BFA/BA GRADUATING SENIORS EXHIBITION
B FA / B A G R A D UAT I N G S E N I O R S E X H I B I T I O N University Art Gallery Department of Art School of the Arts California State University Stanislaus
500 copies printed BFA/BA Graduating Seniors Exhibition May 8 - June 2, 2014 University Art Gallery School of the Arts California State University Stanislaus One University Circle Turlock, CA 95382
This exhibition and catalog have been funded by: Associated Students Instructionally Related Activities, California State University Stanislaus
Copyright ÂŠ 2014 California State University Stanislaus All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher.
Catalog Design: Nic Webber, School of the Arts, California State University, Stanislaus Catalog Printing: Claremont Print, Claremont, CA
C ON TE N TS
Directorâ€™s Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
BFA Images and Statements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
BA Images and Statements.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
D IRE C TOR’ S F ORE WORD
The University Art Gallery is pleased to present this year’s graduating seniors. This exhibition and accompanying catalog showcase the many exceptional artists graduating this year from the Department of Art at California State University, Stanislaus. As Gallery Director and Professor of Art, I have had the pleasure of working with these students in their endeavors to complete the BFA and BA programs. These degrees are a pivotal part of their development as artists. As a result of their accomplishments, I am pleased to call these graduating students “colleagues”. I look forward to seeing them have wonderful careers in the arts. Many colleagues have been instrumental in this exhibition. I would like to thank the BFA and BA students of the Department of Art for their work and being part of the exhibition, the College of the Arts, Humanities and Social Sciences, California State University, Stanislaus for the catalog design and Claremont Print and Copy for the printing this catalog. Dean De Cocker, Director University Art Gallery California State University, Stanislaus
L u is Alcazar
â€œFilm as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.â€? -Ingmar Bergman My body of work demonstrates my commitment to filmmaking and multimedia. The ability to share stories through mix media has opened my creativeness to endless possibilities of visual expression. As a filmmaker and multimedia artist, I have been drawn to a wide range of art practices in traditional and digital media including: drawing, painting, graphic design, photography, cinematography, editing, and music. I enjoy the exploration of each separately and the interdisciplinary approach of cross-referencing, fusing, and the reinterpreting of established genres to find my own voice in a vast history of art. Having multifaceted creative interests allows for an evolution of craft but can also help me navigate in an ever-changing world. I am interested in breaking with conventional storytelling devices, in telling stories in nontraditional ways. Specifically, I am interested in juxtaposing the natural with digitally enhanced images to create a sense of the surreal in the real. This emphasizes the uniqueness of the story and draws the viewer into that world.
All Eyes on Us, 2013, digital print.
T imothy B r ow n J r.
Growing up in a single-parent household, in a dangerous area, I discovered the ability to express my emotions through drawing images, whether they be in crayon, pencil, or pen. As time went on, I realized just how much passion I had for this self-expression. Soon it became more than just a hobby; it grew to be my connection to the outside world. I watched the people who surrounded me—family, friends, and strangers—and wondered just how much they conceal from each other. It is the masks we wear every day; it is our defense mechanism shielding us from being judged, hurt, or worse. I started to see a lot of this and decided to figure out a way to bring this concept from thought and put it onto canvas, paper, and wood. I am using the idea of a mask as a face itself, which the person has worn for so long that one has essentially become the character itself, rather than one’s real self underneath.
The search went on for my self discovery, and while looking, I could not help but ask myself what masks do I wear, what do they look like, and are they happy, sad, angry, depressed, hidden from the light, or unrecognizable? Then I asked, why do I wear masks, what are their purposes, and do they help me survive? As time goes on, the masks we wear change, some for the better and some that end up eating away at us until all that’s left is a broken mass that can never be reset. If we identify our particular mask and realize that to conceal ourselves isn’t worth the trouble or pain, we find our true selves, our inner originality.
As my work develops, I am continuously experimenting with various materials and using different combinations. I’ve been working in oil paint, but my roots in art have and always will be in graphite pencil, which I bounce in and out of from time to time. I look to other artists and cultures for inspiration, from technique to style. Native American, Japanese, and Italian are the three main cultures that I use in my work. When it comes to artistic inspiration, Michael Hussar is the most contemporary artist I find provocative, constructive and encouraging. At this current moment in my artistic career, I’m embracing my sexuality, desire for societal freedom, and gender stereotypes.
