Barbara Wlazlo

Portfolio 3

The first piece of the final portfolio continued with the fern screen, upon a background created from pure experimentation. When using the transparent acrylic medium to spread shaved chalk on the screen, the medium ends up takin on the pigments of the many colors of the chalk. I enjoyed this process so much, and had an idea to us the beautiful swirls of color on paper. Using a pallet knife to scrape the colored medium off the screen, and onto paper. This created an array of color gradients and tons of texture. The first of experimental backgrounds, I used to print the fern pattern upon. I repeated the pattern in various ways to fill the background and make the image more cohesive. The second piece is just the pure background of textured, beautiful blue pigmented medium.

Following this experimentation, I felt another inspiration to create a spontaneous design of movement. When creating my transparencies, I used my own emotions to guide my hand in the directions it wanted to go. This allowed me to create my free-flowing prints. This next series of prints is an abstraction of swirls and lines of various thicknesses and movements in countless directions. An intentional manipulation of the screens orientation against the print created these dynamic pieces showing dimensions and lots of movement for the viewer. I loved the activation of negative space against the positive space created by it. Once again, I looked to explore the beauty and nature of color interaction. To further develop this idea, I continued to explore with textures and mixtures of colors in order to entice visual excitement.- Spring 2017 (Portfolio 3)

Portfolio 2

In this presentation of work, I am presenting a variety of works that evolved from my previous idea of natural movement and unplanned artistic developments. I continued to use the screen printing medium using watercolors, acrylic paints as well as chalk with transparent medium to create spontaneous color combinations and textures. I wanted to create an organic use of color by mixing many colors of the shaved chalk and seeing the surprising effects it creates. Following the flow of the colors, helps me organically make the next decision about where to develop each piece. In order to evolve the print that I have used in the previous collection I used watercolors as well as liquid acrylics to create dynamic mixed media prints and further develop my color relationships within the pieces. I hope to evoke emotion with my use of color and free handling of different mediums upon my prints. The use of silk screening allows me to create so many variations of the same prints, which permits for an inner exploration of my artistic motivation.  -Spring 2017 (Portfolio 2)

 

Portfolio 1

I am on a journey of discovery in the genre of printmaking. Beginning with monotype printing using watercolor Caran D’ache crayons as well as oil based ink. During this process I wanted to focus on creating organic forms free of laws and rules, and creating an abstraction made from pure instantaneous movements. The aim was also accentuated by bold colors that would evoke an intense reaction from the viewer. In the next series of prints, I use silk screening to create a pattern like image. I used a naturalistic image of a fern used in the same organic manner as the earlier printing. This time an exploration of texture was explored with layering of images as well as various mediums to create layered prints. The fluidity of these prints aims to evoke a calming effect that will be developed in later series. The idea of organic and freethinking images is further heightened due to the very physical and manual method of the printmaking method. All prints are developed in a sequence of steps, each directly changing and affecting the end product. Art is meant to be a manifestation of the artist’s soul, and that why I enjoy keeping minimal prep in my work as to keep the authenticity of the ideas that manifest themselves on paper. Furthermore, it is very interesting to showcase one’s work in a shared creative environment in which an exchange of ideas is promoted because it is exciting to see what others see in your work, that you may not see yourself. It is this discussion of ideas, thoughts, and emotions that motivate my art to develop further discussions. – Spring 2017 (Portfolio 1)

Barbara Wlazlo PRINT SP’17

Adam Shen

Portfolio 1

Portfolio 2

Portfolio 3

I have always been fascinated with patterns and shapes, especially the negative space created between when multiple shapes interact with each other. My work typically begins with a line which evolves into a shape which then attracts other shapes to it in order to form interlocking patterns. Color is then added to either help the viewer separate the positive and negative shapes or in other cases, to blend them together.

In order to further enhance the complexities of the patterns, rather than using flat solid colors when silk-screening, I used chalk and transparent base to create a grainy, almost gradient effect in some pieces and uneven, mixing patterns in others. While I continued to silk-screen after the first portfolio, the process and shapes began to seem repetitive and played out this is why I then moved onto experimenting with monotypes.

The two monotypes created in the first portfolio were closer to experimentations as to how far the medium could take me rather than actual pieces. The monotypes in the second portfolio were created when I started mixing the shapes from my silk-screening into the monotype medium. By reinterpreting them with the new medium I was allowed a lot more freedom and room for experimentation. The culminated in my third and final portfolio in which the original shapes further evolved to form a figure that would not have been possible with silk-screening.

