BFA&BA'23 Stanislaus State Graduating Seniors Exhibition Catalog

BFA

Katherine Crossley

Alyssa Higuera

Sarah Lamphere

Ariana Isabella Lopez

Christopher Rodriguez

Mikayla Saint

Kyle Silligman

Gurkanwar Singh

Shelby Woodings

BA

Arlette Alvarez

Elena Arellano

Justice Ballard-Brown

Sabrina Barragan

Cristina Bejar

Carlton Justin Borillo

Richard Conners

Leslie Figueroa

Maria Pizano Gallegros

Valarie Hill

Neang Narkary

Peyton Sousa

Sahvana Villalpando BFA&BA’23

BFA & BA Graduating Seniors Exhibition 2023

Stanislaus State Department of Art

California State University, Stanislaus

DIRECTOR’S FOREWORD

The University Art Gallery is pleased to present this year’s Graduating BFA/BA Seniors’ Exhibition. This exhibition and accompanying catalog showcase the many talented artists graduating from the Department of Art at California State University, Stanislaus. As we finally emerge out of the shadows of the Covid-19 Pandemic, it is a world that is much changed. Challenging, frustrating and sometimes aggravating, we now live with delays and shortages and in many cases people who are a bit lost. It is amazing to witness how art can have such a positive impact on peoples’ lives. In many cases art gives people something extra that makes the day just a little brighter. It is our students that have demonstrated the patience and perseverance needed make meaningful and important works of art that impact people.

As Gallery Director and Professor of Art, it has been my pleasure to work with students as they endeavor 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 witnessing their future wonderful and meaningful 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 exhibiting their work. The Department of Art Faculty and Staff for their dedication to our students. I would also like to thank Brad Peatross of the School of the Arts, California State University, Stanislaus for the catalog design and Parks Printing for the printing this catalog.

Much gratitude is extended to the Instructionally Related Activates Program of California State University, Stanislaus, as well as anonymous donors for the funding of the exhibition and catalogue. Their support is greatly appreciated.

Dean De Cocker, Director, University Art Gallery California State University, Stanislaus

Katherine Crossley

Alyssa Higuera

Sarah Lamphere

Ariana Isabella Lopez

Christopher Rodriguez

Mikayla Saint

Kyle Silligman

Gurkanwar Singh

Shelby Woodings

KATHERINE CROSSLEY

My work focuses on bringing the struggles of the unhoused population to light. As someone who has experienced homelessness, I understand the difficulties that come with it. There is a lingering misconception that homeless individuals just woke up one day and chose to abuse drugs. I seek to dispel this misconception, returning dignity to the people presented in my narrative.

I use woodburning, or pyrography, for a few reasons. Pyrography is a primitive art form used by nomadic people that lived in similar conditions to the homeless people that I am depicting. I felt that it elevated these people from degenerate “street people” to nomadic people by using this art form to depict them. I am also interested in the irony of the medium, as it is normally used to portray very beautiful, visually appealing scenes. Instead of these, I will be detailing offensive, disturbing statements, disgusting places, trash, addiction, poverty, and the lowest members of society.

“By confronting society’s unwillingness to acknowledge their biases towards the homeless population, I hope to inspire people to view homeless people differently. My aim is to show a different perspective on this social issue as well as uplift these individuals to the highest social status. I chose the title, “Hiraeth”, which is a “homesickness for a home to which you cannot return, or even a home that never existed at all.”

Any Means Necessary, pyrography, 5 x 7”, 2023 Entertaining Angels , pyrography, 5 x 7”, 2023 Choices, pyrography, 5 x 7”, 2023 Daydreamer, pyrography, 5 x 7” , 2023

ALYSSA HIGUERA

My practice is focused on self-expression, identity, and the digital coding that makes up my existence. I create my pieces based on personal experiences and I put forth the world that I live in and how my eyes interpret each digital code or bug in life. Breaking the binary is key to understanding each digital bug purposely inserted into my work. I am to involve the viewer, crossing this divide between the real and digital spaces. It is fundamental to include digital aspects as for tech and wires represent connections to life and identity. The intersectionality of identity and self-expression within our digital and physical spaces has created a bug in our personal systems. My work consists of digital works and sculptures to show this connection between ourselves and others via digital spaces. We are to see the web and WWW through images and wires.

