ABOUT
GRAPHIC DESIGN
ALICJA WISNIOWKA
ANDREW KIM
ANGELA SUN
ANGIE WIJAYA
CARLYN SOARES
CHARLOTTE KERSHAW
CIARAN BRANDIN
CONGCONG WANG
ERIC RANDALL MARKUS
FIONA LIN
GABRIELA TIRADO
HEEYEON KIM
JIAYI MA
KABITA DAS
KAYLAH HAYE
MAUREEN BURNS
YIAN ZHAO
OLIVIA WILLIAMS
SARAH CUMMINGS
SARAH PERKINS
SHARON ZHONG
SKYLER TSE
VALENTINA WICKI
WENJING LIU
PAINTING
BRIDGETTE REILLY
ELANNA HONAN
ELLEN KANELLIAS
GREY LENNON
HANMO ZHOU
KIMBERLEY ZAK
OLIVIA JAMES
TIMOTHY JAMES BERGERON
XIAN MARIE AZU-BOLES
PRINTMAKING
LEO FEININGER
MICHAEL LAUNGJESSADAKUN
SCULPTURE
BARBARA KANG
DEVIN WILSON
NINA MILLER
SOFIJA CHRONEOS
SCULPTURE
BARBARA KANG
DEVIN WILSON
NINA MILLER
SOFIJA CHRONEOS
OLIVIA JAMES
@oliviajames_art
For this series of paintings, I focused on female vulnerability through the gaze: the gaze of the figure looking at herself in the mirror—the female gaze on her own body, and the gaze of the viewer, looking at the figure. I wanted the paintings to have a sense of immediacy, so I put the frame on the edge of the canvas and made the figures almost life-size. In addition, I tried to make the figures as realistic as possible, thinly layering the paint to produce life-like forms. In these paintings, there is as much emphasis on what the viewer does not see as on what they do. The space around the figures is completely white, taking away the context of the room that they are in. In that way, I wanted the viewer to question what they are looking at, while placing all of their attention on the figure in front of them. The figures are not imbued with any explicit meaning, rather they allow the viewer to project meaning because of their accessibility. They stand facing the viewer in a position of open vulnerability, inviting them in, or rather, unable to keep them out.
Body
Brush $159, 2019, oil on canvas, 12 x 12’’
@oliviajames_art
For this series of paintings, I focused on female vulnerability through the gaze: the gaze of the figure looking at herself in the mirror—the female gaze on her own body, and the gaze of the viewer, looking at the figure. I wanted the paintings to have a sense of immediacy, so I put the frame on the edge of the canvas and made the figures almost life-size. In addition, I tried to make the figures as realistic as possible, thinly layering the paint to produce life-like forms. In these paintings, there is as much emphasis on what the viewer does not see as on what they do. The space around the figures is completely white, taking away the context of the room that they are in. In that way, I wanted the viewer to question what they are looking at, while placing all of their attention on the figure in front of them. The figures are not imbued with any explicit meaning, rather they allow the viewer to project meaning because of their accessibility. They stand facing the viewer in a position of open vulnerability, inviting them in, or rather, unable to keep them out.