Kayla Razon ART 110 S02 @kaylarazon-art110 - Tumblr Blog

EC - Feedback

What did you think of the format of the class?

The overall pacing of the class was reasonable, but I think it would be better to do art activities during class, much like how we have artist conversations on Wednesdays. That way, there is a task-oriented motivation to go to class besides just showing up for the credit.

What did you think of making & presenting your Art Gallery?

Having the Art Gallery be a group project was a great way to get people in the class to talk to each other and explore a theme of art that was more personal to us. I particularly enjoyed the freedom of picking my own topic, something as seemingly random like dragons. It was a great experience getting to share a childhood passion of mine while learning more about how art plays a role in the modern day.

What did you think of visiting the SOA Art Galleries?

I really enjoyed visiting the SOA student art galleries! The proximity to the lecture hall and the walkovers made it a less daunting experience, for the ART 110 students at least. I think many of the gallery hosts would be surprised by the number of people who came to talk to them, so hopefully, they’re being notified about the impending herd in coming semesters.

What did you think of the weekly Art Activities?

They were fun, but it was frustrating to have to do them independently. Like I mentioned earlier, a significant improvement to the class structure would be having activities during class to make it more engaging. Perhaps it would be a good idea to have the students bring the materials to class and encourage them to share with each other in order to split costs.

What did you think of the “7 Ideas about Art”?

I feel like they were very diverse in medium, making the different assignments stand out from each other. The photography one was one of my favorites, being the easiest to access with the phone camera I already have. The most rewarding but the most time-consuming was the zine activity; maybe adding a collage aspect would make the project less focused on drawing and more on content.

How did you feel about using Tumblr for your blog?

Tumblr has been a very convenient platform for both submission and sharing. To encourage interaction, having extra credit points for reblogging with comments to other students’ posts may be a good idea.

How did feel about using Wix for your virtual art gallery?

Wix was very frustrating to use, I feel very lied to by the countless celebrities that have endorsed their services. I think it would be more familiar and accessible for students to make a presentation rather than a website. Many presentation programs like Office or Google have built-in sharing functions that allow multiple users to access the document from different accounts at the same time, whereas Wix was very owner-oriented. This made it frustrating having to share passwords with each other constantly and keeping track of each member’s progress.

What did you think of using the class website, glenn.zucman.com/i2va, plus your own websites, instead of BeachBoard?

I much prefer Beachboard as it makes the academic experience much more centralized, especially since I get automatic notifications when assignments are due. While the /i2va website was fun to look out, it was disorienting having to look for the critical information. Additionally, having regular access to my grades and due dates is essential for my learning style.

What did you think about having a class with no tests? I don’t just mean “was it cool to not have to take any,” but students use tests to guide their study and participation in a class. Students tend to learn what’s on the test, and to not learn anything that isn’t. Did not having exams make it harder to focus or find importance and relevance in the class?

I think for this class, in particular, it was fitting to not have traditional tests. As was discussed during the “scantron midterm”, standardized tests tend to not capture the interpretation that comes with understanding art. Having this course be very project-based felt very natural for the subject and allowed me to focus on actually learning about art instead of memorizing vocabulary for a test.

It seemed like it was hard to get very much Class Participation, especially toward the end of the class. Did I talk too much? Ask the wrong questions? Was it too confusing? Not interesting/relevant enough? Any suggestions for more class participation in the future?

Although I believe you mean well in generating further discussion, I think you prod/refute too much into those who ask questions. There were moments in class in which I was glad to contribute but your questioning of my reasoning rather than an acknowledgement of my comment discouraged me from answering other prompts. I also found myself participating less in class, mostly due to my own tiredness at least. To maintain a trend of moderate class participation, I think more positive reinforcement or incentives (like extra/class credit) at the beginning of the semester would be beneficial. Also, I think the sheer size of the class might have made it difficult for more shy students to participate, being intimidated by the number of people listening. I’m not sure if it’s in your power as a professor, but I think smaller class sizes would also encourage more participation as the group becomes more quickly familiar with each other and thus more confident.

Any other thoughts?

I value a hard schedule for classes, and this one seemed to be lacking an established agenda in the syllabus. I understand that the sequence of projects was available, but it was a bit stressful having to figure out the dates by myself. In the future having all the important dates laid out in a calendar would prevent students like myself from being surprised by them. Thank you very much for taking student opinion into account for your lessons. I think that is a practice plenty of professors lack, much to the detriment of their overall class GPA and learning experience.

