Holy Family University Art Gallery

Gary Cadwallader

Gary Cadwallader


An exhibition of watercolors

November 8th through December 2, 2019

Reception: Monday, Dec. 2, 2019

noon-2:00 pm

red and gold (1)

Gary Cadwallader of Warrensburg, MO, will have a solo show of approximately 25 watercolors at Holy Family University, Art Gallery, Philadelphia, PA. Mr. Cadwallader is a board member of Watercolor USA and currently edits their newsletter.  He received a Fine Arts degree from the University of Missouri – Kansas City in 1972 but only began painting professionally in 2011 after a long career as a computer analyst. He also sits on the boards of Mid-Missouri Artists Inc. and the Sedalia Visual Arts Association.

Artist Statement

 Images at the very front of a painting seem to reach out, as if they are trying to touch the viewer. There seems to be more depth created when one must peer around an object in order to see to the background of a painting. I am not interested in a single point of interest but want complexity and visual rewards anywhere the viewer might look.

I want my paintings as large and as bright as possible. They are not meant to fade into the background but to reach out to you. The paintings may seem realistic, but there is a kind of dance between the abstract marks one makes and viewer and so, I want my paintings to be extroverts. I’m fine being a wall flower, but the paintings must stand up and shout, to reward the viewer so that people never leave a room without having to look at my painting one more time.

Nicole Foran Stumbling an exhibition of mixed media work

Nicole Foran’s Solo Art Exhibition Opens at Holy Family University

This October, Holy Family University will be hosting Stumbling, a solo exhibition of mixed media work by nationally recognized artist, Nicole Foran.   Originally from Canada, Nicole Foran has been living and working in the United States for the past 13 years and recently became a U.S. citizen. She is currently employed as an Associate Professor of Art and Chair of the Department of Art and Design at Middle Tennessee State University. 

Nicole Foran earned her MFA from the University of Cincinnati in 2008, with an emphasis in Printmaking and Drawing. Her work combines both art practices and introduces design elements inspired by the domestic arts, such as quilting and embroidery. Visitors to the gallery will be struck by the use of color and texture that connect this complex series of paintings, prints, and collages. Regarding work created for this exhibition, Foran states, “ I am juxtaposing my youthful fantasies against my experiences navigating societal perception, gender norms, and expectations.”

She is thrilled to be selected for the exhibition which is scheduled for October 4th to October 29th with an opening reception on October 9th from noon to 2 pm.  The artist will be in attendance and will provide an artist talk.

About Artist Nicole Foran:

Nicole Foran lives and works in Murfreesboro, Tennessee.  Her artwork is exhibited internationally, with recent exhibitions in South Korea and Canada. She has an upcoming solo exhibition at Sheriday College in Wyoming and she will be presenting her research on non-verbal communication at the national SECAC conference in Chattanooga and the 2020 International Conference on the Arts in Society in Galway, Ireland.

Graduate Program Art Therapy Students

Exhibiting Graduate Students

Juli Adrams

Darian Fiorenzo

Kristie Kauker

Erica Longobardi

Kelly Segaline

Ashley Walters

 Exhibit: 9/7-9/29/19

Reception: Thursday 9/12 6:00-7:00


Erica Longobardi

Artist Statement

                       Many individuals describe PTSD or traumatic-related experiences as “being shattered or have a broken sense of reality or of the self”. This piece portrays a genderless being ripping open the mind in attempt to release all of the tormenting thoughts, feelings, and disturbing memories that have shattered one’s belief in a world that is no longer a safe place. These experiences have become one’s reality. There is a stigma associated with mental illness, and a constant fear in illuminating the realities of the struggles we face daily. This piece is my attempt to challenge the stigma by portraying intense emotions through the dark and light contrast in colors, imagery, and utilization of the negative space in hope of starting a conversation about these struggles. This piece is invasive and sheds light on the dark areas of life that we tend to “sweep under the rug” and try to keep silent. Pain is a reality that we all face, but when we experience something traumatic, our mind and body, prevent us from moving forward. We live life as if this experience is happening over and over again. Any trigger, including a smell, sound, touch, can send us into a flashback that becomes impossible to control. This is the reality of PTSD. This is how I experience it. This is my reality. I hope to show you that you are not alone. It is okay to struggle; you do not have to remain silent.


