A Visual Story – Student Digital Photography

A Visual Story

February 4 – 28, 2019
Coffee Hour: February 5, 8-9am

Victoria Ring ’19

Students experiment with digital photography in unconventional ways; taking the concepts of color, line, form, texture and space to construct images. These alterations to the photos allow the artist to convey their vision.  Focusing on principles of composition, the exhibit is a visual storytelling in photography.

This exhibit provides attention grabbing images that undermine the questions of social justice that are discussed in our nation today. From prejudice to environmental impact, these images will allow other students to continue the discussions that affect change in our society and on our campus. Photographer Roa Alshaer shared her feelings on the assignment saying it, “challenged me to address a sensitive topic that can be overlooked or neglected because we experience it in our daily interactions. I was inspired to address social prejudice that most of us get subjected to because of our ethnicity, religious believes, gender, sexual orientation or appearance.” Followed by the work of photographer peer Dylan Eddinger who was steered in the direction of ecological concern. He says, “I decided to take fine art food photography pictures of seafood dishes to bring attention to the issue, but instead the seafood is being replaced by the Ocean trash.” Using these creative ways to discuss the issues that presently impact our world. Each of the stories these photographers are sharing provide a provocative discussion to follow.

-Meghan Sack ‘19
Gallery Exhibition Research Assistant

Roa Alshaer ‘18
Photographer Roa Alshaer took on the topic of prejudice as it runs through the daily interactions of people in our society with an emphasis on the social stereotypes that are perpetuated through ethnicity, religion, gender, and race. In her own words, “The images almost look like mugshots as I wanted the shots to looks serious but I also wanted to empower the individual and show that these labels, although hurtful, do not have to affect us or change who we are as people”. Her work includes fierce images of her subjects showing their powerful reaction to the external judgement that inflicts its pain into people’s lives daily. Alshaer believes in change and simply says, “I want to bring awareness and encourage people to treat one another with kindness and not to mindlessly pass social prejudices.”



Dylan Eddinger ‘19
Entertainment Marketing Major

Photographer Dylan Eddinger tackles the overwhelming waste issue that our planet is facing today. Using the concept of fine art food photography, he features popular seafood dishes replacing the food with trash found in our oceans. His work demonstrates the increasing issue of marine ecosystems in jeopardy due to waste created by humans. Turning the tables on the topic, quite literally, he serves up the plastic and debris that is dumped into oceans each day with his photographic meals. As he says, “If nothing is done to stop trash from going into our oceans or to help clean up our oceans, there is supposed to be more trash than fish by 2050. It is believed that there are approximately 5.25 trillion tons of plastic debris in the ocean already; plastic bags, straws, cigarette butts, food wrappers, plastic bottles, and aluminum cans being some of the biggest problems”. Eddinger draws alarming attention to the mistreatment of our environment using the very benefits we gain from the sea– food.

Bridget Moran ’19

“Black and White” student photography

December 10, 2018 – January 25, 2019
Coffee hour:  Tuesday, January 22, 8-9am

This exhibition features film-based black and white photography as an expressive and creative medium.  Film based photography presents many unique challenges, but it is also very rewarding. A photographer must slow down and consider composition and technique to capture just the right image. Once the photographer captures these images, he or she must use special equipment and chemicals to develop the film. This requires great effort and attention to detail.

This collection of work was created by beginner photography students under the direction of Julia Staples and Dustin Ream. In this course, students learn how to use a film camera, how to develop negatives, and how factors like shutter speed or aperture, can affect the outcome of an image. Students selected this work from assignments throughout the semester, which had to do with things like the effects of light on a photograph, the many perspectives one can take as a photographer or experimenting with distance. This exhibition features a variety of approaches to these assignments, as well as students’ own personal expression and artistic vision.

~ Christine Torrey ‘20
Gallery Exhibition Research Assistant

Aedan Accardi ‘19
Marketing major, Art minor

Photographer Aedan Accardi chose a group of four compelling photographs, featuring a cemetery. With this series, Aedan wanted to capture the beauty of cemeteries by blending together both man-made and natural objects. In these photographs, Aedan uses light and shadow to portray a somber mood. Two of these works feature crosses, both up close and from a distance. This series of photographs is reflective and mournful, and the perspective and framing of the two photographs shows a skillful execution of photography techniques.

