Student Artists: The Next Impact in the Art World, an Exhibition Review
The ones that shape, challenge, and innovate the art world are artists. Once the career of a prominent artist ends and only their legacy is left, what is next? Well, new generations of artists emerge. In this case, it is important to consider university students’ artwork in high regard, because they are the ones that will impact the art world and influence the art market, institutions, etc. At this time, it is a privilege to study and analyze students’ work, because they are living artists that will lead to changes in the art industry. It may be through exhibitions, teaching, or becoming part of top-tier institutions. There are already legacies left by old masters, Impressionists, Cubists in a never-ending list. Work created by university students should be taken more seriously. It is more than just canvases or sculptures; it is a glimpse of a bright future.
Rather than focusing on Museum or Commercial gallery exhibits, I have chosen to focus on student’s work exhibited at the Texas State Galleries. Yet, the time spent preparing the exhibition and preparation of their work should be elevated at academic level. They have the tools to express and properly execute artwork guided by faculty experts. So far, all of the exhibitions at the Texas State Galleries have a very unique vibrancy. I followed the exhibits for a year and I have yet to experience slight disappointment.
The structure of Texas State Galleries are two large spaces connected by a doorless entrance. The setting invites the viewer to enter a profound discourse and engagement with the artwork. Each work is lit by a direct spotlight which engages the audience more rather than just browsing artwork in a normally lit gallery. The contrast between the light, shadow, and reflective floor creates a meditative space for uninterrupted observation. Although no information about the artists or commentary of the artists’ work, each artwork presented leaves numerous possibilities for interpretation. The exhibition was curated in a well-balanced manner with artworks placed specifically so they may be observed as an individual entity. As a whole, each piece communes with each other and there are smooth transitions from one piece to another; color-wise, shape-wise, and structure.
Several student artists exhibit mastery in the stylistic choices, painting techniques, and mediums taught by faculty. Some of the diverse mediums include oil paint, acrylic, gouache, ink, polymer clay, stoneware, wood, and paper. Artwork styles differ from one to another. For example, the work Petter has a surrealist air possibly drawing stylistic choices and influence from Dali. Another example, Sunny Side Up by Kylie Nash draws from Impressionist style in a fresh and more clear way. Her choice of colors and the representation of gold, pearls, and skin tone gives the viewer a sense of balance and tranquility.
Fragments by Ally Harrison opens the exhibition. Grotesque blue and flesh colored limbs are fused to give the subject a humanoid shape. The blue color contrasts with a neon green background. Due to the surreal blue limbs joined with naturalistic feet and fingers with the color evokes a sensation of cringe and admiration. A provocative piece at the beginning is a great way to start an exhibition; there is an air of excitement and uncertainty while there are no expectations for what one will encounter next.
Following Fragments, the viewer encounters Petter. This work by Joolia (the label did not have a last name) has a darker connotation established by the use of color. The artist incorporates text and abstract shapes free floating in the pictorial space. On the right side of the painting Petter is written twice. Several geometric shapes conjoin at the center of the piece. The artist establishes a loose sense of depth by incorporating a golden tunnel-like element that recedes and ends in a pointed curve. There are some figures with faces that reflect grief as well. Clear lines demarcate the shapes and value in the objects and have different techniques to represent texture. At the very left of the artwork the artist added what resembles a torn piece of paper with the smeared word severe. This piece gave me the opportunity to appreciate the learning process process of techniques and application of principles executed skillfully in a student’s artwork.
Before continuing with two-dimensional work, I would like to bring attention to three-dimensional pieces in the first section of the gallery. The sculptures showcased were quite unique. The Lamb / A Love Letter by Davyn Ladera interrupts the flow of the paintings. Sometimes one needs a rest from an in-depth observation of 2D work. This sculptor’s medium is ceramic, acrylic yarn, gouache, and acrylic paint. Lamb / A Love Letter is a caricature-like representation of a lamb’s head, similar to the taxidermy decoration that deer hunters collect. The only difference is that the lamb head isn’t mounted on a wooden base, it is directly mounted on the wall. Although it has a stuffed-animal appearance, it seems as if the eyelids have been ripped, leaving a bare cornea surrounded by colorful ligaments. The lamb’s mouth extends further up than the mouth of a realistic lamb. By the formal analysis of this sculpture, the anatomical structure of the lamb’s head has imperfections for specific reasons and expressivity. If the anatomy would be constructed to par, the artwork would lose its effectiveness on the viewer. The proportions and shapes of an actual lamb’s head do not seem as incongruent and elongated as the sculpture. They are more refined and the eyes are set lower and not as large. It is a much less intimidating sight than the sculpture. This piece is certainly interesting to observe and if presented at other galleries I see that it has the potential to pique experienced collector’s interest.
