BFA&BA'24 Stanislaus State Graduating Seniors Exhibition Catalog
BFA
Crystal Camarillo
Angela Esua
Liliana Figueroa-Larios
Silver Harvey
Analaura Jocol
Jordan Jones
Max Mingua-Lopstain
Destiny Nieves
Jewel Rodriguez
Giselle Vanagten
BA Gustavo Aceves
Gabriela Ambriz
Kent Blaydes
Chase Borba
Abel Cardenas
Ariatna Garcia
Madisyn Herren
Kenneth Hess
Melanie Hurtado
Christian Juarez
Jacqueline Lopez
Niyali Manada
Corynne Marrufo
Alexis Masasso
Destiny McCaslin
Sheila Medina
Dimenika Miranda
Sambol Misaghian Shirazi
Haidet Peralta
Ricardo Romero
Chelsey Salas
Joy Silvas
Bianca Tagre
Andres Trejo
Jasmin Zavala Canchola
BFA&BA’24
BFA & BA Graduating Seniors Exhibition 2024
Stanislaus State Department of Art
California State University, Stanislaus
DIRECTOR’S
FOREWORD
The California State University, Stanislaus, Art Space Gallery and the University Gallery are very excited to present our 2024 BFA & BA graduating senior exhibition. This year’s exhibition and accompanying catalog showcase the many talented artists graduating from the Department of Art.
We are once again at that time of year when we get to see the hard work many of our students have been putting in on their academics and artwork. The last few years have been interrupted as we faced a global pandemic, that changed many of the dynamics of the art world, but not the spirit of the artists. It is that spirit to create that keeps driving many of us to make new and ever challenging work to share with others. For it is this drive, that in many cases, also moves humanity along in an ever-heightening trajectory, where occasionally, see something that really makes us take notice, something we want to latch onto and ride into the future.
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 students have applied to their craft as artists. 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
Crystal Camarillo
Angela Esua
Liliana Figueroa-Larios
Silver Harvey
Analaura Jocol
Jordan Jones
Max Mingua-Lopstain
Destiny Nieves
Jewel Rodriguez
Giselle Vanagten
BFA GRADUATES
BFA Graduating Seniors Exhibition 2024
Stan State Art Space
California State University, Stanislaus
CRYSTAL CAMARILLO
Beyond Stained Windows
In the church, patterns of abuse continue to unravel. Men are celebrated as righteous leaders while the highest expectations of purity and obedience are pressured onto women and children. This double standard is evident when immoral activities done by “holy” leaders happen behind the stained-glass windows. This has stimulated my current series of works, where I reveal personal instabilities and observations on religion and the experiences of children that have been victims of religious manipulation.
I use the motif of stained-glass to bring light on these matters, while experimenting with color and expressive paint application to reflect my insecurities on religious loyalty and challenge double standards. I create paintings using diagonal compositions, deriving from the church’s historical use of diagonal configurations for religious iconography. The incorporation of familiar objects from the church like stained-glass, pews, candles, crosses, etc., and the human figure establish a relationship between the observer and the image.
The Performance of a Lifetime, Acrylic on Canvas, 40” x 30”, 2023
Untitled, Acrylic on Canvas, 40” x 30”, 2023
ANGELA ESUA
My work is driven by my interest in the human body; there is so much more to the body than meets the eye. There are many systems in your body that must work together to continue functioning and keep you alive and healthy as can be. I strive to portray the body as the wonderfully beautiful and interesting subject it is. Throughout my body of work, I use different media to highlight the different properties of each part of the body. My paintings and drawings are made of physical, tangible media. The physical actions of using this media relate to the body in a literal manner, since I must move my body significantly as I work. I like to think that my digital work relates more to what happens in the mind, since this process does not result in something physical but instead something that exists in an intangible space.
Big Thoughts, Oil and Acrylic on Canvas, 40” x 30”, 2022 Why Can I Not Breathe?, Acrylic on Canvas, 36” x 24”, 2023 … Stairs!, Acrylic on Canvas, 20” x 16”, 2023
LILIANA FIGUEROA-LARIOS
Born and raised in the Central Valley of California, I explore the use of nontraditional materials and techniques found within the world of textiles. Such as sewing, embroidery, and forms of quilting due to their existence outside of traditionally accepted fine art methods. This is then paired with found imagery that is sourced from vintage photographs to aid in the construction of imagined queer narratives that have typically faced repression from society. This repression is further signaled though methods of obstruction via aging, fragmentation, rips and layering.
