Annual Student Juried Exhibition
My piece, Rumination I, was accepted into the 2025 Annual Student Juried Exhibition at the Blue Galleries in Boise, Idaho. This exhibition was open to all students attending Boise State University, graduate and undergraduate. I feel incredibly honored to have been accepted into this exhibition along with 17 of my talented peers.
The reception for this exhibition, as well as the Biennial Faculty Exhibition, will be held at the Center for Visual Arts on February 13th from 5-7pm.
The juror is Carolyn Herrera-Perez, a writer, maker, and Curator of Glass and Ceramics at the Chazen Museum of Art, University of Wisconsin-Madison. Her research often spotlights the global impact of local histories; she focuses on craft, design, and material interchanges within the Americas. Previously, Carolyn served as Contributing Editor of Material Intelligence, Curatorial Fellow at Cooper Hewitt, and Data and Workflow Manager at The Marks Project.
The juror’s statement reads:
2025 Annual Student Juried Exhibition
Juror Statement by Carolyn Herrera-Perez
Keepsakes like fabric scraps, photos, and trinkets. These sentimental souvenirs evoke memories of a person, a place, a time. When making selections for this year’s exhibition, I wondered about such mementos. The importance of persimmon, cherry, and mango. Materials reclaimed: cloth, sage, and a horse’s tooth. Locales; from cityscape and mountain range to a dreary view of the unknown outdoors. Each feels particular, and therefore, significant.
I want to know Samantha Archide’s Melinda, Abigail Christensen’s Ken and Amy, and the little one that smile’s in Jacob Wilson’s Burrow and Bury. In all these cases, artists have provided access points to engage with these characters. When first encountering Benjamin Hunt’s Poduska, one might ask :”who is pictured?” More thought-provoking: might the cloth have belonged to the person portrayed?
Some artists have reminded us to take our time. Consider, Ashley Larson’s Rumination I, another example where a fabric scrap was made noteworthy. Did the artist arduously pluck threads from the weft? If so, do we call this act destruction, meditation, or creation? Maybe it is renewal. If we can ruminate as Larson suggests, let us give thought to Rick Godin’s furnishings, too. What might you put in the keepsake box?
