MARI GABI MESSINA
NANA SANCLEMENTE
BUBBLE - BONE
TRÓPICO LOST
Since illustrating girls with hardened expressions come easily to Mari Gabi Messina, she decided to place the female figure in uncomfortable or distressed positions. The main inspiration for this project was the sensation that invisible walls are pushing them into tight and constricted postures while mimicking geometric shapes. Making the bone structure visible was a conscious decision in order to make the public experience discomfort when seeing the collection of illustrations. Watercolor on paper is the element of choice, facilitating the presence of watermarks while also providing precision for the small details and knotty line art. Using a duo-chromatic palette, Mari Gabi worked to turn something that would normally be considered lugubrious into something more upbeat and psychedelic.
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Nana Sanclemente uses emotional self-portraits with handmade typography and experimental storytelling, to express her constant sensation of “in-betweeness” as a foreigner, even in her own country. Her work focuses in graphic nostalgia, her anxiety about the future and the reminiscence of her cultural identity. In this series, the artist explore the concept of “being lost” using elements of nature such as water and thick vegetation. With this, she recreates the sensation of depth, darkness and the unknown, as the representation of an uncertain future. These elements also depict the artist’s common surroundings (since she comes from Colombia, a tropical country), showing how she misses her land and at the same time how, somehow, she still immersed in the memory of it.
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MARI GABI MESSINA
NANA SANCLEMENTE
BUBBLE - BONE
TRÓPICO LOST (ESPAÑOL)
Nana Sanclemente usa autoretratos emocionales con Desde hace un tiempo, ilustrar jóvenes con expresiones rígidas
tipografías hechas a mano e storytelling experimental, para
viene con facilidad a Mari Gabi Messina, colocando a la
expresar su sensación constante de “estar en ningún lado”,
figura femenina en posiciones fastidiosas e incomodas. La
tema que siente como extranjera, incluso a veces en su mismo
inspiración principal para este proyecto es traer la sensación
país. Su trabajo se enfoca en la nostalgia gráfica, su ansiedad
de tener paredes invisibles que comprimen a las jóvenes en
sobre el futuro y la reminiscencia de su identidad cultural.
posturas que asemejan figuras geométricas. Hacer que la estructura ósea sea visible fue una decisión consciente para
En esta serie, la artista explora el concepto de “estar
lograr hacer que el publico experimentara desagrado al ver
perdida”, usando elementos de la naturaleza como el
las ilustraciones. Acuarela sobre papel es el elemento ideal
agua y la vegetación espesa. Con esto, recrea la sensación
para la tarea, facilitando la presencia de marcas de agua al
de profundidad, penumbra y lo desconocido, como una
mismo tiempo que da la oportunidad de dar detalle con valor
representación de un futuro incierto. Estos elementos también
de linea. Usando una paleta duo cromática, Mari Gabi trabajó
describen el ambiente en el que la artista creció (ya que esta
para lograr conseguir que algo que suele verse lúgubre se
proviene de Colombia, un país tropical), mostrando cuanto
torne mas brillante y psicodélico.
extraña su tierra y al mismo tiempo como, de alguna forma, sigue inmersa en el recuerdo de la misma.
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ALEXANDER LI
Illustration for me has always been about capturing the message by any means necessary. With unthinkable ways of approaching illustration, animation would have to be my medium of choice. Unlike traditional forms of art making, moving images inspired me to look past the flat boundaries and consider a world I could envision and portray. More importantly, I’ve learned to express my narratives in a more elevated manner where timing, color theme, sound, textures and plot are steep factors I take into account in my thinking process. With my more current work, I’ve chosen to integrate human life narratives that undergo a survival passage. The style of my work strays away from minimal approaches and reflects a bold composition filled with organic and distorted undertones.
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SHREYA CHOPRA
Exploring the notions of narrative, iconography and memory, Shreya Chopra creates collaged streams of (un) conscious thought in her series “the End”. In a world dominated by visual narratives where intertextuality and pastiche is a currency, she hopes to capture a creative process rather than a creative out come. Her aim is to create art from her inspirations and from building upon existing imagery rather than starting from a fresh canvas. Whilst some works become disjointed, narratives combining the sinister with the humorous, others become documentations of specific cultural moments, archiving visual tropes and weaving them together in cinematic montages of collective memory. Using a combination of sketches, graphics, typography, found image, sound and cultural iconography, she generates narratives from the visual lexicon of pop culture borrowing from and paying homage to her favorite creators in the process.
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RACHEL LITTON
KELSEY REILLY
I’ve always been fascinated with the two aspects of perspective,
Today has been quite a day and I have only been awake
the physical aspect of it as well as the interpretive side of it. The
for a few minutes. I sit with my morning tea and I am uneasy
idea that two people can look at the same thing and have two
about the day. My most recent body of work is focused on my
completely different interpretations is one of the most amazing
description of feelings of being lost and uncertain. The subject
attributes to being human. My art explores perspectives in
matters deal with living life day to day with no answers. I see
multiple ways, by playing with layers I can manipulate what the
many days pass and I still stay afloat. Could I be floating in
viewer sees and by doing that I can change their perspective
dangerous territory? Some of my work deals with waiting to
or even explore the difference in interpretations between
embark on a destination that guarantees no safety. There
different people.
is a dreading of the next steps. All of the pieces expose environments that may appear colorful yet provide no ease.
