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OREGON STATE UNIVERSITY
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(b. 1998, Newport Beach, California; lives in Corvallis, Oregon)
Lennox Alliston is a painter graduating from Oregon State University in 2021 with a Bachelor of Fine Arts in studio art and is a two-year recipient of the Helen E. Plinkiewisch Scholarship.
Alliston has had work displayed in campus exhibits including Core Studio Juried Student Show, Montage Exhibition, Tension and FRAME, and is currently displaying work for her solo show titled "synthesis." She has also exhibited work in shows beyond campus including "Plan B" at Linn Benton Community College; "A Watched Pot Always Boils" at Umpqua Valley Arts; and "Eyes on Fire" at the Truckenbrod Gallery. Alliston will be returning to the Truckenbrod Gallery for a group show titled "Halfway to Everywhere" at the end of April, 2021.
Post-graduation, Alliston will be moving to Portland, Ore. to continue working on her practice as a painter and developing new bodies of work outside of academia before applying to graduate school for a Master of Fine Arts.
Artist Statement
My body of work, synthesis, centers my identities as a queer trans woman. Synthesis is made up of small facets represented by complementary color schemes that outline these experiences and emotions, emphasizing how personhood is multifaceted, with a particular focus through a queer and trans lens. My work functions as a visual timeline that thematically depicts nonlinearity of the human condition. The relationships of self, others, world, metaphysical and theoretical all play an integral role in how using a canvas as a vehicle aids in introspection to further understand myself, my identities and ways to navigate life.
i can be anything i want.
symmetrical, balanced, harmonic, yet obsessive, chaotic, turbulent.
complementary and grey, complicated but great.
visualize the story – a personal worldbuilding, a spiritual assemblage.
i don’t give a fuck what you think.
(b. Salem, Oregon 1998)
Sarah will be receiving her Bachelor of Fine Arts in the spring of 2021. Dumanovsky’s first exhibitions will also be in the spring of 2021 and will be including a solo and group exhibition that will be located at Fairbanks in Corvallis Oregon. Sarah Dumanovsky periodically moves her location between Corvallis and Salem.
(b. Portland, Oregon 1999)
Amelia Harp will be completing her Bachelor of Fine Arts in painting from Oregon State University in spring 2021. During her studies, she completed two internships with the Walt Disney Company, one of which gave her the opportunity to hand paint and personalize Christmas ornaments in the Disneyland theme park. Her love for Disney is the reason she is so passionate about learning and creating paintings about classic Grimm fairytales. Along with being a full time student, Amelia creates custom watercolor pet portraits that she sells through her Etsy shop and personal social media account. After graduation, she plans to continue creating commissioned work and hopes to get an internship in the art production industry.
Fairytales
A fairytale is defined as being a children's story about magical and imaginary beings and lands. Many of the fairytales that we are familiar with through the media have been fabricated to be magical, romantic and extremely happy. In my work I read classic Grimm fairytales and create paintings in response to them, as a way to show the dark and disturbing themes of these stories. These grim stories lend themselves well to watercolor as a primary medium because of the contrast of the transparent paint juxtaposing the dark subject matter. Each painting embodies a different fairytale including well known stories and some that are more obscure. Through the visual storytelling of these paintings, I am able to explore these dark themes and give a new understanding to how we interpret fairytales.
(b. 2000, Mankato, MN; lives in Corvallis, OR)
Ana Pearse is a senior undergraduate student at Oregon State University. She will be receiving her Bachelor of Fine Arts in photography and a minor in art history in spring, 2021.
Her bodies of work include #ustoo, A Woman’s Body and 219 Cotton Swabs. Selected pieces & series from #ustoo have been chosen for a number of group exhibitions in the past year including shows held at the Oregon State University Fairbanks Gallery, West Gallery and Woodshop Projects.
Pearse was selected to be a recipient of the URSA Grant at Oregon State University for her ongoing documentary project #ustoo. She has also been awarded the Dr. Helen E. Plinkiewisch Art Scholarship twice in the past two years for her work in the photography department at OSU.
