California State University, Stanislaus BA BFA Graduating Seniors

BA BFA GRADUATING SENIORS EXHIBITION 2017

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B FA / B A G R A D UAT I N G S E N I O R S E X H I B I T I O N 2017 University Art Gallery Art Space on Main Department of Art School of the Arts California State University, Stanislaus

300 copies printed

BA Graduating Seniors Exhibition

BFA Graduating Seniors Exhibition,

May 4–26, 2017

May 11–June 23, 2017

University Art Gallery

Art Space on Main

School of the Arts

School of the Arts

California State University, Stanislaus

California State University, Stanislaus

One University Circle

135 West Main Street

Turlock, CA 95382

Turlock, CA 95380

This exhibition and catalog have been funded by: Associated Students Instructionally Related Activities, California State University, Stanislaus

Copyright © 2017 California State University, Stanislaus All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher.

Catalog Design: Brad Peatross, School of the Arts, California State University, Stanislaus Catalog Printing: Claremont Print, Claremont, CA

ISBN: 978-1-940753-29-4

CONTE N T S

Director’s Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

BFA Images and Statements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

BA Images and Statements.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

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D IRE C TO R ’S FO R E WORD

The University Art Gallery and Art Space on Main are very pleased to present this yearšs graduating seniors. These important exhibitions and accompanying catalog showcase the many exceptional artists graduating this year from the Department of Art at California State University, Stanislaus. As Gallery Director and Professor of Art, I have had the pleasure of working with these students in their endeavors to complete the BFA and BA programs.

These degrees are a pivotal part of their development as artists. As a result of their outstanding accomplishments, I am pleased to call these graduating students colleagues. I look forward to seeing them have long and excellent careers in the arts.

Many colleagues have been instrumental in these exhibitions. I would like to thank the BFA and BA students of the Department of Art for their work and being part of the exhibitions; the College of the Arts, Humanities and Social Sciences; California State University, Stanislaus for the catalog design; and Claremont Print and Copy for the printing this catalog.

Many thanks are also extended to the Instructionally Related Activates Program of California State University, Stanislaus, as well as anonymous donors for the funding of the exhibitions and catalogue. Their support is greatly appreciated.

Dean De Cocker Gallery Director California State University, Stanislaus

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B FA I M AG E S A N D S TAT E M EN T S

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CH R IS B E N SO N

My most recent body of work stems from the various insecurities that plague me, those around me, and on a larger scale: humanity itself. These insecurities can be physical, but not limited to a lack of the spiritual, psychological, and even existential. I address these insecurities with an appeal to visual narrative through the versatile and illustrative nature of printmaking. The insecurities themselves are confronted in these images that draw from various themes that have always interested me. Themes such as science fiction, scripture, Greek mythology, and history make appearances in my prints as visual clues as to what the print is trying to communicate. I believe that text should be visual in my prints but never fully read as text. I believe the title needs to be abstract but not to lead the viewer to make one assumption of the piece. I

imagery alludes to the California Gold Rush and human-

do not believe that pieces are finished because as emo-

ity’s discovery (or gift) of fire, electricity, nuclear weapons,

tional beings, we never really stop remembering what

etc. But because we as humans are mortal, we worry a

makes us insecure. Death is the most popular because it

lot about the things that could potentially harm us. We

is the one thing that humanity can be dependable to do.

always think about our inventions, machines, and our cre-

The prints that I have created this semester stem

ations doing us more harm than good. There is that small

from various writings and ramblings that have crept their

mechanical element that interests me so in printmaking.

way from my everyday observations and have mate-

This is partially due to why I chose printmaking as my

rialized on paper as ink. The trails and stanzas of text

medium of expression.

mimic newspaper columns which are juxtaposed next to images that allude to the various insecurities that bother those around me, the insecurities that bother me, and on a larger scale: insecurities that plague humanity. Many of these insecurities are addressed through a narrative that I had created using human discoveries in history, mythological allegory, and through science fiction. My

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Rush, screenprint, 2017 9

W IL L BOW E R S

My preferred subject of art includes illustrating dark creatures that develop within the creative reaches of my mind. These images easily emanate and flow from my mind through the medium of a particular piece. I choose to draw these figures and mythical scenes because I have always been interested in films and books from the horror and science fiction genres, and the characters provide me with inspiration. As such, my work is an expression of my personal interpretation of dark and twisted objects that some people may find unsettling. The reality, however, is that darkness and death are inescapable truths in life, and attempting to ignore them in hopes that they do not exist is fruitless. By including these elements in art, it evokes emotions and discussions of the topic, however uncomfortable it may be. This ties into the purpose and message of my work, which is that even items of darkness have elements of beauty and necessity.

