Liana Owad is an American artist living and working in Okinawa, Japan. In 2010 Owad earned her BFA in sculpture from Kutztown University of Pennsylvania and in 2014 her MFA in sculpture from the University of Nebraska-Lincoln. Owad is a strong advocate for the maker movement. She has set up two different maker spaces. She was hired as a Coordinator for the University of Nebraska-Lincoln to assist in planning a maker space. She was then promoted to Director and proceeded to further establish and educate members in the functioning space. Owad left the University of Nebraska-Lincoln for a position with the Chesapeake Arts Center to launch their new maker space program. In conjunction with her interest in the maker movement, Owad has continued to create and exhibit her art work. In her practice, Owad observes her domestic environment and draws inspiration from her current surroundings. She focuses on certain elements of routine daily life and through diverse materials, scale shifts, and installation she transforms everyday objects, altering them into symbols of their former selves. She finds the physical manipulation of materials and learning new building methods the driving force of her work. While living abroad Owad is pursing her art practice and experimenting in new mediums and techniques with works on paper.


Wake up, prepare food, bath, get dressed, drive to work, come home, cook again, clean, change clothes, go to bed, repeat. All of these tasks are aided by the use of objects in the home, everyday. With an understanding of function comes a calculated outcome, an interpretation with a set of directions to follow.

The objects presented are markers of something recognizable, yet manipulated, changed, or distorted. I have a fascination with objects we use all the time in our daily routines. We never really investigate the shape and design of these items beyond the instructions or warnings. We rush through chores.

The altered sculptures still have expectations placed on them to perform in their known way, desiring a certain result. Shampoo bottles should hold shampoo.

However when alterations are made to the familiar object, we are pushed out of our comfort zone to further analyze the objects. The discomfort or response to change in the familiar, invites you to investigate the sculpture. The objects now blur the boundary of utilitarian object and transcend into a symbol, a shadow of the former object that allows you to experience them anew.

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