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2019 St a n i slau s St ate BFA & BA Gr adu at i ng Sen ior s E x h ibit ion

Stan State Ar t Space Depar tment of Ar t School of the Ar ts California State University, Stanislaus

D I R E C TO R ’ S F O R E WO R D The University Ar t Gallery is pleased to present this year’s graduating seniors. This exhibition and accompanying catalog showcase the many gifted ar tists graduating this year from the Depar tment of Ar t at California State University, Stanislaus. As Gallery Director and Professor of Ar t, 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 par t of their development as ar tists. As a result of their accomplishments, I am pleased to call these graduating students “colleagues”. I look forward to seeing them have wonderful and meaning careers in the ar ts. Many colleagues have been instrumental in this exhibition. I would like to thank the BFA and BA students of the Depar tment of Ar t for their work and being par t of the exhibition, the College of the Ar ts, California State University, Stanislaus for the catalog design and Parks Printing for the printing of this catalog. Much gratitude is extended to the Instructionally Related Activates Program of California State University, Stanislaus, as well as anonymous donors for the funding of the exhibition and catalogue. Their suppor t is greatly appreciated.

Dean De Cocker, Director University Ar t Gallery California State University, Stanislaus


S AU L A C E V E N D O G O M E Z Understanding everything as a phenomenon, I produce lithographs, paintings and sculptures that come from experiences between humans and the natural world. Interaction with manmade objects, architecture, the environment are impor tant connections for imagery and fur ther research. My landscape por traits capture a plotted space for the viewer to interact with wonder and set the viewer in a position of daydreaming. The human figure appears in abstract form to imply the complexity in which humans adopt to make sense of reality using ear th as paradise. Taking life, nature and our complexity as a phenomenon for them to experience the present, I hope for future generations to not experience this por traits as memories of struggle, that humans prepared for them.

Provisional Cognition, lithograph, 2019



VA N E S S A A G U I L E R A Creating ar t work has always been a source of free-

skin tone because they were the stronger colors and

dom for me. Having a learning disability has made

looked the best. By overlapping patterns that I have

learning difficult for me over the years. In having the

created through using a string. Then going through

need to see, hear and fisacly do something in order to

with pens and attempting to give the flat image depth,

retain the information that was taught or presented

but also pulling out figures that I would see come

to me. As a result, ar t has come relatively easily to me.

through. Doing this allowed me to step back and gave

Ar t has allowed me the freedom to express myself,

me a freedom, yet did not allow me to over think and

but also prove those who thought that I would strug-

try to control something that can’t be controlled.

gle and was in a way unteachable. My body of work has changed and is completely different from my previous BFA review. While I liked what I was previously doing. I found myself over thinking and trying to control every aspect of the piece that I was working with and it showed in the work. I have chosen to work with mixed media this time around and get out of my comfor t zone. Although I am still incorporating the figure into my work it is just a gesture pose and is unfinished. I have also chose to use

Unititled, mixed media, 2019



M AT T H E W A L E S O N Since star ting here at Stanislaus, my best works came from an unlikely place. I thought I knew a specific path I wanted to take, but my interest and abilities guided me into printmaking, specifically Intaglio. Inspiration came anywhere from Rembrandt and Goya to Escher, but the various techniques of line work and aquatinting captured my focus immediately. Gently guiding a scribe across that shiny, copper surface with careful, intentional marks, gave me much satisfaction and rewarding outcomes. The intricate details I could capture in familiar landscapes, cultivated my love for such a fantastic medium.

Yosemite Valley, intaglio, 2018



B R E N D A B A R RO N Though my work does not belong to the world I see,

blurry recollections of my childhood home and its

to my childhood home, or to my environment, they

beauty. With that in mind, my ideas grow from the

are constructed in an effor t to regain and understand

memories and nature through which I experience.

memories through the making of surfaces. My ar t explores the idea of texture and the physicality of materials and shows how they change over time. I challenge myself in discovering surfaces through the repurposing of elements and materials often overlooked in daily life. In my constructions, I incorporate rough textures and ear thy surfaces that evoke childhood memories that continue to be a par t of me. My work reconstructs these small overlooked fragments of my life to form a whole. My bir th home is an examination of my identity and my upbringings; therefore, my paintings bring life back into my memories and serve as documents of my infancy.

