2020 Stanislaus State BFA & BA Graduating Seniors Exhibition

2020 St a n islau s St ate BFA & BA Gradu at i ng Sen iors E x h ibit ion

2020 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 How did we get here? What did we do? Where do we go from here? All questions that could be asked of a multitude of sources, but this year it is focused on a virus that swept the globe and came to rest at our University.

As a result, student’s experienced a momentary lapse of learning and creating. This was followed by a new way of learning for students and a new way of teaching for faculty. As we end this year, it is hard to imagine not having the BFA/BA Senior Show to finish out the academic school year and to celebrate the accomplishments of our hard working students. Despite not having an in person exhibition, we still recognize the accomplishments of our students. This catalog and on-line exhibition continues to exhibit the amazing work of our graduating students.

As Gallery Director and Professor of Ar t, I have had the pleasure of working with these students as they endeavor to complete the BFA and BA programs. These degrees are a pivotal par t of their development as ar tists. Our students have succeeded and I am pleased to call these graduating students “colleagues”. I look forward to following these new Ar tist’s meaningful careers in the ar ts.

Going on from here we will continue to transition to a new way of life that will see changes in the ar t world. A life that will hopefully be a change for the better, that will benefit our students in new and different ways. The University Ar t Gallery is pleased to present this year’s graduating seniors. This vir tual 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.

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 for par ticipating in 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, Gallery Director California State University, Stanislaus

B FA I M A G E S A N D S TAT E M E N T S

ANNA BARBARA BENNETT I hope that when people see my art work, it will give

full-bodied color of the orange pumpkins. The stems of

the viewer a positive feeling to better the moment in

the pumpkins are painted with a thin color of black,

time and inspire constructive thought for societal issues

white, and brown and then rubbed off to leave the

with the more serious works of art.

natural state of the color of the stems. Not anything

All works of art, which I make are meant for a form of improvement of life whether to bring a sense of tranquility and enjoyment or addressing issues.

was machine made, but made by hand. The dimensions of the relief sculpture of the Pumpkin Trio are 13 ¼ inches long x 10 ¼ inches wide x ½ inches wide. The sculpturing of the Pumpkin Trio is representative of one of the methods of sculpturing for Studio Art Sculptur-

Pumpkin Trio The “Pumpkin Trio” is a ceramic relief sculpture of a variety of pumpkins setting on a table. The theme is representative of produce in the San Joaquin Valley. The pumpkins offer different varieties grown in a pumpkin

ing that CSU Stanislaus offers to students for a career in sculpturing. The Pumpkin Trio was sculpted at the Art Department Sculpture Studio at the California State University, Stanislaus December 16, 2019.

field or sold at a market. These pumpkins are sculpted as being already picked and setting on a table. The relief sculpture was sculpted by hand with wood sculpturing tools. Water-based clay was used. The artwork was sculpted, fired in a kiln, and painted with an Under Glaze.

The warm color of the orange pumpkins is set against the cool colors of the light grey background and the white table. I added a touch of brown to increase the

Muse, metal casting scupture, 9.5” x 5.75” x 7.625”, 2019 The Pumpkin Trio, ceramic relief sculpture, 13.25“ x 10.25“ x .5“, 2019

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JULISSA LOZA The imagination of a child is unquestionably the most powerful. They can create anything they want, from what they look like to where in the word they are.

Working with children has really opened my mind-set on imagination. I wanted to challenge myself to create something from imagination. I used bright color to play into child like art. The figures in the space blend in with their surroundings, in parallel with how children are fully enveloped in their sense of reality. I think it is a beautiful thing to be so free of care or judgment. I used color pencil and stock paper as my mediums. I felt right to use these kinds of materials because its what most children have around to create their artwork. I did not use anything complicated or fancy. I was inspired by artists like Hundertwasser and Oepts. They both cut up the composition in interesting, unique ways. Hundertwasser uses childlike figures that I like to use in my own work.

Also, both artists have a beautiful, vibrant inspiring color palette that I can very much relate to. Even though they are painters, I feel like my work is inspired by them and their imagination.