#art 110

E - Art & (my) Life

I have a somewhat unconventional approach to my STEM-based major. Whereas many believe that there is a dichotomy between engineering and art, I have come to an understanding that the two need to work in tandem to succeed. My favorite example of this collaboration is the success of theme parks like Disneyland and Universal Studios Hollywood, here in the backyard of California State University, Long Beach! An amusement park without art sounds bland, without technology seems equally boring. Together, they create an immersive experience that brings out the best in each of them. This is largely my inspiration for pursuing mechanical engineering. With this motivation in mind, I looked forward to taking Introduction to Visual Arts as a stepping stone towards my multidisciplinary goals.

Like many other students, I first registered for ART 110 with the perception that I would treat this class with the same low effort as I did my other General Education classes. In retrospect, this attitude towards the art-based course is contradictory to my claimed respect for visual crafts. With this expectation to input only a low amount of effort for a good grade in the course, I was initially surprised and overwhelmed by the amount of work that was necessary. Weekly excursions, projects, and write-ups seemed too much of a chore. This was wrong of me to think. I would come to realize that this magnitude of schoolwork was no different than in my other courses, and my willingness to do the bare minimum as a result of my perception of art as a low-effort profession.

While I review the work I put in this semester, I realize the appreciation I have developed for artists and the artistic process through the various conversations and projects I have had. The most memorable conversation I had was at the very beginning of the semester with installation artist, Jenny Rask. She had this insightful view of the details of the world, ranging from the natural beauty of foliage to the intentionality of the assembly of discarded trash. It was refreshing to talk with someone who paid attention to all of the little minutiae of life like myself, I did not feel alone. We agreed that, in a way, we were both artists and engineers; finding unique solutions to problems with a particular aesthetic in mind. My solo experiences had a similar effect. For projects like the plaster casting and finger painting, I found relaxation and comfort of the whimsical quality of creating. These experiences combined, I found myself enjoying the exploration of this field I had little practical expertise in. Moreso, I renewed my appreciation for the effort and intentionality that went into an artist’s work.

More than anything, this course honed my ability to question the world around me. It offered me a method of exploring my community through a different perspective; being more inquisitive on the purpose of why things are made, how they are made, and who made them. This skill is directly applicable to my major as an engineer. Improvement and criticism is a frequent component of engineering, so maintaining my ability to question and be curious was a very desirable outcome. Art has been a part of my life, a part of my inspiration for my career. Now, that inspiration is coupled with an appreciation that will positively influence my interaction with artists for years to come.

#art110

D7 - Artist Conversation

Artist: Chloe Denson Media: Photography Gallery: LBSU School of Art, Marilyn Werby Gallery

Chloe Denson is a fourth-year, graduating photography student within the CSULB School of Art. Most recently, she presented a gallery of her work at the Marilyn Werby Gallery on campus. However, this is not her debut event. She has collaborated with other student-artists to create galleries also displayed at the CSULB School of Art, particularly “Where the Walls Bend” earlier this year. Denson prides herself on using film rather than digital photography. She describes the process as much more deliberate and hands-on, having to choose the specific chemicals and exposures for each photograph. Her solo gallery, as shown above, is largely a display of her work with photography, but also of fashion.

In this particular photograph, Denson’s model appears to be glancing up a vibrant blue sky. He wears a similarly-vibrant orange long sleeve, bold-framed glasses, and a white cap. The perspective of the photo is taken from below the model, extenuating his height and filling the core of the frame. The cloudless sky creates a comfortable negative space that allows the viewer to focus on the main subject. Everything about the subject seems to point upward, from the model’s gaze, the bent elbow towards the sky, and the creases on his shirt. Even his chin is angled in such a manner that points to the top left corner of the frame.

Ascension or hope is what first comes to mind when attempting to derive a subliminal meaning from this piece. This becomes the most prominent when analyzing the line of action and various angles of the model. The perspective of the photographer from down below rather than above or straight on suggests this idea of “room to grow”. The most noticeable attribute of the photograph is the contrasting colors of the bright blue sky and the traffic-orange shirt. These combined concepts could potentially be understood as a hope to overcome opposition towards a higher goal.