Within my art I try to create different stories within the
Even the room I call my own is spinning. For nearly five years,
same piece. When a layer is added or removed it changes
I have been painting figures in acrylics with exaggerated
the story and in effect changes the viewers perspective of
features and sporadic applications of color. These figures are
what is happening. By doing this, my goal is show people that
an outlet for revealing vulnerability. The environments that are
reality is relative, that their own beliefs are just that, their own.
created around my figures represent my understanding of
Each one of us see’s and interprets things differently and that
spaces that provide no protection. All of my images appear
influences our beliefs. By creating an experience which clearly
to be busy as all of the environments present a challenge for
demonstrates that, I hope to promote understanding and
the figures. The subjects are as desperate for answers as I am.
acceptance amongst each other.
No matter what outcome is in the future, there is absolutely no feasible plan for it. Although much of my recent subject matter
My art makes people examine themselves to figure out why
is tumultuous, I found great peace in making these images.
they decided to interpret the piece in a certain way. By doing
There is an immersion that overcomes me when I paint the
so, we realize that we are influenced by stereotypes more than
many colors that make up one subject. I like the elements of my
we would have liked to be. However, once we come to that
images to appear striking and chaotic; but most of all, I would
realization we can try to better ourselves and open our minds to
like my images to portray their chaotic narratives.
others opinions and beliefs.
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ASAKI OKAMURA
ASAKI OKAMURA
HER | SHE
DOG EAT DOG
Physical manifestations of the issues plaguing women in society,
Jealousy and competitiveness regarding status and appear-
such as sexual objectification and degradation, and self-harm
ance in society is symbolized through the disputing figures, the
sparked by image complexes developed by standards and
endless and meaningless depicted as arms fused, forming a
ideals media and society create. Subjects such as excessive
loop. The background features an abstracted and dismantled
surgery and anorexia are respectively represented through
skull of a dog, emblematic of envy.
exploded breasts and a skeletal torso morphing into a cater-
A TROPHY
pillar-like form, signifying the fragile, vulnerable state of such people. Excess is symbolized through the multiple limbs, and hopelessness through the lack of them, as seen in the amputated ones. Background images suggest sexuality and distortion, and viscera and sinew.
An attempt at designing an asymmetrical creature, this piece is a critique of materialism in a society and market driven by superficiality. With a sculpted, toned body created for the
A LURE
sole purpose of gaining attention and selling sex appeal, the creature seduces and manipulates her way to fame and wealth, devoid of any meaningful content in her life or
A suspicious creature approaches a young girl, attempting
personality, as represented in the hollow insides of the creature.
to entice her with balloons bearing faces of idealized beauty.
Issues concerning body image are also addressed through
An illustration representative of the corruption of innocence
the image of the broken wing, a reference to Victoria’s-Secret-
through early exposure to the dangers of body image and
like physiques and idolatry, now a fallen Angel - a product
superficiality, which may lead to the growth of a warped
herself. The piece is also a critique of social media users who
mentality, prone to extreme health and aesthetic conditions
title themselves as “models” or “public figures” when all they
such as anorexia or excessive surgery. The nose - which is found
do is flaunt their bodies to gain attention and self-esteem. With
throughout the creature’s appearance - is a symbol for vanity,
surface the only thing they can use to survive, their authenticity
inspired by Nose, a Ryunosuke Akutagawa short story.
atrophies. Is it the fault of these empty people who have found a way to strip their way to success, or is society itself flawed in the first place for allowing and enabling systems and people to operate as such?
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TONG WANG
TONG WANG
ABOUT COLORS AND FIGURES
ABOUT FLOWERS AND NATURE
I love bright colors. When I started studying drawing at five years old, the first object I drew was an apple, and then different kinds of fruits, such as strawberries, bananas and pineapples. When I look at fresh fruit, I cannot help but feel excited and energized. I believe that a lot of my artistic inspiration comes from the colors of fruits. I still have a very special emotion towards those bright and energetic colors. When I behold a fruit salad—lemon yellow, strawberry red, cabbage green, watermelon pink and grape purple—I feel how wonderful this world is and love my life more. Warm colors inspire a positive attitude. I intend to bring sunshine to my audience through my paintings. I believe that my pieces can appease pain, and I think an artist should bring happiness, energy and encouragement to society.
I was born and grew up in a metropolitan city in central China, which is very crowded and polluted. Economic development was a primary goal of the city, while others—such as the environment—were considered less important. There were few trees, and just a couple of sculptures downtown. I didn’t quite understand the beauty of nature until I came to Stony Brook. I love Stony Brook’s spring and summer because I can feel the great aliveness of nature. This has been an amazing experience. There are flowers blossoming throughout the spring, and bright colors everywhere. For someone who likes bright colors so much, the picture of spring was like a romantic movie. I never really knew the names of those flowers, but do not need them to love their colors, energy and beauty.