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Codiene Sickness, pastel on paper, 2017

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M ARIA MAGDA LE NA G ON Z A L E S

Youth is a period of infinite possibilities and moments that are integral to the creation of identity. Through the exploration of my childhood memories I evoke a feeling of youth and nostalgia in my images that contrasts with the realities of adulthood.

I integrate elements of science that stem from my knowledge of geology and my childhood aspirations of becoming a paleontologist. This bridges the gap between childlike goals and a more rational adult outlook to form an analytical aspect to my work.

I tap into the idea of limitless youthful potential through childlike snapshots of moments in time and collages of memories. My prints focus on specific memories that emphasize my bond with my family, particularly female family members and the objects that represent them. In my paintings, I layer paint, ink, and imagery to create a piece that resembles the complexities and fluidity of memory. I am beginning to combine printmaking and painting to create large pieces that focus on places and mood as my attitude towards my memories fluctuate. I want to develop a story or space that lures in viewers and makes them reminisce on their own past.

Depicting my childhood memories through printmaking and painting provides an outlet for me to reconnect with my pivotal years and relate them to my motivations as an adult. As time passes, my changing perspective casts a different light on my memories. Revisiting memories causes details to shift and meaning to change, allowing for a constant flow of material to draw from.

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Kaiju Sort Of, Lithograph, 2016

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NAYE L I H E R NA N D E Z

I’ve always had a sense of color. In art, I can create what I want and nothing holds me back. I use warm and cool colors within my artwork. I combine glossy colors to give my pieces a brighter reflective finish. The main medium that I use is acrylic because it is a combination of pigment and plastic resins that dry extremely quickly.

I have been creating abstract paintings using acrylic paint to create backgrounds for my sculptures.

My current body of work includes a variety of colors, ready-made objects, metal, and wood. I’ve had this obsession of recreating a new meaning for objects and it reappears in my artwork. I collect objects that strike me as iconic of the everyday furniture. I like to challenge myself to capture the definition of objects, shapes, and materials I use. I focus on creating different types of textures. I decided to use insulating foam because it creates

I use events and emotions such as anger, sadness,

a bubbly and fun texture. Ultimately, I want to create art

excitement, anxiety, love, and fear as inspiration for my

that makes you wonder about life, focuses on the human

works that range from paintings, drawings, installations,

mind, human interaction, and feeling.

and sculptures. I want my artwork to show a whole new

The brain operates in an expressive and creative way.

perspective in art and also in life. The process of creat-

The mind allows you to express emotions, read emo-

ing my paintings and sculptures has reoccurring themes.

tions and color, and to be creative. I want these pieces

These themes consist of childhood memories, identity,

to focus on the concept of the brain, mind, emotion, and

gun violence, and experimentation with shape and color.

identity. I want the viewer to feel some sort of emotion

Comic books play a huge role in my art such as

or connection when they view my artwork.

work by Jim Lee and Alex Ross. The artists I most admire

Identity does play a huge role in my artwork. Grow-

are Robert Bradford, Rondle West, Paul Juno, Lousie

ing up I struggled about the person who I wanted to

Zhang, and Barbara Baldi. The society I live in is a dispos-

become. Art has helped me discover myself as a person. I

able culture and has forgotten to embrace these plastic

found that art allows me to express myself. When I paint,

objects. I think about people that have made a difference

or create a piece it’s such a relief to create artwork. I like

in the world who are still remembered today; specifically,

to use paint on my sculptures because these are the two

those that I learned about in school when I was a child.

mediums I enjoy working with. I do not see many artists

My hope is that my artwork will captivate viewers inspire

who combine both mediums. I feel like it is my own ver-

them to create their own pieces of art that show their

sion, my own art.

passion as I have done with my own work.

