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B.F.A. Senior Exhibition 2022

The Plattsburgh State Art Museum invites you to join us in celebrating the academic and artistic achievements of the graduating class of 2022.


Jocelyn Acosta

My artwork is a mixture of graphic design and printmaking. With these mediums, I create images that pertain to my heritage and the beliefs I hold. Art is now a way for me to express myself without being verbal, and learning about art therapy has made me realize how helpful this can be for mental growth. Much of my inspiration is from things I learn along the way or topics I am passionate about and want to share. Something unique about my prints is that each one has an image of a close family member, and although others might not know who they are, it is a personal connection for me. My family has helped shape the person I am now and this is something I am grateful for, so this is a way to let them know that they are always on my mind. In my digital prints, I am advocating for a cause I have been struggling to express to my family and not succeeding at. Coming from a Mexican household, meat has been a source of protein for us and choosing to stop eating animals has been tough on my family. I hope that these images will get them and others more aware of these issues I am passionate about, such as animal abuse. Watch Jocelyn Acosta’s introduction.

  • Image that appears to be a cow being turned into skid of hamburger.
  • Illustration of a woman holding up a torch while wrapped in robe with hearts on it.


Morin Bissonette

The physical creation of my artwork is as important to me as the final product. Having my hands moving in wet clay, plaster, and with physical objects is soothing, satisfying, and stimulating. It creates an environment of experimentation where I can dive deeper into my interests in science, the metaphysics of rocks, and psychedelics. In my studio practice I can express in a physical manner what I see in my mind. Watch Morin Bissonette’s introduction.

  • Ceramic model of crystalline shards.
  • Three bell tubes with colorful blobs in them. One is red/orange, one is black/gray/white, and one is multi-colored.


Sareem Jabbar

My artwork is a reflection of my fluctuating emotional life. I’ve always struggled with understanding my internal self. Creating has helped me recognize and combat my emotions, be it happy, anxious, or frustrated. The work I create embodies the person I want to be. My brighter toned work can represent a fun and positive part of my life, while a darker tone in my work can be a reflection of my difficulties and the progression in learning something about myself. My graphic design and photography allow me to reach both ends of that spectrum in my life. Creating photos is therapeutic, as it’s a chance to access and understand parts of my life I am uncertain about. Graphic design is an enjoyable way to share all the creative ideas I consistently have. Both mediums have become a healthy expression of my feelings, creating an outlet for my emotions. My work is essentially a self-portrait, even if I’m not a literal subject in the piece. Watch Sareem Jabbar’s introduction.

  • Blue background with an orange circle. Inside circle is a red peach with the letters "KP" in white
  • Photo of top of entryway. There's a spiral light bulb in a wall socket, and a flash light on the door frame.


Brian Keach

My drawings and paintings have become more interrelated this past year. I choose to work from direct observation because it allows me to be more responsive, and capture the psychology of the individual through their physical presence. The treatment of the figures is focused on their individual personalities. The people represented all share a personal connection that allows me to depict them as I see them. The still life offers me a more compositional space that emphasizes the sense of atmosphere and movement in the environment. Watch Brian Keach’s introduction.

  • Drawing in pastels of Brian with sunflowers.
  • Painting of a man near some flowers


Kailey Maher

My artwork mirrors a twin-flame magnetic polarity of mediums; stone and ceramics, pushing against and pulling within. They allow for the expression of my form — an undulating essence of consciousness, a beginning and a beginning-again. Each work reflects the effects of time — shaping and reshaping, not in minutes and seconds, but a living lifetime of transformative movements of contractions and expansions intertwined in the nature of the self; ever-exposing the causeways of a life lived, unlived and yet-lived. In these veins of life, my raison d'etre runs, giving way to what is hidden within and what is exposed without. Watch Kailey Maher’s introduction.

  • Sculpture of a honeycomb like design.
  • Flowing sculpture modeled in white soapstone.


Elara Martin

I am a visual storyteller. What drives me to create stories stems from a passion to connect with and understand the world around me. It is fueled by memory, emotion, and is inspired by the diversity of the human experience. With my paintings, I bridge the relationship between line and form, creating a juxtaposition of my internal dialogue with reality. Similarly, my printmaking and book-making process focuses on illustrative art, centered around a particular concept or feeling. One theme that transcends all my art is a cinematic narrative, rooted in the psychology of the figure in a given environment. Overall, my art helps me express ideas, thoughts, and feelings that are difficult to articulate. With it, I hope to inspire others to reflect on what it is that makes them feel alive. Watch Elara Martin’s introduction.

