Alejandra Gonzalez ’20
Hometown: Caracas, Venezuela | Major: Fine arts with a concentration in design in craft
My current work is driven by my curiosity in the Pre-Hispanic jewelry from Northern Peru and its most ancient cultures: Vicús (1250 BC-1 AD), Moche (1-800 AD) and Chimú (1300-1532 AD).
“Ruler of the Andes”, Alejandra Gonzalez, 2020, brass, copper and enamel, 11-5/8” x 7-5/8” x 1/4”
I am captivated by the enormous symbolic value Peruvians gave to gold and silver, and how their distinctive colors were connected to the celestial world. For these ancient cultures, gold shone like the sun, representing the day and all that was masculine, while silver represented the moon, the night and all that was considered feminine.
“Sol”, Alejandra Gonzalez, 2020, brass, 11” x 5” x 1/4”
In this collection, I applied techniques that were used by ancient metalworkers, including lost wax casting, gilding, raising and hammering to create different textures on the metal. I also used the same materials as ancient metalsmiths: enamel, brass, copper, sterling silver and 23K gold leaf.
Untitled, Alejandra Gonzalez, 2020, brass, copper and enamel, 12-1/2” x 3-3/4” x 1/4”
Especially influential in my work are my memories of visiting art museums and galleries with my family. From an early age, I was drawn to Venezuelan abstract artists such as Oswaldo Vigas, Mateo Manaure and Armando Barrios.
“Feathers”, Alejandra Gonzalez, 2019, cast bronze, 12-1/2” x 6-1/2” x 1/8”
Brandon Chen ’20
Hometown: Palmyra, Virginia | Major: Art with a concentration in photography
This project depicts my family and the way I view our relationship in America. Though I am an only child, I often ponder what constitutes true love and affection.
Untitled from the series “Nonverbal Affection”, Brandon Chen, 2020, digital print, 18” x 24”
As I’ve grown and matured, I’ve finally realized that, in Asian culture, physical affection is uncommon. I remember times when I asked my mother for a hug because I was feeling down, but she bluntly told me she preferred not to embrace me. At a certain point, I stopped asking for affection.
Untitled from the series “Nonverbal Affection”, Brandon Chen, 2019, digital print, 18” x 24”
I began to question what it was like for my parents to grow up in the United States surrounded by idealized versions of the family. I continue to seek out how my upbringing without physical affection has transformed what the ideal family looks like to me.
Untitled from the series “Nonverbal Affection”, Brandon Chen, 2020, digital print, 18” x 24”
Francesca Chambers ’20
Hometown: Stafford, Virginia | Major: Art with a concentration in painting and drawing
As an artist, I have found meditation through art to be more powerful than traditional meditation. This work takes on the form of half octopus (my animal obsession) and half myself, conjoined in one meditative pose.
“Meditation from the Right Side of the Brain”, Francesca Chambers, 2020, Sharpie on mixed media paper, 7’ x 5’
I am exploring the intuitive process of drawing as a way to meditate using the Zentangle Method, which comprises eight steps: 1. Gratitude and appreciation 2. Corner dots 3. Border 4. String 5. Tangle 6. Shade 7. Initial and sign 8. Appreciate.
“Meditation from the Right Side of the Brain” (detail), Francesca Chambers, 2020, Sharpie on mixed media paper, 7’ x 5’
In the details of this piece, there are patterns that are generic and nonrepresentational, which represent when my mind is clear, and others that are more concrete and meaningful that show when my mind wanders in thought.
“Meditation from the Right Side of the Brain” (detail), Francesca Chambers, 2020, Sharpie on mixed media paper, 7’ x 5’
Alexis Powers ’20
Hometown: Spotsylvania, Virginia | Major: Art education with a concentration in painting and drawing
My goal as an artist is to interest the viewer enough to draw them closer to each artwork.
“Now You See Them”, Alexis Powers, 2020, multimedia collage, 7-1/2’ x 8’
This allows the viewer to find the hidden aspect within—whether that is secret words hidden within scribble marks or fragmented portraits that get lost in a collage of many different materials.
