SENIOR EXHIBITION SPRING 2020 Southeastern Louisiana University Visual Art + Design
1
2
Ceramics
8
Graphic Design
28
New Media + Animation 152
Janie Dick
8
Kelly Carroll
28
Mia Maniscalco
158
Allison Carubba
38
Janeva Morris
166
Kyla D’Arensbourg
62
Ra’Jae’ Wolf
174
James Gillette
72
Mark Young
182
Jordan Jacob
86
Joshua Knox
104
Candace Nall
112
Shelby Szelei
128
Aubree Weldon
146
Painting + Printmaking
186
Photography
200
Sculpture
240
Belinda Flores Shinshillas
192
Timothy Johnson
206
Cheria Scaffidi
246
Robin Wilson
198
Kelsey Mack
222
Rivers Mclain
236
Presented by Southeastern Louisiana University + Contemporary Art Gallery
CERAMICS
7
Janie Dick Ceramics
In Indications I am investigating the innate human tendency to reconnect with passed loved ones through symbols such as flowers, birds, and insects. Experiencing the loss of my father, I began to see the natural world as a symbolic system and realized that I should trust the instinct that told me these signs were coming from him. Many cultures believe in reconnecting with loved ones through natural order. The Native American Hopi and Pueblo tribes believed that dragonflies were the spirit of their departed loved ones. Victorian floriography associates red and pink roses with love and warm affection. The Greeks and Romans would place eggs in tombs or beside the corpse as a sign of life after death. Similarly, my body of work investigates the rebirth of clay into forms that represent a certain kind of divinity placed in our path by deceased loved ones in order to bring us comfort. Such experiences can be as simple as the interaction with a butterfly or a spotting of your loved ones’ favorite flowers. My pieces are reminiscent of these natural symbols, and also conjure emotions of nostalgia. I believe this is the most common way that we find connections through departed loved ones since mother nature is all around us. I am drawn to nature in my work because through the process of creating pottery, ceramic artists use all the earth’s elements: earth, air, fire and water. This process gives an ordinary piece of clay a new life, and purpose. I’ve created ceramic dinnerware that is thrown on the potter’s wheel, and then either with slip trailing or carving I add texture to the surface. Dinnerware and functional pottery itself have an especially personal quality to it and has an ability to provide comfort through its everyday use and is what I believe to be the perfect vessel to act as a reminder of our connection to passed loved ones. These four different sets, each showcasing extremely different shapes and styles, are all reminiscent of landscape, animals, or insects either through texture, form or glaze. One might be reminded of a particular flower, animal or insect that has a specific meaning to them.
8
Indictations, Stone Ware Installation , 2020
CERAMICS
9
Indictations, Stone Wares, 2020
Right Indictations, Stone Ware, 2020 Left Indictations, Stone Ware, 2020 10
CERAMICS
Indictations, Stone Ware, 2020
Right Indictations, Stone Ware, 2020 Left Indictations, Stone Ware, 2020 12
CERAMICS
Indictations, Stone Ware, 2020
Right Indictations,Stone Ware, 2020 Left Indictations, Stone Ware, 2020 14
CERAMICS
Indictations,Stone Ware, 2020,
Right Indictations, Stone Ware, 2020, Left Indictations, Stone Ware, 2020 16
CERAMICS
Indictations, Stone Ware, 2020
Right Indictations, Stone Ware, 2020 Left Indictations, Stone Ware, 2020 18
CERAMICS
Indictations,Stone Ware, 2020
Right Indictations, Stone Ware, 2020 Left Indictations, Stone Ware, 2020 20
CERAMICS
Indictations, Stone Ware, 2020
Right Indictations, Stone ware (Pre-Fired Ceramics), 2020 Left Indictations, Stone ware (Pre-Fired Ceramics), 2020 22
CERAMICS
Indictations, Indication Installation Mockup, 2020
24
CERAMICS
26
GRAPHIC DESIGN
27
Kelly Carroll Graphic Design
My work consists of basic shapes, and patterns, as well as a consistent color palettes that work together to give an overall clean look to my work. Oftentimes, I stay away from thick line strokes. Especially when I’m designing on the computer. However, my illustrative work uses countinual gestural line. I also tend to incorporate chiaroscuro depicting an intense presence of light, and shadow into my work. My design process usually starts out with a concept. That I then use to research similar styles, that help me to create my final project. I am very interested in animation, manga, and comic book/graphic novel illustration. Which leads to two artists that have always inspired me, Hayao Miyazaki, and Takashi Murakami. Stylistically, my work ranges from rough sketching/doodling and scribbling to Realism. While my graphic design work falls more into the Postmodernism category.
28
Barbie Posters, Printed Poster, 20 x 30 Inches, 2020
GRAPHIC DESIGN
29
Barbie Boxes, Packaging , 10 x 2.5 Inches, 2020
Purse
Necklace
Brush
!
Purse
Necklace
Left Barbie Posters, Printed Poster, 20 x 30 Inches, 2020 Right Barbie Boxes, Packaging , 10 x 2.5 Inches, 2020 GRAPHIC DESIGN
u
lasses
!
31
partment E DE
CE DEpar t POLI
t POLICE DE tment POLI par
men
DEpartment CE
CE DEpar t POLI
tment POLIC par
t POLICE DE men
Barbie Boxes, Packaging , 10 x 2.5 Inches, 2020
Purse
ea
lee
a
ask
!
Purse
Per u e
Left Barbie Posters, Printed Poster, 20 x 30 Inches, 2020 Right Barbie Boxes, Packaging , 10 x 2.5 Inches, 2020 GRAPHIC DESIGN
a ch
!
33
1 2 12 3 11 4 5 10 9 8 76
C A B +
Air Show Poster 1, Digital Illustration, 20 x 30 Inches, 2020
Left Barbie Posters, Printed Poster, 20 x 30 Inches, 2020 Right Air Show Poster 2, Digital Illustration, 20 x 30 Inches, 2020 GRAPHIC DESIGN
35
$9.99
$9.99
Sitrus
Made In USA
Sitrus
REcycle
REcycle
9$9.99 9.9$
Sitrus
Made In USA
Made In USA
$9.99
Sitrus
Made In USA
REcycle
REcycle
Sitrus Sitrus
(01)0460123456789
(01)0460123456789
Sitrus Sitrus
(01)0460123456789
(01)0460123456789
Sitrus Labels, Digital Illustration , 2020
Sitrus
s u r t i S
Sitrus
Left Sitrus Tags, Digital Illustration, 2020
Sitrus
Right Sitrus Labels , Digital Illustration, 2020 GRAPHIC DESIGN
37
Allison Carubba Graphic Design
I have always been drawn to incorporating nature and organic elements in my drawings and designs. Due to this heavy influence, I’ve found that I like to use muted earthy tones that give the idea of being natural; although lately, my comfort zone has expanded to include more bold and playful color palettes. I’m very skilled when it comes to photography, so being able to add my photos to a design allows for enhanced sophistication when appropriate and the same goes for illustration. I’m greatly influenced by a many art movements and styles and I often find myself looking at various mood boards when brainstorming ideas. In regard to a stylistic influence, I’ve found that I can relate to the work of Tobias Hall through his great sense of illustration and hierarchy. For my senior show, I wanted to showcase the magazine and related 3D posters that revolve around bringing awareness to the public about climate change through both good and bad news in the media. The idea was to use illustration to grab the viewer’s interest to bring them to the magazine, ultimately promoting the need for change in our world.
38
World View, Printed Magazine, 8.5 x 11 Inches, 2020
GRAPHIC DESIGN
39
World View, Printed Magazine, 8.5 x 11 Inches, 2020
40
World View, Printed Magazine, 8.5 x 11 Inches, 2020
GRAPHIC DESIGN
41
World View, Printed Magazine, 8.5 x 11 Inches, 2020
42
World View, Printed Magazine, 8.5 x 11 Inches, 2020
GRAPHIC DESIGN
43
World View, Printed Magazine, 8.5 x 11 Inches, 2020
44
World View, Printed Magazine, 8.5 x 11 Inches, 2020
GRAPHIC DESIGN
45
World View, Printed Magazine, 8.5 x 11 Inches, 2020
46
World View, Printed Posters, 20 x 30 Inches, 2020
GRAPHIC DESIGN
47
Right World View, Printed Posters, 20 x 30 Inches, 2020 Left World View, Printed Posters, 20 x 30 Inches, 2020 48
GRAPHIC DESIGN
World View, Printed Posters, 20 x 30 Inches, 2020
Right Serene, Wooden Retail Display, 18.75 x 5 x 8, Inches 2020 Left World View, Printed Posters, 20 x 30 Inches, 2020 50
GRAPHIC DESIGN
Serene, Printed Poster, 5 x 5 Inches, 2020
Right Serene, Printed Poster, 5 x 5 Inches, 2020 Left Serene, Printed Poster, 5 x 5 Inches, 2020
52
GRAPHIC DESIGN
Serene, Printed Poster, 5 x 5 Inches, 2020
Right The Scents, Soap Bar Boxes, 4 x 3 x 0.9 Inches, 2020 Left Serene, Printed Poster, 5 x 5 Inches, 2020 54
GRAPHIC DESIGN
The Scents,Soap Bar Boxes, 4 x 3 x 0.9 Inches, 2020
Right New Leaf, Hang Tags, 1.7 x 1.85 Inches and 2 x 3.5 Inches, 2020 Left The Scents, Printed Mailer, 8.5 x 5.5 Inches, 2020 56
GRAPHIC DESIGN
Lovebird Sunset, Digital Illustration, 20 x 25 Inches, 2020
Right Longing, Digital Illustration, 20 x 25 Inches, 2020 Left Electric Current, Digital Illustration, 20 x 25 Inches, 2020 58
GRAPHIC DESIGN
60
GRAPHIC DESIGN
Right Celestra Wayfinding, Digital Illustration, 8.5 x 5.5 Inches, 2020 Left Hidden Beauty, Digital Illustration, 20 x 25 Inches, 2020
Kyla D’Arensbourg Graphic Design
My exhibit is influenced by the expedition of Lewis and Clark after the acquisition of the Louisiana territory by Thomas Jefferson from France in 1803. They were assisted by the Shoshone tribe and Sacagawea. These tribes of Native Americans helped Lewis and Clark navigate the northwestern and midwestern United States, and they also helped to discover a wide variety of new plants and animals. For example, the Shoshone used indigenous plants for their medicinal properties to treat ailments and illnesses. My exhibit will attempt to document the expedition of Lewis and Clark through their botanical observations and discoveries through photography laid out in a book format. This book will also portray how women have made scientific breakthroughs by the means of art and botanical illustration. The second part of this exhibit will showcase the medicinal uses of plants in Shoshone culture through a product line of different medicinal teas made from plants and utilizing skills in packaging design.
