BFA
Alex Cobian
Amora Ilenne Cruz
Zehl Day
Carlos Rodriquez Diaz
Cesar Flores
Ryan Galloway
Madeleine Guevara
Fatima Gutierrez
Elizabeth Hernandez
Riddick McCoy
Lesley Mijangos
Dimenika Miranda
Andrea Amador Molina
Melissa Parga
BA
Alondra Aguilar
Frida Alba
Gabriel Garcia
Peter Gillis
Emma Lowe
Audra Martin
Aidan Morgan
Brenda Nelms
Agustin Ochoa
Emiliann Parga
Jaiden Petersen
Trinity Romero
Brooke Thomas
Jasmine Vigil
Aroha Zaragoza
The California State University, Stanislaus, Art Space Gallery and the University Art Gallery are very excited to present our 2025 BFA/ BA Graduating Senior Exhibition. This year’s exhibition and accompanying catalog showcase the many talented artists graduating from the Department of Art.
Growing up the son of a kindergarten teacher, I still remember my mother’s lessons about “patience and perseverance.” She taught me these words and their meanings at a very young age and reminded me throughout my life to be patient and to persevere. But she didn’t stop there. One day when I came home from work my 3 year old son said to me, “Do you know what Grandma made me do today? She made me work all day on big words.” And in his small three year old voice, he said, “Patience and Perseverance.” And just as my mom did with me, I have used these words to have many conversations with my son during our time together.
So now, I cannot help but to think about the patience and perseverance demonstrated by our most recent graduates. It takes great patience to work on and develop your craft as an artist. There are no short cuts, it takes time to make work that truly matters. Work that speaks to the viewer and conveys a message. It also takes perseverance, which can be a bit more difficult for an artist. As the Gallery Director and Professor of Art, I have had the distinct pleasure of working with these students as they endeavor to complete their degrees. I have been continually amazed at the perseverance, hard work and commitment that our student Artists have applied to their craft. I am proud to be able to call these new Artists, my colleagues.
I would like to thank the many colleagues that have been instrumental in presenting this exhibition. Our Faculty and staff for their dedication to our students, Brad Peatross of the School of the Arts for the catalog design and Stan State Print Shop for their expertise in the printing of this catalog. In addition, I would like to extend many thanks to the Instructionally Related Activities Program of California State University, Stanislaus for their gracious support of this exhibition and catalog.
Dean De Cocker, Director, University Art Gallery
California State University, Stanislaus
BFA
Alex Cobian
Amora Ilenne Cruz
Zehl Day
Carlos Rodriquez Diaz
Cesar Flores
Ryan Galloway
Madeleine Guevara
Fatima Gutierrez
Elizabeth Hernandez
Riddick McCoy
Lesley Mijangos
Dimenika Miranda
Andrea Amador Molina
Melissa Parga
BFA Graduating Seniors Exhibition 2025
Stan State Art Space
California State University, Stanislaus
Hello! My name is Alex Cobian and my art is a direct response to my own personal struggle with anxiety, which serves as both a source of inspiration and a guiding tool in my creative practice. Through a combination of printmaking, digital art, and oil paint, I explore dualities such as light and shadow and presence and absence throughout my work. Utilizing luminosity and color to my advantage, I paint and create lived in spaces that tell an untold story that fosters a sense of unease from a lack of direct information. I use these intimate spaces to imply the traces of human presence, while leaving the narrative up to interpretation. These solitude locations are characterized by light, shadow, and color, and many play with the emotions of anxious uncertainty following the absence of a warmly lit familiar environment. I hope to explore the sparks of the ethereal light, within the cold- dark unknown through my art.
Upstairs, oil on canvas, 18’’ x 22”, 2024
Spooky Spooky, oil on canvas, 22” x 26”, 2024
Warm by the Window, oil on canvas, 18” x 22”, 2024
Hello, my name is Amora Ilenne Cruz. I am a first-generation Mexican-American student at California State University who uses paint on canvas to share my story. Rooting as a product of two cultures, I grew up identifying with two separate communities. The Mexican American community has faced many struggles and tension has lived on between Mexico and the United States for a long period of time now. Feeling like an insider and an outsider. The purpose of my work is to unify my experience in both communities in a fusion. Like myself, there exist many individuals who also identify with multiple communities. I have hope that my body of work will relate to many others and that our voices may unite and grow louder than before, so we may be heard. More specifically I carry the reminder that Aqui Todos Somos Una Familia.