I incorporate many elements and join them together to find meaning through a direct emotional response. The work is refined through many layers of acrylic paint and gesso, that is, adding, subtracting and adjusting elements in the process. I use palette knives and brushes to build up and carve into the layers of pigment to develop a visual language through a method where I am not in control. This aspect of my work challenges me to create a dialogue, make marks, resolve problems and find connections between my materials and my memories. Nonetheless, my pieces change through the chaos and control of color and rough surfaces.

The themes in my paintings embody the atmosphere and environment of my childhood and I frequently use materials from the home where I cultivated a love for nature and animals. Unexpected materials like dir t, tree bark, and dried cactuses are used to celebrate evocative memories. My work is inclined to embrace the natural process of the material and to show the

The Hole, mixed media, 2019



D A N I E L L E B O D AY Emotion Within Text My ar twork is meant to convey a sense of humanity

My ar twork is also questioning societal roles placed

during a time when people only want others to see

on both men and women. As a mother, I am now

the best side of themselves. Through the use of social

navigating how to raise a boy in our society that

media people tend to only show themselves as happy

pushes gendered expectations onto everyone. My

and successful. This one dimensional view of people

work is currently exploring the complex emotions

is unrealistic. The goal of my ar twork is to explore

of raising a child while also questioning the accepted

the complex and contradictory nature of emotions as

gendered roles of society.

well as the multifaceted nature of being human, and to capture the essence of what it means to be human.

My ar twork is also exploring the use of text and image, text as image, and fabric as image. Through the

Currently, my ar twork is focusing on my new role as a

use of text I am hoping to create a dialogue between

mother. This emotionally charged transition into being

my ar twork and the viewer. My ar twork aims to stir a

a parent is a main theme in my current work. While I

sense of relatability, while also questioning our society.

am still exploring emotions in general, my main focus

Overall, the intent of my ar twork is to stimulate

has been around how parenthood has affected me


emotionally. I am hoping that others may relate to the contradictory emotions that I have personally felt even though the viewer may not have the same experiences as me or even be a parent themselves.

Communication, screenprint on litho, 2019



CRISTI DENNEY Creative expression has always been a vital compo-

A mentor of mine once told me that the more per-

nent in my life. As a child, I had great difficulty commu-

sonal your ar t is, the more relatable it is to others. I

nicating my thoughts and feelings easily with others.

think this is a wise statement—a true one. The more

Ar t gave me a voice. My work focuses on concepts

ugly and taboo the topic, the more interesting and

relating to psychology, such as perception and cogni-

captivating it becomes. Perhaps this is why ar t has

tive processes. I am interested in creating spaces for

appealed to me so much, a beneficial avenue of com-

others that serve both as an interactive activity and

munication beyond the usage of the verbal language;

an oppor tunity for self-growth.

creation that is being constructed from a deep crevice

By utilizing a combination of two-dimensional surfaces and installation methods, my work can be viewed in a

within my psyche, aching to escape and to breathe-to be free. Released.

variety of ways. Black light elements are incorporated to manipulate the work itself and reveal divergent layers of cognizance. I draw from my personal life experiences to try and relate to others in a broad manner. Each body of work per tains to a specific time and moment in life, which helps facilitate different perspectives to be linked together. I believe that all living things are connected within the universe and every individual can benefit from this vast relationship.

Untitled, Drawing, 2019



M A N U E L E S C OTO My ar twork depicts sociopolitical subjects especially those involving LGBT social issues, highlighting the injustices we face today. Using subconscious painting techniques based on fantasy and whimsy, I begin to develop shapes that evolve into figures in my works. Using pop culture References and media currently relevant, the use of whimsy and fantasy in the works allows me to dive into different aspects of gender based norms to highlight the inequalities constructed by society in an actual or allegorical way.

Freedom, acrylic. 2019



M A G G I E LU N T All my life, I have had a fascination with the California

My work focuses on these comparisons, first through

Oaks that can be found in the Central Valley. These

abstract shapes inspired by these forms. The practice

are trees that have to withstand the ever-persistent

of pulling forms in the 3D sculpting program Sculptris,

droughts that can plague the valley. They are big, and

trying to create dynamic compositions. Now, I am

wild, and gnarly. They have tough, sparse leaves that

shifting into creating recognizing forms based on their

allow for the trunk and branches to be prominently

vascular structures; a hand, a hear t, a brain. Through

shown. It is the shapes the trunks and branches make

3D printing, I create sculptural compositions that are

that hold my attention.

delicate and intricate and then cast in metal. It is a

Following up this observation, these forms also reminded me of medical images of vascular struc-

process that I enjoy and plan to continue. Through 3D sculpture and printing, my ar t can be made anywhere.

tures shown through angiograms. I would find myself comparing the trees to angiograms of brains, hear ts, and lungs. I became intrigued by the comparisons between the similarities of seemingly different forms.