62
Cells A ,Print Design, 18 x 24 In, 2020
GRAPHIC DESIGN
63
Cells C, Print Design, 18 x 24 In, 2020
Left Cells B ,Print Design, 18 x 24 In, 2020 Right Teapee Tea Lemon Balm ,Packaging Design, 6 Inches, 2020
GRAPHIC DESIGN
65
Teapee Tea Marigold ,Packaging Design, 6 Inches, 2020
Left Teapee Tea Lavender ,Packaging Design, 6 Inches, 2020 Right Teapee Tea Milk Thistle ,Packaging Design, 6 Inches, 2020 GRAPHIC DESIGN
67
Destiny, Book Pages 6-7, 2020
Left Destiny, Book, 2020 Right Destiny, Book Pages 14-15, 2020 GRAPHIC DESIGN
69
Destiny, Book Pages 26-27, 2020
Destiny, Book Pages 30-31, 2020
GRAPHIC DESIGN
71
James Gillette Graphic Design
I think of the work i create as studies towards a goal of better understanding of what could be described as the contemporary aesthetic standard. At my core, I feel driven to create artwork that is self-aware and honest, both to me and others. In doing this, I have to be constantly empathetic to the world around me, which can be diďŹƒcult to see clearly in these rapidly accelerated times. I also want to discover more about the visual language of satire and comedy, and to incorporate those principles into my own designs when appropriate. Using my experience as a graphic designer and a printmaker, I aim to create vignettes that encompass a large scale of concepts that may have no tangible connection but relate to greater aspects of more complex societal and existential queries.
72
Acidic Smile, Printed Poster, 2020
GRAPHIC DESIGN
73
These Were Made For You , Poster, 2020
Right You Don’t Get What You Want, Printed Poster, 2020 Left Great Depression Hoodie, Hoodie Screen Print, 2020
74
GRAPHIC DESIGN
Long Bone, Hoodie Screen Print, 2020
Right Stations Hangtag, HangTag, 2020 Left Bete Noire, Hoodie Screen Print, 2020 76
GRAPHIC DESIGN
Everything at Once Hoodie, Hoodie Screen Print, 2020
Right Stations Brand, Brand Manual, 2020 Left Verse 51, Hoodie Screen Print, 2020 78
GRAPHIC DESIGN
Everything At Once, Hoodie Screen Print, 2020
Right Number Stations Shopping Bag 2, Packaging, 2020 Left Number Stations, Hoodie Screen Print, 2020 80
GRAPHIC DESIGN
Doppler Effect,Hoodie Screen Print, 2020
Right Numbers Stations Medium, Packaging, 2020 Left We Hire You To Retire You, Hoodie Screen Print, 2020 82
GRAPHIC DESIGN
Numbers Stations Shopping Bags 3, Packaging, 2020
84
GRAPHIC DESIGN
85
Jordan Jacob Graphic Design
For Loud & Queer, I decided to merge LGBTQ history and culture-a topic very personal to me-with album art, a form of design I have always found intriguing. Queer culture and music hold a symbiotic relationship, so to combine the two made perfect sense. From drag ballroom soundtracks to gay anthems, music has always been the backdrop of queer society’s unwavering resilience. With this project, I aimed to provide a platform of appreciation for LGBTQ history and pay homage to both my queer ancestors and current contemporaries. Regarding the actual designs, I chose to showcase 20 album covers pertinent to queer culture, spanning from the 1930s to present day. As opposed to using traditional imagery and photography, I utilized typography and color instead, as both components are very important to me as a designer. For the covers, I decided to include a mixture of queer artists, icons and allies. Finding the right colors and typefaces to represent the true essence of each artist became a top priority for Loud & Queer. I wanted each sleeve to be as vibrant and diverse as the community itself, while still maintaining overall harmony when displayed together as one. With this project, I hope to convey a concise celebration of queer identity through the medium of design.
86
Loud & Queer, Catalog, 8.5 x 8.5 Inches, 2020
GRAPHIC DESIGN
87
Loud & Queer, Record Cover 12.25 x 12.25 in, 2020
Left Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 Right Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 GRAPHIC DESIGN
89
Loud & Queer, Record Cover 12.25 x 12.25 in, 2020
Left Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 Right Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 GRAPHIC DESIGN
91
Loud & Queer, Record Cover 12.25 x 12.25 in, 2020
Left Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 Right Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 GRAPHIC DESIGN
93
Loud & Queer, Record Cover 12.25 x 12.25 in, 2020
Left Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 Right Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 GRAPHIC DESIGN
95
Loud & Queer, Record Cover 12.25 x 12.25 in, 2020
Left Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 Right Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 GRAPHIC DESIGN
97
Loud & Queer, Record Cover 12.25 x 12.25 in, 2020
Left Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 Right Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 GRAPHIC DESIGN
99
Left Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 Right Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 GRAPHIC DESIGN
101
Loud & Queer, Record Cover 12.25 x 12.25 in, 2020
Left Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 Right Loud & Queer, Record Cover 12.25 x 12.25 in, 2020 GRAPHIC DESIGN
103
Joshua Knox Graphic Design
Going into college I didn’t know exactly what I wanted to do but I knew I rather spend my time doing something where I can remain creative and grow. During my time studying art and design I have taken many fundamental art classes such as drawing, painting and color theory to refined me into the artist I am today. My education here has giving me foundation and appreciation for art with various history and studio classes. My main concentration in art is graphic design, predominately creating digital media such as posters, packaging and motion graphics. My second concentration is photography which was something I do as an hobby and gives me another way at looking at life creatively.
104
Franco Grignani
“I have never belonged to flocks of sheep; I have not shared ideas with others and I am behindhand with the projects accumulating in a big folder called “Works for the future.”
Joshua Knox
Franco Grignani / Poster Series
2020
Franco Grignani, Printed Poster, 2020
GRAPHIC DESIGN
105
Franco Grignani, Printed Poster, 2020 “I have never belonged to flocks of sheep; I have not shared ideas with others and I am behindhand with the projects accumulating in a big folder called “Works for the future.” - Franco Grignani Franco Grignani / Poster Series
2020
Designer__Josh
Right Franco Grignani, Printed Poster, 2020 Left Franco Grignani, Printed Poster, 2020
“I have never belonged to flocks of sheep; I have not shared ideas with others and I am behindhand with the projects accumulating in a big folder called “Works for the future.”
Franco Grignani Franco Grignani / Poster Series
106
2020
Designer__Josh
GRAPHIC DESIGN
Today’s Italian Publicity and Graphic Design
Joshua Knox
Franco Grignani / Poster Series
2020
Franco Grignani, Printed Poster, 2020
Joshua Knox
Right Franco Grignani, Printed Poster, 2020 Left Franco Grignani, Printed Poster, 2020 108
GRAPHIC DESIGN
Designer__Josh
Right Franco Grignani, Printed Poster, 2020 Left Franco Grignani, Printed Poster, 2020 110
GRAPHIC DESIGN
the process of changing from one form or condition into another
in tech, it is necessary to represent an information-bearing signal with a waveform that can pass accurately through a transmission medium. This assigning of a suitable waveform is accomplished by modulation
Candace Nall Graphic Design
It was one particularly warm night on March 2, 2008, at the Cajundome in Lafayette, Louisiana. Somewhere in the nosebleeds stood my adolescent self, nerves buzzing with a dangerous mixture of excitement, nausea, and something else unnamed, balls of her feet bouncing up and down on the already vibrating concrete. When the Jonas Brothers rose from beneath the kinetic stage, all curls and guitars and purity rings, and the involuntary screams from 12,000 other teenaged girls pierced through the ever-present humidity, I knew that no other earthly experience would ever be able to top that feeling, that moment, and I would spend the rest of my life recreating it. The Brighton is a concept concert venue inspired by my love of live music and travel. It is a small- to mediumsized space in downtown New Orleans. The bottom floor operates as standing room and the upper deck holds V.I.P. tables. The Brighton offers a full-service bar that is the sole in-house carrier of popular she·brews·it flavored beer. With a minimal black-and-white aesthetic and low, smoky lighting, we are able to create an intimate atmosphere for the audience and the artist to connect. For my senior thesis, I am showcasing a series of artworks both two- and three-dimensional that work together to create an immersive experience. My largest piece is a size, fully-functional ticket booth with lit-up typography. I will sit inside the booth during the showcase and hand out wristbands with The Brighton logo on them. I will wear a The Brighton shirt, as will my two “actors” who will pose as security guards on either side of me at the double doors. They will wear lanyards that read STAFF and SECURITY. On the wall, I will mount six tour posters that collage illustration with photography and hand-lettering. The style of each poster reflects thepersonal style, personality, or music of the artist the poster is advertising. On a “meet and greet” table, I will display the bar menu, the she·brews·it beer on a wooden display, three she·brews·it beer caddies, and more wristbands. The historic art movements that inspired my work the most are pop art and neo-dada, and I think that is reflected within this series. The artists that heavily influenced this concept were Andy Warhol and The Factory and Robert Rauschenberg. My process relied heavily on an umbrella concept and finding ways to make everything work together believably as a series, while simultaneously being able to produce enough work to fill the space I am given. This work is important to me because it will allow me to showcase my personal style as a graphic designer that I have not yet been able to show in previous school projects while I waslearning and deciding who I was as an artist and designer.