Por su dedicación, oil, gold leaf on canvas, 30” x 40”, 2025 Respecto, oil and yarn on canvas, 12” x 20”, 2024 Ave Maria, oil on canvas, 16” x 20”, 2025
Change is something humans fundamentally fear. At our core there is a primal anxiety to change. Despite this fear we also crave change; who doesn’t want better for themselves or the people they care about? The work I create calls attention to and celebrates the changes experienced by transgender individuals. I draw from both my own experiences and the experiences of other transgender individuals. These experiences are at the center of my research alongside literature about queer theory.
Through visual narratives I highlight forms of change that are often demonized by those who are frightened of them or who wish to frighten others. Relief printmaking, the bulk of my work, is a violent transformative medium that produces artwork that contains signs of the transformation of the matrix without showing the matrix directly. The act of carving into the matrix mirrors the work I do in transforming myself into the person I wish to be. Sharing the experiences of transgender individuals as something to be celebrated and not feared is my ultimate goal.
Revolution, Lithograph, 14” x 18”, 2024
Blues, Reduction Linocut, 12” x 12”, 2023
Unbroken Standard, Reduction Linocut, 18” x 24”, 2023
As an artist who lives in a capitalist society, my work aims to deliver a coherent message regarding the absurdity of consumerism. Incorporating vibrant, polychromatic colors in my art pays homage to the captivating visuals of childhood, from clothing to fast food branding. These deliberate color choices serve as a creative tool, meant to evoke emotion and create meanings that resonate deeply. Vibrant color choices imply desire and can influence purchasing decisions.
Items become very accessible through globalization and how we purchase items without considering the costs. Through my work, I highlight the mundane with personal belongings revealing that I too contribute to consumerism. As we age, we hoard items without acknowledging the consequences. I confront my own culpability, recognizing the fragile line between necessities and waste. The massproduced consumer goods present in my life, bring forth the negative attributes of capitalism and globalization.
Shopaholic, Oil on Canvas, 16” x 20”, 2024
A Big Meal, Oil on Canvas, 16” x 20”, 2024
Fashion Frenzy, Pastel, 9” x 12”, 2024
Art has always been my way of navigating complex emotions and layered narratives. My work explores the tension between memory, identity, and place, often using fragmented forms and distorted perspectives to challenge conventional storytelling.
My latest piece, Merry Christmas, is an intimate exploration of grief; how it isolates, distorts, and reshapes the spaces we once knew. Created during a time of profound loss, these works became a way for me to process what it means to mourn. Each panel reflects a fractured reality: a roadside Christmas tree lot marked by absence, a set of lockers holding remnants of the past, a figure folding into itself—kissing the ground in surrender. This final image embodies the often-overlooked victory of grief: to grieve deeply is to have loved deeply.
By blending abstraction with recognizable forms, I aim to capture the surreal weight of loss, the way it lingers in the mundane and unexpected. Grief does not only hollow; it transforms. Through this work, I invite viewers to sit with that transformation, to see loss not only as an end, but as proof of something immense and enduring.
My name is Ryan Galloway.
I am an artist who creates paintings and comics that focus on character design and visual narrative. My work aims to investigate issues such as humanity’s encounter with the unknown. I create narratives to terrify the viewer, leaving them contemplating the unknown. My stories are cautionary tales depicting humanity’s venture into the unknown, ranging from monsters that lurk in our national forest to astronauts stumbling into an alien crypt. I use various sci-fi landscapes filled with supernatural creatures while using various mythological signs and symbols connected to the occult. I propose humanity may never fully understand the world around us and the thought of the unknown causes us existential dread. That no matter how hard we strive to explain and rationalize our world to build comfort, is futile. That there are things in our world that exist in our backyard or in deep space that defy our explanation.
