CGU MFA Theses Exhibits
Images from gallery: CGU MFA Theses Exhibits

Anthropocene exhibition
https://scholarship.claremont.edu/cgu_mfaexhibits/1592
I make my work to create an experience for the viewer, so that they can have their own experience of their world. Their bodies interact with my pieces to re-recognize themselves and their lives. In this experience their body is independent of everything else but their awareness. Their sense of movement, their vision and their tactile sensations come together into my artwork for them to have their own experience. This is what I call self-body awareness.

EP
https://scholarship.claremont.edu/cgu_mfaexhibits/1593
I care about people in public places, I care about how they live, how they treat each other and how they treat the society that has been built by us collectively. Therefore, all my pieces are talking about personal histories and engage people. I use common objects in my work to represent daily life and possible options for thinking about life in an idealistic way. I break down old paradigms and show everyone as equal. These stories are not only about ourselves and daily things, but also about other people. We live in a cross-cultural age. Therefore, how we govern ourselves and how we make ourselves aware of each other are important concerns of mine.

Gargoyles

Launch Pad 6

The places i've never been to

Temp Permit overall

She-Ra
https://scholarship.claremont.edu/cgu_mfaexhibits/1617
Painting primarily in oils on canvas, my work confronts themes of femininity and power in contemporary life. I create images through a mix of the imagined and the observed, focusing on the female form. The figures I paint exude feelings of uncertainty, unease, disconnect, but also strength and heightened awareness. There exists a sense of longing and desire to break out of her confined space, to be a strong female individual, ignoring anyone's expectations. Subtle expressions are contrasted with vibrant, sensual colors; her way of grabbing your attention. My goal is to portray a female perspective regarding identity in an impactful and empowering way.

"Some kinda Alchemy"
Chelsea Boxwell
“Some kinda Alchemy” MFA Thesis Show
Peggy Phelps Gallery
Acrylic, house paint, glitter, fabric, sequins, unstretched canvas,
wood, found objects. 2017

Candy Paintings
Acrylic, house paint, glitter and/or sequins on canvas.
12 x 12 inches each. 2017

Purple Candy Painting
‘Purple’ Candy Painting
Fabric and sequin ribbon on canvas
Canvas square is 12 x 12 inches. 2017

Jelly Bean Sisters
Acrylic, house paint, glitter and sequins on canvas.

Untitled Candy Painting
Acrylic, House paint, glitter and sequins on canvas

Lara Salmon, Thesis Show
At the opening of my show I did a performance in which I blew up forty beach balls with hookah smoke. The act of inhaling smoke to inflate beach balls took two and a half hours. My body was struck with nausea, dizziness and blurred vision. The smoke was repurposed as matter, with my lungs as the transformative force. I wanted to see what it meant for me to use a symbol associated with the culture of the Middle East to fill the room with beach balls.

Contact Points

aesthesia: MFA Thesis Show for C. Genesious Garcia

KIMONO
List of Images from Elizabeth Diane Hoffman’s Thesis Show
1. Show announcement: Vinyl on glass: KIMONO
2. Show announcement: Vinyl on glass: KIMONO
3. View from lobby into Peggy Phelps Gallery (kimono frontal view)
4. View from lobby into Peggy Phelps Gallery (kimono frontal view)
5. Entrance of Peggy Phelps Gallery (kimono frontal view)
6. Kimono installation (silk & brocade kimono hung on pole w/ brackets)
7. Beginning view of left side of the gallery (charcoal drawings on paper)
8. Beginning view of left side of the gallery (charcoal drawings on paper w/ kimono)
9. View of inner gallery
10. Wabi Sabi paintings (watercolor & ink on calligraphy paper) 9.5”x13”; Four Seasons (acrylic paint on Masonite board) 147”x72”; Kimono fabric panels on stretched canvas) 2’x3'
11. Gallery view from inside looking out
12. Kimono fabric panels on stretched canvas 2’x3’
13. Kimono fabric panels on stretched canvas 2’x3’; Charcoal and Conte crayon drawings on paper 18”x24”
14. Charcoal and Conte crayon drawings on paper 18”x24”; Wabi Sabi paintings (watercolor & ink on calligraphy paper) 9.5”x13”
15. Kimono fabric panels on stretched canvas 2’x3’; Charcoal and Conte crayon drawings on paper 18”x24”
16. Wabi Sabi paintings (watercolor & ink on calligraphy paper) 9.5”x13”
17. Four Seasons (acrylic paint on Masonite boards) 147”x72”
18. Kimono fabric panels on stretched canvas 2’x3’
19. Kimono fabric panels on stretched canvas 2’x3’
32. Kimono Charcoal and Conte crayon drawings on paper 18”x24”
33. Kimono Charcoal drawings on paper 18”x24”
34. Kimono Charcoal drawing on paper 18”x24”
35. Kimono Charcoal drawing on paper 18”x24”
36. Kimono Charcoal drawings on paper 18”x24”
37. Kimono Charcoal drawing on paper 18”x24”
39. Kimono Charcoal and Conte crayon drawings on paper 18”x24”
40. Kimono Conte crayon drawing on paper 18”x24”
42. Kimono Charcoal and Conte crayon drawings on paper 18”x24”; Wabi Sabi paintings (watercolor & ink on calligraphy paper) 9.5”x13”
43. Wabi Sabi painting (watercolor & ink on calligraphy paper) 9.5”x13”
44. Wabi Sabi painting (watercolor & ink on calligraphy paper) 9.5”x13”
45. Wabi Sabi painting (watercolor & ink on calligraphy paper) 9.5”x13”

Villegas Gallery View 3
The creatures in my paintings are vastly invested in catering to my sensibilities. Emotional cowardice, impulsive politeness: through them, I am relieved of those personal culprits. They lend ropes, take blame, spit in eyes, and color my streams of consciousness. Furthermore, they manifest personal and social arrays of vexing scenarios. Suffocating hierarchies, the monotony of existence, my paintings aim to offer respite from such malaise.

