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B FA / B A G R A D UAT I N G S EN I O R S E X H I B I T I O N 2018 University Art Gallery Department of Art School of the Arts California State University, Stanislaus
300 copies printed
BFA/BA Graduating Seniors Exhibition May 8–June 1, 2018 University Art Gallery School of the Arts California State University, Stanislaus One University Circle Turlock, CA 95382
This exhibition and catalog have been funded by: Associated Students Instructionally Related Activities, California State University, Stanislaus
Copyright Š 2018 California State University, Stanislaus All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher.
Catalog Design: Brad Peatross, School of the Arts, California State University, Stanislaus Catalog Printing: The Parks Group, Modesto, California
ISBN: 978-1-940753-35-5
C ON TE N T S Director’s Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
BFA Images and Statements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
BA Images and Statements.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
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D IR E C TOR’ S F ORE WORD The University Art Gallery is pleased to present this year’s graduating seniors. This exhibition and accompanying catalog showcase the many exceptional artists graduating this year from the Department of Art at California State University, Stanislaus. As Gallery Director and Professor of Art, I have had the pleasure of working with these students in their endeavors to complete the BFA and BA programs.These degrees are a pivotal part of their development as artists. As a result of their accomplishments, I am pleased to call these graduating students colleagues. I look forward to seeing them have wonderful careers in the arts. Many colleagues have been instrumental in this exhibition. I would like to thank the BFA and BA students of the Department of Art for their work and being part of the exhibition; the College of the Arts, California State University, Stanislaus for the catalog design; and Parks Printing for the printing of this catalog.
Dean De Cocker, Director University Art Gallery California State University, Stanislaus
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B FA I M AG E S A N D S TAT EM EN TS 7
PAUL AC E V E D O As a Mexican American artist living in the United States who struggles with the language barrier, cultural differences, and a sense of belonging, my work expresses my cultural identity. I explore these issues through the imagery of dreams, cultural references, and representation of the self. By looking at the way people talk and behave, their individuality, cultural values and characteristics, I recreate these ideas in my work to offer an explanation on how they affect my identity when transitioning from one country to another. Becoming conscious of an independent identity is crucial to my work whether expressed with sculpture, painting, or printmaking. I tend to utilize my personal experiences to further explore new possibilities and reflect my own identity with the work I produce.
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Supermarket, mixed media, 2016 9
R A N DY A M M ON My artwork has been a long journey of exploration with different media in order to rebuild, or turn back to, that little thing in my head that allows my imagination to run wild. I am searching for what I once had when I was a child: imagination and creativity. My current work reflects my interest in financial security. I feel that not enough people are aware of the financial heartache that comes with the loss of a loved one. This led me to create a plaster piggy bank/embalming machine as an awareness piece. This sculpture popped into my head when my girlfriend was trying to deal with the funeral arrangements of her mother, who had just passed. She mentioned that the casket was around $2,000 and embalming was $700. It seemed like every little thing leading up to the funeral cost a lot, and it did! In continuing with the piggy bank theme, I’m developing 3D piggy banks to be used in an installation. I’ve also recently discovered a love for welding and am building an additional body of work involving geometric sculptures.
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Geometric Red, steel, 2018
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DAC H UAN C H E N I have been studying in the United States for the past seven years, and it has been quite a journey. Embracing different ideas and exploring various art forms and media made me feel lost, at first, because of the overwhelming variety of ways to achieve what I envisioned. As I tried to make sculptures and collages, communicate through printmaking, and discover the philosophies behind the “readymade,” I realized that what I had been searching for externally was deeply rooted within. My grandfather is an artist—a painter and printmaker—and was very influential to me as I grew up watching him work. When I observed him painting, it was magical to see how the colors changed when he mixed them. This experience ignited my passion for art, especially for painting. Art is a form of selfexpression, and I am inspired by different impressions of significant moments from my personal life. These moments have infiltrated my subconscious and become subliminal influences, affecting how I think and respond, even affecting how I behave. They make me who I am today, and in my artwork, I try to illustrate these moments in an ambiguous and imperfect form.