The figures, shapes, and patterns in my work are nothing more than that. They are an exercise in my attempts to see how far the mediums could take me. By continuously experimenting I was able to create something that I would not even have thought of before.

Silvia Tenempaguay

The subject matter for this portfolio was the simple exploration of medium using quick sketches. Was goal is to explore the process of the mediums in mono printing by keeping my subjects simple and quick. the process has pushed my simple ideas into a new light of complexity and has allowed me develop color, contrast and depth. i simply took a small sketch idea and pushed it with color and technique in mono printing until I felt it complete.

 

My second set of work is a further exploration of the form. using screen printing with a repetitive male portrait form I looked for different effects through blocking and color.  Mono printing also became part of further exploration with the addition of a background and addition of other forms. The goal was to achieve a world of reality and surrealism.

Last but not least, is my Madonna inspired pieces. Inspired by my mother and the female form , this collection is to explore the female form as an individual, as a mother and as child. The female figure with a child becomes separated in my second piece as a confrontation to the effects of present separation on immigrants who are deported. The separation and confrontational stance of the figures are meant to confront the viewer as the space between them becomes tense. The last three pieces are inspired by the life cycle of a woman. One of single-hood , the next one of having a partner in life and lastly motherhood.

Image list format Silvia Tenempaguay

Mohammed Shoyeb

Portfolio 1

The main theme of all my artworks is movement. The two monotype prints that I started with both reference mechanical movement. The blue and orange Magikarp with waves below it depicts fluid movement. The black and grey skeletal hand is also depicting movement, but in a smaller scale. The oil based ink print is another version of the skeletal hand, and it takes movement into a more abstract view. Lastly my screen print was of a snake with wings. It was also meant to convey a sense of terror or danger.

The monotype prints are by far my favorite so far because it has the least amount of separation between the artist’s rendering and the final product. In the oil based ink print and the screen printing there are too many steps between the visualized image and the end result so it stops feeling like an artwork and stars to be a science experiment.

The reason I chose movement as a theme for all my images and prints was because of my experience in drawing figuratively. Abstraction is a very difficult process for me so I tried to stay away from it and instead focused on one element of figurative art, which is movement. I also chose opposing colors in each print as a contrast for the eye and as a natural trigger so that each image would visually pop more. The orange and the blue in the Magikarp monotype and the red and black in the screen print serves to better attract the viewers’ attention. Even though some of the images did not come out as I had envisioned them, the effects they illustrate are still interesting and worth exploring.

 

Portfolio 2

The theme for my second portfolio would be fairytales. The three sketches that I started with all have elements of fairytale mythology. The face on the crescent moon, the lion as the sun, and the angel and the demon in a yin-yang formation can be taken as a symbol, or an icon for a story. They don’t necessarily have to have established context behind them, but they need to look researched and developed, so that viewers can attach or guess at a story behind them. If I left them to be as generic as possible then they might as well be random everyday objects that do not invite any closer examinations.

The image I chose to focus on printing was the image of the crescent moon. It was not as complicated as the yin-yang image, but not as simple as the picture of the sun, so it worked well in the mixed procedure printing. For the background I created a flurry of movement with some fine tipped tools, to illustrate the passage of the wind. For the color of the background I used blue so as to make the yellow of the moon pop more. Once the background had dried on the page I used a dry rubbing technique to transfer the caran d’ache from the two screens onto the page. The blue of the caran d’ache is a slightly different tone than the background so it sets a recognizable distinction, and the yellow is bright enough to pop up against the blue background.

If there was more time I would have liked to use more techniques in combination with each other and used the other two drawings as a template for these new techniques.

