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Kimberly Nguyen
The Disruption of Youth
UV resin, beads, playing cards, cardstock, and white pen
7” x 4” x 4”
2021
Statement:
Titled "The Disruption of Youth," this project presents the dialogue of missing out on your childhood due to growing up and maturing too quickly for the people around you. The opportunities you yearned to experience as a child are no longer available to you as an adult. It pours and pours out, yet there is something restricting you from ever truly experiencing it. Despite the color pallet of this project being pastel and colorful, the conversation shared is disheartening and dark.
UV resin, beads, playing cards, cardstock, and white pen
7” x 4” x 4”
2021
Statement:
Titled "The Disruption of Youth," this project presents the dialogue of missing out on your childhood due to growing up and maturing too quickly for the people around you. The opportunities you yearned to experience as a child are no longer available to you as an adult. It pours and pours out, yet there is something restricting you from ever truly experiencing it. Despite the color pallet of this project being pastel and colorful, the conversation shared is disheartening and dark.
Nicole Moreland
Strawberry Consumption
Acrylic on canvas
11” x 11”
2021
Statement:
Strawberry Construction represents the time that passes while consuming a strawberry. Each canvas visually represents a different stage of the changing strawberry as it is devoured. In the beginning, the strawberry’s texture is rough, and as the berry continues to be devoured, the inside becomes a watery, gelatinous texture. The change that we create through consuming objects is very powerful, even in the simplest representation of life.
Acrylic on canvas
11” x 11”
2021
Statement:
Strawberry Construction represents the time that passes while consuming a strawberry. Each canvas visually represents a different stage of the changing strawberry as it is devoured. In the beginning, the strawberry’s texture is rough, and as the berry continues to be devoured, the inside becomes a watery, gelatinous texture. The change that we create through consuming objects is very powerful, even in the simplest representation of life.
Logan Regan
Contagious
Digital photography
13” x 19”
2021
Statement:
Each mask represents a different fear that is often on my mind as I go on about living. In Social Parasite, I wanted to explore the fear of social expectation. As a short, gay teenager living in rural Texas being different was a constant fear on my mind. The mask is made of short strips of colored paper placed over my face. Every colored strip has an insult that was aimed at me, except each green strip has a positive affirmation. I was often told positive things by friends and family, but the negative insults are often so much more blinding and hurtful. In Contagion, I explore my fear of disease, especially during a pandemic. The mask is covered in multiple layers of disposable, medical masks. I have always lived in a way with disease being a worry in the back of my mind, but since the COVID-19 pandemic it is hard not to live without constantly having to think about disease.
Digital photography
13” x 19”
2021
Statement:
Each mask represents a different fear that is often on my mind as I go on about living. In Social Parasite, I wanted to explore the fear of social expectation. As a short, gay teenager living in rural Texas being different was a constant fear on my mind. The mask is made of short strips of colored paper placed over my face. Every colored strip has an insult that was aimed at me, except each green strip has a positive affirmation. I was often told positive things by friends and family, but the negative insults are often so much more blinding and hurtful. In Contagion, I explore my fear of disease, especially during a pandemic. The mask is covered in multiple layers of disposable, medical masks. I have always lived in a way with disease being a worry in the back of my mind, but since the COVID-19 pandemic it is hard not to live without constantly having to think about disease.
Rachel Brigman
Heat of the Earth
Clear-spray glaze, hot glue, found bark, wood, limestone, metal, fibers
3.75” x 5” x 15.25”
2021
Statement:
A singular object that materializes both experiences of the body and the perception of nature. This nonsite abstracts and romanticizes a nature walk I took through an assemblage of found materials. It represents the heat of human bodies, insulated by skin, mimicking the contents of the earth insulating the heat of its ground.
Clear-spray glaze, hot glue, found bark, wood, limestone, metal, fibers
3.75” x 5” x 15.25”
2021
Statement:
A singular object that materializes both experiences of the body and the perception of nature. This nonsite abstracts and romanticizes a nature walk I took through an assemblage of found materials. It represents the heat of human bodies, insulated by skin, mimicking the contents of the earth insulating the heat of its ground.
Petra Quiroz
Petra Quiroz
Your Fault
Digital print
11” x 15”
2021
Statement:
My piece is a digital mixed media piece for a collage project using the composition of a historical piece I chose. The title is, Your Fault and is about a mother losing her childhood when she gets pregnant very young and does not want to keep it. However, she is forced to become a mother. The background is a real photograph, along with the three bottles in the middle and the two women (pictures of me). The shadows and painted aspects, such as the face and other small parts are digital.
