Visual Arts 2018-04-05T16:28:07+00:00

Abstracts

Visual Arts

Lakeshore Campus Gallery, Fine Arts Building (FA)
Thursday, April 19, 2018, 5:00 PM – 6:30 PM

Grambling State University

Divine Foundation
Oil on Canvas
Jessica Keyes
Faculty Mentor: Rodrecas Davis

Divine Foundation is about how and what Grambling State University is known for. Academics. Football Legacies. Students and loved ones having that Tiger Spirits embedded inside that was passed down to many generations. Charles P. Adams is the heart of this piece in honor of Grambling State past Founder’s Day. Everything in this piece is symbolic to the rich history that has and will be created for years to come.


Dimension Personas
Graphite on Paper
Christopher Lewis
Faculty Mentor: Rodrecas Davis

I view my as work a form of storytelling. The pieces presented allow me to investigate emotions and actions that can’t be easily expressed otherwise. The objective of the art is to tell stories through my different characters, their individuality, and how they interact in the worlds I create.


POV
Oil on Canvas
Bianca Walker
Faculty Mentor: Rodrecas Davis

My work is based on my belief that everything is shaped by perspective, especially art. By creating dichotomies of myself in paint, yet in drastically different styles, I’m exploring the power of perspective, which I view as the most individual yet unifying aspect of the human experience.

McNeese State University

Leaf Study
lithography
Christopher Latil
Faculty Mentor: Larry Schuh


Doll House
digital image
Susan Fradieu
Faculty Mentor: Samantha VanDeman


The Puppeteer
graphic design
Chris Huff
Faculty Mentor: Martin Bee


Great Great Aunt Joyce
photography
Kennedy Sampey
Faculty Mentor: Lynn Reynolds


El Pollito
artist’s book
Lacee’ Fontenot
Faculty Mentor: Heather Ryan Kelley

Nicholls State University

Graphic Novel S. E. Hilton’s The Outsiders
Ink Jet
Kayla Landry
Faculty Mentor: Jeremy Grassman


Post Catalyst
Charcoal
Adam Leblanc
Faculty Mentor: Joseph Hoslapple


“Offerings from the Unknown”
Relief Print
Anthony MIre
Faculty Mentor: Ross Jahnke


Post Existence
Inkjet Print
Alexis Penton
Faculty Mentor: Deborah Lillie


Carafe Set
Sodium Vapor Fired with Magnolia Ash Stoneware
Ashley Tabor
Faculty Mentor: Jeff Brown

Northwestern State University

Business Casual
Digital Photography
Michael Dick
Faculty Mentor: Brooks DeFee

Business Casual is a piece that I shot while storyboarding a script for a short film.
The goal was to create a scene where the main character gave off a sense of desperation and hopelessness, while using practical lighting techniques to light the scene.
The scene called for a car to be blocking the entrance to the garage, so I used the headlights of a car as my practical lighting source.
After getting the photo of the character tied to the chair I realized that making a long exposure photograph would better express the sense of hopelessness and desperation that I wanted to achieve. So, instead of continuing the storyboard, the model and I agreed to create this piece.


Rose
Design
Zane Bush
Faculty Mentor: L. Collier Hyams

This design was my last idea when making mockups for the car. It was originally for the 2018 Mazda CX 5. When coming up with this design I thought mainly about who would typically be driving this car. I myself drive a mid-sized crossover, and I remember my friends referring to my ride as a “Mom Car”. So, I began to think well what do moms like. Maybe I can do some sort of pattern on this car. Through many different looks through my research I decided to go with chevron pattern. I know regular/basic chevron is kind of out or on the way out of style, but so I found one I haven’t really seen before. So, I took this pattern I have just made and turned the lines rose gold. Rose gold I know is also popular with women. I incorporated that in here as well. Mazda then ask to put this design on the new 2018 Mazda MX 5 RF. We then took the original concept drawing and adjusted to this car. I wanted the lines to be somewhat reflective and/or have a shine to it. To get this look we then went for a gold as close to the rose gold as we could. Which I think was a perfect fit for this car and its style.