Although not pictured, Denson is a practitioner of a vintage form of photography known as cyanotypes. These are monochrome blue photos taken through a process of laying superpositioning an object or image on photosensitive paper and exposing it to UV light. This process was originally used for scientific observation purposes but was eventually adopted by the photography community to be used for art. A similar dichotomy between science and art can be seen within Denson’s work, her use of complementary colors giving a jarring but beautiful quality to each of her photographs. Also similar to the relationship between science and art, complementary colors are exactly that: they bring out the most outstanding qualities of one another. By utilizing the power of contrast, Denson artfully illustrates the possible unity between the seemingly opposed.

#art 110

D7 - Remix

For my remix project, I decided to mash up two of my favorite video games from childhood: Pokemon and Animal Crossing! The former is a well-known monster battling game while the other is a peaceful farming and neighborhood simulation with anthropomorphic animals as your peers. I think it came out really well! I believe it captures the cuteness of both games while still standing out from both of its muses. I’ve included my reference pictures below for context.

I have seen a lot of similar concepts online for combining these two games, those arts typically falling under the category of multi-community fanart. Since these are licensed characters both belonging to Nintendo Inc., creators rarely claim these ideas as solely their own to avoid a potential cease-and-desist. The mutual understanding of these forms of fanart being parody rather than a copy is what distinguishes them from a competitor company attempting to sell someone else’s intellectual property.

It’s my understanding that copyright laws are in place to protect the owners of creative/intellectual property. I have great respect for creators of all media, so of course, I respect and understand the necessity of copyright in a time period in which copying is so easy. I think that as long as creators and companies can distinguish between parody and copy, then copyright laws are being used fairly as they are protecting the original makers.

#art 110

D6 - Storytelling (Photography)

I met my photographer at 18 and the artist-model chemistry clicked right away

For me, this was a way to explore my confidence in my appearance.

For Tyler, this was just another portfolio opportunity.

She would shoot on film, meaning the images couldn’t be viewed until the roll was full and developed.

It started in black & white:

Just a fun bedroom shoot, we were still getting comfortable with each other’s company. Jun 2018.

We were both detail-oriented and knew what we wanted out of our working relationship. That being said, it was difficult to capture an intimacy that wasn’t naturally there. Jun 2018.

Even when we were shooting outside it seemed like it was only us. It helped that I had found an abandoned bayside neighborhood, too. Jul 2018.

I began to recognize more locations that she would want to shoot at, and she would often point out good places for me to pose. Jul 2018.

Both in a period of change, we found a friend in one another. Our sessions varied from going on spontaneous 3 AM photoshoots in graffiti-stained buildings... Jul 2018.

...to outings planned down to the outfit and color palette. Aug 2018.

Finally, it was the last shoot of the summer; the last shoot before I would leave for school. At this point, we had become closer than planned. Then again, who plans these sorts of things? Aug. 2018

This was the first photo I had ever taken with her camera. She had been very protective of it since our first meeting, so I was surprised when she asked me. We had spent the day driving to various locations, aiming to catch a sunset shoot in Santa Cruz. We were unsuccessful at this, arriving at a secluded beach just as the sun was setting. To cut our losses we threw a tarp and started playing the guitar for one another. I didn’t know it at the time, but as the sun sank into the ocean, something changed. Good change. Aug. 2018.

We said goodbye the next week.

It turns out we’re both pretty awful at goodbyes.

She starting visiting me albeit 8 hours away, introducing me to her friends in the area. It wasn’t long until we figured out why we couldn’t shake each other’s company. Sept 2018.

We finally admitted our feelings to each other in September, this picture commemorating our first official date: a trip to the Getty Museum. It was weird at first, being good friends, artistic collaborators, and now dating partners. Nov 2018.

I was definitely very good at bothering her at this point. Nov. 2018.

Still, it’s hard to beat her in a competition of “annoying”. Jun 2019.

We don’t go on photoshoots very often anymore. Truth be told, she’s more into producing music right now. I consider myself very lucky to support her. Nov 2019.

These past two shots have been taken by a close friend of hers, coming from her hometown an ocean away. I love that I find her more often in the frame with me than behind it. It makes them seem more full, in the pictures as well. We’re rounding the year this December. We have had some pretty amazing moments so far in our relationship, with plenty more to develop. Nov 2019.

