Nancy Dillen

Artist and art educator, Nancy Baur Dillen recently retired from Professor of Art at Brevard Community College (BCC) after over twenty years. Nancy was born and grew up in Quincy, a small town in rural north Florida. She attained her M.A. in Art Education and Constructive Design in 1971 at Florida State University in Tallahassee. After graduation, Nancy moved to Melbourne, Florida, where she became an art instructor at BCC

Nancy quickly established herself in the art community. As an educator, she has had the opportunity to work with and influence art programs on all levels. She has taught a variety of courses ranging from drawing to ceramics. She has been guest lecturer, exchange instructor, juror, and board member for the Florida Art Education Association and art consultant both nationally and internationally.

Since the early 1990’s Nancy has taught one and two week workshops during the summer at Arrowmont School of Arts and Crafts in Gatlinburg, TN, an affiliate of the University of Tennessee. She is a founding member of Ten Women in Art, a group of highly regarded professional artists that has exhibited together throughout the southeast for over 20 years.

Joanna White

Joanna White received her MFA in studio art from Florida State University in 2005.  In the past two years, her work has been included in national juried exhibits in New York, Massachusetts, Texas, California – as well as state-wide juried exhibits at the Tampa Museum of Art and the Boca Raton Museum of Art.  Since January 2007, she has had two solo exhibits, one at the Brevard Museum of Art and Science, and one at the Atlantic Center for the Arts Harris House Gallery. She currently works in Melbourne, Florida where she is the program coordinator and instructor for the art department at Brevard Community College. 

Artist Statement
The origami box form, with its consistent proportions and vessel-like construction has become a key building block and formal device in my sculptural and fiber-based work. Ranging in size from a quarter-inch to eighteen inches across, the boxes are hand-folded from thin, transparent papers, or discarded materials such as used Post-it notes, junk mail, or my students’ abandoned drawings.  Though the form suggests solidity, the material is fragile and vulnerable.  I’m fascinated by the container aspect of the box, and the weird subversion of the perfect, crisp geometry of the structure by the sagging, fragile nature of the paper. The boxes may function as several things at once – as houses, bodies, a time sequence, or segments of a greater whole.