We have gathered, from far edges - a convergence of five.

We are transformed, hybrids of who we once were.

We pause for a moment, on the verge of the unknown.

College Hall Gallery

36 College Street
Montpelier, VT 05602

Thesis Reception

Thursday 12 April
7:30PM — 9PM

Open to the Public

12 – 15 April 2017
12pm – 9pm

Antwon Key

Red, White and Black

Dannell MacIlwraith

Surrendering to the Unexpected

As a person, and a designer, I have enjoyed control. I have been a very intentional, controlling person that felt safe and comfortable within a set of parameters. Recently, I have been abandoning control and accepting the uncontrollable. The unexpected can make life and work interesting and exciting. The detachment of control has added new systems to my work, practice, and lifestyle. My research was influenced by Dada, Cage, Kandinsky, and Daniel Eatock.

My methodology of experimenting with unexpected results can be integrated within both analog and digital techniques. The blind element is designed as part of a larger system within my work. I am examining how surrendering control, with use of this variable, can help with experimentation and understanding of self. My thesis is designed for me to accept the imperfections and chaos of life.

By letting go of control, we gain new experiences and happy accidents. I want the viewer to be visually stimulated and accept the unexpected in design and thusly, within their being.

Dina Zaccagnini Vincent

Voices of Inquiry

Jodi Adkins


In its simplest terms, creating is an act of disruption. If you put pigment on a surface, you have disturbed it in some way. But the kind of disruption that I am interested in is a transformative change to systems that have been in place for a long time.

I like to think of this level of transformation as a reimagining of an entrenched way of doing things by introducing a new system or solution. By choosing the word disruption I hope to demonstrate both the power of change itself and the power it takes to make huge creative leaps.

Victoria Bjorklund

Cafe Society

The room gets quiet as the curtain parts, the mechanical clicking turns into a hum, the orchestra begins, and a giant screen crackles to life with light and movement. The 1920s were truly cinematic in every sense of the word.

The decade between the wars demonstrated a zest for life which could be seen everywhere from the crowds who came to socialize at the Speakeasies with the sounds of Jazz, and the flappers with their bobbed hair and short hemlines who danced the night away. There was an unprecedented growth in wealth, revolutions in music, art, fashion, literature, film, alongside giant leaps in modern technology that were matched with an equally rapid change in social conventions.

I was swept away with these early ideas of progress, movement, simultaneity and overlapping images of modern life. The swirling energy, optimistic spirit, and newfound leisure time certainly made it look ideal. An essay in the December 1923 issue of Vogue magazine written by John McMullin provided the quintessential narrative for my series of photographs. I wanted to create a glimpse into this dynamic time using multiple exposures from films of the period that reflect the vitality with overlays of typography from the movie palaces where these films were screened. I invite you to experience this era of energy and exuberance and rediscover the roaring 1920s.


Share your photos from our exhibit use hashtag #vcfaconvergence