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Composition=L, acrylic on paper, 2018 13
M AR ITZA D I AZ Since adolescence, I have been fascinated how as children we are taught about historical events marking ends to substantial predicaments. Some major issues include the unjust treatment upon women and various ethnic groups, or the continued mistreatment of the environment despite concerns of climate change. In this coming of age, we realize how cruel the world is and a child’s eyes can no longer be censored to reality. I choose to personify innocence being lost through imagery of various children’s characters either committing the pernicious act or being blighted by the other. Normalized derogatory language and treatment of women that goes unopposed in our society are conveyed through Disney characters in a painterly and sculptural form. Text bubbles present in my paintings are meant to mimic the text bubbles currently seen on iPhones. The text used are from real users’ posts on social media, news articles, and audio where a victim speaks about their past experiences with sexual assault. The idea was then transitioned onto screen printing form leading to the creation of Archie comics where a happy bright appearance is present, but once read, the viewer realizes something very dark that is heavily integrated in our society.
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N, acrylic on canvas, 2018
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C ARRIE DUC PHAM I am interested in the concept of a universal humanity that is shared via human creations and the natural world. Thus, my work tends to focus on the relationships between the artificial and the organic. As technologies rapidly advance, what we perceive to be “human� changes in parallel. I want to visually express this change by contrasting artificial or mechanical objects with organic ones, while reflecting how the tools we use on a daily basis shape how we define ourselves. This contrast is to show that, due to our increasing reliance on technology, the human body is now an amalgam of artificial peripherals and organic material that have become one and the same. My work is influenced by the philosophies of Donna Haraway and Jean Baudrillard, as well as the art of Max Hooper Schneider and Paula Rosa.
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Memento Mori, wood, 3D printing, found objects, dirt, preserved moss, 2018
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AL EJA N D RO F E RNA ND E Z Violence, specifically domestic violence, has become the forefront of my artwork. In the sculpture Drunken Bulldog I wanted to express these negative situations from the perspective of a child. The sculpture consists of a large male figure with the cartoon head of a bulldog, representing the embodiment of abuse. The bulldog head was sculpted then casted in plaster, while the rest of the figure was casted from a body mold. The figure sits upon a couch engulfed by beer bottles and cans that represent the figure being consumed his vices. The theme of alcoholism is prevalent in most of my artwork.The next series of sculptures depict the interaction and effects the abuse has on its environment. The figures are constructed from numerous plaster casts. They are fragments of a figure, some parts incomplete and held by chicken wire. The figures are partially casted, allowing the viewer to see the inside of the sculpture and creating a new dimension. The overlapping burlap produces new textures.These different perspectives of incomplete human bodies with harsh and unusual textures attempt to depict an unstable relationship, in addition to expressing the destructive effect of the male figure. The figures in this series don’t have heads, so the audience could identify with the sculpture in their own way.
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The Drunken Bulldog, paper, plaster and wood, 2017
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N IEKO M C DAN I E L My artwork consists of issues within society that I personally experienced and observed from others, such as inequality of all peoples and the environments that they live in. I comment on these matters by creating artwork in either a series of pieces or in a combination of compiled imagery. It is important when I create art that I show the side of the oppressed correctly to portray the problem to the public. When creating artwork, I am heavily influenced by graffiti and street art that began in the 1960s. Though I was not alive to partake in the golden era of graffiti, I make sure that my artwork holds the urban essence that graffiti had when it was first becoming popular in the urban society. Other influences that help me create my artwork are genres of music such as hip-hop and rap, and the performing arts such as dancing like b-boying, which is now known as breakdancing. All three of these forms of art became popular in the latter half of the 1900s, and in my artwork, you can see the nostalgia for the era as if I was saying, “I wish I was still living in the past.�
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I Wish I Was, mixed media installation, 2018
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ALYS S A M OON My work is inspired by memory either from conscious recollection or the exploration of the unconscious. The narratives in my work explore feminism and domestic violence through literal, conceptual and allegorical compositions. My relationship with paint is often related to the textures and qualities of skin.Through the process of layering paint and other mediums, the qualities of skin in different states of health naturally surfaces. Trauma, age and cosmetic rendering emerge with the paint, which adheres to the traditional practices of impasto application. I abide to my application of paint before anything else in my practice.
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Interitus Incrementum, oil on canvas, 2018
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ROS S PA RS ON S My practice revolves around an element of mystery. I am fascinated by moments of intuition, the kind of experiences that cannot be readily understood or rationalized, and how these experiences, regardless of their validity, can transform you. My more recent paintings aim at evoking such a sense of eerie wondrousness, the allure of the uncertain. I draw and paint over and under washes of ink, gouache, and acrylic, creating figures guided by the impressions made by the marks. The images arrive from the mysterious play of color, shadow, and the rhythm in the lines.