112
Logo, Digital Illustration, 2020
GRAPHIC DESIGN
113
DRINK
M
E
N
U
cocktails moscow girls make me sing & shout ginger beer, vodka, lime juice, lime wedge, mint sprig
$8
beyoncé’s lemonade rum, lemon juice, ginger beer, simple syrup, lemon wedge
$8
short skirt / long jacket iced tea vodka, tequila, white rum, triple sec, gin, cola, lemon wedge
$12
cake by the ocean vodka, peach schnapps, orange juice, cranberry juice, cherry
$8
dirty diana martini gin, dry vermouth, brine, olives
$8
you should see me in a crown & coke Crown Royal ® whiskey, Coca-Cola ®
$6
ring of fire round of 5 shots of Fireball Cinnamon Whisky ®
$10
hot fussy navel peach schnapps, orange juice
$6
$8
baby now we’ve got bad bloody mary vodka, tomato juice, Worcestershire sauce, Tabasco ® , celery, olives, lemon juice, lime juice, lime wedge, lemon wedge
$12
$8
oh, i wanna dance with rumbody coconut rum, spiced rum, orange juice, pineapple juice, grenadine, pineapple wedge, cherry
$10
old fashioned town road bourbon whiskey, Angostura bitters ® , sugar cube, dash of water, citrus rind, cherry mai suit and tai rum, curaçao liqueur, orgeat syrup, lime juice, pineapple wedge, mint sprig
wine
beer she•brews•it ® flavored beer orange + wheat, lime + ginger, lemon + rose Coors Light ® limited Jonas Brothers edition MMMHops ® pale ale by Hanson
$7
$7
$7
straight-edge
Save Me San Francisco Wine Co ® Drops of Jupiter California red wine by Pat Monahan of Train
$9
Ferguson Crest 2016 Fergalicious ® red wine blend by Fergie
$9
Ciccone 2005 Madonna Chardonnay ® chardonnay by Silvio “ Tony ” Ciccone
$11
Dreaming Tree Wines ® Sauvignon Blanc sauvignon blanc by Dave Matthews
$9
shirley temple pilots Sprite ® , grenadine, cherry
$5
Diving Into Hampton Water ® rosé by Jon Bon Jovi
$10
rojo toro It’s just Red Bull ®
$5
Armand de Brignac ® Champagne champagne by Jay-Z
$12
George Ezra Tour, Mixed Media Printed Poster, 27 x 21 Inches, 2020
I G I V E A L I T T L E I N T O T H E M O M E N T L I K E I ’ M S TA N D I N G
AT T H E E D G E I K N O W T H AT N O O N E ’ S G O N N A T U R N M E A R O U N D J U S T O N E M O R E
S T E P I C O U L D L E T G O O H A N D I N T H E M I D D L E I H E A R T H E V O I C E S A N D T H E Y ’ R E C A L L I N G F O R M E N O W I K N O W T H AT N O T H I N G ’ S G O N N A M A K E M E N O W ’ C A U S E I ’ M A S L AV E T O T H E S O U N D A N D T H E Y ’ R E C A L L I N G D O N ’ T S T O P N O I ’ L L N E V E R G I V E U P A N D I ’ L L N E V E R
LOOK BACK
J U S T H O L D Y O U R H E A D U P A N D I F I T G E T S R O U G H I T ’ S T I M E T O G E T R O U G H T H E Y K E E P S AY I N G D O N ’ T S T O P N O I T ’ S N E V E R E N O U G H I ’ L L N E V E R L O O K B A C K N E V E R G I V E U P A N D I F I T G E T S R O U G H I T ’ S T I M E T O G E T R O U G H O H B U T N O W I ’ M FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G N O W I ’ M G O I N G D O W N A N D I C A N F E E L T H E E Y E S
A R E W AT C H I N G
O H S O C L O S E LY O H I ’ M T R Y I N G N O T T O M A K E A S O U N D ’ C A U S E I ’ L L B E F O U N D O U T S O M E H O W S O K E E P C A L L I N G D O N ’ T S T O P N O I ’ L L N E V E R G I V E U P A N D I ’ L L N E V E R L O O K B A C K J U S T H O L D Y O U R H E A D U P A N D I F I T G E T S R O U G H I T ’ S T I M E T O G E T R O U G H T H E Y K E E P S AY I N G D O N ’ T STOP NO IT’S NEVER ENOUGH I’LL NEVER LOOK BACK NEVER GIVE UP AND IF IT GETS ROUGH IT’S TIME TO GET ROUGH OH BUT NOW I’M FA L L I N G I N T O T H E F I R E F E E L I N G H I G H E R T H A N T H E T R U T H I ’ M FA L L I N G I C A N F E E L T H E H E AT B U T I ’ M N O T B U R N I N G B U T N O W I ’ M FA L L I N G F E A R A N D D E S I R E F E E D T H E T I R E D H U N G R Y T O O T H I ’ M FA L L I N G F E E L S L I K E I ’ M FA L L I N G A W AY I C A N H E A R T H E M C A L L I N G F O R M E N O W I’M
FA L L I N G I N T O T H E F I R E F E E L I N G H I G H E R T H A N T H E T R U T H I ’ M FA L L I N G I C A N F E E L T H E H E AT B U T I ’ M N O T B U R N I N G B U T N O W I ’ M
FA L L I N G F E A R A N D D E S I R E F E E D T H E T I R E D H U N G R Y T O O T H I ’ M FA L L I N G F E E L S L I K E I ’ M FA L L I N G A W AY I C A N H E A R T H E M C A L L I N G F O R M E B U T N O W I ’ M FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G O H B U T N O W I ’ M FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G O H B U T N O W I ’ M FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G B U T N O W I ’ M FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G FA L L I N G O H B U T N O W I ’ M FA L L I N G
PRE S E NTS
I N T O T H E F I R E F E E L I N G H I G H E R T H A N T H E T R U T H I ’ M FA L L I N G I C A N F E E L T H E H E AT B U T I ’ M N O T B U R N I N G B U T N O W I ’ M FA L L I N G F E A R A N D D E S I R E F E E D T H E T I R E D H U N G R Y T O O T H I ’ M FA L L I N G F E E L S L I K E I ’ M FA L L I N G A W AY I C A N H E A R T H E M C A L L I N G F O R M E N O W I ’ M FA L L I N G I N T O T H E F I R E F E E L I N G H I G H E R T H A N T H E T R U T H I ’ M FA L L I N G I C A N F E E L T H E H E AT B U T I ’ M N O T B U R N I N G B U T N O W I ’ M FA L L I N G F E A R A N D D E S I R E F E E D T H E T I R E D H U N G R Y T O O T H I ’ M FA L L I N G F E E L S L I K E I ’ M FA L L I N G A W AY I C A N H E A R T H E M C A L L I N G F O R M E N O W I ’ M FA L L I N G N E V E R L O O K B A C K N E V E R G I V E U P N E V E R L O O K B A C K N E V E R G I V E U P N E V E R L O O K B A C K N E V E R G I V E U P I ’ L L N E V E R G I V E UP I’LL NEVER GIVE UP
B U T N O W I ’ M FA L L I N G N E V E R L O O K B A C K N E V E R G I V E U P N E V E R L O O K B A C K N E V E R G I V E U P N E V E R L O O K B A C K
N E V E R G I V E U P I ’ L L N E V E R G I V E U P I ’ L L N E V E R G I V E U P B U T N O W I ’ M FA L L I N G N E V E R L O O K B A C K N E V E R G I V E U P N E V E R L O O K B A C K N E V E R G I V E U P N E V E R L O O K B A C K N E V E R G I V E U P I ’ L L N E V E R G I V E U P I ’ L L N E V E R G I V E U P B U T N O W I ’ M FA L L I N G N E V E R L O O K B A C K N E V E R G I V E U P N E V E R L O O K B A C K N E V E R G I V E U P N E V E R L O O K B A C K N E V E R G I V E U P I ’ L L N E V E R G I V E U P I ’ L L N E V E R G I V E U P B U T N O W I ’ M FA L L I N G NEVER LOOK BACK NEVER GIVE UP NEVER LOOK BACK NEVER GIVE UP NEVER LOOK BACK NEVER GIVE UP I’LL NEVER GIVE UP I’LL NEVER G I V E U P B U T N O W I ’ M FA L L I N G N E V E R L O O K B A C K N E V E R G I V E U P N E V E R L O O K B A C K N E V E R G I V E U P N E V E R L O O K B A C K N E V E R G I V E U P I’LL NEVER GIVE UP I’LL NEVER GIVE UP NEVER LOOK BACK NEVER GIVE UP NEVER LOOK BACK NEVER GIVE UP NEVER LOOK BACK NEVER G I V E U P I ’ L L N E V E R G I V E U P I ’ L L N E V E R G I V E U P Y O U K N O W I ’ M B A D AT C O M M U N I C AT I O N I T ’ S T H E H A R D E S T T H I N G F O R M E
TO DO AND
I T ’ S S A I D I T ’ S T H E M O S T I M P O R TA N T PA R T T H AT R E L AT I O N S H I P S G O T H R O U G H A N D I G I V E I T A L L A W AY J U S T S O I C O U L D S AY T H AT W E L L I KNOW I KNOW TURNED
I K N O W I K N O W T H AT Y O U ’ R E G O N N A B E O K AY A N Y W AY Y O U K N O W T H E R E ’ S N O R H Y M E O R R E A S O N F O R H E W AY Y O U
O U T O T B E I D I D N ’ T G O A N D T RY T O C H A N G E M Y M I N D N O T