Your Fault
Digital print
11” x 15”
2021
Statement:
My piece is a digital mixed media piece for a collage project using the composition of a historical piece I chose. The title is, Your Fault and is about a mother losing her childhood when she gets pregnant very young and does not want to keep it. However, she is forced to become a mother. The background is a real photograph, along with the three bottles in the middle and the two women (pictures of me). The shadows and painted aspects, such as the face and other small parts are digital.
Pearl Tyson
Untitled
Gold foil on print
18” x 24”
2021
Statement:
This piece is an illustration of an androgynous person from the waist up with long, almost white hair, gazing to the right. The figure dons an ornate headdress of gold with wings on the sides, as well as a golden rib cage over a mesh shirt. For this piece I wanted it to be a part of a collection of two final illustrations and two-character sheets. I wanted to show them being a part of a larger story and/or world. To show this I tried adding unique story elements such as the headdress and the rib plating that the character wears.
Gold foil on print
18” x 24”
2021
Statement:
This piece is an illustration of an androgynous person from the waist up with long, almost white hair, gazing to the right. The figure dons an ornate headdress of gold with wings on the sides, as well as a golden rib cage over a mesh shirt. For this piece I wanted it to be a part of a collection of two final illustrations and two-character sheets. I wanted to show them being a part of a larger story and/or world. To show this I tried adding unique story elements such as the headdress and the rib plating that the character wears.
Lindsey Etheridge
Exhaustion
Foam, fabric, yarn, wire, rubber bands, marker, magnifying glass
6.5” x 6.25” x 12”
2021
Statement:
The piece portrays the feeling of walking to the Pohl Recreation Center. The sides of the work have a slight overhang in order to hide the destination from below. Rows of rubber bands get progressively more stretched as they go upwards. The magnifying glass highlights the comfort of the knit top.
Foam, fabric, yarn, wire, rubber bands, marker, magnifying glass
6.5” x 6.25” x 12”
2021
Statement:
The piece portrays the feeling of walking to the Pohl Recreation Center. The sides of the work have a slight overhang in order to hide the destination from below. Rows of rubber bands get progressively more stretched as they go upwards. The magnifying glass highlights the comfort of the knit top.
Lauren Ruminer
Loopholes
Paper, watercolor, micron pen, acrylic, thread
6.5” x 6.5”
2021
Statement:
Loopholes is a piece describing something we all get stuck in. We tell ourselves lies, whatever resonates with you and comes to mind (I’m not beautiful, not good enough) then we start to believe these thoughts and speak them into the universe. We see ourselves in the light of these falsifications we have made up in our heads. So we do anything to escape and fill the void. Love. Substance. Music. whatever it is you may lean on. And so it goes....
Paper, watercolor, micron pen, acrylic, thread
6.5” x 6.5”
2021
Statement:
Loopholes is a piece describing something we all get stuck in. We tell ourselves lies, whatever resonates with you and comes to mind (I’m not beautiful, not good enough) then we start to believe these thoughts and speak them into the universe. We see ourselves in the light of these falsifications we have made up in our heads. So we do anything to escape and fill the void. Love. Substance. Music. whatever it is you may lean on. And so it goes....
Jordan Heath
A Bitter Future
Digital print
18” x 24”
2021
Statement:
This collage-like piece entails what obstacles ensue for the people around the world coming to America, during the immigration era, looking for a better
future. The three presidents (historically known to own slaves), represent the general population of America and their negative outlook on immigration, fearing the loss of economic opportunity. With this economic competition came racial suspicion and discrimination. A long period of social-tension was endured before these immigrants helped transform the American society, showing how diversity can serve as a source of national strength.
Digital print
18” x 24”
2021
Statement:
This collage-like piece entails what obstacles ensue for the people around the world coming to America, during the immigration era, looking for a better
future. The three presidents (historically known to own slaves), represent the general population of America and their negative outlook on immigration, fearing the loss of economic opportunity. With this economic competition came racial suspicion and discrimination. A long period of social-tension was endured before these immigrants helped transform the American society, showing how diversity can serve as a source of national strength.
Isabella Alva
Melted
Clay and acrylic
10” x 8.5” x 7.5”
2021
Statement:
While on a walk around campus, I noticed numerous black dots covering the sidewalks and roads. These small black dots were all once chewed pieces of gum. This nonsite displays the non-biodegradable nature of melted gum and its harmful effect on infrastructure.
