New Work in Soft Geometries Curated by Andrea Myers


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Featuring works by:

Gianna Commito
Jean Alexander Frater
Jeffrey Haase
Peter Christian Johnson
Jason Karolak
Andrea Myers
Boryana Rusenova-Ina

Please join us for this exhibit of works by seven artists in celebration of Hammond Harkins Galleries 20th Anniversary. Inspired by the idea of the “soft grid,” curator Andrea Myers selected works that combine structures of analytical systems with the subtleties of subjective, human experience. The centerpiece of this exhibit will be a collaboration by Myers and Haase of a room-size installation composed of industrial shrink-wrap and a giant metronome.

Solo Exhibition at the George Washington Carver Center for the Arts in Baltimore, MD


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If you are in Baltimore between March 19th and April 17th come see my new show Placeholder at the Carver Gallery inside this incredible school for visual and performing arts. I got a chance to visit with the students and do an artists talk thanks to Daria Souvorova and her hospitality!

New Work in a Group Exhibition at University of Cincinnati Blue Ash


 An Introduction to Narrative Portraiture   By H. Michael Sanders   Pictures tell stories in a different manner than do words, but rich and textured stories nevertheless. The shopworn notion that a picture is worth a thousand words, widely attributed to Fredrick R. Barnard from an article published in the 1920s about advertising, underscores the traditional use of art in society prior to the modern era. In this regard, the history of art is primarily a survey of the use of imagery to convey allegory, history and theology to a population of largely illiterate viewers. Think stained-glass scenes in cathedral windows, religious paintings of scenes and stories from the Bible, the historical pageants documented by royalty and nobles in commissioned paintings of their exploits, and scenes found carved into walls, tombs, monuments and plaques throughout the ancient world.  The eerie quality of familiarity, amid the influx of disjointed and incongruent elements found in the work of Boryana Rusenova-Ina, functions like an echoing memory in our mind that we can’t quite tune-in clearly or fully recall. Teetering between portrait and landscape, her paintings imbue the inhabited environment with a distinct personality that simultaneously reflects our expectations and renders them strange and unfamiliar.

An Introduction to Narrative Portraiture

By H. Michael Sanders

Pictures tell stories in a different manner than do words, but rich and textured stories nevertheless. The shopworn notion that a picture is worth a thousand words, widely attributed to Fredrick R. Barnard from an article published in the 1920s about advertising, underscores the traditional use of art in society prior to the modern era. In this regard, the history of art is primarily a survey of the use of imagery to convey allegory, history and theology to a population of largely illiterate viewers. Think stained-glass scenes in cathedral windows, religious paintings of scenes and stories from the Bible, the historical pageants documented by royalty and nobles in commissioned paintings of their exploits, and scenes found carved into walls, tombs, monuments and plaques throughout the ancient world.

The eerie quality of familiarity, amid the influx of disjointed and incongruent elements found in the work of Boryana Rusenova-Ina, functions like an echoing memory in our mind that we can’t quite tune-in clearly or fully recall. Teetering between portrait and landscape, her paintings imbue the inhabited environment with a distinct personality that simultaneously reflects our expectations and renders them strange and unfamiliar.

Come Along With Me


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This group exhibition is a collaborative effort between the Ohio Art League and the Ohio Arts Council Riffe Gallery, curated by Richard Fletcher. The opening reception is Thursday, January 26th, 5-7pm, and Richard is doing a curator tour January 27th, from noon-1 pm.

Work featured in The Journal: A Literary Magazine

Boryana Rusenova-Ina paints collages bound by light. Using images of both the Bulgarian landscape of her youth and of places she has never traveled, she constructs small dioramas in her studio out of postcards, snapshots, and other pictures she finds or makes. Lighting these like miniature stage sets to unite the disparate parts, she then paints what she sees: an image that is both constructed and organic, real and imagined.

Her paintings present as a unified landscape—comfortable and coherent—and yet they maintain the unsettling suggestion that they might, at any moment, rupture our expectations and fly apart. Delicately surreal, Rusenova-Ina’s work speaks to both how tenuous and how fundamental our relationship with place can be.

I spoke with Boryana Rusenova-Ina in the OSU Digital Union’s recording studio. We talked about being foreigners in America, buying into images of unfamiliar places, and her unlikely arrival as an artist.

-Suzannah Showler

Last Exit: Painting


I am very proud to be part of this juried exhibition at the Bakehouse Art Complex in Miami, FL. It is based on Thomas Lawson's essay on the status of painting written 35 years ago. Lawson's text put painters on the defense, holding each artist accountable for their choice of medium. It is as relevant today as when he first wrote it- Last Exit:Painting by Thomas Lawson

The Instant Nows, 2d year MFA Exhibition


Our Second Year Exhibition took place in multiple locations through the OSU campus, and it also lives online. Here is a map and preview of my work located in Derby Hall- Gazer

Work featured in Weinland Park Story Book


I worked on this project over the summer in 2014 as I was getting ready for a solo show. Weinland Park is a neighborhood just east of campus, with a rich history, community gardens and an awesome new elementary school. The two little girls whose stories I worked on were Naje and Nya. Naje spoke both English and Spanish and Nya liked summer camp. Our collaboration is on page 121-124.