Day at the Park, color pencil and paper, 12” x 12”, 2019 Evening at the Park, color pencil on paper, 12” x 12”, 2019

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RANDALL J SMITH My current work is focused on carving instinctually from the unconscious.The concept is to break the original form and then to proceed by developing shapes in abstract and non-representational forms. The carving is dependent on a spontaneous process. This began as an exercise in playing with shapes and became my favorite art form and style. My creative process allows me to manifest what is in my mind into physical form. The endeavor of my work is to showcase the progression of the sculpture by means of a process called photogrammetry. The purpose of this unique presentation is to share the development of my carving and to share the evolution of the form from start to finish. The transition will be made possible to witness by using the cuttingedge technology of 3D printing to display the work as a sequence of sculptures. My intention is to 3D print each stage of a single carving and cast each one and display them as equally valuable to the final product. I like the digital look of the striations left by the 3D printer while rendering something carved by hand. I feel that 3D printing offers me a unique opportunity to show my work in process which is rarely seen by the public.

Ultimately, I would like to make sculptures that people who view them can be encouraged to touch.

Untitled, green soapstone, 29” x 14” x 15”, 2020 Untitled, balsa wood, 35” x 9” x 14”, 2020

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KAREN SMITHEE I am attracted to the uninhibited flow and pattern that paint creates. This allows me the freedom to experiment with the nature of paint. Gravity is an important aspect for a less controlled element of mark making, as well as, using the palette knife. Existence contains many visual moments that can be captured in the most essential elements of life. I work to trace these forms through an open-minded and evolution of making marks and forms.

Simplicity of space is a source of inspiration for my work. My interest lies in the relationship individuals have with location, place, and color that spark memories.

My paintings are psychological in nature, exploring the myths and stories we create for ourselves to give our lives meaning. We can create our own reality in the act of observation. My work is about paying close attention to our emotions and how our perspective is tied to it in a circle of reciprocity.

Expressionistic figures, interior scenes, and landscapes suggest an intimacy to include movement and energy even in static images that are rendered in loose lines and brush strokes. I want to avoid a straightforward reading which allows the images to retain their secrets and put the viewer to work in finding intimacy, affection, and atmosphere that create memorable moments in life.

Play-day in the Sprinklers, oil on canvas, 4’ x 5’, 2020 Love, oil on canvas, 4’ x 4’ , 2020

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B A I M A G E S A N D S TAT E M E N T S

LIZA AHUMADA Art is the reality that the artist decides, be it realistic or abstractions, reality or dreams. My art mainly focuses on both fantastical creatures and normal sceneries. I work with oil paints for most of my creations, but also create sculptures, mixed media artworks and conceptual artworks. Currently, I am focused more on painting scenes and still lives as I enjoy recreating reality through my own interpretations. The reason I focus mainly on oil paintings is because I grew up with oil paints and work each day to continue creating paintings to better my skills but also explore the world through colour and a soft touch. These interpretations involve the use of colors beyond what one may see at first and a soft muted palette. What starts out as a blank panel soon becomes finessed into a hierarchy of painted lust, leaving only a sense of the real and the possibility of a new beginning.

I aspire to create works that people can see and enter in a way that showcases them a new reality or just to smile really.

Copy of a Chardin Still Life, oil paint, 11.5” x 11.5”, 2018 Sticky Wicky, oil paint, 17.5” x 13.5”, 2018

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N ATA L I A A R R E D O N D O My artwork consists of illustrative and storytelling approaches regarding different forms of cognitions.

These expressions of art consist of drawings and paintings exploring the different themes and patterns of my own thoughts. My process requires brainstorming through sketches and writing. I alternate between black and white and color depending on what I want to portray.

Most of the mediums I use to develop these projects range from various types of paper. Painting on tan paper has become a recent medium for my paintings.

Digital art is another medium I use throughout my art.

Depending on what I use for the project I work on the process that is typically the same. Each project is arranged in a series of scenes where the story unfolds through various elements. These elements are visually composed and a bit abstract. Many of these pieces are disguised with symbols and allegories, which are up for interpretation for the viewer.The concept of my work is ambiguous but thematic enough to guide the audience to what they have to look for.

Migraine, oil on toned paper, 9” x 12”, 2020 VOID, digital media, 12.6” x 16.8”, 2020

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D AVO N T E B A R K S D A L E I am inspired to create by the media, technology, and

Most of my visual art consists of graphic art and paint-

pop culture, especially films, and music. Art has been a

ings. I believe art is cross-disciplinary and enjoy work-

positive alternative experience to maintaining multiple

ing in different practices. My creative process involves

jobs, fields of study, and overcoming challenging experi-

improvisation and simplification. My paintings in par-

ences throughout my time here at the university. After

ticular are a process of experimentation and discovery.

obtaining my BA in Art and minor in Business Adminis-

Art has infinite meanings. My work challenges what we

tration this year, I will dedicate my education and work

define as art, and strikes a chord in a different way with

experience to being a creative leader in business, edu-

every person.

cation, and entertainment. The journey as an artist is a lifelong path and this only the beginning.

