Students

Daniel Herr
Major: Art
Senior
Graduating Spring 2004

These short films are result of my current investigation of the moving image, and represent the my interest in exploring the digital medium. The first two are studies of how images can create a whole, unified composition--how rhythmn, for example, can be communicated through visual material. I see the sound project as coming from the same angle--namely, how a variety of sounds can make a piece work, regardless of their seemingly opposing nature or unrelated qualities. The final piece is a study in montage editing and in music relating to storyline. It is not so much a symbolic piece as a playful one, one in which I attempted to create a short film using all of the styles of production I have experimented thus far.

 

DanAnh ( Cooky ) Nguyen
4th year
Major: Art Studio

The artists' focus plays with the variety of color filters, time, and the use of emotion and mood to enhance the moving image. The larger component in her films tend to be the impact of contrast overlaying spans of calm. While her beginning film focuses entirely on the use of intense graphics to apply emotion, the other films take a less visual path that suggest alternate meanings. If anything, the intention of each film is to find a personal story.

 

Tamarah Cashier
Major: Art Studio
Status: Senior

I like simplicity, and the use of elements such as fire, water, light, darkness, and color. I like the element of fantasy in any work, whether it be a book or a movie or a video game. My greatest interest is animation, 2d and 3d. Animation grants us the ability to break boundaries and express our imaginations more than ever before, but that doesn't mean it lacks emotion or meaning any more than a book or live-action movie. Due to my interests, I've found that I like to include mystery and a sense of blurring reality in my own works.

 

John-Michael De La Cerda
Art Studio major
Art History minor
5th year

 

Jesse Davis
Major: Music
Year: Sophmore
Graduating: 2006

I have found a uniquness to video art, as it tends to be more than moving images or a complex plotline. It is about the motion, space, light, dark, and pure logical meaning you convey to the audience. I've learned that video is something where you use other artforms, such as painting and sculpture, to your advantage by incorporating their still beauty and adding a new dimension of motion. I aspire to become a cg animator. I came into this class thinking it would teach me about video techniques as well as what to do, and not to do in film, which in turn would help me more with my animations. But the course went far beyond those boundries as it discussed meaning and purpose of film. I enjoy working with time, and have found it to be a very challenging problem to overcome.

 

Karen Mast
Major: Art History
Year Graduate: 2005
Junior Standing

The written word is a profound influence on how we learn to communicate beyond the basic principles of sight. Literature opens worlds we may not physically venture but we learn in our senses the physical presence that place is about. Cinema and video creates a visual representation and is a multidimensional representation of life.

 

Lindsay Webb
Junior Standing
Year Graduate: 2005
Major: Double in Art Studio and Design

This is the first time I have ever worked with cinematography. Before this class I had only seen commercial films, nothing foreign nor independent. This class has left me with an interest in foreign films and has broadened my scope on how much is out there and available to us. I have become open minded to all new things and experiences and hope that this will help me with my work in the future.

 

Sean Richards
Senior Standing
Major: Art
Year Graduate: 2003

The appeal of cinema to me lies in its ability to suggest the kind of knowledge that might be said to reside in the soul-hinted at by sound and visual associations, as if in a dream-and whether I follow, observe, deconstruct or altogether dispense with narrative, it is this affection for the ineffable that informs my work more consistently than anything else.

The non-structural content of my work is generally a foray into artistic and societal structures that I find confining or confusing-traditional narrative structure, television "realities," notions of what is inherently feminine, etc. Storylines and ideas are opened to questions rather than presented as complete. My intent is to work towards an epiphany of opening rather than one of certitude.

Beyond this, however, my work is rooted in structural concerns, and as much as I explore myth-reality discrepancies, I am also exploring tensions between sound, image and text as elements which struggle to describe a certain meaning but which have their own agendas. The marrying of these elements in unfamiliar and unlikely juxtapositions serves to destabilize any viewer attempt to completely synthesize one meaning from the experience-but encourages them, I hope, to aesthetically appreciate and savor the experience of incompleteness and uncertainty.

 

Sean Patrick O'Toole
M ajor: English (creative writing emphasis)
M inor: Film Studies
Year: Fourth Year

1) Lightning, perhaps the fastest movement there is, strikes continually in O'Toole's magnum opus on movement

2) Flying in a dream, or doing so in reality? Why not both?


Elizabeth Upton
4th Year Senior/ Film Studies Major

http://elizabethupton.com/


Stylistically I like to question existence. I question the convention of time and space. Aesthetically, I love the image and way editing allows you to manipulate conceptions of reality. I am interested in the sociological aspect of reality, social constructions and sanctions placed upon the vast majority. I am interested in anthropological ethnographies and the controversy surrounding the reproduced image. Philosophically I am always looking deeper, studying more, and soaking the world up like a sponge.
--Elizabeth Upton--

 

Lauren Carbone
Senior Art Studio Major
Art History Minor

I try to approach film with the same kind of playfulness I approach my sculpture and paintings with. I enjoy reconfiguring the 'raw material', the initial footage I capture on video or snap on camera, in such a way that presents form, space and time as predictable uncertainties. The subjects in my films are revealed in an unconventional light, outside of their entirety, as fractions of a unit. This occurs through zooming, cropping and editing. I try to close down the implied physical distance between subject and viewer by zooming in and cropping, placing the viewer at the alleged "heart of the matter". There is a clear boundary where the image is cut off, never revealing the complete space or form. It is this boundary or frame that attempts to remind the viewer of how and where the image functions. It helps depict the space and form as overtly functioning within a container and emphasizes the quality of a two-dimensional field. The duration of my films is that of a short poem. For me, these moving and still images are fantastical, highly contrived and cosmetic like fictional writing.