Fall 2018: Identity (Vol. 1)

Page 1


MADELINE WALLACH - Portrait of a Girl


GABRIEL ANDRADE - Tio Ricky // Mike and Jake




HOJUNG LEE - This is Forever




ANNIE PARNELL - The Mosh Pit Code of Conduct

10 CATIE TAPHORN - Double Take // Facade 11 GABRIEL ANDRADE - Colors of Ecuador 12 EMMA KARNES - What Girls Do 13 NICHOLAS MILKOVICH - Bad Bones 14 ELIZABETH ARMISTEAD - The Flowers of Folgies Bergere 15 ELIZABETH ARMISTEAD - Sarah’s Flowers 16 EMMA KARNES - Shame 17 CLAIRE JANEK - Speechless 18 WHITNEY BURKE - Abstract 19 WHITNEY BURKE - The Call of the People 20 MEGAN KENNY - I’m with you in the North Aegean Sea 22 ARTIST PROFILES 2

Portrait of a Girl MADELINE WALLACH

Silver Gelatin Print 8x10�



Top: Tio Ricky Bottom: Mike and Jake Micron Ink on Paper 11x17”

Identity Caroline Mubiru

Am I The person people need me to be Sister Daughter Friend Am I The person I want to be Helpful Attentive Loving Or am I Too busy bottling up my feelings to the point where I can’t even figure out what I am. I try my best to recognize myself To showcase who I am But how to demonstrate something so pervasive How to express the pit of nothing that rises as I question Who am I? There are 2 I’s in identity And I just wonder which I am I.



This is Forever 6

“8x10” Acrylic



the mosh pit code of conduct Annie Parnell

the mosh pit code of conduct is as follows: rule number one: personal space is paramount. this may seem antithetical to a practice that relies on slamming against each other in the front of the house (which is not in fact a house but a VFW in takoma park but it is in fact a home). however the pit is a temple. every body here is a member of this tiny congregation of emo kids trying to feel something, flailing our flannel-covered sleeves while the band welcomes us to their ska version of the black parade. we practice communion by passing out earplugs before the set cutting holes in each other’s jeans and asking the eighteen-year-olds to buy cigarettes. most of us already know how to bleed so you better treat each other as holy. number two: if your jean jacket is covered in pins and you want to keep those pins take it off. trust me. leave it at the door. you will not need the armor anyway.


number three: acceptable footwear: converse. vans. doc martens. end of list. heels are inadvisable, even if you are five foot one and all your tall friends are worried about losing you in the crowd. number four: you are the only one who will lose yourself in this crowd because we have each other’s backs here. if sean decides to bodysurf again over the crowd of ten people we will hold him up. the merch guy will watch everyone’s stuff and if anyone says shit about erin’s pronouns martha will quit serving lukewarm bud light to the veterans in the back and escort them to the door. one time my feet fell out from under me in the middle of a chorus. a stranger with a pink pixie cut caught me before i hit the ground. she straightened up my choker and complimented my eyeliner, kissed my cheek with dark red lipstick. while the band started screaming about their parents and everyone whose parents didn’t drive them there joined she leaned in close and told me to get back in.


Double Take Facade Pencil on paper 22x29 cm



Photo Collage 18x38cm


Colors of Ecuador Ink and Spray Paint on Wood 9x9”


What Girls Do Emma Karnes

“The other will not be still.” -Natasha Tretheway, “Gesture of a Woman-in-Process” catch bees in cupped palms spill raspberry smoothies dance in the red mess laugh lies snarl grace skip hopscotch on bat-slick blacktop sing boys’ initials til a toe trips face hits leave each other out kiss each other in chapped lips mean spit teeth chipped snatch tulips shake their stamen like tambourines til pollen rains climb steeples confess and sin again sleep in get stung and sting



Bad Bones 13

Plaster and Steel 6x2x1”


The Flowers of Folies Bergere

Colored Pencil on Black Paper 12x32�



Sarah’s Flowers Colored Pencil on Black Paper 12x32”



Emma Karnes Saturdays, before sunrise, we crossed Route 118 in scuffed sneakers, sprinted against szzrr of cars just around the bend, slung shoulder blades with string bags of sunflower seeds and chocolate bars. We climbed Turkey Mountain to its tip and threw stones down its sloping cliff while sharing secrets. I stole my aunt’s pearl necklace. A boy I didn’t like kissed me on the bus. My grandpa dropped bombs on villages in World War Two. Our knees were pearls swelling pale in the cold; our words surprise, lip-sizzling kisses; our empty beds back home bombs. Still, we were proud to have left: crossing a high-speed street on our own, snacking before breakfast, confessing to trembling sins with sunflower seed shells in our teeth. I didn’t want another sister. I didn’t want to kiss that boy. I don’t want to grow breasts. It felt good to climb snaking paths, to watch hawks break their wings against a sky splintering saffron into sun, to lie on boulder thrones and revel in daybreak’s new shame.