Fryday
Printmaking
Darryl D Anderson Jr
Faculty Mentor: Clyde Downs

My inspiration for this piece was the Cajun cuisine Louisiana has to offer. I wanted to represent the flavor that this culturally rich state has to offer.


Bear in Skates: Title Page
Watercolor and ink
Racheal Gaude
Faculty Mentor: Matt DeFord

“Bear in Skates: Title Page” is a watercolor scene depicting a brown bear staring expectantly at yellow roller skates. A lush green forest frames them. This painting is the first page of my children’s book, “Bear in Skates,” which illustrates the story of this little bear making grand, comical attempts to understand the skates.


Sampler Blues
100% Woven cotton
Layne Elkins
Faculty Mentor: Leslie Gruesbeck

This piece is a pattern sample woven on a 4 harness floor loom.

Southeastern Louisiana University

Devils Remnant
Wood and Steel
Abigail Coleman
Faculty Mentor: Dale Newkirk

In the lapse of geologic time, human existence is but a speck. We give little thought to the gravity that holds us here, or to the creeping, perpetual processes of Earth’s cycles upon which we fundamentally depend. These processes– erosion, plate tectonics, the rock cycle– are a few of the vital reasons life is sustainable here, yet we rarely take notice of it.

My work is an examination of these actions. I intend to instill reverence for the backbone of our planet and to illuminate the beauty of its existence. Even further, it is my hope to cause the viewer to acknowledge the parallels between powerful, geologic action and the slow, evolving process which is life. The relationship between the former process to the latter is the essence of human existence, yet it is so rarely noticed. Devils Remnant is an examination of this concept through its reference to Devils Tower in Wyoming. The juxtaposition of angular steel against the organic wooden center of the piece parallels the geometric columnar jointing of Devils Tower against its wooded surroundings. By highlighting the features that make this mountain so iconic, I intend for my work to reflect not only the beauty in those forms but also the time and energy it took in order for that beauty to exist.


Happier Side of Life
Mixed Media and Fabric
Tiffany Nesbit
Faculty Mentor: Dale Newkirk
The components that create industrial objects and organic structures are not as far apart from each other as one might think. I am interested in searching for the values of which are similar, and creating a visual formula to make a compromise between the industrial and the natural. My body of work is the outcome of creating a fantasied idea of making peace with nature and the industrial world we live in: warping processed inorganic goods into forms that appear raw.
The bodies of work entitled Cycles and The Happier side of Cycles, revolves around the idea of taking industrial man-made objects and molding the materials into something that has the appearance that it was molded by nature. Using materials like hardware cloth, paper, plaster, and fabrics, the fibers used to make the media are all found naturally in nature but have been morphed into industrial things that you can find in a store. Thinking deeper into this concept brings the questions, “can something really be considered man made, or are we as humans creating an industrial civilization just for the materials to breakdown and return to the earth,” and “are we as a society really harming the earth if nature will always breakdown its components and heal itself over time?”
Continuing into this conundrum of ideas brought the work into a new path and considering how it relates to humans on a personal level. How do we as individuals handle our own journeys in relation to the cycles of nature? We are all created and born to succeed in our personal purpose, but we all lean toward different directions and different paths just as all materials from the earth. Although we may not live for our original purpose, we are still embedded in the cycle of life and we are connected with the earth and will return to the earth.


