SPRING 2020 PORTFOLIO AND RESUME CL ASS
dys•pho•ri•a /dis’foree/ noun
a state of unease or generalized dissatisfaction with life.
During the unprecedented times we are currently facing, we are forced to stay indoors, isolated from our families and friends, and deprived from social interaction and our normal lives and schedules. Many people rely on their daily routines and social gatherings to get them through their day, but the effects of COVID-19 have altered our lives dramatically. Since the rise of the new virus, suicide rates have increased from their normal average as many are forced to battle their mental health disorders alone. Social and environmental changes and gender and racial inequality have revealed themselves in a new light. Some races are being affected by the virus more than others, involving both health and finances. With the on-going “stayat-home” orders from the government, there are millions of people isolated within their homes. But as we have begun to settle into this new way of living, the earth has displayed a newfound revival.
This group exhibition explores topics of mental health and racial and gender inequality, as well as our overarching relationship with nature through the lens of this pandemic. The pieces in this show represent how we are dealing with these issues, and how they are currently affecting our lives and our environment. As we continue to push through these difficulties, we are reminded of how much we take for granted. But while we take this time to protect ourselves, we are given the opportunity to reflect on what we have, give the earth a rest, and come together as a community to support one another in ways that we have never done before.
EXHIBITION VENUE: Online
SPECIAL THANKS TO: Olivia Gravenese: Cover Design Renee Lane: Forward Olivia Gravenese & Michael Williams: Image Editing Christina Weisner: Instructor Patrick Detwiler: Graphic Designer, Catalog Design
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Michael Williams
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Alexis Lee Daniels
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Renee Lane
10 Elizabeth Perry 12 Olivia Gravenese 14 Eliza Daniels 16 Jasmine Lonzo 18 Stephanie Baum 20 Alyssa Jackson 22 Gabriel Meekins
Michael Williams Jean-Michel Basquiat once said, “I don’t think about art when I’m working. I try to think about life.” These are hard words to hear as a black artist living in America. But, as an artist, it is important to reflect on not only my life, but the life of other people of color. This is why I work primarily with paint, as I feel that I’m always searching for the right “color” to select in my work. When I approach a project, it takes time and careful consideration. I research complex subjects (that may even be provocative) like police brutality, racism, toxic masculinity, and the prison complex. I carefully decide what materials to use. I sketch on paper furiously, only to approach the canvas with brushstrokes as quick and aggressive as my thoughts. Some may see grit, shock and awe, or even a criticism of cultural homogenization, but this is about tearing down the comfort zones. I wasn’t privileged to have these comfort zones because of the color of my skin; why should others?
Solum; graphite on paper
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Alexis Lee Daniels As a mixed media artist, I tend to explore both the functional and conceptual qualities of materials and found objects throughout my pieces. For example, the use of clay in my work addresses the long history and tradition of the material used for functional objects (clay pots), but also as a material of the future (ceramic tiles on NASA’s Space Shuttle), or purely for art’s sake. For a seemingly simple organic material, clay has played quite a role in human history. All materials, natural or human-made, have their own unique history. I am interested in how humans have utilized natural materials for evolutionary and industrial purposes: from the wood utilized for framing the houses in which we live to the metal sourced for the cars we drive, to the various elements mined for our electronic devices. Many “Man-made” products often mimic nature because, in part, they are natural. “Nature always contains and offers the prime matter for technology….” (Jean-Luc Nancy)
The sculpture, Industrial Revolution, simultaneously represents the unique qualities of an industrial-made object, while maintaining the form of a natural shrub, plant or tree, showing the delicate balance of the two and their mutual dependence. Architects and designers have long used biomimetic designs, i.e., “the imitation of the models, systems, and elements of nature for the purpose of solving complex human problems.” (Julian Vincent). Through my work, I expect to further explore the functional qualities of everyday objects and materials and recreate them in interesting and provocative ways. Ultimately, I leave my work open to interpretation, as we all have our own unique experiences in this modern society. I hope to invite the viewer to engage in a conversation about our future on this planet.
