Wise Studio Download
Jennifer Leos
W.I.S.E. is our Walk-In Studio Experience offered to all UCM students. W.I.S.E. coaches are available to help students as they build foundations in their career and life journey. Come visit our studio, Where Curiosity Inspires Purpose!
Exactly, I take photos of friends and usually let those source images direct the composition. I allow the images to surprise me. Lately, I find myself going back through old source material, rediscovering moments that I had previously overlooked. For years, I was turning to formally stagnant, purposefully artificial poses, but now I'm going back through those same images and finding new interest in awkward moments, uncomfortable smiles, and natural interactions.
That occurs naturally for me and without too much forethought. The use of easily available digital tools has become second nature in both image creation and everyday life. I don't think there's anything groundbreaking about my use of these tools, or the translation of images from digital into a traditional visual format. These actions feel fluid to me.
I do think that photography and painting are at direct odds in what they aim to capture; photography can represent fleeting, instantaneous moments successfully, but does so at such an accessible scale that we don't necessarily think about the product in the same highly valorized way. Painting inherently takes a different stance in temporal terms. It represents a moment that is likely aware of itself as lasting, or intending to last, and is, as such, divorced from the real fleeting nature of time. If painting is untainted by time, then painting must be quite self-important; it exalts an image or subject in a way that implies commemoration or value. In that sense, the same composition, when represented using photography, may be indistinguishable from an advertisement, especially online, where the line between consumer culture and personal expression are so blurred, they are essentially null. The same image, when represented by paint, underscores the banality of this collapse further, a self-important portrayal of a consumer moment as a highly valorized/personalized discrete object.
On a more personal scale, I think the perceived aphoristic ease of my own work detracts from encouraging a more nuanced reading, causing it to fall short of what I feel it may otherwise evoke. The representational and almost immediately comprehensive nature of portraiture does not require the same amount of curiosity, contemplation or confusion that say, sculpture or video or installation work might prompt. And maybe that takes away from the reading of my work as a whole entity. But in general, I do appreciate work that leads in with a perspicuous or discernible subject or idea as a bridge, leading a viewer to a destination only to find surprise, ambiguity, failure, or plurality.
What is your earliest memory of music?
My earliest memory of music is running around in my dad's recording studio. His studio, which was called The Shed, was a floor above my family's apartment on 3rd avenue in NYC. I would crawl around and take naps under his mixing board while he was working on songs. I loved to play with the drawbars on the organ in the live room. I remember being so excited by all of the crazy different sounds that the organ made.
When and where are you happiest?
One of the best feelings for me is finishing a new song, recording a demo on my cassette machine, and then listening to it over my stereo in my room. I also am very happy while in Princeton, NJ with my boyfriend. He has a really nice studio of his own and we make songs together.
I have a situation where I have the budget data in a macro form. I need to explode this data into daywise so that I can make a comparison between Actuals Vs Budget in one of my reports. How can I achieve this in my activity.
Green square (added by the Project) shows the original location of the house, which was at the rear of the lot of 1335 York Avenue on the Upper East Side. Brown entered through the front, two-story brick house to get to her studio. Plate 111, G.W. Bromley & Co., 1955-1956. Source: Lionel Pincus and Princess Firyal Map Division, The New York Public Library.
It was a little house in the middle of a big city. And nobody knew it was there. It had been there for years and years, for over a hundred years, forgotten. And there it stood in a hidden garden in the middle of a big block of skyscrapers.
Brown, who today might identify as bisexual, had relationships with men and was engaged to James Stillman Rockefeller, Jr. before she died. Her ashes were scattered at The Only House, her Maine residence. On March 5, 1967, facing demolition, the Cobble Court house was moved to its present-day lot at 121 Charles Street in Greenwich Village, and, in 2000, was expanded in size.
Zieta Studio is a design powerhouse known for its innovative and distinctive approach to contemporary design.Founded by Oskar Zięta, the studio has gained international acclaim for its pioneering work in the field of FIDU technology, a revolutionary method of shaping metal.
With a focus on combining cutting-edge technology and craftsmanship, Zieta Studio creates functional and visually striking pieces that redefine the boundaries of design.They combine art with bionics, technology and innovation.
Create forms and shapes, seeking untraveled directions and natural inspirations.
Their philosophy is reflected in metal surfaces that are never exactly the same. Each creation reflects a perfect harmony between form and function, showcasing a commitment to pushing the limits of what is possible in the world of modern design.
Zieta Studio stands as a testament to creativity, pushing the boundaries of traditional design to deliver products that are not only aesthetically captivating but also pushing the boundaries of material innovation.
A couple years back, we dove into the portfolio of graphic designer David Wise, the then creator of somewhat chaotic compositions, filled with texture, typography and reconstructed imagery. David has since taken on a new position at the Aspen Art Museum and launched his own creative studio called Forthcoming.
After many years as a painter and a graphic designer, I found Kiln Formed Glass Art to be a refreshing and exciting form of artistic expression. I am constantly surprised and captivated by its delicate brilliance and beautiful colors.
Applicant is to create a short outline of their preferred method of engaging the community in learning about the park and the fire house during the development of the public art concept design and during the fabrication / installation process.
Michael F. Rohde is a studio artist. He knows many of the founding members of this organization, and participated in has several exhibitions on the original campus, before the organization moved to Old Town Camarillo; he has also exhibited in the new gallery and maintains a studio in C-4. With wide interest in art, his own practice is handwoven tapestries for the wall, usually with colorful abstract subjects. In addition to SCIART he is currently on the Boards of Focus on the Masters in Ventura, the UCLA Fowler Museum Textile Council and was past chair. He served as President of the international American Tapestry Alliance for eight years.
Formerly he was a Research Director at Amgen, over two departments of thirty scientists. His art training was at the Art School of the Museum of Fine Arts Houston. Over the years, he has organized exhibitions, served as juror for some of these, taught workshops, and has given lectures, including being a guest lecturer at UCLA. His own art work is in many museum collections including the Museum of Ventura County, the Mingei Museum in San Diego, The Textile Museum in Washington, DC and the Art Institute of Chicago.
As Planning President and along with members of the local arts community established Studio Channel Islands on the campus of CSUCI; A studio designed to advance the status and work of the local arts community by providing studio space and galleries. The studio was also intended to provide opportunity for students of the new University to witness and hopefully participate in the Fine and Applied Arts at a professional level while presenting an opportunity for the community to participate in the life and culture of the University.
Since its founding the studio has moved its facilities into a more central location in Camarillo. Over the years while building on its strengths as a location for local artists, the studio has expanded its influence into arts education for both adults and children and has become respected for its specialized programs for special needs individuals.
Service on other boards, memberships and Task forces include, the Museum of Ventura County, Silicon Valley Joint Venture, The Tech Museum of Innovation (San Jose), The Shelter Foundation (San Jose), San Jose Symphony Advisory Committee.
Pat Richards-Dodds began her art studies at Santa Monica High School, graduating in 1955. At age 16 she was awarded a scholarship for life drawing to Chouinard Art School. Her studies continued at the University of Washington, Ventura College, and private instructors.
Richards-Dodds professional art career began in 1978 with several one person exhibits, as well as the Theme Award for the Ventura County Fair. In 1985 she became a member of the invitational professional arts organization, Studio 83. Her work has been exhibited at Studio Channel Islands Art Center, LA Art Association, the Hillcrest Center for the Arts, Art City, Community Memorial Hospital, the Museum of Ventura County, Buenaventura Art Association, The Crowne Plaza Hotel, as well as many other galleries and exhibits.
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