Joey Croft (he/they) is a fourth year Art major at UC Santa Barbara with a focus in illustration, and an interest in portraying animals, figures, and landscapes both realistic and stylized. He also works with printmaking, acrylic, and mixed media. In January through May 2017, he created six copies of a printed book depicting endangered or threatened species as part of a high school arts intensive program. This book is displayed here along with more recent works. @joeyc_art
Most of the inspiration I get for my art comes from music. The pieces I included were inspired by music and my own feelings and cultural background. I got to explore the other two ideas for my Art 100 class that I’m currently taking this quarter. @svddenmalei
Eva Smith (she/her/hers) is a fourth year art student at UCSB. She is a photographer and mixed media artist. Her works are singular and intensely personal. She is interested in embedding ideas of privacy, intimacy and ambiguity into abstract works. @smitheva
Soopreme is in her third year in UCSB as a transfer student. She still hasn’t figured out what kind of Art to major in but has passion for painting and pencil sketching. She is interested in inspiring people and giving people happiness. @soopremeshin
Emily is a third year art student at UCSB with an emphasis in illustration and digital media. She has a strong passion for pop and East Asian culture and takes inspiration in incorporating its elements within her artwork. @primarycolor_
This is a collaboration video piece by Erin E. Adams and Kio Griffith
“Whoever fights monsters should see to it that in the process he does not become a monster. And if you gaze long enough into an abyss, the abyss will gaze back into you.” – Friedrich Nietzsche
These works were created during the initial West Coast lockdown and my personal isolation during the Covid 19 pandemic. The drawings were created on solid black paper with oil pastels and explore the notion of hiding within light and my abject isolation without any form of human contact for several weeks.
The drawings were created from screen grabs or stills of my video entitled “L’Amour Fou”
The video is of a performance art piece that was filmed at the UCSB campus in January 2020 before the Covid 19 pandemic.
If you would like to see this video go to www.ErinAdamsArt.com or @art.documents titled Breakout on Instagram.
“ Back To School III Covid”
Shot at the University of California Santa Barbara campus in August of 2020 during the Covid 19 pandemic. It is the recording of a performance art piece.
Oil painting primarily, but also other mediums such as wax and clay, provide me with a malleability in colors, form, and content that aids in my visual expression. When I first started painting, my main and tangible focus was to desexualize the female nude that has been objectified over the centuries by our patriarchal society. As I matured and became more aware of political, racial, and environmental injustice, I felt a sense of helplessness as I’m sure many of us feel in the face of systemic racism, economic inequality, and accelerated climate change. I channel this frustration into broader visual expression and post my artwork on social media in an attempt to raise conversation about these issues so that we can be the generation of change.
The Department of Art is delighted to feature some of our excellent undergraduate students in this end of the year showcase. We take pleasure and pride in their rich, diverse work, as we expect you will. The themes and methods these young artists employ are as interesting and inventive as they are. Click the image above to be guided to the gallery. Enjoy!
The members of Art Honors 2020 are crossing social and spatial distances through a series of 9 collaborative works. The artwork will pass through the hands of each artist in our collective in the medium of their choice. This series is our Remote Amalgamation. Click below to preview the exhibit.
Baily Ludwick is an artist and student at UCSB devoted to raising awareness of the mistreatment of Mexicans in America through her artwork. The “artivista,” combining art and activism, utilizes a variety of mediums and symbolism to tell the story of her Mexican American heritage. Ludwick, who has been oil painting for 11 years, has gone on to explore new mediums such as repurposed gum wrappers and neon colors. Through her art, Ludwick expresses the feelings of a lack of belonging as a Mexican American. She also tackles prominent political issues like the US-Mexico border in The Border, President Trump’s No Tolerance Policy in I Care Do U?, and the president’s remarks on Mexican immigrants in Labels. Baily Ludwick aspires to incite social change with her emotionally-charged artwork.
In Labels, Ludwick renames popular Mexican sparkling water brands, like Topo Chico, with derogatory terms that have been directed towards the Mexican community. She also adds tags of “criminal” and “lazy” to the revered Virgen de Guadalupe and Saint Martin de Porres, the patron saint of mixed-race people and her grandmother’s favorite saint,in orderto reflect the absurdity of these stereotypes.
Ludwick speaks of the importance of calling attention to the issues facing the Mexican community in her art:
“My great-great grandmother died because she was turned away from the hospital for being Mexican. When I hear these words of hatred, I feel the pain of discrimination running through my blood. I feel it is my duty to speak out against this hatred the only way I know how: through my paintbrush.”
As an Artist Phillip Byrne is interested in exploring holistic identity through process. Having been stripped of bodily, mental and emotional autonomy over the course of debilitating battles with Crohn’s Disease and Fluoroquinolone Toxicity Syndrome, art-making has allowed Phillip to play the role of ontological surgeon – placing his own metaphysical body on the dissection table and exploring its interior contents.
Phillip views his art practice as a kind of agriculture of ritual in which multiple processes are planted and their artifacts harvested. The foundational process – which cross-pollinates all subsequent rituals – consists of an experimental marbling practice in which ink, spray paint and float-able solids are suspended on the surface of water and mono-printed on paper.
The artist sees these mono prints – often manifesting as circular forms and geographical amalgamations – as cosmic eggs or embryos with transformative and alchemical potential. These embryonic works are often replanted and re-harvested multiple times – fragmented and reassembled, digitized and manipulated, projected into 3-dimensional space, and placed into new contexts. Engagement with these processes manifests personal associations and allows for personal explorations of the interior anatomies of Byrne’s mind/body/emotions, appraisals of their damages, and questionings of his relationship to all three. The harvested artifacts of these nested rituals manifest as visual expressions in multiple voices – externalized vocalizations of an interior Babelian choir attempting to ontologically echo-locate and unify itself.