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Luisa Restrepo Pérez Named 2023–24 C-I Teaching Fellow

Luisa Restrepo Pérez, assistant professor of graphic design, was named one of the inaugural cohort of the Communication-Intensive (C-I) Teaching Fellows at LSU. Ten faculty were selected university-wide for their ongoing commitment to teaching and learning.

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collage of the 2023-2024 C-I Teaching Fellows

Pictured left to right, top row: Erin McKinley, Luisa Restrepo Perez, Kris Lindsey Hall, Matthew Hiatt, Kate Pettrey. Bottom row: Janene Grodesky, Michael Dettinger, Sadie Wilks, Nick Erickson, Johnna Roose.

To support the Geaux Communicate initiative, LSU recently launched the inaugural Communication-Intensive (C-I) Teaching Fellows program. In collaboration with Dr. Jennifer Baumgartner, faculty chair of Communication across the Curriculum (CxC), the Teaching Fellows are working to inform, create, and disseminate innovative teaching development resources across campus, all in support of advancing undergraduate communication skills development. 

The 2023–24 C-I Teaching Fellows are:

  • Erin McKinley, Nutrition & Food Sciences, College of Agriculture
  • Luisa Restrepo Perez, Graphic Design, College of Art & Design
  • Kris Lindsey Hall, Marketing, E.J. Ourso College of Business
  • Matthew Hiatt, Oceanography & Coastal Sciences, College of Coast & Environment
  • Kate Pettrey, Mechanical Engineering, College of Engineering
  • Janene Grodesky, Kinesiology, College of Human Sciences & Education
  • Michael Dettinger, World Languages, Literatures, & Cultures, College of Humanities & Social Sciences
  • Sadie Wilks, Public Relations, Manship School of Mass Communication
  • Nick Erickson, Theatre, College of Music & Dramatic Arts
  • Johnna Roose, Biological Sciences, College of Science

Join us in congratulating these 10 outstanding faculty members and their ongoing commitment to teaching and learning at LSU.

LSU Researchers Design Tool to Explore Effects of Solar Farming on Louisiana Ecosystems

Assistant Professor Fabiana with researchers by Landscape Architecture office

LSU Robert Reich School of Landscape Architecture assistant professor Fabiana Trindade da Silva is collaborating with researchers LSU Civil and Environmental Engineering Professor Chris Kees and LSU School of Renewable Natural Resources Professor Brett Wolfe to study the effects of solar farming in Louisiana.

“I am enthusiastic about our collaborative efforts. At the heart of our interdisciplinary approach lies the pursuit of a sustainable future, integrating design principles to support biodiversity, resilience, and community well-being,” said Trindade da Silva. “By fostering a coexistence that prioritizes aesthetics and ecological balance, we aim to create resilient solar farms that contribute positively to Louisiana’s natural heritage and community prosperity. I feel privileged to contribute to a holistic approach that embraces interdisciplinarity, community values, and thoughtful design, paving the way for a more sustainable and resilient future in Louisiana.”

Trindade da Silva specializes in urban and environmental sciences as an interdisciplinary field. Her mission is to create sustainable, resilient, and livable urban spaces. In 2022, she joined LSU Coastal Ecosystem Studio (CEDS) as a postdoctoral researcher, and in 2023 started to collaborate as a professor at the same studio. At CEDS, she is currently involved in the DEEDS (Developing Engineering Practices for Ecosystem Design Solutions) project funded by the US Army Corp of Engineers. Her research centers around implementing collaborative ecosystem design techniques and evaluating the performance of natural and nature-based features in delivering social benefits.

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LSU Explores Potential International Partnership with Senegal

LSU International Programs and the LSU College of Art & Design hosted a delegation of Senegalese government officials in February 2024, to discuss the possibility of hosting an international art event in Baton Rouge, Louisiana.