Web, digital, 2023 WWW, digital, 2023

SARAH LAMPHERE

Art and its materiality are in an increasingly unique position to inform our selfhood—altering our present, future, and even past. Taking a look back on my upbringing in rural Iowa, I regularly use materials and motifs that I am familiar with being raised on a farm. At an early age, I had been introduced to the slaughtering process and death that has left a lasting impact. Though at the same time, this existential fear ran parallel to the serenity of the repetitive and rhythmic patchwork of corn and soybean fields that I called home. Likewise, my work aims to confront my existential anxiety while also celebrating the positive qualities of human limitedness through themes of livestock and its by-products that evoke mortality, allowing me to reflect on these transient moments.

Each of my pieces invites viewers to a sensory experience that blurs the line between sculpture and performance with ritualistic actions by immersing myself in both the task and my environment when hand-spinning coiling lengths of yarn, mending, and weaving to construct largescale textile installations. As I demonstrate these acts of meditation and endurance within my works, Hide #70238 and Hide #70178, these repetitive yet cathartic actions allow me to become aware of my body and its world through patterning, weaving, and mending reminiscent of the traditions and rituals in craft processes through my art and its materiality.

Hide #70178, thread, yarn, sinew, and acrylic paint on cowhide, 4 x 3 ½’, 2023 Hide #70238, thread, yarn, and hand-dyed animal fibers on cowhide, 4 x 3 ½’, 2023

ARIANA ISABELLA LOPEZ

COVID-19 exposed many interpersonal relationship issues, from family to love lives. My work highlights my desire for vulnerability, honesty, and connection within my relationships. This need for closeness stems from the isolating effect of the pandemic and how it continues to modify how we interact with one another. I aim to pursue the importance of trust and intimacy as a contractor in establishing the longevity of healthy relationships. However, it is also important to highlight relationships’ obstacles and conflicts. I want to demonstrate the duality of relationships.

Color plays an important role in my work. I use color as a device to explore dualities that are inherent within relationships. I use bright colors to signify longevity within healthy and thriving relationships. Expressive and fragile line weight within my drawings indicates the fragility of relationships. As the interwoven lines mesh with one another, the structure becomes stronger. As fragility weaves together resembles a strengthening of bonds. I use darker pigmented oil pastels or charcoal; I am depicting a confrontation or struggle in a relationship that is going toxic and decaying. I explore line weight, color application, and material heft through various media, from oil pastel to charcoal.

The main goal of my work is to talk about the phases in relationships, how they are good, and how they can go badly. They can be so beautiful and so hard to navigate. They can even go toxic and end in heart-breaking, unceremonious ways. Nonetheless, they are essential to everyone’s quality of life.

Decay, found object, 11 x

11 x 9”, 2023 Dream, acrylic on wood panel, 24 x 24”, 2023 When We Were Happy, oil pastel on paper, 18 x 24”, 2023

CHRISTOPHER RODRIGUEZ

I am interested in retelling childhood experiences. Through layers of paint and imagery I evoke memories and emotions from my past. The manipulation of thick on thin paint creates a history and density similar to memories. The previous layers of material influence newer ones. I paint and draw imagined spaces with motifs of the home, the human figure, plants, pots, fences, and tools. I use the interior/ exterior duality to express how complex identity can be. My artwork evokes change through the process of covering up and revealing imagery. The artwork discovers change, and becomes a “self” through the process of making and changing.

My most recent project is called Looking Back, Walking Forward and it takes a look at LGBTQIA+ individuals living in the Central Valley. I am interviewing participants and creating paintings that are reflective of the interviews, who the sitter is as a person, and the experiences they share with me. Through portraiture I am elevating these individuals and challenging viewers to rethink their ex-pectations of sexuality and gender. No identity whether sexual, gender, race, etc., can be shaped into a perfect mold.

