Alter: Creator's Manifesto

M M X V I I I • X I • X X

r t ’ a f t

C a r M i s Alter’s

First

Issue,

with

Creator’s

Chen; Brett Child; Yunying Huang;

Manifesto.

e o s n e o

Featuring

Maribel

Dhanushkodi

&

Julia

Ma x well

Reina Imagawa; Johnny Pérez; Daniel Sevillano;

Siladitayaa Sharma; Guer x Tamayo; Editor Nidhi Singh Rathore; Adit

Barcena;

Echevarria;

Printed

at

Ar tCenter

Produc tion Team College

of

Design.

Maribel Barcena’s manifesto Photo and Imaging

DUALITY I come from a place of constant duality: two cultures, two languages, two perspectives, two lives. My entire life I have traveled back and forth between two places. I am moved by feeling, memories, thoughts and constant questioning. This collection of work is the beginning, the foundation of being able to not just understand who I am and where I come from, but also how to produce work that reflects, communicates and transforms. It the start of an exploration of cultural duality, identity and transcendence.

SEE MORE OF THEM IN REPRESENT

explore time

to of

the

love

one

guess

approximately

right

now.

Another

I

feel

the

introspection

Siladityaa Sharma’s manifesto Interaction Design

humans as a metaphor.

and

in

used to depict conscience

internal reflection can be

brilliance.

which gives a diamond its

total internal reflection

explore is concept of the

direction I would love to

is

what time of the day it

road

man without a watch on the

presence of light helps a

or night. The absence or

us to know if it is day

from the Sun that enables

to the light we receive

light because it is due

by

concept

I

which and

in

represented

wander

can

directions

There are a plethora of

am is

media obsessed

Chinese

who

a

Chinese

of

work,

people.

the

This

By

aim

to

Chinese

art

of

an

This

cultural

and

is

Siladityaa Sharma’s manifesto Media Design Practices

and desire.

identity, personal value,

of

exploration expression

also

grassroots.

everyday life of Chinese

the

and

Culture,

version

depicting

represent

Pop

indigenous

communicate

I

of

an

manifesto.

Post Chinese Pop, is my

collection

of

with the creative energy

artist

I

AMALGA MATION*

My work portrays a response from listening

to

Shibuya-Kei,

a

microgenre of pop music that emerged as retail music from the Shibuya district of Japan in the 1990s. The music uses an inconsistent rhythm composed of multiple genres such as Bossa Nova, Soft Rock, French Pop, Trip-hop, Funk, and Big Beat — each sharing a similar relaxed harmony disrupted by cut-and-paste mixing. The music’s contradictory nature reflects the contradiction in my work – organic lines that interconnect

multiple

shapes,

objects, and characters. The music incorporates sound bites of cute, comical

characters

cheering

or

singing mixed with a variety of bells

and

whistles,

a

cacophony

of sounds similar to the auditory chaos in an arcade. The gleeful cries of the characters give the mellow

rhythms

an

unexpected

angst. Similarly, my work contains characters

with

a

multitude

of

emotions within the space of an abstract collage. The music and my collages both address an obscured, transcendental uneasiness

headspace.

from

the

The

drawings

connects to the escapist affects of the music with a realization of the music’s limited transportive abilities.

Daniel Sevillano’s manifesto Fine Art SEE MORE OF THEM IN REPRESENT

THE CITY IS YOUR PLAYGROUND I love working with skaters. Skaters

are always one of the most creative kinds

of

human

beings

in

this

world. If that’s not good enough of a reason to love them to death, they are also the best people to get tips on where to eat, in a ginormous city like Mexico City ─ where I’ve been working with them a lot over the past year - because they always really know what’s good. The latter is

still

a

mystery

to

me;

the

former, I think, is a matter of how skaters are asked to exercise their creativity

everyday

to

challenge

the hegemonic and prescriptive use of urban spaces. Skateboarding is a political way to play with the city, challenging

systems

of

authority

such as the laws, regulations, and rules, as well as the human labor and technologies that police the way urban spaces should be used ─ how, by whom, and to what extent.

Reina Imagawa’s manifesto Media Design Practices

with

tune

-

methodologies

of

to

place,

and

responsibility

first

I

this

But

and

where

feeling

the

love

I

ego

people want to play in

designerly

aside your “knowledge”,

co-design where you put

aesthetics/taste.

energy

me

very

of the ludic that makes

that

preserve

is

for

it

important

people,

with

with.

