SENIOR THESIS EXHIBITION

2008

Department of Fine Art and Art History

Falk GalleryFerguson Center For the Arts

Christopher Newport University

March 29 through April 25

Dedicated to the Fine Art Seniors2007-2008

Layout and Design by: Lauren Grose

Acknowledgements:

Editor:Rebbeca Howard

Authors:

Shelly AlveyCourtney A. Forgét

Laura HemlebenBecca HowardErika SchmaleBrendan VarleyCarrie Williams

Special thanks to the following for their hard work and comitment to making this year’s exhibition and catalog possible:

Professor Greg Henry, Senior SeminarDr. Michelle Erhardt, Chair and AdvisorProfessor Christi Harris, Junior Seminar

Elaine Viel, Department Assittant and Gallery ManagerPublished by Taylored Printing

Illustrations and text copyright

Fine Art Seniors 2008

1. JARED BOONEby Laura Hemleben

2. ZACH BRIGGSby Becca Howard

3. DANIELLE BROUSAIDESby Courtney A. Forgét

4. COURTNEY FORGÉTby Becca Howard

5. JENNIFER GATHMANNby Erika Schmale

6. TRICIA GORDONby Courtney A. Forgét

7. TIFFANY JONESby Carrie Williams

8. SANNA KHANby Brendan Varley

9. MEGAN MCELFRESH by Becca Howard

10. ASHLEIGH PRITCHARDby Becca Howard

11. HASSON ROBERTSby Becca Howard

12. ERIKA SCHMALE by Laura Hemleben

13. RYAN STROMFORSby Brendan Varley

14. TERESA TOMLINSONby Brendan Varley

15. CARRIE WILLIAMSby- Shelly Alvey

Table of Contents

J a r e d B o o n eJared Boone describes his work as “reflecting a search for identity through documentation.” Boone is always experimenting with line, color, and subject matter. His fascinating style ranges from a cartoon-like parody of current political figures to intricately detailed renderings of altered worlds. Within this broad range of styles, Boone uses acrylic paint to experiment with subjects and ideas through which he can identify his life.

Boone “loves the figure and expressive color,” which is reflected in different ways throughout each of his pieces. His work is very expressive, both in the use of arbitrary colors as well as in his choice of bizarre subject matter. Many of Boone’s paintings are lifelike and powerful. He takes a realistic subject matter and alters it through unique experimentation with color and line, making each piece explode with energy.

Guvernment @ Toronto 2007 is perhaps the most expressive of Boone’s work. Infused with vivid yellows, blues, greens, and reds Boone uses swirling brushstrokes to invigorate his canvas with energy and motion. This piece is reminiscent of German Expressionist Emil Nolde’s work, in that the gestural motion is almost violent and disturbing. The background is filled with blank faces that gain more distinct features filled with different expressions as they approach the foreground.

Another piece of Boone’s, called Simhanáda, is of a giant lion surrounded by aqua and yellow streams of color. It evokes a feeling of euphoria contrasted against the lion’s powerful roar. Boone prefers that the true meaning of this piece remains enigmatic, but he did reveal that it references Tibetan mythology and astrology, as well as a combined symbol of religious ideas. The lion represents the summation of Boone’s own beliefs into one powerful image, and is perhaps the most personal example of Boone’s journey in search of his own identity.

- Laura Hemleben

Guvernment @ Toronto

Simhanáda

Z a c h a r y B r i g g sAn artist by profession, an anarchist by passion, Zachary Briggs is an exceptional artist with rare views of the world. As an anarchist, his art focuses on societal issues and the anti-hierarchical views of the anarchy movement. Gathering inspiration from various examples of street art as well as specific artists like Banksy and Shepard Fairey, Briggs creates a style reminiscent of graffiti with his own unique twist.

“I am trying to put ideas out there that are not represented in mainstream politics,” says Briggs. His Revolution Series features nine panels that tell the story of revolution through the eyes of a young protestor. Using acrylic paint, spray paint, Sharpies, ballpoint pens, and stencils, he shows his viewers what he has learned about the anarchist movement. In the first panel of the series, Unschooling, a young man is shown reading an excerpt from a manifesto outlining the movement. Interestingly, Briggs uses an article written by a friend.

