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Double take: Tattoo Show & Senior Exit

For my final blog entry I'm going to lump the Tattoo Show and Senior exit show into one post for the sake of readability and time proficiency.

I'll start with the tattoo show at Haas. First of all I did understand that this show was put together by students, and I was aware that they had taken photos of some of my tattoos, so I was eager to attend. However I felt that the arrangement of photos wasn't done as professionally as it should have been. Instead of looking like a gallery show it appeared to me to be more like a 'visual aid' in a high school presentation.

On the idea of the show being a study on the history of tattooing: They skipped about 400 years of really interesting tattoo history. I saw nothing detailing sailor tattoos nor was there anything about the colorful history of prison tattoos. This upset me because I was most interested in seeing how they would portray these two topics.

Their speaker was a jerk and I felt like I was getting yelled at for 45 minutes. All in all I was somewhat upset about the quality of the show.

On to the Senior exit show.

When I walked into the Haas Gallery to view the exit show, the first thing I noted was the lack of outside of class work. It seemed like everyone only showed work from class assignments, which is fine except assignments don't change from year to year so you end up with similar pieces throughout time.

Another thing I noticed was that within the artists' individual bodies of work, there lacked a certain amount of stylistic consistency. In my opinion, to have a successful art show you should be showing a consistent body of work that portrays your message, instead what I saw for the most part was a mish-mash of school work and bad paintings.

I felt that the only person with a clearly consistent body of work was Maryam Cristillo. I'm glad she talked because it helped me better understand what her work meant. I think other than her work the rest seemed kind of forced.

my trip to beautiful philthadelphia

I recently decided to take a trip to Philly, not however, by free will, but for the pursuit of a grade. This of course tainted my holiday in to what might have been the strangest and most stressful mini-vacation to date. Okay, maybe it wasn't that bad, but the fact that I went on a weekday before Thanksgiving certainly didn't help as many of the galleries I had hoped would be open were closed, or by appointment only. The ones that were open held such horrific and banal works that I would've been a disservice to myself to enter.

On the other hand a friend of mine had told about an awesome show going on at the Philadelphia Museum of Art. It was a retrospect of Italian artist Michelangelo Pistoletto, when he told me this over a few adult refreshments I nodded as if I had been aware of the show all along and this show was the reason I was in Philly. But alas I had know clue as to what shows ever go on anywhere and had know idea who this Pistacio fellow was (purposeful misspelling for comic insight).

First of all, parking was a nightmare. It seemed I picked the same day that some marketing wizard had also picked for a Christmas tree gala of sorts that was being held all around the museum. When you add massive amounts of people and holiday cheer that's when my blood begins to boil, yet I found a parking spot and weaved my way through snot ridden children tugging at their parents who were fondling their newest phones, most likely tweeting about how great the Christmas Tree Super Great Holiday Gala was.

I chose to use the rear entrance because I didn't want to see any assholes running up steps and pretending they are rocky. Then I remembered that I could get in for free so, being the cheap penny pincher that I am, I cheered up. I noticed a huge poster advertising the Pistoletto show and my ears perked a bit. It was a photo of 'Venus of the Rags' (which the security gaurds would not let me take a picture of) I got interested.

The retrospect (From One to Many) was a vast maze of work starting with his early paintings. It was his experimentation with flat textures on glossy surfaces that really struck me though. His portraits on stainless steel just seem to pop right out at you, and the fact that you can see your reflection in the pieces really drives that home. He had also a piece that consisted of two sheets of plexy, painted on these were the front and back legs of a semi-folded ladder. This piece leaned against the way and when standing at just the right spot, appeared as real as this cigarette in my mouth. This excited me very much.

Next came some of his sculptural work, I found it kind of forced but still aesthetically pleasing. His paintings end up so close to sculpture that I guess I hoped his sculpture would reflect that playful interplay.

He did have some pieces related to rags that I found really beautiful because of his play on delicateness. Two of his pieces employed bricks wrapped in rags that were stacked in a wall form, the colors and vintage thread bare rags made this piece very powerful to me.

Also displayed were his shoes and jump suit, covered in paint, but in a frame of sorts. I've been wanting to do this for years but am just too lazy (plus the fact that I've yet to have a solo show which would be the proper place for this sort of piece). Works like that really get me pumped because not only have I seen the work that was created while he wore these items but now I get to see the hard work and years that he spent in them. I think it's a wonderful way to do a self portrait of sorts, and will still probably borrow that idea someday.