#art110

D4 - Artist Conversation, Yucen Liu

Artist: Yucen Liu

Exhibition: Fill in the Blanks

Media: Metalwork

Gallery: LBSU School of Art, Dennis W. Dutzi Gallery

Website: n/a

Instagram: yucen_metalsmith

Yucen Liu is currently pursuing her MFA in Metalsmithing and Jewelry within the College of Arts at California State University, Long Beach. Her inspirations include her childhood memories and “kawaii”. This is a culture originated from Japan that revolves around minimalistic, pastel cuteness. Hello Kitty and other Sanrio characters are great examples of this type of style. They are often characterized by dot eyes, a simple smile, and smooth, clean lines. These are motifs that often repeat in Liu’s work, embracing cuteness and simplicity. This ties back to Liu’s fixation on her childhood memories, remembering times that are much more simple and playful than adulthood. She expresses these themes in the form of metalsmithing and other sculptures, as seen in her first solo exhibition at the Dennis W. Dutzi Gallery at CSULB: Fill in the Blanks.

One of the most recognizable icons in Liu’s recent gallery is a teddy bear head in a bed of dirt with leaves and a flower sprouting from its head. This piece is made from copper and is given its fur texture by a process known as raising. The stems of the sprouts are thin yet give an expression of stability, likely through the understanding of its material. The leaves branching out seem almost real, their red-stained colors matching that outside during the changing of the seasons; the material, in this case, was utilized for its given color as well as its medium. Among the flowers is a white flower, offering a contrast from the copper and brown tones of the rest of the installation. The bear head itself is much like that of a stuffed animal in its appearance, having wide button eyes and simple features. Its appearance is comforting, the soft curvature about it reminiscent of one’s own childhood playthings.

The stuffed bear, out of all toys, is the most symbolic of childhood. Its huggable material and appearance make it a dependable friend for many kids growing up. It should be taken into account that while the subject matter of the piece is soft and cuddly, the medium used to create this is ultimately hard and cold; it is metal. The dichotomy between the subject and the object could be rooted in the role a stuffed animal plays in a young child’s life. Like metal, they are reliable and steadfast, often used as a method of security when navigating strange situations (a dark hallway, a crowded family party, etc.). It could be the purpose of the artist to immortalize this guardian-like aspect of her childhood plaything. Another interpretation could be that the use of copper is a method of immortalizing the memory of childhood, not so much the symbolic bear itself. With each strike and modification of the copper, the nostalgia is memorialized, much like Liu’s intention to recall the days spent with her parents.

In a conversation with the artist, Yucen Liu, it was explained that she had been born and raised in China during the implementation of the one-child law. Without siblings, her parents gifted her many stuffed animals. She would then confide in and play with these toys as if they were part of her family. That feeling of home derived from stuffed animals has not waned over the years, making them the subject of her more personal works of art like those in the exhibition. The title itself, Fill in the Blanks refers to Liu’s effort to fill the void caused by her separation from her parents to attend school in America. Like their purpose initially, the stuffed animals provide comfort in what she lacks. It is through her deep connection with these inanimate objects that life can be conveyed out of something as tough as metal.

#art 110

D4 Art Experience - Student Choice

For my art activity, I chose something that I’ve always found very fun: body painting! I should disclose that I just used tempura paint since that’s what I already had.

The sensation of the brush on my skin was relaxing, almost like putting on makeup but on my arm rather than my face. It reminded me a bit like the finger painting activity some earlier in the semester, only now reversed as my skin as the canvas using a brush instead of an actual canvas my fingers dipped in paint. As the paint dried, it became noticeably tighter around my skin. I used this as an indicator of when I should apply the next layer of paint, as to not mix colors if I didn’t mean to.

Body art, whether temporary or permanent, feels empowering to me. To wear your own creativity and be brave enough to show it is a pleasure.

Since this piece was temporary, I eventually had to wash it off. I found that even in the process of rinsing it, my faux “Starry Night” still looked beautiful when fragmented. This could be an interesting technique to explore in the future if I were to try this form of art again.

#art 110

D3 - Artist Conversation - Destiny Randall

Artist: Destiny Randall

Exhibition: Hanging by a Thread

Media: Fiber

Gallery: LBSU School of Art, Gatov Gallery West

Instagram: @makingmydestiny

Presenting this week at the California State University, Long Beach, School of Art in the Gatov Gallery West as Destiny Randall, along with her associates Sage Larae Monroe and Sandra Olagues. Together, they assembled the Hanging by a Thread exhibition this previous week. Destiny Randall is one of the few students in the BFA for Fiber within the School of Art at CSULB. With her preferred medium, she likes to explore concepts related to identity and mental health. Recently she has taken up photography as a means of displaying her fiberwork, as seen in this exhibition. Some other photos of her work can be viewed on her Instagram account, “@makingmydestiny”.