Ashley Walters

IMG_0830 (1)

Juli Abrams


Kelly Segaline

Artist Statement

You’re so much prettier when you smile

Act like a lady

You’re too emotional

You’re too bossy

You shouldn’t of drank so much

Well your dress was too short, what did you expect

I bet you were so pretty when you were younger

I was giving you a compliment bitch

You don’t want to get married and have children

That skirt is distracting me

You’re a milf

You play like a girl

You have a pretty face if you just lost weight

Real women have curves


I am not a feminist artist.  I am an artist.


Kirstie Kauker

Artist Statement

For the longest time, probably since I started making art, I always felt the need to draw something. That “something” mostly consisted of everyday items and objects that were easily identifiable to anyone viewing my art. In my undergraduate career, I poured myself into my pencil drawings which usually were composed with human figures. Although I was familiar with abstract art and design elements, they never really were incorporated into my work because I was so enamored by figure drawing.

As I approach the end of my graduate school career, I realize now that this need to draw something whether it be the human figure, a still life or a landscape, has dwindled. While I still enjoy drawing, I now think less about connecting with the potential viewer of my art by giving them an image they can understand. I am more drawn to creating art for me and using the art making process to explore materials and process my own feelings about making art. I also want to challenge myself to be uncomfortable with art making and new materials and media so I can sympathize with clients that I encounter in my career as an art therapist. I enjoy drawing something daily because it makes me feel connected to my creativity without the pressure of having to display the techniques I learned in my studio classes. I hope that I can use drawings like this as an example to future clients that you can always draw something if it’s an expression of you.


Darian Fiorenzo



Holy Family Art Gallery

Latent Conditions

works by


Exhibit: 2/5-2/27/19

Reception: Wednesday 2/27 12:00-2:00

Screen Shot 2019-02-05 at 6.41.03 PM

Artist Statement

My practice is primarily three-dimensional with two major focuses: large, physically immersive installations, and smaller sculptural works-each containing hybrid architectures as their subject matter.

This series of works submitted comprise an ongoing rumination on cognitive dissonance and frustrated desires conveyed through an architectural lexicon.

These scale-model replicas of brick building fragments and brick masonry facades catalogue a range of ‘vignettes’ that have been culled from my experience living in a rust-belt city (Buffalo, NY) for more than a decade. These scenarios often hearken back to a once more prosperous or energized age. In addition to the aesthetic appeal that these fossilized traces contain-there is a rich metaphorical vein that transcends the visible and evokes a sense of absurdity, pathos, and psychological unease. In this grouping of works- disconnected ladders, blocked windows, shadows of former structures, detached floor plans, collapsed walls, eroded roof-lines, and bloated surfaces shrug off their originally designed roles and stand as petrified strata which seem to gently mock the beholder

Please join the Holy Family Art Gallery at the artist reception.

Holy Family University Gallery is on the Lower Level of the Sister Francesca Onley Education and Technology Center.

Contact: Pamela Flynn pflynn12@holyfamily.edu

Jonathan Clyde Frey


Holy Family Art Gallery

Middle Ground

works by

Jonathan Clyde Frey

Exhibit: Nov. 2 to Dec. 2, 2018

Reception: Wednesday 11/7/18 12:00-2:00


Artist Statement

In short, this work explores American identity, focusing on iconic representations of the United States and the myths, clichés, and stereotypes they often come to represent. However, I am also interested in examining this work through the lens of Middle Ground, commonly defined as: an area of compromise or possible agreement between two extreme positions, esp. political ones. It strikes me as odd how complex issues are typically stripped down to two positions. In our present political climate, I am more interested in contemplating the gray areas in between.

Jonathan Clyde Frey is an artist and designer whose work broadly explores the influences of ideology on contemporary culture. Jonathan has earned degrees in art & design from the University of Dayton, the University of Florida, and the Pratt Institute, and is currently an Assistant Professor at Bucknell University.

  • Please join the Holy Family Art Gallery at the artist reception.

Holy Family University Gallery is on the Lower Level of the Sister Francesca Onley Education and Technology Center. Contact: Pamela Flynn pflynn12@holyfamily.edu

Johanna Warwick


Holy Family Art Gallery


Works by

Johanna Warwick

Exhibit: 10/5-10/28/18

Reception: Wednesday 10/10/18 at 12:00-2:00


Exhibition Title: Monuments to Strangers

In this work I utilize news images and materially re-contextualize them to emphasize the limitations of photography as an emotionally and factually accurate record of the time. combine analogue and digital processes to underscore the ways in which news photographs have been produced and how that production affects our understanding of cultural history. The photographs look at the selective representation of the individual within printed daily newspapers from the 1880s to the1960s.