The Biennale de Dakar (Biennal of Darkar) is one of the largest art exhibitions in Sub-Saharan Africa that takes place every two years, focusing on contemporary African art. Hosting the Biennale de Dakar in Baton Rouge would be an opportunity to bring an international community of artists to Louisiana, and give students access to cross-cultural learning outside of the classroom.

“With Louisiana’s deep cultural ties to Senegal and LSU’s expanding connection to the country, Baton Rouge could serve as an ideal location for hosting this prestigious exhibition during its off season,” said Rod Parker, interim dean of the College of Art & Design.

The guests from Senegal included: Mrs. Marieme Ba, Secretary General of the Bienniale de Dakar; Dr. Khady Ndoye, Special Advisor to the Minister of Culture; Dr. Abel Marone, specialist in American Studies and Secretary General of Sorano Theater; and Mr. Abdou Diouf Ndiaye, Agent, Bienniale de Dakar.

On February 5, 2024, the LSU College of Art & Design hosted an event to welcome the Senegalese delegation to LSU. Ba presented on the history of the Biennale de Dakar, to inform the LSU and Baton Rouge community about the potential for international visitors/tourism to Baton Rouge if the event were to be held in Louisiana in the future.

LSU Executive Vice President & Provost Roy Haggerty, Rodolphe Sambou, Consul General of France in New Orleans, and Alkis Tsolakis, professor of architecture, each spoke about the significance of the international partnership. Baton Rouge Mayor Sharon Weston Broome presented the Senegalese visitors with honorary plaques commemorating their visit to Louisiana.

While visiting Louisiana, the Senegalese officials toured LSU campus, visited Southern University, and explored many of the art museums and galleries in the capital region, including the LSU Museum of Art and the Baton Rouge Gallery for Contemporary Art. LSU art faculty met with the group to discuss potential cross-cultural collaborations available to LSU students.

Learn more about LSU International Programs.

Learn more about the LSU College of Art & Design.

Professor Doubleday Collection on Graphic Design at Hill Memorial Library

Doubleday in Hill Memorial Library

Professor Richard Doubleday poses for a portrait with the periodical Alphabet & Image (1946-1948) in the McIlhenny Room, located in the Special Collections Library, which is housed in LSU Hill Memorial Library. Photos by Reagan Laird.

Richard B. Doubleday, professor of art/graphic design, has donated the “Richard B. Doubleday Collection on Modern Graphic Design” to LSU Libraries Special Collections. Doubleday worked with Dr. John Miles, Curator of Books and Head of Instruction Services, and Hans Rasmussen, Head of Special Collections Technical Services, at Hill Memorial Library to curate Doubleday’s library collection and catalog.

The “Richard B. Doubleday Collection on Modern Graphic Design” is an archive dedicated to preserving and making accessible significant works by modern graphic design practitioners. Among the material that will be available for the LSU community, students, faculty, and researchers are a selection of antiquarian and out-of-print books, signed and inscribed copies, and old books from the past. The collection also includes original graphic art, over two-thousand modern posters, typographic periodicals (1930s–1960s), printed samples, and printed ephemera.

Dr. Doubleday is an international educator at the LSU College of Art & Design. A specialist in graphic design history and contemporary graphic design in China, his doctoral thesis investigated contemporary Chinese graphic design and its historical antecedents. Doubleday’s research has been supported by distinguished fellowships including a 2022-2023 China-U.S. Scholars Fellowship (CUSP) and a 2017-2018 Fulbright Fellowship as a senior research scholar at the Academy of Arts & Design, Tsinghua University in Beijing, China. His research has specialized on graphic design in the post–Mao era and focused on graphic design in China’s Republican and Mao eras. Doubleday’s teaching practice covers the history of graphic design, motion graphics, fundamental and advanced principles of graphic design and typography, and advises and mentors students in LSU’s Doctor of Design in Cultural Preservation program.

LSU Libraries’ Special Collections features original research and exhibitions in rare books, manuscripts, and other historical documents. Hill Memorial Library, on LSU campus, is a free resource for the LSU community.

 

professor by colorful prints

Doubleday poses for a portrait with the periodical Typography (1936-1939).