Vascular Prints, 3D print, 2019



A R I Y A N N A M A RT I N E Z When I look at a landscape by Van Gogh or Turner, I

In previous work, I try to connect humans to nature

find they are the peak of what “traditional” landscapes

and the relationship we have with it, but I never really

should look like. They capture the scene for how they

depicted my own relationship to nature. These “land-

saw it. If I try to produce a similar piece, a traditional

scapes” in turn become a window into how I see

landscape, I end up hating it. This is the reason I have

these places.

chosen to create my own landscapes, the way I see them, in a nontraditional way. Focusing on color and line, I have created abstracted pieces based on all the forests, parks, and beaches I have traveled to in California. I use a repeated pattern of the topography lines on the maps I have saved, and paint or screen-print them onto a painted canvas. Because I associate everything with a color (emotions, sounds, words, and places) I think of the emotion I felt the day I was in one of these specific locations or I just repeat the name of that location to myself and use the color that comes to mind.

Calavaras, screen print and acrylic, 2019.



MICHAEL MENDIOLA There is movement and rhythm in all objects, whether they are organic or not does not matter. There is an obvious fluidity in water and rocks have a natural rhythm based on placement. Trees have a lot of gesture and have their own personalities. I use these natural gestures as inspiration for my figures and other works. This is my focus: not just what I see, but what I feel.

Standing Figure 1, 3D print, 2019



E L I Z A B E T H RU VA L C A B A Ar t has always revolved around my mental state--usually focusing on the hardships of my negativity. Rather than relying on my mental state, I want to focus on how I see others through my eyes. Instead of inducing a sense of sadness or discomfor t, my goal is to bring about the feeling of content and satisfaction. To do that my work consists of broken down por traits of others that reflects the qualities and characteristics of that individual. My focus in my current work revolves around female empowerment. I aim in capturing the strength, beauty, and realness of that individual through an animal presence. Using both painting and printmaking, I use either textures or the actual presence of that animal to capture the fierceness of what it means to be a woman. The decision of the type of animal I use comes through the careful observation of that individual. Not the physical characterization but more of a spiritual aspect; using the inner strength of an animal to my figures reinforces the connection of strength.

Untitled, acrylic, 2018



J E N N I F E R VA N O O S T E N D E My work explores the emotional qualities found

My imagery focuses on fragments of the body within

in gesture as a form of communication. The works

the picture plane to present a transformation of an

transmit emotional states for the viewer by capturing

emotional essence. The work brings attention to a

segments of emotions, which are then transformed by

moment of expression, as well as the emotional trans-

the viewer through personal associations. The images

formation that is expressed through communication.

speak to emotional connection and gestural forma-

Through the viewer contemplating the representa-

tion as a language between the viewer and the ar t-

tion, there is a conscious awareness of the communi-

work. The layering and movement conveyed through

cative actions between people. Although gestures can

the soft edges within my photographs enhance the

be made consciously, the purpose of the presented

emotional state. The blurred movements in my photo-

imagery is to make the viewer aware of what an indi-

graphs address not only the ephemeral nature of the

vidual may not be actively cognizant of in communi-

act of gesture, but also the nature of a photograph.

cating. Everyone communicates in different ways, and

The photographic image is a ghost of a moment that

by bringing focus to the communicative process, the

simply no longer exists. By being the subject of my

work forms a dialogue that resonates with the viewer.

photographs, I am unable to see what is being photographed in the moment. This process brings a sense of freedom of the mind, which allows an exploration of emotional states.

Trepidation, photograph, 2019




DENIS H BENITEZ I have to admit my ar tworks, in the last four years, have varied in media, as well as in theme. I tend to think that I was experimenting within the ar ts to figure out what interests me the most. From time to time, my work shifts from fine ar t to popular culture, vice versa. It is impor tant to understand fine ar t, as it not only allows me to express myself but it also helps me convey messages that challenge environmental and societal issues. With these types of ar tworks, my goal is to have viewers feel some kind of emotion or question the issue being addressed within my piece. In regards to popular culture, my works target a wider range of people because I do not focus on creating representational or creative ar tworks, but rather express society’s shared experiences. My works heavily express my thoughts and emotions on cer tain issues and interests.