Sacred Dog at Dusk: A Color Study, oil paint and charcoal on canvas, 18” x 24”, 2020 Untitled, oil paint and charcoal on canvas paper, 15” x 22”, 2015

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C A I T LY N B LY S M A I was born and raised here in the Central Valley. Agriculture and small town life has become a familiar comfort for me. I find so much inspiration in the pastoral landscapes I have been implanted in. I have always been drawn to figurative and observational art, especially of the modern and post modern eras. I have also always been drawn to work in acrylic and oil paint. The way oil paint moves and behaves helps promote a rhythm that I identify strongly with.

Therefore, my body of work tends to involve predominantly with the figure and observation in the medium of paint. Artists of the modern era had a familiar struggle with technology that I identify powerfully with. Through my artwork I try to spread the ideas of presence and meditation, which many have lessened the importance of due to technology. There is something powerful in the ideas of thoughtfulness and appreciation found in the mundane. I myself struggle with the way technology grasps every aspect of my life. Painting and drawing can be a gratifying and meditational practice that helps me break away from that grasp.

Self Portrait, oil, 11” x 14”, 2019 Kitchen Still Life, oil, 12” x 16”, 2019

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E M I L I A S A N C H E Z E S PA R Z A As a graphic designer my work continues to explore different art mediums from computer graphics to printmaking to mixed media. My art includes themes of Mexican heritage and other cultural influences from my background. I find simple objects that I can have interpretations of and can evoke the simplest yet most meaningful memories. I am inspired by Chicano Lowrider murals, prison art and graphic arts. Creating art has been a source of freedom to express my thoughts and memories in my work. My art pieces are heavily influenced by objects and figures that came from my heritage and other artists that have impacted me as an artist. Symbolism for me can represent either memories or inspirations that have come across me in my life.

My art not only lets my audience connect to the ideas and interpretations of what Chicano and Mexican art is but also lets viewers see a modern blend of the two styles. Art is for all to enjoy and to be able to understand the cultural influences behind the work. I believe that my work is for all regardless of where they came from or their ethnicity. I believe that cultural art has the means to connect viewers with the perspective of others. My art is to showcase the perspective of Chicano art through storytelling, influences and memories.

Mama, color relief, 2018 King Frida, mixed media and found objects, 2019

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KEVIN GUTIERREZ For me the fantasy worlds of video games and fiction in

Radiant Sun, was taken from my time within a photogra-

general have left a considerable impact in my work and

phy course a while ago. A majority of my photos within

the ideas of my future work. Certain elements found in

the class shared an environmental or landscape theme.

my work, can be traced back to certain fictional worlds.

The place I visited within my journey throughout The

All my ideas for work was partly, or completely inspired

Witcher 3, has inspired me to seek a real life version of

by the worlds of fantasy. From the dark, gritty, medieval

that place and replicate its beauty. Thus this is the result

fantasy world of Game of Thrones, to the yet colorful

I got towards making that view a reality.

worlds of Super Mario, they all have thrown a twig into the fire that is my imagination.

A Flicker of Hope, was taken from my time within a photography course a while ago. A majority of my photos

I create my works of art in various different media

within the class shared an environmental or landscape

including oil paintings, charcoal drawings, printmaking,

theme. The place I visited within my journey throughout

various sculptures, metal casting, digital media, and pho-

The Witcher 3, has inspired me to seek a real life ver-

tography. My most prominent work being metal casting

sion of that place and replicate its beauty. Thus this is

and photography. I had no single person a major inspira-

the result I got towards making that view a reality.

tion to me, but it was more of a group of particular individuals. Those people are the level, environmental, and open world design teams of the video game called, The Witcher3: Wild Hunt. After sinking hundreds of hours exploring and taking in the beautiful world those individuals have created. I can say it is quite a diverse and wonderful world. From lands surrounded by sea, areas drenched in swamps, places ravaged by famine, and huge thriving cities.

