and influences her artistic practice.
Cara Krebs (MFA 2013)
John Quincy Adams Fellowship Winner
In this profile, alum Cara Krebs discusses blending multidimensional objects and how food has influenced her unique aesthetic.
Krebs produces bizarre, colorful textures that are inspired by food—not only by the food itself, but by the qualities and textures that make it desirable. In her work, photographs of jelly doughnuts manifest as amoebic bodies. The "waxy, gooey textures” of grilled cheese sandwiches are heightened to delight viewers and create a portal into other worlds.
Milad Mozari (MFA 2013)
Milad Mozari creates dynamic, intriguing sound investigations spanning Chicago and the globe. Using "mobile sites," Mozari links sound, storytelling, transportation. His work focuses on the roles human beings play as they commute, travel, or—in the work discussed in this video—take the elevator.
David Alekuogie (BFA 2013)
David Alekhuogie got his start in photography creating commercial work that has become the basis of his practice. Through the editorial image, Alekhuogie began thinking about how taste and class inform images. He has brought these concepts to his work as an artist in recent years, creating situations where he can play with photography's familiar tropes to make them work for him. "What I'm interested in is how unstable a photograph is, and any reason I can find to break it is really interesting to me," he says in this interview. Alekhuogie wants individuals to be active viewers of his photographs, where they're constructing the meaning of what is being looked at so that they're "implicated in the politics of how that plays out."