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The Dugan Experience Dugan Gallery Fall 2011 Issue 1

made

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Smoking

4

Giavis

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Advance Painting

- Victoria Valente - Ashley Carey - Jessica Tawchynski - Alexandra Derderian - Anna Struna - Stephen Kinney - Alanna Gilbert

Senior Studio

- Alexander Gavis

Advanced Studio

- Alanna Gilbert - Channate Phauk - Courtney Lermay - Jessica Tawchynski - Elieen Ryan - Racheal Zalinka - Duy Hoang

Painting 2

- Lauren Abbott - Elieen Ryan - Shanna Cortez - Dung Le - Jason Allen -William Oliver

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About the Show

The show is set up to showcase to the public of Umass Lowell the work of students in the art Department. Their Ideas, thought process and the directions they are planning on head. This year PMV (Process Made Visual) placed in the spot light pieces from Prof. Stephen Mishol’s Painting 2-5 classes and other from his Advance Drawing classes. “...A sense that the mind is working on raw material that exists in the world at large, in some degree beyond mere invention...” - Robert Hughes

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Self Identity - Finger Prints Painting a Self portrait in the nontraditional way. Not my face or body; but my figure print. The one thing that defines us and is unique to one person. The carving and indentation is mine own and no one

dvanced Painting Scott As I entered this painting my intent was to further understand how paint can create space, and furthermore an interesting perspective. After developing my work I became aware that there were numerous ways of interpreting an outcome.

else this is my identity and who I am.

Twoandahalftothreeandahalfyears (I don’t know) Victoria Valente

Subjecting - Self Portrait

ainting

My work predominantly deals with the condition of being a female in modern society. I will often use myself to represent womanity as a whole, in addition to exploring my own intimate and personal thoughts and relationships. Recently my work has been forced on marriage and traditions and rules assumed by this union and particularly with weddings.

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Genre Painting Ashley Carey

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Fishes are a common theme in my work. In order to stay alive and conscious, fishes must always keep moving; if not, they will float. Water is the only substance in which a fish can survive. Submerged in water, we have no senses. All we can do is feel. We become something that cannot survive, like a “Fish out of water.� When we move in it, we feel the force of the water pressure crawl and envelope our skin. We wear it, and it is impossible not to. (Continues on page 24)

Float On Jessica Tawchynski Why I paint? My paintings are about me. Every certain conscious decision or otherwise. My paintings relate to my emotions through the stroke of my brush to the fixture and creation of a world built out of the instances most of us fear. Dead weight, Pressure, a sensation of relating to an atmosphere that is both unsettling but also comforting.

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Illusion of Depth Jessica Tawchynski

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Drips - Happy Accidents I really like drips, the fluidity and happy accidents that happen with this untamed and on controlled

I’ve always said that I feel too much.

form of painting.

Since I’ve known how to create, I knew it would be my only hope

Gritted Anna Struna

in communicating. When I began painting, my goal has been to create a strange and surreal works that portray human sensitivity, as well as to evoke a series of emotional responses. I have used symbols that have become

Harvard Pilgrim Alexandra Derderain

Dental

frequent in my life in my painting,

of an egg, two spoons and the

create a documentation of these

“Harvard Pilgrim” to show my

figure in the foreground housed

experiences I have through my

experience going to the hospital.

in a hospital gown. Each of these

painting as well as other media,

I used several elements in order

creates an odd composition in

and hope to continue to make

to create a psychological space;

which I feel create some kind of

progress in making a beautiful

a blank red wall, to create some

impression that I have been trying

experience out of a traumatic one.

kind of landscape, a portrait

to possess in my work. I aim to

I have had teeth problems for quit some time and this portrait is to show my for ever paining problem with my mouth

For the Pain Victoria Valente

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There is nothing to say about something that cannot be said. I have been trying to understand what art is. It was only recently that I have made some interesting discoveries. One very important idea that keeps resurfacing in my work is that of the artist and their ever present influence upon their own work. Therefore, everything that one creates is an extension of oneself. This object is in its most basic essence a self portrait.

Not Idle Alanna Gilbert

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and windows (blue can) then using a Styrofoam cutter make branchless cuts into flat and square funds of Styrofoam pieces then take different shapes of green tissue paper placing them on shapes with a diluted “Elmers glue” Train of Thought Stephen Kinney

Soft Spread Stephen Kinney

Understanding the Material Started by attaching geometric shapes of Styrofoam insulation to foam board. Also floral round shapes. Then covering the area with expandable white “Great Stuff” (blue can) the filling area with not so expandable “Great Stuff” used for doors

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S

enior tudio

ALEXANDER GIAVIS On Senior Studio

(Left: Night Life)

I think everyone enters senior studio with certain assumptions about what is expected. Unfortunately, at least for me, that served as an impasse to creating anything of real value. A series of mishaps and false starts eventually lead to the discovery of my senior thesis.

