Pathways Book

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This catalogue documents the exhibition of works by six outstanding Florida
artists whose practice, although in its early stages, shows commitment,
consistency, refinement, and promise. More than a year ago we started a
collaboration that resulted in a unique initiative to support and help develop the
artistic career of practitioners in our state. The Rollins Museum of Art and The
UCF Art Gallery at the University of Central Florida are proud to present the
first edition of Pathways: The Carlos Malamud Prize, a juried, biennial, dual-venue
exhibition whose goal is to nurture emerging artists and provide a pathway to
success through consistent engagement over time. Aligned with the educational
missions of both presenting institutions, the exhibition and prize provide a unique
and transformative experience that sets it apart from other art competitions.
For this inaugural edition, three jurors, each an expert in a different area of
the art world, selected six finalists from a pool of more than fifty applicants
representing all areas of the state, from Miami and Ft. Lauderdale to Central
Florida, Gainesville, and Tallahassee, among others. They carefully considered
the merits of each submission, finally putting together an exceptional roster of
artists of diverse backgrounds and experiences, who work in a variety of media
and themes. We are grateful to Omari Booker, Visual Artist, Los Angeles and
Nashville, Jonell Logan, Independent Curator and Vice President and Creative
Director of the McColl Center, North Carolina, and Liz Parks, Art Advisor and
Founder of Parks Fine Art, New York, for their time, commitment, and vision as
they juried each submission. Their participation and engagement in this process
has been invaluable. The expertise of each of the jurors, and their interactions with
the artists will contribute to expand their network and create dialogue as their
practice develops.
This year’s finalists: Eugene Ofori Agyei, Channing Gray, Aimee Jones,
Eric Ondina, Ivan Riascos, and April Webb, conform an artistic cohort that
represents the diversity of approaches to art making—from installation and
FOREWORD
2
sculpture, to painting, photography, and collage, the works by these artists
reaffirm the vibrancy of the arts in Florida. As we congratulate the first winner
of the Carlos Malamud prize, we are reminded of how important it is to create
opportunities and to foster rigorous and sustained growth for artists.
We hope that this is the first of many editions of Pathways, and that we can help
prepare and nurture the path for many artists to come. In doing so, we will engage
our wider community, offer practical support for artists, and create new avenues
of engagement with the arts in Florida. “I am very pleased to have partnered with
these excellent institutions, that will help transform the emerging artists of Florida,
in the art and financial fields,” noted Carlos Malamud.
Our sincere gratitude goes to Mr. Malamud for bringing the concept of the
exhibition to the Rollins Museum of Art and providing the funding for the prize,
and to the Pabst Steinmetz Foundation, Presenting Sponsor of the exhibition at
Rollins, for generously funding the installation and catalogue.
Ena Heller, Ph.D.

BRUCE A. BEAL DIRECTOR, ROLLINS MUSEUM OF ART
Shannon Lindsey, M.F.A.

DIRECTOR, UCF ART GALLERY
Gisela Carbonell, Ph.D.

CURATOR, ROLLINS MUSEUM OF ART
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JUROR
STATEMENTS

Omari Booker
VISUAL ARTIST, LOS ANGELES, AND NASHVILLE
The quality of selected and submitted artwork for the Pathways prize was
exceptional. Exposure, experience, and financial assistance are essential
steppingstones for emerging artists. Pathways is a well-rounded opportunity
that will greatly boost the selected artists’ careers.
Ivan Riascos’ work is visually appealing and intellectually stimulating. The

balanced collage elements feel familiar and surreal simultaneously. I was
immediately drawn to the images. The depth that each piece holds pulls the
viewer into each layer of the work.
I appreciate how Channing Gray connects the physical, spiritual, and universal
worlds. Her circular figurative works triggered my imagination and never let me
rest in one place. The mixed media elements as well as the stylized imagery create
realistic work with a dream like quality. Those philosophical questions that are
explored in her work give the pieces a lot of depth.
Photo credit: Cassidy Cole

