Tony Ingrisano

Portfolio Work Images

All images can be expanded by clicking in image.

Rif War 2025 24”x24” Cut Paper, Acrylic and Flashe on Panel

2. Presidio Modelo 2025 24”x24” Latex, Gesso, Watercolor on Panel

Submission for ‘Love Is Resistance’ exhibition at Cleveland Museum of Art’s Transformer Station. Artists were asked to respond to a work in the museum’s collection. Looking at Giovanni Panini’s Interior of the Pantheon, 1947, I couldn’t help thinking of Jeremy Bentham’s Panopticon prison proposal. Presidio Modelo inserts the Pantheon’s column of light inside a real panopticon: a Cuban prison built on Bentham’s design. From 1931-1967 this ‘model prison’ held 6,000 men at a time, among them Raúl and Fidel Castro. Here, the Pantheon’s oculus of light is interchangeable with the eye of the omnipresent warden/god, and calls into question humankind’s proclivities to supplicate to a scornful, omniscient power while simultaneously embodying a god-like role in policing fellow humans. The full structure, created with recessed paint, is only visible via raking light (top).

3. PA 2024 40”x57” Acrylic and Acryla Gouache on Yupo

4. Cobalt Noise 2023 31”x43.5” Acrylic and Flashe on Panel

5. Dark Noise 2022 28”x28” Acrylic on Panel

6. Yellow Noise II 2023 24”x24” Acrylic on Panel

7. Pyrrole Noise 2022 45.5”x43” Acrylic on Panel

8. Sans Serif 2021 28”x28” Acrylic and Flashe on Panel

9. Serif 2021 28”x28” Acrylic and Flashe on Panel

10. AS 5 2020 28”x28” Framed Acrylic and Ink on Paper

11. AS 4 2020 20”x38” Acrylic and Ink on Panel

12. Painting That Hurts To Look At 2024 24”x24” Acrylic on Panel

13. Loue Tent 2023 18”x15” Oil on Yupo

14. B Tent 2024 25”x24” Oil and Acrylic on Panel

15. Feather Tent I 2023 24”x24” Acrylic on Panel

16. Ghost Site I 2024 21”x17” Oil on Yupo

17. MFV 2023 35”x46.5” Oil on Canvas

18. Central Pivot Irrigation 2019 20”x38” Acrylic on Panel

19. CAK 2018 21”x21” Acrylic on Paper, Cut and Rearranged on Panel

20. Runways for Carlo Rovelli 2019 40.5”x37.5” Acrylic on Paper, Cut and Rearranged on Panel

Tony Ingrisano

Student Work Images

1. Nicole Alvarez Untitled 2025 Oil on wood appx. 28”x33”

From Nicole’s series Cleveland Buckeyes, a suite of paintings celebrating players from Cleveland’s Negro League team of the 1940’s. This series began in our Hybrid Approaches class, where Nicole was first exposed to shaping panels with a CNC Shopbot.

2. Jamie Brinker I heart Fiction 2025 29”x26” Oil on Yupo Bitches, Man! 2025 40”x18” Oil and Acrylic on Canvas

Selections from Jamie’s BFA Thesis Exhibition Favorite Child which uses her family dog as a surrogate for exploring themes of misogyny + sexism.

3. Crystal Miller Pucker Up 2023 40”x30” (not incl. trim) Acrylic and Mixed Media on Canvas Image from Miller’s BFA Thesis Exhibition

Crystal’s thesis work focused on celebrating Black hair. This body of work was featured on the cover of CAN Journal, written up in Canvas magazine, and exhibited at Maria Neil Projects.

4. Madison Hennessey 2024 28”x44” Oil on Canvas

A play on Marcel Duchamp’s Étant donnés and Édouard **Manet’s Olympia. Created for ‘Painting After The Photograph,’ a course exploring painting’s evolutionary role in image creation from 1826-Today.**

5. Pax Enstead 2022 42”x52” Oil and Acrylic on Linen

Pax’s Senior Thesis- A series of large-scale works depicting imagined creatures in a state of flux, inspired by his experiences as a trans man.

6. From Painting From The Photograph, and Not (The Brown M&M) Assignment Erjon Hajnaj 2020 (above) and Nicole Alvarez 2024 (below)

I created this assignment for our Painting After The Photograph course. Students must design their own still life and paint it twice- once from observation, once from a photograph. At critique they present four things: the two paintings, the photo they worked from (pinned backwards at first), and their own definition of ‘Depiction.’ At the start of critique we all go around the room placing stickers below the painting we suspect is from observation before revealing the photos to everyone’s awe. Critique flows naturally from there.

7. Analog>Digital>Analog Assignment Ashton Burton 2024

For this Hybrid Approaches course assignment, students digitally manipulate found imagery and bring it back into their work. Ashton used Photoshop to create an overlay of two minstrel faces (a metal piggy bank from the 70’s and an undated magazine photo) and bring that image back into a painting.

8. Bianca Fields 2019 24”x24” Oil and Airbrush on Canvas

A re-imagining of popular cartoon imagery. A true painter’s painter, Bianca’s heavily built-up surfaces often extend a half-inch or more from the canvas.

9. Zoe Welch 2022 26”x26” Oil on Canvas

Combining images of self-mutilation and ASCII characters, Zoe’s work forces intersections between the cute and the grotesque.

10. Jace Lee 2019 28”x 35” India Ink on Yupo Paper

Immanuel Kant and a manic tiger.

11. Maeve Billings 2021 Oil on Canvas

Installation view of Maeve’s BFA Thesis Exhibition FEAST. These lush, evocative oil paintings unfolded out of Maeve’s deep research into Rembrandt, Carracci and Soutine’s slaughterhouse depictions.

12. Julia Milbrandt 2019 36”x22” Colored Pencil on Paper

13. Kaylee Ryan 2024 48”x108” Graphite on Paper

14. Bonnie McCormick 2021 38”x27” Oil on Canvas

15. Brandon Secrest 2020 42”x70” Oil on Canvas

Painted entirely via removal- this massive painting of a simple bunched white sheet (composited) was created in sections. The depiction is formed as the artist uses rags to wipe into a blue overcoat laid atop the red background.

16. Bria Singer 2017 appx. 40”x45” Watercolor on Paper, Trimmed

17. Nicole Carroll 2021 8”x8” Oil on Panel Exploring the materiality of paint in our Medium Is The Message class.

18. Emily Fontana 2024 Dimensions variable Acrylic Paint, Molding Paste, Spackle, Sanrio Plastic Toys, Cake Stand

Emily’s Massacre Cake is abhorrently cute, irresistibly enticing and filled with adorable creatures meeting gruesome ends.

19. Sam Butler (Foundation Year) 2022 Dimensions Variable Used Denim and Shoes, Wooden Armature, Batting

Riffing off the phrase ‘By the seat of your pants,’ this is one of my favorite solutions to a Foundation Level assignment involving transformation.

20. Seneca Kuchar 2021 Oil on Mylar, Polished Steel and Canvas

Installation view of Seneca’s BFA Thesis Exhibition SEE THE USA IN YOUR CHEVROLET that presents used car parts as metaphor for the sun-setting of the American Dream.