Untitled 24 (Frida and Chavela), Mixed Media, 37” x 32”, 2023
Home is Wherever I am With You, Assemblage, 33” x 22”, 2023
My body of work investigates the fear and discomfort associated with death and grief. I explore pictorial space utilizing a combination of atmospheric strategies and flattened space, creating a division between bisecting planes. In addition, I utilize highly saturated colors conflicting with the dark narrative. Resulting in uncomfortable spaces which capture moments of memories and grief.
Hallway Phenomenons, Acrylic on Canvas, 30” x 24”, 2023 Those Who Wait in Grief, Oil on Canvas, 30” x 24”, 2023 Welcome Home, Oil on Canvas, 30” x 40”, 2023
ANALAURA JOCOL
My name is Analaura Jocol. As an artist, I aim to tell the story of my family and my own experiences through tapestry like paintings woven together with embroidered patterns and found objects. My work plays with different materials to make figures depicting my family going through different experiences and to portray the emotions felt at the moment of said experience. I use a lot of floral imagery, which not only gives the feeling of love and passion, but is used to show growth within these individuals. I use my work to highlight my family’s struggles and relationships with each other as a way to show respect to their growth and culture. I use art as a way to display these stories that mean so much to me and my family, as these stories not only have been passed down in generations, but have drastically changed my perspective on life.
Arreglándolo Poco a Poco (Fixing it Little by Little), Installation. Embroidery & found objects on Fabric, Acrylic on canvas, 39.5” x 22.75”, 2023
No sé cómo me siento, Screenprint, 9” x 12”, 2024
Responsabilidad (Responsibility), Found objects, fabric, cardstock,embroidery, and acrylic on canvas, 25” x 36”, 2023
JORDAN JONES
Discussing feelings related to loss is often avoided because of negative associations with grief. I embrace these uneasy feelings and manifest them through what I paint. As such, my work explores loss, longing, and displacement mirroring my life experiences. Displacement is portrayed through painterly representations of domestic spaces; they are intimate, ranging from spacious and empty to incased and claustrophobic. These two extremes are represented by phrenetic spaces of line, solid color, or as empty places the figure inhabits. The figures are purposefully kept vague. This allows the opportunity for body language to drive expression. I rely on gestural marks to convey what emotions they are experiencing. Through painting, I explore loss and longing through color, rendering form through bold color and gestural application. I feel this gestural freedom best expresses the struggle represented in the work. The artworks become an invitation for self-reflection, examination, and conversation about shared experiences.
Between Hello and Goodbye, there was Love. Oil on found object. 11.5” x 7” x 1.” 2023.
Past. Present. No Future. Oil on board. 24” x 30”. 2022. Obstruction. Oil on panel. 11.5” x 19”. 2023.
Every Day is October 20th/October 25th. Oil on canvas. 24” x 30”. 2021
MAX MINGUA-LOPSTAIN
Territory of Desire
Deforestation as well as forest fires are destroying habitats that belong to countless species. It is obvious that the many irresponsible actions that have occurred throughout history, have had detrimental effects on this planet. As an artist, I aim to demonstrate how intricate and interwoven the natural world is, as well as how human actions can negatively impact the ecosystem, by combining different materials and textures. In my mixed media pieces, I combine various materials such as molding paste, ink, and oil to create textured and layered compositions that evoke a sense of urgency and tension. Through intense mark making and the use of disturbing objects such as the gas masks, I seek to evoke a sense of unease and discomfort, encouraging viewers to confront the harsh realities of our changing climate.
Char, Aluminum cast sculpture 11” x 8” x 12”, 2023
Casualties, Mixed media on plexiglass, 36” x 24” x 9”, 2024
Remnants, Mixed media on plexiglass, 46” x 24” x 8”, 2024
DESTINY NIEVES
My works revolve around escapism and detachment, both emotionally from the world and physically from relationships forged online. An intuitive breakdown and transformation of everyday forms and colors produce my alleged ‘ideal’ space: a parallel suburban land that is stimulating yet uninhabited. Digital sketches, personal photos, hard-edged patterns, and paper crafts are collaged, then re-translated through painting to explore the blurring of real and virtual in visual perception, and how signifiers warp in that translation process.
My paintings tend to record specifc scenes, while sculptures appear as artifacts of the aforementioned parallel world. Regardless of surface, color relationships are integral to the mood of a given piece; these oversaturated palettes being so removed from the referents produce duality and confusion between forms, in addition to the conflicts and harmonies within the palette. Recently I’ve taken to Pointilist strategies, in their own way reminiscent of digital screens.