Liz Parks
ART ADVISOR AND FOUNDER OF PARKS FINE ART, NEW YORK CITY
It was a pleasure participating as a juror for Pathways. As a New York based art
advisor who typically works with more established artists, I was truly overwhelmed
by the quality of the work presented by these young Florida-based artists. They
are testament to the vibrancy of the creative communities and cultures present in
their home state. I have no doubt that the finalists we have selected have bright and
promising art futures ahead of them.
The biting social commentary drew me in, the adept technique made me stay.
Eric Ondina uses imagery taken from the far reaches of social media’s lefts and
rights to comment on our fractured society, point out the absurd, call out the
inconsistencies. Painted using materials most often associated with the Old
Masters, from centuries ago, the contrast of contemporary with old school further
accentuates the dichotomy of incongruities within the current social and political
climate in the United States. Dare we deserve such revered treatment...of the type
typically reserved for the saints but not the sinners?
A sculptor from Ghana currently residing in the US, Eugene Ofori Agyei draws from
his past to circle the square of his present, exploring the emotional links between
the two places he calls home. There is much push-pull in the work - hard/soft,
handcrafted/machine-made, history/the here-and-now. The works function as
three-dimensional poems of Agyei’s emotions, with the ceramic signifying the body;
the batik, its skin; and the yarn, the link between two worlds, two identities. As the
heart and soul of each sculpture, the abstracted corporeal
ceramic forms illustrate Agyei’s technical mastery of clay. As
the skin, the batik helps shroud this form, protecting it, and
perhaps, at times, hiding it away. (And, with batik’s myriad
sites of creation and exportation around the world, it also
serves as a signpost for global trade, a linking of cultures.)
This link is fortified by the yarn, which makes a nod toward
hair braiding in Agyei’s native Ghana but also serves as the
connection to Agyei’s new home. All elements mix and
swirl and ultimately settle into a new hybrid identity.
Photo cred
it: Ira Fox
6

Jonell Logan
INDEPENDENT CURATOR AND VICE PRESIDENT AND
CREATIVE DIRECTOR, MCCOLL CENTER, NORTH CAROLINA
Initiatives like this are so important for emerging artists. Creating

opportunities to show your work at an institution is a must for artists as
they build their careers. I so enjoyed being a part of this process and being
exposed to the work of new artists.
April Webb’s interrogation of women’s work through her use of repurposed

domestic materials is interesting from a social and material perspective.
The choice to salvage materials from other women’s homes, then add her labor
to create installations and performances that demonstrate the beauty and toil
that exist for women in our domestic lives.
High-key color and the fragmentary forms bring power to Aimee Jones’
paintings. Her use of familiar domestic objects and patterns contrast against
her representation, or in some cases, simple suggestion of the figure. These
fragments of the odd and familiar are a wonderful foil for her conversation about
mental health, femininity, and the vulnerability of the body.
Photo credit: Chris Edwards
7
PATHWAYS
FINALISTS
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Eugene Ofori Agyei
is a ceramic sculptural artist and an educator originally from Ghana living in
Gainesville, Florida. He graduated from Kwame Nkrumah University of Science
and Technology in Kumasi, Ghana with a BA in Industrial Art, majoring in Ceramics
in 2018. Prior to his MFA at the University of Florida, He was assigned as teaching
and research assistant in the same school where he received his BA for one year.
Eugene is the 2020/2021 recipient of the University of Florida Grinter Fellowship
award, 2022 Artaxis Fellowship award and has exhibited his work internationally
and nationally in Turkey, Samuel P. Harn Museum of Art (FL), GFAA Gallery (FL),
Coco Hunday (FL), Alvarez Gallery (CT), 4most SAAH Gallery (FL), Watershed
Center Gallery (ME), Grizzly Grizzly Gallery (PA), Taylor Hall Gallery (DE) among
others. He was the 2021 Zenobia awardee at Watershed Center for the Ceramic
Arts and gleaned Best of Show from The In Art Gallery’s social change and open
theme exhibition. Agyei is also the recipient of the 2022 NCECA Graduate Student
Fellowship and the 2022 NCECA Multicultural Fellowship award.
Photo credit: Emmanuel Opoku
4/28/22 5:20 PM
Eugene Ofori Agyei (Ghanaian b. 1993)
Bond
2021
Earthenware clay, fabric, yarn
70 x 82 x 120 in.
Image courtesy of the artist
ON VIEW AT RMA
10