Like everyone, I have come to the understanding that I wear a mask, but ask yourself this: What does your mask look like? 10
Von Roth Bart, 2014, mixed media on illustration board, 22”x28”
Jessica DeTo m as s i
My work is a visual reflection of my inner self, inspired by the external influences found in everyday life. As a dutiful feminist, I strive to create a dialogue in my work in which traditional representations of women are examined and dissected. My current works are an exploration of identity, the body, and agency. Through references to traditional fine art paintings as well as folk art and tattoo imagery, I seek to create a dialogue on beauty, power, and gender. As well as creating works questioning traditional representations of the female figure and traditional beauty ideals, I am currently creating a tarot deck in which I reinterpret the symbolism of the cards based on my personal experiences. A cherished set given to me by a loved one has become a talisman I keep with me at all times, and I hope reinterpreting them will lead me on a path to self-discovery. By examining and dissecting traditional depictions of women I seek to reinterpret culture at large, but through the creation of the cards I hope to come to a better understanding of my own personal attitudes on gender, archetypes, and mythology. Above all, when I work, I hope to create something beautiful.
Madonna of the Wasps, 2012, acrylic on canvas, 13”x15”
Jan et D ia z
I find printmaking very fascinating, and it is how I create my narrative work. The more I experiment with solar plates, silk screens, stencils and etchings, the more I find myself loving printmaking. Printmaking gives me the ability and freedom to create different shapes and imperfections that turn into perfection. Picking images to print can be challenging, because I try to choose images that I can use over and over in many of my pieces. Even though I use the same images more than once, each print is different and has its own identity. I am inspired by issues of feminism, human rights, and human sexuality, and I am attracted to the pioneers of such movements. In Perfect Frustration, I pay tribute to Georgia Oâ€™ Keefe with a portrait of her surrounded by stenciled flowers and silk-screened cow skulls in pop art colors. My forthcoming work is inspired by Mexican culture and traditions as well as Mexican strife as I try to reconcile the current affairs of Mexico with the memories of my time spent with my grandparents in their village outside Huejucar.
Perfect Frustration, 2014, mixed media on plexiglass, 48”x48”
M egan D illo n
My passion for art and storytelling began to flourish at a very young age and has since taken a strong hold upon my person. The subject has influenced me more, in a way, than any other aspect of my life. To me the art of storytelling isn’t just about telling a funny story or making money. It’s about building worlds, and about creating a meaningful discourse between myself and the viewer. I believe even the smallest of facets of everyday life deserve to be considered, and it’s what I love most about being a storyteller. Whether it’s the way you take your coffee in the morning, or the way a mom handles shopping day with the kids: there’s a story, there’s nuance, there’s life in everything. As Socrates once said, “The unexamined life is not worth living,” and it is through my art that I examine the nature of the human experience and challenge the viewer to do the same, from the mundane to the profound.
Morning Routine, 2013, storyboard still
M ar ia Fan dl
Paul Klee described abstraction as a way to give form to things that are formless, such as emotions, thoughts, and sensations. He said, “Art does not reproduce the visible; rather, it makes visible.” It is the process of ‘making visible’ and giving form that I enjoy most about art. That process calls for an extremely raw interaction on the canvas where my feelings, memories, ideas, and dreams are literally in front of me in familiar, yet unrecognizable, forms. Abstract art has always been pretty difficult for me to understand, and it is taking time to embrace the direction that my art is going. But this style of art has slowly become a very therapeutic way of processing, and it continually furthers my understanding of myself. As I have learned more about abstraction and the philosophy behind it, I have also discovered my interest in the physicality of the materials and the process of creating. I enjoy the act of applying paint and the process of learning more about the materials as I go. Often I build layers of paint and use different methods to create texture. I use palette knives to draw, cut, scratch, and scrape into the paint, revealing the colors beneath it. I also use rags to wipe and rub paint around the surface of the canvas. The time and energy I spend working with the materials is a crucial part of processing, understanding the piece, and furthering my growth as an artist.
Untitled No. 4, 2013, oil on canvas, 24.5”x24.5”
R avin esh K lair
When I started college I planned on going for a computer science major. Eventually I faced the fact that Computer Science was not for me. At this point I bounced around majors until I landed into the computer graphics department of Modesto Junior College. It felt right in this department. This was my turning point in my life. I wanted to be an artist. That is how I ended up going to California State University, Stanislaus. The professors of both these institutions are my influences. By extension, what influences them also influences me. A good example of this is Daniel Edwardsâ€™ lectures on Eliot Goldfingerâ€™s influence. These artists have shaped me into the artist I am and want to become. Although I have been influenced, I am not currently static (by static I mean that my work does not have a singular theme or medium). My work at the moment varies from cartoons, graphic design, painting and sculpture. It is my hope that working in these media will improve the work and understanding needed in my digital work, maybe even leading to a central theme and medium while still being proficient in others.
