Latest student artist work at the Worth Ryder Art Gallery!

Here are the news from the interns at the Worth Ryder Art Gallery! This week features student artists, professional artist lecturers and campus art organisations. Take a look!


 

Student artist interview: Hannah Reinhard (by Julia Borrebaeck)

Check out this interview with artist Hannah Reinhard. Her latest work is featured at the exhibition I Know What You Did Last Summer at the Worth Ryder gallery this month. Here, she speaks about what inspired her latest work and why she wanted to become an artist. View interview on the following link: https://www.youtube.com/watch

Hannah


Profiling Student Artist: Cade Cahalan (by Kirsten Chen)

Cade shoots film photography here at Cal.  His subject matter ranges from his friends to drama landscapes to experimental work. Take a look.

Photo by Cade Cahalan

Photo by Cade Cahalan

Check out more of his work at http://cade-cahalan.com/


Q&A with Student Artist Chrissy Curl from IKWYDLS (by Lina Nguyen)

If you could only give one advice about studying abroad, what would it be?
“Keep an open mind to what daily life will be like — you’ll definitely have lots of fun, but you might also experience unexpected downturns.”

Chrissy Curl is a senior double-majoring in Art Practice and Theater & Performance Studies. Her piece, Crispy Others, talks about dispelling the common notion that studying abroad is simply an “idyllic time full of adventure and exploration and short on studying and responsibility.” “Crispy Others” is currently being showcased alongside other student artist works in the I Know What You Did Last Summer exhibition in the Worth Ryder Art Gallery.

Chrissy says she would highly recommend studying abroad for those who have the opportunity to do so. For more information about studying abroad, check out the fair happening this Friday, September 25th, 2015!ChrissyCurl

Get more information on studying abroad at http://studyabroadfair.berkeley.edu/


UC Berkeley Art Community ‘Outlet’ Co-presidents: Allison Zhong & Sophie Li (by Sosun Park)

Outlet is a student art organization that seeks to provide a creative outlet and access to supplies for visual artists of all experience levels. They work to serve the UC Berkeley campus and surrounding community by providing open access to arts education. Check out one of
Outlet’s weekly studio meetings on Mondays at 7pm in 172 Wurster or Thursdays at 7pm in 89 Dwinelle! Email outlet.berkeley@gmail.com with inquiries.
 

More information and images at https://outletberkeley.wordpress.com


Artist Talk w/ Philip Ross (by Celia Chu)
Monday September 21, 2015 at 7:30 pm – 9 pm.

“Use what you have, to move yourself forward” – Philip Ross

This artist talk was not only enlightening from the art and scientific research that Philip Ross has created over a span of a decade, there was an emotional quality that put emphasis on his own feelings and approach toward his studies on mushroom/fungus/mycelium. He approached his love for art in biology with the projects within a time-basis as well as a lot of experimentation. His projects are wide variations on growth, and these projects gravitate from his fascination with a philosophical approach toward relations between humans and technology.

His quote really spoke to me as an artist and this quote not only pertains within the category of Art, but as a specific threshold that I can also relate to with my art works. The amount of determination it takes to create such masterpieces, helped him prosper as an artist.

He made a point in his Q&A, and from what I interpreted from him mentioning, “understanding the mono-biological approach, and not just [the] mechanical” is indeed an ‘organic’ approach toward learning through experimentation and not everything (as well as his projects) has to be completed or approached through a regulated system or by a set of rules/instruction.
I hope many others were thrilled to hear from Ross’ artist talk and to have gained something special from his kind words.

More information / video: https://www.youtube.com/watch?v=GRnJeNurdEY


Student artist interview with Jinoh Ryu (by Hyesun Kim)

1. How important is your choice of medium in conveying your thoughts and intentions for the piece? Does it have any relationship to the current digital age?
I could have taken a high-quality photo of myself applying peanut butter on my face. But I wanted to take advantage of the gloomy screen quality of the PhotoBooth program. What I ended up conveying is a lack of clarity, which raises anxiety in this era of meanings accessed immediately. Even to this day, I cannot pin down what I intended to explicate in the video. So the video has a masturbatory element; something perturbed me, but I was too tired to dig into what it was. I just had to get it out of my way.

2. What does peanut butter mean to you?
My scatological engagement with peanut butter is an act of resilience. In my video, the shitty peanut butter that I luxuriated in boasts 24% trans-fat. Essentially, the medical industry is stating, “Never put anything that is ‘trans’ in your body.” Yet as a transgender person, I welcome and embrace anything that is “trans.” And peanut butter mitigates the dull taste of other food such as celery, also known as the bane of my existence. But peanut butter never told me what it means to me. To peanut butter, I can say only that I am a better platform than those ugly bagels from the Golden Bear Café in capturing its titillating aesthetic.

3. You described your artwork to be therapeutic. How so? Why?
Although the gallery presents my video on mute, I have background music titled “Zero Gravity” by Korean rap star Zion.T. As I was listening to that lullaby-like music, I made an impromptu video which became my original submission. After clicking the “Finish Record” button, I had a gut sense that Deleuze and Guattari who coined the term ‘faciality’ communicated to me through orgasmic intensity. And what is more therapeutic than a scholarly orgasm? Right?


Student artist interview with Anthony Roberts (by Taylor R. McAllister)

Fallen Leaf No. 1, 2, and 3 from Series: Place. 2015 photographs on aluminum panels. Series of 3 at 20″ x 30″ each: 20″ x 94″ total

Anthony Roberts artist’s statement for his triptych in I Know What You Did Last Summer gallery show; I often find myself identifying with the feeling I get in a place rather than the blinking blue dot on my phone that says “you are here.”