Typography (1936-1939)
Unequalled, both editorially and visually, by British typographic journals of its day, Typography (1936-1939) explored the juncture of popular and high culture and made an important contribution to the graphic industry by covering contemporary typographic developments and unusual historical articles not featured elsewhere. The aim of the magazine was to illustrate the typography of everyday objects such as newspaper pages, transport timetables and tea labels, alongside more serious traditional and modern type design, and included unusual features such as bound-in mounted insets, gatefolds, and decorative colored paper.

Doubleday by historical papers on table in library

Doubleday poses for a portrait with the periodical Alphabet & Image (1946-1948).

Alphabet & Image (1946-1948)
James Shand and Robert Harling resumed publication after World War II under new title, Alphabet & Image (1946-1948) as Typography’s postwar successor. Alphabet & Image was similar in content to Typography, offering critical reviews of typography, type specimens and graphic arts, but also offered wider-ranging articles featuring English illustrators, ceramics, pre-Raphaelite drawings, and English wood engravers.

man in suit and purple tie by papers on table

Doubleday poses for a portrait with correspondence that spans the world’s leading graphic artists and designers.

smiling man holding Asian print

Doubleday poses for a portrait with correspondence from one of the world’s leading Japanese art director’s, Katsumi Asaba.

black and white photo of men

Rurai McLean (editor) and James Shand (publisher) in the Motif office in 1961, with images from the magazine on the wall.

colorful magazine covers

Covers from the magazine Motif (1958-1967).

Motif (1958-1967)

Motif (1958-1967) magazine’s range of editorial interests was unusually broad for its time and, in the often highly segmented world of periodical publishing, it has rarely been equalled in Britain. In an editorial in the first issue, signed by Motif’s editor, the late Ruari McLean, and its publisher, James Shand, they quote the 19th-century French writer and poet Théophile Gautier: “I am a man for whom the visible world exists.” Motif, they go on to explain, “is a periodical for which the visible world exists.” Over the course of 13 issues, published from 1958 to 1967, Motif ran meticulously researched and beautifully illustrated articles about painting, sculpture, art education, graphic design, typography and lettering, illustration, photography, architecture, wood engraving, and the history of the graphic arts. “Visual culture” had yet to become a branch of academic inquiry and Motif’s urbane editor and publisher, whose careers began before the Second World War, would not have used the term. The magazine’s presentation of a wide array of visual arts on a more or less equal footing can nevertheless be seen as a prescient early example of a new way of documenting and appreciating the “visible world.”

Liz Lessner the 2024 Nadine Carter Russell Chair

Liz LessnerArtist Liz Lessner has been named the 2023-24 Nadine Carter Russell Chair of the LSU College of Art & Design. Lessner’s work combines traditional fabrication techniques and emerging technologies to create novel sensory experiences. She is the founder of the Sensory Engagement Lab, a community-based research platform that probes how novel combinations of materials and embedded electronics contribute to sensory experience. She is also a co-founder of Yes We Cannibal, an artist-run project space for new art and thought, founded in 2020 in Baton Rouge, LA. The space offers a free home for experimentation in art, music, and other media.

Lessner has two primary goals as the Nadine Carter Russell Chair: 1) To complete a new set of sculptures which reflect an evolution of her work since moving to Louisiana in 2020. These objects are derived from a set of parametrically designed forms and are digitally fabricated via 3-D printing, waterjet and laser cutting; 2) To integrate the curatorial practice and programming focus of her work as co-director of Yes We Cannibal with her pedagogical goals as an instructor at the LSU School of Art.

“As the Nadine Carter Russell Chair, I aim to increase access for the students in the College of Art & Design to Louisiana-based practicing artists like Manon Bellet, as well as national avant-garde icons like Curtis Schreier of the Ant Farm.”

A screening and panel discussion co-presented with the LSU School of Architecture will be held Feb. 15, 2024 in advance of exhibition Curtis Schreier: Swamp Alps, opening Feb 17 at Yes We Cannibal in Baton Rouge. 