Death of an Economic Beast, 2013, oil on canvas, 72”x”48
S ar a Kor u pp
Early yet in my art career, I’m exploring my identity in my work. My main focus recently has been on movement, both in figures and their surroundings. I use obscurity of lines to question the movement of the figure through space and time. I take advantage of the relationship between colors to play with the character and personality of figures. I’ve started working in a wide range of scales, playing with the delicacy of line work and experimenting with its effect with the weight of the picture overall. Character is very important to my work, with a background in writing, and I like to develop and explore the full personality of each piece, whether the whole story is visible on the surface of the image or it’s purposely obscured. Some of my work helps to illustrate or expand upon work and ideas in my literary and poetic experience. Working with the identity of each figure or shape in my pictures gives me a chance to interact with my own, using each of my artworks as an extension of myself. Though, while each piece of art I create can help me define my own identity, I try not to let a piece’s potential be limited by concrete terms, allowing them to be more of an experience, thought, or motivation rather than an specific realistic example. Working in several different mediums, I can approach character in form in varying ways. In the past I’ve delved into costuming, and in working with the materials and structures, I’ve found that unless something uncomfortable adds to the performance, a costume works best when it is practical to wear, giving the actor the chance to expand the character with more freedom. Much like costuming an actor, in choosing how to approach the materials in my 2d art I prefer to accentuate the function of the piece as its own entity or a tool rather than an obstacle or object, giving the art more freedom to perform on its own.
BlauBlut, 2013, oil on paper, 18”x12”
Jean in e Lew is
I expect my viewers to engage with the images and sculpture I create. I want them to ponder where they are going, what they are doing or why are they doing it, only to find out that they are just completing their everyday activities, whether it is crossing the street or sitting and sipping a cup of coffee. I want to connect and show my viewers life, whether it be the good, the bad, or the sad things in life. Most of my work involves mixed media. I can never stay true to just one medium. Every medium gives me a different inspiration for my works and adds a different texture. Color is another one of many inspirations. When working with color, from the dullest to the brightest, I am reminded of life. Most of my work involves the human figure. The human figure can create the most beautiful shapes, folds and colors. There are so many colors that lie in the human skin alone that it intrigues me. Seeing the layering of color come together to create the skin tone keeps me going as an artist. My works are a combination of the two-dimensional and three-dimensional. Starting as an artist I believed that my limit was two-dimensional, but some years ago I was introduced to sculpting. I fell in love with the different dimensions and textures that were able to be captured. Not wanting to let go of my passion for two dimensional works, I began combining the two disciplines. I create two dimensions that interact together, focusing on everyday living.
The Unseen Thoughts, 2013, oil on canvas, 27”x33”
Joel M u n o z
Art, for me, has been one of the only ways I could express my perception of various life circumstances I have encountered. As an artist, a community member and a life-long student, I have become more conditioned to learn from my surroundings. Learning from my surroundings has helped me become more aware of the broad spectrum of the visual arts and how each component of the arts is an important factor in the way our cultures perceive, express, and thrive. I feel I have gained knowledge from visually recognizing things in ways others may have not. Learning from my surroundings and immersing myself into broken communities of my hometown, Stockton, California, I feel I am developing a voice that represents the very fabric of who I have become. I am aware that this voice will change as the years go on and I take on new roles within the art community, but I also recognize that in this point in my life, I am laying the foundation, on which my voice will be expressed visually. My work is mainly comprised of a mixture of personal experiences. During this stage of my life, my regular thought patterns have been drenched with information. I believe art, specifically painting and sculpting, has allowed me to elaborate on these thoughts in ways I fail to express with words. My work thus far has been overwhelming at points and unorganized but very necessary in communicating the reality of my experiences. With a past series of works reflecting my perspective in Stockton, I am actively looking for and researching ways to communicate through my art. Over the past couple of years I have worked with high school students in some of Stocktonâ€™s most poverty stricken neighborhoods. This has shaped my perspective in many different ways but more specifically it has helped me see things that are subtle. This concept manifests itself aesthetically within form and texture of my visual pieces. There are many factors that have led to the current makeup of my hometown, however I feel there are many more subtle reasons that have yet to be recognized. Whether positive or negative in context, I feel that the lack of recognition of these things/people is something that draws me to them. Actively pursuing to uncover these subtleties within my community has given me confidence in my journey to have my voice heard. Although at times I feel I have missed opportunities to hone my voice visually, I began to develop a regular pattern of an outflow of inspired creativity, in which I aim to use to spark interest in the uninteresting makeup of my community that also transcends into the rest of the world. 26
Lineage, 2014, mixed media, 6”x6”
H an n ah N o o n an
My art is the personification of a method of problem solving that I address daily. The artwork itself is the embodiment of the scratch work of notes used to simplify and derive an answer to the problem at hand. The artwork is a form of subtle social commentary, intended to invoke questions in the viewers about their own lives. Often, I use and am inspired by math in my work, but I do not expect the viewers to comprehend its meaning, nor is it my intention to be their personal tutor. Math is included to represent a specific event or time period in my life or placed simply for texture. The reason I create art is to call into question things I find problematic in our society. I do not intend to push my opinion on the viewers, nor to provide an answer. Instead, I intend to present an avenue for the viewers to call to question their own beliefs and feelings toward the issue. At this time in my life I do not feel that it is my responsibility to tell the viewers what to believe, although I do reserve the power to do so. Instead I desire to invoke intelligent thought in the viewers to take action in problem solving in some means, whether it is on a small scale in their own lives or on a grander scale. My work is a call to action.