“Now You See Them” (detail), Alexis Powers, 2020, multimedia collage, 7-1/2’ x 8’
This piece is inspired by abstract expressionism. I also take inspiration from Russell Craig because he creates works that focus on helping people in the prison system and spreading awareness of the hardships these people face.
“My Card” (front), Alexis Powers, 2020, stamp ink print, 3” x 3”
Alex Mach ’20
Hometown: Virginia Beach, Virginia | Major: Graphic and animation design
From the beginning, I knew I wanted to challenge myself and push the envelope of what I’ve learned. I racked my brain over every aspect of the project to come up with the best compromise between fantasy and reality.
“Headspace”, Alex Mach, 2020, animated short film created with Toon Boom +Harmony, Toon Boom Storyboard Pro and the Adobe Creative Cloud
At the beginning of the film, a person struggles at their desk over an idea in its early stages.
A mysterious shadow looms over their shoulder, blocking their creative outlet. It locks their creativity and retreats inside their head.
A lone doodle stands to fight back and regain creative inspiration for its creator, but a headspace is a chaotic place. Can the doodle traverse the imagined landscapes of the mind and reclaim the key idea before all hope is lost?
Madison Schmitz ’20
Hometown: North Barrington, Illinois | Major: Art education with a concentration in painting and drawing
In these works, I am obsessively exploring the interaction between seemingly unrelated subjects: mouths, and organic and fractured patterns. The subject matter brings America’s beauty standards to the forefront of the conversation, along with the idea that mouths are associated with communication, love and consumption.
“Manipulative Mouths 1”, Madison Schmitz, 2019, acrylic, oil, spray paint, embroidery thread, oil-based markers, yarn, wooden planks and floss on unstretched canvas, 54” x 65”
The majority of materials I use—including canvas, embroidery thread and yarn—are commonly labeled as feminine materials, just as mouths and patterns are more commonly associated with women.
“Manipulative Mouths 2”, Madison Schmitz, 2019, acrylic, oil, spray paint, embroidery thread, oil-based markers, yarn, wooden planks and floss on unstretched canvas, 54” x 65”
However, framing the pieces with wooden planks, a more masculine material, subtly references the fact that mouths are both masculine and feminine.
“Manipulative Mouths 3”, Madison Schmitz, 2019, acrylic, oil, spray paint, embroidery thread, oil-based markers, yarn, wooden planks and floss on unstretched canvas, 58” x 70”
My color choices and the juxtaposing of mouths within each piece are intended to simultaneously attract and repel the viewer.
“Manipulative Mouths 4”, Madison Schmitz, 2019, acrylic, oil, spray paint, embroidery thread, oil-based markers, yarn, wooden planks and floss on unstretched canvas, 54” x 65”
James Conner ’20
Hometown: South Boston, Virginia | Major: Fine art with a concentration in photography
Death is something that, no matter what, we all will have to deal with at some point in our lives. This Bible belonged to my grandmother.
Untitled from the series “Collecting Love”, James Conner, 2020, digital print, 17” X 22”
I, personally, have lost many loved ones. My family started accumulating objects that had belonged to the deceased person to help us hold onto that person’s memory. Memories of my mother are associated with this watch.
Untitled from the series “Collecting Love” (detail), James Conner, 2020, digital print, 17” X 22”
There’s a sense of grief associated with these items, but they also help us continue to keep our loved ones near. This rosary reminds me of my grandmother.
Untitled from the series “Collecting Love”, James Conner, 2020, digital print, 17” X 22”
Darby Lutz ’20
Hometown: Ashburn, Virginia | Major: Graphic and animation design
Taste Not Waste is a program dedicated to reducing food waste one household at a time. I grew up in a household that was very food-waste conscious. My grandparents grew up dirt poor, and wasting food just wasn’t an option. Even when they became successful adults, my grandparents continued the practices they had developed and passed them down to their children—my parents.
“Taste Not Waste Poster Series”, Darby Lutz, 2019, digital print, 11” x 17”
When I was tasked with designing an informational campaign based on an underlying issue, food waste seemed a good fit. The goal is to help families reduce their food waste by teaching good kitchen practices, for example, using leftovers instead of throwing them away.
“Taste Not Waste Guide to Food Waste”, Darby Lutz, 2019, digital print, 8” x 8” (finished)
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