Building on the strengths and accomplishments of the fall, the spring semester in Foundation is structured around a series of three, sequenced, five-week workshops. Each workshop focuses on different intellectual, imagistic and process-based learning platforms. The following exhibition represents ten, unique remote studios. The work displayed is a testament to the perseverance, resourcefulness, and creativity of the KCAI Foundation student community and their faculty mentors.

Making and the Multiple

Caleb Taylor

Making and the Multiple approaches issues of sculptural installations through the collective planning and construction of immersive environments. The workshop explores various approaches to three-dimensional design and making to create spaces that subvert reality with repetitive forms, tactile surfaces, and material explorations.

Body Coverings

Sherry Sparks

How can a garment redefine and enhance the physicality of a body in motion? Playing off of the human form in an open and experimental process will lead to unexpected coverings that might become wearable garments, costumes, or sculptures that echo the body.

From the Direct to the Altered: Perception, Abstraction, and the Audio/Visual Experience

Jean Schmitt

The mechanics of vision and hearing, combined with our histories, cultures, and past experiences lead us to make conclusions about what is real. With cameras and sound recorders we captured this reality in an apparent one to one relationship. But from seeing and experiencing, to recording, compiling, editing, and distributing—every stage presents opportunities for disruption. The subverter of expectation is both a builder and a disruptor. Students in this workshop recorded, abstracted and projected new and altered experiences.

The Object as Narrative: Stories Captured and Revealed in the Objects We Create

Chris Chapin

We begin learning from stories the moment we first open our eyes. Stories teach, move and engage us with shared culture and meaning—and in art and design, story-telling remains one of the most powerful, effective and universal expressions of culture and human nature. Our lives are filled with objects that express these stories, as we see ourselves and our humanity reflected in them. This project is dedicated to meaningful form-making; exploring how both personal and cultural narrative can be expressed in the objects we create. We work with 3D modeling technology to broaden our definition of ‘object’ as we explore new ways of visual story-telling. Through these objects, we explore narrative in art and design, and how we express meaning through both the visual and tactile experience.

Social Distance & Connection / Documentaries of Experience

Steve Snell

In this workshop, students confronted the immediate challenge of physical isolation and remote learning through the development of video documentaries of experience. The following works attempt to give voice to the complex landscape of our interiority and provide meaningful connection during this extraordinary time of social distancing.

Micro, Macro Model

Christopher Spaw

MICRO, MACRO, MODEL approaches three-dimensional design through intuitive sculptural investigations and photographic expressions. A process of discovery-through-making reveals how one thinks and sees. Images are designed as a tryptic and presented via Instagram.


Johanna Winters

[ harbinger: a foretelling of something yet to happen ]

In this workshop students explored time-based methods of puppetry, video, and performance to consider how human-driven gestures can animate performative objects and construct narrative. Through the conceptual lens of harbingers, students produced videos that invoked puppetry as a storytelling device to reveal untold or unknowable futures.

Dream House

Logan Acton

Imagine a house built entirely of dreams. In this workshop we employed digital processes across different platforms in order to produce hybrid outcomes, exploring our ideas through the construction of virtual environments and animation. Our work used the concept of the dream house as a thematic thread — architectural space as a vessel that embodies time as well as the inner depths of self — where everything is possible and the familiar becomes uncanny.

Carved Decisions

Hugh Merrill

Print online, considered both the physical quality of ink on paper, through rubbings, collagraph prints and stamping. It moved to an investigation of the language of black and white line engraving using digital and material collage. In the end each student/artist developed their own final project based on the multiple workshop assignments.

Perspectives: Frontiers of Vision: Creating Space

Russel Ferguson

Each of the daily projects aimed towards looking at and learning by doing several perspective forms. From the outside (isometric, necker cubes, overlap, mapping, tonal compression, atmospheric clarity, anamorphosis, and narrative) and within (linear/vanishing point and photography) the two dominant Western perspective forms. The daily actions of drawing in a limited size, format, and medium served to introduce the concepts via “learning by doing.” Sometimes the prospectus required decisions as to the appropriate and possible combinations of perspective forms when delivering different spatial illusions. An intimate scene may require a different perspective form than one which peers into deep time and distance. While daily drawing doesn’t in itself deliver “opus“ type products, it examines issues of graphic clarity, and tonal issues of employing an introduction to Chjevreul’s ideas of tonal interaction including MAUCH bands. Ideally, it Is up to the pupils to use this knowledge later.

Like Gertrude Stein the workshop sought the variations within the repetitive.