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Eyes on You. furbies, wood, paint, 2017

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FR ANC IS CO J I M E NE Z

I am fascinated by digital technology and its intimate relationship with the modern world. Therefore, it comes as no surprise that digital media is my preferred medium.

Although I enjoy working in traditional media, I find myself always coming back to digital. The digital world is a liberating force for art in regards that it exists in its own realm of reality. It does not follow the rules of our existence and it instead creates its own, only truly limited by hardware that we use to connect with it. As a result, it gives me great freedom, as an artist, to experiment and share my artwork with the world.

As for my art, I am inspired by the world around me.

My art primarily functions as a reflection of my emotions and my understanding of the world. As a result, my artwork is varied in style, theme, and media. Most recently I have been exploring color and geometry to create vibrant, abstract compositions. I have found success in allowing my mind to wander and allow my subconscious to decide the colors and forms that lay the compositions while my conscious adds the finishing details. The result is a satisfying collaboration of my conscious and subconscious working together to produce artwork.

I see myself continuing to explore digital art and expand to work with mixed media. My focus will be to bring two worlds together in a single piece of art. I am excited to see new developments in technology and what new tools will be available to create my art.

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Abstract Geometry 2, digital, 2016

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R AC H E L LE

The main theme throughout my work is the exploration of forms and their relationship with each other.

The forms I use and find tend to be either very fluid or have strong distinct angles. I try not to limit myself with the mediums I use to discover how the forms I create interact with each other. I use mediums such as sculpture, digital work, and collage. I am currently in an in-between state of letting the forms I create solely be forms versus the forms having a narrative. I first discovered this through sculpture with the use of scrap wood and newspaper. The sculpture itself transformed from a fragile state to a stable one through the process of metal casting. Through this sculpture series I created I found a distinct meaning to my art through an abstract explanation. I never expected my art to go into an abstract form nor did I expect it for me to become something so natural. Although I am still trying my best to understand both the process and outcome for this work I would like to continue exploring this part of both my art and myself.

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Amusement Park, mixed media, 2017

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E R IC LL OY D

The fortunate privilege of an artist is the opportunity to explore new mediums, ideas, and styles. As a design artist I have built a foundation in digital art that has instilled in me an appreciation for harmony and balance.

As I continue in my educational experiences my work is increasingly influenced by fine art applications. My current work attempts to bridge my knowledge and skills as a graphic design artist with more traditional methods of creating art to achieve pieces that reflect an exploration of who I am as an artist.

I am attempting to create physical works that can be brought into the digital realm to give the designs a more authentic and artistic presence. Many of my current works incorporate the manipulation of wood pieces through burning techniques. Fire has provided my works raw textures and unpredictable outcomes despite a controlled application. Where design is a very controlled medium, these works have helped liberate me as an artist. We live in a world that consumes resources and technology at a rapid rate and the burning effects of fire in my work helps to convey those ideas. Using primitive materials resonates with my desire to explore distinctly different mediums then my previous work. While I have not abandoned myself as a graphic design artist, I feel my work is deepening through my current explorations.

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Extinguished, burnt wood and acrylic paint, 2017

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L UC INDA M U R PHE Y

I am interested in world building through my illustrations, and creating ethereal environments. The whimsical elements of nature excite me, and I prefer my art to embellish on visually playful components. In my illustrations line is the most important visual element because it is used to communicate tone and mood. Visual storytelling is also a component in my work, and it supports the exploration of themes that are important to me. I want to produce illustrations on a larger scale and try to create opportunities for the viewer to be immersed in my worlds. Illustration is my main focus, but I am also interested in design, video and performance art.

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Little Hauntings, paper and paint, 2017

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C AR SON PE LLA N DA

I am an artist of many trades. Growing up, I would draw comic strips and paint hoods and fenders of cars.

These activities nurtured an instinctive love to create, and I continued to grow as an artist—from a child with hobbies to a young artist with a career that has taken a circuitous but successful path. From designing logos for local businesses and tattooing, to now primarily focusing on fine art photography and my true passion for paint.