Twisted Betrayal, Ink on Bristol, 18” x 14”, 2025
Firewatch Tower Incident, Ink on Bristol, 14” x 18”, 2025
Ventilation Obstruction, two colored relief print, 5” x 11” , 2025
A common facet of trauma is one’s inability to coherently remember and express what has happened to them. The phenomenon frequently causes a failure in piecing together memories, which later return fractured in the form of thoughts, bodily sensations, and discomfort. My work articulates this intertwined relationship of one’s body and psychological state by combining reflections of past traumas with the current states of being in a matured body. This dissonance of patterned forms in the space and on the body transform into a hallucinatory environment, illuminating the pathway of healing and its difficulties.
My work incorporates various pictorial devices, such as obfuscation through pattern or fabric, altered surfaces through stitching, and figures that merge with the space. The work also includes a written or spoken element, focusing on poems and short messages. This writing functions as a process and medium, aiding the exploration of conveyance in order to express complex emotions outwardly.
Implicit Bloom, oil and acrylic on canvas, 48” x 48”, 2025
Between Walls and Skin, oil on fabric, stitched fabric, 30” x 40”, 2024
Hidden in Plain Sight, oil and spray paint on canvas, 20” x 24”, 2025
The act of visiting memories can be quite strange. It’s like stepping onto an ethereal plane that doesn’t resemble the reality that we know of. As I revisit my own memories, I focus on repetition, to signify the impact of memory within my life. My work immortalizes cherished or fascinating memories of myself and loved ones.
I create paintings where I use vintage fabrics and thread. This honors the artisan lifestyle that my maternal figures picked up, i.e. sewing. I aim to bridge craft and painterly techniques, resulting in work that transcends the traditional painted format, creating a more immersive spatial construction. Additional transparent materials allow for a ghostly atmosphere to take place in between my works.
My memories, although personal and intimate, highlight the beauty of them in shaping one’s life. Due to my fear of eventually forgetting these instances, I document them through my series of works.
Azulejos, oil, thread, and mulberry paper on canvas, 65” x 52”, 2024
Alejandra: Último Aliento, oil on canvas (diptych), 33” x 13.5”, 2025
Café de Olla, oil and thread on fabric, 12” x 12”, 2024
My work is often inspired by events or moments I have experienced. The things that make me anxious are often what inspires me most, as I like to look inside myself and unravel why that feeling is being provoked. My most common medium is Pastel on paper; however, I enjoy many other mediums as long as they promote my chosen narrative. A lot of my work ecapsulates my anxieties with relationships and being perceived by a partner as well as my identity away from my partner. My BFA work captures this as I utilize pastel on paper to create vibrant, but tense artworks that push the boundaries of “picture perfect” relationships. I am known to break the frame often whether it be through eye contact in my subjects, or body parts coming out of the page.
Preoccupied, Pastel on Paper, 24” x 32“, 2024
Anticipation, Pastel on Paper, 24” x 32”, 2024
Spider, Charcoal on Paper, 16“ x 42“, 2023
In my work, I use grotesque and horrific imagery as an instrument to embrace the absurd explore texture, and create a document of my own thoughts, jokes, and fears. I find myself at home in the campy, the ridiculous, the disgusting, and uncomfortable. Through a lowbrow lens, I interpret my own experiences, interests, anxieties, and fears into my work to playfully explore grotesque manipulations of the body, absurd juxtapositions, and bizarre situations using the sarcastic, the crass, and the totally strange.
I am self-consciously evoking the very things that inspire me the most. Ranging from corny science fiction, sickening low-budget horror films, and exaggerated cartoon depictions of flesh and form. I inhabit off-putting creatures as an honest expression of emotion and feeling. In the creation of video, I find an outlet that acts as a full circle completion of my process. My works are slices of my brain, mountains of ideas that are strung together by loose thoughts and notions of nonsense, absurdity, and juxtaposition.