I N T E N T I O N A L LY I K N O W I T ’ S H A R D T O H E A R M E S AY I T B U T I C A N ’ T
B E A R T O S TAY I N I J U S T K N O W I K N O W I K N O W T H AT Y O U ’ R E G O N N A B E O K AY
A N Y W AY A LW AY S K E E P Y O U R H E A R T
LOCKED TIGHT DON’T
L E T Y O U R M I N D R E T I R E O H B U T I J U S T C O U L D N ’ T TA K E I T I T R I E D H A R D N O T T O FA K E I T B U T I F U M B L E D A N D W H E N I T C A M E D O W N T O T H E W I R E I T F E LT R I G H T I T F E LT R I G H T O H B U T I F U M B L E D A N D W H E N I T C A M E D O W N T O T H E W I R E I FUMBLED AND WHEN IT CAME DOWN TO THE WIRE NO NEED TO USE B E B E C A U S E I ’ M S O R R Y I D I D W H AT I D I D B U T KNOW
I
IT
YOUR
I M A G I N AT I O N
C A M E N AT U R A L LY A N D I G AV E I TA L L
T O D O W H AT Y O U W A N T E D F R O M
ME
F E LT R I G H T I T F E LT R I G H T O H B U T
T RY A N D M A K E
A W AY J U S T S O
K N O W T H AT Y O U ’ R E G O N N A B E O K AY A N Y W AY W H E N I T R I E D T O K E E P M Y S E L F T O G E H T E R
T O S TAY T R U E T O Y O U A N D I T R I E D
IT
IT
W H AT Y O U
WA N T
IT
TO
I C O U L D S AY T H AT W E L L I K N O W
I
AFTER ALL THE OPPORTUNITIES I TRIED
A N D I G AV E I T A L L A W AY J U S T
K N O W I K N O W I K N O W I K N O W T H AT Y O U ’ R E G O N N A B E O K AY A N Y W AY A LW AY S K E E P Y O U R H E A R T
TOHEAR YOU
S AY T H AT W E L L I
LOCKED TIGHT DON’T LET YOUR MIND
R E T I R E O H B U T I J U S T C O U L D N ’ T TA K E I T I T R I E D H A R D N O T T O FA K E I T B U T I F U M B L E D A N D W H E N I T C A M E D O W N T O T H E W I R E I T F E LT
Left The Brighton Bar, Digital Illustration, 11 x 8.5 Inches, 2020
R I G H T I T F E LT R I G H T O H B U T I F U M B L E D A N D W H E N I T C A M E D O W N T O T H E W I R E
F U M B L E D A N D W H E N I T C A M E D O W N T O T H E W I R E I T F E LT R I G H T I T F E LT R I G H T O H B U T I F U M B L E D A N D W H E N I T C A M E D O W N T O T H E W I R E YEAH YEAH YEAH IT
E LT R I G H T O H B U T I F U M B L E D A N D W H E N I T C A M E D O W N T O T H E W I R E O H Y E A H Y E A H Y E A H Y E A H O H N O N O N O N O
I T F E LT R I G H T T I T T F E LT R I G H T O H I T F E LT R I G H T
I T F E LT R I G H T
I T F E LT R I G H T O H N O N O N O N O B U T I F U M B L E D A N D W H E N I T C A M E
DOWN TO THE WIRE YEAR SOME THINGS ARE LONG FORGOTTEN SOME THINGS WERE H A D A WA N D E R I N G H E A RT I S A I D W E W E R E Y O U ’ D A LW AY S S S E E
YOU
GRAPHIC DESIGN
F E LT R I G H T I T F E LT R I G H T O H B U T I F U M B L E D A N D
T O T H E W I R E I T F E LT R I G H T I T F E LT R I G H T B U T I F I M B L E D A N D W H E N I T C A M E D O W N T O T H E W I R E I T F E LT R I G H T I T F E LT R I G H T O H B U T I
I
I RAN
YOU DOWN SO YOU RAN
WA N T Y O U B A C K J U S T K N O W
K N O W T H AT I W A N T Y O U I ’ L L TA K E T H E FA L L
AND I HAD A FEAR OF FOREGIVENESS
AND
NEVER
A W AY
WEREON ONE ENDLESS ROAD BUT I
T H AT I W A N T Y O U B A C K J U S T K N O W
T H E FA U LT I N U S I ’ L L G I V E Y O U A L L BE
WITH YOUR
HEART BUT JUST
K N O W T H AT I
T H AT I W A N T Y O U I ’ L L TA K E T H E FA L L A N D T H E FA L U T I N U S I ’ L L G I V E
A L L T H E L O V E I N E V E R G AV E B E F O R E I L E F T Y O U J U S T K N O W
K N O W I T ’ S H A R D T O H E A R I T A N D I T M AY
NEVER SAID WE
O P P O S I T E L O V E R S S A I D I T F R O M T H E B E G I N N I N G Y O U K E P T T RY I N G T O P R O V E M E W R O N G S A I D
I T T H R O U G H A N D I K N O W T H AT
W A N T Y O U B A C K J U S T K N O W T H AT
Right HAIM, Mixed Media Printed Poster, 27 x 21 Inches, 2020
IT
W H E N I T C A M E D O W N T O T H E W I R E B U T I J U S T C O U L D N ’ T TA K E I T I T R I E D H A R D N O T T O FA K E I T B U T I F U M B L E D A N D W H E N I T C A M E D O W N
THE LOVE
T H AT I W A N T Y O U B A K C J U S T
I NEVER
G AV E
E N O U G H B U T T D O N ’ T TA K E I T O U T O N M E N O W ’ C A U S E I
BEFORE
I LEFT YOU I
BLAME IT ALL ON MYSELF
S A I D I T F R O M T H E B E G I N N I N G I W A S T O O P R O U D T O S AY I W A S W R O N G S A I D Y O U ’ D A LW AY S S E E
ME
JUNE 6
T H R O U G H B U T A L L T H AT T I M E I S G O N E N O M O R E F E A R I N G C O N T R O L I ’ M R E A D Y F O R T H E B O T H O F U S N O W S O J U S T K N O W
T H AT I W A N T
YOU BACK SO JUST
US I’LL GIVE
K N O W T H AT I W A N T Y O U B A C K J U S T K N O W T H AT I W A N T Y O U I ’ L L TA K E T H E
FA L L A N D
T H E FA U LT I N
Y O U A L L T H E L O V E I N E V E R G AV E B E F O R E I L E F T Y O U J U S T K N O W T H AT I W A N T Y O U B A C K J U S T K N O W T H AT I W A N T Y O U B A C K J U S T K N O W T H AT I W A N T Y O U I ’ L L TA K E T H E FA L L A N D T H E FA U LT I N U S I ’ L L G I V E Y O U A L L T H E L O V E I N E V E R G AV E B E F O R E I L E F T Y O U J U S T K N O W T H AT I W A N T Y O U B A C K J U S T K N O W T H AT I W A N T Y O U B A C K J U S T K N O W T H AT I W A N T Y O U I ’ L L TA K E T H E FA L L A N D T H E FA U LT I N U S I ’ L L
115
FKA twigs 11.18.20
Lorde Tour,Mixed Media Printed Poster, 27 x 21 Inches, 2020
presents
ly Ju th
27
Left FKA Twigs Tour, Mixed Media Printed Poster, 27 x 21 Inches, 2020 Right Carly Rae Jespsen Tour, Mixed Media Printed Poster, 27 x 21 Inches, 2020 GRAPHIC DESIGN
117
PRESENTS
TH E
BANDITO 01•27
T OU R
The Brighton Shirt, Shirt, 2020
Left Twenty One Pilots Tour, Mixed Media Printed Poster, 27 x 21 Inches, 2020 Right The Brighton Lanyard, Lanyard, 2020 GRAPHIC DESIGN
119
TICKETS
Left Ticket Booth,Digital Mockup, 82 x 32 x 24 Inches, 2020 Right The Brighton Band, Wristband, 2020 GRAPHIC DESIGN
121
she•brews •it, beer with labels, vinyl, 2020
Left she•brews •it, Beer Caddies Packaging, 9.5 x 7 x 4.8 Inches, 2020 Right she•brews •it, beer with labels, vinyl, 2020 GRAPHIC DESIGN
123
she•brews •it Enviormental Display, 30 x 16 x 1 Inches, Wood and Vinyl, 2020
Left she•brews •it Enviormental Display, 30 x 16 x 1 Inches, Wood and Vinyl, 2020 Right Lemon+Rose she•brews •it, Beer Caddies Packaging, 9.5 x 7 x 4.8 Inches, 2020 GRAPHIC DESIGN
125
Left Lime+Ginger she•brews •it, Beer Caddies Packaging, 9.5 x 7 x 4.8 Inches, 2020 Right Orange+Wheat she•brews •it, Beer CaddiesPackaging, 9.5 x 7 x 4.8 Inches, 2020 GRAPHIC DESIGN
127
Shelby Szelei Graphic Design
For a long time, painting has been my go to as a source of happiness and comfort, something that has always been my own. Although my work is now digital, there is still that beautiful feeling of accomplishment and joy in every piece that I paint. These digital paintings are all about self-expression, something I can be proud of and share with others. A few of the first inspirations behind my books were artist: Ross Tran, Laura Price, Trent Kaniuga, and Ilya Kuvshinov. They are all digital artists in the industry who I look up to and have created books of their own. They were the sparks behind my creative decisions for this project and why I chose to format my illustrations in the form of books. Visually my style is best described as Contemporary with a pinch of Art Nouveau and a dash of Impressionism. I start with research, move to a beginning sketch, then start to paint as though I have a canvas in front of me, big strokes and bold colors. I then began the details that make each piece unique and all my own. These books are collections of me, small fragments of time that I would never trade with the hope of becoming better.