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Pan, ink, gouache, acrylic, 2017
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H AYL E Y S I M O N My artwork is an exploration of life and myth. I am interested in conveying narrative through compositions, animal imagery, and personal symbolism. I have always been interested in depicting stories and representing the human form. The aesthetic qualities of the human form as recognizable subject can be used to address important themes, such as the inequalities regarding race and gender and social attitudes on emotional and mental health in contemporary society. It is necessary to acknowledge these issues in order to fix our society and in turn, better ourselves as people, rather than leave them to historical moments of time.
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Repression VIII, relief print, 2018
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Z O E TO S C A N O With a desire to work with my hands and attraction to the visceral, fleshy textures, oil painting seemed the most applicable way to express myself. My latest art includes the human figure as a compositional element. I strive to capture in my development of a figure the subtle way the muscular system pushes and pulls over bones. While painting a particular figure I think about their lives and what they have gone through. I meditate on this while painting and try to capture the essence of what people close to me are going through at that particular time, whether it is a positive or negative time in their lives. In this day and age I believe people are having trouble connecting to each other. So in a way I feel as though painting the people around me is a means in which to connect to someone in an indirect way. The other significant element I find exciting is the constructing of the space around the figure. In the past I would usually answer it with a more subconscious mindset, incorporating realistic imagery but in a random algorithm. I found this exciting but sometimes I felt like this process lacked personal context. So from there I transitioned to placing the focal character in a simple environment. By simplifying the space around the figures it made the narrative of the painting more reliant upon the figure, their expression, position, etc. In a way this made the gestures of the figures symbolic. I am very mindful of the way in which I paint figures and to be aware of how the audience interprets the expressions of the figures.
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Floating in Foreign Waters, oil on canvas, 2017
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KO L AYA W I L S O N I am an artist who seeks to explore the projection of gender on animals, objects, daily interactions, and other inhuman entities. Gender is a central way in which we organize our societies, and the structure is so deeply engrained into our psyche that we often operate out of it unconsciously. I believe that becoming aware of these notions is easier to recognize through viewing animal interactions. My hope is to aid these thoughts that resurface as I create creatures exhibiting human postures, traits, and bodily functions. Empathy with these beings aids the audience in understanding both the physical and conceptual connections to my work. I do not create my beings with the intention of gendering the creatures, but my hope is that by prodding the viewer in this direction they will question these gendered thoughts, their construction, and come to realize the powerful imprint it makes on the world.
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Pensive, mixed media, 2017
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B A I M AG E S A N D S TAT EM EN TS 33
V IC TO R AG UI L E R A When I started the art program I drew lots of inspiration from photography, graphic arts, and live production. It had always been something that I loved to do and something that I found my fulfillment in. Learning to find scenes that one would normally pass by everyday and take a few moments to admire and capture the beauty in them, creating graphics for the business that would be used for campaigns, or even helping with live production managing is where I found to express myself to the fullest. As my education continued, I gradually became more interested in other mediums as well. Drawing and painting quickly became media that I enjoyed. With my digital background I found a lot of my success in drawing digitally, replicating lots of techniques in drawing and having the ability to go through drawing in the same way I went about editing my photography brought an ease to the process for me. As I continue to evolve my artistic sense, I find myself anticipating more large-scale mixed media pieces in the future.
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Euphoria, contĂŠ, gesso, paint and wood on paper, 2018
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ANGEL I C A AQUINO As an artist, I find the process of research most interesting. I think the research part gives me a better foundation in understanding the subject better. From there, I am able to visualize what I feel a certain piece should look like. My subject matter is graphic design and installation art. I use InDesign, Illustrator and Photoshop. When it comes to installation artwork, I like to use plywood and paper.
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Ladies, oil on paper, 2017
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VA N ES S A B A RA J A S I do not set out to construct art that can be interpreted in only one way. My art is not limited to one medium, concept, or style. Knowledge changes every day and my art is always developing. Different mediums allow me to express different ideas but acrylic is my specialty when it comes to applying paint on a canvas or panel. I would describe myself as an abstract and landscape painter. I have learned that you create what you love, and you paint what your emotions dictate. I am drawn to lots of textures and unconventional methods of applying paint. Most of my pieces have a limited tonal range with very horizontal and diagonal lines. I tend to create groups of the same concept and then move on to other series of works, such as splatter paintings, collage, assemblage, and drip paintings. Every one of my artworks is personal and I would like to make an impact without relying too excessively on detail. Detail is not my primary focus in painting. My intent is not to make my paintings look like photographs but instead immerse the viewer in a simplistic yet compelling environment.