Not So Happy, Yet Much Happier, 2013, mixed media, 8.5”x7”
L au ren S am o
Many personal experiences inspire my artwork. I appreciate the outdoors and traveling, and a lot of my artwork reflects this. I grew up by the beach and seeing the ocean everyday, which is still a big part of my life. I am inspired by children and the memories of my childhood, which includes dancing. I am interested in the human body and how organs connect together. In college, I discovered my admiration for welding and appreciate working with metal to create sculpture. Abstraction is a new passion, because I like how simple forms and shapes help develop a strong piece of artwork. I enjoy working in various types of medium, but I am lately inspired by painting and sculpture. Working with oil paint to create texture and a surface with many layers on canvas or wood is especially interesting to me. I enjoy moving paint across the canvas as my image develops. One of my favorite artists is Edward B. Gordon because of his everyday scenes of people. I admire his ability to capture a moment in time. His brushwork technique and bold colors intrigue me, and I have a strong desire to paint when looking at his work. I enjoy the way light dances across his paintings to create harmony. I am very interested in American Sign Language, and recently my artwork is focused on hand shapes and signs to make people aware of the Deaf community. I am interested in identity and communication between people. In our world, communication becomes lost through technology. I have been studying interactions of people in the way they talk with their hands to express themselves.
Untitled, 2013, oil on canvas, 16”x20”
Ch an i Sa n to s
My work is a reflection on memory, particularly childhood memories, and the often acute differences between what is recalled and actual reality. Much of what one calls memory is skewed and devolves into a series of false recollections. I approach my work with this in mind and make efforts to incorporate symbolism and color schemes that coincide with the narrative as well as blur imagery, alter, or remove elements, arranging them into new compositions that provide commentary on the perception of memory. In particular, I approach this by recreating a static moment in history, a moment captured in childhood photographs, in which I alter the subject matter, intensifying the feeling that the imagery is dream-like and not entirely based on reality. By focusing on the perceived memories from my childhood, reflecting on, recreating, and altering those images, many other thematic elements emerge, such as fear, isolation, and fragmentation of the family. The discovery of these themes is sometimes intentional, but often develops as a realized by-product of the act of creating the work.
Untitled No. 1, 2014, mixed media on paper, 42”x72”
P h ilip pe So lo mo n
I believe in activism in art, promoting social and cultural change through various media. In recent years I have focused this on gender inequality and identity observed through popular American culture. As a modern artist, it is crucial to keep an eye open to the political, economic, and social factors that shape society. My perspective is an American one, which is why my foundations lay in the Pop artists of the 1960â€™s â€“ Warhol, Ramos, Lichtenstein, and Rauschenberg. Because we still live in a world heavily influenced by consumerism, entertainment, and mass media, the imagery and idealism behind pop art is still relevant to modern American society today. I work mostly in oil; starting out with ground pigments. I find the process of making paint from scratch more intimate and direct then the digital art of today. I like the idea of turning an object or image made by machines (photoshop work for example) into something more tangible and organic. You canâ€™t hold an mp3 or jpeg in your hands but you can touch and feel the paint on a canvas. Creating a dialog between these two is both a challenge and element prevalent in my work.