128
HORIZONS The Art of Shelby Gonlag
Horizons Book Cover, Digital Illustration Print 8x8 Inches, 2020
GRAPHIC DESIGN
129
Evergreen RiverBank, Book Prints, 8 x 8 Inches, 2020
Right Sandy Mountains, Book Prints, 8 x 8 Inches, 2020 Left Hidden Fortress, Book Prints, 8 x 8 Inches, 2020 130
GRAPHIC DESIGN
Oceans Away, Book Prints, 8 x 8 Inches, 2020
132
GRAPHIC DESIGN
Power The Art of Shelby Gonlag
Power Book Cover, Digital Painting and Illustration Print, 8 x 8 Inches, 2020
Right Turquouse, Digital Painting Print, 8 x 8 Inches, 2020 Left Chill Out, Digital Painting Print, 8 x 8 Inches, 2020 134
GRAPHIC DESIGN
Right Setting The Bar, Digital Sketch Print, 8 x 8 Inches, 2020 Left Golden War, Digital Sketch Print, 8 x 8 Inches, 2020
Right Black Magic,Digital Sketch Print, 8 x 8 Inches, 2020 Left Night Striker, Digital Sketch Print, 8 x 8 Inches, 2020 136
GRAPHIC DESIGN
Right Ice Breaker, Digital Painting Print, 8 x 8 Inches, 2020 Left Shadow, Digital Painting Print, 8 x 8 Inches, 2020
138
GRAPHIC DESIGN
Right Color, Digital Painting Print, 8 x 8 Inches, 2020 Left Hallucinations Book Cover, Digital Painting and Illustration Print, 8 x 8 Inches ,2020
Streak, Digital Painting Print, 8 x 8 Inches, 2020
Right Multi, Digital Painting Print, 8 x 8 Inches, 2020 Left Forest, Digital Painting Print, 8 x 8 Inches, 2020 140
GRAPHIC DESIGN
Separation ,Digital Painting Print, 8 x 8 Inches, 2020
Right Distruction, Digital Painting Print, 8 x 8 Inches, 2020 Left Cracked, Digital Painting Print, 8 x 8 Inches, 2020 142
GRAPHIC DESIGN
Fallen,Digital Painting Print, 8 x 8 Inches, 2020
144
GRAPHIC DESIGN
Aubree Weldon Graphic Design
My work explores the relationship between line and illustration as they relate to the human figure and other symbols. The artists I am most influenced by are Paula Scher and Lucian Bernhard. Their use of line and color respectively have impacted my work since I started designing. Ever since I was a child, I have been inspired by theatre and music. These have both been huge parts of both my life and design experience and continue to make appearances in my work today. My Senior Show incorporates my love for theatre and the influences of Scher and Bernhard through the marketing materials for a fictional Broadway musical. I have created a playbill and all of its contents, a tshirt, lapel pins, a banner, a vinyl decal and poster design based on the show.
146
Gold Dust Woman, Printed Poster, 48 x 96 Inches, 2020
GRAPHIC DESIGN
147
Left Gold Dust Woman, Printed Poster, 48 x 96 Inches, 2020 Right Gold Dust Woman, Printed Poster, 48 x 96 Inches, 2020 GRAPHIC DESIGN
149
Gold Dust Woman, PlayBill Spreads, 8.5 x 10.5 Inches, 2020
Left Gold Dust Woman, PlayBill Cover Design , 8.5 x 5.25 Inches, 2020 Right Gold Dust Woman, PlayBill Spreads, 8.5 x 10.5 Inches, 2020 GRAPHIC DESIGN
151
Left Gold Dust Woman, PlayBill Spreads, 8.5 x 10.5 Inches, 2020 Right Gold Dust Woman, PlayBill Spreads, 8.5 x 10.5 Inches, 2020
Left Gold Dust Woman, PlayBill Spreads, 8.5 x 10.5 Inches, 2020 Right Gold Dust Woman, PlayBill Spreads, 8.5 x 10.5 Inches, 2020 GRAPHIC DESIGN
153
Left Gold Dust Woman, PlayBill Spreads, 8.5 x 10.5 Inches, 2020 Right Gold Dust Woman, PlayBill Spreads (Back Cover), 8.5 x 10.5 Inches, 2020 GRAPHIC DESIGN
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NEW MEDIA + ANIMATION
157
Mia Maniscalco
New Media + Animation My work is a playground where nostalgia and fantasy coincide. Using the aesthetics of outdated technology-- Benday dots and grain-- my materials reference the common practice of hoarding family photographs and collecting sentimental fragments of the past. My process begins in the dusty bins of my documented childhood, filtering through old photos which become the resource for my inspiration. I steal the most interesting bits of each image; it could be a texture, a body part, a figure, or an object. Then, with the pieces spread out before me, I reassemble these memories by chasing aesthetics and formality as opposed to narrative. Each composition mimics the fantastical nature of my memory; a convoluted, carnal mesh of juvenile delights and horrors. Silhouettes are paired with nutcrackers and towering, colorful figures. Smoke and fireworks frame a disembodied head accepting drink from the mouth of a fish. Floating eyes observe a chaotic scene of flowers blooming beneath an unstable web of scaolding. The act of recalling a memory just out of reach inspires me: can I replicate the smells, the tastes, the sounds? As a result of these constructions, the whimsical, bizarre compositions speak to how our minds often complicate our pasts into something unrecognizable and far from the truth. I am fundamentally a dreamer before an artist, and I often wonder how close my own memories are to fantasy rather than reality. I live my life cinematically in my own mind, and it only made sense to translate that into this series of work, which consists of eight large scale collages. These works represent me as I am, where I came from, and as I know myself to be. Their scale is meant to immerse the viewer, possibly to confront them; does the image provoke their memory? Can they see and hear and sense the things I do? What does the landscape of their own memory look like? Time Forgotten is influenced by the aesthetics and interests of Aleksandra Morawiak whose surrealist collage work inspired my chaos, Annegret Soltau whose journey into her sense of self drove my previous work, and Wangechi Mutu whose skillful pieces combine texture and color with precise negative space which I tried to emulate, as well as the magical literary works of Neil Gaiman and Diana Wynne Jones, both of whom have been a constant source of whimsy for my imagination. Overall, my work is a culmination of my memory and it’s subsequent loss. It is an exploration of the fragility and immense capability of the mind, and the accompanying gray area where they inevitably overlap. It is an homage to times long past, perhaps a glass raised toward the future.
158
Time Forgotten, Collage (Phototex Vinyl), 60 x 80 Inches, 2020
NEW MEDIA + ANIMATION
159
Time Forgotten, Collage (Phototex Vinyl), 60 x 80 Inches, 2020
Right Time Forgotten, Collage (Phototex Vinyl), 60 x 80 Inches, 2020 Left Time Forgotten, Collage (Phototex Vinyl), 60 x 80 Inches, 2020
160
NEW MEDIA + ANIMATION
Time Forgotten, Collage (Phototex Vinyl), 60 x 80 Inches, 2020
Right Time Forgotten,Collage (Phototex Vinyl), 60 x 80 Inches, 2020 Left Time Forgotten, Collage (Phototex Vinyl), 60 x 80 Inches, 2020 162
NEW MEDIA + ANIMATION
Time Forgotten, Collage (Phototex Vinyl), 60 x 80 Inches, 2020
Right Time Forgotten,Collage (Phototex Vinyl), 60 x 80 Inches, 2020 Left Time Forgotten, Collage (Phototex Vinyl), 60 x 80 Inches, 2020 164
NEW MEDIA + ANIMATION
Janeva Morris
New Media + Animation My work functions as a representation of visual displacements. My experience with consistent night terrors and sleep paralysis fueled the concept and motivation for producing this work. The images appear paranormal, as if you are seeing our world, and one that is not physically tangible. It is metaphysical, allowing the viewer to slip between realms.Photography is the primary medium because of its ability to capture what is physically there, meaning the photographs bear witness to reality. Adding illustration over the images allows for the hallucinatory and abnormal qualities I experience. Line is typically used to outline sections of the images that are not only real, but may be emphasized when my vision is obscured. Shape plays a large part in representing what the viewer may not be capable of visualizing through verbal explanations alone. I referenced Pablo Picasso’s light paintings where he would slow the shutter speed on the camera and draw with light to create imagery that shows drawings from light as time elapsed. I also kept a dream journal. I recorded my feelings and the hallucinatory elements experienced upon waking from my nightmares, which provided the psychological element to the work. My work makes what may sound unreal to some, tangible. This is important because it functions as a gateway for people who only believe what they see and cannot visualize something they have not experienced.