 

Portfolio 3

The theme of my final printing portfolio piece is balance. I used the experience from the previous presentations to combine themes and processes. The previous themes of movement and fairytales is combined within the form and the subject matter of the artwork. The image is a large yin-yang formation with a figure inside each half. In the white half there is an angel figure, clad in armor and a sword. In the black half there is a demon figure, also wearing armor and holding a sword. The two are meant to be separate pieces of a whole image. To maintain balance I made both the figures hold a similar pose, and their swords connecting. The color scheme is very particular as the white side has blues and yellows, while the black side has reds and oranges. This was meant to highlight and connect with the colors present in the central figures on top of the yin and yang. The final print is a result of a few combined procedures. The base yin and yang is done using vegetable based ink and printing. Next the dried papers are highlighted with water colors so as to make their inner designs clearer and shape more apparent. Lastly, I created a trace of the central figures and used it to make cut out copies with color, which I glued onto the yin and yang designs. If I had more time I would explore further the types of designs and patterns possible in ink printing and try to combine paints along with the designs instead of sticking to just the base colors that are available directly from the can. However I would not change the theme of my artworks, because fantasy is something very interesting to me and will always be worth exploring.

Mohammed Shoyeb Image list

 

 

 

Allisun Pak

AllisunPak_imagelist

Portfolio 3.

This collection of work is called She/Her series. I originally started out with the idea of HanBok; a Korean traditional dress. I saw movies about the comfort women in Korea, during the World War II. It is a sad and inhumane history that is a part of the war. The dress represents the women and girls that were lied to and taken from their family by force to serve the Japanese military men. These girls now that are aged women that still live with the scar has never received a proper apology. The butterflies and shapes in the dress represents meaning that I have put in, of innocence of these women and their thinking of what they might have wanted; such as freedom, and to cover up the pain.

Portfolio 2.

The work started out with a shape and a line of an object that I was looking at. The drawn shape was made so that it was turned into a mirrored pattern. The ultimate intention was for the audience to never be able to guess the original shape of the object and lines and focus on the esthetics of the print.

The choice of color was spontaneous and the elimination of the colors was a way to create diverse way of showing the patterns and shapes. The making of these patterns transitioned my work to patterns on HanBok; a traditional Korean Dress where there are many patterns that are repetitive or colorful.

Portfolio 1.

My work usually starts with my surroundings, surroundings that is filled with my belongings or a location that I feel nostalgic to. The objects that I have and the emotions that I have to the objects seem to show of who I am. The sets of images I have here are related to nature and life, which represents my interest and emotions that I have towards these subjects or it can just be simply be a esthetic reason.

Often times I like to stick with one subject or object to see how it turns out when it is used in a different medium such as black and white film photo, color photo, painting, and printing. Each medium shows the difference of how one object that has a particular meaning to me can change into different forms and send different messages to the audience.

Many times intentions are not to send a direct message or show what I feel, but hide and make it hard to seek out. The reason is that in a relationship with people in general I do not want my emotions to be bare where everyone can see what I am thinking and feeling. I also enjoy how people seek for a meaning into an art piece when sometimes it may have no meaning at all.

 

My work usually starts with my surroundings, surroundings that is filled with my belongings or a location that I feel nostalgic to. The objects that I have and the emotions that I have to the objects seem to show of who I am. The sets of images I have here are related to nature and life, which represents my interest and emotions that I have towards these subjects or it can just be simply be a esthetic reason.

Often times I like to stick with one subject or object to see how it turns out when it is used in a different medium such as black and white film photo, color photo, painting, and printing. Each medium shows the difference of how one object that has a particular meaning to me can change into different forms and send different messages to the audience.

Many times intentions are not to send a direct message or show what I feel, but hide and make it hard to seek out. The reason is that in a relationship with people in general I do not want my emotions to be bare where everyone can see what I am thinking and feeling. I also enjoy how people seek for a meaning into an art piece when sometimes it may have no meaning at all.

Crystal King-Charles

The field of visual arts has allowed me to explore and experiment with numerous mediums if efforts to create a multifaceted body of work. Originally focused on sculpture and drawing, I was able to establish a unique style and understanding of composition. Regardless of the materials used, the basis of my creative process revolves around conceptual planning. Writing provides me with the ability to thoroughly express my vision and translate it into a visual work. I have found my most impactful works to be the ones that had a series of preliminary writings and figure studies, which examined spaces, subjects and design.