Radiant Sun, digital photography, 1500 x 667 pixels, 2019 A Flicker of Hope, digital photography, 4160 x 2340 pixels, 2019

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GRACE LINNETTE HANLEY There are two processes to my art: confession and experimentation. Confession is about being able to project my internal thoughts into my art and not worry about using a specific kind of material, medium, or technique. The main goal is to take the internal thoughts, which can stem from experiences, fears, and emotions, including happiness, and turn those into art. By doing so, I help myself release any negativity weighing me down so that I can move on in life and continue to grow not only into my art but into myself. Experimentation is about focusing on the mediums being used in combination with each other, whether they seem correct or not.

The goal is to find ways to merge mediums not otherwise thought of working together so that I can expand my imagination and artistic mind. These processes work best together, but can be done separately.

Mannequin Study, oil, 16” x 24”, 2020 Open, collage, 8.5” x 9.5” , 2020

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JIMENA HERNANDEZ My art work consists of mixed media including, paintings,

Art styles that have inspired my works consists mostly

sketches, and watercolors that I use to convey allegoric

of independent artists including Yehuda Devir, Will

pictures of thoughts, strong emotions and everyday

Weston, for his use of environments and anatomy, and

situations to a form of deconstruction, most of which

famous artists including Salvador Dali for his use of

presents a form of story. This is based on my realization

allegory and John Steinbeck for writing strong charac-

of how media including; T.V. shows, news media, movies

ters in real life settings. Movies from the Golden Age of

and other platforms use a heightened sense of drama-

Cinema in Mexico have also inspired to present such

tization to make simple situations become bigger than

stories and characters.

they seem, or serious stories to an astronomical state and how realities of life are not as exciting or outrageous as most people believe it.

Through strong facial expressions, bold colors, and simple environments it helps bring about a hint dramatization and emotion only for the basis of the picture to be over something small or insignificant. It has use of allegory by humanizing emotions into real life characters that pertain to a certain subject and how they tie with the situation while in an ordinary setting. The stories could vary between one panel or multiple be it with the use of canvas or stock paper.

Study Drawing of Statue #1, charcoal on paper, 8” x 11” Jar Study, oil on canvas, 17” x 23”

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GER LEE Life is full of many uncertain things. A person’s lifespan

My art varies between two dimensions and three

averages around seventy years old, but even so it should

dimensions. I place great importance into the use of

be enough for them to experience the good and bad

form in my work. The shape and angle in which cor-

from this world. The ideals of each individual’s art can

relate with the line and overlap with the value to create

be seen from their work through the experiences in his

perspective and movement. Most of my work revolves

or her lifetime. As such, my work is greatly influenced by

on the use of dynamic motion on the movement and

my passion and experiences growing up.

the figurative form.

Art is a form of life. An artist’s work heavily relied on their life experiences. The relationship between friends and family would affect a person’s growth. This is because a person’s surroundings plays a part in their upbringing just like their beliefs and culture.

As such, cartoons and anime play a key part in most of my work. Growing up, I did not have much chance to go outside to play with friends so television was a big part of me. My introduction to art was because of my love for anime.

WItches of Sin, ink and color, 18” x 24”, 2020

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C RY S TA L L O P E Z My name is Crystal Lopez from Stockton, California.

I work with oil and acrylic paint. My work is inspired by personal experiences and changes happening in my surroundings. I focus on the human figure and conveying a feeling without representing the whole figure. I approach all my artworks in the same way. Color is a key factor in my work, allowing me to communicate a particular mood and message. My recent work depicts humans losing their true colors due to its surroundings. The color red is the focal and main color used throughout my pieces, representing danger and control.

Incorporating the red as the background shows how someone’s environment has an influence over oneself to the point where you start to lose yourself. The use of grays represents humans becoming lifeless. My paint strokes are expressive allowing me to approach the painting more dramatically. There is always one subject conveyed in my work allowing me to compose a simple design. I create art that meddles with the emotion of losing oneself.

Red 1, acrylic on brown paper, 8” x 10”, 2020 Red 2, acrylic on brown paper, 8” x 10”, 2020

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J E S S I C A M A RT I N Both as an artist and as a person in general, I tend to oscillate between being captivated by the mysteries of our universe, and being amused by the sheer ridiculousness of the human condition. As a result, much of my work varies from imaging what various astronomical phenomena might look like, to poking a stick in various social issues.