Revolution Series continues with depictions of street propaganda, contemplation of anarchism, tension, and violence. Polizie and Cold and Calm each reveal unfortunate repercussions of posing a threat to established power. The viewer is carried through the final steps of the revolutionary cycle with a depiction of the continuous resistance amidst adversity, ending with From Ruins, showing society’s reconstruction. “Anarchism aims to leave a clean slate for people to rebuild in whatever ways they see fit,” says Briggs. “This scene shows the open-ended moment after the smoke clears.” In C.I.R.C.A., Briggs conveys the actions and beliefs of a specific group in Great Britain who dress as clowns and purposefully act as a nuisance to figures of authority. Colorful and animated, to the unsuspecting viewer the figures are playful, but in reality they represent revolution and societal upheaval.

Besides being a successful painter, Briggs is an aspiring folk musician and has recorded two successful CDs. He plans to continue to generate his enlightening works, but also aspires to open a coffee shop where he will create an open forum for politics and art.

- Becca Howard

C.I.R.C.A.

Cold and Calm Polizie From Ruins

Unschooling

D a n i e l l e B r o u s a i d e sA native of Boston, Danielle Brousaides experienced a pivotal point in her artistic career when at the age of ten she had a comic published in the Boston Globe. “Comics are a staple in a child’s artistic diet,” she insists. Since then, Brousaides has turned her childhood love of animation into her own unique artistic style.

Brousaides began her academic career as a computer science major before turning to art and blending her knowledge of computers and Photoshop with comics. Drawing inspiration from the animation of Tim Burton, Walt Disney, and noted Manga artist, Kishimoto, she creates her own interesting and unique graphic novel entitled About a Bunny. This humorous, and yet dark, comic strip tells the tale of a boy coming home from school during which he experiences an extraordinary encounter with a rabbit.

In the scene Reconnaissance, Brousaides depicts her wicked rabbit popping out of the young boy’s backpack, bright-eyed and ready for trouble. The rabbit’s maniacal eyes and riotous smile confront the viewer as he emerges from the backpack creating a compelling juxtaposition of innocence and treachery. This image foreshadows an unfortunate and dreadful event that follows. But even as ill-fated as the next moment is, the piece evokes an extraordinary sense of excitement and even joy. “I want people to see it as a huge comic and smile,” Brousaides says.

Brousaides’s entire strip is filled with brightly colored frames of the fate of her hero and the evil rabbit. With a plethora of fervent energy mixed with her pure and innocent characters, she is able to seize her audience’s attention and compel them to “read” the rest of the comic.

Brousaides aspires to broaden her artistic talents in animation and graphic arts and to establish a career in Boston, where she wishes to eventually live. Her unique talent and her remarkably creative mind as portrayed in her works will continue to help her achieve her goals in the art world.

-Courtney A. Forgét

Untitled

Reconnaissance

C o u r t n e y F o r g é tCourtney Forgét thrives on using tactile media that she can touch and manipulate. Aspiring to create art that is not conceptually complicated, but enjoyable, Forgét simply wants her audience to enjoy her work and appreciate her art as craft. “I enjoy creating crafts, as opposed to what many consider fine art. I love getting my hands on the materials and just creating whatever I feel like at the time.”

The theme of Forget’s senior thesis is tree frogs. Drawn to their bright colors and exotic nature, she focuses her work on the red-eyed tree frogs of Costa Rica and the poisonous dart frogs from Central and South America. In What Are You Doing on My Leaf? Forgét draws upon her playful nature to create a pleasing feeling for the viewer. Created entirely from glass, the tree frog reaches out of his space, slowly creeping towards the viewer in a curious manner and confronting the viewer with his big, bulbous toes.

In exploration of her senior thesis, Forgét discovered a hidden talent for photography. Her photograph Hey, What’s in Here? is a playful work that depicts toy frogs scattered around a glass bottle and the cover of a camera lens. What started out as a good-humored joke with plastic frogs and a camera, developed into voyeuristic views of what these mischievous little frogs are up to when people are not looking.

Inspired by her experience making art with her three-year old niece, Forgét hopes to create a place where children can express themselves through art. “I like seeing her progress and develop; “she has made me realize that teaching is my thing.”

After graduation Forget plans to teach arts and crafts at the elementary school level.

Hey, What’s in Here?

What Are You Doing on My Leaf?