My goal is to use my learning and practice of mixed media to improve my techniques of printing, framing, and composing works as it relates to the principles of photography. I also intend on creating mixed media works that strengthen the visual components of my conceptual planning. I am interested in the idea of how art forms influence one another, whether accidental in its execution or purposeful in its results. I find myself drawn to the dynamics of line and color with regard to how visual and emotional responses can heighten the overall experience for the viewer. Certain colors and patterns spark a reaction within people and that creates a dialogue and forms a connection between the viewer and the work of art. It expands into territories beyond verbal communication and that is my primary focus as an artist. I want those who encounter my work to have a visual and emotion response that works together to formulate an opinion, whether it is positive or negative. The mere presence of something being felt is a great starting point. At the same time, while it is good to know my work is enjoyed, I create for myself first and foremost. My thoughts and experiences are on display for viewing as a cathartic process. If nothing else is achieved but my own personal growth, I am more than satisfied with the existence of my body of work.

Artist statementFinal Artist StatementImage list format

Final artist statement

This final body of work that I have created summarizes my journey to self-expression. I have developed a way of creating abstract work that resonates with my viewers and references aspects of my personality. In previous years, I have oftentimes struggled to create works that relate to my personal identity. My work was detached and restricted in terms of experimentation. There was an impulsive need to control the manner in which my work looked, felt, and was ultimately viewed by my audience. I have since learned to make the elements of the unknown work as a part of my overall intent and narrative as an artist. There are aspects of a work that should be planned and consistent with preliminary studies but in leaving room for the work to become something of its own, the work becomes greater than it was initially projected to be.

Maxie Safdie

Portfolio 1

During the past month I learned two different forms of printmaking: monotype and screen printing. I created four prints of varying mediums based off of an original drawing done in marker. The initial drawing is a design I often doodle in my notes and is inspired by geometrical patterns I find very interesting. The first type of print I created is a monotype. This requires a separate tracing of the original drawing for each color, leaving me with two tracings: one of the solid green outline and one of the colored yellow regions. I then attached a plexi sheet to the tracing paper and began to color with water soluble oil pastels. One sheet was used for the green outline, and the next for the yellow regions. I used water to dilute the middles of the shaded regions and blend the color with a darker surrounding shade. This created the effect of a lighter center. After printing the two sheets onto a damp paper, the result was similar to the original drawing, but not exact. The colors remain true, and the pattern is mostly the same, but the yellow regions of the monotype have two tones, and the solid line and the filling are not entirely centered. Though it was not intentional, I believe the miscalibration between the line and filling reflects the setbacks of the process itself. Next, I created a second monotype using the same medium with magenta lines and blue filling. On this one I did not mix water with the pastels, in an attempt to achieve a more vibrant and pigmented effect. It is likely that the machine was improperly adjusted when I printed the monotype, and this resulted in a faint imprint of the design. Thought I was aiming for the opposite effect, I appreciate how it turned out. Upon close examination one can see subtle shadows of the cloth from the machine, which I find interesting. I then created another monotype using a new medium, oil based paint. For this print I used three sheets for each color: yellow for the solid line, blue for the colored regions, and light blue for the centers of the colored regions. I used water to clear away portions of the screen after rolling on paint, and to dilute the lighter sections. The resulting print is not what I intended it to be. The two shades of blue are almost indistinguishable and the yellow line smeared over onto the colored regions. It is sloppy looking, but I experimented with many different new techniques to create it which can be applied to the production of more satisfactory prints. Finally, I attempted to screen print. I used india ink to copy the design onto two sheets of tracing paper as I had earlier, only smaller this time (I wanted to play around with sectioning off portions of the design). A screen was the applied photo emulsion and a negative of the tracings was produced onto it in the darkroom. I began to print the design onto a paper, and was almost successful. I managed to print the colored in portion in black. While cleaning the screen, it teared in the center, making me unable to complete the print. Despite this, I feel that I now have a solid grasp on making monotypes out of oil based water soluble pastels and paint, and creating stencils in the darkroom for screen printing.

 

Portfolio 2

For portfolio #2 I designed an image of an astronaut connected to a rocketship, suspended in a fantastical environment. It is a design I have used for my other art as well, for example I drew it onto a friend’s wallet as well as embroidered it onto a shirt. This past year I notice that much of my art has consisted of a rational image placed over an irrational background, superimposing reality with fantasy. The original image I constructed had colorful spirals in the background. As this would have been difficult to create many versions of (and that was my intention), I altered that design. Fortunately, it worked out well and I am happy with the designs I ended up creating. One component I am dissatisfied with is the improper registration of the outlines with the empty white space. The outlines were intended to match up with the edges of the white space, but due to complications this was not possible. Also, the blotchy section by the astronaut’s foot was unintentional (accidental light exposure when making the screen), but I like that it looks like the astronaut is beginning to explode.