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Blue and Yellow Collision, assemblage, 2017
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ANNA B E N N E T T I have always been passionate about art, which reflects my interest in color, form, and design. Art has followed me throughout my life. My maternal grandfather began my art career by teaching me how to draw stick horses before I can remember. My quest for an art education was relentless as I yearned to have an art teacher. I became a selftaught artist by setting up my own art program at home to teach myself the discipline of art with drawing, shading, memorization, mixing of colors, watercolor painting, and designing, combined with writing poetry and being a school playwright. As a result, I became a student art teacher in high school. Later on I took a home study painting course in art. Life is not any different historically for the need of artists to study under masters of art for refinement, growth, development, and dimension of art. Since then I have had the opportunity to study art under masters of art at California State University, Stanislaus. I plan to incorporate my studies in an art studio following graduation.
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Out of the Box, acrylic on paper, 2017
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TAYL OR B E R G TH OLD I rarely ever know how my paintings will turn out when I first begin, but I actually prefer it that way. I like the idea of not fully being in control, and letting the layering of marks create a message. Through color, scale, shape, gesture and abstraction, my work portrays the beauty of the organic world. As a result, I hope that people see something very personal in my work, whether it’s the combination of colors creating a feeling, remembering a moment or place of their past, a forgotten dream, or a hope for the future. I relate greatly to Henri Matisse’s hope for his work: “what I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter—a soothing, calming influence on the mind, rather like a good armchair which provides relaxation from physical fatigue.”
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Blue bird, acrylic on canvas, 2017
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P HIL L IP B Y RN E My works are marks made between fevers— scribblings created in brief periods of oasis in a desert of chronic illness. Produced with little thought during a debilitating six-year-long battle with Crohn’s disease, I now see that my work has allowed me to play the role of ontological surgeon—placing my own metaphysical body on the dissection table and exploring its interior contents. Peeling back layers of viscera and grey matter and appraising the anatomies of my body and mind, as well as their damages, these works have allowed me to explore my relationship to both. The results are highly polished meditations obsessively focused on creating visual organization out of unconquerable situational chaos. The themes of bodily fragmentation and loss of totality recur continuously throughout my work, and although the inhabitants of its worlds are erratic, the thin band of connective tissue binding these characters together is also what they are missing—pieces of themselves. Through the interactions of these character proxies and their missing pieces, I have been allowed to explore my own identity and come to terms with my own loss of totality.
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Sentrosi, mixed media, 2015
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B M AR I E C ARROLL To expound both the corporal and abstract through art is one of my main goals as an artist. The process of recreating an internal journey in the physical is a noble pursuit as it challenges the spirit. Symbolism features heavily in much of my art, although it might not always be apparent at first glance. Messages meant to reach or simply to provoke thought are of great importance to me, because what is the purpose of art if not to further the mind? Art for art’s sake is a pleasant idea but ultimately art is a tool to be utilized, just as in any other occupation. We have a purpose, even if we never truly understand what it is.
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Inorganic Growth, plastic and spraypaint, 2014
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DAO C H A N G My work focuses on the humbleness of abstract expressionism and as an introvert, it is difficult to explain or discuss about how feelings and emotions function. Therefore, I found abstract expressionism as a tool, a communication, a device that sets the heart at ease about the things we want to express— humbly. Each stroke and mark represents not only unspoken words but also the unseen struggles of a normal and fragile human being. The acrylic paints are laid down carefully and quickly to create rigid marks and strokes. These marks represent the idea of a fragile, broken person, like broken fragments and glasses, yet they hold and come together in harmony to create strength. I hope that my work distinguishes how complex it is inside the thoughts and emotions of a humble introvert.