Untitled, aluminum cast, 2019



HUDSON BERDINO With a foundation in illustration and a passion for

in everything, and color creates and moves. As colors

drafting, my work has ultimately transitioned into a

create mood and set effective tone, I can interpret

key focus on oil painting. Though my paintings are rep-

the world as I see it with my painting. Simply put,

resentational, I find beauty in abstraction. I am infinitely

I paint both to understand life, and for the simple

more concerned with color interaction than I am with

excitement that comes from colors dancing together

true-to-life imagery. I strive for accurate marks when

and moving one-another on a flat canvas plane.

rendering an image, but fine-tuning comes in the form of layers of color rather than tedious attention to detail. If one seeks to create a realistic “life-like� image, I am of the opinion that they should purchase a camera. The medium of oil paint offers me a means to sculpturally create space and form with simple variations of value and temperature. I am not ultimately concerned with any kind of message that goes along with my work, but rather the raw effectiveness of the pigments interacting across my canvas workspace. I paint for the sake of painting because there is color

Color Study, acrylic on paper, 2019



C O L E B O D AY The Cult of Technology My ar twork is about the toxic devotion our society has towards technology. Technology is a double edged sword; it can be both good and bad. However, due to our current dependence on technology society has shifted from a society of humans to a society of cyborgs. My ar twork critiques this dependence as well as highlighting the toxic nature of worshiping technology.

Tech Dump, lith, 2019



DAO CHANG In my work, I attempt to underline the expressions

Being inspired by the works of Frank Ouerbach and

of those who were diagnosed with Anxiety Disorder,

Francis Bacon, I tried to engage my ideals of abstract

Depression, and other forms of PTSD. Being directly

expressionism to form this figure in distress. Although

involved with people diagnosed with Anxiety Disorder

the work’s meaning is already expressively literal, my

and Depression, I found myself relatable to its symp-

first and true intention was to keep the meaning

toms through my enthusiasm for abstract expression-

vague but poetic and only through the aggressiveness

ism. My work, the Aching Soul Shall Not Rest, not only

and intensive visual marker strokes, one can relate or

aimed to just express those whom are in emotional

understand this piece symbolically.

pain but to highlight the cultural significances of my ethnicity where one’s soul can be stranded or abandoned forever resulting to cause sickness to him or herself.

Aching Souls Shall Not Rest, mixed media, 2019



M A RC U S C U N N I N G H A M The ability to create a grand narrative or offer some form of insightful social commentary through figural representation has always been a marker of successful art in my mind. However this standard I set for myself often resulted in sub-par and confusing work that needed extensive commentary by myself for support. I have recently begun embracing the abstract both in my method of application as well as in my thought process. I have found this shift yields much more satisfying and intriguing work that stands on its own without needing an artist’s explanation to tell the viewer what the piece is about.

Self Portrait, oil painting, 2019



KIERRA DYAS I make ar t because I love that an ar tist can create stories through images. My main goal with my ar t, for now, is to combine food, landscape and figure illustrations to craft whimsical worlds. I am currently doing a lot of different studies of those elements so that I can better compose them together. I prefer to illustrate digitally. I love the por tability of my work when it is digital and I love the ability to jump from layer to layer while I sculpt my drawings. I also enjoy taking abstract photos because, through them, I am able to share the beauty that I find in everyday objects that are often taken for granted.

Untitled, digital, 2019



ANDREANA ESTRADA My ar twork comes from subjects that inspire or resonate with me. The subject and concept are personal. Making ar tworks from various mediums is impor tant for showing how complex ar t, subject matter and concept can be. The completion of an ar twork is impor tant, but the process on how the ar twork was made and how it felt mentally is essential to me. The impor tance of my ar t is for therapy. Ar t influences include Frida Kahlo and Botticelli’s Bir th of Venus. Non-Ar t influences include: pain, Identity, sexuality, heritage, nature and family. All ar t work is made due to priority for practice, expression and experimentation

Alive, wire and wood, 2019



GERARDO GASCON The works I have created so far consist of what most would consider the ar t basics. It is a display of the techniques I have learned and influences from the works of others. I would not say I have found a preferred media as of yet because I enjoy venturing through different forms of ar t. I do not create with the intent to express emotions, even in works which I may sprinkle a hint of how I was feeling at the moment. I am more fascinated in composition and continuing to expand my personal knowledge in the different ways I can use the medias I choose to work with. I am still relatively new to the ar t world but my goal is to learn new things and broaden my creativity.

