CV


A photograph. It shows a standing figure cut-off at the knees in yellow. The paper is held up by thumb-tacks to the wall.

The use of color in this piece was applied, via a happy accident, to simulate a more shadowed end result. I have found that using highlighters to sketch out my figures before going over them with darker markers toward the lower right area. I like seeing the sketch from underneath the ‘final’ image. This piece was a bigger version of a Morpho drawing.


A photograph. It shows a standing figure done in yellow and blue marker. There is a small sketch in yellow near the top. The paper is held up by thumb-tacks to the wall.

This piece was done in Figure Drawing II with a new model. I have been experimenting with markers this semester since I know the materials extremely well, and I missed having color in my art pieces. I am always looking to refine my figure studies and knowledge of the human body in art. My professor, Mel Tychonievich, suggested that I do a thumbnail of the pose to work out the tremors in my hands on the first run.


A photograph. It shows five busts done in colored pencil and marker along with a pencil sketch of lips off to the side. The paper is held up by thumb-tacks to the wall.

I asked my Figure Drawing professor, the aforementioned Mel, suggested submitting pieces that had tonal variations and chroma differences. While I am unsatisfied with the blue head, the combo busts of yellow and blue turned out well.
I am happy with how the brassy sketch comes through for the upper left, I am very satisfied with the yellow head since it almost feels like it glows. The blue pencil and yellow marker head ended up okay, and the bottom right piece was more of an exploration of the colors at my disposal.


A photograph. The digital art was printed onto a foam board and is held up by thumb-tacks. It shows a woman with black hair, a purple undershirt, and a green dress with her back facing the camera. She is looking over her shoulder and holding a rabbit. The forest is full of aspen trees and colored with oranges, yellows, and greens.

This piece was for an assignment in Illustration & Sequential Design- after making my character, Jane Doe, we were told to make a concept art piece to show off the character and story. I chose to show Jane in a forest holding a rabbit she shot with the gun on her back with wide eyes. She isn’t smiling to show that she has a very creepy atmosphere around her. Jane is also staring directly at the viewer to unsettle the audience.
The reason yellows, pinks, and oranges were chosen was to show that this series, while being set in Missouri, won’t exactly be realistic to the furthest extreme. Jane is a cannibal who eats her crushes, but the cartoon style pairs well with the pink sky and clouds. The rabbit has X’s over the eyes and blood dripping from its body to remind that this will be a gory story.


A photograph of a print surrounded by matboard. It has pink, red, and black on white paper. It depicts a woman hunched over- cut off at the waist- with her arm extended to the viewer. She is holding a human heart in a tight grip. There is an abstract sign behind her in another language reading 'GOT MEAT'. The background looks as if there is blood spilling on the top and bottom.

"Meat Grinder" is a piece that was sketched with pencil, cleaned up digitally, flipped-slalsh-printed, and then transferred onto the linoleum block seen below via frottage. It depicts Jane holding a realistic-shaped human heart out at arm’s length toward the viewer, with a sign in the back reading “GOT MEAT”. It was done in layers of white, pink, red, in black. The sign was modeled after parental advisory signs


The linoleum plate for the afformentioned piece. There is alcohol marker showing where the woman's hair was outlines, the 'GOT MEAT' sign, flower details on shirt, the heart, and her eyebags. The linoleum has been washed though old paint and carving marks are still highly visible.

“Meat Grinder, Linoleum” is the linoleum left over from my “Meat Grinder” prints. Why show a linoleum block? It still holds the same artistic intent and landing as the piece it created, and seeing the ‘in progress’ of art is always a treat. I am proud that the layers are still technically visible even after being carved, washed, and reprinted.
I find that showing the in-process aspect of art just as important as showing the finished product. It makes art seem 'more real', as if the imaginary wall seperating an artist from someone who looks at art lifts for a brief respite.