Lessner’s research into embedded electronics’ ability to create novel sensory experiences has been supported by grants like the Mark Diamond Research Fund, fellowships like the Eyeo Artists Fellowship, and awards like a Fulbright Research Award. She was a 2019 Fulbright Scholar affiliated with the Department of Expressions and Languages at the Federal University of Rio de Janeiro as well as the CrossLab Research Group and the Lab for Innovation and Prototyping at the University of Fortaleza in Ceará, Brazil. Lessner has had solo shows at VisArts in Rockville, MD; Honfleur Gallery in Washington, D.C.; Big Orbit, a Center for Exploratory and Perceptual Arts Project Space in Buffalo, NY; and The University of Oregon’s Eric Washburne Gallery in Eugene, OR. She has exhibited her work nationally and internationally including A.I.R. gallery in Brooklyn, NY; The CrossLab for Innovation and Prototyping at the University of Fortaleza in Fortaleza, Brazil; the Guapamacátaro Center for Art and Ecology in Michoacán, Mexico; and Everard Read’s Circa Gallery in Cape Town, South Africa.

An art instructor, her teaching synthesizes critical inquiry, design foundations and her experience working in diverse media to deliver a broad range of courses that emphasize creative problem solving, idea generation, and skill development.

Yes We Cannibal is a Baton Rouge, LA based project space for unrestricted and non-hierarchical cultural experimentation in the areas of art, music, food, social research and performance.

Artist’s Statement

“The true artist helps the world by revealing mystic truths.” So says Bruce Nauman.

In recalling this 1967 neon artwork I remembered only, ‘the true artist reveals mystic truths.’ The omission of ‘helps the world’ prompted me to ponder anew Nauman’s proposition. In our landscape of networked surveillance and algorithmically weaponized data how does the artist help the world? Might hiding be a better strategy than revealing?

The sculptures I am fabricating now offer a response to this prompt. They use algorithms that transduce data from nonverbal forms of communication, like physical gestures and sound, to create a set of abstract glyphs. These glyphs combine to create their own language-like sets, subtract from the plane to create form, and takeover iconic phrases to create inhabitable spaces.

Speak/Make is an algorithm that produces parametrically generated objects whose forms are controlled by speech. The algorithm uses the parameters of a soundbite to arrange shapes derived from the interstitial space of two bodies gesturing. These iterations are rapid prototyped in mild steel. 

Skins are foldable and rearrangeable raw leather planes that have these gestural symbols excised out of them.

Helps the World is a floor sculpture detournement where Nauman’s text becomes indecipherable as it transforms into an algorithmically generated language of gestural symbols. The glyphs, extruded as human-scale 3D forms, are arranged in an ascending spiral on the floor. The sculpture’s totality is obscured from viewers. To understand the work they must physically traverse the spiral.

These sculptures posit indecipherability as strategy. Can hiding prevent a message from being emptied of meaning?

Ant Farm Screening and Panel Discussion Feb. 15, 4 p.m. in 103 Julian T. White Auditorium

Radical media art and architecture group Ant Farm, designed an inflatable city that would erect itself during a rock ‘n’ roll concert, erected a monument to the tailfin at Cadillac Ranch, and produced ”Media Burn,” an elaborate performance that involved driving a modified 1959 Cadillac through a wall of burning televisions. Core member, artist, and architect Curtis Schreier shares some of their iconic early video works followed by a discussion with curator Liz Flyntz and architectural historian Meredith Gaglio, assistant professor of architecture.

This screening includes selections from Media Burn, 1975. This classic of early video art, documents the yearlong project that lead to the performance of the same name. Off-Air Australia, 1976, takes us through Ant Farm’s tour of Australia and includes the  iconic “artist-kangaroo” interview.  And in Inflatables Illustrated, 1971, Curtis demonstrates clever techniques for low-tech inflatable structures in the video companion to Ant Farm’s Inflato cookbook.

old man hanging art

Artist Curtis Schreier preparing for his show at Yes We Cannibal.