Sitting in the Shadows, oil on canvas, 2019



A S H TO N H O L M E S My work borrows from folklore; stories that have been told to me and ones that I’ve found on my own. Mythology has always fascinated me, specifically ones that come from my own culture. Storytelling is such an integral par t of African American culture and my work allows me to continue this practice that is often overlook. My earlier paintings were literal interpretations of the legends. This evolved into surreal depictions of sights around my hometown of Inglewood, California; creating illustrations that borrow from both real life experiences and the imagined. I want to create spaces that seem both familiar and foreign that evoke a feeling of magical realism. With my work I hope to create pieces that have larger narratives outside of what is being viewed. While painting or drawing I’m often reflecting on the fleeting nature of tradition and nostalgia.

Untitled, charcoal on canvas, 2019



JENNIFER LAMERE Welcome to my world. There is a place where my

these works. Sometimes in the middle of creating one

mind lives that is sometimes as dark as night with no

of the lighter pieces a migraine will come and I either

light and eerily silent, but sometimes there is an abun-

have to decide to continue the piece and mix these

dance of light and music. My ar t is the visual depiction

two worlds or stop and wait until the pain passes.

of the moments of where my mind is currently living.

In the world I often find myself lost and alone. Even

In my darker pieces I am confronting my depression

when I am surrounded by people, I find it hard to

and sadness. When my mind has escaped into the

sometimes connect to people. Through my ar twork

dark silence, I throw these feelings onto the canvas to

I seem to be able to express the emotions I often

explain what state a mind can be in while facing the

find hard to convey in words. My ar t helps me feel

inner demons of darkness and hopeless thoughts. In

at ease when talking to people about it. I want my

this darkness there seems to be little hope of escape.

ar t to inspire others and to help others to overcome

Moments when the world seems so far away and sav-

those dark moments in their own lives. I want my ar t

age. The hear tless demons within express themselves

to express to those that may feel lost, that they are

in discouraging words. When I am creating a piece

not alone and that even though it may not seem like

like this I am usually in a moment of pain or suffering.

it there is indeed light in those darkest moments, you

I let my hands work as I let my mind relax and medi-

just need to find it. I want my viewers to also know

tate. These pieces are usually created without much

that it is impor tant to express yourself and to get

thought being put into them and seem to express the

those emotions out into the world in a healthy way

feelings of anxiousness or clutter. The second thing that comes into my work is when my mind is clearer.

I hope that through my ar t, music, and writing that someday I can make a difference in the lives of the

My mind has its moments of light and music, where

next generation, but if it only makes a difference to a

the world is more ideal and positive. In this frame of

few people, I will still be satisfied. I just want to help

mind there is a tree that gives life to the things around

and inspire others.

it. The ideas from this state of mind brings the ideas of life and love into view. When I am creating these pieces there is more exploration, fun and energy. I research new techniques and find new tools to use in


Musical Love, steel sculpture, 2019


SARA MACHADO I want my ar t to evoke delight, intrigue, and at times, even deep emotion. I hope that all I create will inspire others and motivate them to pass on a creative and happy outlet. I enjoy making ar t, and I find a sense of joy and calm in the process. I have a very crafty side which has influenced me in extending my creativity and thought process through all my works and hobbies. Two of my ar t pieces are here to give a visual example of one of my ar t styles (“Witching Hour” and “Elysian”). I find that I prefer to draw females compared to men, simply because I find drawing the delicate lines and soft curves something I can relate to more. While the other (“Fusion”) was a class assignment that required us to choose one realist ar t piece and one cubist ar t piece to merge together as one cohesive work. Although “Fusion” is not the ar t style I enjoy, trying other ar t types gives you a more appreciated outlook on them and broadens a person’s skill which is something I am grateful for (no matter how many times I have grumbled about it over my years of learning).

Fusion, digital drawing, 2019



H U M B E RTO M A L D O N A D O I am interested in making my life experiences redundant. I hold on to moments in my life, I look back at them and cannot let go; this is where my work comes from. I am not trying to be original or a clichĂŠ, I am simply discovering who I am and exposing myself as I go. I have so much to say and even more to show. I have placed so much of myself in the closet that few have really seen me, and have buried par ts of me so far down that I have even lost par ts of myself. Through my ar t, I highlight my queerness and reflect myself in my work. What you see from my work is self-confusion and self-hate dancing in a cycle, working towards self-love and acceptance.

