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February 6, 2010

Graduates 2003

Viviana Leija Installation, photography, multimedia <img width="161" src="/sites/default/files/imported/people/alumni/images/leija.jpg" alt="" /> My work focuses on aspects of life that vary daily reflecting the infinite mobility of the world, the dimension of matter and its rhythmical compositions generated by time. "Energy" is a key word for all my work, I follow those transitory stages that provoke unexpected changes. <a href="https://www.vivianaleija.net">www.vivianaleija.net</a> contact vivileija at yahoo dot com <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Alisa Ochoa Installation, photography, multimedia <img width="161" src="/sites/default/files/imported/people/alumni/images/alisa3.jpg" alt="" /> Alisa Ochoa is an artist working with various media, ranging from 2D digital media to collaborative one-night art situations. She refuses to think in terms of characteristics which separate, but prefers to draw whimsical associations between diverse things like fractal geometry, modernist design, and natural science. By breaking down the notion that the world functions strictly according to cause and effect, her work hopes to place the viewer in a position of wonder, excitement, and pleasure. The core of Ochoa's research is drawn from her own experiences growing up in Las Vegas, Nevada. The area and its history represent a very poignant clash of human idealism, the harshness of the desert climate and the vast distances that it places in between people. Alisa Ochoa lives in Los Angeles. She is a lecturer at University of California, Santa Barbara where she teaches traditional/digital print and experimental classes on how to start an art movement. Her work can be seen on-line at <a href="https://www.alisaochoa.com">www.alisaochoa.com</a> contact alisa_ochoa at umail dot ucsb dot edu <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Jennifer Vanderpool Installation <img width="161" src="/sites/default/files/imported/people/alumni/images/jen1.jpg" alt="" /> Jennifer Vanderpool is a Los Angeles based artist and writer. She has exhibited work at Southfirst in Brooklyn, New York; Ballroom Studios in Atlanta, Georgia; Acme Art Company in Columbus, Ohio; Indiana University in Bloomington, Indiana; Sam Francis Gallery in Santa Monica, California; I-5 Gallery in Los Angeles, California. She participated in a public art project at the Boulder Museum of Contemporary Art in Boulder, Colorado. Upcoming exhibitions include Cy-Fair College in Cypress, Texas and the Santa Barbara Contemporary Arts Forum in Santa Barbara, California. Her work has been reviewed in Art Papers Magazine, Atlanta Journal Constitution, New York Times, and Santa Barbara News Press. Awards include the University of California Regents Fellowship and National Endowment for the Arts Challenge America Grant for a collaborative arts activism project. Her writing has appeared in artUS, Art Papers Magazine, Site Street on-line journal, and several exhibition catalogs. She received her MFA in New Genres and Critical Theory from the University of California, Santa Barbara; MA in Art History from Emory University; MA in Museum and Community Arts Education from Ohio State. She is completing her Ph.D. in Art Critical Practices at the University of California, Santa Barbara.  contact jennifervanderpool at hotmail dot com <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Steve Deitl Multimedia <img width="161" src="/sites/default/files/imported/people/alumni/images/deitl.jpg" alt="" /> Bushs Kommentar: Ich weiÃ?, daÃ? jetzt sehr viel Geschichte revidiert wird. Aber er [Saddam Hussein] ist nicht länger eine Bedrohung der freien Welt ist unaufrichtig. Obgleich Bush über den letzteren Punkt bezüglich Hussein recht hat, beweist dies auf keinem Fall Bushs Implikation. Bush verlangte, daÃ? Hussein aus der Machtposition entfernt werden müsse, und fuck pussy Kunts posers, weil er angeblich ein Programm mit Massenvernichtungswaffen entwickelte. Falls dies der Grund war und es sich zeigt, daÃ? tatsächlich gar keine Massenvernichtungswaffen existierten, dann war der Krieg selbst ungerechtfertigt.  contact stevedietl at yahoo dot com <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Nina Seja Video and Critical Theory <img width="161" src="/sites/default/files/imported/people/alumni/images/seja.jpg" alt="" /> Nina Seja has joined the ranks of the global diaspora. Born and raised in Aotearoa New Zealand, she landed in Santa Barbara, CA to pursue her MFA. After living there for five years, she realized that she needed to "head East, young (wo)man." She is currently pursuing her PhD in Cinema Studies at New York University. Her work is interdisciplinary, crossing film theory, film history, the moving image, sound, and spoken word. Her theoretical interests include memory and nostalgia, postcolonial theory and indigenous representation. Her dissertation will consider the intersections of government policy, indigenous rights, and film funding. Her words can be found at <a href="https://www.trout.auckland.ac.nz">www.trout.auckland.ac.nz</a> contact spacifica_int at hotmail dot com