Study for Looking Back, Walking Forward, oil on canvas, 16 x 20”, 2023 Behind Closed Doors #1, soft pastel and charcoal on paper, 12 x 12”, 2021 Plantando Sabila in a Suburban Landscape, spray paint, acrylic paint, soft pastel, sidewalk chalk on canvas, 60 x 48”, 2022

MIKAYLA SAINT

My name is Mikayla Saint and I am a California-born artist. I am currently attending California State University, Stanislaus in Turlock, California. I am in the Bachelor of Fine Arts program and will graduate in May 2023.

My photographic work illustrates the Jewel of the Sierra: Lake Tahoe. I have captured different scenes from around the Lake Tahoe Basin. The images show the magnificence of Lake Tahoe and its wildlife. Pollution, invasive species, and wildfires have impacted Lake Tahoe’s environment. My intention is to bring awareness to the importance of conservation and restoration of the lake, and the protection of the native wildlife.

Bear in the Channel, digital photography 11 x 14”, 2019

Pier in the Keys, digital photography 11 x 14” ,2020

Over Emerald Bay, digital photography, 11 x 14”, 2019

Emerald Bay Waterfall, digital photography, 11 x 14”, 2017

KYLE SILLIGMAN

I seek to provide the escape we all long for as adults, but rarely achieve due to the everyday mundane tasks we face. This ephemeral moment of bliss is often ruined by anxiety, pollution, and the distractions of pop culture, and consumer objects. My professional interest is to provide a visual escape from the pressures of the adult realm. I do this by highlighting the everyday clutter we encounter by placing it in the environments we use to escape stress. This becomes the stage for the duality between the search for serenity and the anxiety of modern living.

I seek to explore the relationship between 2-Dimensional and 3-Dimensional art-making techniques. Through this, I can represent scenes we escape to and the physical clutter that disrupts bliss. This also allows for exploration into the blurring of lines between painting and sculpture.

To expose the futility of escapism, I create narrative scenes depicting landscapes with pitfalls. I have discovered through my own experience that there is always something that will pull you back to the reality of bills, chores, and the harsh environment. This accumulation of the adult world manifests itself as waste. It creates a record of consumerism.

These ephemeral moments do not last and beyond the horizon, we must return to the everyday. To highlight longing and ephemerality, I work with and on non-archival materials. I work with a paper surface predominantly, this material will not last as long as canvas, and that makes the image (and moment) more temporary.

No Wet Sand, oil on Canvas, 14 x 20”, 2022 Road Less Traveled, acrylic on wood, cardboard, and plaster, 23.5 x 27”, 2022

GURKANWAR SINGH

My works focus on family and culture. Primarily these are depictions of female Indian women most of whom are family members. Growing up in a household consisting mostly of women gave me a different perspective on life. Being an Indian immigrant and coming to the United States as a young boy, I had a massive change in both culture and language. Because most of my family consists of women and also being Punjabi and Indian has had a major influence on my work. This is because the various aspects of my culture are reflected in my work. Because I grew up in India and had to come to the United States, mixing in with the culture took a long time. Even though it took a long time I still felt happy because I still had my family. In Indian culture there are many festivals including Diwali, Rakhi, Visakhi, Lohri, and also Indian weddings. As a child who loved drawing and painting, the colors and various events and dancing styles fascinated me. This culture is reflected in Bollywood movies. Being an Indian child there was also a fascination with Bollywood. The various stories, places, and songs in those movies were similar to seeing numerous paintings at once. The movies depicted women in many different ways, they were mothers, grandmothers, and sisters. Bollywood emphasized the importance of women in India. This is what I try to do in my work, I try to give the viewer a glimpse into my world. I try to show the importance that my family and relatives have to me. I try to show my culture including its colors, patterns, and festivals. Overall, the recurring motifs that I use in my work are the veil, the veil has a major significance in my work because it serves as a religious symbol. Both men and women have to cover their head while at a temple. The veils that women wear in my culture are often bright and vibrant and often patterned. Other motifs are jewelry because it is often worn mostly during weddings and other events. With my work I try to show the viewer the importance of family and its impact on me.