There was a funky 60's art video that he made, that I won't lie, I couldn't bring myself to watch. But he did have some minimal sculpture that was cool. Again, based on reflective surfaces, but this time controlling the reflection of light onto bare walls in order to create a uniquely abstract 'light painting' on the wall. They were quite effective in my opinion, and made me thinking about the space moreso than the art, which is always a nice thing after you've been overwhelmed by a lifetime worth of work.

I think that all in all it was a really powerful body of work that, although I wasn't super thrilled with having to visit Philly on break, I came away with some insights into the characteristics and interrelationships of gloss and flat textures and a few conceptual ideas as well.

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Becca #1

The show setup was okay. It definitely made the installation the main piece, and the other pieces an afterthought, though. I might have stuck the installation in the back corner behind the exit, just to make people look at the other pieces more. It did bring everything together though. The installation was a great piece. I liked the colors that stuck out that most, and the way you had it stretch all the way out. I enjoyed the talk at the exhibition too. It was informative and put more background to your work and how you went about doing it.

YOU HAD A SHOW IN HAAS!

I'm going to format this blog entry as a letter to you (Marilee) because it would seem strange to refer to you in the third person when you are the one reading this. Anyway, I thought the show was a well executed example of your work. However, I feel like the installation section really over shadowed your framed work. Perhaps you could've interweaved those into the installation.. or maybe not..

If I could, for just a moment, focus on the installation aspect of the show--It made me smile. I liked the colors. I liked the organic flow. I liked the nice cutz. I liked the shapez. It was nice. It was interesting. I liked it.

Also the talking part was quite good. It was nice to hear you discuss your thought process and I feel like I understand you a bit more now. All in all.. nice jobbbbbbbbbbbbb..

Keith.

Zeke #1

Although the work displayed is't what I normally am attracted to, I enjoyed the art work at the gallery. It diffidently took longer then I have ever worked on any one peace, and I was impressed with the project and thought it was put together well. the speech was good as well, I enjoyed hearing about her background and how she went and lived in different places doing all kinds of crazy projects. I also liked that she showed pieces of her favorite artists and paintings from others,

Assignment 1 - Jill Suda

The exhibit was absolutely breath taking ((though the piece was falling off the wall)) I sat for about a half hour and was mesmerized by the massive size of the what i see as the main piece that i have displayed above. I don't believe any narrative was placed into the exhibit but it does trigger thought of how much time did all that have to take and other questions that did pop into my mind. It is very thought provoking and detailed. The placement of the massive piece stretching from floor to ceiling and wall to wall absolutely grasps your thought. The other pieces were also very well thought out and detailed, and placed in simple white frames to not take from the piece itself. The exhibit remains the same throughout the masterful work using ink was breathtaking, as well as very detailed works. The only issue I saw in the entire exhibit was the use of Velcro to hold the pieces to the wall for the wooden pieces. Something like Command Strips might have worked better or extra pieces of Velcro on the fallen pieces. The pieces were scattering the floor and were missing from the piece taking away from the exhibit as a whole.

The piece I chose to discuss was called Growth Patterns it is a piece using plenty of color ranging from browns and blues to vibrant reds and greens covering the wall from one end to the next and even going off the wall onto the next and also onto the ceiling, it was created using wood, etching and some digital elements, and was carved very meticulously around the edges. the variety of color and shape can keep you looking for hours and coming across ones that you hadn't seen before.

At the lecture the artist spoke of her inspiration, which based off of what was in her works really showed through, that is her use of cell-like growths and sunflower-like growths showed most vividly in her color choice and focuses. The size she works with is for any ordinary person immense and precise, and one thing that caught my attention in her lecture was the fact she said this piece is still growing, saying it will absolutely change the next time you see it. I like that idea, it stands true to her title of the work Growth Patterns, growing things change, flowers bloom, faces and bodies change anything that grows changes, though the pattern may stay the same or similar.

Senior Exit Show

I feel like the senior exit show is always exciting. The whole time you're working as a student, you witness the senior exit shows and it's always fun to see students' last big effort before they go. Finally being able to participate in it was exciting in different ways. First of all, even though it's an open show and not juried, it still seems like a much bigger deal to show your work in this context. It feels as though more people see your work, and are more likely to recognize it as your own instead of just some piece they liked. A lot of this probably has to do with students, myself included, finding their voice and point of view during the time they spend at Bloom.

I really enjoyed seeing everyone else's work, both during the hanging and at the reception. I've seen a lot of these pieces before from working with these students for so long, but there were also lots of new ones. I feel like photography had a pretty good showing, but only one sculpture was submitted. I actually had a few sculptures myself, but I didn't submit them because they were still in progress at the time of the hanging.

One thing I'd like to change about the show, and not necessarily this one specifically, is the space issue. I know that we're always free to pursue solo shows at the local businesses downtown, but it also feels kind of special to be part of the grown-up graduating show in the official gallery. So I think a lot of students want to participate in that show specifically. I know that 13 of us trying to show 4-5 years of work (well, at least the best of it toward the end), was very crowded. I don't have a solution for this, and the show is still great and a lot of fun besides, but it was something to maybe think about in the future.

Personal Adornment Day

Personal adornment day is always tons of fun. For anyone who might not be familiar with it, it's the annual spring runway show of wearable art. Sometimes it's more classic fashion, but sometimes it's way out there innovative materials or crazy performance art. This year's show seemed to go really fast, and I'm not sure why. I don't think there were any fewer participants, but maybe there were just fewer performance pieces and more uptempo music choices to walk through. I don't mind whether the show goes fast or slow, it was just an observation I made.

The guest judge was Christine Zoller, and she actually had a workshop session before the show. I thought that was a lot of fun. For me, the demos weren't that exciting because I had learned what she had showed us in Professor Grimsley's class, but it was nice to have a refresher from a visiting artist. My favorite part of that session was seeing her own fiber art.

As for the show, there were the usual awards. I don't remember all of the categories, but a few stand out in my mind. Innovative use of materials went to a girl who had made a sort of robot suit out of all sorts of reclaimed metal. She had big shoes that looked difficult to walk in, but I felt that the most interesting part was the bicycle wheel/arm hybrid piece. I had actually seen this part before when the whole wearable piece was in progress, and it was nice to see it finished. I also think she deserved that award because hers was the least like clothing and looked like the most difficult to actually wear. Avant garde went to Devon for one of her 2 dresses. I had also seen this piece in progress up in the mezzanine all semester, but the headdress really tied it all together and took it to another level past "pretty dress". As for best in show, this was a girl who had done 3 dresses in shades of blue. I was somewhat disappointed in the choice, not that the work wasn't nice. Just to me it seemed more like traditional fashion and some nice dresses. However, I do know that a lot more work goes into pieces like this than meets the eyes, especially when you get to hand dyeing and stitching. I also understand why Zoller would choose something like this, as a fiber artist herself and being familiar with the dyeing and stitching involved. She said she chose these because she would wear each of them. I think maybe I would appreciate them more if I could see them up close and study the work in them more, but I think it was an ok choice for a winner.

Student Show

This semester's SAA sponsored student art show included a good mix of work from all different mediums. I felt like students seemed very interested in the show because there were so many pieces submitted. The juror was Karl Beamer, who many of us remember as one of our former professors from not too long ago. While I don't want to exclude anyone or their work from the show, or to criticize Professor Beamer's discretion, I feel as though a few too many pieces were accepted. Maybe this is just because I had to help hang them all. It just seems like space is limited in the gallery, even included the outer hallway, and like the exhibit was a bit crowded. But, complaints aside, all the work was great and it was an interesting show.

This year the SAA decided to do awards a bit differently. Awards given to each specific discipline were done away with, simply because sometimes only one person submits work in a given category. We felt that this wasn't really fair, even to those people, because it's not quite as exciting winning an award when you have no competition. Instead there were juror's choice awards, to be awarded at his discretion, and a best in show award for which there was a $50 gift card (the monetary prize was a new feature as well). Professor Beamer still seemed to give awards generally according to discipline, probably because that's the way it's been done for so long, but at least he had some freedom with his choices. Keith Seaman won best in show, and I feel that it was well deserved. I've always liked Inkfinger's work as a group, and Keith seems especially motivated with his own solo work. I was also a fan of this piece specifically.

Overall it was a good show, with lots of great submissions. I hope everyone had fun who submitted their work, and I'm really looking forward to next year's show (even though I won't be eligible to enter anymore :)).

time is up

Time is up my dear printmakers.....

Blog #2- Jody Servon

For this blog assignment, I choose to write about the new gallery exhibition at Haas. The current artist showing work is Jody Servon. Her exhibition consists of a series of photographs that are displayed around the room. Each photo is of an object that someone had save from a deceased loved one. All are photographed with the same stark white background, that seems to make pieces almost 3-d even though they are photographed. In this way, each piece is tied together even if the objects are very different from one another.

It is hard to pick just one piece from the installation to talk about. They all seem to be linked together. Although each are important together, the added poetry effect brings life to each individual piece. One piece that really caught my eye, was a photo of a fake leg. This one, like the rest is photographed with the same pure white background, but it stands out to me, because it seems way creepier then the rest of the objects. Also, the way the leg is positioned, makes it seem to have something more interesting to tell then some of the other photos.

The meaning behind the piece, is the same as the rest. It is about the objects we keep from deceased love ones. It's about memory, and how certain objects can trigger certain feelings and emotions. It's also just about stuff. We all accumulate stuff, and we all die, so why hold onto objects? I believe it's all about the human emotion that goes into the pieces. This is represented by the poetry written about the pieces. On their own, the images just seem like stuff. With the poetry, they seem to come alive, and hold a greater meaning.

Sorry I did not get a picture of the piece.

TidBit of FYI

Ok sooo I put space to make "3" paragraphs but it didn't post like that...anywho, there's 3 there.

Jessica Chappell Assignment 2

The ArtWalk-In was a total success! It felt wonderful to be apart of something so important to the people in this area and their art. Bloomsburg needs this. From growing up in the area, art isn't exactly the choice career path for the "workin' man". People can be very close-minded and naive in thinking art is just for fun, a childhood hobby, and then you grow up and get a real job. Well I say poop on that! There were arts of all sorts: huge wall hangings, jewelry, pottery, printmaking, blue grass music, balloons, and lots and lots of food! It really touched me that so many local restaurants and establishments donated food to the event. Usually, in today's society, you have to pull an arm and a leg to get anything for free, and the fact that they graciously donated time and delicious treats is greatly appreciated. I think my favorite part of ArtWalk-In was, and don't take this the wrong way (because I loved everything and I love seeing what's going on locally in the art world-perfect place for that), was the room where the kids could draw and paint. To me, I saw the Moose Exchange really making a difference; really utilizing what they have been given, and sharing the opportunity with the community. Inviting people back, in a small way. My friend Eric sat in their the whole time with a 4/5 year old boy...he's 32. : )

The bowling pin installation was great! I'm not going to lie, its not at all what I was expecting when I first heard they were doing it. I saw this huge conglomerate piece of funky pins and I don't know, stuff. Any who, it turned out super duper. Some of the work was crazy, all the tiny intricate pieces of cardboard used to frame the "pin". My friend Ralph went on the opposite spectrum of that and used huge pieces of cardboard to create a hollow space in the center to resemble the bowling pin. Yes! Everyone worked really hard and when put in that environment of an actual bowling alley; a bowling alley deprived of life for a number of years, and brought back to life through art, pretty cool stuff man!

I interviewed Keith and Nemi, Ink Finger minus Mike (couldn't seem to locate him). Material-wise they, "...use stuff, everything; little bit of this, little bit of that." Definitely collaborative group work to make their pieces. No soul responsibility in creation. They work wherever, anywhere and everywhere. These guys are inspiring, there's noo doot aboot it (Canadian style). Ey? Art is a lifestyle, their lifestyle without a doubt. They walk it, eat it, breath it. They work all the time, they work hard. It's exciting because I think they're going to make it, ya know. Whatever "making it" means, but I think they have a shot of becoming genuinely known for their art. Props to them; word up homie G.

I was very shocked when I went to the Art Walk-In. I wasn't expecting it at all to be in as big as a space that it was. I thought it would be one floor with just a few pieces so I was really taken aback when I saw everything on all the different floors. I thought it was really cool having live people play while everyone walked around and looked at the art, it made everything feel more comortable and you could really talk to the artists and people around you. Whenever I think of an art gallery for some reason I think you have to be proper and quite but this experience totally through that out the window.

The installation in the basement was awesome. At first I didn't even see the pieces, I really thought there was free bowling. Once I saw all the pieces themselves though I realized what it actually was. I enjoyed how everyone had such drastic differences in their specific piece, but as a whole the installation came together really well. I especially liked how a couple of them seemed to be made out of cardboard. It was really cool to see how they transformed something so rugged and straight into a bowling pin, which is much more smooth and curved.

During my time at the walk-in I spoke with a man named Larry Ney. Most of his pieces were different paintings dealing with floral images and landscapes. I asked him how he gets his ideas and he said he'll usually pick if he's going to make a floral image or a landscape but from there he'll just start marking around the canvas with a certain color and eventually branch off. The amazing thing was he said he never went to school or had any educational background dealing with art, he just liked it and kept with it. His pieces were really painted well for not having any artistic background. All in all I was really happy with my time at the art walk.

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my dear students, time is up.

Rachael Graham: Blogging Assignment 1: Kim Banister

Kim Banisters exhibit was the first gallery visit I was actually, honestly fully interested in. Banister's pieces were just visually appealing to me because of the major drawing aspects involved in every piece - I thought that the figure drawing was perfected, not in an accuracy sense, but in the sense of an emotion felt by the viewer. I have always loved drawing over any other media/technique in the art world - Therefore, I was naturally drawn to Banister's work. Also, I was initially and totally perplexed at the dripping-like color effect in each piece - Before the gallery visit, I had seen a poster for the exhibit, showing the lone woman resting her head on her knee, with a red, dripping pigment, concentrated in areas which made me think of a kind of darker theme - but as I got to view and take in the other pieces, such as the two people who are wrapped up together in some way, made me think that there was a lighter mood to all of the pieces and kind of just made me feel that she was trying to capture and play with the beauty and rawness of figure drawing.

My favorite piece, or pieces, were of the (seemingly) man and woman intertwined - These pieces just kind reminded me of love, no matter how cheesy it seems - Just the way that
the figures were drawn together so smoothly and the warmness of the colors used in the drippings gave me a warm feeling - It was just, one of those drawings, because of its smoothness and coloring, and arrangement, with line and the composition, which evoke an emotion, which was definitely of the warmer/happier emotions upon viewing the piece, such as the emotion felt when receiving a hug, or becoming happily content.

Sitting through Banister's lecture was intriguing - in a way that I found that the works that were in the gallery were so experimentally involved - In my own head, before the lecture, I was thinking that there was going to be a huge amount of depth to the nudeness of the figures, the color red used in the piece that was on the postcard, etc. Kim Banister clearly stated otherwise - In these pieces, she was experimenting with just the beauty of the "rawness" of drawing the nude figure and what you can make of it - Also, she was experimenting with linseed oil and types of transferring for the dripping color which appeared in each piece - This was amazing to me - Banister had just clearly explained, and amazingly demonstrated through her exhibit, that experimentation is in fact, so crucial in the art world. Banister explained that she had started working with figures and figures in the nude some years ago and experimenting to just see what she could do - Experimenting and just letting yourself go at your art in a free-flowing way is always something I have wanted to do and am trying to work towards - Just seeing beauty in Banister's pieces in the gallery and how much it coordinated with her lecture about the importance of experimentation and practice inspired me so much more to work at being open and experimental with my art, and realizing that so much practice and an open, free mind is very important in making art and making something of yourself, was amazing.

Becca Vernon: Assignment 1

Kim Banister's exhibition in the Haas Gallery this part week had a great impact on me. I really enjoyed the processes she used overall. The way the artwork was setup around the gallery worked nicely. I didn't feel rushed to go to the next piece or pulled to stay at one too much longer than another. I think that was mostly because the works were all generally the same size with similar hues. Overall, the exhibition was cohesive and I don't think I would have set it up much differently had it been my artwork.

Contemplation 2 was one of Kim Banister's pieces that featured a woman. She has her arms wrapped around one leg, and is sitting on the other. It appears that she's naked as well. When I first saw this piece, I thought she used some kind of watercolor, but later learned she used a process that involved colored dust and a kind of oil. This process really has me interested. I think the colors Banister uses flow extremely well together. She uses variations of reds and blues in this particular piece but some element of the color makes them soften and muted enough that they work very well. The thin lines of her body add movement to the piece as well.

I very much enjoyed Banister's lecture to us. I think that her work does communicate what she wants as far as the processes and how she described how she works. One big thing I really too away from the lecture was when she said that we, as artists need to stop thinking about what we want to do so much and just do it and let what's going to happen, happen. I think that directly applies to how I begin my pieces and I think that will be a great help. The most interesting thing I found in her work was her way of actually making the art. I found the processes to be much more intriguing than the actual works that were hanging, and I think that was a lot of her point she was trying to make.

Assignment 1

This show was Evolving by Kim Banister. The show itself was very cohesive, since it included works all done in the same style: figures, created with mixed media, including charcoals, various pigments, and linseed oil. I feel that the pieces were all interesting to look at, and I found myself staring at them for a long time to take in all of the drips and the line quality of the charcoal. I was surprised that all the pieces were so similar, because the last few shows I saw here consisted of varied works by the artist. I think doing a show in this way could be boring, but that it succeeded in this instance. I think I was able to appreciate the subject matter and process more because I was surrounded by it.