Bouquet
Oil on Canvas
Jena Barlow
Faculty Mentor: Dale Newkirk

My body of work represents my journey of finding my own artistic voice. I
wanted to create a body of work that was completely personal to me and what I like about art. It all began when I came across the issue of making paintings that were stiff and did not have much movement in them. In order to solve this problem, I began looking at work of artist that belonged to the group of the abstract expressionist. Some of the artist I began looking at were artist from different times like Joan Mitchell, Edouard Manet and Kandinsky. I needed a source of inspiration to really get me thinking about creating a painting that was completely
mine. The first step I took in creating these pieces was to reference previous works that I had done before. Instead of referencing the entire painting, I taped off sections that were compositionally interesting and used it as a starting point for the first few paintings.

As I worked through each piece, I got further and further away from the section I had taped off. I have learned throughout this journey of painting abstractly so many things about myself that I would not have been able to by painting strictly from a reference photo. I was able to discover that I am more interested in form and touch than the actual subject matter. I have also discovered that I am a colorist. I have a love for a using numerous luscious colors. The use of colors in my body of work
are vibrant and some might say chaotic. To me, as an artist this excites me to see how each viewer reacts differently to each piece.

My body of work is abstract enough for each person to have their own take or idea on it. In my work, I use line and color to convey movement to the viewer. In my work, you could say that I am simulating shapes found in nature due to the organic quality throughout each piece. I also drew inspiration for my whole body of work
when looking at a previous painting of mine which were dead flowers. This was the beginning source of my body of work, but each piece gets further and further away from representational objects.

My goal in this series is to always keep the eyes of the viewers moving around the canvas, while at the same time suggesting a place for the eyes to rest. I am also focused on the different qualities of form, touch, and color throughout.


Straight Away
Ink, Paper, Epoxy on Wood
Danielle Jones
Faculty Mentor: Dale Newkirk

Reconstruction through Deconstruction concerns the natural world and our connection to
it. I am interested in the journey through cycles of decay and renewal. Ideas of transition and
growth are explored through my relationship with materials and methods while contemplating
landscapes. Process becomes the dominant driver in my work through excavations and additions.

Working intuitively, I respond to shapes made through experimenting, layering and working with
fragments of ink, paper and mylar. I rip and tightly collage small fragments together which
becomes a meditative practice. This process includes tearing and rearranging materials such as
canvas, paper and mylar that are heavily layered with ink or paint. As a result, I end up with
several strips of various media, with varying transparencies and opacities. While arranging the
strips I focus on layering, weaving and the irregularities of the negative spaces. I take away
information and respond to what remains. Excavating and adding continues as a cycle of
reconstruction and deconstruction, and as a result a new map is created. This new map delineates
the cross sections and elevations found in both rural and urban landscapes.

I create shapes with inks and reference aspen trees found in mountainous regions.
Although the trees feel still and solid, I know they are ever-changing. As the trees go through
cycles of decay and renewal, they make way for transition and growth. Recreating these
landscapes transports me back to a serene environment which inspires a sense of calm and quiet.
This path inspires voyages of material where art making becomes a journey itself


Album Repackaging
Digital Print on Card Stock
Kayla Mogan
Faculty Mentor: Dale Newkirk

University of Louisiana at Lafayette

Alien
Color Inkjet Print
Haoua Amadou
Faculty Mentor: Dr. Chris Bennett


Chrysanthemum
Yarn, Paper, Watercolor Paint
Sarah Simon
Faculty Mentor: Dr. Chris Bennett


Entanglements
Terracotta, glaze
Susan Sinitiere
Faculty Mentor: Dr. Chris Bennett


Portrait of Girl Sitting
Oil on Canvas
Christoper Isaacs
Faculty Mentor: Dr. Chris Bennett


I Feel Gross if I Don’t
Lithograph
Zoƫ Couvillion
Faculty Mentor: Dr. Chris Bennett