166
UnHoly Entrance, Digital Photography and Illustration, 22 x 17 Inches, 2020
NEW MEDIA + ANIMATION
167
Umbrella, Digital Photography and Illustration, 22 x 17 Inches, 2020
Left Holy Grove, Digital Photography and Illustratio, 22 x 17 Inches, 2020 Right Heights, Digital Photography and Illustration, 22 x 17 Inches, 2020 NEW MEDIA + ANIMATION
169
Plant Base Two, Digital Photography and Illustration, 22 x 17 Inches, 2020
Left Plant Base One, Digital Photography and Illustration, 22 x 17 Inches, 2020 Right No Escape, Digital Photography and Illustration ,22 x 17 Inches, 2020 NEW MEDIA + ANIMATION
171
Waking, Digital Photography and Illustration, 22 x 17 Inches, 2020
Left Stairs, Digital Photography and Illustration, 22 x 17 Inches, 2020 Right Three Heads, Digital Photography and Illustration, 22 x 17 Inches, 2020 NEW MEDIA + ANIMATION
173
Ra’Jae’ Wolf
New Media + Animation In my body of work Dreamscapes, I use fragments to create worlds. These worlds feel immersed in water, floating and groundless. They are not bound by confinements of reality. Worlds are complex in nature and these complexities often equate to the creation of micro-worlds. These micro worlds are the building blocks to macro-worlds. In my work and my process, I am trying to illustrate this relationship, but they also have miniature worlds in itself. The process of creating these works began by digitally tearing apart pieces of other compositions and reassembling them to create entirely new compositions or worlds. Throughout this process, I am referencing parts of my internal self, dreams and thoughts manifested by accumulated emotions, fragmented and manifesting whole worlds in me I am not fully aware of. Intuition plays a big role in my work. My mind is my muse, and I see it as uncalculated and unorganized which would explain why I was initially drawn to creating images of water early on in my work. Water is often associated with the subconscious and immersion. Water is also fluid; it can take any shape just like the morphed view of my emotions. Sometimes it is stable and calm, other times it is a destructive chaotic force. Water is a bearer of life. Water is a world that holds multiple worlds inside of it. The human mind is also a world created by micro-worlds. In Dreamscapes I am stating that I am fully immersed in my own head and disconnecting with reality. I believe these worlds I am illustrating are the abstract representation of emotions I conceive but can never deliver to reality, so they are repressed in my mind. A way to calm the chaos and add order to the process of simply creating based on intuition, I began using my emotions of that day as prompts to create my pieces. Whatever I was feeling that day I channeled in, and made an abstract depiction of it. Thus, my feelings influenced the palette, composition, and marks. I found this very similar to the process of Wassily Kandinsky’s Composition series. Kandinsky is manifesting a visual representation of something intangible, the sound of music. I am also making a visual representation of something intangible, my emotions. I see my work, Dreamscapes, as a form of worldbuilding that invades my reality like daydreams. I cannot escape my mind, but I cannot escape reality either. The two experiences must coexist. I also see my dreamscapes as manifestations of energy that take over me, like spirits. In combination with the fluidity of water, the fleeting nature of daydreams, emotions are omniscient and thus spiritual in a sense. I find that the transparent fabric I print my works on represents an ability to cross between what is real, and what is intangible, groundless energy. Emotions, thoughts, are an intangible energy that invades reality every day. Art that is centered around the intricacy of human emotions, dreams and desires is important because it is a timeless subject. Everyone feels something, but societal expectations have often denied the freedom to express it. The goal is to have my audience feel something, to be relieved of the weight of compressed emotional energy. Dreamscapes is the visual release of the self-inflicted confinements of human feeling.
174
Dreamscape, Fabric Printed Illustration, 40 x 70 Inches, 2020
NEW MEDIA + ANIMATION
175
Dreamscape, Fabric Printed Illustration, 40 x 70 Inches, 2020
Right Dreamscape, Fabric Printed Illustration, 40 x 70 Inches, 2020 Left Dreamscape, Fabric Printed Illustration, 40 x 70 Inches, 2020 176
NEW MEDIA + ANIMATION
Dreamscape, Fabric Printed Illustration, 40 x 70 Inches, 2020
Right Dreamscape, Fabric Printed Illustration, 40 x 70 Inches, 2020 Left Dreamscape, Fabric Printed Illustration, 40 x 70 Inches, 2020
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NEW MEDIA + ANIMATION
Dreamscape, Fabric Printed Illustration, 40 x 70 Inches, 2020
Right Dreamscape, Fabric Printed Illustration, 40 x 70 Inches, 2020 Left Dreamscape, Fabric Printed Illustration, 40 x 70 Inches, 2020 180
NEW MEDIA + ANIMATION
Mark Young
New Media + Animation Everyone wants something to fight for, to believe in: to make a difference. I grew up as a kid, inspired by hearing tales of resistance and rebellion. How America took its independence from Britain, or how the Rebels beat the Empire in Star Wars. Good always triumphed over evil, until I realized that all conflicts are the same. People are hurt and killed under the guise of good, with fingers pointed at those who are assumed to be evil. The only difference between good and evil, is the perspective. My animation Two Sides of the Coin, gives a perspective of one of the largest and current conflicts happening in Asia, the Hong Kong protests. As the animation pans down the street, the viewer can witness how most protests start out: peaceful. As time progresses, it can be seen how both sides of this conflict escalate. Once violence breaks out, both protesters and policemen become indistinguishable. Everyone becomes a mass of violent bodies filling up the screen, until nothing can be discerned. To make the characters appear more life-like, I used a technique called ‘Rotoscoping’. Rotoscoping is when you use live footage, traced frame by frame, to produce realistic action or movement. This technique was created by Max Fleischer in 1915, in which it was groundbreaking for its time. This technique created the most realistic movement in animation until the invention of computer assisted animation. All movements and actions seen in the animation were committed by real people. Usually animations have cartoony subjects and elements, but the actions and subject matter in my animation bring it back to a gritty reality. My inspiration to have the street scene pan came from ancient Chinese scroll paintings, which contained the same perspective as well as the mass amount of characters in my animation. These paintings were usually large scale, contained flat colors, and contained many characters. Two Sides of the Same Coin shows that all conflict is ambiguous, what we perceive may not be reality-That good and evil are interchangeable. That we may all be good, fighting for what’s right. Or, perhaps we are all evil, fighting under the guise of good.
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Two Sides of the Same Coin, Frame of Animation, Projected At 12 x 8 Feet ,2020
NEW MEDIA + ANIMATION
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Two Sides of the Same Coin, Frame of Animation, Projected At 12 x 8 Feet, 2020
Left Two Sides of the Same Coin, Frame of Animation, Projected At 12 x 8 Feet ,2020 Right Two Sides of the Same Coin, Frame of Animation, Projected At 12 x 8 Feet , 2020 NEW MEDIA + ANIMATION
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Two Sides of the Same Coin, Frame of Animation, Projected At 12 x 8 Feet, 2020
Left Two Sides of the Same Coin, Frame of Animation, Projected At 12 x 8 Feet ,2020 Right Two Sides of the Same Coin,Frame of Animation, Projected At 12 x 8 Feet ,2020 NEW MEDIA + ANIMATION
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Two Sides of the Same Coin, Frame of Animation, Projected At 12 x 8 Feet, 2020
NEW MEDIA + ANIMATION
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PAINTING + PRINTMAKING
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Belinda Flores Shinshillas Painting + Printmaking
I am a visual artist born in Mexico City and a resident of Mandeville, Louisiana. My artwork has been of a contemporary nature using the figure and representational elements as an important component in the visual narrative, merging it with abstract concepts and techniques as a way to move through space. All my elements become a metaphoric voice, capturing the balance between intimacy and distance. My drawings, prints, and paintings are an extension of my identity and culture, using form and color as an idea, an attitude, and interpretation that questions the permanence of the world surrounding me. Currently, I am working on an ongoing project titled “Transformation: Below the Noise� consisting of large-scale oil paintings and printmaking installations created for the purpose of showcasing the connection and relationship between the beauty and great spiritual essence of the American Southwest desert canyons and the coastline landscapes of South Louisiana and Mississippi. I am especially interested in its intricate connection with the great scope and transformation of life. I have exhibited my work internationally in Mexico and Ecuador. I have had solo and group shows in El Paso, Texas; Santa Fe, Taos and las Cruces in New Mexico; New Haven in Connecticut; North and South Carolina; Pomona in California; Covington and New Orleans in Louisiana.