J e n n i f e r G a t h m a n nJennifer Gathmann wants to take her viewers on a journey. “My passion for art began as an outlet,” says Jennifer Gathmann, “but it has developed into a desire to express the world with a touch of imagination.” In high school, Gathmann discovered watercolor – her true calling. Beginning with her first classes in fine art, her teachers recognized her artistic talents and encouraged her to develop her gift. Gathmann’s aptitude for watercolor has expanded into a passion.

Using watercolor collage, Gathmann captures her travels through Bermuda and Tortola. Inspired by the vivid style of Matisse and Gauguin, Gathmann describes her body of work as a journal of her experience on the two islands. Bermuda Bike Ride takes the viewer on a tour of the island with her family, bringing to life the tropics through her use of dynamic color and shape.

Gathmann recreates the atmosphere of her journeys in Bermuda and Tortola through several repeating motifs: houses, night sky, water, and silhouettes. Her collage Sunset Swim depicts two silhouetted figures relaxing near the water. The work evokes a surrealistic atmosphere as the trees and figures float through layered elements of the earth, water, and a coral-colored sky. Her silhouetted figures allow the viewer into her dream-like world. “My work is meant to be perceived as surreal and dreamlike playing upon the romanticized lure of foreign locations.”

Gathmann was awarded Outstanding Studio Artist in the Department of Fine Art and Art History in her sophomore year.

- Erika Schmale

Bermuda Bike Ride

Sun Set Swim

T r i c i a G o r d o n“I want people to be surprised and inspired to do something unique. I want art to be fun and enjoyable for both the artist and the viewer.”

A native of Whitehall, New York, Tricia Gordon wanted her senior thesis to take her outside the box of mainstream art. Her work is comprised of three-dimensional shapes that emerge from the canvas to create brightly colored abstract landscapes. Gordon takes color and texture to a new level by covering her Styrofoam forms with melted wax, crayons, and acrylic spray paint. According to Gordon, “Using 3D art on a 2D surface allows an audience to see something different.”

Her art does exactly that. She uses vibrant colors combined with an interesting use of positive and negative space. Her techniques and use of materials draw the viewer into the piece to look for more details, such as cracked paint and shadows from the protruding forms.

Ice Cream Mountain is a feast for the eyes made from over one hundred melted candles. Delicious and colorful, her composition is only missing a spoon. Influenced by Piet Mondrian and Georges Braque, Brick Wall is Gordon’s reinterpretation of the abstract landscape. Using plaster-modeling paste as her base and a palette of gold and white, Gordon plays with the juxtaposition of positive and negative space to create a visual panorama that is bold and new.

Gordon plans on earning her Masters in Education and someday becoming an elementary school art teacher. She hopes to share with children the same joy she derives from making art.

- Courtney A. Forgét

Ice Cream Mountain

Brick Wall

T i f f a n y J o n e sTiffany Jones is a soft-spoken individual who uses her extraordinary art and portraits to scream forth her passions, her desires, and her true being. Jones uses a mixture of crayon and colored pencil to create tender portraits, as well as surrealistic digital compositions that encompass a great sense of emotion and vibrancy. Through subjective color choices applied in small dabs and dashes, her portraits draw on and captivate her viewers. When observed in close proximity, one is astounded by the amount of detail and delicacy with which Jones creates her drawings. From a distance, however, the colors melt together to create one unified and realistic composition.

Her piece entitled Tom-Boy and a Half is an emotionally empowering and simple representation of affection. The drawing showcases Jones’s ability to create an aesthetically appealing and interesting composition by cropping the image and zooming in on the figures. Another of Jones’s drawings that exemplifies these features is Sorrow. With her technical aptitude for lifelike texture and representation of highlight and shadow, she creates both visual and mental depth in her works.

Drawing inspiration from Impressionist masters, Jones strives to create an emotion through her work with which her viewers can sympathize. “If the person in the picture is sad, I would like the viewer to feel some of the pain as well…I would like the viewer to get a sense of…the things in my life that make me who I am.” Ultimately, she hopes that her artwork can speak for her, and upon viewing her pieces, most will agree that she succeeds.

Tiffany Jones, a former resident of Stafford, Virginia, is an excellent example of how today’s artists are finding new and innovative ways to convey passion, expressing their inner voice through their art.

