2016-17 AP Studio Art Exhibit

Nicole Annunziata

Plainedge HS
Massapequa, NY

Charcoal

 

"Each piece in my concentration uses a different visual metaphor to express an aspect of mental illness. This specific piece addresses how people who suffer from depression often lose their passion and liveliness, leading them to feel that they have faded to merely a remnant or ghost of their true self. I tried to convey this concept by blurring the image to give it a smoky, ghostly effect; furthermore, the texture beneath the figure is meant to express decay and deterioration. Most of my artwork, including my AP pieces, is initially based on observation; then, I use different elements such as media, texture, visual distortion, and metaphor to give the image meaning. With each piece, I had to decide which visual components would most effectively convey my ideas; it was through this process that the AP portfolio helped me grow as an artist, as I developed new techniques for expressing concepts in a more sophisticated way."

 

No teacher statement available.

 

Shannon Byrd

Christ Presbyterian Academy
Franklin, TN

Watercolor, acrylic, gesso, coffee, colored pencil, various paper mediums and carving mediums on wood

 

No student or teacher statement available.

 

Hannah Cao

C Milton Wright HS
Bel Air, MD

Intaglio

 

"My art is an exploration between what is real and surreal, and in 'Me as a Goddess', I myself enter the mythological world of gods and goddesses. The assignment was to depict oneself as a fabled supreme being. Most students chose from among the Grecian Gods of Olympus, but I was personally deterred by the extensive amount of work depicting the Grecian Gods, by thousands of different artists. Instead I found myself drawn to the understated beauty of Japanese art, with its simple lines, rich colors, and flowing, natural shapes. In my research I was inspired by the geisha, a secretive group of which I had completely false conceptions about (not prostitutes, but entertainers) and used their lovely decorations in my portrait. While there is no goddess for the geisha, they have a long and rich history dating back centuries in Japanese culture—so I took the liberty to imagine what the geisha goddess would look like, and did my best to bring it to life using my own face. Geisha, I discovered, are incredible and fascinating women, but they do not lead easy lives. Their purpose is to entertain paying customers as talented things to look at and enjoy, which is why instead of looking directly into the eyes of the viewer, the goddess stares wistfully into the distance. Their beauty regimens are extremely extensive, and once their beauty is gone, they must find another profession. In my work I show the steady progression of what the geisha goddess might have struggled with. She begins fresh, with clean lines and sharp details. Slowly that image is tarnished, until she resorts to face paints and gaudy colors to remain beautiful—however, the makeup somehow makes her more garish than before. Once again, the life of a geisha is full of glamour and beauty, but it is certainly not easy. The struggle to remain relevant and beautiful is a constant battle, not only for geisha but for many women today."

 

Hannah Cao's teacher Carol Dunaway

"This assignment was the last in our printmaking unit for my Advanced Placement class. Students were given a list of deities to research and selected the one(s) that best resonated with them. In class we researched two contemporary artists—Sharon George and Yuji Hiratsuka—and compared and contrasted the two different artistic interpretations of Gods and Goddesses."

 

"After they created their personal image of a God or Goddess we explored the intaglio process, which included relevant vocabulary and preparing and etching the plates in an acid bath. I love to teach the intaglio printing, because no matter how many ways I try to explain this technique, the students do not fully grasp the concept until they see their line drawing etched into the metal plate. Although the process is typically messy, I feel as though the students truly enjoy the experience and detail in this technique. Students printed an edition, then selected the top three prints and created a triptych. One of the prints had to be enhanced with colored pencil. Hannah Cao, demonstrated this technique masterfully in her AP portfolio in her interpretation of a Goddess. Of all her submissions, this piece was one of my favorites due to her exceptional use of line, composition and color. As an AP art educator, working with students and young artists like Hannah is not only challenging, but inspiring. It is incredibly rewarding helping these students find their artistic voice."

 

Claire Cook

Alameda HS
Alameda, CA

Ink and watercolor

 

"As an artist, I strive to tell a story. I was raised on the films of Hayao Miyazaki, and wanted to create my own distinct fantasies. This picture, along with my concentration, represents a story; incorporating familiar elements with a twist. Although initially inspired by Hans Christian Anderson's fairy tale, The Steadfast Tin Soldier, I wanted my illustration to revive it in a unique way. Inspiration struck during a visit to the SF Asian Art Museum, where I fell in love with the Indonesian puppets. I decided to incorporate the intricate aesthetics of Indonesian art, with the original toys becoming Wayang inspired puppets. However, I had difficulty drawing the male puppets, and ultimately chose to make the two lovers female in an additional twist on the tale. The next challenge was portraying the entire story in a single image. I ultimately settled on a movie poster format, to best summarize the looming presence of the villain above the star-crossed lovers, entwined long after their theater has been forgotten."

 

Claire Cook's teacher Charlie Milgrim

"When Claire first came to me three years ago as a sophomore, most of her work in her sketchbook was already extraordinary and she was serious about art making. From her studies and deep interest in paleontology she was drawing interpretations of pre-historic creatures, imbuing them with quirky personas, but not having them interact much. Through examples of other artists compositions and discussions, I encouraged her to develop a dialogue among her creatures and place them in the context of environments. She struggled with completing works at first, but soon started taking on compositions with deeper narratives. I feel the focused AP class environment, and extra time she put in after school for two years, provided an excellent platform for Claire's work to really excel."

 

Josh Desieno

Mamaroneck HS
Larchmont, NY

Digital photograph

 

No student or teacher statement available.

 

Sophia Escobar

Colegio Nueva Granada
Bogota, Colombia

Mixed media

 

"I really thought it wouldn't be possible making 24 complete art works in just one year. Usually students must have the PreAp course as well in order to accomplish the whole College Board requirements. Fortunately I was able to finish the 24 works, off course it couldn't have been possible without the help of my teacher.

 

I can't say that I am an artist nor near it. I am not the kind of girl that can draw perfectly. But having this class made me expand some features of myself I had never seen before. I was able to use my creative part and build up a portfolio full of imagination and techniques. On just a short amount of time I was able to learn the principles of Photoshop and use them to create mixed media among my art works. I have always been a fan of photography and modern art, but never thought I could be the one creating these kinds of art. I was able to mix my vacation photographs with some sketches and photoshop techniques to create awesome works.

 

Choosing what my concentration would be about took me some amount of time of thinking. It had to be something I would be identified and at the same time avoid getting bored since it had to be of 12 works of the same topic. I finally decided to concentrate on three groups of different ages (toddlers, teens, and adults) and through different techniques portray their nightmares and how identify how each group have similar terrors.