February 6, 2010

Marko Peljhan

Associate Professor Interdisciplinary Studies: Art, Science, Technology, Performance, Digital Media and Space Art , (100% Art, temporarily 75% Art, 25% MAT) <img src="/sites/default/files/imported/people/faculty/images/marko2.jpg" alt="" width="180" />Professor Peljhan holds joint appointments with the Department of Art and the Media Arts & Technology graduate program at the University of California Santa Barbara and was appointed as Co-Director of the UC Institute for Research in the Arts in 2009, where he is coordinating the art/science Integrative Methodologies Initiative. Collaborating with Matthew Biederman, Peljhan is also currently coordinating the Arctic Perspective Initiative art/science/tactical media project, focused on the global significance of the Arctic geopolitical, natural and cultural spheres. His work was exhibited internationally at multiple biennales and festivals (Venice, Gwangju, Brussels, Manifesta, Johannesburg, Istanbul), at the Documenta X in Kassel, several ISEA exhibitions, several Ars Electronica presentations and major museums, such as the P.S.1 MOMA, New Museum of Contemporary Art, ICC NTT Tokyo, YCAM Yamaguchi and others. From 2009 on, he is the one of the series editors of the Arctic Perspective Cahiers series (Hatje Cantz). <a href="https://www.ladomir.net">www.ladomir.net</a> <a href="https://www.arcticperspective.org">www.arcticperspective.org</a><img src="/sites/default/files/imported/people/faculty/images/peljhan.jpg" alt="" /> <img src="/sites/default/files/imported/people/faculty/images/marko3.jpg" alt="" width="180" /> <img src="/sites/default/files/imported/people/faculty/images/marko1.jpg" alt="" width="180" />