Though lately I’ve been working largely in ink, paint, and digital media, my attitude toward various methods and styles is closer to being a sort of jack of all trades, rather than being a master of one. Over the years I’ve taken inspiration from graphic novel artists such as Der-Shing Helmer and Minna Sundberg, largely due to how they take current scientific data and apply it to fantastical escapist fantasies, whether they be light-hearted, or even darker than our current world. Taking cues from them, I strive to create a balance between absurdity, humor, and awe at the universe.

Nova, acrylic painting, 15.5” x 16”, 2019 The View, ink and acrylic on paper, 11” x 11”, 2019

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C O RY L E W I S M O R R I S O N My artwork focuses on the relationship between

Additionally, projects are often paired with graphic ele-

humanity, nature, and exploring their differences and

ments such as typography, digital design, print, and pho-

similarities. Working in both two and three dimensions,

tography. Artists like Richard Long, Donald Judd, Cecilia

my work investigates the human condition, the way we

Vicuña, and Robert Smithson are sources of inspiration,

interact with nature, and how it innately interacts with

providing strong precursory examples of Minimalist

us. In many specific instances, I aim to connect today’s

aesthetics and Earth Art. In order to ask the viewer

humans with those of our ancient past.

to not only examine their place in the world but also

In exploring this relationship, I use a variety of media including natural textures, organic surfaces, and unre-

question their interaction with nature, my work often takes on an ambiguous and mysterious quality.

fined objects. By combining ideas of representational

Creating artwork for myself is a form of personal and

art, Minimalism, and abstraction, I use simple man-made

cultural exploration driven by a strong desire to under-

shapes with crude natural forms to either contrast or

stand nature. Through my artwork, I display nature’s

relate to a specific concept regarding humanity such as

importance and mystery in a time when it has become

memory, tradition, dreams, and emotions. Imagery and

increasingly forgotten by humanity.

symbolism provided by simple arrangements of forms like reclaimed wood, concrete, stone, rusted steel, and weathered paint create a visual for viewers to question their role in the world and their interactions with nature.

Earth Font, concrete, wood, soil, 3.75” x 3.75” x 39.5”, 2020 I Live In The Middle, concrete, digital print, sand, acrylic glass,12” x 12” x 3.5”, 2020

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B RYC E J O S E P H N E U N E R My artwork explores issues in our society that are taken for granted or generally ignored by the public. Communication through the arts and education are the most important tools in our culture and I believe that with our current age of over-population, advanced technology and war, it is extremely important that we don’t lose sight of what makes us human. I create art that is an extension of my own personal beliefs and what I have learned about art throughout my lifetime.

I concern myself with issues that people have become oblivious to and it is important to create art that may make the viewer more mindful of their own actions.

The allegories in my art challenge viewers to become conscious of the part that they play in an issue that I am examining such as pollution, an addiction to technology, or disease. I provide the narrative for the viewer to interpret and in doing so, confront the possibility that they may be adding to the problem that I am focusing on.

I encourage viewers to examine their own thoughts and actions that they may be previously unaware of by creating allegories for the viewer to reflect on. My artwork proposes real world problems that create a healthy exchange of dialogue, to promote the viewer to evaluate their own behavior and to encourage them to be contemplative. I create art as a form of visual storytell-

Bowie, serigraphy, 11” x 15.5”, 2019

ing to remind my audience that we all contribute to the

Fall of Man, relief, 30.5” x 44”, 2019

world in some way and the impact of making a change to improve it.

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K I A R A O B E R H O LT Z E R Kiara Thalia Oberholtzer is a first-generation Hispanic

That in turn lead her to realize that in certain ways

Artist/student that grew up surrounded by agriculture

she connected with the artist Frida Khalo who also

in the California Valley, in a small town named Livings-

portrayed dream like compositions. Kiara felt that there

ton. She is a mixed media artist. Constant day dreams

were already enough complicated things in the world.

were the general norm for her even from a young age,

This is the reason her works are made to create this

that also became a constant form of peaceful escape

mental break for the viewers. Her work allows them

that currently fuels her art works. From looking up at

to see a moment for what it is, allowing them to just

the clouds and watching different endless movements

forget about anything that’s currently over complicated

of the wind create forms, to observing a random

in their lives. She does not consider herself a surrealist.

