I see you and I feel for you
During my time as an intern for the Center for Inclusive Excellence, I knew that my passion project would be art-forward. I am not an art student but, for me, art harbors connection, learning, growth, and empathy, all of which I value dearly
To the participating artists who chose to share their work, voices, and talents: Thank you for your patience as I completed this project. Your unique experiences and artistry hold immense worth and your decision to share them openly creates opportunities for others to find inspiration, comfort, or a moment of self-reflection through your work (as I have).
Much thanks to Jessica Chang, Justin Brill, Jenae Dellafosse, Brenda Drew, and Aliza Siddiqui for encouraging me to bring this project to life. Nanzi Muro - thank you for the artistic guidance and inspiration.
As you navigate these pages, lead with empathy rather than judgement. Find where you can connect and create space for curiosity and growth. To me, humans are nothing without support and community- two things that are impossible to find and maintain without a desire to see through different eyes. To the best of my ability, I see you and I feel for you.
If this project interests you, I am eager to connect. Thank you for your time and I hope you enjoy Eye 2 Eye, Heart 2 Heart.
Sincerely,
Ashley Welch
(SHE/HER)
“This piece was created from a conversation that occurred [ ] years ago. With that conversation, we addressed subjects of cultural hybridity, anti-colonialism, and acknowledgment of ancestry and indigenous backgrounds One of the main goals within our conversation was therapy as an artistic exchange and finding inspiration through our family histories. Throughout our conversations, we exchanged stories from our families passed down to us and held a shared connection over our connecting ties to a place in which we were raised - which was Hawaii The main aspect that I wanted to depict in this painting is our shared experience of having ancestors that often moved from one place to another and how our families were part of other cultures that were tied to roles of being colonized, a colonizer, indigenous relations ”
Alyanah was born and raised in Honolulu, Hawaii but is currently a California-based visual artist who explores connections between her Filipino heritage, land, and memory using film photography and other experimental mediums She received a BA in Studio Arts from San Diego State University in 2023.
AMY W.
(I)DENTITY, 2020
Mixed media on canvas
(THEY/SHE)
“My artwork displays the multiple different personal and community factors that contribute to one’s identity. (I)dentity shows an inclusive and multidimensional perspective of viewing individuals and strives to celebrate cultural distinctions.”
METAL GRASS, 2023
3D design
“I come from a Mexican background. The men in my family have all enjoyed construction. They did not have formal education as they had learned from their parents and their grandparents. Learning from them has always been a pleasure. The art work I am submitting reflects the support I received from my family. The two outer wood planks represent my mom and dad’s family. They are supporting me through the connections of the wires.The struggles I’ve endured are represented by wires; everything from learning English as a second language in school to being bullied for being different. The sharpness of the wires acknowledges the endless challenges we face in a community that isn’t always inclusive. The wood planks, our foundation, uneven as they are, show how having various support systems are imperative to help us survive and get through difficulties.” (HE/HIM)
UNDONE, 2023
Photography
On UNDONE:
(SHE/HER)
“Many of the experiences I have as a woman correlate with those that I have as an artist, in that in both environments, I am expected to act and present in a very normative way; to conform to societal expectations in order to survive.”
On MY FAVORITE JEWELRY BOX:
“This [jewelry box] was given to me by my mother years ago, and over time, I have used it as a trinket box of sorts. [...] [It] has morphed year-after-year, and has changed and developed alongside me. In a way, I am able to personify the box as well as our shared experiences together, and alter how I perceive myself and my identity, especially as an artist that is still trying to find my footing in the world.”
Bailey is a 21 year old illustrator based in San Diego, California. At the time this zine was created, she was in the process of earning a BA with an emphasis in studio arts from San Diego State University. A majority of Bailey’s work is based in acrylic painting or pen illustration, however she has recently delved into clay sculpture which is a medium she looks forward to exploring further. Overall, the goal within her practice is to create work that is honestly and distinctly her own, and through this process of selfreflection, hopes to engage in a deeper conversation with the viewer.
“The CIE logo is based on a symbol used throughout Mesoamerica by the Nahua, Mixtec, and other Indigenous people to indicate "noble speech". It is used in the codices to refer to a teacher/scribe/poet who is conveying knowledge” (Source 1).
“On one level, the spiral-shaped (‘volute’) speech scroll in pre-Hispanic codices was used simply to indicate the idea of speech itself, usually referring to ‘noble’, ‘wise’, ‘valuable’ - i.e. ‘true’ - speech” (Source 2).
