伊莎贝尔·法恩斯沃斯，雕塑系副教授，于1997年就职肯特州立大学。 她于泰勒艺术学院获得学士学位，并于斯坦福大学获得了美术硕士学位。 她一直生活在缅因州的思科跟艺术学校、美术博物馆、休斯敦、阿姆斯特丹、巴黎的国际艺术中心和加拿大的卡拉艺术学院等艺术村。 她的作品融合了雕塑和平面作品（拼贴、版画、绘画）。 近期有德克萨斯州的“奥斯汀学院轮廓线展览”（2013年）和克利夫兰州立美术馆的“挑战海菲斯特斯展览”（2014年）。
我的艺术创作是我对自己人生经验的收集、整理、同化的过程。 通过雕塑的形式，我的主观意识得以重塑和提炼。 通过直觉的创造或解脱的过程，使到我的作品融合半喻言或半抽象的元素，但是也达到我期待的半开放结局。 该作品探讨各种主观状态：心理、，情感和物质。 “身体”往往是我创作的出发点，无论是借由人体来建模或直接构建，对我而言，都既形象化又概念化。 我也很陶醉於创作过程中不断的具体呈现和冥思体验的过程。 这些作品灵感来自切实的行动，来自回馈，来自娱乐，来自沉思之中。 我将色彩斑斓，丰富灵感的素材作为创作分层的切入点。
小型的墙壁雕塑，如《鸟巢》、《炉膛》和《天真》，开始都由橡胶铸造模具，就像摆在地板块的《视觉》一样。 最初的图案是由粘土建模，整体铸件，以独立或组合的形式添加天然的艺术品。 当我在铸模时，很多部分使用一种或多种铸造不同的材质的材料片，通常为木材、，织物、，蜡和偶然发现的物件天然的材料。 这些部分并不是预先计划的; 我的整个艺术品都要经过一个响应复合形式和联想的过程，才能够生动地结合其他材料如：质地、，颜色，线条和表面。这些物质的特性来自个人经验、创作，过程和本身熟悉的文化象征。
Isabel Farnsworth, Associate Professor of Sculpture, joined the faculty at Kent State University in 1997. She received her BFA from Tyler School of Art and her MFA from Stanford University. She has been an Artist-in-Residence at Skowhegan School of Art in Maine, Museum of Fine Arts, Houston, Rijksacademie Von Beelden Kuntz in Amsterdam, Cite’ International des Arts in Paris and Kala Art Institute in CA. Her practice incorporates sculpture and works-on-paper (collage, printmaking, drawing). Recent exhibitions include Contours at Austin College, TX (2013) and Hephaestos Challenged at Cleveland State Gallery (2014).
My artistic process is one of gathering, sorting, and assimilating my experience of the world. In sculptural form, I re-shape and articulate distillations of my subjective experiences. Through an intuitive process of making and unmaking, I arrive at the semi-figurative/semi-abstract elements that structure my compositions but also allow for the open-ended content I desire. The work explores various subjective states: psychological, emotional, and physical. The “body” is often my starting point, either through modeling, life casting, or constructing, represented pictorially as well as conceptually. I am interested in creating work that speaks to both embodied and mindful experience. The pieces emerge from the very act of making, from responding, from play and contemplation. I use imagery, color and sensory/tactile materials as an entry point into the layered “narratives” I create.
The smaller wall sculptures, such as Nest, Hearth, and Innocence, start with castings made from rubber molds, as does the floor piece Vision. The original patterns were created by clay modeling, body castings, and with found objects, either singly or in combination. Once I have the castings, I create pieces using one or more casting and other materials, typically wood, fabric, wax and occasionally found objects. The pieces are not preconceived; I arrive at my assemblages through a process of responding to the composite forms and their associated meanings, as well as playing with material combinations: texture, color, line, and surface. The idiosyncratic objects come out of personal experience, process and a culturally familiar iconography.