the dugan expreinece
DESCRIPTION
Process Made Visual 3TRANSCRIPT
The Dugan Experience Dugan Galley1
The Dugan Experience Dugan Galley1
3made
Scott by Jensen Poutre
The Dugan Experience Dugan GalleryFall 2011 Issue 1
The Dugan Experience Dugan Galley3 The Dugan Experience Dugan Galley2
Smoking
Giavis
Advance Painting
- Victoria Valente - Ashley Carey - Jessica Tawchynski - Alexandra Derderian - Anna Struna - Stephen Kinney - Alanna Gilbert
Advanced Studio
- Alanna Gilbert - Channate Phauk - Courtney Lermay - Jessica Tawchynski - Elieen Ryan - Racheal Zalinka - Duy Hoang
Painting 2
- Lauren Abbott - Elieen Ryan - Shanna Cortez - Dung Le - Jason Allen -William Oliver
Senior Studio
- Alexander Gavis
4
1814
28
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley4 5
The show is set up to showcase to the
public of Umass Lowell the work of
students in the art Department. Their
Ideas, thought process and the directions
they are planning on head.
This year PMV (Process Made Visual)
placed in the spot light pieces from Prof.
Stephen Mishol’s Painting 2-5 classes
and other from his Advance Drawing
classes.
“...A sense that the mind is working on
raw material that exists in the world at
large, in some degree beyond mere
invention...” - Robert Hughes
About the Show
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley6 7
dvanced
aintingPainting Scott
As I entered this painting my intent was to further
understand how paint can create space, and
furthermore an interesting perspective. After
developing my work I became aware that there
were numerous ways of interpreting an outcome.
My work predominantly deals with
the condition of being a female
in modern society. I will often use
myself to represent womanity as a
whole, in addition to exploring my
own intimate and personal thoughts
and relationships. Recently my work
has been forced on marriage and
traditions and rules assumed by this
union and particularly with weddings.
Painting a Self portrait in the
nontraditional way. Not my face or
body; but my figure print. The one
thing that defines us and is unique
to one person. The carving and
indentation is mine own and no one
else this is my identity and who I am.
Twoandahalftothreeandahalfyears (I don’t know) Victoria Valente
Self Identity - Finger Prints
Subjecting - Self Portrait
Genre Painting Ashley Carey
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley8 9
My paintings are about me. Every certain conscious decision or
otherwise. My paintings relate to my emotions through the stroke of my
brush to the fixture and creation of a world built out of the instances
most of us fear. Dead weight, Pressure, a sensation of relating to an
atmosphere that is both unsettling but also comforting.
Float On Jessica Tawchynski
Why I paint?
Fishes are a common theme in my work. In order to stay alive and
conscious, fishes must always keep moving; if not, they will float. Water
is the only substance in which a fish can survive. Submerged in water,
we have no senses. All we can do is feel. We become something that
cannot survive, like a “Fish out of water.” When we move in it, we feel the
force of the water pressure crawl and envelope our skin. We wear it, and
it is impossible not to. (Continues on page 24)
Illusion of Depth Jessica Tawchynski
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley10 11
Since I’ve known how to create,
I knew it would be my only hope
in communicating. When I began
painting, my goal has been to
create a strange and surreal works
that portray human sensitivity,
as well as to evoke a series of
emotional responses. I have
used symbols that have become
frequent in my life in my painting,
“Harvard Pilgrim” to show my
experience going to the hospital.
I used several elements in order
to create a psychological space;
a blank red wall, to create some
kind of landscape, a portrait
Harvard Pilgrim Alexandra Derderain
I’ve always said that I feel too much.
of an egg, two spoons and the
figure in the foreground housed
in a hospital gown. Each of these
creates an odd composition in
which I feel create some kind of
impression that I have been trying
to possess in my work. I aim to
create a documentation of these
experiences I have through my
painting as well as other media,
and hope to continue to make
progress in making a beautiful
experience out of a traumatic one.
Drips - Happy Accidents
Dental
I have had teeth problems
for quit some time and this
portrait is to show my for
ever paining problem with
my mouth
I really like drips, the fluidity and
happy accidents that happen with
this untamed and on controlled
form of painting.
Gritted Anna Struna
For the Pain Victoria Valente
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley12 13
There is nothing to say about something that cannot be said.
I have been trying to understand what art is.
It was only recently that I have made some
interesting discoveries. One very important idea
that keeps resurfacing in my work is that of the
artist and their ever present influence upon
their own work. Therefore, everything that one
creates is an extension of oneself. This object
is in its most basic essence a self portrait.
Not Idle Alanna Gilbert
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley14 15
Started by attaching geometric
shapes of Styrofoam insulation
to foam board. Also floral round
shapes. Then covering the area
with expandable white “Great
Stuff” (blue can) the filling
area with not so expandable
“Great Stuff” used for doors
Train of Thought Stephen Kinney
Understanding the Material
Soft Spread Stephen Kinney
and windows (blue can) then using a
Styrofoam cutter make branchless cuts
into flat and square funds of Styrofoam
pieces then take different shapes of green
tissue paper placing them on shapes with
a diluted “Elmers glue”
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley16 17
eniortudio
ALEXANDER GIAVIS On Senior Studio (Left: Night Life)
S16 The Dugan Experience Dugan Galley
I think everyone enters senior studio with certain assumptions
about what is expected. Unfortunately, at least for me, that
served as an impasse to creating anything of real value. A
series of mishaps and false starts eventually lead to the
discovery of my senior thesis.