In an attempt to better spend my time and tighten my studio practices, a great deal of peripheral distractions had to be eliminated. Among the deletions were visits from friends

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for company or to serve as

The featured painting of a close

matter started to develop a

Eventually, I wanted to be

reference. I was rewarded with

friend (pg. 17, Night Life) depicts

similar need for direction as well.

emphatic about the birth of

wonderful results, but in doing

a solitary figure in a social

this I began a growing alienation

setting, distracted from the one

Stumbling upon this changed the

of each is a direct result of the

from peers and those close. It

device that accompanies him.

way I viewed my narratives, and

process, because the visible

is amazing how long it took

After having some distance

pointed squarely at what I am

symptoms of collating avoid

to acknowledge these selfish

from the work, I noticed that

trying to articulate. No more was

being covered up. Individual

tendencies, because if I’d be

it seemed to speak about the

it enough to make self-contained

images create narratives by

spending time with them was

conditions I inadvertently create

narratives that display my tastes

imposing themselves onto a

decided before I even began

in the studio. Though the intent

in palette and application, but

canvas. My interests then

asking. Choosing subjects of

was to continue finding new

now question what it is that

lie in the space they create,

friends who I have photographed

circumstances that necessitate

I am trying to communicate?

which inherently convolutes

in the past is my way of keeping

purposeful and interesting

Not as political of a statement

moments of illusion from the

them close.

painting, the decisions in object

about technology as it probably

two-dimensional references, and

these paintings. The aesthetics

reminders of the overall flatness Best Friends

of the object. I figure when these

Cigarette Break suggests, but there is a desire

the depiction of the characters

to make metaphors of self-

in them, a tool of isolation for

portraits that discuss this

me. Photoshop, along with

conscious alienation.

other technologies, have been included in this process of

The cell phone’s presence was

gathering information. This

to no surprise merely because

alteration in practice allows

of its frequent visibility during

quicker and more intuitive

my reference collecting. The

changes to take place early on.

current paintings communicate a sense of this tension and allude to my personal discrepancies in practice, I am done.

To my surprise, and much excitement, I have found myself somewhere completely new and unfamiliar.

repetition of this imagery is reciprocal to how these paintings

“There are applications that do

are manufactured; my cell

what I do. I would like to think

phone has become a trough for 18 The TheDugan DuganExperience Experience Dugan DuganGalley Galley

the paintings, and similarly to

that I am better, but they are pretty damn good.” TheDugan DuganExperience Experience Dugan DuganGalley Galley 19 The


Just... Alanna Gilbert I am the object. I displace light and space. I am the

dvanced tudio

subject. Solidified in time. I

am the artist. Searching for resolution within my work. I

am the person. A portrait of one and all.

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S

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To the Left Channate Phauk Working from my imagination was something I was always comfortable doing. Creating figures and creatures that I felt tied in deeply with what I believe in dealing with society and myself personally. “To the Left�, a nude self portrait that forced me to do things personally and physically on a different level from what I was comfortable with, which intrigued me. By physically I mean being more attentive to marks I have put down. Pushing parts forward and back and the relationship between the figure and the space around it. Drawing a nude self portrait challenged me personally to draw myself, which I wasn’t all that Comfortable with doing. Exploring myself on many different levels, with my body and my


Self Portrait with Wolves Elleen Ryan (on the Left)

Self Portrait Courtney Lermay Absence of Light Jessica Tawchynski So through painting and other works, I strive to achieve a point of relativity from an anxious feeling, to moving forward, growth, process, movement, some sort of development, and a “world that the viewer cannot make a conscious decision to be a part of when the painting is looked at. I want the Paint to suck you in almost as literally as water could .

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Landscape Construction Racheal Zalinka

The concept of recalling a memory and rendering it in a visual manner has been a consistent theme for my drawings. “Landscape Construct” and “untitled” each under went a process of toning the paper with ink wash, then proceeded to form through layers built with variety of materials such as ink, graphite, washes, conte, watercolor, ect. The objects which one presents in each drawing are reminiscent of a specific time and a place from my life. “Landscape Construct” is a collage of objects from memories such as dish of coffee creams from a dinner, chair from classroom, object on my night stand, etc.

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By eliminating the acts of giving and receiving, we have unveiled detachment.

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Duy Hoang Detached

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2

ainting

Wild Life Preserve Lauren Abbott

Untitled Figure Elleen Ryan

Untitled Landscape Shanna Cortez

“There is no great work of art, abstract or figurative (and

especially non-figurative) without an empirical core, a sense

Still Life Dung Le

that the mind is working on raw material that exists in the world at large, in some degree beyond mere invention. Painting is, one might say, exactly what mass visual media are not; a way of specific engagement, not of general seduction. That is its continuing relevance to us. � - Robert Hughes

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Tower Jason Allen

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The Dugan Expreinece  

Process Made Visual 3

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