Villegas Gallery View 2
The creatures in my paintings are vastly invested in catering to my sensibilities. Emotional cowardice, impulsive politeness: through them, I am relieved of those personal culprits. They lend ropes, take blame, spit in eyes, and color my streams of consciousness. Furthermore, they manifest personal and social arrays of vexing scenarios. Suffocating hierarchies, the monotony of existence, my paintings aim to offer respite from such malaise.

Villegas Gallery View 1
The creatures in my paintings are vastly invested in catering to my sensibilities. Emotional cowardice, impulsive politeness: through them, I am relieved of those personal culprits. They lend ropes, take blame, spit in eyes, and color my streams of consciousness. Furthermore, they manifest personal and social arrays of vexing scenarios. Suffocating hierarchies, the monotony of existence, my paintings aim to offer respite from such malaise.

Vinyl Title Show

Unfettered
Doraelia Ruiz MFA show Photos

KIMONO

Stratum

Tapestry
The wall pieces are intentionally left to be crude, unrefined, and raw. A look at the world with a border, walking backwards to a beginning, what it was like before the traffic of the mind. Itinerant qualities along with an objective dissidence bring about an experience of tribal nomadic earthy hues. The paintings stay close to my interpretation of the earth, similar to the sculptures. Like twins born in the same embrace with contemporaneous qualities they exist together with a connection in materiality. There is a relationship between my paintings and sculptures; a mutual dependence seen and experienced together that is beneficial and synergistic.
The soft, assemblage of fabrics, the earthen dyed pigments, irregular patterns and informal expression create a foundation to these objects. There is no direct order to how the viewer can translate each piece; the inclusive vapidity just blends any sort of interpretation. The primitive component is a simple expression through dye, paint, aboriginal pointillism, spray paint, and ready-made fabrics.
This body of work represents the freedom and ability to not be weighed down by existing ordinances of art enthusiasm and translation.

4th Street Memorial (2nd Photo Angle)
Spraypaint and Markers 24"x36" Canvas

Gallery View

Four Faces
Spraypaint on 8'x8' Masonite Panel

Hypnosis (wide gallery angle)
Video Installation On Cut and Painted Dropcloth with Styrafoam Mannequin Head

Hypnosis
Video Installation On Cut and Painted Dropcloth with Styrafoam Mannequin Head

Hypnosis (angle 2)
Video Installation On Cut and Painted Dropcloth with Styrafoam Mannequin Head

Hypnosis (angle 3)
Video Installation On Cut and Painted Dropcloth with Styrofoam Mannequin Head

Hypnosis (angle 4)

Mad Men
Spraypaint and Markers On Aluminum Letters 24"x12"

National Parks and Reservations
Spraypaint and Markers On Concrete Latex Paint On Floor Parking Space Dimensions

National Parks and Reservations (angle 2)
Spraypaint and Markers On Concrete Latex Paint On Floor Parking Space Dimensions

National Parks and Reservations (angle 3)
Spraypaint and Markers On Concrete Latex Paint On Floor Parking Space Dimensions

Not Enuf Salsa
Spraypaint and Markers on Concrete With Corn Tortilla Chips

Semantics of Willful Ignorance (angle 2)
THE SEMANTICS OF WILLFULL IGNORANCE
se·man·tics
səˈman(t)iks/
noun
noun: semantics; noun: logical semantics; noun: lexical semantics
the branch of linguistics and logic concerned with meaning. There are a number of branches and subbranches of semantics, including formal semantics, which studies the logical aspects of meaning, such as sense, reference, implication, and logical form, lexical semantics, which studies word meanings and word relations, and conceptual semantics, which studies the cognitive structure of meaning.
Willful blindness (sometimes called ignorance of law, willful ignorance or contrived ignorance or Nelsonian knowledge) is a term used in law to describe a situation in which a person seeks to avoid civil or criminal liability for a wrongful act by intentionally keeping himself or herself unaware of facts that would render him or her liable.
Although the term was originally - and still is - used in legal contexts, the phrase "willful ignorance" has come to mean any situation in which people intentionally send their attention away from an ethical problem that is believed to be important by those using the phrase - either because the problem is too disturbing for people to want it dominating their thoughts, or from the knowledge that solving the problem would require extensive effort. This phenomenon is closely related to the aphorism, "Ignorance is bliss."
-Texas Criminal Law book (mysteriously found in my car after leaving my windows open one night in Austin) in which I scrapbooked with approximately 1000 photos of graffiti from Corpus Christi, Amarillo, Midland/Odessa, El Paso, Austin, and San Antonio
-printed by Polaroid Printer on adhesive photo paper shot on old DSLR

Hangs brightly
My works are inextricably related to my life. They create an imaginary world that reflects my actual experiences, emotions, and memories. Also, I never expect every viewer to could discover, but wait for careful viewers to discover it and to free up their own minds and to draw their own conclusions.