While creating the portfolio I experimented a lot with both monotype and screenprinting techniques. The prints I produced are a result of a combination of both printmaking methods. To create the backgrounds, I rolled out a solid layer of a color (purple, blue, teal, black, or coral), and added texture. I moved paper towels in a circular motion over the paint with my hand to achieve the spirals, and imprinted crumpled up paper towels across the surface resulting in the acid wash-like texture. For others, I created patterns using a piece of a metrocard, and used the back of a paintbrush to outline thin spirals. I often sprayed water over the screen before printing as well. I encountered an issue covering up the white parts. The tracing paper I used to cover up those parts never remained straight, making each print slightly different. I eventually used a thicker sheet of acetate instead, hoping it would hold the shape better. It did, but was unfortunately not the right size or orientation. I resolved these issues by printing the astronaut and rocket ship separately, and outlining the chord connecting them by hand. When making my screen printing screen, I accidentally exposed the unwashed screen to the light, causing what resulted in the blotchy sections by the astronaut’s feet. Despite these hiccups, I am very happy with my prints. I still intend to make more with multiple colors in the background.

 

Portfolio 3

Portfolio #3 is mainly a product of my experimentation with a new style of drawing and it is entitled Cat Travels the World. During one printmaking class I was doodling in my sketchbook, practicing contour line drawings. I have never made a finished work in this style, only classroom doodles. I drew a contour drawing of a cat that looked very interesting to me. It likely sparked my interest because of the almost Surrealist style it possesses (Surrealism is my favorite style of art). Because I liked it I drew another cleaner version, along with a background. The simplicity of it displeased me, so I created another dimension to it. I aimed to maintain dimension while still challenging it, by allowing depth in the background but drawing the figures as if they were transparent and could be seen through. Not only did I explore contour drawing techniques, but I also loosely played with linear perspective (especially in Cat Goes to London). The first series I made was of contour line cats in the different rooms of a house (kitchen, bathroom, bedroom, living room). This again displeased me because of its simplicity, so I explored other settings. It may have come to my mind because I am in the middle of planning a trip to Europe this summer, but I thought it might be comical to place the cats in different landmarks around the world. The series is meant to be light and comedic rather than heavy and substantial, mainly a result of the exploration of a specific aesthetic. I am aware of the inconsistency in theme (some are placed in countries, others in cities, some in plausible spatial environments, others not, etc.), but I believe it adds to the aloof nature of the series. The series is screen printed and the transparency was created with color blocking marker. Though I burned the entire series onto one screen, each panel was printed separately using tracing paper to block neighboring panels from the printing paper. When I picture the series finalized, I imagine them hanging on a wall, each in matching picture frames, in a straight horizontal line. If I had more time to come in the past week, I would have printed the original series, Cat Travels the House, and display it above Cat Travels the World, in an attempt to add to the comedic effect.

Image List

 

 

Jiyeon Kim

Portfolio 3

My drawings are spontaneous, based on either or combination of personal experience and imagination. They can be interpreted differently by each viewer and do not need to be understood. For my third portfolio, I created my composition from something I saw in real life combined with my own interpretation and imagination. I also wanted to utilize all of the techniques learned in class, especially monotype and screen printing, and combine them with watercolor, which is another medium I enjoy using. My screen prints are different iterations of the same drawing, but using different backgrounds such as monotype using water washable oil-based printing ink and watercolor.

The monotype print is based on tracings above using water-soluble wax pastel creating a harmonious combination of colors for the overall aesthetic. The screen prints are done on monotype based on tracings above using water washable oil-based printing ink or watercolor. One of the prints is tracing of a monotype before printing. Although I used the largest screen, my drawing was still too large to fit, so I had to cut off parts of the drawing to fit into the screen.

This is my favorite portfolio out of the three, because I had more flexibility in choosing techniques and mediums to create a body of work. After a number of mistakes and experiments, I feel more comfortable with printmaking, because I realized that mistakes and experiments only lead to another idea and thus creating art will continue and also evolve.