Maria Jimenez ‘19

Accounting major, Business Analytics minor

This group of photographs, taken by Maria Jimenez, features a variety of subjects and perspectives. Maria’s photographs are full of bright light and strong contrast. Her use of positive and negative space gives the viewer a clear understanding of the form and subject matter. Maria uses the compositional Rule of Thirds to create visually interesting and thought-provoking images. In two of these photos, Maria captures man-made structures from a distance, highlighting their magnitude. She also photographs with little contrast more natural scenes of the city. These images hold a certain softness and tranquility. With this series of photographs, Maria portrays different viewpoints, and sheds new light on the world in which we live.

Never Ghana Forget: Photo / Video documentary by Rachel Ledbetter

November 5 – 30, 2018
Service Project: Shai Hills, Ghana, Africa
Rachel Ledbetter, ’19

Rachel Ledbetter (IHS major and Art minor) volunteered at City of Refuge Ministries (CORM), a non-profit organization based in Ghana in May 2018.  The team at CORM is passionate about rescuing children from slavery and providing them with a safe and fulfilling childhood. Ledbetter’s research focuses on the injustices perpetrated on individuals in Africa. Through photography and video, this exhibit documents the people from CORM and their stories.

Read Rachel’s blog about her experience:


Lake Volta is a man-made lake in Ghana built in the 1960s to create business opportunities for fishermen. This lake has an abundance of expensive fish to sell and profit from.  Fishermen buy children from vulnerable mothers, promising care and education.  In reality, the children are not educated, barely fed and forced into dangerous child labor.  Many children grow up to be slave masters themselves.


In 2000, The Trafficking Victims Protection Act was passed officially prohibiting all forced labor, involuntary servitude, and sex trafficking by force, fraud, or coercion.  As a result, rescuing children from Lake Volta became a legal process, but unfortunately human trafficking still continues today.  Many fishermen do not realize that what they are doing is illegal.  The government will carry out raids on the lake and rescue hundreds of children at a time. CORM partners with community leaders and International Justice Mission to rescue enslaved children.


The key to end human trafficking in the Lake Volta region is to begin with the mothers. The women often lack the necessary skills and income to adequately provide for multiple children forcing them to sell their children in the hopes that they will have a better life.  CORM fosters women; teaching them sewing, literacy, cooking, and basic skills all while their children are attending school. After a few years, the women will graduate from this sponsorship program with proper skills, a sewing machine, a small stipend, and thus a business to sustain themselves and their children.


CORM fosters, feeds, and provides Christian based education for children rescued from slavery. There are approximately 70 children currently living in Children’s Village.  Many of them will begin their education at age 13 since they spent their early childhood working on the lake.  This year CORM will have their fourth graduating class.  Many of these students will continue studying at the university level.

If you would like to volunteer, or donate to sponsor a child, please visit CORM’s website at: https://www.cityofrefugeoutreach.org


“Shelter” photographic installation by Andy Mattern

February 18 – March 21, 2019

Shelter is a project visualizing time spent underground in Oklahoma storm cellars. These cool, dim spaces are both havens and tombs.  Mattern uses the cellar as a life -size camera with the air vent as the lens.  The result is an abstract arrangement of celestial circular forms mimicking these cellars that punctuate the landscape of the mid-west.

Andy Mattern utilizes unique methods of photography to create the images found in “Shelter.” The storm cellars, so prevalent in the central United States, act as Mattern’s “camera.”   Mattern uses the air vent as the camera lens; pressing light sensitive paper up to the vent allowing the only available light to filter through creating a lone image.  What emerges is a rather unusual image, a black and white abstract orb.   “It is barely even an image,” says Mattern, “yet the images capture the impression of the place, with the focus being on the interior.”


The name “Shelter” refers to the fact that this project took place inside of Oklahoma storm cellars, or storm shelters, where local people take refuge during tornadoes. In this exhibition, the photographs are intentionally scattered to mimic an aerial view of Tornado Alley in Oklahoma. This was a new experience for Mattern, one where he “felt like a tourist,” as he had never been inside of a tornado shelter before this project.  Having to go door to door asking to be let into the cellars, Mattern soon found a “welcoming environment” in this unfamiliar location.  He notes that this new, albeit scary, location allowed him to feel connected to the community around him.  Perhaps this speaks to this universal understanding of shelter, and the consolation it can bring in the most dire of circumstances.