Potty Parts, acrylic on wood, 2019



ANDREW MOUA My drawing process is to study the object from observation. It is difficult to draw from my imagination, but drawing from the real world can expand my visual library. I love inspiring moments in anime which created my interest in drawing. Holding on to that feeling, I want my work to someday get to that level where it can capture people’s attention and create strong emotions. The journey is still the same, to learn and sharpen my skills one step at a time. The 3D world has captured me, which I am currently working on learning more about. Drawing out in 2D forces you to translate the real world or ideas in your head onto the blank canvas. Then with the understanding and observation from drawing, you can sculpt it out to the real world or into the vir tual world. I want to remain on the technology side of ar t because technology continues to grow and opens up to many exciting possibilities.

Skull and Spine, 3D print, 2019



K A R L A N OW I C K I In the boundaries of four edges, I paint and draw in

Growing up in a small town left many trapped to lim-

the effor t to por tray the beauty of objects and figures

ited ideas of their future, I knew that I wanted to be

that have been overlooked with negativity. Through

different. I challenged the norms of my hometown

my paintings, I have learned to dive deeper into the

and their expectations of the high school graduates

colors of landscapes and objects that most only see

by deciding that my own path would be to see the

on the surface. For example, beneath a patch of green

world through a different lens despite the path being

land, there exist warm or cool yellows that suppor t

its own. I aim to create or fur ther the beauty I see

the beautifully bright greens that come forward to the

through paints of oil and acrylic, charcoal, and graph-

surface itself. The simple arrangement of objects and

ite. I challenge myself against the styles of my brother

landscapes become possible stories for the viewers

and my father to become an independent ar tist with

to create for themselves. My painting of a small box,

my own separate style, while continuing to look over

a hammer, and a towel may create the story of mov-

both family member’s shoulders to learn the tech-

ing out or possibly a story of unpacking and getting


acquainted with one’s new environment. Through my lessons in drawing, I have tried to progress fur ther than the concern for accuracy of line and depth and instead, use charcoal to immerse in an active background that highlights the simplistic beauty in a figure and the space around. At first glance, a drawing is merely charcoal or graphite on a piece of paper, but by looking deeper into the piece, I hope my drawings become an active piece of ar twork that creates an emotion of solitude, confidence, or loneliness.

Human Figure Study, charcoal drawing, 2019



MARIA OCEGUERA Expressing yourself is great for the inner peace and soul! My work for the past 2 years has become a series of inner thoughts and fears por trayed within a canvas or assemblage. But my imagery within my pieces are not sor ted out or planned. It develops as the process of painting continues. It embarks on color, shapes and texture, unconsciously becoming a story related to myself as imagery appears to my eye and later emphasized. This process of creating ar t has become a form of understanding and accepting yourself. Within each piece I have understood in a deeper level my behaviors, my way of being and forms of thought. I anticipate that as viewers come across my work they build theirown personal connect in which to relate to and hopefully fur ther express this thought elsewhere.

Untitled, oil on canvas, 2019



YO M A I R A Q U I RO Z As an ar tist, I begin my work with an idea. The same way many things in life star t off as; a simple thought. However, those ideas don’t always carry forward. I find myself changing my whole mindset by the end of the process. Every indication and detail is altered, sometimes even in the slightest bit. As a female ar tist I am continually seeking inspiration from books, ar tist, the people around me, music, and plainly just waking up in the morning and going through every motion. I try to convey events that happen in my daily life and project them on a canvas as a scope into my own distor ted deliberations. I try my best to produce paintings that people can feel free to analyze and interpret for themselves. My goal as an ar tist is not to make people feel what I felt when I began the long cycle of the creative process, but to look at the painting and create their own notions, their own personal stories, so that they too can add life to the canvas at every visit.

Mix, oil on canvas, 2019



JAQUELIN RICO I consider myself a digital artist/graphic designer. This

The artists I tend to admire don’t always work in the

includes typography/calligraphy, print design, branding

same mediums I do. I am drawn to stylized, bold, col-

and logo design. The subjects of my pieces tend be an

orful, and often cartoonish work. Aside from drawing

exaggeration of daily life and menial objects/themes. I

inspiration from artists and their artworks I am also

love taking mundane things and making them interest-

drawn to fashion, music, product packaging, cartoons,

ing to the eye. I am still learning and developing my sig-

comics, and the aesthetics of previous decades. These

nature style of art so most of the work I do is relatively

are my main sources of inspiration. My goal with my

experimental. My work tends to be very stylized and

art is to create and learn. I love trying new things and

graphic. I am very interested in bold colors and lines in

testing new methods of creating art.

my artworks. I enjoy the stark contrast one can achieve with the combination of vibrant colors and neutrals. My work tends to draw from fantasy, science fiction, and any unrealistic situations or imagery.