I didn’t know, now I know
2021
Earthenware clay, fabric, yarn, paint
19 x 9 in.
ON VIEW AT RMA
11

Adornment
2021
Earthenware clay, fabric, paint
15 x 7 x 12 in.
ON VIEW AT RMA
12

I’m not sure
2022
Stoneware clay, fabric, yarn, paint
50 x 11 x 36 in.
ON VIEW AT RMA
13

Complex Journey
2021
Stoneware clay, fabric, yarn
90 x 220 x 440 in.
ON VIEW AT UCF
14

Inside Out
2021
15 x 8 in.
ON VIEW AT UCF
15

In between
2021
19 x 11 x 22 in.
ON VIEW AT UCF
16

Sankofa
2021
18 x 6 x 12 in.
ON VIEW AT UCF
17

Channing Gray
has a practice that intersects drawing, painting, bookmaking and installation
to navigate her nomadic memories through symbolic narratives. Constellation
maps, illustrated stories, and childhood memorabilia are muses for her method
of charting connections between people, place and time. She lives in Orlando, FL
and works as a studio artist and preparator. Gray received her MFA in Studio
Art at Florida State University in 2020 and a BA in Fine Art from University of
Central Florida in 2017. Her award-winning work has been shown regionally and
through virtual media platforms internationally. Exhibition spaces include the FSU
Museum of Fine Arts, Orlando Science Center, Orlando Museum of Art and Art
Fields in Lake City South Carolina. Virtual spaces include Bean Collective,
We Found Space, Social Distance Gallery (COVID-19), Lacuna Festivals, and
Polemical Zine. She was part of two virtual artist residencies in 2020: CRISIS
Residency: Creativity In-Place and SPUR.WORLD. Gray spends her spare time
drawing, stargazing and randonauting.
Photo credit: Jeff Gray
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Channing Gray (American, b. 1994)
Finding Atlas
2021
Color pencil, watercolor, and ink on sanded plywood
17 x 12 x ¼ in.
ON VIEW AT RMA
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Moments in Space and Time
2021
Color pencil, ink, and acrylic paint on cardstock paper, stitched together in hardcover board and leather
8 ¾ x 5 ¾ x 1 ¼ in.
ON VIEW AT RMA
20

Silver & Yellow Coat
2020
Charcoal and acrylic paint on canvas
58 x 59 in.
ON VIEW AT RMA
21

Tools of Use & Rope
2020
59 x 59 in.
ON VIEW AT RMA
22

Collected Objects
2020
Color pencil, ink, and printed text on cardstock paper; stitched together in hardcover board and leather
8 ¾ x 5 ¾ x 1 ¼ in.
ON VIEW AT UCF
23

Arrow & Thread
2019
52 x 57 in.
ON VIEW AT UCF
24

Pic & Memory Cards
2019
54 x 58 in.
ON VIEW AT UCF
25

Scarf & Charcoal Dust
2019
51 x 58 in.
ON VIEW AT UCF
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Lone Games & Necklace
2019
53 x 58 in.
ON VIEW AT UCF
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Aimee Jones
is a visual artist and current candidate for an MFA in Studio Art and a graduate
certificate in Women and Gender Studies at the University of South Florida.
She has exhibited in Spain, Texas, Florida, and was a participant in the HANNAC
Can Borni Residency in Barcelona. She specializes in painting the human
figure that is transformed in both domestic and botanical landscapes. After
studying advertising in Texas, she moved to Italy to study under a ceramic
artist specializing in Italian tile painting. From there, she moved to Madrid for
three years to be an educator and has been creating work as a response to
her life experiences since.
Photo credit: Forrest MacDonald
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Aimee Jones (American, b. 1992)
Vacation Mode
2021
Oil on canvas
48 x 72 in.
ON VIEW AT RMA
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Virgin Whore
2021
Oil on canvas
30 x 24 in.
ON VIEW AT RMA
30

Grounding Technique
2021
Oil on canvas
30 x 30 in.
ON VIEW AT RMA
31
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Kudzu People
2020
Oil on canvas
48 x 36 in.
ON VIEW AT RMA
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Cherry
2021
Oil on canvas
36 x 36 in
ON VIEW AT UCF
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Different Sausage, Same Sentiment
2021
Oil on canvas
20 x 20 in.
ON VIEW AT UCF
34

