the dugan expreinece

The Dugan Experience Dugan Galley1

The Dugan Experience Dugan Galley1

3made

Scott by Jensen Poutre

The Dugan Experience Dugan GalleryFall 2011 Issue 1

The Dugan Experience Dugan Galley3 The Dugan Experience Dugan Galley2

Smoking

Giavis

Advance Painting

- Victoria Valente - Ashley Carey - Jessica Tawchynski - Alexandra Derderian - Anna Struna - Stephen Kinney - Alanna Gilbert

Advanced Studio

- Alanna Gilbert - Channate Phauk - Courtney Lermay - Jessica Tawchynski - Elieen Ryan - Racheal Zalinka - Duy Hoang

Painting 2

- Lauren Abbott - Elieen Ryan - Shanna Cortez - Dung Le - Jason Allen -William Oliver

Senior Studio

- Alexander Gavis

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The show is set up to showcase to the

public of Umass Lowell the work of

students in the art Department. Their

Ideas, thought process and the directions

they are planning on head.

This year PMV (Process Made Visual)

placed in the spot light pieces from Prof.

Stephen Mishol’s Painting 2-5 classes

and other from his Advance Drawing

classes.

“...A sense that the mind is working on

raw material that exists in the world at

large, in some degree beyond mere

invention...” - Robert Hughes

About the Show


dvanced

aintingPainting Scott

As I entered this painting my intent was to further

understand how paint can create space, and

furthermore an interesting perspective. After

developing my work I became aware that there

were numerous ways of interpreting an outcome.

My work predominantly deals with

the condition of being a female

in modern society. I will often use

myself to represent womanity as a

whole, in addition to exploring my

own intimate and personal thoughts

and relationships. Recently my work

has been forced on marriage and

traditions and rules assumed by this

union and particularly with weddings.

Painting a Self portrait in the

nontraditional way. Not my face or

body; but my figure print. The one

thing that defines us and is unique

to one person. The carving and

indentation is mine own and no one

else this is my identity and who I am.

Twoandahalftothreeandahalfyears (I don’t know) Victoria Valente

Self Identity - Finger Prints

Subjecting - Self Portrait

Genre Painting Ashley Carey


My paintings are about me. Every certain conscious decision or

otherwise. My paintings relate to my emotions through the stroke of my

brush to the fixture and creation of a world built out of the instances

most of us fear. Dead weight, Pressure, a sensation of relating to an

atmosphere that is both unsettling but also comforting.

Float On Jessica Tawchynski

Why I paint?

Fishes are a common theme in my work. In order to stay alive and

conscious, fishes must always keep moving; if not, they will float. Water

is the only substance in which a fish can survive. Submerged in water,

we have no senses. All we can do is feel. We become something that

cannot survive, like a “Fish out of water.” When we move in it, we feel the

force of the water pressure crawl and envelope our skin. We wear it, and

it is impossible not to. (Continues on page 24)

Illusion of Depth Jessica Tawchynski


Since I’ve known how to create,

I knew it would be my only hope

in communicating. When I began

painting, my goal has been to

create a strange and surreal works

that portray human sensitivity,

as well as to evoke a series of

emotional responses. I have

used symbols that have become

frequent in my life in my painting,

“Harvard Pilgrim” to show my

experience going to the hospital.

I used several elements in order

to create a psychological space;

a blank red wall, to create some

kind of landscape, a portrait

Harvard Pilgrim Alexandra Derderain

I’ve always said that I feel too much.

of an egg, two spoons and the

figure in the foreground housed

in a hospital gown. Each of these

creates an odd composition in

which I feel create some kind of

impression that I have been trying

to possess in my work. I aim to

create a documentation of these

experiences I have through my

painting as well as other media,

and hope to continue to make

progress in making a beautiful

experience out of a traumatic one.

Drips - Happy Accidents

Dental

I have had teeth problems

for quit some time and this

portrait is to show my for

ever paining problem with

my mouth

I really like drips, the fluidity and

happy accidents that happen with

this untamed and on controlled

form of painting.

Gritted Anna Struna

For the Pain Victoria Valente


There is nothing to say about something that cannot be said.

I have been trying to understand what art is.

It was only recently that I have made some

interesting discoveries. One very important idea

that keeps resurfacing in my work is that of the

artist and their ever present influence upon

their own work. Therefore, everything that one

creates is an extension of oneself. This object

is in its most basic essence a self portrait.

Not Idle Alanna Gilbert


Started by attaching geometric

shapes of Styrofoam insulation

to foam board. Also floral round

shapes. Then covering the area

with expandable white “Great

Stuff” (blue can) the filling

area with not so expandable

“Great Stuff” used for doors

Train of Thought Stephen Kinney

Understanding the Material

Soft Spread Stephen Kinney

and windows (blue can) then using a

Styrofoam cutter make branchless cuts

into flat and square funds of Styrofoam

pieces then take different shapes of green

tissue paper placing them on shapes with

a diluted “Elmers glue”


eniortudio

ALEXANDER GIAVIS On Senior Studio (Left: Night Life)

S16 The Dugan Experience Dugan Galley

I think everyone enters senior studio with certain assumptions

about what is expected. Unfortunately, at least for me, that

served as an impasse to creating anything of real value. A

series of mishaps and false starts eventually lead to the

discovery of my senior thesis.

