PASSWEIRD_ illustrations from Matthew Carlson



The Finlandia University Reflection Gallery will be hosting “PASSWEIRD”, a solo exhibition showcasing the work of illustrator Matthew Carlson. The work will be on display November 4th- 28th.

On display will be a series of illustrations completed for the project, a collaborative effort between Carlson and web developer Cody Peterson (Portland, OR.) The site will randomly generate you a distinctive and ‘weird’ personalized password. In addition to the full color illustrations, the website will be on display offering an interactive component for the audience.

Matthew Carlson is a creative working out of Omaha, Nebraska. He is currently employed at design firm Grain & Mortar. He has lent his services to an abundance of projects ranging in scope from apparel design, business branding, event promotion, and the non-profit sector. His skills as a talented illustrator have landed him clients like Google, RedBull, and Springboard for the Arts.

Carlson holds a Bachelor Fine Arts degree from the University of Nebraska Omaha, where he studied painting and drawing. In addition to design work, he has been heavily involved in the Omaha Arts scene, both exhibiting in, and curating shows at a variety of venues. In addition he also works freelance under the moniker Plaid Mtn.




courtesy of:

“… a few weeks ago I realized that a dumb domain I bought last year was about to expire. This was around the same time I was thinking a lot about domain squatters. Rather than just let it expire or keep squatting on it, I decided to make it a real, despite the fact that it should not exist. Introducing Passweird, a website that generates passwords “too gross to steal”. I contracted Omaha illustrator (and great dude), Matt Carlson, to illustrate a bunch of super gross things, created a simple Sinatra app, and launched it.”

DG_small show poster2


Printmaker, Dorothy Anderson Grow, from Traverse City, Michigan, exhibits her work in universities and cultural centers throughout the state. Her last exhibition was at The Traverse City Art and Design Studio.  The show titled “Symmetry” had 22 of her latest pieces hung on 4′ x 8′ panels in groups of three showing related themes.  Her next scheduled show will be in October at Finlandia University in Hancock, Michigan. Grow is a native of neighboring Upper Peninsula city, Marquette.  She also shares in a common Finnish/Scandinavian heritage.  Grow holds a Master of Fine Art from Michigan State University, a Bachelor of Arts degree from Baylor University, and taught at Northwestern Michigan College in Traverse City, Michigan.

Dorothy Anderson Grow has this to say about herself and her work:

“I am one of a few printmakers in Northern Michigan. I work from my home studio using Akua water-based inks on my Takach etching press. I have a darkroom where I process my Imagon etching plates. I became a full time printmaker about fifteen years ago. In undergraduate and graduate school, I studied various forms of printmaking, but I was committed to be a non-objective acrylic painter. Then, I rediscovered printmaking and the many creative options it presents me.  I approach my work as problem solving. The great thing about printmaking is that I can work on several related pieces at the same time, diversifying the outcomes.  I create one-of-a-kind, hand-pulled prints, never editions.  My prints cannot be duplicated due to the multiple layering that make up each finished print.”

“My intaglio prints are created with bold colored shapes and flowing lines forming large graphic compositions.  Yet, a closer look reveals multiple layers and entangled forms.  They compel the viewer to examine and become involved in the work.  Printmaking allows me the freedom to experiment, be innovative and to take risks.  The process is full of surprises and unintended outcomes.  It is this sense of discovery I wish to pass on to the viewer.”

“My work begins with an abstract drawing or photographic image.  After I create the original image, it is transformed into an etching plate.  Using my intaglio etching press, I print a series of three or four hand inked etching plates. I proceed to diversify the final outcomes by printing varied layers of monotypes and collage materials onto each print.”
“I choose to compose non-traditionally.  I want the viewer to experience a new dimension and a unique perspective.  The two-dimensional space is usually a simplified symmetrical or centered composition. From that point, I am free to experiment and create a third dimension by formulating an interaction between the overlapping elements. It is the layering of etching plates, monotypes and collage that create a final form that transcends any single layer.”

show poster_proof

The Finlandia University Reflection Gallery will be hosting “Peculiar Relations”, an solo exhibition showcasing the work of artist Brian Burroughs. The work will be on display September 4th- 26th.

Brian Burroughs is a visual artist from central Upper Michigan. Burroughs works predominately in the medium of graphite, but occasionally explores other means when creating his works. He credits Dali and the Surrealist movement as his primary influence, which is understandable upon viewing his art. Burroughs received his BFA from Northern Michigan University in 1999, majoring in Illustration. He has won multiple awards at juried shows and has had solo exhibits at Bay de Noc College and the William Bonifas Fine Arts Center. Currently, Burroughs lives in Escanaba, Michigan where he works as a Customer Service Specialist for AT&T.