Marble Satanique, Video, 2025
The Amazing Pigboy, Video, 3:36, 2024
Touchy-Feely, Mixed-Media Sculpture, 15” x 15” x 15”, 2024
We are living in a patriarchal society where the government has reverted, not progressed, on women’s rights and liberties in recent years. The first major step was the overturn of Roe vs. Wade. I found myself stranded on the actions I should take. I took it upon myself to create with my hands not only to express what I felt but to also express the distress and anger of women whose liberty and bodily autonomy is being jeopardized. Showing the world what we live and for our reality to be acknowledged not normalized.
My work utilizes the use of porcelain, ceramics, and similar materials and activities normally associated with the generalization of a woman’s performance. I explore a range of topics, from government interference in women’s bodies, domestic and traditional roles of women, religion, and domestic violence through the symbolic motifs of livestock tags, sheep, and binding implements, such as ropes. My use of consecutive imagery such as the sheep is to demonstrate how society generally classifies, and views women as having to be pure, docile, innocent, and obedient attributes; with the use of the tags as a reminder of what has been taken away from us and further demonstrate the mold women are put in. Ropes have the significance of strength and unity while it can also be used as a symbol of oppression, and inner conflicts. These elements play a crucial part in demonstrating how women are viewed and classified in U.S. society.
My work demonstrates the pervasive abuse of governmental power backed by weaponized Christian beliefs to dictate patriarchal ideology and to justify restrictions on women’s bodies and liberties. My goals are to not only illuminate this topic but to create work that subverts and challenges the reality about women’s current position within the United States.
Web, acrylic paint on dress, 2025
Anguish voices, charcoal drawing on paper, 2025
Untitled, mixed media installation piece, 2025
Internal struggles and issues are no stranger to the average person. The conflict within oneself can often remain hidden, but it is the goal of my recent body of work to explore the internal. In my work, I distort the figure with the goal of producing images that depict inner turmoil, strife, and self-division. I utilize media such as paint, pastels, and charcoal in conjunction with abstraction and observation to construct internalized scenes. I distort and reconfigure the human figure to exemplify transformation through additive and subtractive approaches in order to foster repetition or absence. I approach this idea by multiplying, dividing, or altering bodily forms. I also make use of colors, textures, and shapes that are reminiscent of bodily characteristics. In this, I am able to depict inner turmoil in a more visceral format, utilizing the idea of portraiture as a vehicle to make interior discrepancies palpable.
Asphyxiate, oil on paper, 24” x 18”, 2025
Exorcism, gouache on paper, 16.5” x 33.55”, 2025
Torn (diptych), gouache on paper, 36” x 48”, 2024
My name is Andrea, I am an artist that creates paintings about how my culture shapes my personal identity. My work investigates feelings of alienation in one’s own culture and explores how one’s connection with their culture affects how they view themselves. This detachment from one’s culture causes isolation from one’s community resulting in a variety of identity issues that I illuminate in my paintings.
My works explore the journey towards self-acceptance, primarily through the art of portraiture.
My works reflect my own cultural identity and the difficulties I have experienced in connecting with my heritage. My works contain several different motifs that reflect the rich traditions and cultures of Mexico, and within my own family.
Apart from the themes of cultural alienation that I explore through my work, my works celebrate the diverse cultures of Mexico. The cultural themes in my work stem from my ambition to grow closer to my Mexican heritage.
Loose Ties, Oil on Canvas, 16” x 20”, 2024
Introspection, Oil on Canvas, 24” x 30”, 2024
Atrapada en el Mismo Lugar (Stuck in the Same Place), Oil on Canvas, 24” x 30”, 2024
My work is a multi-faceted exploration of identity, social influence, and personal growth in a dynamic and everchanging world. I aim to share my journey and how my identity is shaped by societal norms and expectations. My work delves into how social constructs, such as classism, religion, racism, and patriarchal standards, intersect and influence individuals’ development. Ultimately, the adaptability in challenging environments and the quest for a sense of belonging and acceptance.
My art reflects the fluid and evolving nature of the self, juxtaposed against the permanence of external appearances and social standards. It integrates religious and political themes as related to the construct of the self, through external motifs that reflect on the outer exterior of each metal vessel and cast. In sequence, the traditional form of the vessel in bronze metal references dated social standards that we continue to follow. Drawing a parallel, bronze vessels manifest in an array of forms, sizes, and finishes, mirroring society’s tendency to gauge our value primarily on outward appearances.
