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ART 194: Virtual Open Studios Fall 2020

Virtual Open Studios Fall 2020: ART 194 - Forms and Ideas

Instructor: Laurie Palmer

Art 194 Forms & Ideas class project:

Sincerely Yours…

— a collective mail art project in the time of COVID, and to recognize the importance of the postal system to democracy.

Mail moved between Santa Cruz, San Jose, Salinas, Orange County, San Luis Obispo, Walnut Creek, Sacramento, Brea, Soquel, Susanville, in California, and between Liaoning, China, and a town not far from Taipei in Taiwan.

Saul Villegas created this video from a slide show of the artworks.

Akilah Bussey

Akilah Bussey 1

papier-mâché, decorated with acrylic paint and pipe cleaner.
This piece was made as a way to map the feelings anxiety causes and how it affects different parts of the body. The main focus in this piece is the brain, heart and lungs.

Akilah Bussey 2

“River Cats”
Papier-mâché, painted with acrylic paint
This piece was part of a project for proposing a monument. This piece was inspired by the cats that live by the river in my area. So the idea is to place multiple of these types of cat sculptures along said river.

Akilah Bussey

“Cali Flowers”
Acrylic on multimedia paper.
This painting was a part of a project to propose a mural. The purpose of this mural was to show the beauty of nature in California (specifically flowers) in my area. The flowers in this painting include:California poppy, Wicker Buckwheat, Silver Lupine, and Rock Wild Buckwheat. 

Cassidy Skillman 

Cassidy Skillman  1

Cassidy Skillman
Weathering the World 
Wood Dishes, Acrylic, Starfish, Sea Sponge, Plastic, BeesWax, Brass Wire, Lasercut Wood, 
Tissue Paper, Iridescent Film, Mosaic Rocks
These sculptures reference the unnatural acceleration of weathering and explore the idea that the fate of natural forms depend on humans adjusting their materialistic tendencies. The works are made to spark reflection that can be transformative if extinction occurs. 

Cassidy Skillman  2

Cassidy Skillman
The Pressure of Education
I plan to sculpt, cast and then poor a large scale bronze sculpture depicting a handful of Ticonderoga HB #2 pencils that form into a crystalline structure. We universally understand the simplicity of a pencil as a writing utensil. But, I am interested in the complexity of a pencil in regards to being a staple in forms of education. The pencil crystals are not only a symbol of the pressure of education but the worldwide pressure to be educated. 

Cassidy Skillman 3

Cassidy Skillman
The Pressure of Education (Maquette) 
Pencils, Epoxy
I call this a Pencil Crystal. I have been experimenting with this form since 2016. 

Cassidy Skillman  4

Cassidy Skillman
Oak Tree Mural
I propose to paint a mural of luscious green oak trees on a water tower that sits at the base of Mt. Diablo in Walnut Creek, CA. For this mural on the water tower, I wish to pay homage to the land of the blue oak, valley oak and coast live oak. 

Claire June Apana

Artist Statement:

As a child, I was obsessed with origami as it was a means of exploring my asian heritage through art. I was mesmerized by the look and feel of origami papers and found it fascinating that I had the ability to create delicate works of art with a conventional material. My passion for beautiful papers followed me into my career in photography. Growing up in Los Angeles allowed for authentic and commodified experiences of culture.

My works focus on the concept of Impossible Realities and the paradoxical ways of life that are absolute. This exposure of the human condition results from introspective thought process combined with a dedicated art practice. Through my art I hope to inspire viewers to realize that even small actions can create immense change. Previous installations have included a combination of medias in order to convey a nuanced sense of experience. Photography, videography, sound sculptures, paintings, sculpture, and performance culminate as necessary in order to create unique environments for the viewer. 

Recent works are performances in which I hand fold massive photographs into sculptures in front of an audience. By integrating origami patterns onto a traditionally two dimensional medium, I am able to create complex and dimensional photographic sculptures. In manipulating the raw material, I reconstruct the narrative into a new form. These new forms are metaphors for the infinite possibilities each of us contains to change our reality and the world we perceive. Through collective action and solidarity we can contain the chaos around us in order to design stability for all. By dedicating time and energy towards our goals, we can all begin to take control of our realities. My art practice is a way of taking control by means of creation.