Clay and acrylic
10” x 8.5” x 7.5”
2021
Statement:
While on a walk around campus, I noticed numerous black dots covering the sidewalks and roads. These small black dots were all once chewed pieces of gum. This nonsite displays the non-biodegradable nature of melted gum and its harmful effect on infrastructure.
Indi Sallis
Living in 3D
Foam core and wood sticks
12” x 9” x 8.75”
2021
Statement:
This piece is a recreation of the art studio where my love and passion for creating art blossomed; the space belongs to a family friend who is a working artist and they taught me what it is like to be an artist, everything behind the scenes, different techniques, and so much more. I was able to start the journey of who I am as an artist, making this space hold a very special place in my heart.
Foam core and wood sticks
12” x 9” x 8.75”
2021
Statement:
This piece is a recreation of the art studio where my love and passion for creating art blossomed; the space belongs to a family friend who is a working artist and they taught me what it is like to be an artist, everything behind the scenes, different techniques, and so much more. I was able to start the journey of who I am as an artist, making this space hold a very special place in my heart.
Hannah Moeliono
I Don’t Know Where I’m Going
Watercolor, highlight, ink 9” x 11” x 1”
2020
Statement:
This paper diorama is a personal respone to a mundane highway. I don't know where the cars on the highway are going, and I don't know where I'm going. Where will life take me?
Watercolor, highlight, ink 9” x 11” x 1”
2020
Statement:
This paper diorama is a personal respone to a mundane highway. I don't know where the cars on the highway are going, and I don't know where I'm going. Where will life take me?
Kiera McCollom
I Surrender
Wood, cotton, mud, gold thread
21” x 16” x 60”
2021
Statement:
My work focuses on movement, both real and implied. I created a fabric work that catches the wind and flows like water. I am a dancer, so movement has always been an interest of mine, and I will continue to focus on it in my work. This piece is about beauty in mistakes, which I showed by embroidering gold around the mud. It comes to life outside, where it can catch the wind.
Wood, cotton, mud, gold thread
21” x 16” x 60”
2021
Statement:
My work focuses on movement, both real and implied. I created a fabric work that catches the wind and flows like water. I am a dancer, so movement has always been an interest of mine, and I will continue to focus on it in my work. This piece is about beauty in mistakes, which I showed by embroidering gold around the mud. It comes to life outside, where it can catch the wind.
Herson Iraheta
Still-Life of Homunculus Loxodontus
Pencil and paper
9” x 12”
2020
Statement:
The drawing is based on a statue that I had during my freshman year of college. My statue is a smaller version of a sculpture found in the Netherlands, created by Margriet van Breevoort and is titled Homunculus Loxodontus. I found the statue strange and yet charming, shame that it went missing.
Pencil and paper
9” x 12”
2020
Statement:
The drawing is based on a statue that I had during my freshman year of college. My statue is a smaller version of a sculpture found in the Netherlands, created by Margriet van Breevoort and is titled Homunculus Loxodontus. I found the statue strange and yet charming, shame that it went missing.
Gwen Olmos
Station 03
Foamcore, paper
31”x 12”
2021
Statement:
This model is representational of a gas station I used to visit on the island of Oahu as a child. The station itself had been replaced by another franchise during my last visit. It is during this reconstruction that I discovered my idealized memory of this station had been tampered with by my experiences on the mainland.
Foamcore, paper
31”x 12”
2021
Statement:
This model is representational of a gas station I used to visit on the island of Oahu as a child. The station itself had been replaced by another franchise during my last visit. It is during this reconstruction that I discovered my idealized memory of this station had been tampered with by my experiences on the mainland.
Daniela Urbina
Open-Heart Surgery 2: Here We Go Again
Oil on canvas
14” x 14”
2021
Statement:
I made this piece to confront my past surgical traumas and trauma of living with a debilitating medical condition. The portrait of myself is modeled after a real-life photo of me taken shortly after I was out of surgery, and the title makes light of my second open-heart surgery before I even turned 17.
Oil on canvas
14” x 14”
2021
Statement:
I made this piece to confront my past surgical traumas and trauma of living with a debilitating medical condition. The portrait of myself is modeled after a real-life photo of me taken shortly after I was out of surgery, and the title makes light of my second open-heart surgery before I even turned 17.