Post-graduation, Pearse plans on pursuing a double master’s degree in photography and contemporary art history.
#ustoo
We live in a world today where it doesn’t come as a surprise to hear about a girl being roofied at a college party. It isn’t shocking to find out about how your friend was sexually harassed by an older man at work. The question no longer is if you’ve been assaulted but rather, when. We are taught how to avoid being sexually harassed, assaulted, and abused, with instructions such as wear more clothing, don’t go out alone, and carry a weapon.
Why is it we have to take part in these daily actions? Why does it fall on the shoulders of women to avoid being assaulted? Focusing on personal stories and experiences told by women, #ustoo serves to document the normalization and prevalence of the sexual harassment, assault, and abuse of women in today’s society, while also proposing the question: why are our lives being shaped by perpetrators and through a society who doesn’t hold these aggressors accountable?
219 Cotton Swabs
In the beginning of 2020, a survey was done which found that 219 untested rape kits had been destroyed by police departments across the state of Minnesota. This project consists of 219 clay cotton swabs, each hand-molded to represent the test swabs used in sexual assault forensic exams. 219 Cotton Swabs stands with these survivors who weren’t given the respect and seriousness that they deserved, while also addressing dehumanizing ways in which our justice system handles cases of sexual assault.
(b. Lawrence, Kansas 1997
Lacey Prososki will complete her B.F.A. in painting and minor in psychology at OSU this summer. Her bodies of work include "Clouded Vision," "Chroma Contagion" and "Talking to the Mirror." Her paintings and fused glass sculptures have been exhibited in gallery shows and exhibitions across the state of Oregon, including State of the Coast Conference in Lincoln City in 2019 and "Eyes on Fire" at Truckenbrod Gallery in 2020. She has curated exhibitions, including the Linn-Benton Communtiy College exhibition "Plan B."
She works as a painting and fused glass instructor at the Oregon State University Craft Center, teaches virtual painting classes for the nonprofit Painting with Parkinson’s and co-founded Art4Bail, an ongoing fundraiser for The Bail Project. After graduation, Lacey plans on furthering her studies in art therapy.
Pseudo-Solitude - B.F.A. thesis by Lacey Prososki
“The non-relational features triggered by the biological reaction to social isolation, when they predominate, constitute what we call pseudo-solitude.” Averill and Sundararajan’s (2014) theory of authentic solitude is associated with perceived closeness with others as well as with oneself. (Experiences of Solitude: Issues of Assessment, Theory, and Culture; Dr. James Averill & Dr. Louise Sundararajan). Although throughout quarantine we have been largely in isolation, external stimuli is still abundant. I experience solitude vicariously through my art in an attempt to connect with myself and others while still largely feeling a disconnect, a new feeling of emptiness."
Clouded Vision
Hindsight is not always 20/20. "Clouded Vision" is a series of friends painted from memory. In a time where we cannot see all friends and loved ones in person, alone together perpetually, I try my hardest to remember their features and what makes them them. It’s not always the physical characteristics that make a lasting impression, but their warmth, composure, and temperaments that can be felt from a distance and remembered in color.
Chroma Contagion
Emotions are contagious, we catch moods like germs. What do we see in each other in person that our virtual appearances mask? The paint translates the energy I get from being around others. A silver lining of quarantine is that with nothing concrete to look forward to, we have to make the most of each present moment. The people in our life are temporary and so are we. As an introverted person, being around others can be overwhelming, higher temperatures, higher activity. There’s less room to breathe and more emotions to feel. When particularly quiet people are pushed to their breaking point, we indulge in empty dreams. You’re there, but you’re not really there. Prisoner to our own delusions, we practice the freedom to avoid in moments of make-believe.
(b. Lawrence, Kansas 1997)
Kyle will graduate from Oregon State University this Spring with a Bachelor of Fine Arts degree in photography. He plans on pursuing a career in fashion photography, utilizing the skills gained from his collaboration on projects with DAMchic, the student run fashion magazine on campus. His interest in fashion started at the end of high school and continues to be showcased throughout his work, utilizing it to express a diverse range of emotions and create different characters that mimic unique parts of his personality. He looks forward to completing the transition from school to a career and welcomes the new creative opportunities this brings.
