Claudia R. Fieo
Wednesdays 1:00 pm - 3:00 pm and by appointment
Claudia R. Fieo is a Professor of Art in the Department of Visual Art and History of Art and holds the Hannah Goldberg Chair in Teaching Innovation. Her works have been exhibited nationally and internationally, and are held in private collections, as well as permanent and public collections, such as Ballinglen Art Museum (Republic of Ireland), Boston Public Library, Bowdoin College, Newport Art Museum, Slater Memorial Museum, and University City Art Museum of the Guangzhou Fine Arts Academy (China). She completed a residency at Bowdoin College as the Marvin Bileck Printmaking Project 2019 Visiting Artist and is an Artist Fellow at the Ballinglen Arts Foundation in Ballycastle, Co Mayo, Ireland.
Professor Fieo teaches courses in drawing and design foundations; graphic design and illustration; and printmaking courses where students learn techniques in intaglio, lithography, relief, screen printing, collagraph, monotype, and book arts. She recently developed a course entitled Printmaking for Social Change. Her interest in less toxic printmaking techniques is infused in all her printmaking courses. In addition, she has advised Independent Study courses for juniors and seniors in several artistic disciplines to meet the needs of the visual art department, including printmaking, drawing, painting, digital photography, sculpture, animation and mixed media.
M.F.A. in Printmaking
Il Bisonte International School of Advanced Printmaking
through Rosary College, Graduate School of Art
M.A. in Printmaking,
Rosary College Graduate School of Art at Villa Schifanoia
B.F.A. in Graphic Design
Carnegie-Mellon University, College of Fine Arts,
The progression of my art has reflected the arc of my life. Along the way, my impulse has been singular—to give expression to the mystery of life’s contrasting forces. Through visual language, I have sought to understand, and ultimately to accept, both the beauty and cruelty inherent in the cycles of nature—the joy of new life, new beginnings and the wonder of growth; the complexities of dying and mystery of death; and the seemingly infinite, indomitable spiral of rejuvenation, transformation, evolution.
Though I weave back and forth between representational and more abstract imagery as a printmaker, the persistent touchstones in my work have always been nature and natural forms. I am drawn to these subjects first on a level of a purely sensuous aesthetic, but also and of equal importance, on a level of meaning. Nature is for me the palpable manifestation of the divine; I am fascinated with its seamless harmonies and troubled by human intervention rupturing its tides. My work lives in the cracks between recognizing the devastation our species has wrought and seeking to reconcile humankind with the earth from which we’ve sprung.
As I pay homage to the mysterious cosmic expanse of our natural world, ancient archetypal symbols have become primary motifs in my artistic lexicon. The bell, purporting a quickening of time running out tolls a warning; the labyrinth, with its purposeful, yet serpentine path wending toward center, signifies a quest for equilibrium, for wholeness.