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SPIRAL ROCK, Oil Painting on Canvas, 36 x 48 Inches, 2020
PAINTING + PRINTMAKING
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TRANSFORMATION, Intaglio-etching , (Paper) 16 x 20 Inches, (Image) 6 x 8 Inches 2020
Right TRANSFORMATION, Oil Painting on Canvas, 48 x 36 Inches, 2020 Left MOVEMENT, Intaglio-etching , (Paper) 16 x20Inches, (Image) 6 x 8 Inches, 2020 194
PAINTING + PRINTMAKING
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PAINTING + PRINTMAKING
Right TRANSFORMATION II, (Paper) 16 x 20 Inches, (Image) 6 x 8 Inches, 2020 Left RHYTHM, Oil Painting on Canvas, 36 x 48 Inches, 2020
Robin Wilson Painting
My work is about exploring my own relationship with gender but also society’s view on it. It seems that masculinity and femininity are the two choices we are given, and we can only choose one. The reality is no one fits into one category perfectly. Gender and gender presentation are a fluid spectrum. Judith Butler describes gender as something we “put on, invariably under constraint, daily and incessantly, with anxiety and pleasure.” The figures in my paintings have both masculine and feminine features, especially with their clothes and expressions. By juxtaposing traditionally masculine and feminine themes, I encourage viewers to question their binary ideas of gender norms. At the core of my work I want people to evaluate why certain things, colors, and ideas are put into categories and why we try to maintain this arbitrary status quo. I primarily use oil paint on canvas which is a medium that has a deep history. The consistency and diversity it exhibits makes it a great medium for rendering the human form. Throughout the European history of oil painting, women have often been rendered softly with smooth, pale skin and soft lighting. In my work, I am going against these traditions by putting emphasis on mark making that has harder edges. I do this by using a palette knife which allows the paint to retain its intensity and thickness. I want to reward the viewer for being willing to step up and appreciate the paint alongside the subject despite the intense gaze that stares down the viewer in some of my portraits. I’m also using a color palette that involves intense and saturated colors in both the lighter and darker values. My work deals with feminist ideas and I wanted to move pass the feminist art movement of the 1970’s and into more contemporary concerns. I wanted to explore themes of masculinity AND femininity not man VS. woman. I feel like these themes are more universal and inclusive. I have come to realize that my figures connect to my take on the “femme fatale” trope that has become popular. While I like the idea of empowered women, the “strong women” in popular media still caters to the male gaze and it feels reductive. Whether it is in advertisement, mass media, or in the street, we are constantly bombarded with the idea that women are objects and it becomes a tiresome experience. Women have been constantly objectified and subjected to the male gaze throughout history and throughout history women have pushed back. I am by no means the first to approach these subjects, but I am more than happy to add my voice.
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Medusa ,Oil on Canvas, 14 x 12 Inches, Fall 2019
PAINTING + PRINTMAKING
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Matriarch, Oil on Canvas 16 x 20 Inches, Spring 2020
Left Lookout, Oil on Canvas , 22 x 28 Inches, Spring 2020, Right Safety in Numbers, Oil on Canvas 14 x 12 Inches, Fall 2019 PAINTING + PRINTMAKING
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Smile,Oil on Canvas, 16 x 12 Inches, Fall 2019
Left Heiress ,Oil on Canvas, 22 x 28 Inches, Fall 2019 Right Out so Late?,Oil on Canvas, 22 x 28 Inches, Fall 2019 PAINTING + PRINTMAKING
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PHOTOGRAPHY
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Timothy Johnson Photography
The focus of my work is on objects that have been left behind through some form or fashion. I started this body of work by photographing objects that came from the Lost & Found at a hotel, where, during that time, I was working as the Front Office Manager. I photographed objects that had been at the hotel for at least 1-3 months, at which point it was the hotel’s policy to abandon any hope that the original owners would make any attempt to retrieve said items. These items had essentially become value-less, having presumably lost their value to their original owners (who would have retrieved these items had this not been the case,) and given that these items are usually well used, they typically have no value to other individuals either. By capturing these items in this raw form, I aimed to expose the used nature of these objects to give the viewer a chance to question the way in which they place value on objects in their own lives. In June of last year, my grandmother passed away rather suddenly due to a massive stroke. She was a matriarch of my family and so this was a tremendous loss. She was an artist in her own right, and she left behind a massive library of unfinished work. This deeply affected me, and I realized that her work had been abandoned as well, in that she was no longer there to appreciate them. She made porcelain dolls and embroidery, and these are things that my grandfather has no way of preserving, nor can he find anyone in my family who might be interested in finishing them. The fact that these dolls specifically would likely never be finished resonated with the ideals that I was attempting to convey in my existing work, so I received permission to photograph them from my grandfather. These projects were incredibly valuable to my grandmother. She instilled a great sense of her identity in her work, as well as her ambitions and values. My goal is to capture the care and craft that my grandmother put into her work, and restore some semblance of value to the projects that she never was able to finish in life. My Lost & Found work involved photographing abandoned objects on a white background in an attempt to bring attention to these objects. These dirty and broken objects directly contrasted the pristine background, and this effect accentuated their many defects. My approach was meant to coerce the viewer to rethink the way in which they treat their belongings by putting a spotlight on these mistreated items. Another part of my work involved documenting the Housekeeping department at my hotel as well as the people who handled lost & found items during my time there. This approach was meant to give context to the lost & found items and to better explain their story and how they came to be in my possession. My current work, titled Lost Art, involves documenting the space in which my grandmother worked on her projects in her home.
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Hadar #01, Photography, 10 x 6.66 Inches, 2020
PHOTOGRAPHY
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Sunbeams, Photography, 7 x 10 Inches, 2020
Right Hadar #02, Photography, 7 x 10 Inches, 2020 Left Chess Set and Utensils , Photography, 7 x 10 Inches, 2020 208
PHOTOGRAPHY
Paint Shelf, Photography, 20 x 13.333 Inches, 2020
Right I Fall to Pieces, Photography, 13.333 x 20 Inches, 2020 Left Paint Shelf and Window, Photography, 9.999 x 15 Inches, 2020 210
PHOTOGRAPHY
Forlorn Diptych, Photography, (left) 13 x 20 Inches, (right) 13 x 20 Inches, 2020
Right Violet Eyes, Photography, 9.999 x 14.862 Inches, 2020 Left Portrait of My Mawma - Her mother, Photography, 7 x 10 Inches, 2020 212
PHOTOGRAPHY
Signature Style, Photography, 7 x 10 Inches, 2020
Right Delicate, Photography, 10 x 6.666 Inches, 2020 Left Gaudium Spirituale, Photography, 7 x 10 Inches, 2020 214
PHOTOGRAPHY
Sewing Desktop, Photography, 6.666 x 10 Inches, 2020
Right Shorthand Notebook Diptych, Photography, 10 x 7.5 Inches, 2020 Left Clothing Pattern Diptych, Photography, 20 x 9.412 Inches, 2020 216
PHOTOGRAPHY
Doll Notes Triptych, Photography, 15 x 7.5 Inches, 2020
Right Thread Count, Photography, 20 x 13.333 Inches, 2020 Left Green Thread, Photography, 7 x 10 Inches, 2020 218
PHOTOGRAPHY
Drifting to Sleep, Photography, 10 x 6.666 Inches, 2020
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PHOTOGRAPHY
Kelsey Mack Photography
A History Remade discusses the lack of depth in representation of black beauty, in media and the history of art. Many find the current socio-political climate “good enough” or satisfactory for black individuals to develop when the truth is that it is still just as difficult to thrive. We are asked to be satisfied with the inaccurate representation and two-dimensional light that black women are put in. I often think about what it means to be a dark-skinned black woman, specifically in America-- a country with a large cinematic presence, that does not often include the black female body as the norm in beauty standards. With this in mind, I decided to make my own representation, main characters, and story. The subjects in A History Remade, the women in my immediate family, are meant to be analogs for anyone who may be experiencing this systematic oppression. The material that I use is black and white film, a medium which has historically been dominated by white male artists. My goal is to take this art form and create a new narrative for a restricted history, while also allowing those that look like me or have similar experiences to see themselves and feel as though they are being seen. A History Remade consists of 19 prints at the size of 20x20’’ and larger consisting of mirrors, my sister, my mother, and I. The size of these prints is meant to grasp the viewer’s attention and help them connect to this cast of characters they do not know, just yet. I photograph primarily in natural settings with vast landscapes to represent the grandiose beauty that black bodies are capable of. We are forces of nature to be reckoned with. We are not to be taken lightly. I begin by shooting in black and white film. I then develop the film in the darkroom, then scan and enlarge the film so that it is just on the cusp of falling apart, the grain of the film becoming visible. I feel as though my process is just as important as my content because it is meant to prove that, though this art form was previously forbidden or inaccessible to people who looked like me, it is not too late to start including us. In this series, I have many influences. Eugene Atget was one of the first. He was a French photographer making work in Paris. He spent the majority of his life documenting the quiet, empty streets in the morning and portraying his love of the city and its architecture. His work was made with a large format film camera and all of his images in this series had a soft, dreamy quality that I was particularly drawn to. A History Remade references a dreamy, otherworldly background while adding figures to interact with the space. One contemporary influence of mine is Mickalene Thomas. She is a New York-based black photographer who explores art history and popular culture and discusses female sexuality, beauty, and power. She utilizes materials like rhinestones, acrylic, and enamel in conjunction with photography and painting to blur the lines between the real and the imaginary. In this work, I am attempting to do the same with the softness of my images and how close or far away I am to my subjects. Another contemporary influence of mine is Genevieve Gaignard. In her work, Gaignard discusses race, gender and identity through her staged photographs and elaborate collages. Most of my images are staged, especially in reference to art history and my subjects are dressed or “made up” to look as though they were both caught in a moment arranged as such. My use of performance and gesture reflect that of Gaignard’s and I utilize this to portray how the intimate relationships shared between a mother and her daughters. My work is meant to prove to both myself and to those that look like me that emotions, power, and self-confidence is not limited to one race or ethnicity.