Jillian Wendel
Liminal Reflexions
Graphite, blue cardstock, mod podge, antique mirror
14” x 8”
2021
Statement:
Validation is a necessary aspect of conceptual creation. One must acknowledge art to create art. Creating LIMINAL REFLEXIONS came with great difficulty and frustration. Chaotically scraped borders on the mirror express the anxiety around creating work for others to witness. This is a depiction of a meditative space in a short-lived moment. The descent of the burning candle, smoke and ember of the incense, and the falling granules of sand represent the importance of the infinite moment of presence. Beholding this image transports you to a liminal space; the so-called ‘in-between.’ As one gazes at the slight differentiation of drawings, they may perhaps catch their own image in the mirror’s reflection. Conceptualization of a viewer's gaze, but also a transposed image of the viewer within the work itself. I encourage viewers to observe LIMINAL REFLEXIONS deeply and invite them to explore other meditative observational practices.
Graphite, blue cardstock, mod podge, antique mirror
14” x 8”
2021
Statement:
Validation is a necessary aspect of conceptual creation. One must acknowledge art to create art. Creating LIMINAL REFLEXIONS came with great difficulty and frustration. Chaotically scraped borders on the mirror express the anxiety around creating work for others to witness. This is a depiction of a meditative space in a short-lived moment. The descent of the burning candle, smoke and ember of the incense, and the falling granules of sand represent the importance of the infinite moment of presence. Beholding this image transports you to a liminal space; the so-called ‘in-between.’ As one gazes at the slight differentiation of drawings, they may perhaps catch their own image in the mirror’s reflection. Conceptualization of a viewer's gaze, but also a transposed image of the viewer within the work itself. I encourage viewers to observe LIMINAL REFLEXIONS deeply and invite them to explore other meditative observational practices.
Olguita Marble
Manflora
Graphite on paper
20” x 16”
2021
Manflora serves as a representation of my embracing my lesbian identity in a Hispanic household. Due to cultural values, my parents' views condemned and labeled me as a devil for who I am. My piece is a visualization of my own confliction with coming to terms with the matter at hand.
Graphite on paper
20” x 16”
2021
Manflora serves as a representation of my embracing my lesbian identity in a Hispanic household. Due to cultural values, my parents' views condemned and labeled me as a devil for who I am. My piece is a visualization of my own confliction with coming to terms with the matter at hand.
Mikaela Mangona
Hydra
Blender and Vectornator
11” x 17”
2021
Statement:
Inspired by the artist Sarah Ann Banks, I created a historical system in which an immortal creature looks back on humanity’s past. It is composed of 2 major parts: the ever-present Hydra (a polyp that is essentially immortal) and the record of Earth.
The hydra is colorful and blob-like in nature, reminiscent of Banks’ rendition and an embodiment of an immortal creature that is eager to explore as time passes. Unlike my depiction of earth, the hydra is benevolent, and yet largely intimidating due to its overarching position over the Earth.
The earth is flat and colorless to create an analytical image. The diagram lists adjectives describing humanity, both approving and disapproving of how humans treated the Earth and each other. Additionally, the surroundings of the Earth are black, like our perception of space, but also has dashed lines and dots which are meant to appear like a matrix of information.
The Hydra is colorful and observing, reflecting the creativity and expansion of the universe. The Earth is flat, lifeless, and yet it holds dormant information waiting to be rediscovered and further evolve as a part of time and history.
Blender and Vectornator
11” x 17”
2021
Statement:
Inspired by the artist Sarah Ann Banks, I created a historical system in which an immortal creature looks back on humanity’s past. It is composed of 2 major parts: the ever-present Hydra (a polyp that is essentially immortal) and the record of Earth.
The hydra is colorful and blob-like in nature, reminiscent of Banks’ rendition and an embodiment of an immortal creature that is eager to explore as time passes. Unlike my depiction of earth, the hydra is benevolent, and yet largely intimidating due to its overarching position over the Earth.
The earth is flat and colorless to create an analytical image. The diagram lists adjectives describing humanity, both approving and disapproving of how humans treated the Earth and each other. Additionally, the surroundings of the Earth are black, like our perception of space, but also has dashed lines and dots which are meant to appear like a matrix of information.
The Hydra is colorful and observing, reflecting the creativity and expansion of the universe. The Earth is flat, lifeless, and yet it holds dormant information waiting to be rediscovered and further evolve as a part of time and history.