Tom-Boy and a Half

Sorrow

S a n n a K h a nCreative vision strongly resonates in Sanna Khan’s work as an artist. Utilizing graphite and printmaking techniques such as woodcut, etching, and monotype, Khan creates her art with strong connections to her self-image. She enjoys when viewers notice something new in her pieces that she had never even intended. The idea that all people take on many different roles throughout their lives prevails in her work.

Khan was born in Karachi, Pakistan and raised in Sterling, Virginia. Throughout grade school and high school, she felt compelled to express herself through artwork. The constant support and encouragement of her instructors allowed her to formulate her ideas and translate them with great proficiency into astonishing works of art. With an eye for the detailed nuances of the human portrait, and the strong attachment to her family, Khan produces remarkably realistic pieces that are both very personal and exacting in technique.

One piece that shows stunning clarity and attention to detail is Meant to Be. This graphite work reiterates the classical look of wedding attire. With the groom, Khan’s brother, in a crisp tuxedo standing alongside his elegant and lovely bride, the piece represents a classical beauty that can only be captured in black and white. As in a classic photograph, the lace of the dress and the bride’s veil stand out because of the contrast created through tonal variations. The expressions of the couple show great joy, resulting in a feeling of happiness as the couple’s dreams of a perfect and memorable wedding day are coming true right before the viewer’s eyes. Khan’s strong tie to her family is powerfully evident in her work and she shows extreme care when creating pieces that focus on them.

- Brendan Varley

Meant to Be

Untitled

M e g a n M c E l f r e s hAt the age of eighteen Megan McElfresh donated her kidney to a stranger. Through this action she healed a future friend as well as herself. “I was capable of giving something, so I did, and giving someone else such a large gift was a healing process for me.” This action had a profound effect upon McElfresh’s life and her art.

At the age of seven, McElfresh began to work with glass – the artistic medium that would later become her passion. Taught by her mother, who is also a glass artist, she learned to create mosaics using the scrap from larger windows. By twelve she was an apprentice to her mother, learning the craft of making stained glass.

Drawn to its versatility, McElfresh is obsessive about glass and its characteristics – fragility, sharpness, clarity and beauty. “You can do almost anything with glass. You can cut, cast, solder, polish, wrap, heat, sculpt, use awesome power tools…you can even blow a bubble in glass. I don’t know how many other mediums you can do that with.” Because of this adaptability, McElfresh feels that she can truly create what is in her head to her satisfaction. She wants viewers to extract feelings of healing, interaction, and distortion from her artwork. “It takes people to get something done. Life is all about people and how you work with them.”

McElfresh’s art is based on the inner-connectivity of humankind, on the importance of the human connection. Healing, as well as the idea of working with others to create something incredible, is emphasized in McElfresh’s Measure of... Playing off of the ancient Egyptian practice of weighing one’s heart against a feather in order to gain acceptance into the afterlife, she shows a wax kidney being weighed against a glass feather. In Measure of.., the wax kidney is a representation of her gift, weighing lighter than the glass feather on the opposite side of the scale.

Distortion, a cylinder made from numerous rings of glass distorts and warps the appearance of any item placed within its hollow form. “It bothers me that we know less about the people around us today when we have so many forms of communication,” she says. To McElfresh, this miscommunication is best represented by the distortion in this piece.

McElfresh plans to work professionally in the glass field. She hopes her future will bring her opportunities to help further the public’s knowledge of glass art. She aspires to

Distortion

Measure of...

A s h l e i g h P r i t c h a r dAshleigh Pritchard’s fascination with social inequality, controversial lifestyles and internal struggles have become one of the overriding themes of her artwork. “It is the face in particular that tends to tell the story of what the body has experienced, physically and mentally,” Pritchard says. Her portraits are more than meets the eye. She imbues them with sense that there is a story behind each face. The story, Pritchard hopes, her viewers will interpret in their own way.

A native of Williamsburg, Virginia, Ashleigh Pritchard’s childhood love for drawing evolved into a unique style all her own. Her photo-realistic portraits are drawn with painstaking precision using graphite and conté crayon, charcoal, acrylic, and ink. Afterwards she applies watercolor wash to add layers of emotion and depth to her portraits.

Her senior thesis explores her interest in the feminine qualities possessed by male figures. “I am fascinated by the presence of feminine traits within the male body, internally and physically,” says Pritchard, “because I find that it enhances an entirely different level of beauty within a person.”