 

Although it was really tough working on short amounts of time, I was able to enjoy every minute of it. I profoundly thank Stalin for giving me his full support and help throughout all of this experience and teaching me how to develop a simple photo to a mind blowing art work."

 

Sofia Escobar's teacher Stalin Lopez

"My AP students are taught to observe the world through different lenses. By exploring a set of tools (both analogue and digital) they are able to communicate ideas with an intention. Sofia's work is the result of a process that involves her personal experiences and my coaching into some "visual detonators" that allow her to communicate the concept that she had in mind. She edited her picture to give it a vintage look, and then gave it a Polaroid ressemblance by using that specific frame. Finally, we found a familiar logotype to engage the viewer, but then challenged the concept so as to distance the viewer from it and give way for new interpretations.

 

Something that I learned from this process is that students need to be given accountability for the creative process and the decisions that they make. As a teacher, it is your job to trust and respect such process while making sure you identify the skills, tools, and suggestions that will help them discover the concepts that they are innately looking for."

 

Julia Fuhler

Crystal Lake Central HS
Crystal Lake, IL

Fabric, magazine, chalk pastel, gel medium

 

"I have always loved art making, I am dedicated to my practice, and I am passionate about social justice issues. These things granted me passage to a unique art agenda where I have dedication, comfortable time, and purposeful creation. Purposeful creation comes from a heart that dedicates its practice towards educating others, and with that intent in mind, any artist can find the energy to work efficiently and with joy.

 

I knew I needed to create this piece after flipping through a National Geographic magazine and landing on a 2 page photo of a large group of women crowded in a hut, complete with babies nestled in their arms. The top right corner stated something like, "New mothers gather for support after rape attacks by enemy village" and the faces in the photo morphed into a similar look. Confusion, panic, and acceptance to a cruel story which, by now, dulled from repetition. Separated from the rest, and surely the youngest in the room, a girl looks at her new sleeping child absently. This mother has drawn a curtain between her and her daughter but can't help but adore her at the same time. How can a mother's love trump the hate she sees every time she looks in her baby's eyes and sees her venging attacker?

 

The Breadth and Concentration study was not only a way for me to open up to new media, it also allowed me to restore close contact with my creativity through open and rapid work. I experimented with media combinations, learned new techniques, and discovered a lot about my personal purpose and desires, which I found through my teacher's close counsel. Overall, the key to my art making was to remain open minded, open hearted, and open handed."

 

Julia Fuhler's teacher Kerry Parrish

"Within our AP studio classroom this year the students focused on starting our artistic progression by identifying each artist's strength. By starting with skills and ideas that each student had confidence in, they were able to take greater risks in the search individual voice.

 

Working as a classroom team to label these strengths enabled classmates to call each other to task. As the year progressed If anyone would choose to fall back into their "comfort zone", a fellow artist could quickly call them out and challenge them to ask more questions and take a greater risk. Frequently artists would put their informally put their work up and ask for feedback from the class. The students would offer honest, critical questions and offer suggestions, they felt that helping another artist was making them all stronger. Creating a safe space for artists to challenge each other is a key component to our Art Department.

 

While working on this piece, Julia would set it aside, ask for feedback, take photos and experiment with ideas on the photos. Some of the student's strongest work grew out of this process. The students were able to take risks without fear. Julia's comfort zone is photorealistic portrait paintings from photographs. Her effort in this work epitomizes the growth and risktaking in regard to material, techniques, and theme, that we tried to encourage this year. By digging deep into her concept through brainstorming, questioning and research~ she was able to look at how to utilize other mediums such as fabric and mark making with chalk. Her focus shifted from photorealism, to realism with a strong emphasis on using symbols to communicate meaning."

 

Louis Joey Gonnella

Brookline HS
Brookline, MA

Pen, ink, gouache, and pencil on paper

 

No student statement available.

 

Joey Gonella's teacher Donna Sartanowicz

"At our school we take a team approach to teaching art and nurturing the artistic voice of our students. I worked with Joey early on in drawing and painting classes—he continued to develop with other teachers in ceramics, sculpture, and photography. Throughout, we emphasize creative risk-taking, productive play, and critical dialog to help build skills with materials and design thinking processes.

 

In AP Studio Art I have students working in all three portfolio sections. The emphasis is on the Concentration—how do artists find and pursue their own aims using the materials and techniques that best serve their expression. Critique is an essential component of this class as students discuss and challenge each other's thinking. Undertaking their own work, having their own ideas, this is the hardest thing I can ask of students—by the time he reached AP Studio Art Joey Gonella was more than ready for this work. His artwork is self-referential and so arose from his own desire to live an examined life. Joey works intuitively—fully immersed in the process then refines his ideas and imagery through discussion and critique with myself and the other artists in the class."

 

Sienna Gonzales

Leland HS
San Jose, CA

Acrylic on wood

 

"Art has paved the way to self-discovery; it has allowed me to peel back my tough exterior and prod at the naked vulnerability that lies directly beneath. I know myself better because of the freckles of paint on my hands; I understand the way people work because of the crescents of charcoal underneath my nails; I breathe a little easier because of the graphite smears on my wrists. With every drawing, I feel like I'm learning more about who I am. Within sharp lines I see my stubbornness, beneath layers of pale pastels I see my compassion, and in the bright eyes of my characters I see the same fiery passion contained in my reflection. Art has not only given me a mode of expression, it has given me a voice and an identity."

 

Sienna Gonzales' teacher Stacy Rapoport

"This particular piece of art was created by a third year student of mine who showed great promise even before walking through the door to my Beginning Draw/Paint/Design class. I had seen her previous work and identified her as a student who only needed to be taught the rigorous foundation skills I implement in that class to move on to becoming a fantastic artist. I am a devout follower of the principle that you need to know the rules before successfully breaking them.

 

For the two years following Sienna entered our AP Studio Art program. In this classroom environment I believe it is imperative to create a culture of exploration. Specific projects are rarely assigned; rather, I make individual suggestions about mediums they might want to try or help them brainstorm when they get stuck and come to me for advice about "what they should do next."

 

I consider myself a facilitator in this class more than an instructor. They are challenged consistently to create pieces they are personally connected to and mercilessly directed away from creating generic work. I offer them many, many opportunities to practice giving and receiving constructive feedback on their work, informally in small groups and as a whole class in formal critiques. They are encouraged to work collaboratively, ask their classmates for advice and shown pieces other students are working on that I feel they may be inspired by. These are my greatest tools in this class as well as the two things that most students identify as being the experience that helped them truly grow as artists.

 

Making them choose what they want to do is frustrating for some students in the beginning because often they have never been asked to decide on their own projects, rarely even given a choice in the matter. Ultimately I find that in this open-ended environment they begin to find their own voice in their work much earlier than if I had fed them structured assignment after structured assignment.

 

This is the environment in which Sienna quickly started to build a body of work that was ripe with symbolism and reflected her unique sense of aesthetics. The piece shown here is actually something she initially just did for fun. Outside of class on her own time. After bringing it in to show me we realized that it tied in so perfectly with her concentration that it became part of the portfolio she submitted.

 

So, I can't take credit for having assigned some project that directly led to this work being created. But I like to believe that the social, challenging, collaborative, and feedback rich environment I have established in my program has led to this. For Sienna and many other students.

 

If I were to offer a piece of advice to other art teachers it would be this—never stop trying to redirect them from creating "boring" pieces of art. They receive no real joy from it and their work becomes stagnant.

 

The more you push them to think outside the box and try to find their own voice the more passionate and excited they become about their art. Watching them grow as artists is truly the most rewarding part of my experience as an art teacher."

 

Angelica Gonzalez

East HS
Rockford, IL

Ink

 

"As a child, I always strived to make art like many artist today. Though I didn't want to just paint flowers and still life. I must admit that still lifes are very nice; however, why would I want to spend my time on what hundreds of artist already done that are most likely better than what I ever can ever do? Why not stride into something that is not seen as much such as plants? When you see something abnormal, it usually has you thinking longer about it and sticks to your mind for sometime. My works are something I imagine, macabre surrealistic ideas. My creativity of blending organic bones to industrial machines is something I've liked for years now. This specific piece is from a sketch I made a year or two prior to the piece you see now. I'd like to explain my own meaning behind it, though saying what i think of it can change what you do. I can see this piece having many meanings, so it would ruin the fun if I gave an official one."

 

No teacher statement available.

 

Zachary Gudziak

Detroit Country Day School
West Bloomfield, MI

Sterling silver, fine silver, garnet

 

"As an artist I find inspiration for my works through the world around me and through a lot of experimenting with different materials and methods. My inspiration for my jewelry piece, "Human Trap," came from setting up rat traps in Florida. I saw how simple yet well designed the mechanism was and figured it could be incorporated in artistic work. The idea came to life after coming up with how a mousetrap could be related to humans, and a gemstone as bait was a perfect fit to emphasize one of humanities' pitfalls; greed. The piece had to be carefully created to ensure I did not scratch nor damage the slightly fragile wire parts after creating them so that I could maintain a clean finish throughout the entire piece. It was also difficult to create a working mechanism for the trap that could be triggered by the touch of a finger.

 

The most successful aspect of my work is how the simple design flawlessly connects to the theme of the work. I am grateful for my experience as an artist in high school and I look forward to keeping my artistic skills as a hobby in the future."

 

Zachary Gudziak's teacher Jiro Masuda

"One of the challenges that we present to the students in AP Studio Art is the research and development of their own unique "artistic voice." This requires that they understand the different tools at their disposal when it comes to making successful conceptual art. The issue of how to generate narrative and discussion through the imagery that they use is one facet but in addition, how the materials they select can also bring another layer of context and meaning to their pieces. So for Zachary, the idea of what materials and items could be used as the preverbal "bait" was as important as the idea of the silver mousetrap on the hand. The idea of the ring as both lure and entrapment generated a great deal of discussion among Zachary and his peers and especially while watching the piece snap shut when the stone was touched. Societal conventions, stereotypical ideas of greed and status, as well as roles within relationships were all touched upon in this piece. The free exchange of ideas and peer-initiated critiques, which are hallmarks of our studio, are important to generating and fostering an environment of informed dialog where a student like Zachary can flourish and create pieces like, "The Human Trap."

 

Zachary Gudziak

Detroit Country Day School
West Bloomfield, MI

Sterling silver, fine silver, garnet

 

"As an artist I find inspiration for my works through the world around me and through a lot of experimenting with different materials and methods. My inspiration for my jewelry piece, "Human Trap," came from setting up rat traps in Florida. I saw how simple yet well designed the mechanism was and figured it could be incorporated in artistic work. The idea came to life after coming up with how a mousetrap could be related to humans, and a gemstone as bait was a perfect fit to emphasize one of humanities' pitfalls; greed. The piece had to be carefully created to ensure I did not scratch nor damage the slightly fragile wire parts after creating them so that I could maintain a clean finish throughout the entire piece. It was also difficult to create a working mechanism for the trap that could be triggered by the touch of a finger.

 

The most successful aspect of my work is how the simple design flawlessly connects to the theme of the work. I am grateful for my experience as an artist in high school and I look forward to keeping my artistic skills as a hobby in the future."

 

Zachary Gudziak's teacher Jiro Masuda

"One of the challenges that we present to the students in AP Studio Art is the research and development of their own unique "artistic voice." This requires that they understand the different tools at their disposal when it comes to making successful conceptual art. The issue of how to generate narrative and discussion through the imagery that they use is one facet but in addition, how the materials they select can also bring another layer of context and meaning to their pieces. So for Zachary, the idea of what materials and items could be used as the preverbal "bait" was as important as the idea of the silver mousetrap on the hand. The idea of the ring as both lure and entrapment generated a great deal of discussion among Zachary and his peers and especially while watching the piece snap shut when the stone was touched. Societal conventions, stereotypical ideas of greed and status, as well as roles within relationships were all touched upon in this piece. The free exchange of ideas and peer-initiated critiques, which are hallmarks of our studio, are important to generating and fostering an environment of informed dialog where a student like Zachary can flourish and create pieces like, "The Human Trap."

 

Dejaney Ibarguen

New World School of the Arts
Miami, FL

Micron pens, Sharpiex

 

"I am an Ecuadorian American artist, living in Miami, FL. I have used art as a tool to illustrate topics that are important to me on a personal level. I use art as an outlet to release my sentiments towards experiences that have directly affected me.

 

My artwork touches base upon human relationships, as well as internal conflicts. There is a pattern within my work that deals with the unstableness I've encountered with others. I tend to focus on the dismal elements of life, such as the termination of relationships or the toxicity of them, and the emotional burden it leaves upon me. I use my artwork to articulate the thoughts and insecurities I have within myself, and the daily circumstances around me. My fascination with horror affiliated matters has led to my incorporation of it within my artwork, I have been able to convey this; by severing heads of bodies, dismembering certain body parts, etc. I thoughtfully take into consideration how the disassembling or fusing of these figures relates with the concepts of my work, allowing the visual representation to be more profound than just it's physical appearance. Occasionally, I incorporate text within my work to narrate the concealed feelings that reside within me. I primarily use micron pens and sharpies to create my artwork. However, I do not limit myself to those forms of media. My objective is to continue to document my personal experiences through my work and maintain the voice I have made for myself."