Mercedes Muratalla
Home
Embroidery
18” x 18”
2021
Statement:
This project explores the definition of the word "home." It begins with confusion and distortion in the larger, more abstract piece, and slowly becomes more refined, detailed, and concrete in its appearance. As the embroidery frames become smaller, so does the focus of the entire piece. This journey is reminiscent of the realization that the word "home" no longer means a place: it is now a singular person.
Embroidery
18” x 18”
2021
Statement:
This project explores the definition of the word "home." It begins with confusion and distortion in the larger, more abstract piece, and slowly becomes more refined, detailed, and concrete in its appearance. As the embroidery frames become smaller, so does the focus of the entire piece. This journey is reminiscent of the realization that the word "home" no longer means a place: it is now a singular person.
Jessica Worthey
Tokoro
Digital print
24” x 31”
2020
Statement:
My chosen Japanese concept of space is tokoro (ART 1700 group project), or literally translated to "space" in Japanese. In a spatial sense, tokoro not only refers to a specific location, but also a state of being and a context that stays with a particular place, whether that be historical, social, or social contexts. With our group's central theme revolving around feelings of discomfort, I felt a particular pull towards the feeling of grief, as the deep-pitted feeling of loss that is often (if not always) associated with it is not something so easily forgotten about or easy to push forward from.
Grief is born out of tragedy, and so I decided to base my work on the 2011 Tohoku tsunami and earthquake that devastated the northern coast of Japan's main island and eventually led to the death (+ unrecovered missing persons) of over 15,000 people. Japan has since recovered from the disaster, but the grief of those greatly impacted by the tsunami still has great hold over the coastal towns that have since rebuilt. Since this tragic event is now deeply rooted and associated with the history of these northern Japanese locales, I wanted to create an image of a specific coastal town that was essentially completely washed away by the tsunami (Onagawa, Miyagi Prefecture), keeping the concept of tokoro in mind. Right-side up is the town as it stands today, but flipped around is the former town being swept away in the waves. Onagawa is a fishing town, and so I used the Coho Salmon as a motif connecting the two sides of Onagawa, as the tsunami side of the fish is dead, but the head of the fish is alive on the side of today's Onagawa, representing rebirth and a continuation of life in the wake of a massive loss of such.
Digital print
24” x 31”
2020
Statement:
My chosen Japanese concept of space is tokoro (ART 1700 group project), or literally translated to "space" in Japanese. In a spatial sense, tokoro not only refers to a specific location, but also a state of being and a context that stays with a particular place, whether that be historical, social, or social contexts. With our group's central theme revolving around feelings of discomfort, I felt a particular pull towards the feeling of grief, as the deep-pitted feeling of loss that is often (if not always) associated with it is not something so easily forgotten about or easy to push forward from.
Grief is born out of tragedy, and so I decided to base my work on the 2011 Tohoku tsunami and earthquake that devastated the northern coast of Japan's main island and eventually led to the death (+ unrecovered missing persons) of over 15,000 people. Japan has since recovered from the disaster, but the grief of those greatly impacted by the tsunami still has great hold over the coastal towns that have since rebuilt. Since this tragic event is now deeply rooted and associated with the history of these northern Japanese locales, I wanted to create an image of a specific coastal town that was essentially completely washed away by the tsunami (Onagawa, Miyagi Prefecture), keeping the concept of tokoro in mind. Right-side up is the town as it stands today, but flipped around is the former town being swept away in the waves. Onagawa is a fishing town, and so I used the Coho Salmon as a motif connecting the two sides of Onagawa, as the tsunami side of the fish is dead, but the head of the fish is alive on the side of today's Onagawa, representing rebirth and a continuation of life in the wake of a massive loss of such.
Jayda Davis
Annoyance
Acrylic paint and collage
18” x 24”
2021
Statement:
The inspiration behind this painting was the feeling I get when I have to leave my safe place, something I think many people can relate to. Everyone can relate to just wanting to stay where they are comfortable and feel safe. Everyone can relate to wanting to take a break from reality and responsibilities. I also believe that everyone can relate to feeling somewhat trapped by their comfort zone. All of those experiences invoke irritation and frustration, which is the feel I wanted to illustrate in this piece.
Acrylic paint and collage
18” x 24”
2021
Statement:
The inspiration behind this painting was the feeling I get when I have to leave my safe place, something I think many people can relate to. Everyone can relate to just wanting to stay where they are comfortable and feel safe. Everyone can relate to wanting to take a break from reality and responsibilities. I also believe that everyone can relate to feeling somewhat trapped by their comfort zone. All of those experiences invoke irritation and frustration, which is the feel I wanted to illustrate in this piece.