Claire June Apana
“Perpetual Continuum”
Paper, thread.
An appropriated map of California serves as the material in which maps of my own life paths have been sewn into. These periods of my life range in colors beginning with deep crimson and ascending to a shimmering lavender. The paper is folded utilizing the Miura-Ori origami pattern. Threads of the past droop in long colorful strands towards the floor, while the culmination of these points is always home and leads to the future. This map is a representation of my past, my present, and my projected future; forward into the unknown. 

Claire June Apana 2

Claire June Apana
“Perpetual Continuum”
Paper, thread.
An appropriated map of California serves as the material in which maps of my own life paths have been sewn into. These periods of my life range in colors beginning with deep crimson and ascending to a shimmering lavender. The paper is folded utilizing the Miura-Ori origami pattern. Threads of the past droop in long colorful strands towards the floor, while the culmination of these points is always home and leads to the future. This map is a representation of my past, my present, and my projected future; forward into the unknown.

Claire June Apana 3

Claire June Apana
“What will be your legacy?”
Concrete, moss.
What will be your legacy? is a collaborative endeavor between human innovation and nature. This sculptural mural invites us to imagine a future by facilitating introspection for our present. This piece is constructed of concrete molded cursive text, requiring the viewer to slow down and take in what it is they are reading. This allows for the work to set into the viewers mind and inspires deeper contemplation of the question posed. The text rises as a relief reading out the words “What will be your legacy?” The concrete is saturated with solutions of moss in order to cultivate the natural growth of lichens and moss on the artwork so that these organisms may take over the material over a period of time. The artwork also encourages the integrated growth of native lichens and mosses; utilizing human created technology for the preservation and cultivation of nature. As time progresses, natural shades of pale blues and sea foam green will blend with rich velvety moss on the concrete mural. This harmony of nature integrated with architecture will be placed in the ideal environment of Santa Cruz. This gradual growth juxtaposed with the text is a metaphor for the seeds of our own legacy that we may plant, but never live to see grow.

The question allows for introspection; taking in your past and present in order to envision a the future. This question of legacy, of livelihood, of longevity makes one consider their fate. It is evident that change is necessary and time is of the essence. With humanity as divided as we are, this question is relevant to every one of us. What will be your legacy? Will it be one of vitriol, hatred, and fear, or one of bravery, honesty, and compassion?

claire 4

Claire June Apana
The energy coursing though our bodies gives us the potential to create anything our minds can conjure. ENERGY POTENTIAL is a site specific, audio-visual, interactive installation that plays on themes of community, connectivity, and the potentiality that each of us carries as living beings. This work utilizes sound therapy, electrical conduction, and cymatics in order to create an art installation that functions as an instrument for unity.  ENERGY POTENTIAL invites participants to touch specific sensors of the tiled fountain in order to generate various tones that play through a massive speaker underneath the water. These specific frequencies are utilized in sound therapy and are believed to rejuvenate the mind and body. These tones may be seen as cymatic responses in the water; creating pattered waves and ripples. When different tones are combined, different shapes are created. The design on the perimeter of the installation is a visual representation of the harmonic series. The multi sensory installation will inspire folks with varying abilities and experiences to engage with and enjoy this piece that responds to human touch. ENERGY POTENTIAL is a celebration of the power of our limitless potential. 

Clarissa De Jesus

Artist Statement:

My work maintains a focus on the different ways I am connected to communities and people. It is important for my art to reflect the type of ways a community can be successful through expressing the importance of diversity and compassion for each other and towards our differences. During a global pandemic when society is isolated and forced to be seperated, the goal of my work is to reestablish the ways in which we can relate and understand one another through art and experiences. Putting an emphasis on communities and those within them also forces my audience to question the ways in which they interact with people in their daily lives. 

Growing up in California with immigrant parents shaped the ways I see communities, that of which is important to share. Projecting the intimacy in family and the importance of family in immigrant cultures is geared in helping the viewer embrace those traits within themselves and their communities. 

Growing up with PTSD and Bipolar Depression also impacts the ways in which I relate and understand people. With the privilege I have of affording to be diagnosed and treated, I recognize how a large population is not and is forced to live in constant mental and physical turmoil. Therefore, representing different ways mental illness is common helps others and myself to feel respected in a society that frequently deems us as dangerous or mentally absent. Overall, my work throughout this course reflects the many ways in which my personal life can affect communities

Clarissa De Jesus 1

Draft for “Unggoy” 
Paper Collage on Bristol
Above is the image used for visual aid for a memorial proposal. “Uggoy” presents the history of Filipino American oppression and the intimacy involved in recognizing their humanity. Representing the racist abuse, the structure consists of feathers, burned cebu cinnamon and cyanotype printed on silk strips. The feathers and ash are in memory of Filipino labor workers from the 1830’s who were frequently feathered and tarred. 