While Randall has displayed several pieces of her artwork at her most recent exhibition, a stand-out exhibition was a quilt titled “Beauty Born of Pain”. This is the second image shown above. Initially, the most eye-catching aspect of this fiberwork is the hot pink fabric used to detail the face and neck of the depicted subject. Upon closer inspection, it can be seen that the fabric is patterned with hearts and small dots, giving it both greater depth and cohesion with its pastel-themed surroundings. The white accents of this pattern match the accents of the green background, which appear in the form of small flowers. It is clear that the textiles chosen for this quilt were selected with a union of color kept in mind, the pattern of one complementing that of its neighbor. For example, the main color of one fabric can be seen as the accent of another. The hues collect to form a solemn woman, looking into the viewer with can be interpreted as disdain or sadness. The small fabric flowers sewn into the cheeks suggest these emotions, appearing to be the artist’s representation of tears. The stitches made into this quilt are careful, forming a distinct cursive-esque background that is seen in many traditional fiberworks. The familiarity of this style contrasts with the jarring lines that construct the subject’s face.

The medium of fiberworks, specifically a quilt, seems the most symbolic of what “Beauty Born of Pain” attempts to express. It is most commonly associated with warmth and security. This immediately contradicts what is portrayed in the quilt: a woman with radiating sadness. Perhaps the use of textiles was an effort to show something that is typically unsightful, a person crying, in something that is associated with something homely. Both comfort and sadness are familiar feelings, but to put them side by side exposes their similarities in vulnerability and honesty to one’s self. The palette of fabric used also illustrates this theme of comparing things that are seemingly opposites, the pink and teal being known complementary colors. Albeit very different in their composition and given the meaning of their hues, the contrasting colors succeed in creating a solidarity of calmness.

Upon further conversation with the artist, I found out that this theme of making something beautiful out of something ugly was the original intent of the creator, Destiny Randall. From my own memories of warm quilts and blankets in my childhood home, I found solace in her work. I too understood the comfort associated with her medium as well as the emotional distress depicted by her chosen subject. Randall revealed that the figure portrayed is herself in a moment of incredible sadness. She had taken a picture of herself at that time and translated it into the fiberwork that can be viewed today. This gave the piece a significant personal meaning, as it meant the artist was not only depicting a conceptual sadness but her own from past experiences.

#art110

10/26 D3 - Art Experience - Speech Actions

Depicted above is one of my old prescription bottles being used as a pencil holder.

For this project, I knew I wanted to do something regarding the medications I take for my anxiety and depression. Specifically, to remove some of the stigma associated with mental illness. To do this, I attempted to portray my prescription bottles in an everyday situation: doing homework at my desk. The normalization of taking medication for mental illnesses might encourage other affected individuals to seek help, giving my speech action a community-serving purpose.

I chose my desk as the location for this photo as it is where I spend most of my time as a full-time student and Resident Assistant at Hillside Residential College. For an expanded gallery of photos, I would consider performing this speech action in other locations I frequent, such as the library, classroom, and favorite tea shop. Hopefully, my use of my prescription bottle as an ordinary pencil holder will convey how my medications are just an ordinary part of my life as well.

#art 110

D2 - Artist Conversation - Mirabel Wigon

Artist: Mirabel Wigon Exhibition: Advancement, MFA Spotlight Media: Painting Gallery: LBSU School of Art, Gatov Gallery West Website: mirabelwigon.com Instagram: @mirabelwigon

Mirabel Wigon is currently pursuing her Masters in Fine Arts for Drawing and Painting at the School of Art at California State University, Long Beach. She also completed her Bachelor’s in Fine Arts for Traditional Art within this college. Having grown up in predominantly urban environments, Wigon’s work tends to focus on the familiar sights of city-dwellers like herself. However, she attempts to convey these themes through abstraction rather than pure description. This can be seen in her latest exhibition at the Gatov West student art gallery as part of an Advancement course within her MFA program. It is because of her fascination with puzzles and obscurity that Wigon avoids naming her already-cryptic paintings, as they may give the piece a direct solution for its meaning. Instead, she encourages her work to be interpreted. In a personal conversation, Wigon was pleased to hear about her audience’s initial confusion with her paintings that eventually melted into an appreciation for their elusive nature. While her talent with paints and canvas is prominent, Wigon states that she is “still improving as a graduate student by talking to [other students]”.