Industrial Revolution; metal, paper, glue and spray paint
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Renee Lane Women are constantly faced with issues involving gender inequality in many different circumstances. Whether it is sexual assault, inequality of pay in jobs and careers, or even the pressure to be the ideal “perfect” woman, I explore the complexities of these controversial issues in my body of work. Femininity has always been a fascination of mine and is a recurring theme within my pieces, not only because I’m a woman myself, but also because the people I take inspiration from are all odds-defying women as well.
My primary medium is colored pencil and graphite, and I focus on photo-realism. I use photo-realism to convey that the issues women are faced with are real, and happen on a frequent basis. Color is also a vital aspect of my work. I often use different variations of pinks and purples, both of which represent feminism as well as caring and nurturing in nature. Through my research, I hope to delve further not only into my art practice, but into my study of feminism, in hopes of revealing deeply rooted, often inadvertent prejudice. By making work that addresses these issues, I hope to inspire women to be authentically themselves, regardless of society’s prescribed standards.
Starving Artist; acrylic on wood
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Elizabeth Perry As an artist, I work to bring recognition to one’s basic and complex emotions through the making of art. I do this by focusing each of my pieces on a specific element of psychology, be it a disorder, the effects of an epidemic or an uncomfortable feeling. Emotions and feelings make up a large part of who someone is, yet are easily overlooked or are perceived as bad if displayed openly. It is my goal when making art to help overcome the stigma of mental illness and to bring awareness to something that should be an accepted norm. The judgment that surrounds self-expression in regards to mental and emotional health has contributed to the fear of asking for help when needed. In return, people can feel alone and ashamed of who they are. Each of my pieces evokes emotions and feelings that could be uncomfortable, like anger, fear and embarrassment. As one acknowledges these reactions, they will understand that they are not alone.
My art is a representation of the ongoing cycle of the “ups” and “downs” in the brain as well as in life. Whether it’s a successful job interview or the death of a loved one, our reactions deserve to be recognized. I choose to help bring recognition to these reactions through my art. For example, a recent work of mine entitled, Opioid Outbreak, represents the continuing opioid epidemic in which we are currently involved. The overflow of pills in this piece are to show how frequent this addiction occurs. My art is a way for me to encourage people to fully accept themselves for who they are despite mental health issues or addictions.
Modern Confusion; balsa wood, glue and paint
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Olivia Gravanese As a mixed-media artist, I am influenced by a broad and diverse range of sources: from history to pop culture, social media, music, and film. My art consists of painting, drawing, and collage work that I incorporate into provocative images addressing the female psyche. I subvert taboos on sexuality and the nymph-like qualities of women, and turn them into statements on modern feminism. When I’m in my studio, my mind works in a whirlwind. My process involves cutting and pasting paper, ordering and disordering; it is a process of control and letting go of it. I often begin with a singular found image from the internet or from printed material, a piece of music, or a film clip. However, my experimental approach allows for the work to develop in multiple different conceptual directions. I’ve come to realize the value in surprising even myself with the work that I make. If I can envision a work at the beginning, it might not be worth making.
Through my work, I express social issues regarding feminism. By using different mediums, I copy, paste, and rewrite history on my own terms. My style of work tends to convey playful and satirical messages on the subject of current feminist issues. I want to raise awareness about the censorship of women throughout history; and by doing this, I am able to gain a reaction from viewers and make them consider why some images might nowadays still create shock value.
Untitled; gouache, Sharpie, paint pen and paper book scraps
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Eliza Daniels The saying goes “a picture can tell a thousand words,” and I always find it intriguing when those thousand words tell a story, regardless of whether it has been told thousands of times before or if it is a brand new one. I want to share those stories, preserve them and retell them in a new light. By reintroducing older stories or mythologies that might have been forgotten or never learned by newer generations, I hope to tell them again because many times these older stories and the morals they contain are just as relevant today. Details are extremely important to me, no matter how small. I find a story, re-read it several times, look if it has other versions and sort out which elements would be most important for both the story and the artwork itself.