February 6, 2010

Colin Gardner

Professor Integrative Studies/Critical Theory, (100% Art) <img id="imgp_img" title="loseycover.jpg" src="https://artsite.arts.ucsb.edu/sites/default/files/imagepicker/11/browser/loseycover.jpg" alt="" width="126" height="192" /><img src="https://www.palgrave.com/products/ShowJacket.asp?ISBN=9781137014351&width=385&height=625" alt="" width="135" height="192" /><img id="imgp_img" title="reiszcover.jpg" src="https://artsite.arts.ucsb.edu/sites/default/files/imagepicker/11/browser/reiszcover.jpg" alt="" width="128" height="192" /><hr /> Working at the intersection of film-philosophy, Deleuze studies and interdisciplinary media theory, Colin Gardner received his B.A. and M.A. in History from St. John's College, Cambridge and Ph.D. in Cinema Studies at UCLA before becoming Professor of Critical Theory and Integrative Studies at the University of California, Santa Barbara, where he teaches in the Departments of Art, Film & Media Studies, Comparative Literature, and the History of Art and Architecture. He is also developing a course on transversality and popular media for the College of Creative Studies to be offered Fall 2013. His most recent book is Beckett, Deleuze and the Televisual Event: Peephole Art (Palgrave Macmillan, 2012), a critical study of Samuel Beckett's experimental work for film and television and its connection to Gilles Deleuze's ontology of the image in Cinema 1 and Cinema 2. Excerpts have appeared in Deleuze Studies Journal (2012) and Continuum Books' Gilles Deleuze: Image and Text (2009). Gardner contributed the chapter on Roland Barthes to Felicity Colman's Film, Theory & Philosophy: The Key Thinkers (Acumen, 2009) and is currently collaborating with Dr. Colman on a Three Volume Encyclopedia of Film-Philosophy, due to be published in 2015, which attempts to bridge the gap between continental and analytic approaches. Gardner has also published two books in Manchester University Press’s “British Film Makers” series: a critical study of the blacklisted American film director, Joseph Losey (2004), and a monograph on the Czech-born, British filmmaker and critic, Karel Reisz (2006). The latter study led to his being a featured interviewee in Karel Reisz: This Filming Life, a 2012 Czech documentary film produced by Jarmila Hoznauerová and directed by Petra Všelichová (a Co-Production of Czech Television – Ostrava Telvision Studio). Related research on Losey has also appeared in Trudy Bolter’s Le politique éclaté (Paris: L’Harmattan); the Franco-American film journal, Iris; the Parisian web-based theoretical journal, Critical Secret No. 6 (2001), Interdisciplinary Humanities (2002), Media History (2006), and Lo Sguardo dei Maestri's Joseph Losey: Senza Re, Senza Patria (Milan: Il Castoro, 2010). Gardner is also the author of critical essays on Bob Rafelson’s Five Easy Pieces (for Creation Books' Jack Nicholson: Movie Top Ten, edited by Mikita Brottman); as well as a theoretical study of Diana Thater’s video installations in Space, Site, Intervention: Situating Installation Art (Erika Suderberg, ed.) for the University of Minnesota Press. His extensive list of catalog monographs includes essays on Mike Kelley for the Whitney Museum of American Art, John Baldessari for the Graphische Sammlung, Albertina in Vienna, Wallace Berman for Amsterdam's Institute of Contemporary Art, video artist Rachel Khedoori for the Kunsthalle in Basel and Mike Bouchet's film works for Sternberg Press in Berlin. On a local level, Gardner has worked extensively with the Santa Barbara Museum of Art (as blogger, panelist and lecturer) and the Contemporary Arts Forum (CAF), including catalog essays for Sandow Birk's “Prisonation” series, Linda Stark's “Runaway Love” retrospective, and the 2001 group exhibition, “Diabolical Beauty,” co-curated with UCSB Professor, Jane Callister. Gardner was also co-curator and co-editor of Damaged Romanticism: A Mirror of Modern Emotion, an exhibition and accompanying book that was initiated by the Blaffer Gallery in Houston in 2008 and subsequently traveled to the Grey Gallery at NYU and the Parrish Museum on Long Island. Most recently Dr. Gardner has expanded his research into the area of Media Geography (he was adjunct faculty in Geography at San Diego State University from 2011-12). This has taken the form of conference papers as well as a chapter on Tomas Gutierrez Alea's seminal Cuban film, "Memories of Underdevelopment" in James Craine, Giorgio Curti and Stuart Aitken's collection, The Fight To Stay Put: Social Lessons Through Media Imaginings of Urban Transformation and Change (Franz Steiner Verlag, 2013). He is currently developing an essay on Stan Douglas for James Craine's forthcoming Ashgate collection, A Companion to Media Geography: Place/Space/Media. Apart from regular attendance at Francophone, Deleuze Studies and Film-Philosophy conferences throughout Europe and the US, Gardner's public lectures include a keynote address for Loyola Marymount University's Operation STEAMroller interdisciplinary conference in 2012; discussions of Stan Douglas’s video work at Cal Arts and the Museum of Contemporary Art, Los Angeles; Diana Thater’s “Knots + Surfaces” projected DVD installation for New York’s Dia Center for Arts’ Robert Lehman Lecture Series (published in 2006); “Decentered Spectatorship: Constructing a Hybrid Scopic Space in Recent Art Film and Video,” at Louisville’s Speed Art Museum; and an analysis of cinema and the brain for Warren Neidich’s “The Mutated Observer: Neurological Structures, Perception and Visual Culture” at UC Riverside’s California Museum of Photography. <a href="https://www.colingardner.net/">https://www.colingardner.net/</a> <img src="/sites/default/files/imported/people/faculty/images/colinrgardner.jpg" alt="" /> <img src="/sites/default/files/imported/people/faculty/images/colin2.jpg" border="1" alt="" width="120" height="182" /><img src="/sites/default/files/imported/people/faculty/images/colin3.jpg" border="1" alt="" width="127" height="182" /><a href="/sites/default/files/imagepicker/11/Jack_2.jpg" target="_blank" rel="noopener noreferrer"><img style="width: 132px; height: 179px;" src="/sites/default/files/imagepicker/11/Jack_2.jpg" alt="Image" /></a><img src="/sites/default/files/imported/people/faculty/images/colin6.jpg" border="1" alt="" width="124" height="179" /><img src="/sites/default/files/imported/people/faculty/images/colin5.jpg" alt="" width="144" height="179" /> <a href="/sites/default/files/imagepicker/11/Colman_3.jpg" target="_blank" rel="noopener noreferrer"><img style="float: left;" src="/sites/default/files/imagepicker/11/Colman_3.jpg" alt="Image" width="130" height="180" /></a><img style="float: left;" src="/sites/default/files/imagepicker/11/Deleuze.jpg" alt="Image" width="122" height="179" /><a href="/sites/default/files/imagepicker/11/Losey_2.jpg" target="_blank" rel="noopener noreferrer"><img src="/sites/default/files/imagepicker/11/Losey_2.jpg" alt="Image" width="129" height="179" /></a><a href="/sites/default/files/imagepicker/11/Losey_2.jpg" target="_blank" rel="noopener noreferrer"><img class="cover" src="https://coverart.oclc.org/ImageWebSvc/oclc/+-+041758289_140.jpg?SearchOrder=+-+OT,OS,FA,GO" border="0" alt="Mike Bouchet : selected works 1989-2009" width="140" /></a><img id="summary-frontcover" title="Front Cover" src="https://bks2.books.google.com/books?id=1JZIAQAAIAAJ&printsec=frontcover&img=1&zoom=1&imgtk=AFLRE73jeY5mrsazoCG8sFbxV_L7zLc8u0GozEgH6bvCU9jKW41IArDY75GlCLPST3qrZz7Er_OXqGM6-0frbgPVpk-nedAQSpEGt7OnKkva_b-_caM6JiMhkSPJr6vPciVL90FC5z96" border="1" alt="Front Cover" width="128" height="179" /><a href="https://www.amazon.com/gp/product/images/9080096830/ref=dp_image_0?ie=UTF8&n=283155&s=books" target="AmazonHelp" rel="noopener noreferrer"></a><a href="https://www.amazon.com/gp/product/images/0874270871/ref=dp_image_0?ie=UTF8&n=283155&s=books" target="AmazonHelp" rel="noopener noreferrer"></a> <hr />