No matter what the medium, my art reflects who I am as a person, and what makes me whole. I hope it is an art that offers a unique perspective and thought-provoking twist on reality.

My approach to art is that of a puzzle that needs to be completed. More often than not, when I start a piece, even I am unaware what the puzzle pieces will be. I enjoy the process of visualizing and creating each piece, and then layer by layer building the final work. I find inspiration in music, fashion, politics, beauty…and a visceral relationship with my everyday surroundings.

Mostly, I strive to create art that raises questions and leaves the story untold—with a desire for each viewer’s own interpretation.

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Head Bang, mixed media on canvas, 2017

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C AR R IE T HA I

Preservation of the natural world is something to be worked towards, and technology can help in this cause. How are we able to know about species facing extinction or endangered habitats in a neighboring state, across the country, or on the other side of the Earth? It is partially thanks to viral communication between people and the information offered through media that we are aware of such events. The involvement of technology, however, is sometimes bittersweet in that it has both destructive and beneficial qualities in the journey towards preservation. One thing for certain to come out of this is awareness, and being aware is the first step in making an effort to change or further support our ways of thinking about the environment and all who inhabit it. As a result, my concerns lie with

Currently, I am interested in virtual and augmented

our reactions to the positive and negative effects that

reality and the paradoxes they offer in art. The visuals of

emerge from this connection between humanity and

a digitally sculpted object or scene when viewed through

nature, and from the influence of mass media.

magnified lenses provide an immersive experience as it

I develop the first ideas for an artwork through

challenges our senses, but I am more fascinated by the

drawings and these are derived from a mixture of obser-

emotions and thoughts evoked during this occurrence;

vations and my imagination. I translate some of these

an observance of our authentic feelings in response to a

into sculptures, often with a humorous spin. While clay

pixel-generated world that is becoming readily available

and digital are my go-to mediums, I have recently been

to the public. By depicting scenes of the natural world

experimenting with cardboard, not only for its recyclable

in the virtual realm, it may seem that I am creating an

attributes and ease of accessibility, but also for its repre-

entertaining and convenient escape from reality, but it

sentation of how fragile life forms can be. Additionally,

ultimately stimulates an emotional pull back to the real

with sculpture, the viewer

world as a reminder of how threats to the environment

can discover different perspectives from initial impressions, almost like a game where missing pieces come together, forming a completed puzzle.This way, the viewer is put on a more personal level with my sculpture as they are both operating in the same space.

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still exist.

Gorilla Posed, digital, 2017 27

M AD ISON TO E L

I have come to realize through the course of my life that people have very different means of expressing themselves. Some people are able to be freer when expressing their emotions, while others try to keep their emotions under lock and key. However, I also believe that even the most private people are occasionally betrayed by their body language. I am interested in the way our bodies can portray different emotions and personalities in even the most subtle ways. The tilt of a head or the position of a hand can reveal a lot to the viewer.

I have begun to use simple shapes to construct my figures because it enhances the idea that body language is a powerful thing. Even a face without features, such as eyes or a mouth, can express different emotions. I am also interested in the way in which color and line can enhance these emotions. By using color and the human figure I hope to create images that cause the viewer to feel an emotional connection to my artwork.

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Head #2, acrylic on canvas, 2017

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AMANDA T R A SK

Two of the biggest parts of who I currently am are an artist and a mom of a child with special needs. The body of work that I have focused on creating in the last two years revolves around having a child on the autism spectrum and the relationships that are involved when trying to understand and help your child with this diagnosis. Additionally, my work has begun to take shape in the form of advocating and used as way to help spread awareness. Using my art as a way to look into the world of autism has given me the opportunity to bring up conversations about the diagnosis and execute work that I truly believe in. I generally gravitate towards using media like painting when developing my art, but have begun developing bodies of work that utilize photography and sculpture as well. My work consists of looking at vari-

standing of those with disabilities, the continued support

ous aspects of the diagnosis and is utilized as a way to

that families need in and out of the home and to show

show not only the stigma associated with it, but also the

both the heartwarming and heartbreaking moments that

personal raw emotions and moments that are experi-

come with raising a child with special needs.

enced. The current focus that my body of work revolves around is the autism spectrum, but I am creating conceptual pieces to look at other disabilities and advocating.