Mother, oil on canvas panel, 4 x 29”, 2022 Pray, pastel and charcoal on paper, 18 x 24”, 2022

SHELBY WOODINGS

When we look at religious texts and mythologies around the globe, they often point us to synchronicities in historical, geographical, and astrological phenomena. These synchronicities provide the framework for conspiracy. My work investigates these synchronicities in mythology, religion, and anomaly to blur the lines of fact and fiction into conspiracy. In the Metropolitan Museum of Modern Art’s show, “Everything is Connected: Art and Conspiracy”, other artists share their views on the synchronicities that distort the typical narrative of reality. Some artists express this by using documentation collage to give the viewer a paper trail and other artists like Jim Shaw portray their version of what extra-terrestrial life may look like.

By meditating on alternative theories, I create images to imagine a world where mythology, religion, and fringe science come together. Symbols, charts, mythological creatures, and maps all serve to explore counter narratives that explain theories for the creation and power of humans. I am inspired by artists such as Mark Lombardi, who use charts, graphs, and data to show connections. I am also interested in the signs, symbols, and mythological fantasy art portrayed by artists such as Marlene Seven Bremner and Jim Shaw. This body of work serves as a response to the conversations of conspiracy proposed in the Metropolitan’s show. In conclusion, it is my hope that this body of work inspires others to broaden their horizons into the unknown.

“Untitled” (Excerpt from Illuminated Manuscript), ink on black paper, 12 x 9”, 2023

“Untitled” (Excerpt from Illuminated Manuscript), ink on bristol paper, 12 x 9”, 2023

“Untitled” (Excerpt from Illuminated Manuscript), toner on paper, 12 x 9”, 2023

BA

Arlette Alvarez

Elena Arellano

Justice Ballard-Brown

Sabrina Barragan

Cristina Bejar

Carlton Justin Borillo

Richard Conners

Leslie Figueroa

Maria Pizano Gallegros

Valarie Hill

Neang Narkary

Peyton Sousa

Sahvana Villalpando

BA GRADUATES

BA Graduating Seniors Exhibition 2023

Stanislaus State University Art Gallery

California State University, Stanislaus

ARLETTE ALVAREZ

When working on any form of artwork whether it is traditional or digital, I focus on creating directly what comes from my mind onto the canvas. There’s no hesitation or pre planning when working on a new piece of art. I jump right into it to get to what I deem as the “finished” stage. Once it reaches such a state I will never come back to it. Once it is done it is done for good. My art isn’t something that takes much pre-sketching or pre-planning before getting actually down into work. To me that is a waste of time. It is better to simply jump right into it and see where you end up.

Usually people look at art and see things they have witnessed in the real world, I love to do the opposite. To create realms or even people that wont ever exist only in the imagination. What I want my art to do mainly is to perk an interest in people’s minds-to in a way open them to see there is no limit of what can be made.

The materials I am known for using are paints and wood burning creations. While working in traditional media I enjoy the challenge of generating a random theme to base a creation from. As for digital its the complete opposite, I enjoy drawing colorful creations. The ability to see the creation in different color tones is always exciting.

Many people have asked me as I grew up what artists influenced my way of drawing. It surprises them that I tell them that I am more inspired by cartoons than the fine arts. If anything where my thirst for art sparked was when a friend of mine introduced me to anime. From there it is where I began learning on my own. My art is important because it shows that a person should not be stuck with a “brand” that defines them. Taking this in can really be relevant to today’s time to show a new form of a generation made of multimedia arts. The artists who have many mediums under their belt.