My Voyeur
2020
Oil on canvas
15 x 11 in.
ON VIEW AT UCF
35

Dinner Party
2019
Oil on canvas
48 x 48 in.
ON VIEW AT UCF
36

Eric Ondina
received his M.F.A. from the University of South Florida in 2019 and his B.F.A.
from Florida State University in 2013. His research analyzes the fractious political
conditions within the United States and visualizes its social repercussions
by way of comedy, tragedy and absurdity through painting and multimedia
collaborations. Eric has an extensive background in the technical processes of
painting and drawing. His recent cycle of work embraces academic painting’s
assumed prerequisite mastery to fulfill the mass expectation of art to interpolate
visualizations of the American entropic condition. Eric has exhibited locally and
nationally. Most recently Eric participated in The Skyway 20/21 exhibition, a
collaboration between four institutions: the Museum of Fine Arts, St. Petersburg;
The John and Mable Ringling Museum of Art, Sarasota; the Tampa Museum of Art;
and the University of South Florida Contemporary Art Museum, Tampa.
Photo credit: Chris Jackson with CineView Studios FL
37
Eric Ondina (American, b. 1988)
Hip
2019
Egg tempera emulsion on board
25 x 36 in.
ON VIEW AT RMA
38

Mr. Cagnos Guest Speaker 1
2021
Egg tempera emulsion on canvas
24 x 30 in.
ON VIEW AT RMA
39

Mr. Cagnos Guest Speaker 2
2021
24 x 30 in.
ON VIEW AT RMA
40

Off the Deep End
2020
30 x 38 in.
Lent by James & Aida Shaw
ON VIEW AT RMA
41

Legion
2020
48 x 48 in.
ON VIEW AT UCF
42
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The Dance
2020
24 x 30 in.
On loan courtesy of Elias Posada
ON VIEW AT UCF
43

Keep the Change
2020
20 x 30 in.
ON VIEW AT UCF
44

Palms
2019
24 x 35 in.
ON VIEW AT UCF
45

Ivan Riascos
is an interdisciplinary artist. Earning his BFA degree from The School of the
Art Institute of Chicago with an emphasis in photography in 2008, he was
awarded the Endsley Memorial Fellowship, Siragusa Foundation Grant, and
Recognition Merit Scholarship during undergrad. In 2014 he earned his MFA
degree in Emerging Media at the University of Central Florida and was awarded
the MFA Provost Fellowship. He has exhibited in group shows in Atlanta,
Chicago, Milwaukee, Orlando, and Tampa. Ivan was born in Southern California
to parents that immigrated from Colombia. He considers himself a diarist and
an anthropologist in his practice, using various mediums such as sculpture,
photography, collage, painting, ready-mades, and ceramics to address identity,
religion, family, memories, perception, and relationships. Ivan has lived in the
Central Florida area since the age of 7, where he currently resides. He self
publishes photo-based zines (slang for a self-published magazine). He can be
found at various zine fests throughout the year, peddling his artwork.
Photo credit: Annie Scull
46

Ivan Riascos (American, b. 1966)
The Odd I See #4
2020
Collage
23 ⅜ x 49 1⁄16 in.
ON VIEW AT RMA
47

The Odd I See #5
2020
Collage
29 x 32 ⅞ in..
ON VIEW AT RMA
48

The Odd I See #8
2020
Collage
24 x 48 ⅛ in.
ON VIEW AT RMA
49

The Odd I See #12
2020
Collage
16 ⅞ x 45 ¼ in.
ON VIEW AT RMA
50

The Odd I See #14
2020
Collage
36 1⁄16 x 41 in.
ON VIEW AT UCF
51

The Odd I See #2
2020
Collage
25 ¾ x 36 ⅛ in.
ON VIEW AT UCF
52

The Odd I See #9
2020
Collage
25 15⁄16 x 36 ⅛ in.
ON VIEW AT UCF
53

The Odd I See #1
2020
Collage
18 ¾ x 25 ⅛ in.
ON VIEW AT UCF
54

April Webb
was born and raised in Florida. She received her undergraduate degree from
Flagler College in St. Augustine and her MFA from Florida State University
in Tallahassee. In recent years her work has been shown at Working Method
Contemporary and at The B-Complex in collaboration with Strange Matter
Atlanta. Her work is on permanent display at the FSU Coastal Marine Laboratory.
In 2019 Webb served as a panelist for the Florida State Department of Art History
Indigenous Film Showcase and in 2020 she received the Jim Boone Endowed Art
Scholarship. The scholarship’s mission is to reward the exceptional achievements
of graduate students making work about social justice issues.
55