A Journey of Self-Expression Through Fashion
Our society tends to categorize things by "men's" and "women's" and fashion is no exception. From a young age, men are taught to shop in the men's section, and while this is still imposed upon women, men are often times more afraid to step out of this box put on them by societal standards because they are nervous of being labeled as feminine or gay. Further, there’s a small percentage of stores that have a gender-neutral section which has struck me as odd since I got into fashion 4 years ago.
Because of this, I chose to focus on mixing men's and women's fashion from a male perspective, in turn, documenting my own style as I experiment with outfits that express different aspects of my personality. I'm inspired daily by celebrities that showcase how confidence in one's style transcends gender. People like Harry Styles, A$AP Rocky, Steve Lacey, and Prince (to name a few) display how the idea of categorizing fashion by gender is one that is outdated and in need of revision. This project gives examples of how I personally mix men's and women's clothing in the hopes of inspiring others to expand their own wardrobe and re-evaluate whether they are wearing what they want to wear, or what society tells them is acceptable to wear.
All photos in this series are styled, modeled, and photographed by me as this project is ultimately about self-expression in a world where it will always be easier to blend in. The epitome of fashion is to express oneself through clothing that exemplifies the individuality of that person, and to say that women's clothing can't do this for a man is a statement that advocates against both progressiveness and uniqueness. I challenge viewers of this series to get out of their fashion comfort zone, wear whatever the fuck you want, and be confident in what you wear. Confidence transcends gender.
(b. Seoul, South Korea 1998; lives in Corvallis, Oregon)
Julianna Souther is a senior undergraduate student at Oregon State University. She will complete her Bachelor of Fine Arts, with a major in Photography and a minor in Printmaking, Fall 2021.
Since her sophomore year at OSU, Souther’s practice has focused heavily on documenting herself and her community, as she comes to terms with her dual identity of International Adoptee and Asian American while living in the United States. Accepting and discovering herself, through this autobiographical ‘making’, has been a huge part of her creative process. Souther has also been awarded the Kelsi Rae Force Memorial scholarship at Oregon State for two consecutive years.
Outside of the classroom setting, Souther has been working with Cornerstone Associates’ Living Studios, beginning as a volunteer in December 2020, then having been hired in January 2021. Living Studios is a nonprofit art program, where neurodiverse artists are able to actively participate daily in art workshops hosted by instructors like Souther and manager Bruce Burris. Recently, in collaboration with one of Living Studios’ affiliated artists, Souther had a show at the Corvallis Book Bin Window Gallery, entitled “Under Observation”.
Asian Misidentification
2021
The recent onslaught of Anti-Asian hate crimes (3,800 this past year, according to NBC News) has disheartened many – within the Asian community, as well as in the general population. It is the cultural circumstances of these crimes – current as well as historical – which have inspired my current project, Asian Misidentification. This project aims to debunk how different Asian ethnicities are perceived and assigned to a particular discriminatory bubble. Although each individual’s story may differ in specifics, all are connected by a common thread: that most people still appear to believe the statement “all Asians look the same."
As a person of Asian descent who has often experienced misidentification, I felt strongly that the miscommunication which often arises from stereotyping is an important topic to explore. A project speaking to this dynamic might uncover the feelings of loss and hurt, the trauma, and the invisible scars, which can thereby be unwittingly inflicted. "Asian Misidentification" is a conversation which lays bare stereotyping as the dehumanizing act it is. This set of images are a ‘call to action’, inserting viewers into the realities of featured individuals, and allowing them to see on a deeper level, how harmful stereotypical assumptions are – to any minority group. "Asian Misidentification" is a set of eight diptychs, each one pairing a portrait of an individual with their written personal experience of being misrepresented. Such fundamental misunderstandings arise from damaging myths and beliefs which continue today. I hope my project will provide a better perspective from which to view recent attacks on Asians, and thereby inspire anti-racism.
