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Raj B Bunnag

Website: www.rajbunnag.com
Educational History: Maryland Institute College of Art, Printmaking, 2012

Raj is a 2022 MFA Studio Practicum candidate. His artistic medium of choice is relief printmaking on either wood or linoleum. He has been awarded a Departmental Teaching Assistantship/Fellowship and the Kachergis Award. He has shown his award-winning work throughout the US and internationally. He was recently featured on the print podcast Pine Copper Lime and was a guest on the new TED podcast Pindrop. He currently lives in Durham, NC where he continues to create his art and teach. Whether it is teaching printmaking/drawing to college students or local high school students, Raj finds his inspiration in spreading the gospel of print and educating people on how the printed word is still powerful in a digitally dominated world.

Charlie Dupee

Charlie Dupee

Website: charliedupee.com
Instagram: CharlieDupeee
Education History: Colby College, BA in New Media Aesthetics, 2015

Charlie is a visual artist and Maine native. His work approaches topics of intersectionality, untold history, and futurism in reaction to systems of white supremacy, heteronormativity, and capitalism. His formal background in painting and photography help develop a multidisciplinary vocabulary of queer, American, kitsch, nonsense.


Hugo Ljungbäck

Hugo Ljungbaeck

Website: http://www.hmal.se/
Educational History: University of Wisconsin-Milwaukee, BFA in Film, Video, Animation, and New Genres / BA in Media Studies, 2020

Hugo is a Swedish video artist, film curator, and media scholar. His research focuses on the intersection of video art, media archaeology, and the archive, and examines the materiality of the moving image and its processes of mediation. His videos regularly explore queer subjectivities and tell underrepresented stories about intimacy, coercion, and surveillance, and have screened at international film festivals and galleries. His thesis project develops a broader conception of found footage filmmaking in response to the ephemerality of queer history. “Archiveography,” as he calls it, is polysemic, plural, and promiscuous, and in his practice he uses appropriated text, photos, sound, and video to make visible the hidden, unflattering, unseen, and often unarchivable traces of contemporary queer experience. He holds a BFA in Film from the University of Wisconsin-Milwaukee, where he previously served as Director and Chief Curator of the Patricia Mellencamp Film and Television Archive. He is also Co-chair of the Association of Moving Image Archivists’ Small Gauge and Amateur Film Committee and Founding Editor of Artifact and Apparatus: Journal of Media Archaeology.

Phuong Duyen Nguyen

Website: duyens.com
Instagram: @phuongduyens
Educational History: University of Virginia, BA in Studio Art and Art History 2015

Phuong was born in Vietnam and immigrated to the United States with her family when she was thirteen. Trained as a painter, her current practice has expended to incorporate a variety of materials and techniques with a focus on embroidery and sculptures. Her small and intimate abstract work are the artifacts of her attempts to reconcile her conflicting personal cultural identities. Abstraction is a tool for her to process her memories and traumas – a formal construct upon which she restructures her stories. It is an act of obscuring the painful details, distilling the most beautiful aspects, and transforming them into tangible objects.


Stella Rosalie Rosen

Website: stella-rosen.weebly.com
Educational History: Oberlin College, BA in Biology, 2014

Stella is an animator focused on experimental narrative. Stella’s practice revolves around both traditional and digitally drawn 2D animation. Her practice is informed by myth, memory, story, and sound. She is drawn to animation because of its infinite possibilities for representation and storytelling – if it can be thought of and drawn or built, it can be told. Both newer advancements in film technology and classic tried ‘n’ true methods create a salad of methods to draw on and experiment with. Stella has always deeply invested in her own viewership of cartoons and believes that sequential imaging has a unique hypnotic quality over viewers that comes from the physiology of the viewing tech of the human mind, the eye, that makes animation nearly impossible to ignore. Or perhaps that’s an excuse for her own addiction to kids’ cartoons that has spanned into her adult life. Regardless, her work has been featured in film festivals all over the world and some people seem to enjoy the films.