 

No teacher statement available.

 

Hannah Jurgens

Osceola HS
Largo, FL

Digital art

 

"As an artist, I've always embraced animation.

 

The characters depicted in this particular piece are characters I created when I was in 6th grade and were influenced stylistically by a bunch of different cartoons I watched growing up. Once the chance to explore them more than just confining them to my personal sketchbooks arose, I knew I had to pursue the idea.

 

Before I began my concentration, I definitely felt scared to share these characters with people outside of my family and friends. I was unsure if the art style I used in drawings at home would be suitable for art class, and I was unsure what kind of critiques I'd receive. But still—I stuck to what I was truly passionate about and I'm glad I chose to.

 

The AP Studio Art experience has given me a taste of the real art world, as well as helped me to improve my digital painting skills. I'm truly thankful for all the feedback I've gotten from my teacher and peers, and will continue to take their advice in the future."

 

Hannah Jurgens' teacher Ted Locascio

As part of their summer homework, my AP students are required to submit 3 concentration ideas at the beginning of the school year. This past year, prior to the summer, I showed them the student examples provided by the College Board in 2013. Each year I do this early so my kids know what the expectations are in AP studio art. Hannah was especially inspired by one student's work, which featured character studies and detailed scenes for a potential animation. She asked me at the end of the presentation if she could pursue something like this for her own concentration. I told her "Yes! Absolutely!" and encouraged her to create her own original characters and narrative.

 

Hannah chose to work in both Paint Tool SAI and Photoshop CC. The digital art piece shown here is one of the extraordinary stills she produced. I think a big part of what made Hannah so successful is that I showed her successful student examples early on and I taught her to thoroughly understand the AP rubric so she could effectively self-evaluate. In addition, I never doubted her ability to create amazing work. I firmly believe that when art students know their teacher believes in them, they can achieve just about anything."

 

Julia Lubarsky

Horace Greeley HS
Chappaqua, NY

Digital photograph

 

"Art is a self-centered endeavor, in all the best ways. To me, the artistic process is about how I feel and what I think, and most importantly, it is completely unfocused on pleasing others. Art is about experiencing and observing, and even more importantly, it is about failing. The artistic process has taught me to embrace failure and to stop worrying about consequences in a safe environment. With this piece in particular, I began with inspiration I found in various sheer materials I stumbled upon in an art store. I had absolutely no experience with studio lighting or working with models. It was awkward and difficult, but by launching myself out of my comfort zone, I was able to create something beyond my imagination. This is why I would say to other artists, don't be afraid to get messy and just do. I have learned much more from mistakes than I have from meticulous planning. Experiment with crazy ideas and just have fun. The art is in the process and the process is beautiful."

 

Julia Lubarsky's teacher Louise Brady

"I can't take any credit for Julia's work. The assignment was to create your own work that would exemplify the principles of design for a breadth piece that you would bring to class. We critiqued and revised many pieces but this came in to class perfect as is. Julia came up with the concept and executed it on her own. Thank you for recognizing this young talent."

 

Jessica McElprang

Bingham HS
West Jordan, UT

Mixed media

 

"I remember feeling blended into society within this world and desperately wanting to stand out. I expressed this through the white halo surrounding the figure. The mediums and techniques I used in this piece were to express what I was going during the time. Having to undergo treatment and therapy while maintaining a social life in an isolated environment, I felt incredibly lost. This is where I incorporate mediums that aren't normally in one portrait—having used watercolor, wood, and transfers. My primary focus is to express to the audience that I existed, that I was here, and that I felt more than what I showed others. My advice to other artists: Find you niche. Explore what you wouldn't usually try; both in your artistry and your life in general. Don't give up, take criticisms, and either change or prove them wrong. There will always be things you're going to regret, but it's better to regret than to wish you did it because in the moment you were empowered to create beauty."

 

Jessi McElprang's teacher Jaime James

"In 2005, as a new AP teacher I enrolled in an AP art workshop. The instructor Doug Allen, who incidentally was my high school art teacher, read the following by Jasper Johns: "Take an object. Do something to it. Do something else to it." His instructions were to tear up the artwork we had just finished. I watched as some of the other art teachers begin ripping with gusto. As this approach was new to me I hesitated, but joined in. This was the beginning of my newfound passion for mixed media and experimental art processes. My enthusiasm then became contagious in the classroom. I found the best way to help my students' progress as artists was to learn and take risks myself.

 

Jessica's journey of discovery, culminating in this piece, mirrors my journey. I believe the success of this piece is due to her willingness to be open and take risks as I had learned to do. Whether you're finding what you really love or trying something new, your passion can have a great impact on your students."

 

Justin Melao

Westwood Regional High School
Westwood, NJ

Digital 3D Rendering

 

Watch Justin speak about his portfolio.

 

Justin Melao's teacher Pamela Duffus

"When assessing Justin Melao's portfolio at the beginning of the 2015-2016 school year, his love and talent for architectural rendering was apparent. We knew a concentration in architectural design was a solid direction for him to pursue for his 3D AP portfolio. Since I have little experience producing architectural renderings, communication between Justin, his Architecture/CAD teacher, Mrs. Adelyn Gann, and myself was essential. Justin discussed his portfolio's strengths and concentration ideas with both of us to get multiple points of view. Through these discussions, he decided to create architecture designs based on various plant forms. We encouraged him to research various plants, their physical properties, and the habitats they grew in. This led to a diagrammatical stage of thinking where he developed preliminary forms and ideas that addressed major architectural features in spatial design such as light, circulation, and programming (purpose of space) to develop his final building designs.

 

Throughout the year, Justin had the freedom to travel between our classrooms, learning from both of us. I critiqued his work based on the AP 3D portfolio requirements and Mrs. Gann critiqued his work from an architect's perspective. In the AP Studio Art class, he had peer support and open dialogue with other AP students to help develop his ideas, as well as my expertise in developing a body of AP quality artwork. In Mrs. Gann's classroom, Justin learned the tools and techniques needed to produce high quality architectural renderings. Mrs. Gann also encouraged a higher level of learning for Justin by inviting professional architects into the classroom to critique his work. The continual communication between Mrs. Gann, Justin, and myself helped him make consistent strides throughout the year.

 

My advice to other AP teachers is to give students the opportunity to design a portfolio around what they are passionate about. Use all the resources in your school and communicate with your colleagues to figure out how to support each student as an individual artist. Flexibility is key. If there is something a student wants to pursue that you know little about, find a way to make it happen. If a student is passionate about what they are doing, their work will be stronger."

 

Justin Melao

Westwood Regional High School
Westwood, NJ

Digital 3D Rendering

 

Watch Justin speak about his portfolio.

 

Justin Melao's teacher Pamela Duffus

"When assessing Justin Melao's portfolio at the beginning of the 2015-2016 school year, his love and talent for architectural rendering was apparent. We knew a concentration in architectural design was a solid direction for him to pursue for his 3D AP portfolio. Since I have little experience producing architectural renderings, communication between Justin, his Architecture/CAD teacher, Mrs. Adelyn Gann, and myself was essential. Justin discussed his portfolio's strengths and concentration ideas with both of us to get multiple points of view. Through these discussions, he decided to create architecture designs based on various plant forms. We encouraged him to research various plants, their physical properties, and the habitats they grew in. This led to a diagrammatical stage of thinking where he developed preliminary forms and ideas that addressed major architectural features in spatial design such as light, circulation, and programming (purpose of space) to develop his final building designs.

 

Throughout the year, Justin had the freedom to travel between our classrooms, learning from both of us. I critiqued his work based on the AP 3D portfolio requirements and Mrs. Gann critiqued his work from an architect's perspective. In the AP Studio Art class, he had peer support and open dialogue with other AP students to help develop his ideas, as well as my expertise in developing a body of AP quality artwork. In Mrs. Gann's classroom, Justin learned the tools and techniques needed to produce high quality architectural renderings. Mrs. Gann also encouraged a higher level of learning for Justin by inviting professional architects into the classroom to critique his work. The continual communication between Mrs. Gann, Justin, and myself helped him make consistent strides throughout the year.

 

My advice to other AP teachers is to give students the opportunity to design a portfolio around what they are passionate about. Use all the resources in your school and communicate with your colleagues to figure out how to support each student as an individual artist. Flexibility is key. If there is something a student wants to pursue that you know little about, find a way to make it happen. If a student is passionate about what they are doing, their work will be stronger."

 

Laura Minet

Smithtown HS West
Nesconset, NY

Pen

 

"I absolutely experienced artistic growth as a product of creating the AP portfolio, specifically concentrations. They allowed me to express my individual taste and to explore styles and visual concepts that interested me personally. I discovered that I loved working with pen and stippling, a technique which I now often utilize for my work. My theme was an exploration of nightmares and as my work progressed I realized that I loved working with surrealism and producing creepy imagery, which was necessary given the theme. My style also evolved in that I began to produce a series of strange, creepy characters with exaggerated facial faculties—which were originally based on doodles—that I would sprinkle about my work, sometimes at random. As a product of my concentrations I've developed a style that I'm very comfortable with and that I hope is unique and fresh. Because of this, I've gained much more confidence as an artist and as a person. My shyness has made it difficult for me to express my personality properly but, my artwork, specifically the concentrations, has provided a means through which I can explain to others my interests and quirks. Art is a silent speech, it evokes emotions and expresses ideas while words might falter and be stumbled over, which is one of the reasons why I love it."

 

No teacher statement available.

 

Andrew Padilla

Dreyfoos School of the Arts
Boynton Beach, FL

Stockings, styrofoam, chicken wire, paint

 

No student or teacher statement available.

 

Lydia Picoli

Greens Farms Academy
Wilton, CT

Digital photograph

 

No student statement available.

 

Lydia Picloli's teacher Jeffery Baykal-Rollins

"The year before Lydia did her AP Portfolio, she had already completed a compelling body of work exploring the natural beauty of women without makeup. For her AP Concentration she took this a step further by seeking unconventional ways to approach the concept of fashion photography. One of these approaches was to focus on minimalism, a particularly difficult challenge because it required stripping down the image to its essence, so that the slightest of details become major elements in the composition. Lydia's photograph in this exhibition is simply about the space on a leg between the boot and the skirt, and boldly plays with the tension of this geometry. Having shot countless photographs of this one model, she then selected several to print, laid them out side by side and in the end chose this one for its balance and utter simplicity.

 

In my experience as a teacher I have learned that artwork like this comes less from what I "teach" a student and more from creating a space where each student can effectively pursue their own unique vision. Then I bend over backwards to support them in every way I can. I simply mirrored Lydia's passion for photography, her perfectionism, and her high expectations for herself. She always worked very hard (usually coming in after school to photograph her various models throughout the year) so I made sure that she always had access to what she needed, whether it was equipment, space, people, or constructive criticism. I constantly saved images that I would come across in books or on the internet to show her for inspiration and then we'd talk about them in class. What I am most proud of is that this is but one of a whole portfolio of images, where in each and every photograph Lydia was able to challenge herself in a unique and highly personal way."

 

Eric Price

Moorestown Friends School
Mount Laurel, NJ

Metal chairs

 

"Many of the pieces I produced involved one object or form behind repeated to create a unique pattern. While looking for inspiration for this piece, I was messing around with a pile of folding chairs and I experimented with balancing the chairs so only one was supporting them all. I decided to challenge myself and attempt to make a circle of chairs only using friction and tape to hold them together. The final outcome was fascinating and unlike anything I had ever made before. The chairs surprisingly were very sturdy and even after the piece was finished you could roll the chairs so a new one was the base. Even though it began as an impulsive burst of an idea, the creation became one of my strongest pieces."

 

Eric Price's teacher Michael Webster

"This sculpture, created by student Eric Price, is the result of the student's own ingenuity and resourcefulness. At first glance, the complex radial pattern belies the humble material of which it is made: standard metal folding chairs. After finding the stack of chairs within the school, Eric experimented with various configurations of interlocking the chairs and joined them with electrical tape. His sculpture was the result of a playfulness in respect to both material and form.

 

Inside of the classroom I try to develop an environment that yields to each student's ingenuity. After a few loose assignments I shift the instruction to focus on emphasizing skills, such as playfulness, that will allow each student to make their own discoveries. This sculpture is one of those discoveries. An art classroom must place emphasis on students' own ingenuity and allow their own process of discovery to truly incubate strong artists."

 

Eric Price

Moorestown Friends School
Mount Laurel, NJ

Metal chairs

 

"Many of the pieces I produced involved one object or form behind repeated to create a unique pattern. While looking for inspiration for this piece, I was messing around with a pile of folding chairs and I experimented with balancing the chairs so only one was supporting them all. I decided to challenge myself and attempt to make a circle of chairs only using friction and tape to hold them together. The final outcome was fascinating and unlike anything I had ever made before. The chairs surprisingly were very sturdy and even after the piece was finished you could roll the chairs so a new one was the base. Even though it began as an impulsive burst of an idea, the creation became one of my strongest pieces."

 

Eric Price's teacher Michael Webster

"This sculpture, created by student Eric Price, is the result of the student's own ingenuity and resourcefulness. At first glance, the complex radial pattern belies the humble material of which it is made: standard metal folding chairs. After finding the stack of chairs within the school, Eric experimented with various configurations of interlocking the chairs and joined them with electrical tape. His sculpture was the result of a playfulness in respect to both material and form.

 

Inside of the classroom I try to develop an environment that yields to each student's ingenuity. After a few loose assignments I shift the instruction to focus on emphasizing skills, such as playfulness, that will allow each student to make their own discoveries. This sculpture is one of those discoveries. An art classroom must place emphasis on students' own ingenuity and allow their own process of discovery to truly incubate strong artists."

 

Jasmine Saunders

King College Prep High School
Chicago, IL

Paper, soldering iron

 

"My overall collection was to show pollution in a way deeper than how people usually see it or think about it. I chose to burn paper because of course paper comes from one of our most important factors of nature, the tree. With this particular piece I chose to insert a map only to add emphasis to the topic at hand. Pollution is affecting the entire world and when you look at maps they are most likely giving you directions around the world, cities or states. The colors of the abaca paper I chose to layer the maps with was just based on volume. The orange paper brought out more of the map and the neutral paper calmed it down, so that it wouldn't be overwhelming to the eye. I wanted a piece with a different reaction and this one definitely received it, thank you!"

 

Jasmine Saunders' teacher Jiwon Chun

"Jasmine wanted to capture the theme of pollution in her artwork. Her initial attempts involved realistic representations, but eventually she felt that this came across as too literal. I noticed Jasmine enjoyed creating unique layers of texture on her drawing paper, so I redirected her focus to collaging abstract layers with found materials associated with the theme. We built on her prior experience with paper cut-outs to create shapes that embody her theme of pollution. I also asked her to research different ways to manipulate paper, including the use of a soldering iron to create the organic shapes she desired.

 

As a transfer student, Jasmine did not have the opportunity to explore traditional drawing and painting techniques. Because of this, she often struggled, having a hard time using traditional drawing materials to capture her chosen theme. After much trial and error and reflection, we went back to her initial strengths by incorporating mixed media into her artwork. My advice to teachers is to nurture their students' strengths and not let them get discouraged by their weaknesses. Help students use their strengths to push their artistic boundaries. Even though Jasmine came into the AP class with less experience, her positive attitude and willingness to trust and explore her strengths helped her succeed."

 

Sophie Shiff

Walnut Hills HS
Cincinnati, OH

Pen, ink, carbon pencil

 

"My art from the previous year was mostly self portraits, taking very little of my emotions into account. The art I had begun making at the beginning of the year was technically good, but it was boring to make and boring to look at. I felt restless and I found that my emotions were overriding my previously formed instinct to make tight, realistic art. I began to draw more expressive and less realistic things in my sketchbook and I found I was much happier creating bigger pieces that reflected that as well. I used found paper, and for the first time since learning to paint, drew from my imagination. I needed to express my discontent and weird feelings and found though images I generated that I could explain better than through words."

 

No teacher statement available.

 

Kerry Stephens

Mother of Mercy HS
Cincinnati, OH

Marker and ink

 

"For most of high school, I ignored the eyes I drew in between the lines of my looseleaf to pursue what I assumed would be a 2D Photography Portfolio for AP Senior Art. After almost 4,000 photos into senior year, I was given the assignment to draw a person in a tight space. Although I would much rather have turned in a photo, I decided to draw this piece, shaking my skills onto the page like leaves off a startled branch. Rather than use paints or pastels, I used simple Crayola marker and Sharpie, figuring my drawing would simply be a larger version of the heroes and disembodied limbs I drew on scrap paper. I began by drawing the main figure—myself in a large window frame—in purely black and white sharpie. I used solid lines of color to distinguish the main figure from the background, which consisted of pointillism and stagnant lines from a dried-up marker. This piece helped me grow as an illustrator, and made me decide to challenge myself by making a Drawing Portfolio for AP."

 

Kerry Stephen's teacher Theresa Murphy

"Kerry Stephen's marker piece, "Mannequin," was created from a class assignment that I gave to my AP students early in the school year. I encourage unique ways for my students to look at their subject with heavy emphasis on composition. The assignments that are given are usually intended to become part of the AP Breadth, but sometimes an assigned project might help jumpstart their Concentration early in the school year.

 

A number of years ago one of my students had done a series of portraits of herself in a box with a focus on balance and lighting. They were very successful drawings and I elaborated on this idea for my current AP students. I gave the AP students the challenge of creating a unique portrait of someone in a tight, enclosed, almost claustrophobic space. They were to use a media with which they were comfortable. The size of the image was to be 16x20 or larger and they were to work on a piece of colored paper. We discussed compositional structure and lighting before the students were sent on a photo shoot.

 

The students were given class time to work with a partner to capture the image of someone in a tight, confined space. Some of the students chose to do an image of a person breaking through a confined space. Lighting and props were encouraged. A few of the students used family members or friends to capture the image of someone in a tight place. When someone is confined, there is that feeling of helplessness. It makes the viewer have a strong emotional tie to the image. It tears at us at an evolutionary level.

 

Kerry retrieved a formal gown from our theater department's costume collection. Our school is over 100 years old and the window in one of the bathrooms was the setting. The metal frame of the window and deep sill allowed for the model to enter the "stage." She used herself as the model and set up the parameters of the composition. Kerry directed the photo shoot, creating a strong balanced compositional structure for the self-portrait. The photo shoot was very successful, and the images taken were pieced together in a sketch form before finalizing the story. Kerry's work is very illustrative and she is a storyteller with her images. For this piece, Kerry chose markers, as markers were a medium that she was becoming most comfortable using. It's a powerful piece that explores Kerry's unique vision and contains her individuality in it. The piece was a challenge to her because of the size. She experimented with pointillism, dried out markers, and water with markers. Overall the assignment was very successful, with most of my AP students including their piece in the AP portfolio. Images that were produced varied, including a person in a fetal position, people breaking through barriers, images of those with ropes tied around their bodies, trying to escape, a person enclosed in a tube or box, to a person that looked as though they were confined in a confessional.