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A History Remade, Photography, 20 x 20 Inches, 2020
PHOTOGRAPHY
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A History Remade, Photography, 20 x 20 Inches, 2020
Left A History Remade, Photography, 20 x 20 Inches, 2020 Right A History Remade, Photography, 20 x 20 Inches, 2020 PHOTOGRAPHY
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A History Remade, Photography, 20 x 20 Inches, 2020
Left A History Remade, Photography, 20 x 20 Inches, 2020 Right A History Remade, Photography, 20 x 20 Inches, 2020 PHOTOGRAPHY
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A History Remade, Photography, 20 x 20 Inches, 2020
Left A History Remade, Photography, 20 x 20 Inches, 2020 Right A History Remade, Photography, 20 x 20 Inches, 2020 PHOTOGRAPHY
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A History Remade, Photography, 20 x 20 Inches, 2020
Left A History Remade, Photography, 20 x 20 Inches, 2020 Right A History Remade, Photography, 20 x 20 Inches, 2020 PHOTOGRAPHY
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A History Remade, Photography, 20 x 20 Inches, 2020
Left A History Remade, Photography, 20 x 20 Inches, 2020 Right A History Remade, Photography, 20 x 20 Inches, 2020 PHOTOGRAPHY
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A History Remade, Photography, 20 x 20 Inches, 2020
Left A History Remade, Photography, 20 x 20 Inches, 2020 Right A History Remade, Photography, 20 x 20 Inches, 2020 PHOTOGRAPHY
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Rivers Mclain Photography
Those Colors Inside are a series of mixed media works that combine photography, digital manipulation, and paint to reflect emotion and personal experience. Using color as a tool I convey different feelings in my work. I choose hues based on learned cultural values associated with those colors. For example, yellow is seen as a color of cowardice and that’s where the slang of calling someone or something “yellow belly” comes from. Four Plights for example, contains a series of self-portraits with hues representing four negative interpretations of my personality. Red represents anger, yellow cowardice, green envy, and purple indecision. While working in the woods, I like to paint the plant life and me in order to turn reality into a more dreamlike state. Since the color selection is based primarily on those colors’ common association, it invites the viewer to place their emotions within the picture plane. Gesture and staging are also a way that I convey emotion. In Gate, for instance, I stage the self-portrait between two trees, and then I color-in the background. The lack of background elements allows it to become flat--combined with posing myself between the trees, I create a constrictive and claustrophobic space in the center of the piece. The marks on the trees were made to add further vertical constraint and chaotic arrangement. The main influences in my work come from Van Gogh, Bill Scott, Jackson Pollock, and Ansel Adams. Adams’ Path/Muir Woods gave me the initial idea to photograph in the woods. Gogh’s Starry Night has always inspired me to paint the way I do. Scott’s Small City and Pollock’s Guardians of the Secret gave me the idea to make intention through the paint choice itself, leaning mostly to Scott’s use of implicative style of painting.In conclusion, I’ve had therapeutic process with this work. I hope the intention made within it will be able to resonate with the audience in a way they have not experienced before. By conveying my feelings and experienced expressed through formal elements, I hope the viewer can connect to their own personal struggles while seeing my work.
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Self Portrait, Photo matte with Oil paint, 24 x 30 Inches, 2020
PHOTOGRAPHY
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Unreachable, Photo matte with Oil paint, 24 x 30 Inches, 2020
Right Faceless, Photo matte with Oil paint, 24 x 30 Inches, 2020 Left Portal, Photo matte with Oil paint, 24 x 30 Inches, 2020 238
PHOTOGRAPHY
Flooded Memories, Photo matte with Oil paint, 24 x 30 Inches, 2020
Right Happiness May Vary, Photo matte with Oil paint, 24 x 30 Inches, 2020 Left Scars and Stitches,Photo matte with Oil paint, 24 x 30 Inches, 2020 240
PHOTOGRAPHY
Greed House, Photo matte with Oil paint, 24 x 30 Inches, 2020
Right Filling Empty, Photo matte with Oil paint, 24 x 30 Inches, 2020 Left Yellow Brick Trail, Photo matte with Oil paint, 24 x 30 Inches, 2020 242
PHOTOGRAPHY
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SCULPTURE
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Cheria Scaffidi Sculpture
‘First Memories’ is a series of 6 sculptures which explore the impact and universality of first memories There are 2 sets of sculptures in this collection and one independent installation. The first set includes Letting Go, a cathartic expression of the traumas of my life. This piece appears to be wheelbarrow morphing into a door at first glance. Upon further inspection the door frame has notches in it symbolizing the timeline of these experiences. The wheelbarrow’s handles have been inverted and its wheel removed making it inoperable. I wanted to haul these traumatic chapters of my life into the gallery and gain closure. My First Memory is the origin of those traumas. It is the moment of my life that has affected its entire course and path. It occurred in a closet and thus I have recreated that form, a cubic space with a door leading to the interior. There is no handle, rather the way you may enter this interior space is by bending down and peering through a peephole. Inside lies my testimony for the viewer to read. This is my most vulnerable core and the moment that has piqued my curiosity regarding others’ first memories. The second set of sculptures, First Memories: Trauma 1947, 1954 & 2003 which consists of 3 smaller ‘closets’, wall mounted. They contain stories of trauma exhibited over time. First Memories: Open Door 1997-99 is a more exposed view of those whose memories which were rather light-hearted. For these works I conducted a series of interviews to collect content. I have a high degree of appreciation for the pure testimonial of one’s first memory and initially capture that via audio recording. I then proceeded to ask a series of questions extracting visual and emotional details of that experience. Once transcribed and organized, I can then bring forward and curate memories that have similar threads running through them. My works in this collection all contain the door as a symbol of the portal. I want to transport the viewer from their own surroundings and experience into the mind’s eye of another’s. By only allowing access via the peephole, I am creating a voyeuristic experience. This sets the stage for intimate storytelling and it is through this type of sharing that the viewer begins to open up and become willing to connect with their own experience. In the closet-like works, I drew from minimalism in their form, creating objects which lacked exterior information hence drawing the viewer in with a more pure mindset, more open and ready to receive information free from bias. The overarching white color scheme has this same purpose. When the lighting is dimmed, the light from inside the boxes, streaming out of the small peephole also provides a draw to the secrets held inside. I have been influenced by Jenny Holzer in her expression of art via text and her very impactful choices of excerpts as well as the works of Krzyszof Wodizcko in his efforts to stream pure testimonials of our communities. My work truly attempts to explore the universality of the human experience. We all share a common trait -- we have a memory that has stayed with us longer than any others. I enjoy investigating the significance of this moment. How it has made such an impact to create a permanent space on the storage shelves within our minds will always fascinate me. I am also curious if these moments hold importance regarding the developed nature of our personalities. Has there been any thread woven from that moment that remains in the cloth of our core makeup today? I believe that finding familiarity amongst nostalgic moments has the power to connect us all.
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Letting Go, Sculpture , 7.5 x 5 x 3 Inches, (Wood, Plastic ,Wheel Barrow ) 2020
SCULPTURE
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My First Memory Closets, Sculpture , 3.5 x 2 x 1.5 Inches (Wood ,Transperency Film, LED) 2020
Left Letting Go, Sculpture , 7.5 x 5 x 3 Inches, (Wood, Plastic ,Wheel. Barrow ), 2020 Right My First Memory Closets, Sculpture, 3.5 x 2 x 1.5Inches (Wood ,Transperency Film, LED),2020 SCULPTURE
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First Memories: Trauma 1947, 1954 & 2003, Sculpture , 15 x 15 x 12 Inches, (Wood, Transparency Film, LED), 2020
Left First Memories: Trauma 1947, 1954 & 2003, Sculpture, 15 x 15 x 12 Inches,( Wood, Transparency Film, LED), 2020 Right First Memories: Trauma 1947, 1954 & 2003, Sculpture 15 x 15 x 12 Inches, ( Wood, Transparency Film, LED), 2020 SCULPTURE
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(Interiors of First Memories Closets) Bloody Yellow, Sculpture , Transparency Film ,2020
Left (Interiors of First Memories Closets) My First Memory, Sculpture, Transparency Film ,2020 Right (Interiors of First Memories Closets) Uncle at Fence, Sculpture ,Transparency Film ,2020 SCULPTURE
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(Interiors of First Memories Closets) Mom Walked Away, Sculpture , Transparency Film , 2020
Left (Interiors of First Memories Closets) She Fell, Sculpture , Transparency Film ,2020 Right (Interiors of First Memories Closets) Cheering Me On, Sculpture , Transparency Film ,2020 SCULPTURE
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(Interiors of First Memories Closets) Treasure Chest , Sculpture , Transparency Film ,2020
Left (Interiors of First Memories Closets) The Last Time, Sculpture , Transparency Film ,2020 Right (Interiors of First Memories Closets) Polka Dot Bikini, Sculpture , Transparency Film ,2020 SCULPTURE
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Left (Interiors of First Memories Closets) Bob the Builder , Sculpture, Transparency Film ,2020 Right First Memories: Open Door 1995-2003, Schematic Proposal, 5 x 2 Feet (Wood, LED, silk cloth, thread), 2020 SCULPTURE
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