Untitled, acrylic and wood, 2019



J E N N I E RO B L E D O From a young age I have been strongly influenced by the design and structure of ar t. Today, I am interested in taking classic ar t and making it new again, using old techniques and designs, revitalizing them to fit into a modern aesthetic. My work aims to evoke a style that is modern but classic with life-loving character. Currently my work is an exploration of mediums and themes with muliebrous influences. These works are a visual interpretation of my travels and life experience. My work embraces themes such as landscapes, botanicals, and the female form. With simple line work I create soft curves that hint at feminine figures and other objects that appear in nature. Each body of work celebrates the natural beauty of each object, bringing it to life with implied shading, volume, and value.

Chained, intaglio,2019



I D A L I A RO J A S The Ar t Studio classes I took at CSU Stanislaus has prominently influenced my ar t skills for the better. I’ve picked up an interest and the impor tance of still-life’s during my studies. My present work includes studies of still-life using oil paints as the medium. Most of my images are stripped down to compositional elements using color, line, shape, and texture along with new challenges. I enjoy representing emotions of struggle and growth into my ar t studies by capturing elements of shadows, lights and forms. I use direct, external and natural light to evoke emotional responses to my work. I focus on the aspects of constantly learning and improving my ar t skills as an ar t student who worked under amazing professors at CSU Stanislaus.

Untitled, mixed media, 2019



C A R L O S RO M E RO The beauty of photography often goes by unnoticed and is often criticized as “its just a picture�. The determination, countless hours, exploring and editing that goes into capturing the perfect shot is what makes the end result wor th it. Through my work I attempt to make my photographs aesthetically pleasing and personal to draw an audience in and engage with them on a personal level. For me, black and white photography is a personal favorite due to the fact that it creates an aesthetic of simplicity and clarity without having an array of colors. Natural photography has always been a personal favorite due to the way it presents itself. The way light hits it, the never ending infinity views, it presents itself in such an interesting way, making it the perfect subject for photography.

Half Dome, photograph, 2019



FREDRICK STEVENS I am a mixed emphasis ar t student whose works include ceramics, painting with acrylic and oil, pastels, printmaking, and assemblage. My works serve to honor a promise made to my mother who died in 2008 from cancer and to engage me in a better lifestyle where I am learning, exploring, and contributing. My interest and love of ar t began only recently yet it reflects the things I have seen or felt throughout my life. My piece represents various animals in abstracted form. With this work I was able to tap into the archetypes of my subconscious. Incorporating nature and animals into my works is a way of connecting to the environment and respecting the fact that my environment has change for the better. My work is an example of my understanding of how to control and respect the chaos and using ar t as a way to demonstrate where I have come from and where I am going to. I use the desire to be a better person and live a life that my mom would be proud of as an inspiration for my ar t.

The Lion, drawing. 2019



K RY S TA L L W I L L H I T E I am interested in exploring ar t as a form of commina-

palm of a hand as a sign that someone is a victim of

tion, and a representation of memory and anxiety. My

domestic violence. From this process, I develop my

childhood was ridden with experiences with domes-

work using any materials I find useful, appropriate, or

tic abuse, home instability, and financial difficulties

just easy use. Assemblage has become a cheap, easy,

that have influenced myself as an adult. My childhood

and useful way in which I can reflect my subconscious

anxieties and traumas were always a piece of myself

in a conscious manner. I find objects that hold physi-

that was kept hidden from friends, teachers, and many

cal similarities to what I want to accomplish, hold a

others since I had always had troubles communicat-

double meaning, or the objects function relates to the

ing and connecting with other people about personal

purpose to which I want to use it for.

problems. Instead of communicating my problems with others, I focused on personal distractions such as drawing, stargazing, and watching sunsets. Eventually, these topics became my foundation’s for subject matter in my work. I focus on my personal memories from dealing with instances, such as domestic abuse and nature, and find ways to depict them in a way that communicate various memories from my childhood into my ar t.