Pressure, Bronze, 11.5’’ x 7’’ x 3.5”, 2024
Unsettled, Bronze, 8.5’’ x 11.5’’ x 4.5”, 2024
Disassociation, Plaster, 10.75” x 5.75” x 2.5”, 2025
BA
Alondra Aguilar
Frida Alba
Gabriel Garcia
Peter Gillis
Emma Lowe
Audra Martin
Aidan Morgan
Brenda Nelms
Agustin Ochoa
Emiliann Parga
Jaiden Petersen
Trinity Romero
Brooke Thomas
Jasmine Vigil
Aroha Zaragoza
BA Graduating Seniors Exhibition 2025
Stanislaus State University Art Gallery
California State University, Stanislaus
My work is a dialogue between light and shadow, a space where identity and emotion unfold. Rooted in a passion for storytelling, I blend realism with poetic abstracting, using photography to unveil the beauty of truth and its raw and intimate forms. Each image captures fleeting moments whether in portraiture, landscape, or curated compositions seeking to reveal the depth of human connection and the quiet resonance of everyday life. Inspired by themes of memory, transformation, and cultural identity, my work explores how light and shadow shape not only the visual world however our perception of self and space. I am drawn to the tension between presence and absence, visibility and obscurity using composition and contrast to evoke introspection. Through this interplay, I strive to create images that feel both timeless and deeply personal, inviting viewers to see, feel, and truly remember engaging with the world in a more thoughtful, perceptive and immersive way.
Untitled (Plant Life #1), Photography, 16 x 20, 2025
Untitled (Plant Life #2), Photography, 16 x 20, 2025 Spring Blossom, Photography, 20 x 24, 2022
I’m a bit of a wanderer when it comes to subjects, my stories tend to branch off in unexpected directions. That’s what I try to capture in my art – a narrative that pulls you in, something anyone can connect with. I’m fascinated by the push and pull between my own experiences and those universal feelings we all share, and I use whatever medium feels right to explore that. I’m not hunting for heavy symbolism; I’m drawn to the simple beauty of a good story. Inspiration comes from everywhere: discarded notebooks filled with homework, the quirks of my brother, the quiet moments with my dogs. I want my work to transport you, to make you feel like you’re standing right there in the scene. Sometimes, it’s about telling stories I’ve always wanted to share. Every line, every brushstroke, every object I choose, has a purpose in building that world, in bringing that story to life.
Trash, collage, 11’’ x 14’’, 2025
Good Boy, oil on raw canvas, 18’’ x 24’’, 2025
Oh Brother, 3d printed, 4.38’’ x 2.63’’ x 3.3’’, 2024
My work is influenced by themes of my childhood, a time of wonder and imagination. Also, exploring the contrast between us as adults and kids. Through my art, I hope to evoke a sense of joy and curiosity like we most experience when we are young. I aim to capture this playful yet profound nature of this formative stage, using personal memories of my childhood inviting others to reconnect with their own experiences growing up. Each piece reflects on a different aspect of my own childhood experiences.
Grocery shopping, Lithography on paper, 22” x 15”, 2025
Lets watch a movie, Lithography on paper, 19” x 15”, 2025
I used to tell people that I did art, that I made pretty pictures—and that was about it. Truthfully, though, art has been so much more to me: a personal journey that I’ve been too scared to share. Allowing my art to be seen feels like allowing myself to be torn open—that’s at least how creating has felt. I have a deep desire to learn, grow, and discover—despite how challenging it has been. Through my art, I’m always exploring: what a person means to me, what a mark represents, and what colors will evoke from me. I’ve been pretty selfish—focused on what I got from it rather than what someone else might. I used to try to freeze what I saw, trapped in the way it made me feel, but now I want to focus on bringing it to life instead of letting it stay stagnant. My art has always been a representation of my own emotions and connections. Feel free to define its meaning for whatever you may need. I hope what you get from it offers healing in the same way it has for me.