Hangs brightly

Hangs brightlys
My works are inextricably related to my life. They create an imaginary world that reflects my actual experiences, emotions, and memories. Also, I never expect every viewer to could discover, but wait for careful viewers to discover it and to free up their own minds and to draw their own conclusions.

hangs brightly

Pizza Hurt

I've Been Drunk Since I was a Baby

Dream Lungs

Rothko Flavor Burger

Cone and Steak

Beverages

Overall Gallery View

Thesis Exhibition Installation (Northwest View)

Thesis Exhibition Installation (East View)

Thesis Exhibition Installation (Southeast View)

Thesis Exhibition Installation (Southwest View)

Thesis Exhibition Installation (North Wall)

Thesis Exhibition Installation (East Wall)

Thesis Exhibition Installation (South Wall)

Intergalactic Sport
2014
Acrylic, conte crayon & paint marker on canvas
85.5 x 72 inches

Powering the Void (left) & Mini Harvest (right)
Powering the Void
2015
Acrylic, chalk, soil & spray paint on canvas
47.5 x 34 inches
Mini Harvest
Acrylic, chalk & spray paint on canvas

Rain Shadow: American Northern
2015
Acrylic, chalk, soil & spray paint on canvas
85.5 x 72 inches

In the Blind
Acrylic, conte crayon, chalk, soil & spray paint on canvas

Desert Plays in the Spring
Acrylic, spray paint & paint marker on canvas
45 x 33.5 inches

History of the World
Spray paint on ceramic
6.5 x 20 x 14 inches

Entertainment/ Sustenance
Acrylic, conte crayon & spray paint on canvas
54 x 108 inches

Ace Of Base
42"x42"
archival pigment print

Every Bike
58"x108"
archival pigment print

Sports
62"x122"

Firemen Training Facility

Just Way, Way, Way Too Crowded

LANY

Bad Family Vacation Photos

nothing's wrong

Dancefloor

Thick City

Em

nothing's wrong
Installation shot

Extra Sprinkles

Closet

Closet
Detail

Sun Tea

"I don't normally do this sort of thing."

Photograph

Best Friends (attention is the most basic form of love)

Toys for Storytelling (sentence 4)

Toys for Storytelling (sentence 5)

Zero to One
Detail

Zero to One

Standing Still, installation view
Found sticks (various materials), fishing wire, video 76 minutes. Installed dimensions 37 ft x 26 ft x 16 ft. Documentation by Brian Jones Photography.

Standing Still, detail

Transmogrify

Floating Along
30in x 30in
Acrylic on canvas

Dental Tissue
8ft x 10ft
Oil and paper towels on canvas

Wisdom Removed
5ft x 5ft
Oil on canvas

Teeth Among The Cells
9in x 9.5in
Acrylic, enamel paint, and resin on panel

Dental Pulp Stems Cells
3ft x 4.5ft
Acrylic on canvas

Transmogrify
3ft x 4.5ft
Oil on canvas

TikTak Whole View 01

Whole View

Whole View 05

Whole View 03

Whole View 12

Beyond The Pixels

Voices

Just Leave Me Here

When You Walked Away

When You Were Here

Buried

How You See Me

Installation 1

Installation 2

Installation 3

"Mr. Lee"

Campfire Cuddle (installed)

Spragga Black
Enamel, Hydrocal, cardboard, wire
32 x 30 ½ x 9 inches

Spragga Brown
Acrylic, Hydrocal, wire, plastic, fabric, burlap
58 x 49 x 9 inches

Spragga Chartreuse
Acrylic, Hydrocal, plastic, foam
14 ½ x 33 x 9 inches

Spragga Gray
Acrylic, Hydrocal, wire, plastic, wood, burlap, cardboard
68 x 52 x 8 inches

Spragga Red
Enamel, Hydrocal, wood, metal, fabric
45 x 53 x 17 inches

I am... I can... I will...
Title: I am... I can... I will...
Date:2014
Size: 8x9 Feet
Medium: Acrylic and commercial paint on canvas

Infinity
Image of the MFA Thesis Show Infinity at Peggy Phelps Gallery, CGU, Claremont, CA. An overall gallery view.

Infinity
Image of the MFA Thesis Show Infinity, at Peggy Phelps Gallery, CGU, Claremont, CA. Overall image of the gallery.

PRojecTORdinarY
Installation View

install # one

install # two

Making Rich Use of "Leisure"

Making Rich Use of "Leisure" Installation West Wall paintings, sculpture on floor

install # three

install # four

install # five

dark inventory (installation shot)

Making Rich Use of "Leisure" Installation West and north Wall paintings, sculpture on floor
Range of paintings on traditional and non-traditional surfaces (canvas, cardboard, reclaimed wood), using traditional and non art materials such as oil, acrylic, tape, foil, burlap.

Making Rich Use of "Leisure" Installation North and East Wall paintings, sculpture on foreground
Large painting (silver and white) is entirely done without a single drop of paint. The sculpture in the foreground is made of pieces of scrap wood from the wood shop recycling bin. The paintings in the back are comprised of materials and paint: acrylic, oils, cardboard, silver material, foil, burlap.

Making Rich Use of "Leisure" North Wall painting
First painting is burlap, foil, tape, cardboard, oil and acrylic on canvas

Making Rich Use of "Leisure" Installation East Wall paintings, with sculptures in foreground
contemporary abstract painting, burlap, cardboard, foil on canvas, abstraction, utopia, dystopia

Making Rich Use of "Leisure" Instalation, East wall paintings with Wonky (sculpture) on foreground
Abstraction, Matisse, contemporary art, post-post-modernism, utopia, dystopia, cardboard, burlap, design, patterns

Making Rich Use of "Leisure" Installation
What to do with small paintings, installation, sculpture, foil, burlap, tape, acrylic, oil, contemporary art, abstraction, contemporary painting.
Exhibit installation wall (South Wall and West wall)

Making Rich Use of "Leisure" Exhibit, West and north Wall paintings, sculpture on floor
Four panels making one piece: Post utopian educational posters. Large painting on right is entirely conceived with tape, foil on canvas. Sculpture on floor is comprised by found reclaimed wood scraps.