Jessica We r s ky
One of my favorite animators, Glen Keane, once said that “artist” is not a title bestowed on oneself, but a title given by another. When I was finishing my BA in English in 2012, I decided that I would submit a portfolio for consideration into the BFA program and let the professors at CSUS decide if I was an “artist” or not. Since that time, my view of myself as an artist has evolved and, at times, mutated. There are often lofty goals attributed to creating art, like changing the world—or at least the art world. I have never held such a desire, even for a moment. I have always done my “best art” from a very small place in the farthest corner of my often-frazzled mind. Aside from my passion for animation and storytelling, which is what my focus is on today, the most exhilarating art I have ever created has always come out of me like the pangs of childbirth. It gestates inside me until I have to get it out and there is no stopping until the creation is sitting there in front of me, breathing on its own. The piece I have submitted is a representation of this process. There was a good-sized piece of Grandpa Bob’s spirit (and mine, as the child in the image) that had to be wrestled onto the canvas before I could stop toiling over it. Perhaps the struggle is representative of my lack of training in painting, (I only took one painting class during my time here) but I can’t deny the fact that I am as proud of this painting as if it were my own—perhaps imperfect—child. From here, I am venturing into the world of collaboration—into animation and film. I hope that I will never lose the spark inside me that ignites my individual creativity because pure moments of God-given ecstasy are all previews of the glory that awaits us if we persevere in this life. As St. Augustine said, “Our hearts were made for You, O Lord, and they are restless until they rest in you.” And my restless heart found some measure of genuine repose when I finished this painting. 36
Grandpa Bob, 2013, oil on masonite, 13.5”x17”
Aziz Yonu s s
As an artist, I mainly work with oil and acrylic paint, and I draw in charcoal. I have started a new line of work that is more collage-based, though some painting is involved. I currently finished a series that explores narratives that address post-colonialism, and the influence it has had on my identity. My mother and father grew up in Afghanistan and were a couple during the Soviet occupation. After my father was arrested by the Soviets and let go, my parents fled Afghanistan, becoming political refugees. They adopted me from India, and my recent work revolves around this sense of (un)belonging and the construction of a family. I am as American as any “white boy,” yet my physical attributes say otherwise. I am conflicted as I am torn between two worlds, an association with my parents’ culture and the American culture that I have become immersed in. At the same time, I am also aware I am no longer Indian. That identity of myself has been eradicated. I now only look Indian. I collage with text and imagery. The imagery is photocopies of images that I have pulled from my parent’s photo album, and the text is photocopies of documents that I have obtained from my adoption process. I make photocopies of these images, documents so that I can preserve the memory of my message. I collage, tear away, re-collage and then tear away again. This physical process becomes meditative and ends up being a metaphor of revealing the past.
Untitled No. 3, 2014, mixed media on panel, 36”x48”
L in zi Ad am s
My name is Linzi Adams and I come from Modesto in the Central valley of California. From a young age, I have taught myself how to draw and ink with inspiration of the manga artist Naoko Takeuchi. In my pastime in schooling before college, I would draw in notebooks while creating storylines and characters. My time at CSU Stanislaus has helped to refine different traditional skill set ranging from oil painting to pastels. My art is based off emotional experience over the years and the colors used in each piece is meant to convey side feelings. Using inspiration from Vincent Van Gogh style of harshness that comes with bright colors or extremely cool colors, I try to create the art that makes a person do a doubletake. Even with this in mind though, I still wish to become a â€œKnown, yet Unknownâ€? artist in the years to come.
Which Way?, 2013, acrylic on canvas, 24”x30”
Patr ick Bau dle r
I, as an artist and post-modernist, feel a preternatural obligation to force truth upon the world whether it is welcomed or not. I intend to not only continue doing that but increase the level of intensity and bravado in my work to come. The subject matter for each piece will be inspired by socio-economic events/crisisâ€™, and each piece will have its own identity, function, and message. I will attempt to accomplish this using a multitude of media, which include: painting, sculpting, printing, documented action art, digital media and videography. If a voice is needed for those who cannot speak, I intend for it to be mine that is heard. It is my goal to utilize the time made available to me in this life to: sharpen my skills as an artist by bypassing my comfort zone, gain the confidence to both create and face controversy, and finally find out how to make a change in this world through art.
Black Face, 2013, ceramic on wood, 10”x8”x5”
Josh u a Biewer
I like to think of my work as individual and unique amongst each other and not just from other people’s work too. If asked if my work has a common theme, I would have to say no, because I like to keep my stuff fresh and new every time I create a piece—something that stands out on its own. My preferred medium is pencil sketching, as that is what I am best at and have been raised to do well, though I have grown to expand into most other areas of art and find them equally as enjoyable. I find inspiration in everything I do in life and I find ways of incorporating it into my work. I tend to make art that stands alone in subject yet also makes reference to other medias as a form of flattery while still keeping the piece my own. I find that describing my works to another person is rather easy and straightforward for me, as my art tends to be very blunt in meaning and obvious to the viewer. I tend not to add deeper meaning to what I create as I don’t like to overthink what I’m doing and I want the viewer to just enjoy my work for what it is rather than think too much about any hidden meanings. I like to make art because I enjoy the feeling I get when I create something with my hands. It may take me some time to find that inspiration, but what drives me is that sense of accomplishment and pride in my work and that feeling I get when I’m finished and I say: “I can’t believe I made that.”