About the Nadine Carter Russell Chair

In 1998, Paula G. Manship bestowed a fund for the LSU College of Art & Design to establish the Nadine Carter Russell Chair, named for her niece, a 1967 graduate of the College of Art & Design with a degree in art history. The Nadine Carter Russell Chair enables the LSU College of Art & Design to annually bring a prominent artist, designer, or scholar to campus. The rotating chair provides outstanding opportunities for all disciplines within the college and allows the college to meet a variety of curriculum needs. The duties of the chair primarily focus on teaching and public lectures but vary depending on the recipient’s field of expertise.

Kelli Scott Kelley Awarded Provost’s Fund for Innovation in Research Grant

Kelli by Japanese temple red columns

Professor Kelli Scott Kelley in Japan.

Professor of Art Kelli Scott Kelley received an Emerging Research Faculty Grant from the LSU Provost’s Fund for Innovation in Research to support her interdisciplinary research pursuing a visual art project “on emptiness, or nothingness, as a contemplation on the connections and interdependence of all beings and things during a time of isolation, divisiveness and impending demise of the natural world.”

“In my work, subconscious worlds, populated by hybrid beings, are woven into dreamlike tales. Figures, animals, and objects appear in metaphorical narratives which explore humankind’s connections to, disconnections from, and impact upon the natural world,” Kelley said. “The working title for my ongoing body of work is ‘Emptiness,’ which could refer to a nihilistic idea of nothingness. It could also refer to the complex Buddhist concept of Emptiness, the idea of ‘no independent self.’”

“I employ painting and drawing mediums, along with repurposed emblematic materials. The pieces are inspired by the personal, psychological and the sociopolitical,” she said. “I am moved by the exquisite beauty in the world, as well as the absurdity and ugliness. I feel an urgency to use my art practice as a means to mine and express deep truths about the impending demise of the natural world.”

With the LSU Provost’s Fund, Kelley was able to travel throughout Japan for 5 weeks to conduct research and find inspiration. While in Japan, she studied traditional, as well as modern and contemporary Japanese art.

“In addition to traveling, I dove deeply into my art practice in my Baton Rouge art studio; exploring with materials and techniques, concepts and imagery,” she said. “The opportunities offered by the research funding endures, and will have a lasting impact, as I continue to process and absorb the information and insights afforded by the Provost’s Emerging Research Faculty Grant.”

Kelley has been a professor of art/painting & drawing at the LSU School of Art for 23 years. Her paintings have been exhibited in many venues including the Mesic Ve Dne Gallerie in Czeske Budejovice, Czech Republic; Bangalore University in India; the Contemporary Arts Museum and the Hooks-Epstein Gallery in Houston, Texas; the Boulder Museum of Contemporary Art in Colorado; the Taylor Bercier Gallery in New Orleans, Louisiana; the LSU Museum of Art and the Baton Rouge Gallery Center for Contemporary Art. Her recent sabbatical allowed for a new solo exhibition at Spillman Blackwell Gallery in New Orleans in March 2023.

The LSU Provost’s Fund for Innovation in Research announced $1.1 million in faculty research grants to 33 projects, including several spanning multiple priority areas, in support of sustained strategic priorities for the university and for Louisiana. Launched in 2022, the Provost’s Fund supports interdisciplinary research in five priority areas, also known as the LSU Pentagon, which includes agriculture, biomedicine and biotechnology, coast and environment, defense and cybersecurity and energy.

Fellow College of Art & Design faculty members receiving Provost’s Fund grants include Jason Jamerson, assistant professor of digital art & theatre, assistant professor of architecture Soo Jeong Jo, and assistant professor of architecture Fabio Capra-Ribeiro, who was awarded to create the Caribbean Spatial Justice Lab, a transdisciplinary collaborative center for research and design to connect scholars and communities working to advance coastal protection and restoration as well as sustainable energy and food production. Read more.