Grounded, Digital media, 3600 x 3150px, 300dpi, 2024
Find our way, Lithograph, 11.5” x 15”, 2022
Thank you, sign sign sign sign, Plaster, found fabric, paper, and acrylic on cardboard, PVC pipe, wood, 58” x 17.5” x 11”, 2023
JEWEL RODRIGUEZ
Jewel Rodriguez examines the complexities of childhood abuse, memory, and the environments in which trauma occurs and is often overlooked. By returning to her own past, she uses familiar domestic environments and childlike objects to dissect tumultuous family dynamics, girlhood, and the inevitable forced maturation that ensues. Through pungent color schemes that are meant to lure and confuse, a fragmented sense of reality that resembles the process of recollection, and the duality of masculine and feminine materials, Jewel reclaims her own narrative, destabilizes the home as a safe space, and therefore challenges an involuntary and destructive patriarchal presence many women and children are affected by. By navigating through the environments that we often choose not to look, Jewel provides a lens into a disconsolate world that is lived by many but told by few.
Stable Lives That Make Me Yearn, oil on canvas, 30” x 40”, 2023
A Few More of Your Least Favorite Things, oil, acrylic, yarn, tape, pushpins on canvas, 30” x 40”, 2022
Daddy’s Little Weapon, oil, plaster, yarn, toy phone on cardboard, 35” x 3 5”, 2023
I Thought My Demons Were My Friends, oil, acrylic, eggshells, sand, yarn, popsicle sticks, thread, paper on canvas, 36”x 48”, 2023
GISELLE VANAGTEN
In my work I grapple with my personal experience of living in a body that has been subject to sexual violence. Through visual explorations of the body both internal and external, I externalize my own experience through figures that find themselves compromised by a hostile environment. Through this I aim to find an understanding and reconciliation of my own form and the world that is experienced through it.
Can You See Me?, Acrylic Yarn, Cotton Thread, Polyester Stuffing, 23” x 20”, 2023
Inside, Oil on Canvas, 40” x 30”, 2023
Metaphor for Violence on the Body, Oil on Canvas, 24” x 30”, 2023
BA
Gustavo Aceves
Gabriela Ambriz
Kent Blaydes
Chase Borba
Abel Cardenas
Ariatna Garcia
Madisyn Herren
Kenneth Hess
Melanie Hurtado
Christian Juarez
Jacqueline Lopez
Niyali Manada
Corynne Marrufo
Alexis Masasso
Destiny McCaslin
Sheila Medina
Dimenika Miranda
Sambol Misaghian Shirazi
Haidet Peralta
Ricardo Romero
Chelsey Salas
Joy Silvas
Bianca Tagre
Andres Trejo
Jasmin Zavala Canchola
BA GRADUATES
BA Graduating Seniors Exhibition 2024
Stanislaus State University Art Gallery
California State University, Stanislaus
GUSTAVO ACEVES
The work that I am presenting for my BA Exhibition are from a recent trip to Seattle. Exploring everything the city had to offer, I was able to take many different pictures throughout the city and I am currently presenting the ones that I personally connected with the most. All five of these images were taken when I was out exploring what the city had to offer to me, since it was my first time being there. I am honestly very proud of these images because I feel like part of me is being conveyed into my work, which in turn should allow the audience to get a sense of how I felt when I was at that location.
I recently got accepted to a film school in Orlando, so my ability to get up and travel when I get the itch will become few and far between. This is why I connected with these images more than most. I took the time to look at my surroundings and sucked in the atmosphere of Seattle. I had those emotional connections to my work, which allowed me to feel proud of my work and value my journey up until this point.
All five of these images shine light on what the world has to offer beyond what we already know, and it puts you in the perspective of someone who loves to travel and shoot photos. We do not have to be bound to what we know, but always continue to grow and see what is beyond what we know and feel comfortable with. That is why I enjoyed going out and exploring the city and being able to take these pictures. I was out of my comfort zone and used that to make these images stand out amongst the rest.
Cherry Blossems Sunset
The Gum Wall
The Loney Flower
GABRIELA AMBRIZ
I make it a habit to not really include anything from politics, society, or things like that, but rather include emotions or memories into my work. I try to use my art to escape from the outside world. With the amount of experimentation that I do with my work, at times it can look odd or cartoonish depending on the material or medium that I end up using. Be with a concept of a piece or just the materials themselves. There would always be a medium any artist would gravitate towards and for me that would mainly be acrylics in painting and the miscellaneous objects used for sculpture. This could range from cardboard, paper, screws, plywood, glass, canvases, medicine bottles, etc; just things that can possibly be used in the next project some way. In the forms of art, I prefer to work in acrylic on canvases which can lead to twists in the paint I use, while in sculpture it is a bunch of mix media like plaster, cardboard, or paint as well. To find a piece successful, in my opinion, is something I find exciting to show or explain to those around me, something that when viewed I feel perfectly represents my vision given that I don’t plan out my projects.