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Untitled, acrylic on paper, 2018
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M AYR A A N E L C ORTE Z I draw inspiration from culture and heritage, memories, movement, gesture, and nature. I believe that everything in life is connected and bound to intersect; my work is a continuous search for these relationships. Though the imagery I create is often varied, I am beginning to find connections within the emotions and feelings they represent. My paintings explore the many facets that color has to offer. I find myself naturally increasing saturation and implementing different aspects of color theory to push the boundaries of light’s intensity. My photography explores the textures, movement, and timelessness found within nature. Through this experimentation, I am able to abstract and present what seems foreign, yet familiar. My focus in printmaking and sculpture revolves around illustration and the creation of my own world. These mediums allow me to explore this theme by incorporating elements and memories that stem from both nature and my childhood. I hope to continue exploring the intersection between reality and fantasy to discover a balance between the freedom of imagination and the confines of adulthood.
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VolarĂŠ, photograph, 2018
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C R IS T I D E N N E Y Creative expression has always been a vital component in my life. As a child, I had great difficulty communicating my thoughts and feelings easily with others. Art gave me a voice. My work focuses on a variety of topics that pertain to science. I am interested in the consistent patterns that I continually see in life through a microscopic lens, such as the enigma of how the neural network within our brain mirrors the functional appearance of roots and branches from trees in nature. I believe the striking and undeniable presence of nature is often disregarded or taken for granted; by utilizing color and artistic elements, I strive to bring attention to these life intricacies while incorporating education and scientific discovery. Ultimately, I aspire to give them a voice of their own so they, too, can be heard.
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Toxic Flow, acrylic on paper, 2018
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L IZ ET TE E S TRA DA My work, whether it is a painting or a video, has an inclination to become very simple and to the point, yet I have more of a tendency to create my artwork with experimental concepts. In my work I am able to create different concepts by merging my works together. I find it fascinating to have a form that does not have very much detail, yet has the capacity to convey a thought or emotion. I have done various works that are based on drawing, painting, and digital media, which have helped me further expand my knowledge and understanding of what one can do with the portrayal of the artwork. Painting has demonstrated that one can show their feelings with the stroke of the paintbrush making the artwork much more connected to oneself to the piece. My work has taught me that you do not have to follow many of the ideals of others. That artwork is the idea of creating something to captivate the change that is needed to be seen by others.
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Untitled, oil on canvas, 2017
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M AR IA G UTI E R RE Z The focus of my work is to do studies based on direct observation. For the past 8 years I have been creating art with acrylic and oil based paint to create paintings that are based on my direct observation. My paintings are based mostly about nature. What I observe about my surroundings is what I paint on canvas. I have had the opportunity to study art here at CSU Stanislaus for 4 years and I have truly taken every teaching that I have received from my professors and put them to work on my paintings and have really grown as an artist. Finally, my works represent my focus as an artist to show the beauty of nature through my eyes. I share my observations with you through this exhibit.
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My Quiet Place, acrylic on canvas, 2017
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S AMAN T H A M C GONIGLE I have lived in several different places and I always find myself drawn to the peace and calm of dirt paths surrounded by trees and natural flowing streams. These elements of nature are represented in my work through the use of organic textures and shapes. They have also encouraged me to explore and experiment with mixed media and the incorporation of various natural materials that enhance my work. We live in a fragile ecosystem of plants and creatures. I hope that my artwork will encourage people to enjoy the beauty of nature and also remind them how important it is to take care of it. I also create abstract made-up creatures or objects that ignite the imagination with playful compositions. They imply a sense of exploring to discover new and fantastic earthly creatures. My surrealist scenes contain symbolism directly connected to my life experiences or thoughts on the world.Viewers are able to connect to this work by developing their own reflections and meaning based on our shared understanding of the world we live in.
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Chimpanzee, ceramic, 2017
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S EAN M ON TA LVO What’s the trademark of a successful artist? I believe it’s not their motives nor their style that shapes them, but how much influence their work has on the world around them. If an artist can leave behind a work that can intrigue the masses then they have created a schematic for the world to build from. Originality stems from flattery through imitation. Through nostalgia, we flourish. The works I produce for myself are heavily influenced by pop culture in all types of media. I enjoy making something that pays homage to those who helped shape me as an artist. I create my art so it allows me to go back and indulge in something that’s nostalgic and through that I flourish.