Patch Wright
Wright is a contemporary sculptor whose work focuses on history, symbolism, and the experience of materials and objects.

Patch Wright
Installation view.

LABOR

Peggy Phelps Gallery Side View
3 Golden Mops, altered mops and broom, epoxi resin, concrete, wood, stuc-bol, gold leaf 23.75 K

Jack Wilson MFA Thesis 2014: Chasing The Unicorn
Jack Wilson MFA 2014: Chasing The Unicorn - Gallery Images

Jack Wilson MFA Thesis 2014: Chasing The Unicorn

Jack Wilson MFA 2014: Chasing The Unicorn - Gallery image

untitled 1

untiteled 2

untitled 5

untitled 6

Disclosure of the Producer of Style Exhibit
Fashion is intriguing in that it is a kind of ritual based on the concealment of seemingly perpetual shame. The psychological mask of style remains an agent of socially precipitated narcissism. Guilt about it stokes the fire. I pour water on this fire by aiming to mediate it with a spirit of respect in the handling of appropriated fashion images. The resulting works I construct may be taken and changed in turn. This non-hierarchical exchange of recast photos allows for the possibility of upturning established codes of visual hegemony.
Fashion propaganda tends to dismiss the power of certain populations. While I slip into the role of unacknowledged laborer of a psychological product, the object of envy, a carefree identity of extreme relevance, sweatshop workers in remote locations are set aside. A denial of the reality of self seems requisite. The projection of desire onto products, and ultimately onto human flesh, is contingent on the fallacy of a non-existent producer. I invoke an affirmation of the laborer, especially in regards to the woman, bearer of humans, on whom the psychic shroud is doubled down.
While I repudiate the deceptive attitude of fashion, I won’t deny simultaneously seizing the joy of faulty glamour. There comes a particular satisfaction in the lifting of rejected culture, and its transformation into exquisite specimens of communication. Beauty thrives on the make-do of its bankrupt beginnings.

Shipwreck II
Oil on canvas
100”x 132”
Artist Dominique Ovalle paints from imagery garnered from travels to Palau, expressing the spiritual relationship between nature and the soul, tapping into the real by presenting an object for the viewer to link to in space, using color and materials to create a new territory.

Liberated Form
Stretcher bars, colored light
Dimensions Variable

Water Riot Territory
Mixed media on canvas
60” x 48”

Sun Dog
Oil, gold on canvas
60” x 48”

Empty but somehow full (Just passing through)
Humans holding light and transferring energy, photons redirected at mathematical angles. It's geometry, its natural, its physical.
"Empty but somehow full (Just passing through)"
Oil, gold on canvas
84” x 60”

Unlikely Abundance All
Painting like my life depended on it.
"Unlikely Abundance All"
Oil, clay on canvas

Gallery View
Curation location done by Dominique Ovalle, artist.

Gallery View
Creating a new visual territory for the spiritual.

Gallery View # 1

Gallery View # 2

Gallery View # 3

GMO
My work revolves around various interactions that occur when disparate media occupy the same space. This interplay begins in the making of the individual pieces. Whether it is ceramics, sculpture, or painting, I first consider the basic materials involved and their physical attributes. Then, I either accentuate these elements by building them up or bring them to some kind of breaking point by increasing the stress upon them. It is in this process of forming that I make decisions on how the work will interact within the space it occupies. Moving between the media's materiality and the space the works occupy creates dialogs that open onto a broad range of cultural issues.

Blue Balloons and White Fog, Gallery View

Blue Ballons and White Fog, Gallery View

Three Squares A Day
I work in series creating paintings with a homemaker sensibility. Embedding bits of canvas, paper, and small items into encaustic wax establishes a foundation of reuse. I search for patterns of structure and disorder through gouging and scraping the layers. The underlying system sets the stage for the next series.

Back to Front View
Back of gallery to front view.

iSolated INFINITE
I explore the relationship between human borders and digital space. The porous borders between these entities shape contemporary culture and identity. Amid the digital current, I find myself over-stimulated, fighting to stay afloat through multitasking, immediacy and cramming. My sculptural installations investigate how I see, experience, interact with and react to digital space.

There Be Dragons
Sculptural works using a combination of theatrical lighting, opposing materials, and craft techniques to create performative installation. There is a stable yet unstable relationship between the viewer and the work that bring about a level of social engagement as they navigate around the objects.

Dragon 1
The piece is made out of a series of steel curves that thread through an over sized aluminum chain. The spine arcs up and outward pulled, supported, and restrained by a graph of black cord on the ceiling and walls of the room. Streaks of colored fabric run through it, creeping out onto the floor.

Dragon 2
A blue line falls in a slight spiral from the ceiling, bound and weighed down by its undulating exterior of black plastic straps. Screws keep the straps in place and the form spiked armor.

Dragon 3
In this piece wooden blocks wind into coils on the floor. From each joint in this wooden knot metal protrudes, keeping the form and escaping it.

Wooden blocks wind into coils on the floor. From each joint in this wooden knot metal protrudes, keeping the form and escaping it.

