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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


Breaking Point by Erica Longobardi

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.





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


Michael Dealy

Michael Dealy

Graphic Design Senior Art Exhibition

Art is Why I Get Up in the Morning

 Exhibit: 04/13 – 04/26

Artist Reception for: Tuesday, April 17

5:00 – 7:00 pm


From the Gallery:


Constance M. Simon

Grids and More

Works on paper

Exhibit: March 6 – 26, 2018

Artist Reception

March 19, 2018  12-2 pm

Sunset Grid & title

Artist’s Statement

My current paintings grew out of my attraction to geometric patterns from many world traditions such as Islamic tile patterns,   ancient Roman mosaics, quilt and textile forms. I have also been influenced by American 1960’s Op paintings with their subtle color relationships playing on simple straight lines, geometric shapes, and 3D illusions. Another influence has always been Persian, Turkish, and Indian miniature paintings. I love their delicate painting techniques, decorative patterns and intimate size.

Each of my paintings is based on a grid structure which I find to be an appealing scaffold upon which to play with variations of color, light, pattern, and volume. The grid serves as a unifying starting theme for me as it does in most tile and many textile patterns. I am attracted to the repetitions and purity of the grid and inspired by the potential of creating endless variations on this simple theme. The grid form also provides a way to break up colors rather than use colors in solid blocks. I am intrigued to find grid forms all around me in so many industrially produced objects and naturally occurring forms. These grids present me with infinite variations of pattern, rhythm, light and shadow.

For many years, I worked from direct observation of still-life set ups (which can be seen on my website). The experience of working from direct observation of the physical world has given me a vocabulary of space, volume, and light to abstract into my current grid structures. My paintings generally have a response to the visual world as a starting point in an indirect way. Observing the play of light and color in the world around me is always an inspiration.

 Connie grew up in Princeton, N.J.  She received her B.F.A. from the Cleveland Institute of Art and her M.F.A. from Syracuse University. She is currently on the faculty of the Delaware College of Art and Design in Wilmington, DE where she teaches drawing, design, and color courses.

Exhibitions of her paintings have been seen at the Blue Streak Gallery in Wilmington, the Rosenfeld Gallery in Philadelphia, Howard Community College in Columbia, MD, the Cressman Library Gallery on the campus of Cedar Crest College in Allentown, the College of Southern Maryland in La Plata, MD, and the Mezzanine Gallery in Wilmington. The Berman Art Museum at Ursinus College in Collegeville, PA purchased a painting of hers for their permanent collection after exhibiting her work in 2006.  Connie was awarded an Individual Artist Fellowship from the Delaware Division of the Arts in 1994. Her paintings and drawings have been featured in articles in Artists’ Magazine, American Artist, New American Paintings, New Art Examiner, Art Calendar, and Art Matters.

From the Exhibit: