The 24th Annual Fine Arts Student Exhibition is online! This virtual show features work made in a wide range of Fine Arts classes from the past year, including drawing, painting, photography, sculpture, and 2D & 3D art and design.
In these classes, students from different majors across campus practice the organization and construction of form, the process of conceptual development, and the value of a commitment to craft. The Fine Arts Department at Vancouver believes that mark-making is an essential human activity, emphasizing the connection between contemporary art, culture and the built environment, be it physical or virtual.
Site/Sight/Cite is a series of several mini-installations at various locations on the WSUV campus. These “micro interventions” explore the language of painting and address the function and/or architecture of each location. Created by students in the Intermediate Painting class, these works draw attention to the practical purpose of the sites as well as their quirks and nuances.
Site/Sight/Cite can be viewed at the offices of HR, IT, Parking Services, Public Safety, and the Rec Center. We encourage you to sightsee all.
This show includes work by: Laura Ballard, Roxane Hong, Sharalee Chwaliszewski, Katie Babb, Kavin Wicker, Lilly Tan, Alexi Wattez, Dillon Gohl and Elle Marander.
Rita Robillard is a mixed-media artist and printmaker that has lived and worked in the Pacific Northwest for the last 30 years. From 1986 – 1998 she taught at Washington State University, and from 1998 – 2013 she was a professor at Portland State University where she chaired the Department of Art and the MFA program.“Polarities and Votives” is a mini retrospective that includes selected works from two series: “Polarities: Patterns in Time” (2016) and “Votives for Hanford” (what to do with nuclear waste?) (1996). In Polarities, Robillard explores visual and conceptual opposites by layering 19th century found imagery of the arctic and tropics, while combining photo printmaking, painting and drawing on panel and paper. In Votives, Robillard uses scientific diagrams and religious iconography to address the invisible and incomprehensible threat from the nuclear waste generated from Hanford throughout World War II and the Cold War.
“Robillard’s process is multi-stepped and idiosyncratic… While printmaking lays the foundation for the work, Robillard manipulates her surfaces in various ways: by sanding and carving into the layers of pigment and by painting or drawing between and on top of layers of print. Further depth comes from her careful overlays of flat colors against metallic or iridescent hues… Robillard’s additive process laminates image over image–sometimes as many as or even more than ten layers–to coalesce a visual sensation of another time and place while simultaneously establishing the images as relics of the present.” —excerpt from an essay by Linda Tesner, director, Ronna and Eric Hoffman Gallery of Contemporary Art, Lewis and Clark College, Portland, Oregon.
Images: Luxuriant Vegetation (top) and Conflagrations & Rain (bottom)
Image > Mode > Bitmap & CMYK contains a selection of work that document a decade-long obsession with the printed pixel and includes a wide array of print media, from woodblock and screen print to laser engraving and 3D relief prints. Custom looping algorithms and corrupted data files are utilized to capture chance, failure, and the loss of information that occurs when translating images between digital and traditional printmaking. While each work uses digital imagery as a starting point (the title of the show is the Photoshop command for switching between color modes), the final work is laboriously and inexorably printed by hand.
The large woodblock print installation (pictured at the top) is made by cutting sheets of plywood into hundreds of tiny blocks, sorting these blocks into a fluorescent light grid, inking their surface with brayers, and pushing them through an etching press to record their mark on paper. This process is repeated over and over again and the act of printing starts to mirror the algorithms that generated the work to begin with, favoring process and accident over outcome and intention.
Noah Matteucci currently works as the Fine Arts Technician at WSU Vancouver.
This show presents installations by students in the Beginning Drawing class taught by professor Avantika Bawa of the Fine Arts Department. The works were informed by interior architecture of the library, and its function as a place of both research and rejuvenation.
Scattered throughout you will find a number of these installations. Some are easy to locate, while some just creep up on you. Each installation takes into account the site where it is installed, either by responding directly to the architecture around, or the function of that particular area. In some cases, the works are the result of an imagination gone wild, while thinking of an alternative purpose of that location.
Simply put, each installation ‘cites its site’ through a careful choice of form and content.
Included in the show are works by: Kaylee Pham, Sabrina Polehn, Lilly Tan, Madiera Vath, Acoya Rehak, Matthew Gisby, Alyona Bobrick, Elaina Sundwall, Andrew Templin, Robin Hunt, Roxy Hong, Megan Robb, Seleny Calixto Luna, Natalie Quinn, Alaina Bocci, Shayla Lam and Alexander McAllister
“The etchings in Sitka Remembered draw on imagery from neuroscience and reflect on memory and our fundamental need for sleep. Nestled in the center of a United Nations Biosphere Reserve on the Oregon Coast, the Sitka Center is a place that holds magic. Moss drapes from ancient spruce trees while soft paths through the woods provide a singular location to observe nature, contemplate, and create. Three of these prints were inspired by the rich beauty and serenity of the forest and sea and the visible depth of the night sky. Neuronal trees mingle with the neurochemistry of dreams in REM sleep which appear as constellations in the night sky. The stillness of night is a unique time for inner reverie and restoration, enabling us to link ideas and illuminate creative solutions. Another print uses magnified and abstracted imagery of neurons to delicately address the beautiful wilderness of interweaving neurons that help us maintain the stories that make us who we are.
These etchings were created with master printer Julia D’Amario during my Jordan Schnitzer Printmaking Residency at the Sitka Center for Art and Ecology in the fall of 2017.” – Kindra Crick
Kindra Crick is a multimedia artist who gives visual expression to the wonder and process of scientific inquiry and discovery. In her installations and mixed-media work she incorporates drawings, diagrams, maps, and imagery from under the microscope.
Biota showcases works from a Special Topics Drawing course taught by Instructor Joby Barron in the Summer of 2019. Students drew from direct observation focusing on rocks and fossils, individual species, and by exploring the local biota through plant collections. The class had access to specimens in the laboratory which served as a rich source for realistic and abstract drawings.
“Memory: Cerebral Entanglement” is a layered mixed-media installation that incorporates drawings, diagrams and imagery from under the microscope. It started as a collaboration with neuroscientist John Harkness, who researches memory at WSU Vancouver. Harkness investigates net-like structures called perineuronal nets which surround neurons in our brain and are associated with memory retention and the close of developmental learning windows. Included in this exhibit are three microscopic images taken from the lab’s research.
Crick is a multimedia artist who gives visual expression to the wonder and process of scientific inquiry and discovery. She is fascinated by the human brain—our complex machine—which can fathom the beginning of time and the nature of its own thought. Crick has a degree in molecular biology from Princeton and a certificate in painting from the School of the Art Institute of Chicago.