Like many of her works, Wigon’s painting, as shown above, is unnamed. This piece is immediately eye-catching in its considerable size and use of high contrast palette. The canvas seems to cover the majority of the height of the wall, immersing the viewer in its illustration. The colors used across the canvas seem to be a gradient from left to right vibrant neons and warm tones to cold blues and grays. The convergent sides of this painting both contain details in the palette of its opposite, as seen in the bright windows of the building on the right and the dull blues of the cars on the left. This creates a balance in its use of color contrast. The shapes in this piece are objectively incomplete, the persons present seeming almost ghostly in appearance. The painting itself seems almost like a window, its composition of perspective so enforced through the use of direct lines and negative space. Looking at this piece is akin to looking down a long alleyway, in terms of the point of view. Lighting is used to create the illusion of texture, varying from the bright reflectiveness in the puddles on the sidewalk to the systematic shading of the worn cars and buildings.

The balance between the light and dark aspects of this painting is clear, and can be interpreted as the duality of many urban environments: being both a pinnacle of success and poverty. This is synonymous with Wigon’s own experience in the city, being surrounded by the high contrast that makes up her neighborhood. Perhaps this explains the variants in the painting’s color gradient, emphasizing that something is typically not entirely one thing or another, but a combination of various elements. It became clear that the translucent and nondescript figures are an indication of the passage of time as if the painting were a frame in a timelapse. As a city rarely rests, it is reasonable for a depiction of a city to be restless as well, refusing to be confined to a single body.

The immersive qualities of Wigon’s paintings are no coincidence. There is both incredible attention to detail as well as interpretive abstraction. This dance between descriptive and interpretive was emphasized in my conversation with the artist. She expressed her desire to create visual enigmas that would perplex her viewers and have them put a great deal of time and energy into understanding it, much like her own effort in their creation. I agree greatly with Wigon’s motivation to be appreciated. I find that those who pursue art as a career are often looked down upon for being a mere hobby. In reality, the effort an artist puts into their work is nothing to be underestimated. It is only logical for an artist like Wigon to crave the same appreciation that other careers receive. It was a pleasure to express my admiration for Wigon’s several displayed works, as I can only imagine the dedication it must have taken to make each one.

#art110

10/11

D1 - Art Experience - Fingerpainting

I was lucky that one of my coworkers had some leftover paint and mini canvas from an arts & crafts program! The only colors left were the ones above, but I found this more of a fun challenge than an obstacle. I found yellow to be my most important asset, using it to accent and add shape to the cool blues, greens, and purples.

I felt like a little kid, very mischievous, like I wasn’t supposed to be paint on the wall. It was cool that the sensation of having paint on my hand invoked that memory response. With my limited experience with paints beforehand, I found myself wiping my hand with a paper towel between colors out of habit to not mix too many together. Instead, the mix of colors you see is a result of me not completely mixing the paint on the palette, putting it on the canvas with a more marbled appearance. This was my way of adding texture, and I really like how this came out in thats aspect.

D1 - Artist Conversation - Jenny Rask

Exhibition Information: Artist: Jenny Rask Exhibition: Limbo Media: Organic/Unprocessed Materials, Household Objects, Mixed-Media, Installation Gallery: CSULB School of Art; Marilyn Werby Gallery Website: jennyrask.com Instagram: @jjennyraskk

The embodiment of “one man’s trash is another man’s treasure”, Jenny Rask, is an MFA Sculpture student at California State University, Long Beach, School of Art. Rask has also studied at the Art Center College of Design, Weaving Studies at the Fumi Omiya Studio, and Journalism at the University of Oregon. Her experience and dedication to design have been practiced in her roles as both Creative Director and Designer for MTV (1995-1999) and as the owner of Thingy (1999-2003), a well-decorated design firm for its accomplishments in film and print work. Recently, Rask has been able to display her work in the Marilyn Werby Gallery on campus. Albeit a student-centric gallery, this is far from the first exhibition of her installations. Being a Los Angeles native, her first exhibition was a group collaboration named “Salon Space” in the Art of Elysium. Following her debut, she has done plenty of other displays in Los Angeles, as well as one in New York City. While her media varies between photography, drawing, and sculpture, Rask has a particular affinity towards the latter. In an engaging conversation, she has explained her fascination with discarded materials. Fascinated with how roadside junk is arranged, fascinated by the choice of what is thrown away and what is not. CSU Long Beach has hosted many an exhibition of Rask’s before and has had the honor of displaying “Limbo” this past week.

