Magnum Opus: Annual BFA Exhibition

April 25 – May 14, 2022

Reception: May 6, 2022 5 – 8pm

Come see the work of this year’s fantastic seniors graduating with Bachelor of Fine Art degrees!

Featuring Artists:

Celia Compton, Photography
Deicide Huxtable, Painting
Sydney Morr, Graphic Design
Hannah Netherwood, Photography
Gracie Noble, Graphic Design
Benjamin Rodrigues, Graphic Design

The Mirror with a Memory

May 4 – 27, 2022

Reception May 7, – 2 – 4pm

Peoria Public Library – Downtown – Basement Gallery

2022 Photography Capstone Exhibition

Featured Artists:

Celia Compton
Anna Gerard
Ambrosia Griffin
Hannah Netherwood


Heather Ford MFA Thesis Exhibition

APRIL 4 – 29

Heuser Gallery

Heather coordinates and teaches the User Experience Program for the Department of Interactive Media within the Slane College of Communications and Fine Arts at Bradley University. Her fine art, digital creative, and UI/UX design spans over 20 years of professional experience both in the commercial and academic sectors. Through visual communication, data visualization, user experience, and illustration, Heather combines consciousness, spirituality, and technology to create immersive experiences. Her design work merges the areas of traditional fine art and technology-driven experience design with science and spirit.

Visual Voices: Carrie Lingscheit

APRIL 7, 2022 – 5:00-6:00PM

GCC, Horowitz Auditorium

Carrie Lingscheit’s original intaglio prints exploit the subtleties of etching and mezzotint technique to explore themes of human behavior, interaction and the malleable nature of remembrance, presenting equivocal narratives that are often characterized by omission, distortion, and hyperbole. Her work has been included in numerous national and international exhibitions and in dozens of invitational exchange portfolios. Recent exhibitions include the 2018 Delta National Small Prints Exhibition, the 3rd International Mezzotint Festival in Ekaterinburg, Russia; and the 2017 Washington Printmakers National Small Works Juried Exhibition in Washington DC. Lingscheit holds a BFA from The University of South Dakota (2006) and MFA from Ohio University (2010.) She currently lives in Urbana, IL.

Visual Voices: Alli Elster

Connecting the Dots: Not all Paths are Linear

MARCH 24, 2022 – 5:00-6:00pm

GCC, Horowitz Auditorium

Alli is a Chicago-based visual designer specializing in branding, web, and print design projects. She graduated from Bradley in 2013 with a Bachelor of Arts degree in Graphic Design. Her design mantra is to keep it simple but have fun doing it. 

Over the past ten years, she has worked on a wide range of projects, including rebranding initiatives for nationwide companies, creative digital solutions, and print rollouts big and small. Some clients include: Nami Metro Suburban, Turano Baking Co, Connie’s Pizza, Greektown Chicago, Grounds & Hounds Coffee, and many more. After a few years in the marketing agency world, she got the opportunity to be the sole designer on JB Pritzker’s gubernatorial campaign. Their team ran one of the largest digital marketing campaigns in 2018. After the campaign was over, she went back to freelancing for a while, worked on another set of political initiatives, and then got back into the agency world. She is now a Senior Art Director at FCB Chicago, working on a newer team for Cox Communications.

New Works: Tim Hutchings


Hartmann Gallery

Tim Hutchings, Assistant Professor of Game Design, will be exhibiting three bodies of work, all from 2020 or later.  Lines drawn to solve the computer game Freeways are translated into paint, creating convenient nonrepresentational artworks reminiscent of Brice Marden.  Collages created to spur book-based game play have a very different presence in a gallery.  Amusing, playful processes make awful glitter scabs on panel.

A consistent theme across the work is a playful (or selfish, or commercial) rearrangement of when the artwork is actually experienced in its most intended form.  

Visual Voices: Caleb Cole

THURSDAY MARCH 10, 2022 – 5:00-6:00pm

GCC, Horowitz Auditorium

Caleb Cole is a Midwest-born, Boston-based artist whose work addresses the opportunities and difficulties of queer belonging, as well as aims to be a link in the creation of that tradition, no matter how fragile or ephemeral or impossible its connections. They were an inaugural res-ident at Surf Point Residency and have received an Artadia Finalist Award, Hearst 8×10 Biennial Award, 3 Magenta Flash Forward Foundation Fellowships, and 2 Photolucida Critical Mass Finalist awards, among other distinctions. Caleb exhibits regularly at a variety of national venues and has held solo shows in Boston, New York, Chicago, and St. Louis, among others. Their work is in the permanent collections of the Museum of Fine Arts Boston, Newport Art Museum, the Davis Art Museum, Brown University Art Museum, and Leslie Lohman Museum of Art. Caleb teaches at Boston College and Clark University and is represented by Gallery Kayafas, Boston.

Visual Voices: Jill H. Casid

THURSDAY FEBRUARY 24, 2022 – 5:00-6:00pm

GCC, Horowitz Auditorium

A theorist, historian, and practicing artist, Dr. Jill H. Casid is Professor of Visual Studies in the Departments of Art History and Gender and Women’s Studies at the University of Wisconsin-Madison.

Talk title: Melancholy as Medium

What to do with the ways we’re being undone? Casid will present their new film, Untitled (Melancholy as Medium) to pursue the refusal to move on as a necessary queer, crip and trans* activist medium for our moment of disposability. The film calls up an activist wake that remains stubbornly attached to the unmourned dead. Unfolding a ritual of mediumship, the film conduces our outraged grief as catalytic for the uprising and care work of living with more than one virus, amidst more than one pandemic, carrying our as yet unaddressed losses into the battles we’re still waging in the name of supports for the thriving of Black, Brown, Indigenous, crip, queer and trans vitalities. Centered on a set of fragile Polaroids, the film conjures with the material fragility of analogue photography to commune with the incalculable but still powerful presence of unredressed loss. In reversing the primacy of showing over telling, the film incorporates disability access as aesthetic gain by making closed captioning integral and image description its primary vehicle.