What is the most beautiful thing in the world? In fact, nobody knows the correct answer because there is not one. Art is very subjective and there are ten thousand Hamlets in ten thousand people’s eyes. Ever since I started drawing, creating beautiful things became the goal of my life. In my point of view, humanbody is the most beautiful structure in nature and the universe. Shiny skin, flexible muscles and the fluent lines of the body can promote the most primitive desires. In a few seconds, the image of bodies can give people a strong sensory stimulation. Those stimulations could ignite all the sexual desires. I believe that humans’ desire for sex is a special form of pursuing the beauty of arts. Therefore, I drew this picture to express the beauty of a human body. I intend the lines of the woman to convey why I think human bodies are the best of Mother Nature’s creations.
Flowers always remind people of beauty, purity and innocent. I decided to combine flowers and female to express the beauty of nature. Therefore, I created this photo collage. I always appreciate the beauty of human beings as I appreciate beauty of Mother Nature. A young girl is like a flower: the colors, the beauty and the energy. A combination of a girl and flowers was my way to create something more beautiful than just flowers or girls. It is a perfect match.
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ANNABELLE POPA
MOLLY SAN LIU
Annabelle finds her inspiration primarily in nature, folktales,
Imperfection is perfection to a beautiful perspective. The
mythology, and animals. She continues beyond existing stories
perspective of beauty varies base on cultures. Although faces in
and makes her own characters and mythologies. This allows
my illustrations are not the typical standard of beautiful women,
communication of concepts she personally believes or would
to me, they are perfectly beautiful.
like to critique. Some concepts she explores in this specific collection are of a personal fantasy: a world where magic
In my illustrations, I believe that front view portrait expresses the
and wonder thrive, where nature, humanity, and animal all
most individuality of the subject. With minimal facial expression,
communicate and co-exist. Due to this underlying theme her
the subject itself became the focal point of each drawing.
animals are often humanized, some more than others. She
The drawings’ small scale sizes representing the delicacy and
does this through their expressions and poses (many times not
fragility of the subjects. Each stroke is drawn with precision and
natural to the animal itself), and by giving human elements
carefulness to display the tenderness of femininely.
to the creatures in order to allow people to identify with and understand the creature.
In the progress of each illustration, I sit down quietly and
Character creation is important to Annabelle, feeling that
brainstorm the story behind the girl. I wanted the viewers to
elements of an animal mixed with another can better express
envision their own interpretation of the story too. The viewers
the character’s personality. Whether it is a powerful beast or
can discover the stories of the subjects through details and
a small creature. Annabelle wants to maintain an aspect of
imagination. I hope everyone that look at my illustration can
realism as if any character she created could be stumbled
reflect and find their own perspective of beauty and perfection.
upon while walking through the woods. Her meticulous detail in each painting allows the viewer to explore the ‘world’ of the image and creates a space where they can also craft their own ideal.
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ALEX RUDIN
MICA OSZCZAKIEWICZ Mica Oszczakiewicz is a New York based animator, illustrator,
The majority of my work attempts to comment on the complexities of the human psyche, especially through perception and alteration. My work strives to deal with warped reality through the lens of what it means to be a woman, what it means to live in 2017, and what it means to express political or personal viewpoints based on one’s status of reality whether intentional or unintentional. Feeling an overwhelming connection to the universe and the sometimes uncomfortable complexities of what it means to inhabit a body, my work deals with questions of feminism and man made social constructs, eliciting visceral, abstract relations between body, emotion, and the systematic structures of our society. In many ways I believe that my work wages a war against the commonality and banality of living in a media based world and pushes the viewer to have a visceral understanding of the ultimate and complete control the mind has and what systematic political ideologies can threaten the simplicity of just being. I blur the line between the ordinary and the extraordinary, knowing that my work will benefit from the synthesis of the two, like alchemy. What thrills me throughout the process is the subconscious touching the conscious. Logic and intuition play together to create something tangible on the foundation of the intangible with the hopes of snatching the viewer out of the continuum of everyday life even for just a moment.
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and multimedia artist who holds a BFA from Parsons School of Design. Mica is especially interested the relationship of animation and experience design. Her work tends to break the boundary of the screen, creating immersive and interactive viewing experiences. She questions the way in which we typically view animation and leads participants to rethink the optimal environment for viewing animation. Mica’s work focuses on themes of cultivating empathy and dissolving boundaries between self and other. Her work often strives to bring people together in physical space.
“ENTANGLEMENT”
Video, Animation, Nylon Rope, Screens, LED In her installation “ENTANGLEMENT” Mica has created a tactile study of linear and fluid materials that immerses viewers in the idea of entanglement itself. Participants transverse through a den of nylon rope where they can observe the vast range of the behavior that linear and fluid materials exhibit. In “ENTANGLEMENT” participants observe the duality of chaotic and orderly behavior that rope can have as they are invited to interact with their environment in whatever way they please. Guests are certainly encouraged to touch and play with the installation.
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