Eccentricity of a Suburb brings out these characteristics in her model. The figure seems very withdrawn, as if he is deep in thought. In accordance with this fascination, the figure has very delicate features and no facial hair. Additionally, somber and meditative qualities contrast with the stereotypical male persona of mental and emotional simplicity.

Introvert shows a distinct use of her interesting watercolor wash techniques. The feminine traits are seen in the model, but the entire piece is not delicate and polished. Pritchard’s vibrant colors reflect the emotion in each piece as well as the feminine aspects that are portrayed. Her style allows her to keep the soft and gentle faces while maintaining a raw texture throughout each piece.

Introvert

Eccentricity of a Suburb

H a s s o n R o b e r t s“My art is a journal of my life that is not yet complete conveying emotions and feelings without writing.”

A native of Pittsburgh, Hasson Roberts came to Christopher Newport University to play football and earn an art degree. Along the way his football days ended, but his days as an artist continued on and his talent, creativity and passion for art grew.

A prodigious sketcher, Roberts has amassed several large artists’ journals filled with sketches, notes and ideas for his artwork. His life and his art have both become bound up into his journals, and he has developed a deeply personal artistic vision that is filled with highly charged personal imagery and iconography.

Roberts works spontaneously only deciding at the very beginning of a new work which medium to use. He thrives on experimentation trying new forms of media such as computer art and printmaking. One overriding theme which weaves its way through Roberts work is purely raw emotion.” I want to leave a stamp of myself on everything,” I want people to feel the emotions that I felt when creating.”

His work brims almost to overflowing with images so emotionally charged that the viewer can nearly hear the screaming in Found Himself Escaping, a monotype print with graphite and watercolor applied by hand. Roberts used one of his photographs as the starting point for this work, as he often does. Rely/Rebel, depicts two sides of a figure. One silently struggling personality is juxtaposed with its overpowering opposite personality of roaring anguish. As for his future, Roberts says that it will include working with children. “I want to help kids develop their own personal style so that they don’t struggle like I did.”

Found Himself Escaping

Rely/Rebel

E r i k a S c h m a l e“Sometimes the most important part of someone’s life is their death. The act of dying can affect the world more than all of the acts of a person’s life.” These insightful words of artist Erika Schmale are reflected in the dramatic force of her unusual and fascinating works constructed out of assorted fabrics. “Through my martyrdom pieces, I want people to remember these common heroes so that their deaths were not in vain.” Each piece captures the essence of its subject and evokes an experience both inspiring and sobering within the viewer.

Following in the tradition of artists like Faith Ringgold, Schmale quilts, a craft that evokes the feeling of nurturing and comfort to address these riveting martyrs. She cuts and sews, weaving together collages that tell the bold statements of modern-day martyrs and heroes. Using themes of death and self-sacrifice, she conveys the importance of people giving their lives for the sake of the greater good. Her work Richard Danziger tells the story of a man falsely accused of murder, who during his imprisonment was beaten until he was severely brain damaged. His silhouetted figure is surrounded by objects symbolizing his captivity, like handcuffs and a watch.

Another powerful work, Thai Girl, stems from the tragic story of a 12-year old Thai sex-slave. When the young girl refuses sex, she is mocked and beheaded. Schmale captures this heartbreaking moment in the figure of the young girl, whose body is simplified to an abstract outline, while pattern and collage create the emotional undertones of the portrait.

Schmale’s use of pattern and bright colors in this piece impart a sense of texture and movement that tells the story of the young girl’s martyrdom. Several of her pieces reprise the techniques of simplified images, collage, and pattern to speak for those who have given their lives, memorializing their often forgotten stories.

Thai Girl

Richard Danziger

R y a n S t r o m f o r s“Art should inspire - it should call out to the deepest sensitivities inside us all. That’s what I strive to do.”

Childhood asthma would prevent Ryan Stromfors from participating in sports. Out of boredom, he would take scraps of wood from his mother’s interior design shop and paint on them using acrylic. As he matured, his eye for design and artistic flair further flourished when he took architectural classes in high school and continued to draw and paint. Today, Ryan Stromfors aims to relate his life’s struggles to the viewer through his painting. Conveying human emotions through his art is paramount for Stromfors, who uses a bright and lively palette and bold symbols to create his works.