Demon Slayer Animfied, Acrylic on Canvas, 24” x 12”, 2022 Self-thought, Acrylic on Canvas, 20” x 16”, 2024 Grand Line Map, Watercolor, 12” x 9”, 2023 Fated, Mix Media, 9” x 9” x 9”, 2024
KENT BLAYDES
Suicide is a topic that is taboo in all cultures, it is a reminder of death. But how can one truly appreciate life to its fullest if we do not appreciate it for its consequences. What I aim to tackle is in my art the concepts of the value of a human life, both literally and metaphorically. My art uses metaphors through both culture and representation to express the extreme emotions that deal with depression and suicide. I have been given a unique opportunity to show you my understanding of life due to the circumstances of my mental health diagnosis and brush with suicide attempts. These three pieces show how I see myself been changed. By experiencing my art, I enlighten you on the misunderstandings of those who struggle with their inner demons, and how to help them, as my art has helped me.
Cracks, Aluminum Cast, 8” x 8” x 8”, 2023
A Moment, Series, Alcohol Marker on Paper, 18” x 60” , 2023 Mental Health, Ink on Paper, 15” x 15”, 2023
CHASE BORBA
My name is Chase Borba. I will be graduating from Stanislaus State in Fall 2024. I generally like my artwork to have a sense of fun or playfulness to them. I’m inspired by many things, but my main inspirations would be everyday life, sea creatures, and ancient artwork. For my sculpture pieces, I like to mix multiple mediums together, and I often use found objects in my work. My style is very flat and geometric, using jagged lines and angles in combination with smooth rounding curves. I want my art to be reminiscent of art from long ago but placed within the modern day.
Dogwalker, Cardboard, ceramic, plaster, acrylic on canvas, paper, wire, wood, 16” x 16” x 3.5”, 2022
Sphyrnidae, Ink on paper, 15” x 9”, 2024
Remora, Clothing iron, foam, wire, tape, 7” x 10” x 23”, 2022
Emblematic 24, Ink on paper, 30” x 26”, 2023
ABEL CARDENAS
The ultimate goal is to make the viewer experience a surreal taste of beauty and freedom found through the exploration of heightened state of consciousness. Using nude figures, as a reminder of how fragile we all are but yet so powerful. Combining abstract elements such as color, shape and texture to depict the fluidity of human emotions and power of our subconscious desires. With the idea of using art as a portal to more exotic and intoxicating realities. I explore the union of fantasy, sex and psychedelics through my art.
Gods Of Creation uses paper scraps held together with duct tape. The drawing is process based and grew in scale as it developed. I am a vessel. The creative process guides every move I make and eventually evolved into its completed formation. I abstract human anatomy to allude to motion. To create a sort of flow that engages the eye, mind, and spirit of my audience. This total engagement of the body and mind is enhanced by fantastical aspects of this work and black light paint illustrated through the lines and shapes create an otherworldly realm.
Gods Of Creation, Mixed media, 75” x 72”, 2023
Untitled, Mixed media, 58” x 35”, 2024
Untitled, Mixed media, 55” x 35”, 2024
Untitled, Mixed media, 55” x 35”, 2024
ARIATNA GARCIA
Exploration of form and space helps solidify narratives of depicted subjects by capturing the environment they occupy. This is an important aspect I implement in my work. I’m interested in learning more about the form through elements that are unique to the form itself and how to imply these aspects of the form through different mediums.
With each piece I create, I aim to have a better understanding of 3 dimensional objects and how they interact with space. This can be through light, shadows, implied mass, or perspective. I capture my work in multiple mediums that I believe would best suit the implication of form and space for the subject. Each medium has their own distinct way of interacting with a surface, ranging from textures to application methods. The different attributes of each medium helps me capture form and space within my subject matter, presenting their unique narratives.