The figures in the blocks are unknown, but they were at one point important, or significant enough, to have their image produced in this way. The images reveal how versions of history were presented publicly. I photograph to highlight how women and minorities were vastly under represented, and in re-presenting these images hope to reveal and question our flawed history. The images are etched into copper or zinc, creating long lasting portraits that have proven permanence over time. I imagine the names of the figures, question what they were once important for, and explore the social context behind them. I don’t seek to make a document as they were used before, but to photograph them as visual monuments. Men are abundant; women are few and far between. The images pertain to births, graduations, professions, weddings and obituaries. Through these images a story begins to evolve of the major life events and rights of passage that people continually move through then and now.

The objects I photograph were originally made by a photomechanical process to reproduce photographs for publication and is an invention of Fox Talbot’s. It was the first time in history images of reality could be reproduced on presses reaching the public, rather than an image interpreted and altered by hand. While in use for over 80 years, it was an imperfect process that eventually was made redundant by offset printing in the 1960s. An outdated process, today these blocks have no use. They have become antiquated, much like the newspapers that they were once printed in. I am photographing them to present this historic process and lost imagery in a new way, using the technologies that made them obsolete. In re-photographing these images, my photographs are several iterations of light sensitive materials being exposed; the original photograph, the re-photographed negative, the photomechanical produced block, and my exposure. Each image thus goes from a positive, to a negative, recorded once again as a negative, then inverted to a positive. It is in this long chain of events, which traverses over decades, that the glow of light and color occurs. In the portraits of women, I use the original antique printing block and ink it onto a sheet of film. I then expose the film, process, scan and print it.

The photographs are hung individually and in groups separated out by the depicted subject’s sex, age and race. Consequently, there are large groups of men printed smaller, and smaller groupings of women printed larger to point out their lack of representation, while also trying to reclaim their importance in history. The photographs describe the history and limitations of photography, and reveal contemporary practice at the same time.

Please join the Holy Family Art Gallery at the artist reception.

            Holy Family University Gallery is on the Lower Level of the Sister Francesca Onley   Education and Technology Center.

Contact: Pamela Flynn pflynn12@holyfamily.edu

Lauren Scavo


works on paper

Exhibit: 9/11-9/30/18

Reception: Monday 10/1 12:00-2:00


08 Forest

Artist Statement

I work with landscapes because I feel that there is a potential for expressiveness inherent in the depiction of organic forms. I am also drawn to them because they are both universal and personal; they are intertwined in both individual lives and collective histories, and are historically and culturally relevant in the art community and in the larger world. Though they are constantly changing, they are ever-present.

Because landscapes are so involved in human life, they lend themselves well to the discussion of personal experience. My primary philosophical influence is phenomenology, a branch of philosophy that deals with the subjectivity of experience, as our knowledge of the world comes primarily through our senses. Because sensory input is the primary means through which we can interact with the world, as we are beings in physical forms, we rely on these senses for how we interpret our experiences.

My work is an examination of the strong connection that exists between human consciousness and its surrounding environment, specifically the way in which our sensory experience of a place influences our subjective interpretation of it. I present the viewer with scenes of heightened atmosphere that are indicative of a sense of reflection and quiet attention to the elements of the world that are both physical and nonphysical, as the external world reflects the internal life of the viewer.

By placing a wide border around each small-scale drawing, I invite the viewer to consider one particular experiential moment. In these works, I place emphasis on the sense of vision, by manipulating sources of light and contrast to exaggerate the way in which the mind processes visual cues, creating a heightened sense of light and atmosphere. At the same time, however, the framing and presentation of my subject matter is straightforward, and the depiction of forms and perspective creates the illusion of reality. In presenting the subject in an objective manner, I hope to call to mind the illusion of objectivity that is often assumed in photographic images.

My mark-making is expressive; however, since my finished pieces are so small in scale, the expressiveness of these marks cannot be seen unless the pieces are viewed from a close distance. Thus, I am seeking to depict the contrast between the objective depiction of nature and the subjective human element that is always present in our interpretation of our surroundings.

From the Gallery