Claudia R. Fieo
Fall 2017, Tuesdays 2:00-4:00 and Wednesdays 3:30-4:30 or by appointment
Claudia Fieo is a printmaker and graphic designer and Professor of Art in the Department of Art and Art History where she currently serves as co-chair. Her prints have been exhibited regionally and nationally, most recently in 2017 at the Center for Contemporary Printmaking (Norwalk, CT); The Greg Hardwick Gallery, Columbia College (Columbia, MO); Institute of Contemporary Art, Maine College of Art (Portland, ME); and A.P.E. Gallery (Northampton, MA) and the Connecticut Historical Society (Hartford, CT). Among the public collections that have acquired her work are the Boston Public Library, Newport Art Museum, and Slater Memorial Museum, among others. Her prints are also in numerous private collections. Fieo has been a member of Printmakers’ Network of Southern New England since 1992; she was an affiliated artist with Hera Gallery for several years and continues as a member of the Monotype Guild of New England and Zea Mays Printmaking Studio.
Professor Fieo teaches courses in drawing and design foundations; graphic design; and printmaking, including intaglio, lithography, relief, collagraph, monotype, and book arts. She will be offering a new printmaking course that includes experimenting with overlaying a variety of printmaking techniques, including screen-printing, presented in different formats. 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 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.