Almost Home, oil paint on canvas, 18” x 24”, 2024
I am here, oil paint on canvas, 16” x 20”, 2023
Isolation, linocut print, 11” x 15”, 2025
The body is a universally recognized symbol and vessel for story. I am drawn to the human figure and seek to explore it in a variety of mediums. I aim to reflect personal and universal experiences through the human body. My work investigates the connection of the body to identity, gender, religion, and sexuality.
As a multimedia artist, I explore a variety of materials to convey my ideas regarding the body, often combining them to better communicate my message. My recent work pairs refined, colorful ceramic jars with figurative finials, each conveying different emotions. The sculptural elements, each with a distinct expression, create a story surrounding the face. In other work, I explore the intersection of ceramics with screen printing to depict personal imagery.
The human figure, and particularly the face, begs viewers to apply their own influences and histories to their interpretations. The story behind each face, whether it is full of pain, joy, anger, or mystery should be shared.
The Unicorn, ceramics, 4.5” x 4.5” x 6.5”, 2024
To The Girl I Was, ceramics, 6.5” x 6.5” x 8”, 2024
Human Sardines, screenprint, 11” x 13”, 2024
The art that I strive to create is artwork that I find fun and interesting. There are many things that I find fun in life, and sometimes it is hard trying to put feelings to pencil/ brush. However, I mostly strive from my interests, such as music, nature, cooking, and writing. These are just a few of the things that I like, but they also make up part of my identity. So these pieces that I have shared with you, also share a little bit of myself. So, I hope that every one of you who reads this and looks at my art, gets to know me just a little bit more. Overall, this experience here at Stanislaus has had its many ups and downs, but out of it, my art has become much better and I get excited every time I put pencil and paint on paper or a canvas.
Keep On Keepin On, Serigraph on Paper, 15” x 11”, 2024
After Honor, Gouache on Paper, 12” x 9”, 2024
Sublime Cooking, Lithograph on Paper, 9.05” x 11.1”, 2024
Through our college experiences, we learn more and more about who we are as individuals. Through the challenges we face, we learn to overcome and adapt to the world around us and how to learn from our successes and failures. We step out of our comfort zones and discover our strengths and weaknesses. No matter the difficulties, be it the stresses of our everyday lives or the trials presented in our classes, we overcome and mature as both adults and practitioners of our crafts. I wish for my work to show that through our hard work, victories, defeats, and personal trials, we learn who we are as people and the spectacular feats we are capable of.
In my time at Stan State, I have gone through numerous stages of learning who I am as an artist and learning what type of work I wish to create. Through mediums such as painting, collage, sculpture, digital illustration, graphic design, and printmaking, I have unlocked new ways of expressing my artistic vision and have learned new forms of expression from my classmates and professors. Through the passion and support of my peers, I learned to let go and not wait for inspiration to find me. The works I create are born of how I feel at the moment. Whether the feelings are good or bad, I harness the emotions within me to create pieces that express overcoming a problem or finding a sense of peace by using a variety of mediums and styles. The fluctuation of scale and color reflects the many ups and downs we experience and the scale of the emotions we experience with each new day.
I wish for my work to show that through our hard work, victories, defeats, and personal trials, we learn who we are as people and the spectacular feats we are capable of. Life is unpredictable and can take us in countless directions. We learn from the experiences and people we meet, and that success and failure are two sides of the same coin. So long as we do our best, are our true selves, and are there for each other, we can overcome anything life throws our way.
Fin, Collage, 12” x 12”, 2024
Escape, Collage and Mixed Media, 12” x 12”, 2024
As a self-taught artist currently navigating my final year in college, my work is an ongoing exploration of identity, movement, and memory. Having grown up in a military family, the concept of home has always been fluid, shaped by shifting landscapes and constant transitions. This experience fuels my fascination with travel—not just as a physical journey, but as a metaphor for self-discovery and personal evolution.
Working across a broad range of mediums, I have recently been more in tune with working into multimedia collage. Layering materials, textures, and found objects allows me to visually reconstruct the fragmented yet interconnected nature of my experiences. My time studying abroad in Italy further deepened my fascination with history, architecture, and the storytelling potential of art. Whether through painting, sculpture, or mixed media, I strive to capture the feeling of movement, nostalgia, and discovery that comes with exploring the world—both physically and artistically.