Speechless Graphite On Paper 11x14”



Abstract India ink on Watercolor Paper 36x50�



The Call of the People India ink on Watercolor Paper 33 x 47�


I’m with you in the North Aegean Sea Megan Kenny

Little one: I see you in pictures at night in memories that rattle my consciousness or burn out too soon to step inside I’m with you in the trees across the street with strong limbs high enough for you to watch falling sun turn green leaves into black silhouettes I’m with you in the cul de sac where you can outrun and outscore him but he won’t punch a girl and that’s what you are to him I’m with you in the backyard after school one day when you turn your cap around to face forward and keep it that way I’m with you in the cafeteria where the sunlight streams in and your friend calls you a word over and over again which makes your throat all tight and cheeks go flush I’m with you in fitting rooms where you keep your eyes down cast and trade approval from mom for throbbing self disgust I’m with you on the bus ride back from the game when it’s dark and her legs and her head rest against yours until overhead lights come back on I’m with you in his arms where you tell yourself this thing is called love and that this thing called love is what you’ve been waiting for and that it’s strange that you feel so empty and tired before you close your eyes wrapped up in his arms


I’m with you in the movie theater where you watch back-to-back scenes of a boy fuck a girl then make love to a man and you begin to weep because it feels so real but still you can only imagine what making love might feel like I’m with you in Arizona where you might need to hold onto me as you stand alone beneath the Milky Way six nights in a row with your neck craned up to the sky feeling so close to the dust and so mighty in your smallness that you may lose balance and all sense of time I’m with you in your bedroom writing poems with jagged shards you’re just now digging out and it hurts but you’re finally doing some good as you set pain into motion across the page I’m with you in the classroom I’m with you in the bike shop I’m with you in the bar and coffee house and music hall where someone makes you have to say it in that quiet tremble you hate so much Or maybe you beat them to it like you’re doing right now so it comes out strong and full like you want it to and maybe it’ll feel good this time Little one: I’m with you in the North Aegean Sea where we float on our backs under star forms we know so well Did you know that you were born of this sea on this island No one told you though they knew that’s where you came from Only when you pluck those shards from deep below your skin do you watch sapphic blood pool at your feet in rivulets that trace the contours of a face like yours


Descriptions & Bios NICHOLAS MILKOVICH (Class of 2018) Milkovich modeled Bad Bones after his own chest, arms, and hands, with the plaster pieces reinforced and painted. They are connected by zinc-plated chain. No chain is permanently fixed, allowing for variation in placement and length. He considers the piece very personal: “It isn’t until you are looking at yourself, not just in the mirror, that you see how others might see you.”

Milkovich is a Biomechanics PhD student at the University of Boston. He graduated from UVA with a BA and BS in Studio Art and Mechanical Engineering. He began sculpting in high school and continued in college where he worked with metals. He bases his work on his personal experiences or those of people close to him. He hopes viewers will relate to his work without knowing its story. refreshing compared to her science classes.

HOJUNG LEE (Class of 2019) In creating This is Forever, she was heavily invested in the interplay between colors. Growing up as an Asian-American, she is very interested in the way artists paint skin color. Not wanting to paint herself with yellow skin as is associated with East Asians, she wanted to paint a self-portrait without making her ethnicity the focal point. She is more than her race and all the associations that come with this specific identity.

Lee is majoring in Batten and Studio Arts with a minor in cinematography. She prefers to make abstract paintings and experimental films that do not follow traditional narrative structures.

CLAIRE JANEK (Class of 2020) Speechless: In her art class, Janek took multiple self portraits and played with the lighting until there were various unique lines and shapes. She was asked to highlight and cut off the drawing at some area on the face; she chose the mouth.

Janek is a Kinesiology major. She enjoys playing field hockey and spending time outdoors—basically anything besides art. She discovered an interest in art while taking an introductory class. She found it wonderful and refreshing compared to her science classes.