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Kilhouette: Leatherface, digital art, 2018
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L AU R A R E Y E S Over the past few years, I have focused on how to communicate myself through traditional painting and digital illustration. A lot of my work focuses on the emotion and human connection to beings that are sometimes not human in and of themselves, but can represent deeper concepts of what it means to be human. I often see in my life or in others these moments of great emotion—be it happiness, anger, or more complicated emotions such as depression and anxiety. My process usually involves finding ways to capture these emotions in an unconventional way. I begin by doodling several heads that do not belong to a human, or oftentimes I find ways to obscure their face. While it was visually intriguing to toy with the human body, this erasing of human features elicited an emotion that I got attached to. This expression of this relationship between myself and these emotions led me to growth as an artist. My current work is mainly personal but I aim to share these discoveries with viewers to better understand these states of being. I hope they can help form connections with the viewer through this deep emotional understanding.
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Time, acrylic and mixed media on paper, 2017
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G EM IM A S E G U RA My work deals with identity, whether I am creating digital work or working with a more traditional medium such as acrylic paint, photography or collage. In my graphic design work, my intent is to create an identity that reflects the brand it represents and in my other work, I explore identity in a social and political context. My interest is in navigating the complexities of the immigrant experience, with a focus on the experience of first generation immigrant living in contemporary America and what it means to be an immigrant living in this current political climate. I believe representation matters, therefore I strive to create work that shows the immigrant experience from a female point of view and one that the immigrant community can identify with and understand.
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Dreams, acrylic on canvas, 2018 65
P R IS C I L L A S TE V ENSON From a young age I have been strongly influenced by the design and structure of art. Today, I am interested in taking classic art and making it new again, using old techniques and designs, revitalizing them to fit into a modern aesthetic. My work aims to evoke a style that is modern but classic with life-loving character. Currently my work is an exploration of mediums and themes with muliebrous influences. These works are a visual interpretation of my travels and life experience. My work embraces themes such as landscapes, botanicals, and the female form. With simple line work I create soft curves that hint at feminine figures and other objects that appear in nature. Each body of work celebrates the natural beauty of each object, bringing it to life with implied shading, volume, and value.
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Cacti, Rose, Aloe, lithograph, 2017
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JU L IA TAVARE S Narratives from books, articles and fantasy stories are the foundation of my imagery, which I compile together with organic shapes found in nature. I sometimes combine my concepts with figures and characters that support the narrative, and I use colors inspired by my many years of working with young people. Children’s expressive imaginations know no boundaries, and they show no hesitation in creating their art. They convey their feelings with bright colors, even when the subject matter does not contain pleasant memories or emotions. I would like the audience to receive my message through my images before reading any text. My illustrations’ characters should not only be relatable and imaginative, but also feel as if they may be mythical creatures or a make-believe friend. By making such pieces, I am able to tap into my inner child and hope to create work that will bring similar emotions to others.
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The Steadfast Tin Soldier, watercolor on paper, 2017
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B R ENT T WO N G I have always had an interest in photography and its ability to capture and convey emotion. Growing up, I was always surrounded by photographs from the past, and the stories behind them always captivated me. I spent a lot of my childhood at my grandmother’s house, where old photographs are placed all over the shelves, tables, and even the refrigerator. I grew up observing as things changed, but I also witnessed how so much stayed the same. Lately, my grandmother has been the focus of my photography. I want to capture the history that has been established in her home. My photography aims to capture what life is like for a 100-year-old immigrant and how her experiences have shaped her way of living. Her home contains a mix of the past and the present in a messy, chaotic manner. Even though her home is cluttered, she knows where everything is because it has a place. When I look at it, there are several elements I can recognize and am at ease in knowing that her home has always been a constant source of comfort.
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Kitchen, photograph, 2018
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ACK NOW L E D G E ME NTS California State University, Stanislaus
Dr. Ellen Junn, President
Dr. Kimberly Greer, Provost/Vice President of Academic Affairs
Dr. James A. Tuedio, Dean, College of the Arts, Humanities and Social Sciences
Department of Art
Dr. Carmen Robbin, Chair, Professor
Dean De Cocker, Professor
Martin Azevedo, Assistant Professor
Jacob Been, Lecturer
James Deitz, Lecturer
Daniel Edwards, Associate Professor
Jessica Gomula-Kruzic, Professor
Chad Hunter, Lecturer
David Olivant, Professor
Ellen Roehne, Lecturer
Dr. Staci Scheiwiller, Associate Professor
Susan Stephenson, Assistant Professor
Jake Weigel, Assistant Professor
Meg Broderick, Administrative Support Assistant II
Andrew Cain, Instructional Technician I
Jon Kithcart, Equipment Technician II
University Art Gallery
Dean De Cocker, Director
Nikki Boudreau, Gallery Assistant
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