Trinkets, Ink on Reeves Paper, 15” x 11.5”, 2024
Green, Acrylic Paint on Reeves Paper, 12” x 12”, 2022
Worm, Charcoal Pencil on Strathmore Paper, 24” x 54”, 2023
Blue, Acrylic Paint on Reeves Paper, 12” x 12”, 2022
MADISYN HERREN
I’ve always been interested in textures used in art, the use of harsh lines, thick paint, bold lines. In sculpture I want to understand all the planes and angles in an artwork, while not losing the artist’s touch. These artworks are exploring that type of style for the show. Ziggy and Hugo I explore the challenges in 3-dimensional planes, in bone, muscle, and skin. Ziggy, specifically, I focused extra time on, as the artwork is of my passed pet chameleon. With Lounging in Death and The Harvest I wanted to explore thicker paint and a looser style. I wanted to show bold lines, and noticeable paint strokes, with less focus on detail instead focus on color and applying thicker paint. Finally with Lounging I used compressed charcoal to make it harder to erase, making every mark I do matter. I used harsh lines as needed, but not overwhelm the artwork.
The Harvest, Oil on Canvas, 16” x 0.5” x 12”, 2022
Lounging in Death, Oil on Canvas, 16 “ x 0.5” x 12”, 2022
Lounging, Compressed Charcoal on Paper, 18”x 24”, 2022
Ziggy, Plaster on wire with acrylic paint, 4” x 12.5” x 4”, 2022
KENNETH HESS
My artwork is aimed at helping individuals regain their voice, unlock passion, and even discover talents they never knew they had. I use mixed media, such as graphite, acrylic paints, pastels, colored pencils, and sculpting that allow me a variety of ways of expressing myself. My preferred media, however, is digital design and graphics. I use a variety of digital tools and 3D. I use a variety of digital tools and 3D software, engaging vibrant colors and patterns that better fit a certain new theme or style. I have created portraits, landscapes, drawings, company logos, and presentation graphics. My passion is the driving force behind my work, and I want to support others in unlocking their creativity. I want others to know that they deserve to have their voice heard and believe in their value and contributions to our world. Each person is worth it!
Puzzle Bowl, Sculpture, 6” x 8” 2022
Shadows, Digital, 6” x 8”, 2021
Colors
of Chaos, Pastels on Paper 24” x 40”, 2023
MELANIE HURTADO
What does it mean to be a woman? What does it mean to be a person? In my work I depict ideas of performativity as a woman, and as a person. The way we hide behind different masks, do we even know who we really are? Through color and black and white relief I create characters who perform differently for various audiences. We hide parts of ourselves every day and I strive to highlight the idea of hiding. Through oil pant I experiment with and push color in unconventional ways. I depict mundane still lifes with saturated color palettes and bright highlights. With that being said, within the idea of hiding and wearing a mask as well as the ordinary still exists beauty and grandeur.
sexc mush, lino cut, 9” x 12”, 2022 still life, oil on canvas, 16” x 12”, 2023 untitled, lino cut, 15” x 11.25”, 2023 why the long face?, color relief, 15” x 17.5”, 2023
CHRISTIAN JUAREZ
My artworks and ideas derive from my youth and how my parents loved gardening. I always loved anything that was related to flowers and how they are always everywhere so many if artworks have some type of plant or flower. I always included works that showcase my influence of drawing which really pushed me to be an artist and focus on developing myself as an artist. Many of my artworks are oil paintings which is very surprising as I recently picked it up and feel in love with the medium and process.
Untitled, Printmaking 2023
Untitled, Oil, 2023
Untitled, Oil, 2023
Untitled, Oil, 2023
Untitled, Charcoal, 2023
JACQUELINE LOPEZ
The work shown here varies from piece to piece as it is taking a look at work I’ve done over the years. What I have learned about myself through this is that I enjoy seeing vibrant colors in my work. For my prints, since it is a different medium, I like to exaggerate color and yet have the setting be a believable place in our world. When it comes to paintings, I enjoy rendering local color and then playing with reflected and direct light. This also includes temperatures, shadows and cast shadows to make images that are more painterly and not photorealistic. I aim to look at the world around us as if for the first time and appreciate the world of color that we live in.
Self-Portrait, Oil on canvas sheet, 16” x 12” 2024
Untitled, Oil paint on canvas, 20” x 16.5”, 2022
Untitled, Relief Print on paper, 11” x 14”, 2023
Untitled, Relief Print on paper, 14” x 15” 2023
NIYALI MANADA
My work takes a more simplistic approach. I took more of the simple objects and put them with a dark background and placed them on a light table. I began my paintings with oil paints and blocking no out the background to have a good sense of where I will place the objects. Then I do the foreground and start adding my objects in. Lastly i add my details and finish up with not doing too much but just enough. My goal with this painting was to make it as simple as possible with an intriguing form to allow the viewer to really think about what the painting is telling you. When It comes to an exhibition I want to stand out and I believe that my work with its simplistic structure and interesting colors I believe my pieces will always be remembered.
