#glamfa2014

Audrey Barcio is a current MFA candidate at UNLV. Coming from Los Angeles, Audrey is also an independent curator and blogs for Field Projects in New York.  

When asked recently, “How old were you when you knew you were an artist?” her response was quick - she was 5, in kindergarten.  2 + 2 = ___  was written on the board and she was handed chalk in order to fill in the blank. The answer was clear to her, it was 3. When the teacher told her she was mistaken, she explained her logic, “2 looks like this (I made a curve shape with the chalk on the board) and 2 + 2 must be 3 because 3 has two curves.”  

After she dropped that truth bomb on her class, it was time for finger painting, which she continued to do right through recess. She says, “I knew that finger painting was more important than anything else that day and I wanted to find a way to do it forever.”

Clare Little

2014 MFA UCSB, Studio Art

My current work began with an interest in the Baroque and Rococo, as movements where nature found itself metastasized in design. Envisioning poltergeists of nature just below the surface of the wall gradually breaking the barrier and confronting civilized space. I am interested in a dialogue between feral and civilized qualities emerging simultaneously. By creating forms of the “other” in domestic architectural material, the work challenges the hierarchy of man.

https://clare-little.squarespace.com

Instagram- alittleclare1984 facebook- www.facebook.com/alittleclare

D. Hill

Over the last 5 years, working on my art has evolved into social consciousness and identity politics. I am interested in ways to help other people, along with myself, see differently. This act of seeing can be a tool for understanding ways of culture and becoming more humane. I enjoy fusing my art experience with philosophies, feminist and Queer theory discourses. The fusion of ideas from art history and cultural studies surges my passion for making performance art and utilizing photo/video documentations. In the spare time, I'm usually watching the-so-called liberal news networks or viewing youtube clips that some how keeps us all entrenched. It never fails, I discover new material to discuss with friends, colleagues or in my work.

Kimberly Zumpfe

My recent work focuses on perceptions of stability in common experience, objects and images. In close proximity, intimacy is simultaneously reachable and uncontrollable. There is precarity in the comfort of the domestic – always too close and too far away.

Through resituating attention towards the common, I am uncovering an implicit power, where public and private become blurred, where confidently defined objects are no longer clearly perceptible. Through acts of dislocation, I am examining a disrupted view of the ubiquity of everyday experience. I work to identify an excess of neglect, of noticing, of how authority within the everyday disappears through regularity of experience. Restraint identifies excess. Space is always violated.

Website info:

http://vimeo.com/user13193590/videos

http://cargocollective.com/kimberlyzumpfe

My name is Evan Trine, and welcome to my studio at Claremont Graduate University. I’m currently in the process of preparing for my thesis show that will be this Spring, cycling through loads of test prints and constantly making new work. I always need to print the image out full size and live with it for a while. The conversation that develops over weeks of looking at and discussing the prints helps inform my practice and dictates the decisions I make on the computer. Shown here are some prints from the last two months, the largest of them being the blue print, titled “Ooh Girl”, at 60”x90”.

My process is relatively simple. I scan film photographs – some that are brand new, and some that I took ten years ago – and use photo-editing programs to heavily manipulate the image to create something both stimulating and frustrating. This most recent body of work stemmed from an experiment to make “every worst decision I could imagine” while editing a photo, and as it developed I began to challenge a lot of my own ideas about photography and all of the limitations I was putting on my studio practice; mainly regarding color palette and digital processes. 

Some of my biggest influences are Mark Rothko and Ellsworth Kelly for their use of color and scale to capture the viewer and cause them to spend time with the work. Sterling Ruby, Wade Guyton, and Carter Mull are also big influences in the way they use their materials and processes to blur the lines between mediums. 

My brother once asked me, “Do you consider yourself a photographer?” a version of a common question that I come across. And I told him if I had to label myself, I would say I’m an image-maker who uses photographic equipment to create my work. And that’s really just it. I like making images that create an experience for the viewer. And what experience is that, exactly? Well, here are some key words: contemplation, tension, flatness, confusion, formalism. I’m trying to figure out how to describe it. But lately, I’m realizing that I am growing most as an artist when I’m exploring the questions, not trying to answer them.

website: evantrine.com  |  instagram: @evanpaultrine

Brittany Mojo

UCLA 2016

"My philosophy is simple: I am an artist and writer with a strong curiosity for the unknown. I have an insatiable appetite for making, where these curiosities are often exploited to investigate material and process. I live for the simple moments in life, often inspiring spontaneity and adventure. I truly believe in hard work and good food."

Lesley Nishigawara 

MFA, Fiber Department, CSULB

Lesley Nishigawara transforms repeated patterns from two-dimensional surfaces to three-dimensional forms. She is interested in how the perception and experience of these forms are transformed through spatial interaction. The pattern is developed as a traditional surface design then repeated through both two and three-dimensional layering, creating depth with fabric and the subsequent shadows of these forms. These forms reflect the strong influences of the natural and urban environment that are inherent in Nishigawara’s work. Just as these environments reveal patterns through repeated elements, such as buildings, columns, trees, plants, or flowers, her artwork distills shapes and repetition in layered three-dimensional form.

Maureen Halligan is currently an MFA Candidate at the University of Las Vegas, Nevada.

"I enjoy finding the root patterns in everything, how they interact, how they influence a space or how they came into being."

When asked about the color palette, Maureen explains, "They are largely informed by the environment I'm living in - Colorado, Northern California, and now Vegas. It's incredible how blown out my palette has become since moving to Las Vegas."