 

The AP process is exciting and very evolutionary. I give my students prerequisite assignments for the AP class that are completed over the summer. From a list of projects they complete a number of pieces with specific deadlines. They send these images to me and we have a little back and forth conversation via email as to the progression of a piece. In most cases these summer assignments help the student develop a media that they seem comfortable using. I am able to focus on their level of expertise, and as I view the summer work, I can better understand the individual direction that would most benefit the student. When I give a class assignment, I tell the students that I want to see something uniquely theirs.

 

My best advice for incoming AP Studio students is to experiment, be flexible, and be daring with your art making. It is important to go out of your comfort zone, incorporate new techniques into your art, and vary your style."

 

Cornelius Tulloch

Design & Architecture SR High
Miami, FL

Mixed media

 

"This piece is part of a series of work that concentrates on the parallels between the mistreatment of livestock in industrial societies and the veneration of these same animals in less developed countries. This piece is the product of an analysis of the factory farming industry. Through gel transfers, machine sewing, ink, and manipulation of fabrics, I am able to create a weathered look. This is a notion towards the aesthetic of an old book or codex. The pig is segmented into the portions of which it would be cut into in relation to a meat chart; its organic form stands out from the linearity of the rigid environment that surrounds it. The halo and gold reference to the sanctity of this animal, although caged and abuse in "civilized" industrial societies, these animals are respected by other cultures. This exploration of patterns, texture, materials, and social practice really allowed me to explore and become aware of current world conditions."

 

Cornelius Tulloch's teacher Ellen Abramson

"Cornelius Tulloch's artwork analyzes society's relationship to factory farming and the veneration of these same animals in less developed countries, an interest that showed in his work since 10th grade. He grew up in Miami and travelled to Jamaica to visit family where he photographed his family, bodies of water, nature and cows. Although Cornelius is a superb technical draftsman/painter, in his senior year he wanted to break away from illustrations of ideas and be more experimental, poetic, fluid. He used his photographs from Jamaica and experimented with gel transfers on various fabrics as a base. We talked about the images and possible options. He combined all the ideas and techniques he played with in his sketchbooks and in other projects. It all came together in these pieces.

 

I guide students to understand the creative process, to make artwork inspired by their authentic experience and to communicate using visual language. I learned to trust the ideas and inclinations of these young artists, to listen deeply to them and assist them to develop their individual voices."

 

John Vaile

Archmere Academy
Hockessin, DE

Raku Clay Sculpture

 

"Curiosity spurred my interest in determining whether the vastly different features of animals and humans could fit together, and the process operated much like that of an intricate puzzle. An eye here and an ear there, but the features must blend together seamlessly, as if the piece is found in nature. Upon beginning a new work, I first decide which features can morph with those of a human. This can be the toughest step; it's difficult to visualize how everything will take shape.

 

Once I establish a dynamic sketch, I begin to form the clay. Long, rolled coils define the general curvature for all of my pieces, and for "The Animal Within", I pushed the limits by including oversized horns that extended well beyond the confines of the gazelle-human hybrid's skull. The horns were my largest obstacle; their weight proved too much for the soft, uncured, raku-style clay and forced me to turn to plan B. I constructed the horns separately and allowed them to harden considerably. After the rough form of the hybrid had taken shape, I refined it by adding fierce details and firing it in an open flame. Nearly all of my pieces are fired in this manner, for it adds an organic dimension.

 

I view my artistic style as one characterized by eye-catching textures and dark, earthy colors. While many of my pieces contain their own identities, all are unified by the same general principles of design. Though, the most important aspect, to me, is that my personal voice shines through and that I take no risks in discovering that voice."

 

No teacher statement available.

 

John Vaile

Archmere Academy
Hockessin, DE

Raku Clay Sculpture

 

"Curiosity spurred my interest in determining whether the vastly different features of animals and humans could fit together, and the process operated much like that of an intricate puzzle. An eye here and an ear there, but the features must blend together seamlessly, as if the piece is found in nature. Upon beginning a new work, I first decide which features can morph with those of a human. This can be the toughest step; it's difficult to visualize how everything will take shape.

 

Once I establish a dynamic sketch, I begin to form the clay. Long, rolled coils define the general curvature for all of my pieces, and for "The Animal Within", I pushed the limits by including oversized horns that extended well beyond the confines of the gazelle-human hybrid's skull. The horns were my largest obstacle; their weight proved too much for the soft, uncured, raku-style clay and forced me to turn to plan B. I constructed the horns separately and allowed them to harden considerably. After the rough form of the hybrid had taken shape, I refined it by adding fierce details and firing it in an open flame. Nearly all of my pieces are fired in this manner, for it adds an organic dimension.

 

I view my artistic style as one characterized by eye-catching textures and dark, earthy colors. While many of my pieces contain their own identities, all are unified by the same general principles of design. Though, the most important aspect, to me, is that my personal voice shines through and that I take no risks in discovering that voice."

 

No teacher statement available.

 

Tiffany Weng

Lambert High School
Suwanee, Georgia

Colored pencils and airbrush

 

"Art is about the process, not the final destination at which your work will find its way to. Many may consider this piece to be ruined due to how I've haphazardly tagged it, when I beg to differ. My piece is successful because the general possesses that idea in their minds that it is a shame, a waste, that a beautiful piece of art has been kidnapped from its innocent nature by the graffiti plague that has so carelessly sprawled itself onto the surface, or so it may seem. I intended for this piece to ignite emotions that are rarely felt and can not be described by words, yet only through experience. The shame one may feel, the sympathy I hope one has for the "true" art that underlays the amateurish lettering, the suffering one could not begin to imagine. As one might see it as a handicap, I see it as tantalizing letters that are encased within the piece for they do not belong anywhere else. The graffiti holds itself together in a manner I could never dare, strikingly self righteous yet I still know it still belongs. While the masses bicker about whether this is even art or not, they tend to forget why artists do what they do. Art is about the process, the translation of ideas from mind to matter, conceived to created, writing with the ink from our veins, for that's what it is. In the simplest terms art is about communication without the use of words, conveying the emotions we can not describe. If I can make you feel sympathy for an inanimate object, I have succeeded. With that said, it is not you who determines my success as an artist."

 

Tiffany Weng's teacher Kim D'Allen

"I had some time to think about the question of my teaching practices that lead to the success of the mixed media piece that was accepted into your show. I thought I'd just explain the structure. We spend the first half of the year working on the Breadth section, second semester for Concentration. Students have two weeks to complete each piece and the Friday that marks the end of the assignment is critique day. We put all of the artwork from both AP 2D and AP Drawing on the wall and discuss each piece. I always start out with a question like, "Which one of these pieces exhibits good conceptual content?" Or "Which ones show the best design composition?" Another favorite question is "Who really nailed the craftsmanship this week in their artwork?" Then I dive a little deeper and get into questions like "What could have made this better in your personal opinion? Is it finished? What do you think? Do you like, dislike, why?"