Celebrating AAPI Artists
2020
My accordion-style book "Celebrating AAPI Artists" celebrates Asian American and Pacific Islander (AAPI) Heritage Month, and artists whose art practices and artworks I personally find amazing. The first page is formatted like an index, or a table of contents section. The pages that follow reflect these artists’ work – pieces which, because they are famous, or because I had found them interesting, I decided to recreate in a double-sided, ‘museum’ booklet. This was one of the first times when I was inspired to actively persuade myself to take up painting.
(b. Mountain View, California 1999; lives in Corvallis, Oregon
Serena Swanson is a senior undergraduate of Oregon State University, and will be earning a Bachelor of Fine Arts in studio art, with a focus on printmaking and painting. As a gallery committee member of the Umpqua Valley Arts Association, Swanson has had a hand in helping organize shows such as the "Faces of the Umpqua Valley" in early 2020, co-curating shows such as "Welcoming," and worked as a juror for the 2021 show "A Watched Pot Always Boils." Her work has also been displayed at several UVA membership shows since 2018, featuring pieces from her "Photo Album" series and her earlier work "La Gringa." During her time as a gallery assistant at Umpqua Community College, Swanson has installed numerous shows, as well as "What Needs to be Said" (2019) for the Hallie Ford Fellows Exhibit.
"Mush" is an amalgamation of pieces from the past year, that demonstrates how the body reflects the mind. Most of the work are self portraits that mirror reality ever so slightly, whilst also detaching itself from it. I use vibrant pastel colors, disembodied floating heads, abstracted shapes and empty eyes to present both the pleasantness of dissociative realities and the alluring trap that is escapism. I work intuitively and quickly, often using texture and gestural marks, to hone in on the immediate feelings of these experiences. The detached portraits also further document my struggle to completely understand my identity within intersectionality as I, a mixed woman, grapple with being “parts'' of something, always separate from the “wholeness” that others experience.
(b. 1998, Santa Maria, California; lives in Rochester, Washington)
Alexandra Walchli is a senior undergraduate student at Oregon State University. She will be receiving a Bachelor of Fine Arts in studio art, a Bachelor of Arts in art history and a minor in writing in spring 2021.
Interested in reinterpreting dreams and the landscape of the mind, she plans on taking time after graduation to continue painting while living in Washington. Her bodies of work include "Reflections," a series of small watercolor studies reflecting on the internal, and "Catharsis." Works from both series have been exhibited by the Linn-Benton Community of College’s "Moving Forward" and "Plan B" exhibitions and several Montage Juried Shows held at the Oregon State University Fairbanks Gallery. Walchli has been awarded the Dr. Helen E. Plinkiewisch Art Scholarship and the Stone-Sponenburgh Art Scholarship during her time at Oregon State University for her work in painting and art history.
Catharsis
Made from the good stuff. Despite the rumors, the benefits come naturally. Extract the highest concentration of blood from head to toe, that’s you for years. In these paintings it’s me for moments, an apologetic and unreliable narrator; I’m old if I count every version of myself.
Sketches are harder, firmer, where paintings are softer, harder to grasp. Watercolor interprets through transparency and washes, allowing images to develop and materialize with faded edges and watered-down pigment. Transparency contributes to the exaggerated story, every painting a hyperbole, an extreme reaction or dramatization, to dreams and thoughts.
It makes them more manageable, more subtle and quiet. It’s Catharsis. I make art because it makes me feel better. It leeches something out of me. Something poisonous but something I try to hold onto. Once something is on paper it’s easier to manage; it’s a source of comfort, a quieter hiding place. Painting becomes relief. Painting is relief.
I become water and drips, faded sections and pigments on the page. It’s a version of me who was feeling while painting, but I’m not there anymore. It’s Catharsis.
I’ll keep them softer, so it makes me more manageable. It gives me room to grow things. I love to eat frosting on its own so why bother with being tethered?