Clarissa De Jesus 2                                                      

Visual aid for “Affliction” 
Paper Collage and Photoshop
Depicted is a paper collage and photoshop visual for a mural proposal. This mural focuses on the importance of de-stigmatizing mental-illness in homelessness as well as bringing awareness to how common it is amongst society. Materially the idea is to have wheat paste paper strips that have definitions and symptoms of different mental illnesses while being interlocked amongst different people.

“Unity Project”
Linoleum print with ink on sticker paper.
Around my neighborhood, I put these stickers in visible spots to map the borders of my community. The goal was to help the viewer feel a shared experience with others and embrace the idea of being interconnected. “All Roads Lead To Rome” symbolizes society's ability to have commonalities at its root.

d Lynch

.d Lynch
“Sincerely Yours Project”
mixed media

d lynch

.d Lynch
“Shame, Embodiment, Transmission”
Water Clay

d Lynch 3

“Reagan Hole”
Counter monument Project Proposal

Dylan Brunick 

Dylan Brunick 1

Dylan Brunick
“Bigger Picture” 
Paper Collage on BFK 20x30
The Earth as a whole is the most important map there is and makes us feel very small in comparison. This was created using pictures I took and collaged together. The one little road from your daily routine when you zoom out is connected to everyone's routine. 

Dylan Brunick 2

Dylan Brunick
“Still Here” 
Charcoal on paper “11x14”
The Chumash are represented through their land. This monument represents their culture and connectivity with the land around it. It is an abstraction of an arrowhead which was an important part of their hunter gatherer lifestyle. The Chumash are still the first residents of this land and as this piece moves on a swivel with the wind it is a representation of their relationship to the land and that they are still here today.

Dylan Brunick 3

Dylan Brunick
“Alone Together”
Digital Drawing 
Representing everyone that is stuck at home. Nobody is alone in this, we are all alone going through this together. Portraits taken behind a window represent how all of our locations are the same during this time, and that things will get better. 

Hannah Doniach 
“The Good Parts”
A video mapping the simpler things in life during this crazy time.

Itzel Rios

"Academic Limbo" from Itzel Rios on Vimeo.
Academic Limbo
This mixed media art piece symbolizes my past, present, and future in my educational path. For my Atlas assignment I decided to capture my location as a graduation cap.

Jasmine Simone

jasmine 1

Jasmine Simone
“The Squad”
Digital Illustration and digital collage

“We are more than four people. Our squad includes any person committed to creating a more equitable and just world.”

The four freshman congresswomen elected in 2018 to the US House of Representatives represent the demographic diversity of a younger political generation. Often clashing with their party's leadership, they advocate for progressive policies such as The Green New Deal, a living wage, affordable housing, universal healthcare, student loan debt forgiveness, the protection of DACA, and abolishing ICE. The women are frequently harassed, the subjects of conspiracy theories, and receive death threats. 

Alexandria Ocasio-Cortez of New York
The youngest person ever elected to congress at 29

Ayanna Pressley of Massachusetts
First African-American woman elected to Congress from Massachusetts

Ilhan Omar of Minnesota
First Somali-American person elected to Congress, who fled to the US as a refugee at a young age. The first woman to wear a hijab in Congress.

Rashida Tlaib of Michigan
First Palestinian-American woman elected to Congress

Ilhan Omar and Rashida Tlaib are both the first Muslim women elected to Congress.

This project seeks to display a mural of “The Squad” on the side of an apartment building next door to the famous Katz’s Deli located in the vibrant and exciting neighborhood surrounded by NYU, The New School, Little Italy, Chinatown, Greenwich Village, museums, art galleries, and gardens all within walking distance. This neighborhood represents the heart of the young, diverse, politically engaged generation.

jasmine 2

jasmine 3

Jasmine Simone
“The Quarter-Million Monument”
Digital collage

The idea for this monument was born on the day that the US reported 250,000 deaths due to COVID-19. That number was a marker that topped US epidemiologists’ expectations of the worst-case scenario, yet we are experiencing the highest peak of virus transmission so far this year and an end is still not in sight. Currently, there have been over 300,000 deaths in the last 8 months. That’s more deaths from COVID-19 than estimates of American military deaths during 11 years of battle in the Vietnam war.