Dragon 1 (detail)
This piece is made out of a series of steel curves that thread through an oversized aluminum chain. The spine arcs up and outward pulled, supported, and restrained by a graph of black cord on the ceiling and walls of the room. Streaks of colored fabric run through it, creeping out onto the floor.

Dragon 2 (detail)
A blue line falls in a slight spiral from the ceiling, bound and weighed down by its undulating exterior of black plastic straps. Screws keep the straps in place and the form spiked armor.

Dragon 3 (detail)
Wooden blocks wind into coils on the floor. From each joint in this wooden knot metal protrudes, keeping the form and escaping it.

There Be Dragons (installation shot)
The frames of the sculptures are drawings in space, mimicking biological structures. The first piece is made out of a series of steel curves that thread through an over sized aluminum chain. The spine arcs up and outward pulled, supported, and restrained by a graph of black cord on the ceiling and walls of the room. Streaks of colored fabric run through it, creeping out onto the floor. Elsewhere, a blue line falls in a slight spiral from the ceiling, bound and weighed down by its undulating exterior of black plastic straps. Screws keep the straps in place and the form spiked armor.

, Between You and Me

M and B
Acrylic on canvas
60x48

He Saw That It Was Good
Acrylic and glitter on canvas
60x48

I Want to Hold Your Hands
Acrylic and glitter on canvas
72x124

Fifth Day of Blessing
Acrylic and glitter on canvas

The Vault of Heaven

Flowers Blooming in the Garden

Kind of Blue (Gallery View)

Reticent Doodle
A collection of images documenting my MFA Thesis Exhibition "Reticent Doodle." It consisted of three large sculptures made of steel and copper.

Reticent Doodle

THESE THINGS HAPPEN: NEW AMERICAN LANDSCAPES
This body of work consists of images I collected between the months of June and August 2012 while travelling across the contiguous United States by car.
The initial imperative of this project was to travel to personal destinations while casting a dragnet on everything that I saw. These photographs were made in transit, at highway speeds or while walking. Rarely composed and minimally processed, these images are very nearly objective encounters with what’s transpired. This method of shooting was a kind of acknowledgement of the absurdity of attempting to image an entire country, a way of limiting or neutralizing my automatic impulses to frame and compose (thereby sharing some authorship with the camera itself), and finally it was a way to embrace an element of chance.
I am particularly inspired by the work of John Cage, Deleuze and Guattari, Jorge Luis Borges, Foucault and Derrida and the continental theorists, Marx, and Trinh T. Minh-Ha. I am further influenced by Susan Sontag, Judy Butler, Patricia Vettel-Becker, These artists, writers, and thinkers deal with recognition, contentious hierarchies, positivizing the negative, intervals, possibilities, and the infinite.

Outside Full Gallery Shot
Outside shot of structure in darkened gallery.

Babydoll Arms Lantern

Doorway

Tiny Gallery Corner Shot

Behind the Begin
This is a behind space of an installation "Begin."

Overview of gallery from entry.

Overview of gallery opposite entry.

Gallery side view.

Bearing Likeness, Gallery View

Rose Street, Gallery View
wax, oil paint, gold leaf, lace, magazine transfer, crystalized salt
35.5 x 37.5

Aubusson, Gallery View
steel wire, paper, tape, paper mache, wax, oil paint, gold leaf

Falling Apart While Awake
Crystal Erlendson conceals surfaces with irreverent, ornamental gestures to reveal a daft logic in space. Her paintings stem from the responsibility to act irresponsibly. She participates in injurious and irreverent action to her paintings as way to break up the ho-hum and sterility of surfaces that psychologically constrict us. Memory is invariably part of viewing; forms may feel familiar—imagery alludes to fanciful arrangements of architecture, wall motifs, landscapes and/or reckless human mark making. However, the goal of her work is to not to strike a sense of nostalgia, but rather pursue the unstable truth of our experience in space through paintings that interfere with our logic of the surface.

Falling Apart While Awake

Kyla Hansen

Woman embracing

Man raising hands

Woman holding

Man in front of table.

Child leaning.

Absence, Presence
Man in an empty room.

Heaps Street
Medium: Mixed media
Dimensions: Dimensions Variable

Spatial Phases

White Light

Don't Mess with Magic

Harbor Island

Ominous Optimism
List of Images
Image 1: Front view number 1
Name: Jesse Standlea
Date: 2012
Title: Untitled
Media: Mixed Medium
Image 2: Front view number 2
Image 3: Front view number 3
Image 5: Detail 1
Image 6: Detail 2
Image 7: Detail 3

Travis Novak

Gallery Shot

Gallery shot

North Wall View

East Wall View

South Wall View

West Wall View

Lalaland

Kathleen Melian MFA Thesis - Lalaland
"Lalaland" Installation view, Claremont Graduate University East Gallery

Kathleen Melian MFA Thesis - Lalaland
"Drift", Oil on Canvas, 76" x 84"

"Lalaland" Installation View, Claremont Graduate University East Gallery

Philosophy Lullaby Chamber
Media : 65 min. interactive performance, pinecones, urethane foam, tinsel, sisal, wire, wood
Dimensions : 75"h x 122"dia.