The continued direction that my artwork will take will be to still produce pieces with a large focus on autism including discussing the options that families are left with after their children reach a certain age. In addition, as my work continues I will be looking into aspects in which the public school system works for both typically and nontypically developing individuals. Through my art I hope to respectfully portray the spectrum and the individuality that is faced when working with the diagnosis. The goal that I hope to reach with the type of work that I am developing is to bring a continued awareness and under-

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Inclusion, enamel on plywood, 2017

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NATALIE WA D LI NGTON

I am fascinated by a painting’s ability to both reveal and conceal: to represent a thing yet elude understanding it. On the painted surface, forms are able to occupy both an articulate identity and an inarticulate impression, and it is through this process of showing and disguising that powerful storytelling can take shape. In my paintings, figures and spaces come together in narrative compositions that both illustrate an idea and express its emotional/psychological implications. I am primarily a symbolic thinker: I understand and contextualize thought and experience through metaphor and analogy.These symbolic representations of ideas unfold in narratives that are conceptually elaborate and specific. But in its translation from story to image, the language of idea is rearticulated as an experience that is wordless, material, and personal. In painting, this idea is contained within the two dimensional limitations of a canvas that is both static and atemporal. This constraint can be awkward and unsettling as the viewer tries to navigate within the wordless world of a figurative painting that is both speaking and withholding.The unsettling feeling of the undefinable is what inspires me to render imagery and scenes in paint. In paintings as in life, interactions between subject and other or between subject and self are full of ambiguity. It is through ambiguity that we come closer to the complexities of human experience. If art is a medium between the physical world and the inner psyche of the artist, then my paintings serve not only to communicate my symbolic storytelling, but to explore the elusive, emotional potentiality of dynamic human experience.

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Oldman Winter Binding, oil on canvas, 2016 33

B A I M AG E S A N D S TAT E M EN T S

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CRYSTAL A B A R C A

My artwork revolves around dark themes in an attempt to explore odd and uncomfortable forms. By twisting aesthetics, I create a morbid world downplayed by vivid color. My main interest is in unrealistic anatomical proportions and forms, which is very apparent in my figurative works. Most of my artwork is a mixture of mediums on two-dimensional surfaces, however I have recently been delving into more three-dimensional mediums. As I move towards new techniques I am looking to create works that have stronger narratives while continuing to explore form and distortion. Throughout the progression of my art, old horror films and survival horror games have constantly influenced me. This interest in unpleasant-looking figures and frightening spaces pushes my creativity in art. For the future I will continue to pursue the exploration of fear and unnaturalness in my artwork while maintaining focus within the arts.

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As The World Laughs, mixed media, 2017 37

JUS T IN A LM A N ZA

My work shows my love and satisfaction for geometric shapes and how they work together in harmony.

I’m a graphic designer and acrylic abstract painter, but recently I have expanded from the 2D world of design into the 3D realm.

My direct inspiration comes from Piet Mondrian and his simple yet sophisticated compositions. Another artist that inspires me is Vincent Van Gogh for his use of color.

During my abstract creative process I usually have a general idea of what my final product will look like, but overall I let the shapes and colors interact with one another and make changes when I feel the composition or color scheme seems off.

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Layer Me 1, acrylic on wood, 2017

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DANIE LL E B U LLO CK

As an artist, my goal has always been for my work to retain a sense of whimsy and fantasy. My work has always been heavily influenced by my childhood loves: magic and mythology. I draw heavily from the things I loved as a child. I watched cartoons like Sailor Moon and The Powerpuff Girls where young women fought in colorful, stylish worlds. I read fantasy novels about ferocious girl knights and magicians.Through my work I relive those feelings of wonder while keeping in mind the lessons and experiences of my adulthood.

I have also taken heavy influence from stories of gods and goddesses. My work often makes references to these mythical figures, though in lieu of oil and marble, I have opted to apply the skills taught to me by my professors using contemporary tools and technology. Using digital means, my work is purposefully vibrant and cartoonish, combining familiar subjects with modern sentiments and styles. My artwork is essentially all about the colorful, the garish, and the mystical.