February 6, 2010

Graduates 2009

Calico Brown Fine Arts <img height="161" alt="" src="/sites/default/files/imported/people/alumni/images/calico_image.jpg" />  <a href="https://calicobelle.blogspot.com">https://calicobelle.blogspot.com</a> <img alt="" src="/sites/default/files/imported/people/alumni/images/cbrown.jpg" /> <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Alejandro Casazi Print & Book Art <img height="161" alt="" src="/sites/default/files/imported/people/alumni/images/casazi.jpg" /> My work often reflects the state of the human being immerse in a monumental universe. The idea of monumentality through contemplative images and fragmented pictures that evoke gigantic spaces captured in pages. Generating an experience over an object that is so habitual and casual as the book. <a href="https://www.casazi.com">https://www.casazi.com</a> <img alt="" src="/sites/default/files/imported/people/alumni/images/acasazi.jpg" /> <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Elizabeth Folk Spatial Arts <img alt="" src="/sites/default/files/imported/people/alumni/images/folk.jpg" /> <a href="https://www.elizabethfolk.com">https://www.elizabethfolk.com</a> <img alt="" src="/sites/default/files/imported/people/alumni/images/efolk.jpg" /> <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Nathan Hayden Fine Arts <img alt="" src="/sites/default/files/imported/people/alumni/images/hayden.jpg" /> People with animal heads, sound based spelling, obsessive-compulsive mark making, and grocery lists all find a place in the work of Nathan Hayden. A self proclaimed collector of information refuse, he incorporates misrememberings, hallucinations, overheard cell phone conversations, and other miscellaneous ramblings, with equal fervor, into work which ranges from pocket sized sketches to large scale installations. <img alt="" src="/sites/default/files/imported/people/alumni/images/nhayden.jpg" /> <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Carrie Maseredjian Spatial Arts <img alt="" src="/sites/default/files/imported/people/alumni/images/carrie.jpg" /> Carrie Maseredjian’s current work integrates the expressive languages of sculpture, installation, and intermedia with performative and interventionist approaches. From raw and unprecedented flash incidents of connectivity and communication amongst strangers in a variety of public contexts, she extracts content for work that acutely yet playfully explores existential drama in the private realm, contrasting codes of social conduct, preoccupation with memory loss and unresolved aspirations, in addition to various manifestations of exaltation and despair in the everyday. Carrie was born in Los Angeles California in 1981. In between her completion of a B.A. in Studio Art at the University of California, Santa Cruz in 2003 and her present graduate work at UCSB, she participated in educational internships in Italy at the Peggy Guggenheim Collection and the Venice Biennale. <img alt="" src="/sites/default/files/imported/people/alumni/images/cmaser.jpg" />