Antidote Control Booth
Media : wood, spray paint, pigmented urethane foam, wig, digital prints, resin, acrylic, plaster,bucket, oil in Noxzema, paper, syringe caps, photo emulsion, cardboard, dye, silk
Dimensions : variable
Year : 2012

Overall View

untitled, 2012, oil on canvas, 60”x72”

Gallery View1
Peggy Phelps Gallery View

Peggy Phelps Gallery view

Gallery view2
Peggy Phelps Gallery view

Tutti Frutti
My reliance on the exhibition space as an activator for art has become a vehicle for addressing the building as the art not the backdrop for the art. If the gallery is white and unpleasant it can be covered like a canvas or a body. Dressing the building, like dressing my body is an extension of my person as mark making is to the painter. Art without true utilitarian function resulting from material desire is analogous to the body and its lack of political power. Why should the objectified body be worse off than the object? I can make the Cartier bracelet, which sits on the wrist, be seen as no different than the (fill-in-the-blank) painting above the couch.

Tutti Frutti
Tutti Frutti (overview of East Gallery), mixed media sculpture and wall pieces; wood, aluminum, stucco and live foliage- Ajuga, Moneywart, Isotoma-Blue Star Creeper, Dragon Blood

Tutti Frutti
Tutti Frutti II (overview of Peggy Phelps Gallery), mixed media sculpture and wall pieces; wood, aluminum, stucco and live foliage- Sedium- Angelicum and Sedum-Ogon

Tutti Frutti (view from East Gallery)
Mark making is equivalent with making a place one's own. Demarcation of a site is not solely a negative act. The negation of a space is pre-transcribed, presupposed. The point is to take the negative and invert it. It’s not a one-way street. In order to change the building you have to move through the building and let the building move through you. Once the building lives in the occupant the experience of the building can be altered. Total absorption of architecture and its environment can provide a means to live in a unified expressive way. It’s about the person. The individual. Confidant and willing, anyone can make a place their own. Make anything their own. Express themselves in any context. Throw on shades and deal with it.

Tutti Frutti (Peggy Phelps Gallery detail)
Mark making is equivalent with making a place one's own. Demarcation of a site is not solely a negative act. The negation of a space is pre-transcribed, presupposed. The point is to take the negative and invert it. It’s not a one-way street. In order to change the building you have to move through the building and let the building move through you. Once the building lives in the occupant the experience of the building can be altered. Total absorption of architecture and its environment can provide a means to live in a unified expressive way. It’s about the person. The individual. Confidant and willing, anyone can make a place their own. Make anything their own. Express themselves in any context. Throw on shades and deal with it.

spoor turn spoil
Oil stick, marker, house paint and gesso on un-stretched canvas, 122" x 119"

Gallery View, East Gallery CGU
East Gallery, Claremont Graduate University, November 5-9, 2012

Working Title
(Working Title) is an exploration into the interaction of the idea spaces of installation art and the theme park, through Nate Little's narrative environment of Arboria. Plush Characters populate an environment that fills the gallery space.

Working Title 2
Panorama view of Left-hand side of the "entry" area of the gallery.
(Working Title) is an exploration into the interaction of the idea spaces of installation art and the theme park, through Nate Little's narrative environment of Arboria. Plush Characters populate an environment that fills the gallery space.

Working Title 9
180 degree panorama of the "Game Room" and "Living Room" spaces.
(Working Title) is an exploration into the interaction of the idea spaces of installation art and the theme park, through Nate Little's narrative environment of Arboria. Plush Characters populate an environment that fills the gallery space.

Working Title 22
"Behind the Scenes" area

Today you will be with me in Paradise.
Today you will be with me in Paradise

Alta Dena
Alta Dena, pigment print on Sintra board, 40" x 60," 2011

LA River
LA River, pigment print on Sintra board, 48" x 40," 2011

Joshua Tree 2
Joshua Tree 2, pigment print on Sintra board, 40” x 60,” 2011

Backyard 1
Backyard 1, pigment print on Sintra board, 40” x 60,” 2011

Backyard 2
Backyard2, pigment print on Sintra board, 40” x 60,” 2011

Johnson Street
Johnson Street, pigment print on Sintra board, 40” x 60,” 2011

Joshua Tree 1
Joshua Tree 1, pigment print on Sintra board, 40” x 60,” 2011

Arctic Backdrop
Arctic Backdrop, oil on canvas and PVC sheets and wood, 72” x 144” x 48," 2011

Installation
gallery installation

Installation
Gallery installation

Gallery installation

Gallery Installation

MFA Thesis Exhibition February 7-11, 2011, Peggy Phelps Gallery, Claremont Graduate University.

Artist's talk for MFA Thesis Exhibition February 7-11, 2011, Peggy Phelps Gallery, Claremont Graduate University.

Untitled 1
Untitled 1, 2010, pastel on paper, 10.5' x 6'.

Untitled Detail A
Detail of Untitled, 2010, pastel on paper.

Untitled Detail B
Detail of Untitled,2010, pastel on paper.

Untitled Detail C
Detail of Untitled, 2010, pastel on paper.

Untitled 2
Untitled 2, 2010, pastel on paper, 10.5' x 6'.

Untitled 2 Detail A
Detail of Untitled 2, 2011, pastel on paper.

Untitled 2 Detail B
Detail of Untitled 2, 2011, pastel on paper.

Untitled 3
Untitled 3, 2011, pastel on paper, 10.5' x 6'.

Untitled 3 Detail A
Detail of Untitled 3, 2011, pastel on paper.

Untitled 3 Detail B

Untitled 3 Detail C

Detail of Untitled 4, pastel on paper.

Untitled 4 Detail A

Untitled 4 Detail B

Untitled, 2010, pastel on paper, 10.5' x 6'.

Untitled 5 Detail C
A detail of the work Untitled 5, 2010, pastel on paper.