My work is a reflection of my journey, not only across borders but also through the evolution of creative expression. By blending different techniques and influences, I aim to create pieces that invite viewers to navigate their own memories, connections, and sense of place.
Voyage, mixed media collage, 14” x 10”, 2024
Cigarettes, ceramics, 9.5” x 2.5” x 3” & 2” x 4” x 5”, 2025
Medusa’s Gaze, mixed media, 24” x 28”, 2024
I am a multimedia artist, primarily focused on sculpture, with a distinctive exploration of raccoons as a central motif in my work. These animals serve as a unique lens through which I express my personal emotions and experiences. The raccoon, often seen as a symbol of adaptability and curiosity, mirrors my own journey—one that is constantly shaped by the choices I make and the paths I follow.
For me, raccoons are more than just subjects; they are reflective figures that embody themes of transformation and the complexities of navigating life’s uncertainties. Each piece I create invites the viewer to pause and reflect on their own lives, encouraging them to consider the shifts they have made and how those changes define who they are. Through my sculptures, I aim to create art that resonates deeply with individuals, prompting them to explore their own emotions and the consequences of their actions.
Ultimately, I hope my work offers both enjoyment and introspection, sparking a dialogue about the choices we make and how they shape our identities.
Untitled 1, Ink on Paper, 15” x 11”
Untitled 2, Clay, PLA, 7” x 4” x 4”
I am a sculptor deeply interested in the connections we form with each other and the inner emotional landscapes we navigate. My work explores themes, such as grief, growth, and the emotional distress we experience in our daily lives. I create non-objective sculptures, using plaster castings and ceramic slab building, focusing on the processes of mold making and removing material to bring the forms to life. My pieces are made from solid, yet fragile materials, symbolizing the human spirit. Drawing from geometric shapes, textures, and organic forms, they evoke emotion and create an energy that connects us to the cycles of destruction and growth, mirroring the exchange of energy between individuals. Through this, I challenge traditional sculpture by removing religious imagery yet maintaining a connection to timeless artistic practices.
Erosion, Plaster, 7.375” x 7” x 6”, 2020
Reminisce, Plaster, 15.25” x 5.5” x 5.75”, 2020
Terminal, Ceramic, 15.5” x 5.875” x 5.375”, 2025
In my works I like creating pieces that are whimsical and feel almost magical yet have a seemingly eerie tone to them. A lot of the messages I go for within my artworks tend to focus on the human experience with media and social interactions plus mental health. I have a fascination with psychology and like to put that interest into my works by adding narratives that cause further thinking into what is being told. My uses of color and certain figures are used with intention to put in symbolized emotion. My inspiration for my pieces tend to come from items I see around me or items and scenery that spark inspiration for me to create a narrative or world out of it, plus my own experiences. Art should be an outlet where you speak about something important to you, or just have fun with what you see around you. Let your voice become art.
The Last Flame, oil on canvas, 29’’ x 22.5’’, 2024
Looking Towards the Future, oil on canvas, 30’’ x 23.5’’, 2024
Contrasting Self, mixed media, 5.5’’ x 9’’ x 10.5’’, 2025
Trinity Romero grew up in Manteca, California with her parents, Hime and Diana Romero, and her three siblings: Lucas 28, Sergio 24, Isabella 20.
Trinity’s works encompass the importance of family value and reflect the integral memories of her childhood and daily life that have shaped her view on the world today. Her most recent works are a visual expression of thanks to the hard work and dedication her parents gave to her and her siblings’ youngest and most crucial years of their lives.
Throughout her time attending Stanislaus State, Romero had relearn and discovered new ways to approach the creation of her works. She now includes bright colors, curvilinear forms, and exaggerated facial expressions to further represent the intense joy of these times in her life.