Bags, Oil Painting, 11.5” x 18”, 2022
Skulls, Oil Painting, 11.5” x 18”, 2022
Shoes, Oil Painting, 15.5” x 11”, 2022
The Glass, Oil Painting, 11.5” x 18”, 2022
CORYNNE MARRUFO
Throughout all cinematic media, people relate to characters they see. Character design is an important aspect of storytelling since it depicts the emotional connection the viewer has with the character. It keeps the audience interested in an unfolding story with a character that is recognized by their clothing, the way they enter a room, or their quirky powers.
My character design work challenges the character’s personality as well as physical traits while taking inspiration from script and concept art to design characters. Croc Face, a character I designed was difficult because her design is a crocodile-like person with the same abilities as a reptile. I considered how adding scales, teeth, and tail to human anatomy could characterize a particular emotional state, such as strength and rage. For clothing, I decided to make her covered up when it came to the top portion of her body.
I believe it’s important for the viewer to understand female emotion and body language since most female characters are often oversexualized and dramatic while mine show true emotions of a woman. Expression is an important aspect of my characters since it shows a true meaning of when women are showing their emotions.
Pirate, Charcoal Pencil on Paper, 14” x 16”, 2022
Croc Face, Digital, 9” x 12”, 2021
Croc Lady, Digital, 9” x 12”, 2021
ALEXIS MASASSO
In a resilient world, I channel my pain into art, giving a voice to the many silenced Women who’ve endured rape, assault, and abuse. My creations echo the silent cries, offering solace and recognition. Through abstraction and universal imagery, I explore the emotional journey of survivors. The Goddess columns in my work symbolize strength, providing pillars of support. My exhibitions create safe spaces for dialogue, fostering connections among survivors and allies. My warm hues signify comfort, while my cold, vibrant colors express anger and strength. My art serves as a bridge, challenging stereotypes and initiating vital conversations about sexual assault. In a world that often ignores survivor pain, I establish A Safe Space, aiming to raise awareness, foster empathy, and stand against violence. Join me in delving into the silent stories, advocating for a change through understanding and empathy.
Eternal Turmoil, Acrylic on canvas with wax, 67” x 32”, 2023
Celestial Gazes From a Window, Acrylic on paper, 10” x 10”, 2022
Chaos Unleashed, Acrylic and oil on canvas , 28” x 28”, 2023
A Conversation, Acrylic on paper, 10” x 10”, 2022
DESTINY MCCASLIN
My work is primarily about myself and my internal perception of the world and interpersonal relationships therein. The majority of the paintings are actually all part of the same series, where I was experimenting with abstraction and color in relation to my experiences. I focus either on myself entirely, or on those around me and how they interact with each other. The best example of the former would probably be Inside, as it’s a literal glimpse into how I perceive my mind to function. The best example of the latter would be Demands, as it’s my perception of the demands placed upon my grandfather by the entire family. I have always been rather self-centric, as I’m the only one able to really understand my own experiences, both in my own interpersonal relationships and my struggle coming to terms with losing my vision. All 9x9” images are part of a series.
Inside, Acrylic Paint on Paper, 9” x 9”, 2023
Daunting, Acrylic Paint on Paper, 9” x 9”, 2023
Demands, Paint on Paper, 9” x 9”, 2023
Limits, Acrylic Paint on Paper, 9” x 9”, 2023
SHEILA MEDINA
The work that is in this show highlights the power that women have. Whether it’s generational or through the portrayal of life women bring. Not only in a sense of how they have the capabilities to have life within their own body but the way a woman can bring in so much to a person’s life. My work honors womanhood and the positive female role models that surround me in my day-to-day.
Through the Generations Full of Lig Jestress
Mama
DIMENIKA MIRANDA
Capturing someone’s likeness has always intrigued me throughout my artistic journey. It offers me the opportunity to re-present someone in a new way that can capture an idea or theme. These themes don’t always hold similarities, but for the work I created for this exhibition I wanted to capture a small essence of otherworldliness. To encourage this, I experimented with gold leaf to call back to its association with spirituality, the divine, and illumination. Pairing this amongst a black and white color scheme helped me to achieve boldness in some design elements where the gold is left to truly shine while simultaneously complimenting the portrait
Stary, Charcoal, gold leaf on toned black paper, 12” x 9” 2024 Illumination, Charcoal, gold leaf on toned grey paper, 10.5” x 7.25”, 2024 Thorns, Charcoal, gold leaf on toned grey paper, 12” x 9”, 2024
SAMBOL MISAGHIAN SHIRAZI
This world that we live in is no different than what we have witnessed in our muddled world on my canvas. I clash with my surrealist paintings which are more representational of vigor because each of my art has humans since they are known to be hardwired and have the tendency to value firsthand experiences over data and to disengage from data-based representations by making the data vivid and accessible. I created intense compositions using a combination of inky textures and acrylic lines that are complemented by vibrant and shadowy paints.