Portfolio 2

My drawings are recordings of personal experience and spontaneous imagination, like writing a diary with visual language instead of words. They can be interpreted differently by each viewer, and are not meant to be understood. For my second portfolio, I chose a drawing that would allow me the most flexibility to experiment, creating patterns and using new techniques such as wax paper-cut stencil and pochoir. My screen prints are different iterations of the same drawing, but using different techniques, colors, patterns, or any combination of the three.

All of the screen prints are done on monotype based on tracings above using water washable oil-based printing ink. One of the prints is tracing of a monotype before printing. I used photo emulsion and film positive stencil with black acrylic ink for the remaining prints. I also used a combination of direct stencil and paper stencil with magenta and gold acrylic ink. One thing I would want to change in the process is to use a larger screen to fit my entire drawing. Because my drawing was larger than the screen before exposing, I had to cut off parts of the drawing to fit into the screen.

Because my drawing is based on both personal experience and spontaneous imagination, I avoided creating straight edges when printing the monotype and left the ink to be unevenly distributed. Screen prints using photo emulsion stencil purposely do not line up perfectly with the monotype for illusion of movement. If my portfolio engages the viewer with the process of my screenprinting experimentation as much as its visual aesthetic, I would consider it a success.

Portfolio 1

My drawings are derived from imagination and personal experience. For my first portfolio, I chose a drawing that had a distinct separation of lines and colors, and that I felt closely identified with me. My chosen drawing is a visual presentation of my experience involving music.

For two monotype prints based on the tracings above using water-soluble wax pastel, I chose violet and purple violet colors to create color separation. I also incorporated patterns within the composition, because I enjoy patternmaking and consider patterns to be another creative way to visually express my personal experience.

For two monotype prints based on the tracings above using water washable oil-based printing ink, I focused on experimenting with the medium and color combinations using what was readily available. I also tried using different tools such as ink roller, brushes, and cotton swabs, and techniques such as additive and reductive methods, and blowing air to spread ink.

For screenprinting, I wanted to dramatize the composition by using bold or complementary colors. I experimented with acrylic paint as well as pastel debris combined with clear paint. I found printing to be particularly challenging when pushing the squeegee against the stencil to allow paint to evenly and thoroughly populate through the stencil onto paper.

Although I just started printmaking, I find it fascinating to be able to make endless number of prints using various materials, tools, and techniques with one drawing. I hope to master the techniques learned in class, and create more compositions and prints that would speak on their own to the viewer.

Jiyeon Kim Image List

Joshua Smith

The reason I make art is to express or expose an idea. Art has become a form of teaching myself and an outlet I have begun to use to teach others about topics I find important or interesting. Since becoming interested in art I have be introduced to global crises, community injustices, and other world events. Art has been able to introduce topics and events that I wouldn’t have become as interested or concerned about had I learned about them through the newspaper or television through art and learning about current issues, I have developed my own goals which I hope will help others become more informed and aware of particular topics- even if it’s just to look at regular events and topics in a different way that makes them more sympathetic.

When creating a piece I typically let my mind daydream until it falls upon a particular image or idea that I find interesting. With this series, I chose an acacia tree. I chose an acacia tree for my love for trees and the particular tree for my interest in Africa. While creating the images I didn’t feel any social topics, but I did want to focus on making the tree more interesting through the colors that I used. I picked colors that aren’t typically associated with trees. I chose yellow and read to signify or resemble the heat and the arid air of Africa. And blue, black, dark green colors were chosen to reflect the relief the night brings from the heat, but additionally give the image a visual interest with different chosen colors. These particular works more focused on conveying an emotion versus a message and the emotion ranging from extreme discomfort found in the yellow and red colors to them ore relaxing and calming dark blue and black paints.

Portfolio 2

This series of artwork is a focus on the absurd. With these prints I have placed in the center of each image a different food item. The items don’t seem to have any correlation to one another, however, they are the same in that they have all been enlarged from their normal sizes and have been placed on a background color that is equally bold/prominent.

The decision to enlarge the food items was first, draw the viewer’s focus to the item, and second, give the image a bit more interest. I chose to enlarge the food items because I thought that there was an interesting idea of taking common/ familiar items that one eats and make them larger than their regular size. I wanted to play on the idea that while the food appears to be bigger than what we eat – and overwhelming maybe – people still will overindulge. Perhaps the food presented here is equal to the overall amount an individual might eat through two or three bowls of cereal. Do we always stop at what is considered a serving size? I chose bold and bright colors as the background to give the image a more humorous look and to make the piece look more cartoon like and appealing. I wanted to make an image that didn’t look like it reflected people’s eating habits on the surface, but might be accurate if someone thinks about the overindulgence many people do take part in.