MEGAN KENNY (Class of 2020) Megan Kenny, or “Kenny” as her Club Ultimate teammates call her, studies Astrophysics. She loves to hike, canoe, and bike. She feels the most at peace, inspired, and challenged in the outdoors. Since elementary school, she has used poetry as a creative outlet and means of processing.

CAROLINE MUBIRU (Class of 2020) Mubiru is a media studies major. She writes poetry as a form of journaling to express intense emotions. This is her first time sharing her work. Identities are constantly shifting in directions, so she hopes the poem helps readers feel less pressure to confine their identities.

MADELINE WALLACH (Class of 2020) The subject of Portrait of a Girl is Laura Chattin. It was taken on a 4x5 film View Camera for a portraiture assignment in an intermediate photography class. It was hand-developed and printed in the University’s dark room.

Wallach is from Middleburg, VA, majoring in Media Studies and Studio Art with a concentration in Photography and minoring in Global Sustainability. She hopes to pursue a career in photojournalism. When she is not in the dark room, she plays for the Virginia Polo Club.


GABRIEL ANDRADE (Class of 2021) Tio Ricky: Andrade considers Grape Street Crip his Tio. He struggles with his identity as the hard man defined by sex and machismo, when in reality, he is not confident in his gender identity. Mike and Jake depicts Andrade’s uncle and his roommate. Andrade later discovered they were in love and deeply connected

Andrade is an architectural student who was born in PortoViejo, Ecuador, and grew up in West of Orange, NJ. He sees himself as a designer by practice, but an artist by life. Through art, he explores his life and reality and their implications. He connects things within a system through contextualization and uses a singular line to represent the narrative of his life.

Color of Ecuador is an exploration of Andrade’s identity, as an Ecuadorian growing up in New Jersey. It pays homage to Oswaldo Guayasamín whose art expresses his ardent support for communism.

ELIZABETH ARMISTEAD (Class of 2021) Sarah’s Flowers is a visual narrative in the chiaroscuro style, particularly exploring emotion expressed through the eyes. The artist plays with the lights and darks, completely obscuring parts of the piece.

Armistead is majoring in English and Economics. She is from Dallas, TX, where she studied art in high school. She currently purses art as a hobby.

The Flowers of Folies Bergere is done in the same style as the previous. Armistead obscures the face, leaving the viewer with a vague silhouette and emphasizing the white lillies.

WHITNEY BURKE (Class of 2021) Abstract: Focusing on the planes and structure of the face, Burke uses continuous lines to render figures and characters. By examining the layers, the viewer can explore the depth of the piece. Its orientation provides more movement and demonstrates how identity can feel disconnected and misconstrued.

Burke is from Houston, TX. Although she is not pursuing an art degree, she creates art as a positive outlet for her emotions and experiences.

The Call of the People: Burke seeks to explore a new style in order to push past comfort zones and boundaries. She creates lines through negative space, in contrast with her prior piece. The piece provides unity within chaos and evokes contemplation.

EMMA KARNES (Class of 2021) Karnes is from Ithaca, NY. She has been writing poetry since her second grade teacher abandoned the state-mandated curriculum to spend the year writing haikus and diamantes. She hopes to study poetry and public policy.

CATIE TAPHORN (Class of 2021) Double Take suggests the struggle to be perceived as a whole and the incoherence of thought in the minds of those dealing with their mental health or self-image. Its dual nature implies a fractured self-image and identity, as we often find it difficult to define ourselves when we do not see the full picture. Facade is the story of the deterioration of beauty, and the base nature that lies within all women. Beauty is fleeting, and is inevitably reduced to the same marks of old age. It is important to remember that the mask we choose to wear says little about our character.

Taphorn is currently undecided on a major. She lives in Fairfax, VA, although as a military brat, she has lived a variety of other places: Kansas, Colorado, and Lille, France. She is not pursuing art at the University, but she was involved in art in high school and has a passion for feminine portraiture. In her eyes, no object has quite as much of a story to tell as the human face.

Executive Board Samantha Kuo Eliza Hollerith Libba McCraw Ellie Westermann Caroline Crooks Whitney Burke


Frankie Mananzan Kaitie Friedrichs Sarah Frost Ian MacPherson Caroline McCraw Malcolm Ilnicky

Mimi Arias Lily Knierbein Ella Sayre Charlotte Barkdull Ashby Poindexter Lucy Hoak

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