An opening reception for the exhibit will be held at the gallery on Thursday September 4th at 12:30p.m. The reception is free and open to the public, and refreshments will be served.

leopoldo show signage


Entre los árboles V

Entre los árboles VI 22.8″ x 45.7″.


HANCOCK, MI – The Finlandia University Reflection Gallery will be hosting “Peripatetic: An Experience with Landscape”, an exhibit showcasing the work of Leopoldo Cuspinera Madrigal from March 27th to April 18th, 2014.

Madrigal, a Mexican artist, architect and academic, has studied and exhibited his work at universities in the United States (Landscape: a memorial artefact), Italy (Riciclare il Paesaggio: natura, cultura, memoria, patrimonio), and France (Meta-mémoire).

His work is centered around the concept of man’s relationship with landscape. The paintings themselves are created with and inspired by nature. Madrigal stresses that “direct contact with the materials is essential, but also with the water, wind, light, and warmth of the sun. All these components are at the same time, the subject.”

Additionally, he uses natural materials, mainly plant fibers, to create his paintings.He describes the root of his work as being “anchored in Mexican (Papel Amate) and Japanese (Washi) paper fabrication. I have transformed these ancient techniques with the addition of resins and other materials such as recycled paper pulp, oils, chalk, charcoal, gold, silver, and bronze.”

An opening reception for the exhibit will be held at the gallery on Thursday April 3rd from 12:30 to 1:30 p.m. The reception is free and open to the public, refreshments will be served.

IMPERFECT: letterpress X 3 (opens 2/6)



Imperfect: Letterpress x 3 is a trio exhibition featuring our recent experiments in letterpress printing and seeks to extend our design processes beyond the computer screen. Instead of strictly imposing order, we utilize the letterpress medium in ways that encourage interpretation, spontaneity and improvisation. The seductive embossing of the page and textural qualities of the prints add unique qualities to the end results. The physical letterforms become an equal partner in the process as their age and history are revealed. This traditional form of printing enables us to tell new stories, in a modern context. Despite working with a common process, each one of us has a dedication to express our individual voice.

Joey Hannaford’s prints, created while in residence at the Hamilton Wood Type Museum during the summer of 2010 and 2012, are an exploration of color and abstract form. The large wood type letters are chosen specifically because of their relative geometric qualities. They are then printed repeatedly from different directions in the press with vibrant transparent inks creating an overlay- ing of new geometric shapes that reveal themselves with each successive layering. The end result is complex, energetic, and often unrecognizable as a letterform. The composition is not intended to be legible, but instead becomes ethereal and spare, inviting contemplation.

Mervi Pakaste’s prints are an exploration into the mass media gossip culture in the U.S. As message container and purveyor, letterpress allows her to place tabloid gossip headlines into an ‘out-dated,’ hand-crafted, labor-intensive medium, with the glory of its authentic imperfections and textural character—much of which is absent in contemporary printing processes. Her work recalls up a time when printing was expensive and equipment scarce, and when the costs of production process meant that messages and news tended to be of broad importance. Through this craft-oriented print medium she hopes to bring, along with a little playfulness and humor, a consideration of how mass media gossip culture continues to thrive and evolve, while many important worldly issues seem to be downplayed by the U.S. media.

Jeff Pulaski’s prints spring from a desire to document and experiment with wood and metal type, linoleum cuts and advertising blocks. He enjoys the tactile nature of letterpress, each element selected and placed in the press bed by hand. Each color is printed individually so the image is created slowly, building the color as the piece is created. Jeff enjoys dealing with the limitations of the fonts, characters and sizes on hand and the scars that exist on heavily used characters. In addition to letterpress, he is interested in other hand processes such as silkscreen and marbling paper and seeks ways to combine these with his letterpress work.

By combining our work into a group exhibition we wish to demonstrate the versatility that the letterpress medium possesses and its relevance to the graphic design profession today. We believe that designers in 2011 should consider exposing themselves to the experiences of traditional craft- based graphic design mediums as a means to enhance understanding , skill, and authenticity in all levels of the profession. The process of letterpress printing involves a physical production process that inherently invites mistakes. These unplannable mistakes bear witness to essential human qualities that perfect multiples will never achieve. As designers this brings us not only closer to our work, but provides us a link to the roots of our profession. Letterpress is by no means “dead” and it is our intention to create letterpress work that brings new meaning to a modern audience.