Isabella Tan
Just Be Friends pg. 29
Ink pen and marker on paper
9” x 12”
2021
Statement:
These pieces are from my final project made in ART 1900. JustBeFriends is a 36-page comic expressing external impacts (environmental, social, etc.) on one’s response to intimacy. It matters to humanity because these external impacts not only reveal one’s living environment, but also human nature, which causes intimacy to be what it is. So, I felt the necessity to express it in my creative project.
While demonstrating my idea through the storyline, I symbolized the atmospheric feelings through depicting spaces through my previous Atmosphere photography collection (Instagram Gallery posts from another one of my ART 1900 projects). My research artist, Jun Mochizuki’s, depictions of her characters and her form of art largely inspired me to start this comic. Similar to her choice of medium, I used ink pen, gel pen, paint pen and markers for the story pages and watercolor on top of those mediums for my cover page.
Moreover, the creating process largely relates to my major (Studio Art: Drawing and Painting), because of both experiencing the traditional comic creating process and my future career pursuit.
Ink pen and marker on paper
9” x 12”
2021
Statement:
These pieces are from my final project made in ART 1900. JustBeFriends is a 36-page comic expressing external impacts (environmental, social, etc.) on one’s response to intimacy. It matters to humanity because these external impacts not only reveal one’s living environment, but also human nature, which causes intimacy to be what it is. So, I felt the necessity to express it in my creative project.
While demonstrating my idea through the storyline, I symbolized the atmospheric feelings through depicting spaces through my previous Atmosphere photography collection (Instagram Gallery posts from another one of my ART 1900 projects). My research artist, Jun Mochizuki’s, depictions of her characters and her form of art largely inspired me to start this comic. Similar to her choice of medium, I used ink pen, gel pen, paint pen and markers for the story pages and watercolor on top of those mediums for my cover page.
Moreover, the creating process largely relates to my major (Studio Art: Drawing and Painting), because of both experiencing the traditional comic creating process and my future career pursuit.
Isabella Tan
_Just Be Friends pg. 32
Ink pen and marker on paper
9” x 12”
2021
Statement:
These pieces are from my final project made in ART 1900. JustBeFriends is a 36-page comic expressing external impacts (environmental, social, etc.) on one’s response to intimacy. It matters to humanity because these external impacts not only reveal one’s living environment, but also human nature, which causes intimacy to be what it is. So, I felt the necessity to express it in my creative project.
While demonstrating my idea through the storyline, I symbolized the atmospheric feelings through depicting spaces through my previous Atmosphere photography collection (Instagram Gallery posts from another one of my ART 1900 projects). My research artist, Jun Mochizuki’s, depictions of her characters and her form of art largely inspired me to start this comic. Similar to her choice of medium, I used ink pen, gel pen, paint pen and markers for the story pages and watercolor on top of those mediums for my cover page.
Moreover, the creating process largely relates to my major (Studio Art: Drawing and Painting), because of both experiencing the traditional comic creating process and my future career pursuit.
Ink pen and marker on paper
9” x 12”
2021
Statement:
These pieces are from my final project made in ART 1900. JustBeFriends is a 36-page comic expressing external impacts (environmental, social, etc.) on one’s response to intimacy. It matters to humanity because these external impacts not only reveal one’s living environment, but also human nature, which causes intimacy to be what it is. So, I felt the necessity to express it in my creative project.
While demonstrating my idea through the storyline, I symbolized the atmospheric feelings through depicting spaces through my previous Atmosphere photography collection (Instagram Gallery posts from another one of my ART 1900 projects). My research artist, Jun Mochizuki’s, depictions of her characters and her form of art largely inspired me to start this comic. Similar to her choice of medium, I used ink pen, gel pen, paint pen and markers for the story pages and watercolor on top of those mediums for my cover page.
Moreover, the creating process largely relates to my major (Studio Art: Drawing and Painting), because of both experiencing the traditional comic creating process and my future career pursuit.
Gavin Figert
Set in Stone
Acrylic on concrete
5.5” x 7” x .25” each
2021
Statement:
My goal was to take a simple action of playing a pickup basketball game and memorize it. This is why I decided to paint onto slabs of concrete and this is why the series of artworks is named Set in Stone.
Acrylic on concrete
5.5” x 7” x .25” each
2021
Statement:
My goal was to take a simple action of playing a pickup basketball game and memorize it. This is why I decided to paint onto slabs of concrete and this is why the series of artworks is named Set in Stone.
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