~ Maggie Nealon, ‘20
Gallery Exhibition Research Assistant



Andy Mattern is represented by Elizabeth Houston Gallery, New York

“Variations on a Theme” sculpture and cyanotypes by Heather Beardsley

December 17, 2018 through February 7, 2019

Artist Talk/Reception: Thursday, Jan 17, 11:30am – 12:30pm

This series is inspired by Ernst Haeckel’s illustrations, lithographs and drawings that blur the lines between art and science.  In his time these prints were ubiquitous, their presentation of a natural world whose forms can be ordered, understood and, most importantly, improved upon took deep root in pre-War Western culture.  Haeckel’s firm belief that all organisms were made up of geometric crystalline structures that could be perfected through evolution caused him to exaggerate and idealize the organisms he represented. This ideological quest for perfection in the natural world went on to become an important influence on Eugenics programs that took these views to their terrible extremes.


Like previous generations, I can’t help but be fascinated by these illustrations despite my awareness of their problematic ideological foundations and history.  My work takes Haeckel’s embellishments one step further, exaggerating the stranger elements of his creations based on my own aesthetic preferences rather than scientific observation. Like Haeckel, my figures are inspired by plants, sea creatures and protists, and my unapologetic fabulation demonstrates what happens when ideology supersedes observations.  My pieces are hand-made, but I’ve used model magic coated with acrylic gel medium to intentionally resemble 3D printed models in an attempt to borrow from the aura of objectivity that envelopes scientific illustration.   Although this work is inspired by an historical example, in this time of “alternative facts” where truth seems so illusory, these questions of ideology and objectivity are just as relevant today.

“Sophisticated Chaos” watercolors by Ken Karlic

November 5 – December 7, 2018
Artist Talk:  November 15, 11:30am – 12:30pm


Inspired by scenes of complex forms, this exhibition of watercolor paintings uses structures as a vehicle to explore the physicality of material, technique and subject. Pushing the boundaries of watercolor, these works merge art, design and architecture which dissolve into varying levels of abstraction. The painting approach is as much a part of the work as the subject—with marks, drips and splatters all becoming part of the final piece. The results are images that are bold yet beautiful, muscular yet elegant, suggestive and evocative.

Originally from Chicago, Ken Karlic studied architecture, painting and graphic design at the University of Illinois in Urbana-Champaign and received a BFA. He is a founding partner of the Baltimore-based graphic design firm Splice Design and teaches painting workshops nationally. Ken lives and works in Bel Air, Maryland.

Ken regularly exhibits throughout the Mid-Atlantic region and participates in national juried plein air competitions including Plein Air Easton, Door County Plein Air and Cape Ann Plein Air. He has recently been featured in The Art of Watercolour, PleinAir Magazine, Fine Art Today and Voyage Chicago. In addition, Ken wrote, “Sophisticated Chaos with DANIEL SMITH Watercolors, Step by Step Painting Large Scale” for Daniel Smith Art Materials, which was distributed to their global community of professional artists, retailers and distributors.


“Z” ambrotypes by Rowan Renee

August 20 – September 20, 2018
Artist Talk: September 20, 11:30am – 12:30pm

Z is a collection of nude ambrotype portraits working with transgender, cisgender, and a spectrum of genderqueer and gender non-conforming individuals. Through Z, I aim to deconstruct conventions of the nude body towards more diverse representations. The title of the collection refers to a proposed gender neutral pronoun.

Each image records a collaborative dialogue between model and photographer that develops over the course of a shoot. These conversations consider the power dynamics of the photographic gaze, the ambiguities of gender performance and embodiment, and the complex intersection of vulnerability and empowerment that arise when one’s body is read as “queer”. Through these portraits I cultivate a connection between subject and viewer that transcends the normative categories of “man” and “woman”, leaving space for the nuances of personhood that remain when these categories dissolve.

I use the 19th century Wet-Plate Collodion process with contemporary subjects as a revision to historic representations of gender non-conforming people. Gender variance has always existed, but Victorian photographers routinely medicalized and pathologized their images, perpetuating a visual violence that fragments, dehumanizes and fetishizes queer bodies. The images in Z are conceived as reparative acts,  superimposing new imagery into the gaps left by history.