Sleepies by Celeste Medrano from a distance appear to be pies that measure about two inches wide. The medium of choice was polymer clay. From a first glance, it seems as if there are four perfectly baked shiny pies on a shelf. At first, I thought that they were representations of berry pies. Upon a closer look and better observation they were sleeping dragon-like creatures curled in what seems as a crust. Artwork in a smaller format definitely requires skills for clear representations, and Celeste Medrano’s skill is shown in her work.
Moving on to Limerence by Caitly Barrow, her artwork is on canvas. In the background there are two subjects. One of them is smoking, they are represented in an unclear and blurry manner establishing uncertainty of the subjects. The setting appears to be at night in a car, as if the individuals might be hiding or about to engage in intimate conversations during the night. In the right side of the foreground, there is a glass bottle with a Renaissance style angel on the bottle. This figure seems to be a focal point, since it is done in a grisaille technique. This piece is one of my favorites, since I have a weakness for the Renaissance and baroque, so in due honesty I may be biased regarding this artwork. On the left side of the foreground, there is a pack of Marlboro, presumably the package which the subjects are smoking. This artwork transcends time, since the setting is contemporary. It was quite easy for me to relate to the artwork, as the feelings evoked by the painting created a sense of nostalgia. It made me remember my own nights of uncertainty of the future, the beauty of silence in a dark night, and conversations of personal dreams beyond university.
Another work that demonstrates great potential is Titania by Karlina Hindman. Her style is clearly figurative with elements of surrealism. The subject is a woman laying down in a forest. There is ambiguity in the background, as she is surrounded by tall fungi. This leaves a question in the viewer. Are the fungi giant or is the subject miniature? The pictorial space tends to be darker insinuating that it might be a night sky. The focal point is the woman. Her expression is of worry and defeat, maybe fear. Upon some research, Titania is the queen of the fairies in Shakespearean literature. For the viewer who is not familiarized, as I was, the interpretation and critique of the artwork may be slightly confusing. Therefore, it clears that the subject is miniature. Interestingly enough, for being the queen of the fairies she is represented nude and in a vulnerable state. Hindman’s medium is oil and the brushstrokes in the painting give it a sense of refinement and that of fine art. I can definitely see this piece as part of a museum collection or a collector’s piece.
Cultural Objects is a Tajin sculpture with an orange or a pomelo fruit. The work has a folk-art, pop-up style featuring a common product consumed in Hispanic households. I do have an understanding of the artist experimenting with mediums. Yet, the sculptures seemed quite rough and not very refined. It may be that the artist chose do create the sculpture in that way making reference to ordinary objects that are consumed and disposed of. The kitsch style reflects on the commonality.
One of my theories is that ultimately, I have seen Latinx and Chicano community popularizing common products consumed in the Hispanic community imitating Andy Warhol’s style. Representations of identity and heritage through popular products are unsuccessful. There has been a rise of “identifying as” or having “insert heritage therefore I am such and such heritage”. Hispanic heritage is more than mere products or Frida Kahlo’s face on pillow cases and purses. Before making products as pop-art, trending, and pertaining to a culture, and even before identifying with one it is important to experience that culture as a whole. How could one identify as a Mexican without having the experience of growing up in Mexico, studying its culture and traditions, or even relishing in the idioms and indigenisms of the language. Not everybody’s heritage is of Aztec origin. In Mexico there are people with Asian heritage, Arab heritage, and European heritage as well. There are diverse indigenous groups that create generations of artwork in ceramics such as the Yaqui, or beadwork such as Huichol, production of huipiles by the contemporary Mayan people. Yes, most Hispanic heritage comes from mestizaje.
The problem of representing objects as such is that it gives the wrong impression of a millenary culture. We have a rich history and culture to be represented in such a poor way. Hispanic identifying communities should really research the history of their origins and understand contemporary culture. As a Mexican that has been involved in the arts and culture in several cities across Mexico it is crucial to understand the real culture, not the culture that emerged from it. After quite some time reflecting on this artwork, I may say that it is very successful. It is an opportunity to open dialogue and question consumerism, culture, and the ephemeral. Do the objects reflect a trend or do they reflect a culture of consumption per se?
It is visible that students ardently learned the theoretical aspects of visual arts and are finding their personal styles and expression through their chosen techniques. There were elements of abstraction, Expressionism, Cubism, and expanded media in the Texas State Galleries. Each student applied color theory in their own styles. The artworks are successful in that they invite viewer observation for the concepts presented. It may be a question for what is considered fine art, ephemeral moments, consumerism, or art for art’s sake. In four years of studies in visual arts at the university student artists have the opportunity of experimenting and finding their own expression through art.I look forward to encountering the work of student artists at Texas State University in museums and galleries. It may be too soon to predict what will happen, as the future is full of mystery. I have full faith that they have a unique potential for each of them to reach success in the art world.