“It is surrounded by a square signifying the mortarboard often associated with academic scholars” (Source 1).
Source 3
“SDSU recognizes that turquoise holds a significant and special meaning for some Native and Indigenous communities and community members. Turquoise is also a feature in the university’s physical environment [...]” (Source 4).
“‘The color represents the foundation of our campus and community and is visibly connected to the spaces most important to how we connect with one another and also where we study, work and socialize,’ said J. Luke Wood, SDSU’s vice president for Student Affairs and Campus Diversity, and cochair of the strategic plan implementation” (Source 5).
Oil on canvas, digital media on candles FANG HAWK
IF YOU WANT TO KEEP YOUR FACE, THEN YOU BETTER KEEP OUT MY WAY, 2023
, 2023
NAKED TRANS-MAN, 2023
Crayon on paper
(HE/HIM)
On IF YOU WANT TO KEEP YOUR FACE, THEN YOU BETTER KEEP OUT MY WAY:
“It’s a self portrait of a trans man. I feel like an alien through the eel head, yet the swans on the side symbolize beauty and grace. The cobra symbolizes boldness and intimidation through pride and the flared hood. The flowers are decorative to emphasize the beauty. It’s a combination of beauty and shame.”
On SMILE; PAINTING FROM HELL:
“This is a self portrait of [...] the alien feelings I have as being a trans man. I love snakes, but they are so misunderstood and fear-mongered constantly.”
On NAKED TRANS-MAN:
“The eyeballs are always looking in hostility at a body so non-conforming yet there is pride and elegance with the coloring.”
IG: @MANSU RANI
MY ESSENCE, 2023
Mixed digital media
(SHE/HER)
“This piece displays an intersection of separate identities I carry, merging them into one to communicate who I am as a whole. My Indian heritage is portrayed by the henna on my arms, the top left hand illustrating my intersection of Indian and American culture, the bottom left hand displaying my love and connection with nature, and my right hand expressing who I am as a student. I am adorned with traditional Indian attire that is of my own, which I photographed to insert into this collage. Growing up in a Hindu family and inspired by Hindu beliefs, I placed a temple on the top of my head because my religion contributes to my values and sense of individuality. I believe my art shines light on how each human being is diverse and cannot be labeled with others into any defining category. For example, we cannot make an assumption stereotypically driven based on sex, gender, culture, and nationality. Society has stereotypes of how we view one another, which is something we must break as it steals the personal identity. Such prejudice harms us by setting strict expectation of how we are to be rather than letting us express our fluidity.”
POR UNA EDUCACIÓN PROPIA
Digital illustration
(SHE/HER)
“This illustration is based on my experiences of a hostile work and learning environment during my second year as a graduate student in the art program.”
@CLEMENTS_PHOTOGRAPHY_PHOTOS
MELT, 2023
Tattoo ink on skin
, 2023
(SHE/HER)
On MELT:
“My art reflects personal introspection and the appreciation of beauty and human connection. This piece in particular conceptualizes the feeling of disintegrating into one's thoughts. Much of my ink work features the human form and botanical imagery, while my paintings mostly pertain to vibrant surrealism.”
“This piece is a conceptualization of sorrow, heartbreak, desolation; feelings we’ve all experienced, feelings that are prevalent around the world today.” On MELANCHOLIA:
On SAFE PLACE:
“’Safe Place’ is somewhere we all go when reality becomes too much. It’s beyond the material world, and it looks and feels different for every person. It’s where we seek comfort and love; it’s a place of refuge where bad things can’t enter.”
“My art is inspired by what I feel. Some pieces are quite literal representations of my emotions, while others are more abstract. My abstract work is created as a form of meditation, turning my sorrow, happiness, or anxiety into something tangible.”
, 2023
PUBERTY 2, 2023
Ink on paper
(THEY/THEM)
“While com[ing] to know myself more and the shape of my sexuality and gender becomes more clear to me, I keep coming back to the imagery of the horse and the unicorn. I've become fixated on the unicorn as a horse, but ‘wrong’. It is phallic imagery and power that is associated almost exclusively with femininity. Though I know I am, myself, a complete and correct thing, I know that to others they will only ever perceive a failed woman. Girl, but ‘wrong’. Horse, but ‘incorrect’.”
We are connected, after all . eW era ,detcennoc retfa la l .