The timeliness of transgender visibility in mainstream media makes Z an urgent body of work to reach a wider audience. Recent federal legislation limiting transgender Military service, and discriminatory bathroom bills passed in several cities and states, have highlighted the need for further social and legislative change to achieve full inclusion and equality. Towards this goal I channel a photographic process that creates intimacy; a powerful tool to advance a worldview that is open, malleable and accepting of diversity.


Name: Rowan Renee

Preferred Pronouns: They/Them

Website: http://rowanrenee.com

Instagram: @brooklyntintype

Artist Bio: Rowan Renee is a genderqueer artist whose work explores themes of gender and power. Renee has received awards from The Aaron Siskind Foundation, The Rema Hort Mann Foundation and The Anchorage Museum of Art. Previous solo exhibitions include “Z” at Pioneer Works Center for Art and Innovation (2015) and “Bodies of Wood” (2017) at The Aperture Foundation. They have received fellowships from The Jerome Foundation, the McColl Center for Visual Art and the Ossian Arts Fellowship at the Jain Family Institute. They have been profiled on NPR, in The New York Times, VICE, Hyperallergic, Huffington Post, American Photo Magazine and Guernica, among many other publications. They are currently living between Brooklyn, New York and Ann Arbor, Michigan.


“Easton Nights” photography by Peter Ydeen

August 20 – September 25, 2018

Artist Talk/Reception: September 25, 11:30am – 12:30pm

This piece, “I Want a Yellow House with a White Picket Fence” reflects on the American dream. This environment creates a type of mystical realism, similar to the environment pictured in the pieces by Charles Burchfield. Burchfield painted many townscapes, and nature scenes inspiring Ydeen. Within Ydeen’s pieces, there are not many people pictured, and he tries to focus on lighting and architectural design. So many people desire a home with a white picket fence, this abandoned looking town shows a broken idea. The light coming from the bedroom window is the only sign of life emitted from the piece. The nighttime scene isolates a specific vignette, and creates something that you could not get from daytime photography.

Peter Ydeen moved to Easton based on recommendations from a client. Although this is a medium sized city, Easton is between the major cities of New York City and Philadelphia. When he arrived into the city, Ydeen believed that the city had a sort of dislike towards humankind and avoided society in general. It seemed to be almost lost in time, and only related with the people nearby. After living in the town for a while, he realized that was not the truth. Rather, he believes that the town has a strong influence of Americana. These influences play through in many aspects of the town. From local businesses displaying American flags in their windows to the rebirth and repurpose of old town buildings. Although the commonality of Americana today is dwindling, it has become an important part of Ydeen’s work. Through his photographed materials, he created place that makes you feel you have visited this classic small town on the outskirts of two large cities. Ydeen accomplishes this by paying close attention to the lighting, and architectural layouts of Easton. The idea of taking the photos at night shows to be important in isolating the personal private spaces, and showing the importance of spatial lighting.

~ Gabriella Youshock, Gallery Exhibition Research Assistant

“Somnambulant” mixed media installation by Samantha Parker Salazar

Artist Statement

The fringe of consciousness contains countless moments of affirmation that our reality may be effectively reduced to universal shapes and forms. Such forms can be expressed through the intimate marks excavated from recklessly smeared surfaces. The edge of my scalpel blade regards each happenstance smudge and line, heightening the importance of seemingly less significant areas. Repetitively deconstructing and re-configuring a simple material gives conceptual power to the process of physical transformation. In these works, the negative and positive spaces are visual equals by allowing light and shadow to dance upon the surrounding architecture. The forms, suspended in space, are a quiet reflection on beauty, destruction, and potential.

Junior Art Majors’ Exhibition

O L I V I A   H E I S T E R K A M P


Olivia’s artwork is a series of miniature acrylic paintings and a second series of pencil and charcoal drawings. She completed her artwork in two separate classes, Painting I and II, both instructed by Professor Dennis McNally. She had the freedom to choose what she painted, which allowed her to be inspired by her peers as well as her surroundings both in and out of the classroom. Olivia’s paintings depict the seascapes and landscapes that surround her.  She describes her attraction to nature,

“I am greatly inspired by nature, and natural forms are what intrigue me most, AS opposed to rigidity. It is my default to portray landscapes/seascapes in a variety of ways. However, many of my drawings are still lifes or body parts. This mainly grew out of necessity – I am not always by the ocean or in the woods. I live in a poorly lit apartment on Lancaster Ave. That doesn’t exactly scream organic. However, it is my belief that beauty can come from anywhere and so can good art.”