SHE
She, 2011
Digital Photography
44" x 52"

HE
He, 2011
Digital Photography
44" X 52"

Does You Smile? Part 1 to 4
does you smile? part 1 to 4 , 2011
Digital Photography
21" x 31"

Does You Like Me? Part 1 to 4
does you like me? part 1 to 4, 2011
digital photography
31" x 21"

Do You Knows Me? Part 1 to 4
do you knows me? part 1 to 4, 2011

Variant Evolution - Installation Shot 01
Installation shot of Variant Evolution, acrylic, gesso and ink on plexiglas with wood shelves, 10' x 20', 2011. Exhibition took place in the East Gallery, Claremont Graduate University Art Department.

Variant Evolution - Installation Shot 02
Installation shot of Variant Evolution, acrylic, gesso and ink on plexiglas with wood shelves, 10' x 20', 2011. Exhibition took place in the East Gallery, Claremont Graduate University Art Department.

Selecting In - Selecting Out, General Installation View 01
Installation view of Melanie Moore's MFA Thesis Exhibition, Selecting In - Selecting Out on February 21-25th 2011 at the East Gallery, Claremont Graduate University Art Department.

Davin K. Knight MFA Thesis Exhibition
Push the Button//Start the Show, installation view. Peggy Phelps Gallery, Claremont Graduate University, April 4-8, 2011.

MFA Thesis Exhibition
Push the Button//Start the Show, installation view. Peggy Phelps Gallery, Claremont Graduate University, April 4-8, 2011.

A Gigabyte in a Nanosecond
A Gigabyte in a Nanosecond, 2011
C-print on PVC panel, acrylic face
43x43 inches

Special Analog Set
Special Analog Set, 2011
UV print on PVC panel
61x47 inches

Bright Light on the Dark Side of Town
Bright Light on the Dark Side of Town, 2011
UV print on PVC panel
35x35 inches

Blowin’ Sparkles Through the Chrome
Blowin’ Sparkles Through the Chrome, 2011
UV print on PVC panel

Caught Up in a Speedlight
Caught Up in a Speedlight, 2011
diptych, latex print on adhesive fabric

Premature Autopsy 213/78
Premature Autopsy 213/78, 2011
C-print on PVC panel, acrylic face

Time has Always Changed the Same
Time has Always Changed the Same, 2011

Bweepwoo-Bweepwoo
Bweepwoo-Bweepwoo, 2011
UV print on 1.5 inch acrylic cubes
9x9x9 inches

incidental ungraying (pink)
pigment print on sugarcane fiber paper, 64”x44”

incidental ungraying (green)
pigment print on sugarcane fiber paper, 64”x44”

incidental ungraying (blue)
pigment print on sugarcane fiber paper, 64”x44”

incidental ungraying (red)

incidental ungraying (yellow)

Portraits
pastel over pigment print on sugarcane fiber paper, 32” x22” each, and video display

Here's Looking When, Installation View 1
"Here's Looking When" MFA Thesis Exhibition
Claremont Graduate University
East Gallery

Here's Looking When, Installation View 2
"Here's Looking When" MFA Thesis Exhibition
Claremont Graduate University
East Gallery

Here's Looking When, Installation View 3
"Here's Looking When" MFA Thesis Exhibition
Claremont Graduate University
East Gallery

Gallery Installation View 1

Gallery Installation View 2

Selecting In - Selecting Out, Melanie Moore MFA Thesis Exhibition - Capsulated
Capsulated Gesso, acrylic and ink on wood panel, 46''x46'' 2011

Selecting In - Selecting Out, Blue unknown
Blue unknown gesso on wood panel, 46''x46'' 2011

Selecting In - Selecting Out, In multiples
In multiples acrylic and gouache on wood panel, 46"x46" 2011

Selecting In - Selecting Out, After the Beagle
After the Beagle gesso and acrylic on wood panel, 46''x46'', 2011

Selecting In - Selecting Out, Splatter
Splatter acrylic on wood panel, 24''x24'', 2011

Selecting In - Selecting Out, Flow
Flow acrylic on wood panel, 24''x24'', 2011

Selecting In - Selecting Out, Disperse
Disperse acrylic and ink on wood panel, 24''x24'', 2011

Selecting In - Selecting Out, Separate
Separate acrylic and ink on wood panel, 24''x24'', 2011

cement, construction materials, patterns, pink, green, bags, wall frame

cement, construction materials, patterns, pink, green, wall frame

walls
cement, construction materials, patterns, pink, green, wall frame

walls close-up
cement, construction materials, patterns, pink, green, wall frame

Thinh Nguyen MFA Thesis Exhibition
Installation: Untitled (Shred, Cut, and Bound), 2011
Size: Variable
Materials: Shred artist’s catalogues, felts, various plastics, threads, acrylic paint, plastic manikin, and crotch yarn hood
Description: The installation is composed of various size balls made of shredded artist’s catalogues bound with colorful felts by threads and various plastics for color variation. The balls are randomly arranged, but reconfigured to give enough room for movement in between with the invitation for viewers to walk among them or along the side path. In the center, the manikin emerges out of a large ball, as if signifying alters like form.

Nano Rubio MFA Thesis Exhibition

Andre Goeritz MFA Thesis Show
I strive to make objects of no complicity--arranging smaller parts to create larger forms, or allowing the combination of parts to allude to narratives without linearity, foreshadowing, point of entry, point of attack, conflict, context, or catharsis; a state of sustained stillness until equilibrium is no longer a desired result, at which point the parts of the whole can be dismantled, reconfigured, made anew. I think about words, rhythm, inflection, resonance or timbre, vocal dissonance, dismembered disjointed utterances, and repetition--somatic impulses guided by intent. Intention translates into action--an act of will, a willful act, an act of willful intent--a marker of making, solidifying and codifying an abstracted linguistic turn--turned into intentioned form--neither act nor intent as inception of the work, yet both accountable for the resultant iteration. Entropic forces encroach on seemingly stable forms that repeat, upward and outward--the expansion of volume extended in time playing on the senses in a collapsed field.