In an attempt to better spend my time and tighten my studio
practices, a great deal of peripheral distractions had to be
eliminated. Among the deletions were visits from friends
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley18 19
Best Friends
18 The Dugan Experience Dugan Galley
for company or to serve as
reference. I was rewarded with
wonderful results, but in doing
this I began a growing alienation
from peers and those close. It
is amazing how long it took
to acknowledge these selfish
tendencies, because if I’d be
spending time with them was
decided before I even began
asking. Choosing subjects of
friends who I have photographed
in the past is my way of keeping
them close.
The featured painting of a close
friend (pg. 17, Night Life) depicts
a solitary figure in a social
setting, distracted from the one
device that accompanies him.
After having some distance
from the work, I noticed that
it seemed to speak about the
conditions I inadvertently create
in the studio. Though the intent
was to continue finding new
circumstances that necessitate
purposeful and interesting
painting, the decisions in object
matter started to develop a
similar need for direction as well.
Stumbling upon this changed the
way I viewed my narratives, and
pointed squarely at what I am
trying to articulate. No more was
it enough to make self-contained
narratives that display my tastes
in palette and application, but
now question what it is that
I am trying to communicate?
Not as political of a statement
about technology as it probably
Cigarette Break
19 The Dugan Experience Dugan Galley
suggests, but there is a desire
to make metaphors of self-
portraits that discuss this
conscious alienation.
The cell phone’s presence was
to no surprise merely because
of its frequent visibility during
my reference collecting. The
repetition of this imagery is
reciprocal to how these paintings
are manufactured; my cell
phone has become a trough for
the paintings, and similarly to
the depiction of the characters
in them, a tool of isolation for
me. Photoshop, along with
other technologies, have been
included in this process of
gathering information. This
alteration in practice allows
quicker and more intuitive
changes to take place early on.
Eventually, I wanted to be
emphatic about the birth of
these paintings. The aesthetics
of each is a direct result of the
process, because the visible
symptoms of collating avoid
being covered up. Individual
images create narratives by
imposing themselves onto a
canvas. My interests then
lie in the space they create,
which inherently convolutes
moments of illusion from the
two-dimensional references, and
reminders of the overall flatness
of the object. I figure when these
current paintings communicate a
sense of this tension and allude
to my personal discrepancies in
practice, I am done.
To my surprise, and much
excitement, I have found myself
somewhere completely new
and unfamiliar.
“There are applications that do
what I do. I would like to think
that I am better, but they are
pretty damn good.”
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley20 21
Sdvanced
tudio Just... Alanna Gilbert
I am the object. I displace
light and space. I am the
subject. Solidified in time. I
am the artist. Searching for
resolution within my work. I
am the person. A portrait of
one and all.
To the Left Channate Phauk
Working from my imagination was something I
was always comfortable doing. Creating figures
and creatures that I felt tied in deeply with what
I believe in dealing with society and myself
personally. “To the Left”, a nude self portrait that
forced me to do things personally and physically
on a different level from what I was comfortable
with, which intrigued me. By physically I mean
being more attentive to marks I have put
down. Pushing parts forward and back and the
relationship between the figure and the space
around it. Drawing a nude self portrait challenged
me personally to draw myself, which I wasn’t all
that Comfortable with doing. Exploring myself
on many different levels, with my body and my
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley24 25
Self Portrait with Wolves Elleen Ryan (on the Left)
So through painting and other works, I
strive to achieve a point of relativity from
an anxious feeling, to moving forward,
growth, process, movement, some sort of
development, and a “world that the viewer
cannot make a conscious decision to be a
part of when the painting is looked at. I want
the Paint to suck you in almost as literally as
water could .
Self Portrait Courtney Lermay
Absence of Light Jessica Tawchynski
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley26 27
The concept of recalling a memory and rendering it in a visual manner
has been a consistent theme for my drawings. “Landscape Construct”
and “untitled” each under went a process of toning the paper with
ink wash, then proceeded to form through layers built with variety of
materials such as ink, graphite, washes, conte, watercolor, ect. The
objects which one presents in each drawing are reminiscent of a specific
time and a place from my life. “Landscape Construct” is a collage of
objects from memories such as dish of coffee creams from a dinner,
chair from classroom, object on my night stand, etc.
Landscape Construction Racheal Zalinka
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley28 29
Duy Hoang Detached
By eliminating the acts of giving and receiving,
we have unveiled detachment.
The Dugan Experience Dugan Galley The Dugan Experience Dugan Galley30 31
2ainting“There is no great work of art, abstract or figurative (and
especially non-figurative) without an empirical core, a sense
that the mind is working on raw material that exists in the world
at large, in some degree beyond mere invention. Painting is,
one might say, exactly what mass visual media are not; a way
of specific engagement, not of general seduction. That is its
continuing relevance to us. ” - Robert Hughes
Wild Life Preserve Lauren Abbott
Untitled Figure Elleen Ryan
Still Life Dung Le
Untitled Landscape Shanna Cortez
Tower Jason Allen