You can see the inspiration from nature in all her pieces. A carefully chosen color palette of subtle blues and vivid greens evoke the natural movement of life throughout her paintings. Olivia pays close attention to detail taking care to include the smallest wave and tree branch in her paintings. She also emphasizes the horizontal with two distinct lines across the sky in two of her paintings and an emphasis on the horizon line in her landscapes and seascapes.

~ Rowan Sullivan ‘21
Gallery Exhibit Research Assistant



N I C O   T A M B O R E L L O

Nico’s artwork is a collection of three photo series printed on 13×19 inch Glossy + Matte Paper, taken on a digital camera and edited in Adobe Lightroom/PhotoShop. Nico created his two collections in the class “The Constructed Digital Image” instructed by Professor Krista Svalbonas. The photographs focus on light, shadow, and reflection found in urban scenes in Philadelphia. In addition, he emphasizes architecture and geometric shapes. Nico describes the differences among his three series:

“The first focuses on a person in an urban landscape and his shadow. The second is a collection of portraits of the street and found beauty. The last is more abstract, focusing on reflections, and shooting into windows to capture multiple reflections.”

Two artists have influenced Nico’s photography, Eugene Atget, “for his work focusing on shadow and reflections in Paris, which relates a lot to my work capturing shadows and reflections in Philadelphia.” He is also drawn to the work of Alfred Stieglitz “for his documentary-esque photography of the world around him.” You can see the influence of these artists mixed with Nico’s individual style in his use of light and shadow, where the flat planes and sharp angles intersect with soft shadows and subtle light, creating complex and abstract images.

~ Rowan Sullivan ‘21
Gallery Exhibit Research Assistant


J U L I A   D O N A H U E

Julia’s work showcases a variety of mediums, including color and black and white photography, ceramics and mixed media collage.

She completed her collections of photography in “Digital Photography I” instructed by Professor Mary Rhodomoyer and “The Constructed Digital Image” instructed by Professor Krista Svalbonas.

Julia has two collections of photographs, one titled “The Streets of Philadelphia,” which highlights the beauty of Philadelphia. She describes her inspiration for this collection saying,

“This is Philadelphia’s year. The Eagles won the Super Bowl, Villanova won the National Championship for basketball and that’s just two examples of how the underdogs came through. I was inspired by the city of Philadelphia for some of my work. I tried to show just a piece of how beautiful Philly really is.”

Her 8×10 inch charcoal drawing of Carson Wentz and head coach Doug Peterson doing a fist pump was inspired by the city of Philadelphia. Julia says of this drawing, “I wanted to show the unity of Philadelphia and how we really are the City of Brotherly Love.”

The other collection of colored photographs printed on regular matte and glossy paper are of the New York City Hair Show. These pictures focus on the model’s elaborate hairdos and the artistic ability of hair stylists. Julia describes her inspiration for these prints:

“I was inspired by my mother. She is a hair stylist. She took me to the New York City hair show and I was in awe of what my mother and other hair stylists can do.”

In one of these photos Julia weaves fake hair through the photograph in order to create a 3D effect. This artistic addition to the photograph adds her own stylistic twist to the collection of photographs and accentuates the intricate detail and extravagant hairstyle pictured in the image.

Julia created her 13×22 inch self-portrait by printing a photograph onto fabric, and then sewing the lyrics of the Beatles song “Julia” which she was named after, into the background with black thread. The self-portrait is Julia’s personal favorite work on display and says that the portrait is a piece that really speaks from her heart and shows people a little part of who she is.

On the second floor is a series of photo representations on eight pieces of glass picturing rowers on Kelly Drive as the sun is going down. Julia created this piece in the spirit of Philadelphia’s beauty. She was also inspired by the artist, Nobuhiro Nakanishi, who prints photographs of landscapes or sunsets on..glass..panels.
~ Rowan Sullivan ‘21
Gallery Exhibit Research Assistant