This monument proposes using surgical masks to create a visual representation of the immense number of COVID-19 deaths in the United States—250,000 lives lost—which is an unfathomable number to fully understand. A single mask is used to represent each human life lost in the United States alone while pointing to the controversial actions taken by many to avoid wearing masks in public, a precaution that many experts agree is the most valuable tool we can use to stop the spread of the coronavirus. 

The collection of masks are strung 6 inches apart across the National Mall adding up to 21 miles in length for a total of 722 crossings over the 1.2 mile-long stretch of lawns and reflecting pools between the Lincoln Memorial and the Capitol Building steps.

With this project, we mourn the loss of so many who have passed this year and those deaths that are, unfortunately, still yet to come. 

Lu Gold

Lu_Gold 1

Burn Your Idols, a 2020 specticle

Lu Gold 

Statement of purpose: 

The goal of this monument is to subvert cityscape realty, a reality which, in the year 2020, already feels surreal. It seeks to impart laughter, and possibly a little unease and curiosity to anyone walking around the Griffith park area in LA. The idea is to get passersby to question their “idols”, whether it's a certain career, an exorbitant amount of money, or a person or group of people one attempts to emulate. The viewer is welcomed to contemplate the neon phrase “Burn Your Idols”, while simultaneously exploring an otherworldly queer indoor delusion, with beyond life sized revolutionary texts, sex toys, and figures interacting in imaginary space. 

This idea came from a drawing I did in a notebook during a zoom class when I should have been taking notes. I was thinking alot about the folks I idolize now in contrast to the ones I “worshiped” years ago . I knew I heard this phrase somewhere, I looked it up and this was what urban dictionary gave me :

“Burn your idols (also kill your idols, murder your darlings) is a phrase that intends to implore people to remove the special status of a person or character as beyond criticism”—- This echoed the spirit of rebuilding and reimagining. Step one= Burn your idols. The burning the neon signs read is figurative, I hope it does not prompt someone to go burn Ariana Grade or something. 

We see depictions of fabricated beauty ideals hundreds of times a day and subconsciously analyze how we measure up to these ideals. Though public ads are surely shifting in who they depict, we should never be content with a sprinkling of “gender bending” and tokenism; it's time for us to question how exactly capitalism trickles into the private realms of our lives. How can we end the perpetuation of norms when we are constantly told to squeeze into whatever mold we most closely identify with?  How do we begin to wipe away the fingerprints capitalism has left on our self image through the creation of “idols””? This is a conversation I want to continue to have with myself and others who sit at this monument. 

The “monument” would be located in Griffith Park, in place of, or possibly right next to a meaningless gilded copper bear statue which stands at the base of a hill along Los Feliz Blvd. This park is located right next to Immaculate Heart All “Girls” School which I attended for seven years. 

 This boulevard is one I drove every day of middle and high school, billboards and bus benches would change frequently, 40% advertised deals on plastic surgery or beauty products, and the rest the newest flick or new nike shoe release. This sculpture is a response imagery we see everyday and have become numb to. My sculpture (as attempted in clay for reference) encapsulates bodies that fit no known mold, engaging in private queer life to challenge what is acceptable for public space and what is an acceptable body. 

This sculpture would be fabricated from fiberglass and vibrant acrylic colors, ideally appearing shockingly glossy, smooth, and sturdy. The focal point of the monument is a tall stack of three televisions, featuring neon lettering reading “Burn your idols” set in the screens of the monitors. The Neon would turn on at night like a cigarette sign in a convenience store window, intended to lure one in. The phrase is one intentionally thought provoking, and can be changed at any point if the artist opens the back of the TV. I’m no electrician and have never worked with neon, but if this sculpture is ever made I would collaborate and try to learn the art of neon lettering so I can change the text. Getting as many artists involved in the project is my goal, I do not want to be the “owner” of this sculpture, I intend to change and add to it while collaborating with people who know how to work in fiber glass, and also with other queer artists on how to best display this outlandish scene in public space. 

The figures are life sized, approximately 6.5 feet tall, inviting passersby to interact with them, sit on the couch or on the rug with them, read the titles of the books which are splayed on the ground, and imagine you were in this space. Maybe a passerby would get so comfortable among these quiet statues they would settle in for a while, and bring their own book or journal. Maybe these quiet companions are exactly what we need to feel less alone but also not obligated to perform. It would require roughly 50 feet of open space which this park would provide, though the pilates private personal trainers that lead classes out there might not be too thrilled. Or maybe they can do squats alongside these creatures, in 2020 both nothing and everything is possible. 