Won’t You Listen? is one such example. An emotional subject for Stromfors, the painting is infused with personal symbolism related to a family illness caused by smoking. While the work does tell a personal narrative, Stromfors intends Won’t You Listen? to “get the viewer to relate to the piece whether that response be positive or negative.” “It’s about family, friends, those who are so close to us that are caught in the clinches of this addiction,” says Stromfors. He successfully portrays this message through his bold style.

Aside from his work as a studio artist, Stromfors is a devotee of architecture. Inspired by the work of Frank Lloyd Wright, I.M. Pei and Frank Gehry, he plans to pursue a career in architecture.

- Brendan Varley

Joyous Noel

Won’t You Listen?

T e r e s a T o m l i n s o n

Using various media to create her pieces, Teresa Tomlinson is driven by nature in all its glory. The good and bad, the bright and dark, the beautiful and weathered – all are impres-sions a viewer may take away from her love of nature expressed on canvas. Tomlinson’s favorite materials are acrylic paint and paper, but she also enjoys expanding into the use of origami paper, gouache, and watercolor.

Growing up in Newport News, some of Tomlinson’s most vivid memories are of trips to the mountains in Southern California. Her interest in art was sparked by these natural wonders back-dropped by the beautiful California sunset. Tomlinson carried with her an impression of these sunsets back home to Virginia.

Tomlinson’s Last Two Leaves is a vivid interpretation of a one-on-one experience with nature. In this dark scene, showing the transition from fall to winter, Tomlinson depicts two golden leaves becoming engulfed by the dark, barren trees overhead. Reflective of the harsh winter weather to come, this piece conveys a strong sense of isolation.

Much like Last Two Leaves, the Tomlinson’s contrasting works Trees on Water and Trees on Fire display nature in forms most people usually do not see. The cool color scheme of Trees on Water, in which trees spring forth from blue and silver water into an airy white background, is quite the opposite of the much Trees on Fire. The vibrant colors in Trees on Fire pop out, with the golden trees becoming engulfed by the red atmosphere.

Tomlinson’s unique techniques are almost hypnotic, causing the viewer to thoroughly contemplate each scene. Through these imaginative approaches, she is very successful in depicting the immense glory of nature.

- Brendan Varley

Last Two Leaves

Trees on Water Trees on Fire

C a r r i e W i l l i a m s“I want to appreciate the details of the human face…it tells so much about a person. I see my portraiture as a commentary on life.”

Carrie Williams’ portraits create the feeling of flipping through a larger-than-life photo album. The daughter of an artist, Williams discovered her gift for portraiture in high school and was encouraged her to explore her talents throughout her education.

Early on in her career, Williams found her medium of choice - graphite and charcoal. “Color detracts from the details and gets in the way. I want the viewer to be able to really engage with my subject. I want to let them in and meet the people in my world.” William’s process is uniquely her own. In creating her portraits she delicately smudges the graphite with her hands and fingers, manipulating that material in the same way that a sculptor would work clay. This technique allows Williams to create exceptional focus within her subjects and extract the layers of their inner personality.

Inspired by the giant portraits of Chuck Close, Williams magnifies and crops her portraits creating truncated snapshots of the people in her life. Based on personal relationships, her portraits are reflections of her emotional bond with the sitter. Some happy, some sad, her portraits all tell stories about the beauty and fragility of love and friendship.

Liberation tells the story of William’s own freedom from makeup. Commenting on the societal pressure on women to always wear makeup and look their best, Williams is herself the subject watching her always-present eyeliner slowly wash down her cheek after an exercise in her figure drawing class. Like an actress removing her mask after a show, the image is one of triumph and freedom.

Love is a Dangerous Angel, is a memorial to a friendship that no longer exists. The double portrait shows a fond memory from the past, before the relationship between these best friends soured when her friend was lured into a dark world. The power of the piece comes from the manner in which Williams crops the figures, allowing the viewer to see the friend begin to remove herself from the frame, pulling away and eventually being lost forever.

Williams’s appreciation of the magnificence of humanity truly shows in her artwork. “I hope to create commemorations of memories with the special people in my life,” she explains. She wants her viewers to explore the possible lives of the subjects and dig for the emotion that may be either apparent or concealed in her pieces.

Williams will graduate with a double major in studio art and art history, a rare achievement that speaks to her talent and her intellectual drive.

Liberation

Love is a Dangerous Angel

Department of Fine Art and Art History