 

 

Alumni Spotlight: Malaika Favorite

Maliaka Favorite by Billie Holliday mural

Malaika Favorite; image courtesy of Favorite.

“Always believe in your magic,” advises Malaika Favorite (BA 1971 & MFA 1973), LSU art alumna and Louisiana-based artist.

Her latest project is nothing short of magical: Favorite, a mixed-media artist and writer, was selected by Disney to create art for the upcoming Tiana’s Bayou Adventure, a new park ride attraction inspired by the animated film, “The Princess and the Frog.” The new reimagining of the iconic theme park’s Splash Mountain Rides will open in 2024. Favorite’s mural, inspired by the Louisiana setting of the film, will greet visitors entering the ride. View the ride’s “first look.

“When we were exploring how to introduce guests to the story of Tiana’s Bayou Adventure as they prepared to embark on the attraction, maintaining the authenticity of Princess Tiana’s experience as a young Black woman striving to achieve her dream in the soulful backdrop of New Orleans was one of our highest priorities,” said Carmen Smith Sr., president of Creative Development — Content, Product and Inclusive Strategies for Disney Parks, to The Advocate. “It only makes sense that an extensive search for an artist who could bring our vision to life brought us to Malaika’s doorstep.”

Mural of alligator in swamp

Mural image courtesy of Disney.

“My goal is to create art that delights and adds to the Magic of Disneyland and Magic Kingdom,” she said of the works that she’s creating for Disney. The mural focuses on family, friends, food, music, art, and bringing folks together, according to Disney Parks.

“The act of creating art is like playing to me,” Favorite said. “I seldom feel like I am working. I’m having an adventure that takes me on a journey to places in my mind.”

Favorite works in a variety of forms and media. Her experiments with literature as part of the painting’s text and those with folded canvas are prime examples, and she’s equally at home working in oils, acrylics, watercolors, and lithographs. “My goal as an artist is to present a dialogue between the viewer and the work of art, something that reveals a new dimension every time you visit the work.”

She is inspired by the natural landscapes of Louisiana, which feature in her works. “I take a lot of photos that inspire my artwork,” she said. “I take walks in the woods and I am amazed by the beauty. I take a lot of photos that I store in the vault of my phone and PC. When I need inspiration, I know where to look.”

For fellow and aspiring artists, Favorite reminds to believe in yourself. 

“Always believe in your magic. We all have a magic kingdom inside of us if we just take the time to visit our minds and explore what’s hidden there.”

“When you explore your inner world, document what you see, hear and learn and put it on paper or in a poem or a song. It’s a never-ending resource.”

Her favorite memories of LSU were the times spent creating. “Art class was my favorite place to be. Drawing and discovering all the ways I can say something with a brush or sketching tools.”

After receiving her MFA from LSU, she worked for several years as a university art instructor, and as an artist-in-residence at a few public and private schools. “However, I never had enough time to develop my craft as fully as I wanted to, so in 1995, I made a difficult decision to leave the world of academics to focus fulltime on art and writing.”

She works in a variety of styles and media, depending on the nature and purpose of the work. “My studio work usually focuses on a theme; I stay with that theme until I exhaust it. Sometimes I revisit the theme after I get more insight into the idea. In this way, I am constantly exploring old and new territory.”

mural on tin

“Juke Joint” mural at the West Baton Rouge Museum. Image courtesy of Favorite.

“I am fascinated by creation, the wonder and amazement of it all. When I take a walk I am dazzled by nature, after I receive this sacrament of astonishment, I come in and make art. Somehow a small portion of the magic leaks into my painting, a little speck of it, sufficient to make me cry, maybe just enough to make someone else cry and be amazed. That is my inspiration.”

She noted in an artist’s statement that:

“It is very difficult to explain a work or art, mostly because the work is its own explanation. Art is not for the immediate audience only, if it was it would be a prop or backdrop for a play, designed to be viewed for a limited time. Visual art should be timeless. It should speak to each generation, and to each viewer as an endless dialogue that continues to inspire, fascinate and delight.”