Broken Vision, gouache and pyrography, 20 x 20 mm, 2023 Other Side, gouache and pyrography, 20 x 20 mm, 2023 Elevation, gouache and pyrography, 40 x 40 mm, 2023

ELENA ARELLANO

Using the techniques I learned in printmaking I create dreamlike or nightmarish narratives. These narratives are illustrative of emotions such as anxiety or anticipation in an overwhelming manner. Clues are given in small details that are meant to draw the viewer closer to the narrative and allow them to interpret the dream or story in their own context. Using metal casting I aim to create a narrative around the opulence of food in the United States and the way that hunger is an ever present problem despite our being a developed nation. I negate the viewer the physical consumption of food but allow them the visual.

Que Lo Muerda!, aluminum metal casting, acrylic paint, 6.5 x 8 x 8” , 2022 Dream 2, print, ink on paper, 15 x 22”, 2022 Dream 1, print, ink on paper, 8 x 11”, 2022

JUSTICE BALLARD-BROWN

My name is Justice and I have been involved in art for as long as I can remember. Both my great grandfather and my father are artists and have been major inspirations in my life and have guided me to become the artist I am today. Growing up and seeing their work has showed me how wonderful art can be and the impact it can have on people lives. I have also been inspired by street art and graffiti since I was a child due to the unique styles used and the history behind it. My goal as an artist is to bring happiness into other peoples life as well as to be a source of inspiration to show that anyone can find an art medium that really speaks to them both visually and mentally.

Picture Day, lithograph and watercolor on paper, 9 x 12”, 2022 Still Life Before Dinner, acrylic on paper, 11 x 11”, 2021 Doomsday Glacier, acrylic painting on canvas, 12 x 12”, 2022

SABRINA BARRAGAN

I have found that as an artist my biggest advantage and sometimes my biggest limitation is that I am not usually confined to one subject of interest in my work. My work has been driven by a want and desire to try many things. However, even with a want to try different techniques and processes, I seem to always focus on my passion and emotional language I have with color. Color gives me a responsive connection to memories and feelings of my past and present. Colorful florals have been a favorite subject of mine and give me a limitless color palette combination along with boundless patterns and textures. This freedom lets me paint spontaneously, transmitting my emotional information into something I can record with a paintbrush. My artwork is ever changing, and I hope to continue creating art through my emotional state and moods without placing a specific meaning or objective.

Nocturne Blooms (diptych), acrylic on canvas 12 x 16” (x2), 2021 Primary Spring, acrylic on canvas 18 x 24”, 2020 Blackberry Winter, acrylic on canvas 24 x 30”, 2020

CRISTINA BEJAR

My works serve as an exploration of my identity as an artist and as a person. Influenced by personal experience, my art is a reflection of my mentality. Whether literal or figurative, my artwork is a statement on how I interpret my memories and emotions.

One aspect of my art is my tendency to focus on the attention to detail. As a person on the autism spectrum, I feel the need to draw or paint each detail to get it just right. I also have the habit of sticking to a routine whenever I create my works, but there are moments when I change it.

In interpreting my thoughts and emotions through my work, I am expressing the feelings my mind creates. Whether it is a memory from my childhood or a sense of recollection

Birth of a Miracle, lithograph, 11 x 14½”, 2022 Weight of my Doubt, lithograph, 11 x 15½”, 2022 Melting Away My Troubles, screen print/cutout, 12 x 11½”, 2021

CARLTON JUSTIN BORILLO

Majority of my work at Stanislaus State has been focused on feelings and emotions. Majority of my works are based on feelings that I’ve felt or have been coming to terms with in 2021. This influenced my current work to capture certain feelings.

I wanted to focus on feelings and emotions as it was something I felt was lacking, which was meaning in my work. I wanted to capture these ideas as my main focus to create something that I wanted to look back at and be a reminder to me. A reminder that it is okay to feel certain ways and to express them.

The expression of emotion and feeling is still a foreign concept to me when it comes to using it as an inspiration in my work. I felt I was lacking in any attachment to my work that I would be “proud” of prior.