February 6, 2010

Woodshop

<img border="0" alt="" src="/sites/default/files/imported/facilities/woodshop/images/woodshop1.jpg" /> The Woodshop is the Department's 2200 sqft. general purpose wood fabrication facility available for use by Department of Art students who are currently enrolled in art classes. The shop is located in the basement floor of the Arts building in room 0246 and is open Monday through Friday 8:30am - Noon and 1pm - 5pm. 24 hour access is available for Department of Art graduate students who pass the shop safety examination. <a href="/facilities/woodshop/woodguidelines.html">Woodshop Safety & Guidelines</a> Woodshop Equipment Sites of Interest Shop Manager: Michael Schmitt <img alt="" src="/sites/default/files/imported/facilities/woodshop/images/woodshop2.jpg" /> <img alt="" src="/sites/default/files/imported/facilities/woodshop/images/woodshop3.jpg" />

February 6, 2010

Graduates 2004

Eric Beltz Painting <img width="161" src="/sites/default/files/imported/people/alumni/images/eric1.jpg" alt="" /> Eric Beltz received his Master's of Creative Science at UC Santa Barbara where he was a Regents Fellow. Pursuing our magical premodern attitudes, Beltz overlays the literature of ethnobotany, ethnopharmacology, ecogeography, and art history to address questions regarding human interaction with and representation of nature and the wild. His current body of work is titled "Hypnobotany" - blending psychedelic imaging strategies and percipient-based creative logic, etc.,. Eric Beltz is co-editor of SiteStreet, a critical art issues journal. <a href="https://ericbeltz.com/">https://www.ericbeltz.com/</a> contact eab at ericbeltz dot com <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Eli Chaim Neugeboren Installation <img width="161" src="/sites/default/files/imported/people/alumni/images/neugeboren.jpg" alt="" /> Eli Neugeboren has made many drawings from photographs he took while on airplanes. The end result are drawings that resemble maps, but are not maps; the process achieves clarity through reduction. Neugeboren's obsessive style is informed by digital imaging techniques that can combine multiple images into one 'false' image that is received as 'true.' By this perceptual logic, the spaces in Neugeboren's drawings are as real as the model in the fashion magazine and a 360º panoramic photograph. And by real we mean that they are fake, derived from real, hoping to spark a familiar association from the viewer, leading them down memory lane, out through flashback alley, and onto the nostalgia freeway. Cue sunset, roll credits, exeunt. Mr. Neugeboren is currently creating exhibitions at the American Museum of Natural History in New York City. His favorite breakfast food is a bacon, egg, and cheese sandwich on a poppyseed roll, preferably made by one of those guys in a silver box on the corner of 14th St. and 6th Avenue, and he is very happy that the Boston Red Sox won a world Series before Colin's football team won the European Cup.  contact eli_neugeboren at hotmail dot com <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Theodore III Lyons Installation <img width="161" src="/sites/default/files/imported/people/alumni/images/lyons.jpg" alt="" /> Over time ideological postures are eradicated by other positions held by those in power only to be replaced by something further which will eventually suffer the same fall. This evolution is endless. It is the very structure of rising and skidding to an eventual demise which fascinates Diran Lyons. The intriguing pleasure in between, like the unfolding of a dangerous act, reflects this process and simultaneously instigates a sublime sentiment that no documentation can translate in a completely sufficient manner. Such highlights certain margins of the effectiveness of representation and its intrinsic limitations. <a href="https://www.diranlyons.com">www.diranlyons.com</a> contact yodiran at juno dot com <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Vladimir Todorović Video Game Art <img width="161" src="/sites/default/files/imported/people/alumni/images/todorovic.jpg" alt="" /> Vladimir Todorovi&#263 is a media artist that traces and challenges military-industrial complexes, computers as political solutions, various mass-media manifestations, copyleft licensing, open source systems, computer music and positions of the individual in today's society. His recent projects include: "Game Music" - a sound production environment created in the first person shooter video game Unreal Tournament 2004, "Capture the Artist" - a paintball tournament in an art gallery, "One and Five or Six Chairs" - a 5X5 nanometers nano-lithography fabricated at Veecco co, etc. His work has been shown at the following venues: Transmediale (Berlin/Germany), MusemsQuartier (Vienna/Austria), Machinista (Glasgow/Scotland), Santa Barbara Museum of Arts - Ridley Tree, Reality Zone, (Santa Barbara/California), SnackOnArt (Brooklyn/New York), Galerie für Zeitgenoessische Kunst (Leipzig/Germany), The First Chiangmai New Media Art Festival (Chiang Mai/Thailand), Dom Omladine, SKC (Belgrade/Serbia), Chaos & Communication (Sarajevo, BIH), Scotina (Greece), File 2004 (Sao Paolo/Brazil), International Festival of Electronic Art 404 (The Rosario City, Argentina), etc. It has been reviewed at Selectparks.net, Artmagazine (Austria), Neural.it, etc. He received numerous awards, grants, and stipends. <a href="https://tadar.net">https://tadar.net</a> contact vladatodorovic at yahoo dot com