Her artwork is featured in Art: African American by Samella Lewis, Black Art in Louisiana by Bernardine B. Proctor and the St. James Guide to Black Artists, edited by Thomas Riggs and can be found in the following collections: Absolut Vodka collection, Morris Museum of Art, Augusta GA, LSU Print Collection, Baton Rouge, LA, Alexandria Museum of Art, Alexandria LA, The Coca-Cola Company, Atlanta GA, Hartsfield International Airport, Atlanta GA, The National Underground Railroad Freedom Center, Cincinnati Ohio, Rosel Fann Recreation Center, Atlanta GA. She also has outdoor murals on Auburn Ave in Atlanta and on White St. in Atlanta. She is a longtime artist member of the Baton Rouge Gallery of Contemporary Art.

A poet, she has also published three collections of poetry: Illuminated Manuscript, New Orleans Poetry Journal Press (1991), Dreaming at the Manor (2014), and Ascension (2016) winner of the Naomi Long Madgett Poetry Award. Her poetry, fiction, and articles appear in numerous anthologies and journals, including: you say. say and Hell strung and crooked (Uphook Press) 2009 & 2010, Pen InternationalHurricane BluesDrumvoices Review, Uncommon PlaceXavier ReviewThe Maple Leaf Rag, Visions InternationalLouisiana LiteratureLouisiana English JournalBig Muddy, and Art Papers. She is the winner of the 2005 Louisiana Literature Prize for Poetry.

Read more about the LSU School of Art.

Hye Yeon Nam Awarded Anonymous Was A Woman Grant

hands on plants

Hye Yeon Nam, associate professor of digital art, was selected as a recipient of the Anonymous Was A Woman Environmental Art Grant for her project Ec(h)o exploring the intersections of technology and nature.

The Anonymous Was A Woman Environmental Art Grants (AWAW EAG) program, supported by Anonymous Was A Woman (AWAW) and The New York Foundation for the Arts (NYFA), provides one-time grants of up to $20,000 to support environmental art projects led by women-identifying artists from the United States and U.S. territories. In the 2023 cycle, the second year of the program, a total of $309,000 in grant funding was awarded to 20 projects that will focus on environmental issues and advocacy in locations including Belize, Southern Iraq, Mongolia, New York, Pennsylvania, Tierra del Fuego, West Virginia, and Washington. The 20 projects were selected from 884 applications from artists who reside in the United States and U.S. Territories.

Nam’s project Ec(h)o is a generative musical installation that explores interspecies relationships between humans, non-humans, and nature. Ec(h)o uses robotic 3D printing of plants from seed to translate our memories from the community into living sculptures and back to the sound with touch interactions.

“This work evokes how entangled our relationship with the environment has become, and encourages a perspective shift from individualism and exceptionalism towards an inclusive ecology,” Nam said.

Nam is a digital media artist and HCI designer exploring how technology can improve our interactions with other agents – humans, robots, or nature. She foregrounds the complexity of social relationships by making the familiar strange and interpreting everyday behaviors in performative ways. Hye Yeon has published and exhibited her work at ARS Electronica Center, Smithsonian National Portrait Gallery, Asia Society Texas Center, Japanese American National Museum, Times Square, Eyebeam, Conflux Festival, D.U.M.B.O. Festival, the Lab in San Francisco, Festival Internacional de Linguagem Eletronica (FILE), SIGGRAPH, Computer-Human Interaction (CHI), Tangible, Embedded and Embodied Interaction (TEI), International Symposium on Electronic Art (ISEA), Creativity & Cognition (C&C), and several others in Korea, China, Istanbul, Ireland, the UK, Germany, Australia, Denmark, and Switzerland. Her work has been broadcast on the Discovery Channel and LIVE TV show Good Day Sacramento and featured in Wired, We Make Money Not Art, Makezine, Business Insider, Slashdot, and Engadget.