University of Louisiana at Monroe

University of New Orleans

The Emperor’s New Clothes
Aquatint etching
James Dupont
Anthony Campbell

The core themes of the ancient fable, “The Emperor’s New Clothes” are collective delusion and slavery to vanity, addictions that seem to grow in attractiveness at the same rate as the utility of our technology. In the fable the populace and emperor alike are asked to fabricate what they see in order maintain an image of themselves in the eyes of others, the result of which is not only that the emperor is disgraced for being naked, but the entire populace is shown to be naked in their pursuit of vanity. Regardless of whether the fabric can actually only be seen by the noble, the fabric offers them status if they lie about seeing it, and ostracism if they don’t. The magical fabric of networks we’ve constructed to improve our lives comes with massive utility in its seemingly limitless capability, but where these capabilities lead us is only limited to our own degree of self-discipline. We can create the image of ourselves we like, and easily hide any taboo activities in this playground from the light of day. Once we feed our ideas and desires into it, it responds by giving us more and more of those same ideas and desires, potentially leaving us in echo chambers that express themselves in the highly polarized political climate. This piece attempts to capture this “Pleasure Island” idea, a hidden tunnel somewhere in the expanses of the brain, a carnival funhouse at first glance, and hell itself the more you stare into it.


Watching
Etching/Aquatint
Tyler Gagnet
Anthony Campbell
For this work, I wanted to capture the feeling of emptiness that is brought from a childlike fear of the dark. I personally struggled with night terrors on and off as a child with a fear that something or someone was always watching me from afar, quietly judging until I would eventually lay my guard down to sleep. This was my first attempt at using the aquatint process, and I was quite pleased with how the subtlety of the different tones allows a regular scratched etching to express a much wider range of values.


Gray
Ink Wash
Michelle Ramos
Daniel Rule

The idea behind my painting is the personification of the color Gray. Gray is a color I use in most of my art work and feel the most comfortable with. I thought to myself what would this color be like if I made it human? Gray is a color that does not overload your senses, but still has the potential to intrigue the viewer. As I painted I made sure to incorporate different hues of gray to show how versatile the color can also be which is why I’m so drawn to it.


Logic
Tombow pen on Bristol Board
Rachel Rome
Kathryn Rodriguez

The design of my composition, Logic, consists of verticals lines varying in different lengths and thicknesses stemming from both the top and bottom of the Bristol board. The lines originate from beyond the picture plane to convey a sense of movement as if the lines were still forming and connecting. At the same time, the lines intertwine with one another to create a kind of network. As the lines represent diverse thoughts, data, and calculations coming together, I decided to add different widths of line to communicate a sense of variation and uniqueness, but, at the same time, I kept the lines geometric and precise to express a more mathematical and calculative quality. I like to compare my piece to a branch of thought and data intertwining as if a seed was planted and grew a tree sprouting new ideas from new information. The lines linking together represent information coming together like a puzzle. Computers operate based on code-a bunch of ones and zeros. Since I correlate computers with logic, this was a big source of inspiration. I imagined that scene from the Matrix when the code was raining on screen. Thus, my lines are raining on the medium as well. I chose logic as my content because I consider myself to be a logical person. Thus, this piece is a visual representation of the inner workings of my mind.


Kairos
Acrylic paint on Canvas
Tina Tran
Dan Rule

Kairos is a piece I created as a product of exploring human emotions. Humans can be such complex yet simplistic creatures, and most are animated and expressive in how they present themselves. With each person having their own way of perceiving and interacting with the world around them.

However, there is a growing desire from people for more and more attention. Both positive and negative. Not many people are able to enjoy the company of one another in comfortable silence. Which is why I feel that on the rare occasion you are able to obtain these fleeting moments of happiness, understanding, and love it is something that should be cherished.

The couple does not need to be seen as romantic, it is entirely up to the interpretation of the viewer, although they are supposed to complement one another. Their features and own bodies are in a bleak grey scale, and yet through their interaction, something beautiful has grown. In my opinion, there is nothing more satisfying and wholesome as finding others who can almost fully understand you.

The painting was done fully in acrylic paint and has a semi-realistic style of shading for the figures and a rather simplistic style for the flowers.


**Presenting author(s) is/are underlined and listed first.

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