butterfly just coasting in front of her. This Led her to

She connects with Frida’s standpoint in the sense that

often wonder how there was so much unknown in the

although she was considered and defined by others to

world and for her to use the simple objects she would

be a surrealist, Frida herself did not consider herself one,

observe into her own simplified and perceived reality.

as she herself stated: “They thought I was a surrealist,

She did not realize that her past work often led the

but I wasn’t. I never painted dreams. I painted my own

viewers to reminisce in a sense of innocent wonder. It

reality.” Kiara relates in that sense that she continues to

became something that she looked back to and decided

experiment in different interests of media, making her

to embrace when declaring herself an Art major as a

own realities in each art work that withdraws the mind

transfer student here in Stanislaus State University. Dur-

from the present worries and lets the mind wander into

ing Her prior studies when she was once a psychology

its own break from reality.

major there was a realization that she wanted to pursue the arts, to become a public-school art instructor, while also embracing her perspective in viewing the world in a deep yet simplified level through her art works.

Distance, relief print, 11.5” x 15”, 2017 Take Flight, steel & aluminum, 2017

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L I L I A N A P R I E TO The self portrait was made with oil paint on brown paper on

Untitled was created on December 11, 2019 on an app called

April 2,2020. This was done for an assignment, but that wasn’t

Procreate. My love for digital art has been growing ever since

on my mind when I was painting this. When I started to paint,

I was a kid. Drawing on a screen with so many layers to work

I realized something. I realized that I was focusing on nothing

with. This is something I truly enjoy. I do love painting and

but my own face. I have gotten so used to painting others

drawing on paper, but it is a different experience with tech-

and drawing sketches of other faces that it felt strange for

nology. I also love video games and have been for as long

once to paint myself. I’ve drawn myself in a cartoony way, but

as I can remember. Not only do I love playing them, but I

I’ve never completely stared at myself to paint. My choice of

also love the idea of making them. Luckily, through the classes

expression was a weird, goofy face. I didn’t want to just smile

offered here in Stanislaus, I learned how to make video games

for the portrait, because I wanted to do something different.

which was not only exciting but I learned how much steps and

I laugh at it now, because I remember thinking how afraid

dedication it takes to make a game.This image shows both the

of making a face so extreme that my face was going to end

things that I love. Some of you might know this game called

up stuck that way. As a start I am really glad I started with

Sky. Sky is a social indie adventure game that I admire for its

something gentle, and maybe later in the future I will go a dif-

beauty in nature especially when it rains in the game. It is so

ferent expression like sadness or anger. The choices of colors

breathtaking that I have forgotten there was a main mission,

were something I decided from the very beginning. I didn’t

and that was to follow these little lights that will eventually

want to go with natural colors, because it felt right to use

lead you to your destination. I remember that day I felt a little

different colors for my skin, hair, and more. The composition

sad, and I felt as if I was alone. That day I felt like I needed that

was not really thought out, I just went straight onto the canvas

light to show me a path because I felt lost. I needed warmth

meaning I didn’t sketch or do anything lightly onto the canvas

and comfort. I just needed anything to help, so I decided to

to suggest lines. This was all done based on just observing my

draw what I felt which really did help me. Today I see in that

face, and face is where I was most focused on. I didn’t mind

image that with all this negativity in this world no matter how

that my face was more detailed than the rest of the image,

dark it might feel there’s always going to be something to help

because I really wanted for the face to capture the attention.

you get through it.

In all honesty I thought about changing the colors to see how it can affect the whole image, but in the end I was so happy with the result. I was really amazed at how much my painting skills improved over the years here in Stanislaus. Thanks to all the professors teaching me what they know I’ve gained enough confidence to paint especially with oil paints.

Self-portrait, oil paint on brown paper, 15.5” x 18.5”, 2020 Untitled, digital, 8.5” x 11”, 2019

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J E N N I E L I Z A D U L D U L A O RO B L E D O In my previous work, I was unconsciously drawn to the female figure as well as the typical associations of femininity such as beauty, maternity, sexuality, etc. When I came to the realization of the common theme throughout my work, I decided I wanted to continue exploring and understanding the female experience.

My current work examines female experience from different time periods, cultures, social milieus, as well as my own personal experiences to create a narrative.

Through a female point of view, I create imagery that challenges traditional gender and social norms women are expected to follow due to a social construct. I embrace the physical form and capabilities of the female body to create empowerment rather than allowing it to become objectified. I create these images to not only show the struggles and different experiences females go through but also as way for me celebrate my own accomplishments and growth as a woman.