April Webb (American, b. 1988)
One Leg at a Time
2019
Men’s button-down shirts, paint
36 x 72 x 10 in.
ON VIEW AT RMA
56

Fe Mini Start
2021
Dryer lint, wax, spool organizer, embroidery floss
12 x 12 x 12 in.
ON VIEW AT RMA
57

Map Mop
2021
Preloved disposable mop pads, watercolor, thread
Variable dimensions
ON VIEW AT RMA
58

A Three-Part Dissection of the Rug That I Sweep Things Under
2021
Dryer lint, preloved disposable mop pads, yarn, rug pad, upholstery tacks
60 x 84 x 108 in.
ON VIEW AT UCF
59

Dream Catcher
2021
Preloved air filters, dryer sheets, floral mesh, thread, beads, sheetrock, wallpaper, shoe, molding, paint
28 x 28 x 6 in. each
ON VIEW AT UCF
60

CHECKLIST
62

Eugene Ofori Agyei (Ghanaian b. 1993) Eugene Ofori Agyei (Ghanaian b. 1993)
Bond Sankofa
2021 2021
Earthenware clay, fabric, yarn Stoneware clay, fabric, yarn, paint
70 x 82 x 120 in. 18 x 6 x 12 in.
Courtesy of the artist Courtesy of the artist
ON VIEW AT RMA ON VIEW AT UCF
Eugene Ofori Agyei (Ghanaian b. 1993) Channing Gray (American, b. 1994)

I didn’t know, now I know Finding Atlas
2021 2021
Earthenware clay, fabric, yarn, paint Color pencil, watercolor, and ink on sanded plywood
19 x 9 in. 17 x 12 x ¼ in.
Ccourtesy of the artist Courtesy of the artist
ON VIEW AT RMA ON VIEW AT RMA
Eugene Ofori Agyei (Ghanaian b. 1993) Channing Gray (American, b. 1994)

Adornment Moments in Space and Time
2021 2021
Clay, fabric, paint Color pencil, ink, and acrylic paint on cardstock
15 x 7 x 12 in. paper, stitched together in hardcover board and
Courtesy of the artist leather
8 ¾ x 5 ¾ x 1 ¼ in.
ON VIEW AT RMA Courtesy of the artist
ON VIEW AT RMA
I’m not sure
2022 Channing Gray (American, b. 1994)
Stoneware clay, fabric, yarn, paint Silver & Yellow Coat
50 x 11 x 36 in. 2020
Courtesy of the artist Charcoal and acrylic paint on canvas
58 x 59 in.
ON VIEW AT RMA Courtesy of the artist
ON VIEW AT RMA
Complex Journey
Stoneware clay, fabric, yarn Tools of Use & Rope
90 x 220 x 440 in. 2020
Courtesy of the artist Charcoal and acrylic paint on canvas
59 x 59 in.
ON VIEW AT UCF Courtesy of the artist
ON VIEW AT RMA
Inside Out
Stoneware clay, fabric, yarn, paint Collected Objects
15 x 8 in. 2020
Courtesy of the artist Color pencil, ink, and printed text on cardstock
paper; stitched together in hardcover board and
ON VIEW AT UCF leather
8 ¾ x 5 ¾ x 1 ¼ in.
Courtesy of the artist
In between ON VIEW AT UCF
2021
19 x 11 x 22 in.
ON VIEW AT UCF
63

Channing Gray (American, b. 1994) Aimee Jones (American, b. 1992)
Arrow & Thread Kudzu People
2019 2020
Charcoal and acrylic paint on canvas Oil on canvas
52 x 57 in. 48 x 36 in.
ON VIEW AT UCF ON VIEW AT RMA

Pic & Memory Cards Cherry
2019 2021
54 x 58 in. 36 x 36 in
ON VIEW AT UCF ON VIEW AT UCF

Scarf & Charcoal Dust Diff erent Sausage, Same Sentiment
2019 2021
51 x 58 in. 20 x 20 in.