  • Three Panels, Black and white. 
Panel One: Wide shot of a graveyard with a yellow wave .
Panel Two: Tighter shot on a few graves with a tree in the foreground. The wave focuses on a grave.
Panel Three: Inside the grave a man's body lies in rest. The yellow wave flows around it.
  • Four Panels, Black and white. 
Panel One: The yelllow wave goes into the ear.
Panel Two: Tighter shot of the man's face. Eyes shut while the wave goes intro his ear. Panel Three: His eyes open.
Panel Four: The wave flows from panel one to a street with a series of same homes on it.
  • Six Panels, Black and white. 
Panel One: The yellow wave enters a house. .
Panel Two: The wave goes into a guitar a man's playing on the step of the house.
Panel Three to Five: The yellow wave breaks and changes form while the guitar is played.
Panel Six: The guitar player looks at a notepad.
  • Six Panels, Black and white. 
Panel One: The grave is now open and the man is in the distance. .
Panel Two and Three: The man seems to be following the yellow wave.
Panel Four: Focus on some nearby flowers that are white and yellow.
Panel Five: The man notices them while the wave is near him..
Panel Six: Tight shot of him picking a flower.
  • Seven Panels, Black and white. 
Panel One to Three: The guitar player plays the guitar and stops.
Panel Four: They look at the notebook.
Panel Five: Lying down with their hand on their head, they look sad and frustrated.
Panel Six: The notice something
Panel Seven: The sit up with a look of shock on their face.
  • Five Panels, Black and white. 
Panel One: The flower that was picked is at their feet. .
Panel Two: They look at the flower.
Panel Three: They seem inspired while also looking sad. 
Panel Four: They pick up the guitar.
Panel Five: They begin playing, the yellow wave returns.
  • Two Panels, Black and white. 
Panel One: Wide shot of the house. The guitar player is playing and yellow waves are spreading through the sky. In the foreground are shadowed trees with the man from the grave standing near one.  .
Panel Two: Tight shot on the man rom the grave who is enjoying the music as a yellow wave drifts around him.
  • Painting of a person in a white shirt standing on a path with trees, a telephone pole, and a diamond-shaped, yellow sign.


Kelsey Rambach

My art is dystopian mirror on how the world around us affects our mental state of being. Now more than ever our world has seen numerous crisis that have changed everyone’s perspective whether we understand it or not. Fear and anxiety can cause one to hesitate in our interaction with the world around us, and I want to capture that moment of hesitation.

While my design and painting may be different on the surface, with my painting being more portraiture based and my design more illustrative, there is an underlying thread that connects them. Whether this is through the emotions I am feeling at the time of making each piece or something more obvious like color palette, each piece tells a story and is a reminder to the viewer that they are not alone in what they are going through. Watch Kelsey Rambach’s introduction.

  • A flat earth with the oceans spilling over the edge. Background is space with stars, a satellite, and the sun.
  • A frog-humanoid in dark robes with a book. The background is a forest, while the foreground is a decorative piece akin to older mirrors.


Nghi To

Through my art, I aim to explore the emotions and experiences tied to my childhood, family, and home. I believe that these aspects of my life reflect the truest and most crucial part of my identity.

With graphic design, I utilize playful colors, lines, and visual storytelling to build empathetic, human-driven products for children and child-like adults. Through my work, I revisit and celebrate the vulnerability and creativity of my childhood by allowing myself to play, to express emotions and to find joy in the process.

With printmaking, I employ a meditative reduction process to create tender images that reflect my Vietnamese roots. These images allow me to build a home thousands of miles away from home, come to terms with my grief and longing for family, and honor my country by representing our traditions.

Although different, the mediums shown in this exhibition are my way of creating space for my culture, my family, my history, for everything I have loved and lost, for myself, and for everything I will become. I look both inward and outward to find my place within the world and to bring positivity to it, little by little. Watch Nghi To’s introduction.

  • Print of chrysanthemums in a golden brown tone.
  • Images of the book Still, with an image of a little girl with black hair; another with children playing with cymbals, on a rocking horse, toys, and one with black hair at a table. The words "My classmates are a little too rowdy" are on the left; And lastly the child with black hair with a green tree person and the words: "Sometimes we sit by the pond and dip out toes in the water, and you hear my sadness."


Mollie Ward

This collection of work is an examination of my relationship with my body and the parts of myself I feel insecure about. My studio practice is driven by these feelings. The two mediums I work with offer different iterations of the same internal conversation. With varying levels of description and abstraction, this work is self referential. While I draw from content from my experiences, the process of self reflection allows the pieces to shift and become an acknowledgement and a celebration of what I struggle with as a woman in contemporary culture. I am creating objects to hold this discomfort, removing it from my physical body altogether, ultimately creating an object of celebration. Watch Mollie Ward’s introduction.

  • Light pink mass that's been twisted around itself.
  • Closeup image of a woman with red hair. A butterfly-like glyph is near her right eye.
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