I do not have a clear time frame for the execution of this project because at this point it is just a speculative dream of what I want future generations to pass on their way to work and school. 

Lu gold 2

The Longer We Stay Safe, The Sooner We’ll Meet Face to Face

Location, Size, Materials,

I want this drawing to transform into a large-scale mural in order a comical image that is loosely related to covid into a space which, I would argue,calls for something other than yet another ocean scene mural.  This image would be blown up to at least 20-30 feet long and 10 feet high and placed along Mission street in Santa Cruz by the Mission and Bay Street intersection. Thousands of people sit in traffic in this intersection and have to stare at yet another ocean scene mural, having it morph into something unexpected might spark conversations about what these masks stand for and how the image makes them feel; possibly unsettled, possibly humored, possibly angry that their formerly favorite mural has disappeared. Ideally, it would disrupt a cooped up couple fighting in their car on the way to wait in line at Trader Joe’s for 30+ minutes. 

This mural would be executed using brightly pigmented acrylic paint and airbrushing, something I could execute myself if granted ample time (2- 3 weeks), or with members of the community who I could pay for their time and interest in the project if given the means. 


This image was birthed from and based on a multitude of sketch book entries  from the past few months. Loneliness and estrangement can open the flood gates of self criticism. Being alone, or with a select few is necessary for the time being which has proved to be truly horrible for those with existing substance abuse problems, dysmorphia, depression and the like. We spend so much of our lives hiding from ourselves; this might look like taking refuge in others, in loud bustling settings, or caring for others- however, those activities are usually interpreted as ways to hide but rather to be seen. It can be unsettling to be alone; When it is most quiet our brains get a chance to be the louder than usual. While it is not explicit, this mural speaks to the fact that we all share one thing in this moment- loneliness. Sappy, and maybe a bit taboo, but nonetheless true- everyone’s mental health “junk” is manifesting in new ways as some of our coping mechanisms have been ripped out from under us. 

Description/ Inspiration

My proposal depicts 6 ambiguous figures interacting with one another, each wearing an outlandish rendition of a mask. When the pandemic began I could not seem to redefine the word “mask” to mean the surgical mouth covering we associate with the “mask” today. Every time someone (or myself) would remind me to grab my mask on the way out, I kept picturing either gorey or gaudy Halloween masks or some sort of ski mask. This is only a split second slip up, but it produced hilarious visuals that my brain latched onto. This remained my instinct for months- even when I knew better, some part of me kept it going. 

If someone this time last year told me that everyone I knew would be going about life wearing a mask, I would've pictured this same hilarious visual. In this piece I was thinking about the way objects change meaning over time. Today masks aren’t for Halloween, but for leaving your house, and Halloween gatherings where one might flaunt their disguise is a thing of the past. We miss Halloween, we miss developing senseless crushes in class, we miss trying on a new identity and seeing how it goes over in public, we miss so many things- above all we miss embracing, we miss skin, we miss reading facial expressions, we miss our favorite bartender, we miss Friday, we miss dancing, we miss surprise parties, we miss the mid night movie, we miss falling asleep somewhere else eating breakfast there and walking home in the morning. This mural might include a smattering of “I miss __” statements alongside the main image, relayed to me by others- adding a poetic element to the space. 

lu gold 3

Nicole Rudolph

“Artifacts of Location: Book of Touch, Quilt of Dreams, and Echoes of Sound”

"Artifacts of Location" is a collection of pieces that work together to help the viewer find me, the artist. They are in essence 3 maps of specific areas of being that I exist within that come together in an atlas. These artifacts are: 

"Book of Touch," "Quilt of Dreams," and "Echoes of Sound."

A map at its heart is a way to locate and better understand a place. But for locating a person, the true essence of a person, what does that mean? We are more than our physical location within a body, and we are constantly moving. If I made a map of my physical location the map might only ever be correct once. So instead I mapped out 3 spaces that I always exist within: Physical space where I can be found through what I affect in the physical world and the meanings behind those movements, Sound space where you know where I am based on the noises I make by existing and moving through the physical world, and Dream space where I exist in my most distilled sense of self.