Learning

are

doing

having some

fun

and

a

through

language

similar

work

too,

have

finish we together

that

to

having

between what’s awful and

creativity you can tell

on that high energy of

way, because when you’re

oh-this-is-quite-cool

in a non-conclusive but

started

the

helps

Also,

work that we have started

a similar love for the

that starting to share

together

creative

speaking

only be achieved through

meaningful work that can

we

through

is unknowing. Hopefully,

working

fun

engage in this type of

working

but

goals of the people I am

extremely

challenging

goals,

also towards some of the

my

that

working

sure

only

make

together.

when

I’m

not

to

towards

I’m

try

It is more fun, and also

and exhausting, to really

pleasurably

other

At the end of the day,

serious.

times

fun,

to happen to it.

outcome

take

seriously

the

to

don’t know what is going

over

starts

Their play is sometimes

the

ludic

doing design is when the

the design, and I truly

of

in

and

is

skateboarding.

act

There

intentionality

space.

positionality

an

urban

My favorite moments of

with

interactions

ludic.

service

constitute their unique

the

want my design to be in

methods and forms that of

design. If anything, I

for research that won’t

specific

core of their techniques,

at

playful

done

invent site or people-

have

sacrifice the ludic for

is

in

skaters

somehow - like how the

the

that

spontaneous

energy

or

naturally

so

are

they

with

ludic

because

skaters

their

working

love

I

working, At

the

almost

in

life,

so

we

new

narratives

city.

for how to play in the

writing

get together and start

ludic

as collectively find the

to individually as well

a bunch of humans trying

to feel like we are all

end of the day, it begins

instinctively.

what’s

Brett Child’s manifesto Photo and Imaging This work is from a series I made which focused primarily on my identity and how it is shaped by both the external world as well as past experiences, the latter primarily in the form of memories. My actions and choices shape my experience just as the external world around me shapes my experience, but my actions and choices made are in response to previous experiences. It can become difficult to discern where the domain of the individual gives way to the external as they are so intertwined.

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The specific catalyst for making this work was to explore my inheritance from my father after he died. He was not present through much of my life and when he died he left me something much more impactful than any physical object could hope to be. I was left with what he had given me at birth, an identity that would be shaped by straddling the line between two cultures. This series was my way of working through my personal history and my

inherited

history

while

also

attempting

to

reconcile the differences between how I view myself and how the surrounding world views me.

* As

a

kid

growing

up

in

Los

Angeles,

I

was

a

timid person due to my insecurities coming from a diverse background as well as dealing with a confused

sexual

identity.

My

parents

were

both

Salvadoran immigrants with laborious jobs, my mom as a housekeeper and my Dad as a gardener, which they kept throughout my entire upbringing. Usually when I would get out of school I would rush home, and watch cartoons without my parents to police my afterschool activities, I spent most of my time watching cartoons. For me cartoons were a form of artistic freedom that granted the abilities to create any kind of reality that was desired. I have always envied this freedom in cartoons and so as an artist, my goal has been to investigate this freedom of structure through my use of various mediums that emulate

whimsical

characters

and

environments.

These characters and environments also come off as abstracted and monstrous, originating from a place of intuition and unconsciousness. I can identify with the obscurities that arise in my work because my

identity

is

also

obscured―consisting

of

an

amalgamation of different cultures that may or may not have been intended to amalgamate.

Daniel Sevillano’s story Fine Art SEE MORE OF THEM IN REPRESENT

TAMAYO

In my art I always want to celebrate my culture and identity, even if it often feels as if those two things may be in conflict. Whether it’s through character designs, storytelling, or illustrations, I want to share the history of my family with others, and reach out to other queer chicanxs like me. Growing up there were little to no shows where I could see me and my family represented. I want to change that, and create content that allows people like me to feel heard and appreciated.

Guerx Tamayo’s manifesto Illustration

FOTOS GRATIS

I wanted to give a gift to the town that my family is from. I thought taking portraits in a studio setting would not only provide a new experience for the town, but also serve as a meaningful gift.

Though my initial plan was to rent equipment from a photo studio, I quickly realized that there weren’t any in the region. I would have to build a studio from scratch. I went to work collecting what I needed: light bulbs and wiring from the hardware store, scrap wood from a friend. I made a seamless out of sheets, built light stands, made softboxes, and set up at the gazebo in the town square.

I spread the word around town. Fotos Gratis. Bring your lover, your dog, or the whole family. I hoped that up to twenty to thirty people would show up.

When the day came, over two hundred families arrived.

In many cases, it was their first time having their portrait taken. The experience felt like a beautiful celebration of community. The following week, I handed out free prints for everyone.

Johnny Pérez’s manifesto Fine Art SEE MORE OF THEM IN REPRESENT

Chinese/Taiwanese but

generation can’t

more about unfettered exploration. gratitude

for

being

diversity, and people.

the

topics

of

power, remember

attending

an

Asian

American

place.

It

really

spun

my

world

around.

happened in the fraternity was ridiculous.

racism, patriarchy, and dick-swinging that

Greek fraternity in parallel. The underlying

Especially with the fact that I had joined a

Asians.