Place is about approaching places in this world as unique individuals. Through the abstraction of the physical landscape, my goal is to reveal a ‘feeling of being’ in each of those places. While removing any obvious geographical associations, these photographs are ultimately landscapes and I make no attempt to hide this. Instead, I want the viewer to experience the feeling and the sense of place in these photographs without the need to identify their exact location on a map and ultimately their physicality in society.

Much of this project has been shot while travelling along the California coast, in the mountains and on the roads in between.

All of the photos in this series are created in-camera through a photographic technique I call ‘dragging the shutter’ and are not manipulated during post processing.

“The exploration of individuality in contemporary society is a driving force in my artwork. Presently, I’m working on three separate photo projects and one mixed media project addressing this theme from different perspectives.”   – Anthony Roberts

How would you introduce yourself as an individual and an artist?

“Introductions are hard, aren’t they? Especially when they are meant to really introduce. I think it’s challenging to distill oneself into a short and hopefully articulate description but I’ll do my best for you. I see myself as older than some and younger than others, but young at heart either way. I’m a bit of a wanderer, both physically and spiritually. I think I try to use that spirit in my artwork – I mean, I think my artwork has a bit of a wandering spirit in itself as well. I mostly focus on photography, lately, but I consider myself an artist in general.”

Could you tell me a short history of how you got here?

“A short history of nearly everything and mostly nothing” by A. Roberts. Born in Queens, New York in 1979 I just snuck in as a 70’s child. Total product of the 80’s, particular the movies. I still love 80’s movies and 80’s movie soundtracks. I could talk about that (and often do) for way longer than I should. Maybe one day I’ll make some artwork that directly pulls from that genre. I think that could be really cool. My grandmother still has an ever-yellowing paper drawing of an airplane that I allegedly made at the age of two, admittedly I do not remember drawing it. I actually included a wordier version of that grandma-drawing anecdote in my statement for my Berkeley application. I guess they liked it. I moved to California in 2001 and have considered the bay area home ever since then. I guess I’ve always been an “artist” but I never really accepted that as a possible “career” / “life” track until a couple of years ago while I was ski-bumming in Jackson Hole with my girlfriend. We had just started dating and decided to go on an adventure. After a year and a half of basically just playing in the mountains we were ready to come back to the bay area and I was ready to come back to school and finish my degree. I came back to school for architecture, then started to feel like an old man and after some great classes at the College of Marin with a couple of great art instructors, I switched into art. And here I am.

What is the driving force behind your work?

“I think the real driving force behind my work is that sense of wandering I mentioned earlier. I’m constantly searching. I’m also really interested in exploring the role of individuality in contemporary society, from various perspectives. I actually think these landscapes are part of that exploration of individuality. In the case of this series, I’m exploring the individuality of place and then how we experience that place as a society and also as individuals.”

“Fallen Leaf No. 1-3” are all photographs. What other media do you work in, if any?

“In the last couple of years I’ve completely fallen in love with photography, so it’s definitely my medium of choice. That being said, I also paint and draw. I’m currently exploring painting on large printed photographs. I’ve dabbled in some sculpture. Carved my first large stone last year. And I love working with wood. There’s something about the smell and the feel of a wood shop, or even the part of the apartment I’ve taken over as a makeshift wood shop. Oh yeah, and I like building snowmen, does that count?”

Tell us a bit about the physical process of creating this triptych.

“The process is really pretty straight forward. I always have a camera with me. When I first got my camera a few years I was so nervous to carry it around with me all the time, but now it’s a constant companion. The short version is really short. I find myself in a beautiful place, I take the photo and then later I process it into a jpeg and print it. I take pride in the fact that I generally don’t manipulate these images in Photoshop.”

In your artist’s statement you called the technique you used, “dragging the shutter” How did you develop this?

“This series of abstract landscapes are the result of traveling to beautiful places. I wanted to record the feeling of being in those places but I never wanted to be a landscape photographer or even shoot landscapes. About two years ago, I was in Yosemite and obviously I had to shoot that place. It’s just so beautiful. I was taking a time lapse of the moon rising over half dome and then I got the urge to grab the camera and sweep it across the landscape with a long exposure. The resulting image was really ethereal and kind of abstract and very pink. I thought, hmmm. This is kind of cool. Since then I’ve been working on this process of long exposures and camera movement to create these abstract landscapes. It’s still evolving but I like the directions it’s headed.”

What was your thought process when developing the work?

“There really wasn’t much more to it, at first, than just wanting to capture the feeling of a place, without capturing it’s geographically exactness. I think I mention the “feeling of being” of a place in my artist statement. That’s really it. I want to figure out ways to create images that evoke the feeling of a place without the need to attach oneself to its exact physical location on a map.”

As a series, how do you see Places developing?

“I think it’s one of those projects that will just continue and continue, until maybe I get bored with it one day. For now it’s a great project for me because it allows me to travel, really, it inspires and even forces me to travel, in order to create these images and that’s great. I would really like to travel more. It’s also great to experiment with the camera as a tool for creating artwork, not just “capturing” images.”

Where does “Fallen Leaf No. 1-3” lie in the scope of your Places series? (Beginning, middle, end?)

“I’d say I’m still in the beginning stages of the photo project and maybe in the middle stages of my life, so somewhere in that zone…”

For more information about his work visit http://www.arobertsphotography.com/