I imagine the audience will take the art lighthearted, mostly thinking about the child like qualities of ice cream and cereal. The bright colors will also add to the playfulness that these images present. I hope that these images can be incorporated into my overall goals with art – to make people think, discuss, and act differently concerning social issues.

Portfolio 3

The general idea I had with this series of works was a transition from poor health to an improved wellbeing of the body, or the recovery of the body. I wanted to portray this recovery through specific colors and distinct images which could be identified with certain organs.

I created this work because I wanted to create prints that would visually express the process of cleansing the body, my body, from poor health habits to the transition of experiencing the benefits of choosing to live a healthier lifestyle.

I specifically chose the colors black and blue to represent the quality of health. The pieces on the left hand size have a darker or black tone to them. I wanted black to represent decay and poor quality. The last print on the left only uses black in the print to show the worst condition. Black makes up the background and the image in the center is filled with gray smoke-like lines and the deterioration of the organ itself. The colors slowly include more blue in them as the eye moves from left to right Blue is a color often associated or included in hospital lettering and branding. Blue, and more so white, can represent cleanliness and even purity. With the inclusion of the colors, the images show this transition in health as well, from poor quality to a resurrection of the identifiable organs.

Focusing on health through colors and elements of the body is the focus of the series of artwork. Choosing recognizable images was a core aspect and transitioning colors to lead the viewer through a specific process.

Isabelle Fernandez

Portfolio 3

For this final portfolio I made six silkscreen prints on top of watercolor paintings. The transparency for the screen is made from rubbings I took from the bathroom floor of my grandparent’s apartment. I was inspired by Do Ho Suh’s Rubbing/Loving, a project which uses rubbing to memorialize the artist’s only apartment in NYC. I am interested in the people’s interactions and relationships with domestic spaces. This apartment is the first place my grandparents lived when they came to America, and because of health reasons they may have to move soon.

I hope my piece evokes the familiarity and intimacy of this space through the depiction of the broken tiles. These tiles are raised in some areas and depressed in others, which creates a topographical or landscape quality to the prints. I went with a neutral, monochromatic color palette to encourage the viewer to have to get closer to the pieces and have their own intimate experience with it.

Portfolio 2

In this portfolio, I am interested in reflecting Brooklyn’s landscape. In creating these prints I used both monotype and screen-printing techniques. I made the drawings for the transparencies based off of photographs I took over the summer. These images have significance to me as they remind me of a certain period of my life. These images demonstrate a relaxed, joyous feeling that is specific to that summer. Using multiple still images can convey time passing or movement. In this instance, time appears to pass very slowly as I began to notice the small architectural details.

I intended for the viewer to read the images left to right like the narrative of going on a walk. I paired these images together based on the similar compositions. Both drawings feature a strong horizontal line which leads to a vertical line. This encourages the viewer to review the whole image.

My drawings reflect the linear qualities of the architecture of Brooklyn. There is a harmony when architecture is paired with the organic qualities of foliage and fabric. I was also interested in conveying different qualities or moods by using different color combinations. Unsaturated red, or pink, has an energized effect. Blue has a calming effect, and when paired with the black screen printing ink, blue conveys nighttime.

Portfolio 1

I have a strong interest in exploring my family history and ethnicity. My prints are informed by my mixed mediterranean roots. I spend a lot of time with my maternal grandparents discussing the places they are from, specifically Cyprus, Palestine and Egypt. In this portfolio I wish to explore the relationship between identity and geography, as well as the effects of displaced peoples through abstracting the landscape. I intended to create a map which had no labeled countries or borders. By abstracting this map of origins, I hope to reflect the complexity of identity which is felt by many refugees and immigrants.

I began my process by drawing a map from observation which marks the places my grandparents lived in. After making this drawing, I began to make sketches with gouache from memory. Each time I made a new variation of this map, I further abstracted the image of ethnicity. I planned to use the primary triad color scheme of red, blue and yellow. These colors are significant because they are the basic building blocks for all color pallets. This quality of the primary colors allows them to be both simple and complex, both pure and mixed.

Isabelle Fernandez Image List