A brilliant summation of Rask’s interest with the discarded, “Limbo” is a melody of seemingly old household objects as well as organic materials such as branches and rocks. Upon entering its room of display, a physical and emotional warmth can be felt emanating from the piece. The bright lights not near blinding, but enough to provide a low heat. It is clear that the items of the ensemble are chosen with a warm-toned color palette in mind: a muddied swan ornament atop a rusted cart, the brass of the various light fixtures, and the innate redness of the various rocks and sticks that litter the ground and assembly. The size of this sculpture and its distribution of materials are also immediately noticeable. As previously stated, stones are spread out on the floor with no discernible pattern. It should be said that it would be easy to mistake the installation as a whole as three separate entities, as they are not physically connected and vary in distance from one another. The nature of this large and spread out artwork encourages its audience to keep a safe distance away, to stand closer to the entrance rather than walk around its invisible border. The best descriptors for “Limbo” are warm, expansive, and deliberate in arrangement.

Fragility was what first came to mind when observing “Limbo”. Although the materials were all motionless, their placements gave a feeling of anticipation of a crash; ranging from several objects atop a small skateboard on the floor to the wire fixture of a large tree branch to the ceiling. I was almost scared that I could accidentally knock something over and ruin the artist’s vision. Upon talking with Rask, however, I found that her intent was quite the opposite. She purposefully designed the arrangement of the sculptures so that not all its pieces are secure and giving them the potential to fall, playing directly into the title of the sculpture: “Limbo”. The connection between the artwork and its name is clear, both representing an in-between state that could result in a myriad of different outcomes. This is how Rask explains she feels, in-between and on the precipice of something new whether it be positive, negative, or neither. This theme of “potential to be” radiates from the installation, it’s warm tones and lights almost conveying a feeling of optimism. Its spread also seems symbolic of a vastness of possibility. The more materials, the seemingly greater number of outcomes become possible. The scatteredness and jerry-built nature of “Limbo” breathe positivity into the unknown rather than fear of failure. Perhaps a perceived failure, like the falling of a piece of this sculpture, can lead to an unexplored depth that still results in an enhanced success.

I found the conversation between Jenny Rask and myself to be lively and stimulating. Her eyes lit up when I told her that her piece reminded me of the art galleries back home at the San Francisco Museum of Modern Art. They continued to shine as she explained the inspirations she finds in ordinary objects, that each one once had a purpose and an owner and has had a journey of its own. The emotional attachment to inanimate objects that she described reminded me of my connection to my childhood stuffed animals. Although they only sit on a shelf, I could not bring myself to throw them away because of the intrinsic meaning I gave them. We connected on these ideas of introspection, particularly about feeling in-between stages of life. While we were at very different periods of our respective lives, her as an accomplished MFA-candidacy artist and myself as a second-year of my undergraduate education, I found comfort in our shared experience of exhilaration of the unknown, of the potential.

C1-Grafitti Writing

Painting!

Getting these bubble letters done were a bit nerve wracking, I didn’t want to accidentally spray the side wall even if the paint I bought was chalk. Other than that, this was a fun experience! Writing my name was harder than I thought, I managed to write KAY as shown above. I was able to work with both Peter and Julia on this project, and I would definitely do it again. :)

A1-The Beach

Plaster Project 8/30/19

I was pretty excited to do this project as I’ve learned about sand casting in my manufacturing classes but never got to try it out in real life; on the beach no less! The concept of digging a hole, sticking something in it, and filling it up again was fairly simple. The hard part turned out to be not destroying the mold while taking my hand out of said hole. The tunnels my fingers had made collapsed as seen in the images above. There was an attempt to make the “I love you” phrase in ASL 🤟🏽. The part that came out the best were the knuckles, which were surprisingly well-defined. Doing this experiment again, I would do my best to choose a simplier object to mold and pack down the sand very well before pouring in the plaster mixture to ensure that the product can be easily recognizable as the thing I was trying to replicate. It’s likely I’ll do something like this in my career. As an engineering student, using molds to create plastic-based products via injection molding. This project will be a fond memory of mine.

Trending Blogs

Recently Viewed Blogs

Kayla Razon ART 110 S02