A gentle trait, the broken crate, Acrylic, Ink, metallic pray, 12” x 16”, 2023
Emulate, a truth dilate, Acrylic, Ink, metallic pray, 12” x 16”, 2022
Hallucinate, desegregate, Acrylic paint, Ink ,8” x 10”, 2023
Don’t suffocate on your own hate, Acrylic paint, Ink, 11” x 14”, 2022
HAIDET PERALTA
My name is Haidet Peralta. As an artist I aim to showcase the set of skills I have developed in the last year in a half. A little backstory about myself is that I wasn’t an art major when I got to Stan State. I attended MJC where I obtained an AA in child development. When I attended Stan State my first semester in Spring of 2022, I took a figure sculpting class from Daniel Edwards where I discovered that sculpting came intuitively to me and where my heart was. The following semester I became an art major, and the rest is history. In my work I showcase a variety of forms of the female figure using the different materials I have learned to work with during my time as an art major. In which I resonate with because I wear many hats. I am a woman, mother, student, daughter, sister, but overall, an artist at heart. I want to take a moment to thank the wonderful faculty who have been kind and patient with me. I’ve learned so much from every single one of you and it is knowledge I will carry with me forever.
A Heart or A Portrait?, Clay, 9” x 12”, 2023
Figure Painting (From Observation), Oil Paint, 24” x 18”, 2024 It’s A Cover-up, Serigraphy, 9” x 12”, 2024
RICARDO ROMERO
I wanted to get a scenery that can describe the beauty of what I see. I wanted to choose one location that came as part of a second project that I was doing for my painting from observation class. I tried to find a location of which setting I wanted to paint but ended up doing the one I have in the picture above. I tried but couldn’t capture the bridge on the far right. I applied many layers of oil paint for this work until I got the result. The lights and shades that I included made the work look like it had time depiction. The splashes of the river looked like it was going in a certain direction. One can also see where the river came from. I was eyeing as much possible to get the tones of the boulders to match how they appear in my artwork.
The Flowing River, oil on canvas sheet, 16.9” x 20”, 2023 Fish, acrylic, 14.9”, x 12”, 2022
Walking By, printmaking, 12.” x 9.8”, 2022
CHELSEY SALAS
At a place where Hip Hop meets High Art I flourish as an Artist. As an artist Coming out of a small town called Merced I have now began to gain this new confidence after becoming a Fitness instructor at campus Recreation. This has helped me build more confidence in myself as a person an Artist because Art has always come naturally and after learning and continuing my education it’s all I want to do. Making art if it be through a paint brush or a cardboard box and newspaper, I will always find a way to make it work. In the beginning of my life as I was growing up, I did not know I was going to be an artist or a fitness Instructor, never gave it much thought it just happened. I was never the athletic type, but I was always drawing and building things out of my McDonald’s happy meal boxes cutting up newspaper and making giant trees. I enjoyed coming home turning on the TV and watching my favorite music artist perform and I would imitate Ciara and Shakira. Always being the elephant in a pond of blooming lotus and living through the Hip Hop Ethos I am somewhere in the middle of it all. My art has gone from confidential to confident from a beauty that is Cursed to Cursed with beauty I can’t stop making Art.
Cursed Beauty, Acrylic on Canvas, 19” x 24”, 2023
Confidential to Confident, Mixed Media on Wood, 12” x 12”, 2023
I can’t stop, Mixed Media, 10” x 10”, 2023
JOY SILVAS
My work represents experiences, emotions of my life, challenges faced; due to being different. Art has been a calming place allowing me to relax, reduce anxiety, incentive for existence. Art taught me that we can be different but simultaneously come together, and convey emotions, resilience, and joy. These emotions are reflected in my pieces through colors, patterns, and textures that embody depth and movement. I learned that art combines elements capable of communicating and expression without saying a word. My art are designs are based on what I see, imagination, and emotions. I don’t follow a unique design but enjoy creating various patterns through graphic art, animation, canvas, sculpture, and collages. My work exemplifies my methodological approach to creativity, and hoping to evoke human emotions and sentiments; through rich tapestry of motifs and visual narratives drawn from personal experiences. My art embodies a message; transforming the ordinary into something profound.