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The water is fine, digital illustration, 2017

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AS H L E Y C A RT E R -M O ON E Y H AM

With the decision of my career choice solved, my work has often been influenced by my future goals. I have desired to explore as many mediums as possible to educate myself and to see what allowed me to best express my artistic ideas. My work often deals with time, I’ve always lived with the understanding that life is quite short. This idea that time is escaping me occupies a lot of my thoughts. Life is short so make as few mistakes as you possibly can and try to avoid things in which you might regret. Of course no matter how many rights we do, there will always be some wrongs, some regrets.

My work at times reveals these regrets through desire, through emotion, and through pain. Like with many mistakes they can be corrected or forgiven, at times even transformed into something entirely different. There is however a lingering frustration in my artistic creations that I have yet to solve. My father helped me to understand this frustration in life that he referred to as, “The pain of being misunderstood.” He was right. In life there are many situations which we do not fully get to correct or explain ourselves and thus we are misunderstood. I feel as though all my work has lead me to this very idea and it is the inspiration for my future creations. I feel it will speak to others on a personal level and they will be able to relate to my work, connecting us and our frustrations into this misunderstood purgatory. This place in which we wish to escape and find the right thing to say, the right thing to do, and the right place to be. Maybe these misunderstood versions of ourselves will remain here in the unknown and we will be freed from our judgments.

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Untitled, mixed media on paper, 2016

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DAC H AUN CHE N

Growing up I was a naughty kid. Nobody wanted to be my friend. Even the teachers told my classmates to stay away from me. I messed things up and was shameless and fearless. Maybe there were many problems with my educational background, but my mother did not give up on me. She still worked very hard and managed to put me through college. Everything made me who I am.

I noticed I had a voice through art. It is the only way that I can freely express myself. Maybe I was influenced by my grandfather who is a quiet painter, he painted different creatures with their eyes bright and piercing.

I could almost sense the strong energy within them. I think words undermine feelings that are indescribable.

Art has its body and its soul. I am trying to find them both.

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Untitled. oil on canvas, 2017

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AL E X H ER N A ND E Z

My work has always had an idea around structure and design since I have always been interested in the graphic design field of art. A struggle that arose during my studies is being able to go past that structural format in a looser format on the canvas. Some goals I had for my work were to explore abstract forms but keep design as well as structure as the main idea revolving around the work. Some influences in my work have been personal experiences as well as historical events. My form of work ranges from painting on canvas to graphic work on the computer, which influences much of both spectrums. Many textures and forms I use in my work come from visual experiences that I have as well as photos of textures that I have taken to implement into my work later on. My work ranges as well in themes but design has always been my visual goal for myself as well as the viewers of the work.

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Untitled, acrylic on wood, 2016

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JE ANIE L U I ZZI

From the time I was a child, I have dreamt of working in the arts. In elementary school I competed to be a part of a Fine Arts Magnet Education (FAME) Program.

To apply, I had to create a portfolio that included my artwork. The program required tremendous dedication and much time, and through my participation in the FAME program I developed a deep passion for both the visual and performing arts. In high school I was grateful to have the opportunity to take several art classes. When I won a contest in a graphic design class I started to believe that I was capable of pursuing my dream to someday work in the arts. After transferring to California State University, Stanislaus, I started examining how art impacts everything I enjoy. It is part of nearly any career, but many people take it for granted. I finally realized that I needed to follow my passion and decided to pursue a major in

really helps. The photographs I take really inspire me to

art.

recreate the image through painting and make them my As I create most of my work I am not consciously

own.

aware of who is influencing me. It is not until afterwards

I have also always had an attraction to silhouettes.

that I see the connections to artists who possibly have

The silhouette of the female figure is extremely beautiful,

influenced me. The people who are usually in the back

and my latest works have all consisted of different silhou-

of my mind are Jackson Pollock, Willem de Kooning and

ettes of the female form. To really make the silhouettes

Katie Rodgers. These three artists are amongst those I

stand out I add gold pigment to a clear acrylic paint and

most admire, and their work inspires me to create my

highlight the main curves in the women’s bodies in order

own.