The Walk, Relief Print, 11” x 15”, 2025
Untitled, Mixed Media Drawing, 10” x 10”, 2024
Untitled, Mixed Media Drawing, 10” x 10”, 2024
Untitled, Mixed Media Drawing, 10” x 10”, 2024
I’m a Studio Arts major passionate about combining different techniques in my work. My art explores vibrant palettes, influenced by pop culture and my love for old-school things. Over the years, my art has advanced, and my schooling has taught me new methods of color theory. I now approach color in a unique way, using a range of shades to create depth and vibrancy. I focus on sharp linework and intricate details. Though I’ve always been known for traditional media like drawing and mixed media, acrylic painting is now my main method of expression. These new pieces allow me to celebrate old-school music and the Black role models I admire, especially Diana Ross. She’s been a major inspiration for my self-portraits, helping me embrace my culture and beauty as an artist. I hope the audience enjoys the collection I’ve recently worked hard on.
Black Glamour, acrylic paint on canvas, 36” x 36”, 2025
The Boss, acrylic paint on canvas, 30” x 30” , 2025
Brooke Does It Best, acrylic on canvas, 20” x 24”, 2025
My art is a combination of botanicals and design. During my long walks I often stop and look closely at the various textures and colors of the many plants, rocks, and trees around the gardens I pass by. On the other hand, I love to observe repetitive patterns on textiles and other man-made surfaces. I then reinterpret these forms to create my own abstract bouquets. I aim to elevate traditional floral painting and offer a fresh perspective on its timeless allure.
Watercolors on paper and paint on canvas are my preferred media, as their versatility allow me to capture the essence of organic forms and the intricate details of patterns. I like to experiment with patterns and shapes layering them in unexpected combinations focusing on the overall form rather than realistic representation. I approach my paintings like a florist would assemble a bouquet for a gift, carefully selecting each color and shape to create something harmonious, balanced, and meaningful.
Red floral, acrylic on paper and digital, 10” x 14”, 2024
Blue floral, oil on canvas, 24” x 30”,2024
Green floral, acrylic on canvas, 8” x 10”, 2023
Today, we seem to be guaranteed freedom, but in fact we are suffering spiritually at great cost. We suffer slowly from every little detail. To break free from this, we seek healing every day. There are many ways to heal, but one of the simplest and most difficult is to look at our own psyche objectively. “Objectively” is a very difficult thing to do, and it tends to be subjective. However, it is only when we see and understand the scene of our mental state through art that we can begin to think about the scene of the situation regarding the art, and this can be an opportunity to look at ourselves as an advantage.
Stare, color pencils, oil, pastels, 16” x 24”, 2024
Depression, color pencils,pastel, 18” x 25”, 2024
Mental Core, chalk pencil 121cm x 46cm, 2024
Gadget, color pencils, pastels, 16” x 25”, 2024
Dr. Britt Rios-Ellis, President
Dr. Richard Ogle, Provost/Vice President of Academic Affairs
Dr. James A. Tuedio, Dean, College of the Arts, Humanities and Social Sciences
Martin Azevedo, Associate Professor, Chair
Autur Da Silva, Assistant Professor
Dean De Cocker, Professor
James Deitz, Lecturer
Daniel Edwards, Professor
Jessica Gomula-Kruzic, Professor
Dr. Alice Heeren, Assistant Professor
Chad Hunter, Lecturer
Dr. Carmen Robbin, Professor
Ellen Roehne, Lecturer
Dr. Staci Scheiwiller, Associate Professor
Susan Stephenson, Professor
Jake Weigel, Professor
Mirabel Wigon, Assistant Professor
Alex Quinones, Instructional Tech II
Matt Hayes, Equipment Technician II
Noely Ortiz, Administrative Support Coordinator
Dean De Cocker, Director
Kory Twaddle, Gallery Assistant
Brad Peatross, Graphic Specialist II
BFA & BA ‘25
BFA Exhibition: May 8–23. 2025 | Stan State Art Space, California State University, Stanislaus
BA Exhibition: May 8–June 24, 2025 | Stanislaus State University Art Gallery, California State University, Stanislaus
200 copies printed. Copyright © 2025 California State University, Stanislaus • ISBN 978-1-940753-92-8
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.