The sculpture, The Pandora, explores the Ancient Greek myth of the first female human, and is made in an abstract shape of a figure. The use of metal in the sculpture represents the many versions of the myth stating that Hephateus, the god of the forge and metalworking, originally was her creator. The colorful thread that makes up the ‘skirt’ reflects both how Pandora’s name roughly means ‘all gifted’ and how each of the Olympians had a part in making her. Some tales are as old as time; others are brand new, barely churning around in my head before being placed down on paper or made into a physical form. Many stories I’ve heard or thought of in my life functioned both as a way to learn something and also as a way to escape reality for a short period of time. I want to tell those stories, but leave the interpretation up to the viewer or reader to decide. There is not only one particular thing a person can learn from a picture or sculpture, just like there is no one way to tell a story or one version of a story.
The Pandora; metal and sewing thread
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Jasmine Lanzo As a Graphic designer, I create art as a form of coping with stress. I take inspiration from both the video games I play and the natural world around me. The medium in a work of art can affect the message. Therefore, I carefully choose specific materials for each work. For example, if I want to create a piece with an eerie atmosphere, I would use charcoal or graphite pencils. To create a wispy and delicate atmosphere, I might use watercolor. The vehicle with which one conveys the message is often as important as the message itself. A well-designed image just feels right. “Humanity is complex; good design helps us enjoy our complexities when we can and brings simplicity when we can’t” (Damilola Marcus).
As we advance in technology, there are more ways of creating works of art with different media. The use of 3-D printing is a great example of how far technology has come, not only for the art world, but also for science and the medical world. As a graphic designer, I can interact not only with the art aspects but also with the coding and technological aspects.
Arachnophobia; charcoal on paper
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Stephanie Baum Occasionally I spend time watching my aquatic snail climb up then fall down the sides of the enclosure she’s in. While I find it amusing to watch her tumble, I cannot help but relate it to the world we live in and our struggle, not just as artists but as people working and making a living. You try so hard to climb, be it the corporate ladder or up the rungs of hierarchy in retail businesses or your career of choice. Even if it is an easy ladder to climb, or you have people on the inside who can get you places without trying, you can just as easily be knocked back down again, be it an illness, family struggles, or financial hardships. It’s okay. What matters is that you get back up again.
In the Fall of 2019, I was diagnosed with Papillary Thyroid Carcinoma, thyroid cancer. It was a struggle to keep up with appointments and daily life, even the simplest routine tasks. It was a tough time in my life, and I am just now finishing my radiation. At the end of the day, I come home and pass out. This is why I make art. It is an escape for me, be it working with clay, acrylic paint, my laptop and tablet, or writing it out. Whatever form it takes, it is a way for me to get my thoughts out there.
Repeat; ceramic and glaze
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Alyssa Jackson I create my art as an outlet for expressing my ideas and opinions. I do this because I am not very well spoken, due to anxiety. It is easier for me to display my thoughts through my artworks rather than presenting them with spoken words. In addition, the works are often of a political nature for which language might not be the most suitable form of communication. My process entails sketching, planning, and research. The materials I choose and the techniques I utilize are unique to each piece. I work with a wide range of materials, as well as a wide range in themes, which have varied from the humane slaughter of animals, to our perceived control over nature, to social distancing due to the Coronavirus pandemic.
50 Foot Jasmine; paper, printed images and photographs
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Gabriel Meekins I like to create work that utilizes the familiar, perhaps even the mundane, and to present it from a new angle to inspire curiosity and insight. I feel that the aesthetic qualities of a work of art can greatly affect how people experience the concept of the work.
I will often draw conceptual ideas from social issues, political views, humor, mental health, and current affairs. I want to create pieces that can have slightly different meanings for each person, by challenging preconceived notions about social situations, people and personal experiences.
I use a variety of media, including over-looked everyday materials, graphite, gouache, ink, micron pens and digital animation. My work ranges from drawings and paintings to sculpture. In my working process, I like to begin by experimenting with a concept. From there, I’ll choose my materials, and begin to picture the details or consider the changes that could be made to draw attention to the desired aspects of the work.
Bush; aluminum window screen
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