Untitled, 2010, relief, 22”x20”
R osalin da B oyette
I’ve always had an interest in taking pictures of anything and everything to tell a story. I’ve always found myself making boarders or designs on paper. I’ve always enjoyed making collages and putting together scrapbooks. I’ve always had the patience to be on the computer searching for graphics before realizing I could create graphics and manipulate digital media to my creativeness. At this point as an artist, the work I create does not focus on any one cause or issue. Although, as I gathered some of my work, I noticed a whimsical-utopian theme taking place, unconsciously. A lot of my work incorporates photos I have taken that I blend or layer with other text or images. Throughout my education I have taken various studio classes mainly concentrating on TimeBased Media and Graphic Design related courses. I find when I’m sitting in front of the computer for hours, time (-based media) flies and it’s my paradise away from the real world. I get to carefully arrange the layout and design of my graphic world and hope to have viewers achieve their own unique interaction within it.
Paradise, 2012, digital photograph
M ad ison B u r man
I am interested in human phobias and aversions. In my work, I attempt to either make the phobia accessible to those who have it with humor. By contrast, I also seek to overwhelm those who do not have that phobia or aversion. Similarly, I strive for extremes in digital photography by reducing large objects and spaces and making small things appear monumental. Although I currently get these results with angles, lenses, and adapters, I hope to achieve similar effects in the future through film via double exposure and cross process. Recreationally, I build costumes and photograph â€œcosplayersâ€? and theatrical productions. Depending on character, context, and series, I seek to bring fictive creations more believably into reality through photography. I would like to do more work dealing directly with light, refractions, and reflections whether with whimsical or sinister intent.
Universes, 2014, digital photograph, 5”x8”
S an tiago Car r illo
I am generally a shy person, so I make art that allows me to communicate my interests with others. I hope through my work people are able to gain insight into my personality, activities, and sense of humor. Most of my work is lighthearted and inspired by popular culture and interactive media. I especially draw inspiration from video games, graphic novels, and animation. I continually attempt to implement popular videogame and comic-book symbols, characters, and styles into my pieces. Some of my preferred methods for creating art are through photography and graphic design. I became interested in photography in junior college, where I worked with traditional film in the darkroom. I feel that developing film and printing photos in a darkroom has given me a better understanding and appreciation for photography. It has allowed me to take these skills and transition them into the digital realm.
Subspace Highway, 2013, digital photograph
Ch r istin a Cas tillo
Ever since I was young I have had an appreciation for art. My artwork is inspired by nature and fueled by my imagination. Throughout my journey of becoming an artist I have learned about different techniques and mediums with the help of teachers and friends. The mediums I mainly work with are acrylic, oil paint, watercolor, and sometimes ink. My art expresses the interaction my soul has with people and nature. Birds are a common image that I incorporate in my pieces. To me they are a symbol of freedom, beauty, and individual song. Sometimes I have an idea of what I want to create and other times I just slap on some paint to a canvas and see how it turns out. I believe that there are no accidents in art and whatever ends up on the canvas is meant to be there. My favorite part of making my art is attention to detail; I enjoy putting on the finishing touches that complete my pieces.
Egyptian Cats, 2013, acrylic on canvas, 16”x20”
E lissa D a h lgr en
My background is in photography and graphic design but my education has included a foundation of fine arts. Although my past work has been mainly as a digital artist, I have recently begun to explore other mediums. I feel like photography is not only a way to document the world around us but a chance to look at something in a new way. I will often zoom in on a small area of a subject to the point of abstracting it. I like to focus on the small details rather than the whole picture. I often will photograph a subject from an interesting and unique viewpoint in order to produce a striking composition. I create images that are less about the subject and more about form, lines, texture, shadows, light, and composition. As I have been exploring other mediums I have taken a particular interest in silkscreen. This medium lends itself well to photography and graphic elements. I have begun to explore personal as well as social issues through my art. Composition, texture and form continue to play an important role in my newer work as well.
Industiral #3, 2013, digital print, 11â€?x16â€?
S eth Foulks
Graphic Design is such a wide field it can be somewhat difficult to fully explain. I feel Digital Art is a better title, as we can observe oh so many styles of artwork created on a digital plane. Designs, such as logos and layouts, is only one aspect of it all, but perhaps the more well known due to its use in commercialization and advertisement. Digital Art can be amazing works of painting and drawing, even common desktop backgrounds can be well-crafted artworks, just observe the detail, the colors, the depth. Digital art is so amazing and often overlooked, simply because of its connection to the entertainment industry. But even then, video games, movies, matte paintings, and more, all can have amazing depth and beauty, coalesced by the pixel.
Nebulous, 2014, digital print, 10â€?x12â€?