 

One week there was a student piece up for critique which really sparked a great conversation about originality. We got the ball rolling talking about copyrights and how sometimes in art, artists pay tribute to other artists by appropriating a style or mimicking a famous piece but adding something of their own or playing a fun twist on the piece. Tiffany Weng and another very advanced student named Sarah Lee both queued in on the idea of appropriation and paying homage to their favorite works in art history and I encouraged them to start planning right away for using this idea for their Concentration section. We discussed many ways that style appropriation can be done. We talked about taking risks, etc. this is where Tiffany came up with the idea of graffiti and her theme for the Frida Kahlo piece.

 

The amazing thing about this student is her professionalism. Her attention to every detail, her presentation skill was the best I'd ever seen. I've been teaching AP studio for ten years and I don't think I've ever really seen a student put more time into a piece. It almost distressed me because I became concerned that she was spending too much time on this particular piece. I didn't want her to get behind. When Tiffany finally finished the drawing, she did one final step outside. Because she used spray paint, she had to take it outside to do it, so I hadn't seen the final result yet. The next morning a few of my students from the first period class had seen the work that Tiffany had done covered in black spray painted graffiti and reported "Hey, Ms. D'Allen! Something bad happened to Tiffany's artwork! It's got spray paint all over it! Who would do such a thing?!!" I had to reassure my students that sometimes in art we take risks. The spray paint damage to the artwork was self inflicted, Tiffany did it to make a point. Sometimes art is political, it carries a message. Tiffany wanted you to think about graffiti and how people deface things every day. To paint graffiti on her own homage piece to Frida Kahlo was like Tiffany putting her own mark on it. If you look closely, you can see Tiffany's name and two of her smiley faces.

 

In art, we don't always make pretty happy pictures and sometimes art is created to make a point. It's ok to make art for art sake, but in AP we are to think beyond. Even as a teacher, though it can be a little painful to watch, I encourage students to try every day to be less attached to their artwork. I've told them often times that they are the voices of tomorrow, say something and shake things up, make it count! There is no such thing as bad risk-taking, the only thing we should be afraid of is being afraid not to take risks. Everything can be redone, everything is fixable and sometimes there are happy accidents. That's what makes art exciting and challenging. The process, the discovery and the surprise at the end! If you don't surprise yourself, then you really haven't stretched yourself as an artist. I also say to my students, most specifically my super art studio students that go to classes outside of school, it's ok to have good technical skills but it's really not enough to be a good technician- you have got to have creative concepts. Anyone can draw a beautiful rendering with some practice. People want to be shown something new or see something in a new way. This is innovation and creativity at its best."

 

Carter Yanagawa

North Penn HS
Lansdale, PA

Graphite

 

"The piece of mine you chose to include in your showcase encompasses what I want to do throughout all my art: to recreate what I see before me through a new perspective. I don't want my art to be pretty, I want it to be beautiful. I want to prod and poke at the world around me and convey to the viewer a sense of curious discomfort when they view my art. I'm amazed by the beauty I'm surrounded by, and I'm inspired to make it my own."

 

Listen to a statement from Carter's teacher.

 

Yukine Yanagi

Concordia International School
Pudong, Shanghai, China

Graphite

 

"In this piece, toilet paper covers the seat of the public toilet and goes on to wrap around the toilet on the floor. Through the use of mark making and line quality, I hope to represent the anxiety of a clean person when he approaches an extremely dirty public toilet. The materials used and the juxtaposition between the subjects (toilet paper/toilet and clean person/dirty scenario) help convey the message. I used graphite to create this drawing because it allows me to easily add on to and subtract from the surface to create a rough texture. This helps to express the emotion behind the artwork and to find that balance between clear focal points and abstraction. I really enjoyed creating this piece, as it different from my other pieces in that it is not just a surreal image that I drew from my mind but an everyday scene that required observation and technique presented in my own style."

 

Yukine Yanagi's teacher Jane Klammer

"Yukine Yanagi created this graphite pencil drawing while attending a college summer program between her 11th and 12th grade years. Challenged by her summer instructor to create a life observation piece, Yukine took an ordinary everyday object and transformed it into an extraordinary composition, intentionally using the swirling motion of the tissue paper and finishing with mature graphite rendering.

 

In my AP Studio class, I really strongly support real life observation artworks as well as imaginative compositions. I support my students' desire to be respected as artists, not just as students of art.

 

My advice to other teachers and students is to create with the fundamentals of tonal drawing -contrast, tone, and stroke-with any medium. Yukine's determination to become the best artist she could be has been an inspiration for me as a teacher, mentor and artist."

 

Tyler Yee

Burlingame HS
Burlingame, CA

 

"Having to constantly find a balance between my American upbringing and my Chinese heritage has been both a struggle and a blessing throughout my life. In addition, growing up in a dominantly white, suburban area has fed my perspective on diversity and its role in society and the youth. Therefore, it was fairly easy to find inspiration in these subjects I had so personally been affected by.

 

This piece is specifically meant to portray my struggles as a Chinese American. I remember being brought up with forks and then being forced to learn and use chopsticks whenever we ate Asian cuisine. I was stubborn and just wanted to use what I was used to. Although this memory is quite insignificant, this piece is meant to reflect how I felt throughout my life with these two dominant cultures. I was always either a fork surrounded by chopsticks or a pair of chopsticks surrounded by forks, and I constantly struggled with these cultural differences."

 

Tyler Yee's teacher Sheila Leonoudakis

"Tyler is like so many artists—she perceives the world in her own unique way. This piece is very loosely based on a summer assignment for a still-life. I had asked for a still life wherein the subject matter is in a way a portrait. Tyler made a painting that was really a self-portrait. And this became the nexus of her Concentration, which dealt with the tension within of her Chinese heritage and her American upbringing. When Tyler came in with this piece, we were all immediately drawn to it. And truthfully, I don't remember having had any criticism or suggestions to improve it. It displays one of her works' finest qualities—subtlety.

 

I think the greatest influence I may have had in Tyler's work is allowing her to deviate from the proscribed process in her journey of finding her voice. She does things her way, often in her own time, but always works with a quiet determination. I am proud to have helped her on her way."

 

Demi Zhang

Hopewell Valley Central HS
Pennington, NJ

Acrylic paint

 

Listen to Demi speak about her portfolio.

 

No teacher statement available.