In an attempt to better spend my time and tighten my studio

practices, a great deal of peripheral distractions had to be

eliminated. Among the deletions were visits from friends


Best Friends

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for company or to serve as

reference. I was rewarded with

wonderful results, but in doing

this I began a growing alienation

from peers and those close. It

is amazing how long it took

to acknowledge these selfish

tendencies, because if I’d be

spending time with them was

decided before I even began

asking. Choosing subjects of

friends who I have photographed

in the past is my way of keeping

them close.

The featured painting of a close

friend (pg. 17, Night Life) depicts

a solitary figure in a social

setting, distracted from the one

device that accompanies him.

After having some distance

from the work, I noticed that

it seemed to speak about the

conditions I inadvertently create

in the studio. Though the intent

was to continue finding new

circumstances that necessitate

purposeful and interesting

painting, the decisions in object

matter started to develop a

similar need for direction as well.

Stumbling upon this changed the

way I viewed my narratives, and

pointed squarely at what I am

trying to articulate. No more was

it enough to make self-contained

narratives that display my tastes

in palette and application, but

now question what it is that

I am trying to communicate?

Not as political of a statement

about technology as it probably

Cigarette Break

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suggests, but there is a desire

to make metaphors of self-

portraits that discuss this

conscious alienation.

The cell phone’s presence was

to no surprise merely because

of its frequent visibility during

my reference collecting. The

repetition of this imagery is

reciprocal to how these paintings

are manufactured; my cell

phone has become a trough for

the paintings, and similarly to

the depiction of the characters

in them, a tool of isolation for

me. Photoshop, along with

other technologies, have been

included in this process of

gathering information. This

alteration in practice allows

quicker and more intuitive

changes to take place early on.

Eventually, I wanted to be

emphatic about the birth of

these paintings. The aesthetics

of each is a direct result of the

process, because the visible

symptoms of collating avoid

being covered up. Individual

images create narratives by

imposing themselves onto a

canvas. My interests then

lie in the space they create,

which inherently convolutes

moments of illusion from the

two-dimensional references, and

reminders of the overall flatness

of the object. I figure when these

current paintings communicate a

sense of this tension and allude

to my personal discrepancies in

practice, I am done.

To my surprise, and much

excitement, I have found myself

somewhere completely new

and unfamiliar.

“There are applications that do

what I do. I would like to think

that I am better, but they are

pretty damn good.”


Sdvanced

tudio Just... Alanna Gilbert

I am the object. I displace

light and space. I am the

subject. Solidified in time. I

am the artist. Searching for

resolution within my work. I

am the person. A portrait of

one and all.

To the Left Channate Phauk

Working from my imagination was something I

was always comfortable doing. Creating figures

and creatures that I felt tied in deeply with what

I believe in dealing with society and myself

personally. “To the Left”, a nude self portrait that

forced me to do things personally and physically

on a different level from what I was comfortable

with, which intrigued me. By physically I mean

being more attentive to marks I have put

down. Pushing parts forward and back and the

relationship between the figure and the space

around it. Drawing a nude self portrait challenged

me personally to draw myself, which I wasn’t all

that Comfortable with doing. Exploring myself

on many different levels, with my body and my


Self Portrait with Wolves Elleen Ryan (on the Left)

So through painting and other works, I

strive to achieve a point of relativity from

an anxious feeling, to moving forward,

growth, process, movement, some sort of

development, and a “world that the viewer

cannot make a conscious decision to be a

part of when the painting is looked at. I want

the Paint to suck you in almost as literally as

water could .

Self Portrait Courtney Lermay

Absence of Light Jessica Tawchynski


The concept of recalling a memory and rendering it in a visual manner

has been a consistent theme for my drawings. “Landscape Construct”

and “untitled” each under went a process of toning the paper with

ink wash, then proceeded to form through layers built with variety of

materials such as ink, graphite, washes, conte, watercolor, ect. The

objects which one presents in each drawing are reminiscent of a specific

time and a place from my life. “Landscape Construct” is a collage of

objects from memories such as dish of coffee creams from a dinner,

chair from classroom, object on my night stand, etc.

Landscape Construction Racheal Zalinka


Duy Hoang Detached

By eliminating the acts of giving and receiving,

we have unveiled detachment.


2ainting“There is no great work of art, abstract or figurative (and

especially non-figurative) without an empirical core, a sense

that the mind is working on raw material that exists in the world

at large, in some degree beyond mere invention. Painting is,

one might say, exactly what mass visual media are not; a way

of specific engagement, not of general seduction. That is its

continuing relevance to us. ” - Robert Hughes

Wild Life Preserve Lauren Abbott

Untitled Figure Elleen Ryan

Still Life Dung Le

Untitled Landscape Shanna Cortez

Tower Jason Allen

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