Ju stin H a r r is
My work is a collection of thoughts and personal reflections. Compelled by underground subcultures and mainstream indifference, my underlying structure can be supposed as a way of showing others alternative lifestyles. The media and mainstream society skew reality and people can often get lost in this. Never really heavily planned out, often my favorite personal work is produced while listening to music. Art, to me, is a connection I feel with my thoughts, whether personal, political, or spiritual. I try not to focus on everything I feel is wrong with in the world today, but rather instead on ideas or suggestions to outlets that can provide alternative optimistic means of thought. To me visual art, fishing, skateboarding, music and motorcycles are my outlets. The hand has powers that can both create and destroy. I am an artist and art is an open opportunity for a self-expression that is constantly evolving and changing. I like to consider art like the open road, never knowing where it will lead. It is a unique expression that not everyone can understand. Art, to me, is exponential and never will be fully understood, defined, or described because it is continually developing. The fulfillment of art and its limitless opportunities provide a feeling to me like none other.
Control, 2013, digital print
W illiam Kh o u r y
I have always been curious about what drives the universe around us. Ever since I was a child, I enjoyed taking things apart to inspect and gain a better understanding of what were the components of every object, and why those pieces exist together. Today, as an artist, I have reached a point through my experience of experimentation where I appreciate multiple areas in art. I ﬁnd my artwork to be a combination of different materials, methods and media. As a person with a curiosity to always seek the answer to “how” and “why,” and a mentality that will ﬁnd a way to construct something, I became passionate toward mixed media. Mixed media resembles the fusion of my own political and cultural background. I was born in Jerusalem, raised in a Christian Palestinian home, recognized as an Israeli permanent resident, with a Jordanian Passport and nationality. I now live in the United States. Similarly to my background, after ﬁnishing any of my artwork, I realize that it has been unintentionally created out of multiple layers, either stacked or collaged, in a combination of different methods. There is not an art form that I have yet come to dislike. It is intriguing and relaxing for me to be able to combine, as well as transition between one medium and another. Whether it is the craftsmanship of sculpting, the detail in printmaking, or the adventure and precision of taking photographs. My artwork is rarely motivated by politics; however, it will always depict an aspect of my diverse cultural background through the process of creating it.
Mosaic Prints, 2013, woodcut print, 12”x12”
K ar a Lopez
Growing up, my family always read. Together, we would pick out a book and read it cover to cover. As I got older, I just kept reading. It didnâ€™t really matter what genre it was, or who the author was, as long as the story was strong. Through pages of my books I glimpsed fantastic worlds and characters of every disposition imaginable, and through their eyes I saw their worlds. In those distant places, my imagination thrived. As for art, it was the same thing. Like most other children, I picked up a crayon and started drawing on the walls. A little time later, I moved to the more acceptable media of pencil and paper. However, unlike many of my early contemporaries, I never stopped drawing. I sketched my way through grade school and beyond, learning what I could along the way. Bit by bit I improved, and I continue to do so today. It was somewhere along the line that my two passions merged. I wanted to use my art to communicate. Whether through the words I use or through the images I create, I hope to say something. With art, you can take a message and make it heard; take a narrative and make it breathe. Art can make people smile, cry, think, feel, and perhaps even help someone imagine a world outside their own. I wish to be a storyteller. And God willing, I will be a good one.
Bright Shadows, 2013, mixed media, 6”x10”
R alp h M agbanu a
We look to seek our identity as artists as we grow older, especially when we are in college. As of right now, the bodies of work that I create are spontaneous and random. Some are without any meaning behind them and others I try to incorporate social/political issues. As a graphic designer, I want to explore and touch on every aspect of digital art ranging from, digital painting, vector, and composition. For this installation, I decided to give homage to the individuals that have helped me throughout my time here in Stanislaus. These are not critical to the individuals shown. These pieces are simple portraits of individuals, which I feel best describe them. I incorporated some aspects and theme that best suit them based on the time I have known these individuals.
Imagination, 2011, vector graphic, 8.5”x11”
K ar ly Moo r e
In high school I was really interested in my art class; however, I did not think I could take it further and make it a career. In the beginning of my college years I figured out that I was always drawn back to art no matter what major I explored. Eventually I started taking art classes and knew it was the place I was supposed to be. Painting and charcoal are two of my favorite mediums to work, and although I love them, I figured out that digital media and graphic design were the focuses in art I enjoyed the most. My main focus now as an art student is acquiring more graphic design skills to make a career out of the subject I love. After graduating I intend on continuing my education to further my career as an artist and hopefully move toward advertising and design.