Chained, intaglio, 11” x 15”, 2017 Pele, woodcut, 28.5” x 44”, 2019

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E M I LY S I E M O N S My main goal in my artwork is to explore the various ways in which abstracted forms can be created. Elements that are important to my artwork are the ability to show free-flowing and vibrant non-specific forms and figures, as well as being able to translate still-life and landscape compositions into more dreamlike scenarios. A source of inspiration originates from my interest in surrealist art and 1960s/1970s psychedelic illustration along with my own personal life experiences. Themes surrounding my work are fantasy and dreams and their relation to the concept of identity especially in regards to gender and sexuality.

Untitled, oil paint on canvas, 11” x 14”, 2019 Crumpled Paper, ceramic clay, 15” x 8.5” x 6”, 2019

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E DWA R D T S I LVA I have a strong preference towards science fiction, the ever broadening unknown tempered with knowledge of science in the current age. Because the knowledge science is ever expanding and altering so too must the vision of the future. From space bridges and solar sails to warp drives and alternate universes, science and science fiction has been working hand in hand to bringing the human imagination one step closer to the vision created past and present. This is why I do art, because this genre needs constant revisioning.

Trash, cast aluminum, 2019

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FREDRICK JOHN STEVENS I am a mixed emphasis artist. The context of my works are derived from the subconscious. The works range from nature and rural life to the big city. Incorporating nature and animals into my work is a way of connecting to the environment and acknowledging that my environment has changed. My works appear ambiguous and it is left up to open to the imagination to interpret the unworldly images and stories being told. My works reflects the things I have seen or felt throughout my life.

I create through the subconscious, color, and sometimes discarded objects.

Magic, installation: wood, stone and metal, 5.5’ x 4’ The Guitar, mixed media, 30” x 28”, lights and musical

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TO U M VA N G As an artist I’ve struggled with understanding color.

Color was an uncomfortable area to explore because of the fear that it would ruin how I produced my art.

After years of working firsthand with various mediums of paint, I’ve slowly become comfortable in working with colors and also understood the importance of color. Color emphasizes forms and shapes and brings an expressive quality to value composition. With these two images, it shows the progress of my pursuit in understanding color and what I came to learn during my years in college which helped shape my skills as an artist and broaden my artistic endeavors.

Self Portrait, oil painting, 16” x 19”, 2018 Room Painting, oil on canvas,11” x 14”, 2019

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E VA N YO U N G I’m Evan Young, an Art Major at CSU Stanislaus. My works are primarily abstract in nature or heavily incorporate purely abstract imagery alongside recognizable images. My subject matter is typically an intangible idea such as thought, emotion, or experience rather than something physical and I believe this is reflected in my work. The art I most enjoy producing is generally meant to reflect elevated thought, past experience, or otherworldly environments that reflect certain states of being or existence.

I generally turn to a combination of sharp line work produced with drawing pens and loose application of ink and/or paint. These parts of the work are typically created separately, independent of each other with their combination being the final step in the creation of a piece of artwork. I never truly know what it is I’ll make in advance, preferring to find my way as I draw forms, recombine them, and add multiple layers of depth with ink or paint.

Cosmic Ideation, ink, paper on wood board, 11.75” x 12”, 2019 Regrowth, acrylic, ink, paper on wood board, 11.75” x 12”, 2019

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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

Martin Azevedo, Associate Professor, Interm Chair

Tricia Cooper, Lecturer

Dean De Cocker, Professor

James Deitz, Lecturer

Daniel Edwards, Associate Professor

Patrica Eshagh, Lecturer

Jessica Gomula-Kruzic, Professor

Daniel Heskamp, Lecturer

Chad Hunter, Lecturer

David Olivant, Professor

Dr. Carmen Robbin, Professor

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

Kyle Rambatt, Equipment Technician II

Stan State Ar t Galleries

Dean De Cocker, Director

Leon Bach, Gallery Assistant

School of the Ar ts

Brad Peatross, Graphic Specialist II

2020 BFA & BA Graduating Seniors Exhibition Online exhibition spring 2020 due to Covid-19 pandemic.

California State University, Stanislaus | One University Way, Turlock, CA 95380 300 copies printed. Copyright Š 2020 California State University, Stanislaus • ISBN: 978-1-940753-51-5 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.

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