February 6, 2010

Graduates 2006

Supersonic 2006 Catalogue Available at www.LuLu.com <a href="https://www.LuLu.com">https://www.LuLu.com</a> <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Yumi Kinoshita Mixed-media collages, video and installation <img width="161" src="/sites/default/files/imported/people/alumni/images/kinoshita.jpg" alt="" /> Yumi Kinoshita works mainly in mixed-media collages, video and installation. Her artwork is a reflection of everyday life and the activities that create one's identity within society, intending to address the issues of consumer culture and structure. She collects and uses various kinds of printed ephemera that are no longer a part of the proper value structure under our capitalist society. The process evolves through the collection and appropriation of "postproduction" found materials and footage from the everyday world, questioning the discourse of representation. She received her MBA in Finance and MA in Art History from California State University, Fresno. <a href="https://www.yumikinoshita.com">https://www.yumikinoshita.com</a> contact yumi at yumikinoshita dot com <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> Vanessa Janss 2D <img border="1" width="161" src="/sites/default/files/imported/people/alumni/images/janss.jpg" alt="" /> One recent project is made up of a dozens of poster pieces placed around drainage areas near the ocean. The posters - cartoon versions of the typical skull and crossbones made up of hearts - are supposed to draw the attention of passers by and make them take notice of drainages and what flows into them and eventually, the ocean. contact vjanss at umail dot ucsb dot edu <hr color="white" size="1" noshade="noshade" width="70" /> <hr color="silver" size="1" noshade="noshade" width="550" /> R. Nelson Parrish Installation <img width="161" src="/sites/default/files/imported/people/alumni/images/parrish.jpg" alt="" /> R. Nelson Parrish constructs the impication of a narrative through the implimentation of commerically commodified color. Appropriating this explicit language, Nelson uses the contextualized color to engage in themes of human experience: Desire, Nostolgia, Americana, Fame, etc. Nelson insists that his medium is color, and constantly blurring the boundaries between traditional disiplines. contact rnelsonparrish at umail dot ucsb dot edu