Shoes, 2012, oil on canvas, 9”x12”
R ob er t Po n c e
The art I create is an attempt to communicate multiple ideas within an image. I try to communicate how I feel about myself at the time of artistic creation as well as ideas I have about the world in which we live. Although I tend to use digital mediums to create most of my works, the basic fundamentals of fine art are being employed in my thought process. Some may argue that working digitally and producing high-quality prints takes the artistâ€™s hand out of the final product. This is simply not true. Once one is educated in the processes of creating digital art, they will realize that it can be just as rigorous and painstaking as producing a hands-on piece of fine art. I have also become a firm believer that digital art and printmaking go hand-in-hand, thus establishing a connection between new and old techniques. Combining established and trusted forms with new digital mediums is the artistic route I see, not only for myself, but for the future of art in general. Hand-made collages and some Pop artworks are the inspiration for my digital works. I also have some experience with urban street-wear brands that are a strange mixture of pop, street art and commercialized kitsch art. One can add my educational experience in art and its history, as well as exposure to other studentsâ€™ and professorsâ€™ works as another influence. I feel that a socio-political tone is prevalent when one looks at my works as a whole body, and this is because of the influences I have mentioned here.
Modern Thinker, 2013, digital print, 20â€?x30â€?
S teven S e m m en s
As far back as I can remember, I have always been drawn (no pun intended) to making art and using my creativity. As a kid, I would illustrate each page of my own short stories. I would also use computer programs to make all of my own birthday/greeting cards because Hallmark didn’t sell what I envisioned. As I got a little older, I picked up a video camera and never set it down. So when it came time to choose a major before transferring to a university, ‘Art’ seemed to be the right decision. After reviewing many artists’ statements, it seems as if everyone has meaning behind his/her artwork. Since I tend to struggle with this aspect of producing art, I usually just recreate what I see around me and let viewers interpret a message for themselves. For instance, someone may perceive my recent stone carving of an orca whale as being a commentary on SeaWorld’s controversial captivity practices. Nope. The actual reasoning behind my piece is that I think orcas look rad, but any interpretation works for me. Furthermore, my work typically begins without much thought put into it, but if a concept develops during the process, then I will roll with it. When it comes to a specific medium that I prefer to use, I do not have one. I have experience with drawing, painting, sculpting, graphic designing, and filmmaking, but I still cannot decide which one I enjoy working with the most. The truth is that I like them all, and it just depends on what material I want to use at that moment. So as long as my surroundings look “cool” enough to recreate, then you will continue to see artwork from Steven Semmens.
Skull-pture, 2014, ceramic, 5”x7.5”x4”
Ju stin Tor r e s
My art is one that is a mixed tone of whom I am and who I would like to be. I feel like I know who I am, but I do not know how to properly express myself. At one point in life, I thought I had my life figured out and I was set on the right path. As time goes on, I find myself constantly swimming in various emotions. I look to my art to express that side that I cannot verbally communicate. Often, my artwork has a light feel with a dark undertone. I had come from a place of free will and personal establishment. I then went through a place of spiritual discovery and temporarily found who I was â€œsupposedâ€? to be. I felt like I was a robot, being programmed how to think and how to speak. I was told I have free will, but at the same time, I was being told who I am. Finally, I hit a wall. I needed to be me again. My work has shown this battle over the last few years. I am constantly using this point in my life as strong foundation for my creative influences. As time has gone on, my work has correctly portrayed my emotions and really speaks wonders of who I feel like I am. It amazes me how much I can relate to it as I mold my personal life into an art piece. Through the use of painting, printmaking, sculpting, photography, and videography I am able to unintentionally express my feelings of this light and dark battle. As time has progressed, I noticed my artwork becoming little landmarks of my life. These landmarks are a huge part of who I am today.
Modesto Modernism, n.d., film screenshot
S u sie Val le
Discovery drives my work, the discovery of material and techniques are constant attractions that help develop it. Materials that evolve and react differently with each other with different techniques influence me. The use of different materials allows me to slowly find my way through each of them, learning their abilities. In result, through the process, I learn and express things about myself. My work expresses what I am not able to verbally communicate. As I learn and use different materials I find myself using these tools to tell a story. At times my work reflects my thoughts, fears, and situations of my past, present and future.
Ansiedad, 2013, mixed media, 5.5”x8”
AC K N OW LE D GE M E N TS
California State University Stanislaus
Dr. Joseph F. Sheley, President
Dr. James T. Strong, Provost/Vice President of Academic Affairs
Dr. James A. Tuedio, Dean, College of the Ar ts, Humanities and Social Sciences
Depar tment of Ar t
Dr. Roxanne Robbin, Chair, Professor
Dean De Cocker, Professor
Jessica Gomula, Associate Professor
David Olivant, Professor
Gordon Senior, Professor
Richard Savini, Professor
Dr. Staci Scheiwiller, Assistant Professor
Meg Broderick, Administrative Suppor t Assistant II
Andrew Cain, Instructional Technician I
Jon Kithcar t, Equipment Technician II
University Ar t Gallery
Dean De Cocker, Director
All work entailed is student work from the graduating class of 2014 at CSU Stanislaus.