Defy Pain, Acrylic on Canvas, 12 x 16”, 2022 Defy Fate, Acrylic on Canvas, 12 x 16”, 2022 Defy Hope, Acrylic on Canvas, 12 x 16”, 2022

RICHARD CONNERS

I did this kind of art because I wanted to reflect that time that passes by makes things difficult and the mental troubles that people will have. In one of the three pieces, the artwork of a pinecone made of water bottles was a part of almost having a hard time with coming up with an art piece. In my oil paint, I tried to reflect about time pressuring me on working in this project and getting it done before time was up. And my lithography represents the mental trouble that people can go through when it comes to people saying good things, be supportive and uplifting like the cranes lifting the brain while rocks like mean people saying something sensitive or hurtful, making them fall into the bottom of depression or aggravation. Doing this kind of art was almost tough but great to work on.

Losing Confident Mind, oil-based ink on paper, 8 x 10”, 2022 Recycled Pinecone, sculpture, 11 x 15”, 2021

Time Abroad, oil on canvas, 40 x 30”, 2022

LESLIE FIGUEROA

I have always enjoyed creating art. Drawing was something that people have always known about me. Being an art student here at Stanislaus State has taught me how much. I truly appreciate this form of creativity expression. Not only that, but to grow and evolve by exploring other forms of art. I would have never expected to find myself in sculpture or printmaking classes. To step out of my comfort zone was scary, yet eye-opening.

Abyssal, print, 11 x 15”, 2023 Elf, print, 8 x 10”, 2021 Ignite, print, 11 x 15”,2023

MARIA PIZANO GALLEGOS

Artist Statement: I am a first generation college student whose goal is to become an art teacher. I want to help children learn to use art as a way to express deep emotion that would be difficult to explain through words. These drawings are focussed on the feelings women have because of societal pressures placed on us. Most women are insecure and unhappy with the way they look because of what they are subjected to on social media, billboards or commercials. I come from a family consisting mainly of women and I saw many of them struggle with self confidence and insecurity, not only because of the media we see but the way their husbands treated them. I wish I could say I was able to grow into a confident woman but I turned out just like the rest of my family. Constantly criticizing myself for my looks and wanting to look like the models I see. I hope these drawings open up a conversation amongst us women and how we can change the way we see ourselves.

Contemplation, Charcoal on Paper, 18 x 24”, 2022 Insecurity, Charcoal on Paper, 18 x 24” , 2022 Melancholy, Charcoal on Paper, 18 x 24”, 2022

VALERIE HILL

My current work is an exploration and an attempt to master traditional mediums like oil, ceramics, and acrylics. So, for most of my inspiration I am looking to examples of past artists methods. While exploring how to best describe my content I am exploring forms and methods of art. I like to connect my content to my own personal journeys. I explore narratives of sexuality, trauma, and consciousness with a focus on the subconscious and hidden aspects of the psyche. While looking inward I am also relating to my experience and understanding of the world around me by challenging my own perception of self, the world, and the often-limiting taxonomy subscribed by structures of societal power of the present and past. I try to convey a sense of duality in most of my work, whether it be the real versus the imagined, the past and the present, or the micro and the macro. In my depictions of duality, I want to show that each paradigm exists simultaneously. So, I use a lot of depictions of transformation. Each piece has a unique topic, but all pieces fit into a whole as they relate to encompassing and overlapping experiences. I am inspired by nature, specifically its ability to survive and change. I find that humanities ability to survive and change reflects our connection to nature and disputes the idea that humans are not animals and are not a part of earthly or astrological cycles. For me understanding myself as a unique part of a collective- unique, vast, and never truly dichotomized is a humbling and divine experience. I believe my work speaks to this idea of humbled existentialism, eternal cycles, and the fragility of mortality.