I chose to focus on Reclining Female Figure:

This piece was an orangey/brown, rusty, burnt color, had charcoal outlines for the figure, and dripping, just like all of the pieces (except certain ones that were more red and blue). I could not figure out what materials were used, as they were only labeled "mixed media", but the artist statement clears this up a bit. This technique is accomplished by drawing with charcoal (attached to a stick, to allow a full view of the piece from farther away), then linseed oil is splashed to dissolve the image away somewhat. Various pigments are thrown on, along with more charcoal drawing until the piece is finished.

Unfortunately, I missed the artist lecture, so I did not get a chance to hear her describe her work in person. My own uninformed reaction was that the pieces seemed very sad. The figures were thoughtful looking, and the dripping quality made it seem as though the pieces themselves were crying. I was drawn to the above piece because, whether the artist intended it or not, I felt very thoughtful while viewing all of the pieces. I also felt that many of the subjects within the pieces were thoughtful as well. I think this piece captured that feeling the most efficiently, because the figure is alone, and could easily be staring off into space and lost in thought. It also seemed sad because she seems to be holding herself, and the dripping quality evokes sadness as well. As for the title of the show, I could not figure out how evolving related to these pieces. My interpretation was that it was maybe an evolution of self, of the artist or subject changing through life. Upon reading the artist statement, it becomes clear that the evolving refers to the drawing process itself. Using linseed oil she allows the charcoals and pigments to crawl down the page, and it keeps changing and altering, both through her actions and the materials' independent movement. In this way, Evolving makes perfect sense.

Rachel Etz- Assignment #1

For this first assignment, our class went to see the exhibition in Haas by Kim Banister. I found this exhibit very beautiful and natural. Each of the works in the exhibit focussed on the human form, or organic forms that ended up looking like human forms. Also, all of the pieces have the same dripping paint/color quality to them, tying them all together very nicely. Most of the works are also not framed. The artist chose to leave the very large scale works just on paper, seeming to give more character to each of the works, because they become a more active part of our world.

The piece that seemed to be the most interesting to me is titled "Red Series #3"(Seen Above). The artist chose to depict two people, a man and a woman, who appear to be a couple. The pose seems to be very intimate, and along with the expression on the face of the woman, the gesture seems very emotion filled. For this painting, the artist drew the figures in charcoal, then applied Linseed oil ( which is where the dripping effect come from ) and the blows on pigment to achieve color. In the case of this piece, the colors seems very earthy and/or flesh toned.

From listening to the artist speak, and from seeing her work first hand, I feel as if her work communicates what she wants it to tell. She is very interested in the human form or organic forms that look like human forms, which is represented by all of her pieces in the Gallery. Also, she seems to like experimenting with color and materails. This can bee seen in the variety of different blown pigments in her works, and also by the use of the Linseed oil. The Linseed oil seems to be an important part of her work, because it allows for a different type of experimentation, both with the blending of color, and the actual perservation of the art.

assignment 1

The artist has seemed to set up the show by body positions. The first couple of pieces ( to the immediate left) were people huddling up together, followed by a woman by herself represented in a variety of different pieces in a variety of different poses. Getting to the far wall on the right there appeared to be two pieces dealing with couples, in both pieces the woman was depicted kneeling on the ground and the man was holding her shoulders or her hand standing above her. All the pieces seem to portray the same female figure in a different pose and they all seem to be cohesive with each other, dealing with the same style of art and colors used.

In the piece I chose, the artist seems to use a lot of flesh-toned colors with greens and reds. She doesn't use any framing; it's just the large piece of paper hanging. She really utilized how the body can contort into different positions with this piece, using a lot of curved lines make both bodies culring up together. She also used a lot of lines in the bodies themselves, which continue with bleeding of red and greens to the bottom of the paper.

After reading the artist's statement I feel that she is actively potraying what she has said. You can see how the different pieces represent a specific emotion. Especially in the first picture, I get a sense of sadness or distress. the two people are huddling together, almost as if they are both deeply upset and crying together, holding each other for comfort. The other one's with the couples howver, show a feeling of intimacy, the women calmly kneeling and the man behind her, holding both her hands gently. I feel that the artist has done a good job explaining how she feels and what she was going for when she made these pieces.