Andre Goeritz MFA Thesis Show

Jane Gillespie Pryor, MFA Installation Shot
Installation photograph of MFA Thesis Exhibition of Jane Gillespie Pryor

Jane Gillespie Pryor, MFA installation shot
Installation photograph of MFA Thesis Exhibition of Jane Gillespie Pryor

Jane Gillespie Pryor, MFA Installation Shot
Installation photograph of MFA Thesis Exhibition of Jane Gillespie Pryor.

Installation Shot 1

Installation Shot 2

Installation Shot 3

Installation Shot, Vinyl

attraction/distraction
Drips are commonly uncontrolled in paintings. In my current work, I strive to differentiate between gestural mark-marking and my own calculated mark making. The paintings subvert the simple reading of drip paintings by creating diverse and gravity defying drips. The work becomes graphic and optical through the vertical drips and use of colors.

attraction - distraction gallery shot

Reclined Burnout In Two Parts (Double Impact TitSmoke)

Installation View I

Installation View II

All works in grid formation are untitled.
All dimensions are 24" x 18".
Materials used are wax crayon and graphite on paper.

Scott R. Ritter Thesis Exhibition

Jane Liu MFA Thesis Exhibition
Jane Liu MFA Thesis Exhibition, “ Peggy Phelps Gallery, View 1”, March 7-12, 2011

Jane Liu MFA Thesis Exhibition
Jane Liu MFA Thesis Exhibition, “ Peggy Phelps Gallery, View 2”, March 7-12, 2011

Stories of Loss and Gain
Stories of Loss and Gain: Videos by Amy Ling Huynh, overall gallery view.

Climate Change, MFA on Ice
This MFA Thesis exhibition by Christy Roberts, entitled Climate Change, MFA on Ice consisted of a synthetic ice skating rink in the gallery, with a video-projected changing climate and a soundtrack comprised of music made from nature samples. Visitors were able to check out skates at the concession stand and skate for as long as they liked.
Within the confines of the body there is a longing to connect. I believe that this is a longing to connect to place and often to the others who occupy it. When this longing is not satisfied, either by place or people, tension arises. I create experiences, images, and objects that explore the tension between the body and its social, physical, and natural environment.

Climate Change, MFA on Ice

Jane Liu MFA Thesis Exhibition
Jane Liu MFA Thesis Exhibition, “Peggy Phelps Gallery, View 3”, March 7-12, 2011

Jane Liu MFA Thesis Exhibition, “Peggy Phelps Gallery, View 4”, March 7-12, 2011

Jane Liu MFA Thesis Exhibition, “Peggy Phelps Gallery, View 5”, March 7-12, 2011

Jane Liu MFA Thesis Exhibition, “ Peggy Phelps Gallery, View 9, Artist Talk”, March 7-12, 2011

Jane Liu MFA Thesis Exhibition, “ Peggy Phelps Gallery, View 10, Clapping”, March 7-12, 2011.

One night in the desert, there was...

Dislocation

installation view 1

installation view 2

installation view 3

Shhh... say nothing
Installation view.

Shhh... say nothing

The Belly of the Beast 1
My work embodies my response to the American Dream. Big houses, flashy cars and glamorous lifestyles are what many of us work for. Coming from a military family, I grew up moving often without an idealized connection to a single structure. In response to this, I use artwork to create translucent, ephemeral sculptures of these items, revealing them as tangible, hollow shells of their former selves. Clear plastic and packing tape sculptures leave a ghostlike reflection of what was. These shells of inanimate objects are personified through their creation, a process similar to what I compare to mummification or embalming. The semi-transparent, milky appearance of these sculptures is meant to give audiences a chill as one reflects on the life, death, and the plastic shell of objects’ remains. Some days I feel like a creator, other days I feel like a mortician.
It is a circumcised epitaph of glimmering glorious sanctimonious art, repulsed, re-examined, all knowing yet unknown, an engineered re-fabrication of an already existing entity, basking in the glory of its former self. The fortuitous juncture of unlikely materials in an entirely new setting confers new meaning upon the object. I become a shaman, endowing new status, functionality and beauty upon an unlikely marriage of objects and images.

MFA Thesis Show
MFA Thesis Show Gallery View

all about it
oil on canvas
72 inches x 86 inches

Old woman pushing

Woman laying down

Nevermind
Medium: Found boots, paper mache', resin, epoxy putty
Dimensions: 4.5’x2.5’x1’

Minority Report Artist Talk
Artist talking about her show, Minority Report, at the Claremont Graduate University MFA exhibit opening reception on November 2, 2010 at the East Gallery.

The Birds
Sculpture, Fabric, Ink, Sound.

Selecting In - Selecting Out, On the origin
On the origin gesso, acrylic and ink on wood panel, 46''x46'', 2010

Diamonds In The Rough
Wax crayon and graphite on paper

Doubting Thomas, installation

Yarrell Castellanos installation

Which is not one, installation

The nature of making sense, installation

Observer effect, installation
Full title, Post Election Protest, June 14th (2009), Intersection of Vali-Asr Ave. and Shojai St., Tehran, Iran (1).

Wunderkammer

Constructed from rope and plexiglass.

Deep end

GameSpace
Gallery view.