B.A./B.S. Practicum Group Exhibit (ART 499)

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  Liminal

  Mariah Kuta

  Lim·i·nal -ˈlimənl/ -adjective

  • 1. of or relating to a transitional or initial stage of a process.

  • 2. occupying a position at, or on both sides of, a boundary or threshold.

  • from the Latin word līmen, meaning "a threshold"

  I often think about the different roles that I play within my own life, as well as the roles other people occupy. My own roles include a daughter, sister, aunt, friend, student, employee, artist, etc. At any given moment, I must be ready to change from "Aunt Mariah" to "Mariah Kuta – Employee". Or from "At-home Mariah" to "At-school Mariah". These are sides of myself that possess different vocabularies and mannerisms. We all possess these subtle changes to our posture and behavior depending on where we are and whom we are with. We are constantly in a state of transition between these roles and social circles and we pass through these liminal spaces and into the appropriate role without really thinking about it. But, who are we when we occupy that liminal space? Do we base our identity on who we are to other people? The state of liminality by itself can be ambiguous and disorienting, but I also believe that a kind of peace can be found in that space.

  My works are made to bring attention to our own liminal spaces and raise the question of who we really are in that middle ground. I want to bring focus to the Venn diagram that makes us who we are. There is a repetition of circles and overlapping images that represent colorful portals of activity and duty, while the black and white voids are the spaces that have not yet been designated. The various hints of injury come from the feelings of dissociation and disjointment that are effects from the state of liminality that wound our sense of comfort and stability. The contusions mimic the colors of the portals. Crystals are also a recurring theme as I see them as organic, multifaceted dimensions within themselves. They are small, but they hold a great depth and many possibilities for growth. The crystals represent us, as we are also composed of multiple sides, features, characteristics, and are forever changing and growing.

  I draw inspiration from the watercolor quality, use of circles, and themes present in the artwork of Kelly McKernan. Mandie Manzano's use of color and movement are striking elements that I keep in mind when choosing the colors for my own works and how those colors will blend and interact with each other. James Jean's work possess an elegant and sometimes dark nature that is comforting and holds my attention to all parts of the piece. His line and color quality are strong elements of inspiration. I use the components from these artists that appeal to me to make decisions in my own work. Much like my inspirations, I aim to pose a question for the viewers and invite them to meditate on it while they observe my work.

  -Mariah Kuta

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  Liminal

  Mariah Helena Kuta

  Lim·i·nal -ˈlimənl/ -adjective

  • 1. of or relating to a transitional or initial stage of a process.

  • 2. occupying a position at, or on both sides of, a boundary or threshold.

  • from the Latin word līmen, meaning "a threshold"

  I often think about the different roles that I play within my own life, as well as the roles other people occupy. My own roles include a daughter, sister, aunt, friend, student, employee, artist, etc. At any given moment, I must be ready to change from "Aunt Mariah" to "Mariah Kuta – Employee". Or from "At-home Mariah" to "At-school Mariah". These are sides of myself that possess different vocabularies and mannerisms. We all possess these subtle changes to our posture and behavior depending on where we are and whom we are with. We are constantly in a state of transition between these roles and social circles and we pass through these liminal spaces and into the appropriate role without really thinking about it. But, who are we when we occupy that liminal space? Do we base our identity on who we are to other people? The state of liminality by itself can be ambiguous and disorienting, but I also believe that a kind of peace can be found in that space.

  My works are made to bring attention to our own liminal spaces and raise the question of who we really are in that middle ground. I want to bring focus to the Venn diagram that makes us who we are. There is a repetition of circles and overlapping images that represent colorful portals of activity and duty, while the black and white voids are the spaces that have not yet been designated. The various hints of injury come from the feelings of dissociation and disjointment that are effects from the state of liminality that wound our sense of comfort and stability. The contusions mimic the colors of the portals. Crystals are also a recurring theme as I see them as organic, multifaceted dimensions within themselves. They are small, but they hold a great depth and many possibilities for growth. The crystals represent us, as we are also composed of multiple sides, features, characteristics, and are forever changing and growing.

  I draw inspiration from the watercolor quality, use of circles, and themes present in the artwork of Kelly McKernan. Mandie Manzano's use of color and movement are striking elements that I keep in mind when choosing the colors for my own works and how those colors will blend and interact with each other. James Jean's work possess an elegant and sometimes dark nature that is comforting and holds my attention to all parts of the piece. His line and color quality are strong elements of inspiration. I use the components from these artists that appeal to me to make decisions in my own work. Much like my inspirations, I aim to pose a question for the viewers and invite them to meditate on it while they observe my work.

  -Mariah Kuta

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  No Loose Ends

  Adam Vincent

  I have been an avid collector of old photographs, antiques, toys, obscure items, etc.. for quite some time. They cause me to contemplate past times and how things either change, evolve in the future, or come to an end. In addition to these objects, my art is heavily influenced by the commercial world, including both contemporary and vintage advertising, illustrations, comic books, magazines, and film. In particular, I’m attracted to the bold illustrative imagery that these sources typically provide.

  I am generally drawn to the comic book style of drawing/imagery found in the artwork by artists Jack Kirby, John Romita, and Alex Ross. The pages that Kirby and Romita create, and comics in general have influenced my pieces. The way I use stencils and negative spaces when surrounding the subject matter and my composition of the page are drawn from this genre. Historic artists that I have researched and continue to influence my particular style of drawing are Daniel Hopfer and Albrecht Durer. Both of these artists worked with etchings and woodcuts. I often try to emulate their line work/quality and compositional elements when creating my artwork.

  The compositions of my pieces typically feature some sort of centralized figure or figures, surrounded with similarly themed imagery and contained by some kind of border or negative space. I sometimes use color to help break up the monochromatic hues and give the piece a variation in texture and an easier resting place for the eye. The subjects and themes in my pieces often relate to ideas such as space, the passage of time, and life and death, intertwined with pop culture imagery. These themes and ideas can be found within my current body of work and will continue to inspire my future creations.

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  Mice and Pens

  Xek K.D. Rychtevorik

  I have always been interested in storytelling and books of a wide variety of genres. More specifically, I am attracted to well-developed narrative illustrations that enhance and expand the intent of a story. Therefore, much of my artmaking is influenced by western and eastern animation, sci-fi/horror literature, and comics/mangas from companies like Shonen Jump, Marvel, Dark Horse, Funimation, and DC. I’m strongly influenced by the artists known as Simon Bisley and Josan Gonzales for similar and different reasons. They both have a vivid and graphic way of drawing that has a lot of movement and intensity to it. Bisley’s vibrant and high contrast use of color and Gonzales’s attention to detail and creative construction techniques have both inspired me greatly.

  I draw a large variety of characters, worlds and concepts for comic books based upon my own writing. Often, I approach my art as storyboards for larger sequential art making, even if they exist by themselves. Stylistically, I work mostly with line but use a good amount of texture, shape, and color as well. My work is Primarily in ink, using graphite only to construct figures before inking them. My line work includes hatching, cross-hatching, stippling, scribbles, and various patterns to give illusions of textures and shading. In each class I take, my many imaginary worlds come with me and end up manifesting within class assignments, allowing me to develop my skills of bringing the characters and their worlds to life.