Lone Games & Necklace My Voyeur
2019 2020
53 x 58 in. 15 x 11 in.
Aimee Jones (American, b. 1992) Aimee Jones (American, b. 1992)

Vacation Mode Dinner Party
2021 2019
Oil on canvas Oil on canvas
48 x 72 in.. 48 x 48 in.
Aimee Jones (American, b. 1992) Eric Ondina (American, b. 1988)

Virgin Whore Hip
2021 2019
Oil on canvas Egg tempera emulsion on board
30 x 24 in. 25 x 36 in.
Aimee Jones (American, b. 1992) Eric Ondina (American, b. 1988)

Grounding Technique Mr. Cagnos Guest Speaker 1
2021 2021
Oil on canvas Egg tempera emulsion on canvas
30 x 30 in. 24 x 30 in.
64
Eric Ondina (American, b. 1988) Ivan Riascos (American, b. 1966)
Mr. Cagnos Guest Speaker 2 The Odd I See #5
2021 2020
Egg tempera emulsion on canvas Collage
24 x 30 in. 29 x 32 ⅞ in.

Off the Deep End The Odd I See #8
2020 2020
30 x 38 in. 24 x 46 ⅛ in.
Lent by James & Aida Shaw Courtesy of the artist

Legion The Odd I See #12
2020 2020
48 x 48 in. 16 ⅞ x 45 ¼ in.
ON VIEW AT UCF ON VIEW AT RMA

The Dance The Odd I See #14
2020 2020
24 x 30 in. 36 1⁄16 x 41 in.
On loan courtesy of Elias Posada Courtesy of the artist

Keep the Change The Odd I See #2
2020 2020
20 x 30 in. 25 ¾ x 36 ⅛ in.

Palms The Odd I See #9
2019 2020
24 x 35 in. 25 15⁄16 x 36 ⅛ in.
Ivan Riascos (American, b. 1966) Ivan Riascos (American, b. 1966)

The Odd I See #4 The Odd I See #1
2020 2020
Collage Collage
23 ⅜ x 49 1⁄16 in.. 18 ¾ x 25 ⅛ in.
65

One Leg at a Time
2019
Men’s button-down shirts, paint
36 x 72 x 10 in.
ON VIEW AT RMA

Fe Mini Start
2021
Dryer lint, wax, spool organizer, embroidery floss
12 x 12 x 12 in.
ON VIEW AT RMA

Map Mop
2021
Preloved disposable mop pads, watercolor, thread
Variable dimensions
ON VIEW AT RMA

A Three-Part Dissection of the Rug That I Sweep
Things Under
2021
Dryer lint, preloved disposable mop pads, yarn, rug
pad, upholstery tacks
60 x 84 x 108 in.
ON VIEW AT UCF

Dream Catcher
2021
Preloved air filters, dryer sheets, floral mesh, thread,
beads, sheetrock, wallpaper, shoe, molding, paint
28 x 28 x 6 in. each
ON VIEW AT UCF
66

67

4/28/22 5:20 PM

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22_RMA_003_Pathways2022_BOOKLET_v1.4_jm.

indd 1 4/28/22 5:20 PM

Ena Heller, Ph.D.

Shannon Lindsey, M.F.A.

Gisela Carbonell, Ph.D.

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22_RMA_003_Pathways2022_BOOKLET_v1.4_jm.indd 4 4/28/22 5:20 PM

Ivan Riascos’ work is visually appealing and intellectually stimulating. The

Photo credit: Cassidy Cole

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22_RMA_003_Pathways2022_BOOKLET_v1.4_jm.indd 6 4/28/22 5:20 PM

Initiatives like this are so important for emerging artists. Creating

April Webb’s interrogation of women’s work through her use of repurposed

Photo credit: Chris Edwards

Photo credit: Emmanuel Opoku

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Photo credit: Jeff Gray

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Photo credit: Forrest MacDonald

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Photo credit: Chris Jackson with CineView Studios FL

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Photo credit: Annie Scull

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