The BFA Drawing and Painting Emphasis offers courses in a number of traditional and

exploratory drawing and painting approaches including life drawing, drawing research,

water-based media, oil-based media and a variety of selected topics courses. Directed Study in Drawing

and Painting is an advanced laboratory fordeveloping a more individual body of work within a

studio classroom context.

ABOUT THE designer

Hannah Lee is currently a Junior in the Graphic Design program at Georgia State University’s College of the Arts. Her decision to apply into the Graphic Design program is, in fact, partly due to Tim Flowers whom she had for 2D Design. During her free time, she enjoys watching dance covers on YouTube and jamming out on her guitar. She hopes to one day work in Korea as a graphic designer for the entertainment industry.

visit timoflowers.com for more work

The Drawing, Painting, and Printmaking concentration is dedicated to the visual exploration of contemporary issues. In offering a B.F.A.concentration as well as support courses for other concentrations and degrees in the School, it strives to contribute to cultural dialogue, enhance visual literacy, and encourage the development of individual perception, initiative, and artistic decision making.

College of the Arts

Georgia State University55 Park Place, Suite 910

Atlanta, GA 30303

Graduate DirectorCraig Drennen

10 Peachtree Center Ave.124 Art & Humanities Bldg.

Atlanta, GA 30303404.413.5256

adrennen@gsu.edu

Undergraduate AdvisorAdam Wagner

10 Peachtree Center Ave.117 Art & Humanities Bldg.

Atlanta, GA 30303404.413.5221

awagner@gsu.edu

Georgia State University’s College of the Arts, which will

officially open in July 2017, will include the School of Music, the

Welch School of Art and Design, the film and theater component

from the Department ofCommunication, the Center for

Collaborative and International Arts and the Center for Educational Partnerships from the School of Music. These units are now part of the university’s College of Artsand Sciences. The new academic unit will focus on education inarts and related media, promote creativity and respond to the changing needs of artists, on-and off-campus.

Dr. Wade Weast has been named the founding dean of

the new college. “The creation of this college elevates the arts at

the university and as a result arts majors will see their public

performances, exhibitions and film screenings become more

visible on our large and diverse campus,” Weast said. “Georgia State’s increasing number of residential students will enjoy the benefits of a more robust collec-tion of on-campus public perfor-mances, exhibitions and film screenings. The college will partner with the university and the City of Atlanta in making downtown a more enjoyable place to live, work and study. Our college will foster a heightened focus on entrepreneurship, creativity and collaboration.”

For more info:http://news.gsu.edu/2016/05/11/georgia-state-university-to-create-college-of-the-arts/TIM

TIM

How did you get started as an artist?

Well, I think it all started when I was in college. I was actually a physics major. I enjoyed learning all the theories, but my math skills just weren’t as great as I thought they were. Eventually, I just couldn’t keep up with what was required. One day, my English professor and I had a conversation and he encouraged me to visit the arts school. I didn’t think it was even possible to major in art. All I really wanted to do was just draw. So I went up to the arts school and they didn’t have a drawing major, so they put me in as a painting major. And I loved it. My very first class, I remember thinking, “Oh, this is so great!”

What themes do you pursue in your works?

I like things that are complicated. I’m not doing it so much now, but I used to go out to nature to draw. I would go out and find things, like erosion or a fallen tree with its roots uprooted. I would look at those things and try to paint it, even if it’s too complicated and difficult to. For my most recent stuff, I would have people press foil onto their face. From the outside, you can tell who the impression belongs to, but the inside impression is hard to recognize. That’s the stuff I would work with and paint.

If someone looks at my painting and thinks, “What the heck am I looking at?” then I’ve gotten my point across. I find complication and confusion fascinating; where I can create with paint, this sort of visceral expression. It just comes out and grabs your attention and makes you want to make sense of it all.

Do your works have a signature?

I think most of my paintings have surface elements. I’m not sure about my past works, but my recent works have a goopy, almost crusty texture. I don’t like to blend the paint and smooth it out. I like the raw texture.

How or when do you produce your best works?

The summer, because I’m not interrupted with classes. I think in June, I cranked out about four pieces. I would finish one and start another, finish one and start another.

Usually I paint best during the day. I love it when I’m constantly fighting with a slightly changing subject, like the aluminum foils I’m working with now. It’s reflective. The light comes in through the window and it changes everything. There would

What is your advice for future students?

Try different things. Try physics. [laughs] It’s good to have a plan, but you don’t know where the end point is. There will be lots of alternatives and lots of interesting tangents along the way. One of those might be the right path for you, but you won’t know unless you try. I think the school is good at encouraging students to have an open mind. They give them plenty of opportunities to open their eyes to different things. There are so many options and college is the best time to explore them.

Do you have a fun or interesting story that happened while teaching here?

One summer — I think it was back in 2005 — the Arts and Humanities building was being renovat-ed, so I had no classroom to teach in. I had done study abroad programs before, so I had a Study Abroad Atlanta. We met at different sites in the morning, like Piedmont Park, Aderhold, etc.

One time, we were somewhere downtown drawing and painting the cityscape. I was helping a couple of my students down in one corner and I look up the street to find that one student was talking with the police. It turns out that the student had a camera and had taken pictures of one of the federal buildings. I think she even had photos of several of the government officials sitting in the courtyard. I don’t if those restrictions apply now, but back then, taking photos of federal buildings were not allowed. So I had to go vouch for her and they made me sign some paperwork to keep her out of trouble.

If you had to pursue another career option, what would it be?

Hmm … I think I would like to be a guest lecturer. Maybe for kindergarteners? I enjoy working with curious minds, although, I think I would need adult supervision. [laughs] When my daughter was in kindergarten, I worked with her class once and I think I got the kids too excited.

I saw this video where in Germany, there is this kindergarten class that goes out into the woods to explore. That, that’s what I would do. None of this classroom stuff.

Tim Flowers joined the School of Art & Design Faculty in August of 2001. He received his MFA in painting from the Rhode Island School of Design in 1985 and his BFA from the University of Oklahoma in 1983. Prior to his appointment at GSU he taught for 2 years at Louisiana State University in the Painting & Drawing area as a Professional-in Residence, and for 9 years as an adjunct in the Painting Department at the Rhode Island School of Design. In the summers of 1999, 2000 and 2002 he taught a study abroad course, Art in the Outback, through RISD and the University of New South Wales in Sydney.

suddenly be a blue spot and I would work fast to paint it. By midafternoon, it’s gone away, but in its place would be a different color or a different shadow. So I would work that. When it gets dark outside, nothing changes because I’m in this controlled lighting. So I like things to be a little uncontrolled.

Painting will be dead when looking is dead, when we start receiving all visual input from video transmissions sent to the chip implanted in the visual cortex of our brains rather thanthrough our eyes. Then the physicality of an image won't matter because nothing will have physicality. Since those days are coming soon, I will look hard at my subjects now, and paint!

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