Jestures, multi-media, 46 x 25 x 18’’, 2022 Daddies little Girl, oil on canvas, 24 x 30’’, 2022 Embryolk, oil on canvas, 24 x 30’’, 2021

NEANG NARKARY

My recent works thrive off my latest obsessions through patterns, figures, texture, icons and color. Most things I actively consume are fashion, fantasy webtoons, social media posts and video games. I look at the deeper meanings and affect these stories or products have upon me. I indirectly reference them in my “fine” art piece to avoid labeling them as “fan” art. My painting “Black Swan” was inspired by my childhood watching Barbie movies and the anime series Princess Tutu. These stories made me dream of becoming a ballerina as a child. As I have gotten older, I see the amount of effort and dedication it takes to become one. Just as I see now that being an artist isn’t just a stroke of genius. If you would like to see more of my art, follow my account @narkary_ or @floonie.art on Instagram.

Angel Tears, woodcut print, 14 x 10”, 2023 Socialize, IRL ? Gross, mixed media, 12 x 12”, 2022 Roots, oil on canvas 24 x 30” , 2022

PEYTON SOUSA

I once considered representational art one of the best forms of art, but that was before I exposed myself to other forms. I see abstract as a way of finding your own way of creating. When I discovered abstract painting, that’s when I realized I could paint however I wanted and whatever I desired. Abstraction has given me the ability to experiment more with shapes, color combinations, and I barely worry about making anything perfect or worry about being accurate with what I’m drawing. I love abstraction art because it offers the freedom to play and with process, materials, and tools. I’m able to create with just my imagination and I’m able to experiment with different techniques and mediums. If an artist has more freedom, it’s more likely to help them discover their own style. Finding your own way of creating is difficult, but it’s also exciting.

Infinite, oil on paint, 24 x 30”, 2022 Control, oil on canvas, 38 x 30”, 2022 HOPE, oil on canvas, 40 x 30”, 2021

SAHVANA VILLALPANDO

My name is Sahvanna Villalpando and I am the youngest of my family in my last year at Stanislaus state. I am majoring in Art studio and minoring in psychology. What really drew me to the human figure and portraiture is the emotion behind the persona many show the world. My ideas are sparked from my life growing up and challenges I faced. Having a hard time finding where I fit in the life of those I loved, but also trying to make many happy when I was not. No one saw me in a vulnerable state and when they did I was told to cry later and just get the job done. So I hope to show within these moments capture many can see that it is okay to not be okay. That everyone has a vulnerable side and it doesn’t make you weak but it can be very powerful.

Through my eyes, oil on canvas, 18 x 24”, 2022 Consumed, ink on paper, 10 x 24”, 2022 Leave Me, oil on canvas, 18”x 24”, 2022

ACKNOWLEDGEMENTS

CALIFORNIA STATE UNIVERSITY, STANISLAUS

Dr. Ellen Junn, President

Dr. Richard Ogle, Provost/Vice President of Academic Affairs

Dr. James A. Tuedio, Dean, College of the Arts, Humanities and Social Sciences

DEPARTMENT OF ART

Martin Azevedo, Associate Professor, Chair

Patrick Brien, Lecturer

Tricia Cooper, Lecturer

Dean De Cocker, Professor

James Deitz, Lecturer

Daniel Edwards, Associate Professor

Jessica Gomula-Kruzic, Professor

Dr. Alice Heeren, Assistant Professor

Daniel Heskamp, Lecturer

Chad Hunter, Lecturer

Dr. Ana Mitrovici, Lecturer

Dr. Carmen Robbin, Professor

Ellen Roehne, Lecturer

Dr. Staci Scheiwiller, Associate Professor

Susan Stephenson, Associate Professor

Stephen Takacs, Lecturer

Jake Weigel, Associate Professor

Mirabel Wigon, Assistant Professor

Alex Quinones Instructional Tech II

Kyle Rambatt, Equipment Technician II

UNIVERSITY ART GALLERIES

Dean De Cocker, Director

Kory Twaddle, Gallery Assistant

SCHOOL OF THE ARTS

Brad Peatross, Graphic Specialist II