to emphasize the beauty of feminine curves. Many of the

This past year I have been trying to find myself and figure out where I belong. I have been experimenting in

works I created have the reoccurring themes of nature and love.

many different mediums such as plaster, wood, clay, oils,

I am still trying to find my niche and continue to prac-

acrylics, spray paint and powdered pigments. Since my

tice and create works with different materials. Although

Color Theory class in the spring of 2016, I have found a

I am still unclear about where I fit in, I am pursuing my

new love for oil paints. I have a new sense of color and

degree doing what I love. I continue to be scared about

how colors relate to one another.

the future, but for now, I am having the time of my life

I have a background in photography, so taking pictures of my subject matter first then painting from it

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creating my works of art while still finding myself.

Untitled, oil on canvas, 2017

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M O NIC A O CE GU E DA

I like to use art as an outlet to express myself when words sometimes cannot. This may sound ironic considering the fact that I am also a communication studies major. Communication studies has helped me think critically and has also helped me to understand how people communicate through messages, what those messages signify, and how others interpret those messages.This can be applicable to art because art is a form of communication. Art has helped me find a voice, art has allowed me to communicate and express myself visually, and art has allowed people to understand what I am trying to communicate in my artwork.

I use art to express how I feel about myself, how I feel about others, and how I feel about societal issues. I get easily inspired and influenced to create artwork that

and sculpture. Photography and video are two art prac-

relates to my personal experiences, my family and friends,

tices that help me communicate themes like feminism

and the actions of others. The themes that are found in

and personal experiences by capturing the lives of young

my artworks include self-acceptance, personal struggles,

women and addressing issues that involve them. Paint-

personal experiences, feminism, and power. Many of the

ing is another art practice that helps me communicate

artworks that I create include figurative devices such as

themes of self-acceptance and self-struggles by depicting

allegory and symbolism.

self-portrait images and symbolic images through the use

Two visual artists who have influenced many of my

of color. Sculpture is another art practice that I like to

artworks are Frida Kahlo and Sofia Coppola. Kahlo’s

use because it allows me to work with different materi-

artwork influences my artwork through her ability to

als and create three-dimensional artworks that help me

express her own personal experiences and her own self-

communicate themes such as power.

struggles. Coppola’s work in film has influenced my work

Art will always play a huge part in my life because I

due to her ability to express societal issues that relate to

use it to express myself visually. I hope that my artwork

feminism and power. Coppola also inspires my artwork

inspires people to express ideas about themselves, about

due to her use of symbolism in her films.

others, and about issues that they find important to

I like to use many of the different practices of art to express myself and to communicate the themes in my artwork. These include photography, video, painting,

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address and communicate to others.

Gun Wall, books and spraypaint, 2017

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JOS E LOPE Z-RO D R I GU E Z

I am a man, strong, masculine. Characteristics of a hand illustrate how our perception of the male form can be influenced by social stigmas. Features of a man are often associated with masculinity and aggressiveness. Rarely does it convey fragility and peacefulness.Through this hand sculpture I wanted to challenge the idealized qualities or appearances traditionally associated with men.

This hand is sculpted from alabaster stone and has characteristics that range from detailed to generalized. I also wanted the hand to make a gesture that appears to reach out for help because I think art is where artists connect by helping one another.

I am a man, strong, fragile, masculine, and peaceful.

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Hand Study, alabaster, 2016

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AC K NOW LE D GE M E N TS

California State University, Stanislaus

Dr. Ellen Junn, President

Dr. Kimberly Greer, Provost/Vice President of Academic Affairs

Dr. James A. Tuedio, Dean, College of the Arts, Humanities and Social Sciences

Department of Art

Dr. Roxanne Robbin, Chair, Professor

Dean De Cocker, Professor

Daniel Edwards, Assistant Professor

Jessica Gomula-Kruzic, Professor

David Olivant, Professor

Gordon Senior, Professor

Richard Savini, Professor

Dr. Staci Scheiwiller, Assistant Professor

Meg Broderick, Administrative Support Assistant II

Andrew Cain, Instructional Technician I

Jon Kithcart, Equipment Technician II

Art Space on Main

Dean De Cocker, Director

Nikki Boudreau, Gallery Assistant

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