The Ohio Artist Registry (OAR) is an exciting opportunity for artists to share their work, connect with the creative community, and establish an online presence—all on a free, virtual platform! The OAR encourages artists working in all art forms, throughout Ohio and beyond, to create a profile, which allows them to better promote themselves and their work. Being listed in the OAR provides artists with new opportunities to share their work with clients, galleries, patrons, and audiences. A listing in the OAR does not confer an endorsement, approval, or verification by the Ohio Arts Council.
For more information, contact Kathy Signorino, artist programs director, at kathy.signorino@oac.ohio.gov or 614-728-6140.
2025 Ohio Artist Registry Juried Exhibition
Finn Fuehrer
ArtistCleveland Ohio 44106 United States Cell Phone: 440-667-5266 Website: Monkey Meat
Bio
Finn Fuehrer is a contemporary conceptual and satirical artist from Cleveland, Ohio. His conceptual work explores the self and the boundaries of drawing and printmaking through natural circles of life and existence. His satirical work is an anti-capitalist, workers-rights-focused world of businessmen in absurdist situations. Fuehrer is currently studying Drawing at the Cleveland Institute of Art and will complete his BFA in 2026. He has also studied at the Burren College of Art in Ballyvaughan, Ireland during their Global Ecologies Studio course in the summer of 2024. This experience was integral to Finn’s conceptual work and he has seen circles in every corner of the world ever since. When not meditating over a blank piece of paper or standing wistfully on a beach, Finn can be found encouraging curiosity and discovery as an Engagement Guide at moCa Cleveland. Fuehrer’s work has been recently exhibited in the Cleveland Institute of Art’s exhibitions Bespoke in fall 2024 and the Student Independent Exhibition 79 in spring 2025.
Artist Statement
My art practice is divided between two theses which I previously regarded as completely different and dissimilar to one another. As I develop these bodies of work, I realize that both equally challenge. While one thesis is more confrontational than the other, the two stand in defiance of existing systems.
My “business thesis,” as I affectionately nickname the body of work, is defined as such for its depictions of businessmen or staples of office culture. The collection stands to challenge capitalism and our role in its system as disposable meat for the government and the one percent to cannibalize.
This thesis is a multimedia practice that stays firmly within the confines of geometric shape language. Techniques such as screenprint allow the work to feel inorganic yet crafted by the working hand. The performance of the body as a machine in printmaking mirrors the exploitative working conditions as a cog in the capitalist machine. Most of the work opts for either monochromatic corporate graphic design, dull and unsaturated blues, or a high contrast red as an accent.
The “business thesis” aims to challenge the inherent exploitative nature of capitalism as well as the fascist cultures that quietly breed in white-collar spaces. The treatment of workers as if they are separate from their humanity is a cornerstone of late-stage capitalism. The working class in America is living a surreal hell of equal parts water cooler gossip and unlivable wages. My businessmen are specimens of the one percent to be poked, prodded, and dissected.
My circles are a more spiritual and conceptual experience than the punk satire of my businessmen. These circles challenge the traditional definitions of a drawing or a print. Does my handwriting become a drawing if I will it to be? Does the “easiness” of a process strip away its concept or quality? Is my breath on glass a print for the fleeting seconds it is visible? These questions against traditional art history perform a stellar collision with a meditative existentialism on my place in the cosmos.
The circles and the exploration of them expand over different types of media. A majority of the work is currently occupied with simple black and white values. I study these circles using a wide variety of techniques, often unorthodox, such as a fully nude performance piece in the countryside of Ireland or creating monoprints by chewing up vine charcoal and spitting it onto paper. I combine and warp print processes, drawing, and performance to create ritual.
I work through these circles to find a rhythm in ritual that allows for an awakened awareness of my physical body and mental struggles in relation to the universe around me. I find comfort in being infinitesimal. The circles serve as a symbol for an omnipotence of sorts. Our lives are surrounded and defined by circles and to unpack these is to unpack our universe.