The artifacts are meant to be used together, so as to envelope the viewer in the experiences of being me. The viewer must pull the Quilt of Dreams over themselves, turn on the audio recordings from the Echo of Sound and listen to these recordings while reading through the Book of Touch. In this way the viewer will find me as I exist in 3 spaces simultaneously.


"Book of Touch" 2020
Handmade leather bound book, Watercolor on Hot press watercolor paper


"Quilt of Dreams" 2020
Cotton quilting fabric, thread, batting

Panel #1: 

It was a place where time did not exist. It was an in between space that we had accidently slipped into while driving through the hills. We stopped at an observatory to get a better vantage point. There was a dense fog and through it you could just make out the enormous giants of indeterminate shape, slowly lumbering through the valleys, obscured by the trees. 

Panel #2: 

They say that when you dream of a house that the house is you. I often dream of large sprawling Victorian houses, impossibly vast, every room filled with ornate antiques and curios. Every fixture is intricately carved from dark wood and almost all of the windows have an element of stained glass. No two rooms are alike in shape, size, or purpose. As much as I like the house I often get lost in it, always trying to find a loved one while stumbling on people I barely know as I move from room to room. I end up spending most of my time trying to kick people out. The phrase “living in my head rent free” comes to mind. 

Panel #3: 

We moved through an enormous forest with trees like monuments; ancient, bigger than you can fully grasp,  and full of memory. Water covered the ground and grew deeper as we moved forward. The giant luminescent mushrooms became our pathway out and safely to the docks behind the place that I refer to as the patchwork district.  It is as if all the buildings I have ever laid eyes on had been poorly patched together to form a single building. I had been here many times before, but this was my first time coming in through the back.  The rooms moved and shifted and you needed a guide to get through. The children that live there are the only ones who know the way. 

Raquel Rabines


Raquel Rabines

Raquel 2

Raquel Rabines
Oil on Canvas, 16”x 20” 


Raquel Rabines
Digital Media 

Saul Villegas

Saul 1

Mind Map
Digital, 2020
This design seeks to capture the collection of images and energy floating in my mind. The way thoughts are created and synthesized and centered around the theme memory.


The trail of visions
Digital, 2020
This abstraction allows the viewer to see different ways and the stages of thoughts forming & disappearing.


Memories of Avenal
Digital Mixed Media, 2020
Combining photography, a map constructed of paper and tape, and digital design, I depict my childhood home in Avenal, CA. There is a confrontation between the past and present through a fictional way of viewing the physical world. Using the internet, I used Google Maps to find the home. Then, I created a map that I drew from memory. The result is the collage of a distant memory made to parallel the present.
Digital Mixed Media Video, 2020
Working with the theme on our project Atlas Map , I created an experimental video that shows the trail of thoughts through manually sketching and digital design. Applying different techniques, I implemented a voice to extract a memory and processes that correspond to creating art.

Selena Hyon


Selena Hyon 1

Selena Hyon
Mixed Media
This interactive sculptural piece is a symbolic embodiment of myself, using the concept of “mind, body, and soul.” The bust is formed from the sculptural rendition of a popular game, “Animal Crossing.” The game device illustrates the importance of self-interests that is dear to one’s “heart and soul.”

Selena Hyon 2

Selena Hyon
Mixed Media

Selena Hyon 3

Selena Hyon
Mixed Media
The top of the head reveals a dark entangled string to represent the mind of my own mental well-being in an abstract form of a brain. 

Selena Hyon 4

Selena Hyon
Mixed Media
In the form of veins, it is a series of maps of places familiar to myself within LA County. This abstract watercolor cut out represents the places my “body” has been . 

Yu-Hsuan Su

Yu-Hsuan Su 1

Yu-Hsuan Su 3

Yu-Hsuan Su 4

Yu-Hsuan Su 5

Zoë Doniach 

Zoë Doniach 1

“Airing my Grievances” 
Mixed Media- fabric, C prints, thread, paper. 
This transformative book works as a mapping and investigation of my own body actualized through prose, photography, and physical metamorphosis. 

Zoë Doniach  2

“The Offering” 
Acrylic on Canvas 
This painting was created as a proposed mural.  Within this piece, I look to characterize creation, and beyond this, visualize growth, progression and hope.  Inspired by classic mural tonal values and color schemes, this image works within the iconic framework of traditional public art to envision cosmic change and beginning.
Airing My Grievances transformation time lapse
This video documents the transformation of my fabric book “Airing my Grievances” into a wearable garment, an examination and transmutation of my human form.