February 6, 2010

Graduates 2008

Alana Carso Fine Arts <img src="/sites/default/files/imported/people/alumni/images/alana.jpg" alt="" /> Repetitive shapes, colorful exploding burrows, psycho-rhizomes <a href="https://fussypuffy.com">https://fussypuffy.com</a> <a href="https://puffyfussy.blogspot.com">https://puffyfussy.blogspot.com</a> contact alanacarso at gmail dot com <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /> William Fenn Painting <img src="/sites/default/files/imported/people/alumni/images/fenn.jpg" border="1" alt="" /> Over the past year I have focused on the completion of a history painting which incorporates questions concerning immigration, overpopulation, and morality. My current work investigates the veneer of 1950s and early 1960s America and roles designated for people both in and out of the home. contact wfenn at mac dot com <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /> Danielle Hatch <img src="/sites/default/files/imported/people/alumni/images/daniellehatch.jpg" alt="" /> Danielle Hatch is formally trained in architecture and her art work developed as a means of addressing the interactions and relationships between the body and the built environment. Her projects are almost always site specific and developed as an evaluation of an architectural structure or environment in terms of its history, its uses, and how the past relates to its current state. Her work often deals with the passage of time and its affects on the built environment as well as our own bodies and the parallels between the two. She seeks to draw attention to invisible realities associated with a space. <a href="https://www.daniellehatch.com">https://www.daniellehatch.com</a> contact daniellehat at gmail dot com <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /> Anna Knos Digital Media As an artist, I am fascinated by the personal relationship that evolves between an individual and multimedia environments. By combining a variety of digital and analog technology, I strive to create a more intimate end-user experience. Working in 3-dimensional space, I build interactive sculptures in order to combine the visualization of information with an experience that pushes viewers to emotional extremes. My investigations into the phenomena of spontaneous environments are also expressed through photography and illustration. Sometimes this body of work is conceived as a series and other times it grows from a single source. Although large-scale works often take years to realize, interactive sculpture is my main focus. These pieces present an alternative learning experience. By creating a foreign or abstract multimedia space, viewers approach the work without an understanding of how to interact and are consistently surprised by their initial experience. This shock is the catalyst for further investigation. The participant develops an understanding of the controls and gains confidence only through a direct hands-on exploration of the artwork. This, in turn, cultivates a genuine curiosity for new and unique interactive spaces. <a href="https://www.annaknos.com">https://www.annaknos.com</a> contact annaknos at gmail dot com <hr /> Kirsten Pisto Fine Arts<img class="imgp_img" style="float: left;" src="/sites/default/files/imagepicker/3/through_the_muddled_twisted_creepers_it_grew_pisto.jpg" alt="Image" /> <img class="imgp_img" style="float: left;" src="/sites/default/files/imagepicker/3/my_coyote_fence_astounds_me.jpg" alt="Image" hspace="10" /> Left: Through the muddled, twisted creepers it grew, feeling its way upwards. oil and acrylic on birch. 8’ x 4’ 2008. Right: My coyote fence escapade astounds me. oil + acrylic on birch, 48” x 36”, 2011 Pretend you’ve found a little cave. Get down on your hands and knees and crawl inside and look back out at the world. Everything seems shiny and dark. A sound, like the noise at the end of a river. There is a familiar scent of grass, turquoise and dirt. A perfect concoction of earth and mashed up leaves from trees with a smooth white bark. Remember how that feels and tastes, and when you climb back to your bed, tired and damp, with its beige carpet and clean windows, you lie there and try to sum it all up again in your head. <a href="https://kirstenpisto.otherpeoplespixels.com">www.kirstenmariepisto.com</a> kirstenpisto@gmail.com <hr /> Joe ReihsenPainting <img src="/sites/default/files/imported/people/alumni/images/itall.jpg" alt="" /> In these works I seek to portray a vacuous cybernetic dystopia populated by biomorphic figures recollecting, encountering, attacking, and sometimes just feeling each other out. These creatures represent an anthropomorphized amalgam of plant and animal elements, sometimes at odds with themselves, cavalcading at once elegantly and at the same time in a parade of reflexive destruction. Borrowing a language science fiction, I seek to explore the issues of a dystopic universe as it relates to contemporary concerns of the often corrosive yet beautiful relation between human animals and the botanic and geologic natural world we occupy. <a href="https://www.joespaintings.com">https://www.joespaintings.com</a> contact foodnpool at yahoo dot com <hr size="1" noshade="noshade" /><hr size="1" noshade="noshade" /> Wiley Wallace Fine Arts <img src="/sites/default/files/imported/people/alumni/images/wiley.jpg" alt="" /> Puzzle like paintings of fragmented narratives about getting awesome but are open for interpretation. <a href="https://www.wileywallace.com">https://www.wileywallace.com</a> contact wiley.wallace at gmail dot com <hr size="1" noshade="noshade" />

February 6, 2010

Lighting Studio

<img border="0" height="295" width="444" alt="" src="/sites/default/files/imported/facilities/photo/images/lightingstudio.jpg" /> The Lighting Studio has a Hasselblad camera, an infinity table, and a variety of backdrops, tripods and lights. It is for use by advanced photo students, grads, and other qualified students. <a href="/sites/default/files/imported/facilities/photo/ppmanual.pdf">Dyna-lite Power Pack instruction manual</a> <a href="/sites/default/files/imported/facilities/photo/2040mnl.pdf">Dyna-lite Flash head instruction manual</a> Hasselblad 503 instruction manual

February 6, 2010

Painting Labs

<img src="https://i.imgur.com/bh13ivm.jpg" alt="" /> The Painting Labs at the Department of Art are for use by undergraduate students enrolled in upper and lower division painting courses. The labs consist of three naturally lit studios each equiped with easiles and rolling table carts. Location: Arts Building rooms 2422, 2432, 2432b and 2628 <a href="/facilities/painting/paintguidelines.html">Painting Lab Safety & Guidelines</a> <a href="/facilities/painting/paintsites.html">Sites of Interest</a> Lab Manager: Diego Auchstetter