Classic Chair, Ceramic Sculpture, ,11” x 14”, 2023
Unique Scent, Ceramic Sculpture, 9” x 8.5”, 2023
White Laughter, Wood Collage, 12” x 12”, 2024
Fall Vision, Canvas, 20” x 24”, 2023
BIANCA TAGRE
My name is Bianca Tagre and I am a multimedia artist who works with the human figure and studies portraiture. Expanding off this love with the figure, I have more recently begun to explore and touch on my fears of becoming a woman in today’s society. With my work, I wish to highlight some of these fears, inequities, and issues that all women face. My work also highlights how women are set on a pedestal where they must perform or put on a front for the gratification of society. I also find it important to highlight how young children, especially young girls, are immediately targeted and sexualized at alarmingly young ages. Working in a range of media has encouraged me to push forward with these themes, and it has allowed me to explore how my content, form, and color all interact with one another to convey my overall message.
The Performer, Mixed Media on Wood Support, ½” x 10” x 10”, 2024
Mature (Old Enough?), Mixed Media on Wood Support, ½” x 10” x 10”, 2022
Skull Study, Clay and Plaster, 6” x 7” x 10”, 2022
Turning Red (Deconstruction), Mixed Media, Book Collage with Wood Support, 14” x 7.5”, 2024
ANDRES TREJO
Andres Trejo is an artist who works with various mediums like paint, scratchboard, digital illustrations, and printmaking. He likes to create art focusing on animated characters, self-portraits, and landscapes, exploring different themes and styles.
In his portraits, Trejo captures the true essence of his subjects, whether they’re playful cartoons or serious selfportraits. His landscape paintings show his deep love for nature, inviting viewers to feel calm and peaceful.
One of his artworks features skeletal animals wearing red robes, which makes you think about life and death. Trejo wants people to reflect on the complexities of existence through his art.
As Andres continues his artistic journey, he’s committed to pushing his creative limits and making viewers connect with his storytelling through his art.
Desperation, Screen Printing, 10” x 14”, 2022
Calm Afternoon, Oil painting, 14” x 16”, 2023
Friends Amongst Shadows, Screen Printing, 10” x 11.5”, 2022
A Study in Crimson and Bone, Oil painting, 14” x 16”, 2023
JASMIN ZAVALA CANCHOLA
Being an artist to me is having the room to mesh together different styles of mixed media and abstract art. This belief has allowed me to be creative and create pieces that I love. It’s allowed me to experience different mediums and colors that I wouldn’t have thought to use together in past works. For these pieces, I decided to work with a variety of mediums such as gold and silver leaf, glitter paints, metallic paint, paper, yarn, paper clips, and staples. While I was working on these pieces, I strived to search for new creative ideas by taking a “thoughtless” approach to my artwork. This approach allowed me to experience a newfound excitement towards painting, and I find myself wanting to continue creating art that allows me to express what I am feeling.
Lace, acrylic and glitter paint, mix media, on canvas, 11” x 14”, 2024
Trashy Perfect, acrylic and glitter paint, gold leaf, on canvas, 6” x 6”, 2024
Aluminum Bits, acrylic and glitter paint, mix media, on canvas, 6” x 6”, 2024
ACKNOWLEDGEMENTS
CALIFORNIA STATE UNIVERSITY, STANISLAUS
Dr. Susan E. Borrego, President
Dr. Richard Ogle, Provost/Vice President of Academic Affairs
Dr. James A. Tuedio, Dean, College of the Arts, Humanities and Social Sciences
DEPARTMENT OF ART
Martin Azevedo, Associate Professor, Chair
Dean De Cocker, Professor
James Deitz, Lecturer
Daniel Edwards, Associate 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, Associate Professor
Jake Weigel, Associate Professor
Mirabel Wigon, Assistant Professor
Alex Quinones, Instructional Tech II
Matt Hayes, Equipment Technician II
UNIVERSITY ART GALLERIES
Dean De Cocker, Director
Kory Twaddle, Gallery Assistant
SCHOOL OF THE ARTS
Brad Peatross, Graphic Specialist II
BFA & BA ‘24
BFA Exhibition: May 9–24. 2024 | Stan State Art Space, California State University, Stanislaus
BA Exhibition: May 9–24. 2024 | Stanislaus State University Art Gallery, California State University, Stanislaus
All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher. This exhibition and catalog have been funded by Associated Students Instructionally Related Activities, California State University, Stanislaus.