My aim is to focus on the multi-media plane of ar t, to find and use the realtionships between different mediums to magnify idea’s or representations in my work, and to continue with the conventions of self-potratiure and nature. I plan on developing more abstract or non-representational ways of self-por tratire and redifine what constitues as a selfpor triat. I want to focus more on natural occurances and surroundings, especially those which frequent in

My subconscious plays a heavy role in developing my

the California Valley, finding diferent ways to express

ar t. It is difficult for me to consciously apply meaning

them through my ar t, and grow more in learning how

or a theme to my ar t work. Most of my work begins

to prefect landscapes. I will continue to incorperate

as drawings via pencil and paper, as it is easy for me

matter that weighs heavily on my concious, and subc-

to express my anxiety, troubles, or surroundings with

oncious, mind, such as domestic violence, into my ar t

a familiar medium. My drawings turn into foundations

work, and plan on working towards making my ar t

for my work when I find meaning within a piece. A

more relatable and meaningful to viewers.

random color may represent the light reflecting off of clouds, A black dot I created in frustration alludes to an ar ticle I once read on how a black dot on a


Clouds at Sunset, mixed media, 2019


LIZETTE ESTRADA My work, whether it is a painting or a video has an inclination to become very simple and to the point, yet I have more of a tendency to create my ar twork with experimental concepts. In which with my works I am able to create a different concepts by merging my works together. I find it fascinating to have a form that does not have very much detail, yet has the capacity to convey a thought or emotion .I have done various works that are based on drawing, painting, and digital media, which have helped me fur ther expand my knowledge and understanding of what one can do with the por trayal of the ar twork. Painting has demonstrated that one can show their feelings with the stroke of the paint brush making the ar twork much more connected to oneself to the piece. My work has taught me that you do not have to follow many of the ideals of others. That ar twork is the idea of creating something to captivate the change that is needed to be seen by others.

Untitled, acrylic on paper, 2019



J O H N VA N D E RVO RT A large par t of my motivation for pursuing a career in the ar ts is a desire not to spend the rest of my life in wage slavery, toiling away in the Walmar t retail mines in order to feed and clothe myself. That being said, I have always had a passion for creative pursuits. I find more fulfillment when creating garbage to enter tain others than I find when doing anything else. I primarily see ar twork as a means of carrying a narrative. I’m intrigued by the countless ways that stories are be constructed and presented, and I wish to use my ar twork to tell stories of my own. I most enjoy working with markers. They have a solidity that I feel brings stability to unreal and outlandish subjects. I also find enjoyment in trying to chip away at that stability. In my time here I’ve also discovered the stupid, fucking bullshit I can do with digital modeling, so that’s good. Bullshit is good. I think galleries are miserable, so I hope you enjoy the show, if you can. If not, pray you aren’t there too much longer. I cer tainly hope not to be. I already spent way too much money here as is.

Trash, cast aluminum, 2019



A C K N OW L E D G E M E N T S 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

Depar tment of Ar t

Dr. Carmen Robbin, Chair, Professor

Dean De Cocker, Professor

Martin Azevedo, Assistant Professor

Tricia Cooper, Lecturer

James Deitz, Lecturer

Daniel Edwards, Associate Professor

Jessica Gomula-Kruzic, Professor

Daniel Heskamp, Lecturer

Chad Hunter, Lecturer

David Olivant, Professor

Patrica Eshagh, Lecturer

Ellen Roehne, Lecturer

Dr. Staci Scheiwiller, Associate Professor

Susan Stephenson, Assistant Professor

Jake Weigel, Assistant Professor

Meg Broderick, Administrative Support Assistant II

Andrew Cain, Instructional Technician I

Jon Kithcart, Equipment Technician II

Stan State Ar t Space

Dean De Cocker, Director

Leon Bach, Gallery Assistant

School of the Ar ts

Brad Peatross, Graphic Specialist II

2019 BFA & BA Graduating Seniors Exhibition May 9–June 15, 2019 | Stan State Art Space, California State University, Stanislaus | 226 N. First St., Turlock, CA 95380 300 copies printed. Copyright © 2019 California State University, Stanislaus • ISBN: 978-1-940753-44-7 All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher. This exhibition and catalog have been funded by Associated Students Instructionally Related Activities, California State University, Stanislaus. Cover design and illustration by Vanessa Aguilera. 80

Profile for CSU Stanislaus School of the Arts

2019 BFA & BA Graduating Seniors Exhibition  

Stanislaus State Department of Art BFA & BA Graduating Seniors Exhibition Catalog 2019

2019 BFA & BA Graduating Seniors Exhibition  

Stanislaus State Department of Art BFA & BA Graduating Seniors Exhibition Catalog 2019