Chin, and Hollywood’s awful portrayal of

lectures about the glass-ceiling, Vincent

remember my instructor, Connie So, and her

was just looking for an easy A. I distinctly

confident

‘Asian Americans’? Our lives are fine.” I

young

here nor there but have finally found a

my

thinking, “Why would anyone need to study

imagine

me. The lost ones that have grown up neither

I

self

—

it

Taiwanese brother who is representing those similar to

conscious

Seattle. I’m not even sure as to why I did

the

-Eddie

Huang,

familiarize themselves with.

undergrad at the University of Washington,

Studies course during my sophomore year of

I

and love, something that everyone should

covers all of the nuanced phases of life

me.

embodiment as a designer (past, current,

around

the different phases of emotion. Her music

delicate understanding of the world around

that has inspired you, your work, and your

future)

Has been the textbook for me on how to feel

me normalcy. The curse was the loose and

your own words. Please describe anything

and

-Sade, the most classic musician of all.

from elementary to high school — it gave

this world.

outside of just putting more things into

you make is also of upmost importance. Think

its purpose and use. The ecology behind what

taught me to look at things outside of simply

-Victor Papanek, designer/educator who has

On inspiration, creation, and identity in

a part of a predominantly APIA community

have

it both a blessing and a curse. As a second-

For him, the desire for school is less about practicality and

help

up in the suburbs of Pasadena and consider

working with small to corporate technology companies.

I

constructs have built my perspective. I grew

Maxwell started his design practice in the Bay Area

American,

the notion of my identity and how these

A current student of Media Design Practices at Art Center,

POWER; DIVERSITY; PEOPLE.

Interviewed by: Elise Ma

Maxwell Chen’s manifesto Media Design Practices

fear of being ousted of the goodwill of those that are wh-right.

You know, when people mention power, there is

generally a negative or fearful undertone.

militant within ignore ― it’s the only way for change.

I believe that understanding the life cycle

of something like a cheeseburger on your

plate will help garner a new understanding

between APIA and black culture, our people,

action in killing on behalf of us.

must

be

some

connection

our

creations?

conscious individuals I’ve ever put my ears to. His music spans the gamut of racial

we’re creating and why. Don’t underestimate

understanding the power you hold.

here to everywhere.

DIVERSITY

In most everything I do nowadays, I question

divide and socio political problems from

-Yasiin Bey, one of the most inspiring and

responsibility to know exactly what it is

With the power to create - we hold the

with

world (I’ll spare y’all the family plugs):

play

systems

at

inspired my work and understanding of the

and creators. What are we making, and what

are

have definitively changed my perspective and

The same can be said to all of us as makers

going on there. In any case, some people that

the oppression — I don’t know. Something is

There

personal

identity.

my

product, and ultimately the commerce takes

infiltrated

has

type, the demand drives commerce around the

pervasively

say that it’s interesting how black culture

might

a burger creates the demand for this food

majority

Before I get into this one, I just want to

the

lives, everyday, playing mini gods. Ordering

that

PEOPLE

identity

have the food. It’s almost like we live our

and appreciation for what it means to even

the lens that I have. Even if it means being

or whatever. I know, gruesome, right? But nuances

work. But as it stands now, I’m content with

slaughter my own meat. Maybe a chicken or cow

at

up feeling the need to be critical in my

one day am hoping for an opportunity to

stance

tension and friction, I may not have ended

is simply understanding it. For example, I

a

years of my life. Had I not experienced that

has helped me comprehend this notion of power

taking

of the most confusing but transformative

power that really scares people. But what

and

Looking back it feels like those were some

oppressive. Maybe it’s about the abuse of

Just seeing that word right now, it feels

right. And no one dares empathize out of

If you weren’t white, you weren’t

POWER

How we create should be

outside of ourselves.

deep understanding of all things

we create needs to incorporate a

more importantly, how and what

honest to our personal values. But

needs to be forthcoming and

creators and makers - our work

around us. As designers, artists,

fair to living things and the world

Represent Represent Power in Color Power in Color ARMORY CENTER FOR THE ARTS

ARMORY CENTER FOR THE ARTS

145 N Raymond Ave. Pasadena CA, 91103

145 N Raymond Ave. Pasadena CA, 91103

Represent Represent Power in Color Power in Color ARMORY CENTER FOR THE ARTS

ARMORY CENTER FOR THE ARTS

145 N Raymond Ave. Pasadena CA, 91103

145 N Raymond Ave. Pasadena CA, 91103

REPRESENT is an exhibition that celebrates Art Center’s students

and

alumni

of

color

and

their

explorations

of

self, identity, and visibility through creative work. The exhibition will be held at The Armory Center For the Arts in Pasadena, CA on December 1st. The gallery opens at 3:00pm with a reception at 7:00pm.