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LAURA MILKINS MARIA NC E PORRATA S ARIA NAVARRO MICHELLE WINOWIAK OWIAK OWIAK DANNY MARTIN DANNY MARTIN ALEJANDRO PEREZ MIKO JONES MIKO JONES DIN DEMAS NNY M DANNY MA DANNY MA N S S HEATHER GREEN HEATHER GREEN HEATHER GREEN ro perez GARY ROZAN GARY ROZAN l din demasi LAURA MILKINS LAURA MILKINS lin H H th NNY M michell michell NNY M NNY M NNY M NNY M DRO P RO P RAE STROZZO NNY MARTIN IN WIAK WIA ALEJANDRO TOMIKO ZZO D D YI LIN EZ EZ JESSICA LANSDON MICHELLE W LAURA MILKIN A A M M M M EMA EMA ADIN DEMASI ALEJAN ALEJAN N N A A A A WINOW WINOW OWIAK OWIAK OWIA OWIA OW OW OW OW ZO RGE RGE JO MICHELLE MICHELLE MICHELLE WINO MICHELLE W MICHELLE WINO MICHELLE W MICHE MICHE MICHE MICHE MICH MICH MICH MICH MICH MICH MICH LLE LLE LLE LLE ELLE WINO ELLE WIN LLE WINO LLE WIN LLE WINO LLE WIN LLE W elle winow LAURA MILKIN LAURA MILKIN ADIN ADIN ILKIN ILKIN ILKIN ILKIN ZO ZO adin LLE WINOW LLE WINOW e strozzo danny martin MICH MICH DANNY MA DANNY M DANNY MA DANNY M ry ro REZ REZ YI LIN YI Z Z essica lan KO MIKO MIKO MI MI SI SI ROZ ROZ M M M M M M M GARY R GARY R THE THE HEATHE HEATHE HEATHE HEATHE ro p ro p GRE GRE G G Y Y LKIN KIN GARY GARY GARY GARY IN IN IN IN MASI MASI MASI MASI MA MA MA G G ALEJANDRO PEREZ H i lin lin H H H H ADIN DEMASI -yi yi -y -y y y yi lin yi lin yi lin yi lin yi lin yi lin yi yi yi y RE RE RE RE RE RE R GREE R GREE GREEN GREEN GREEN GREEN G G G G H H lin lin H H RO PERE RO PEREZ EZ REZ REZ REZ REZ EZ EZ E JORGE PORRATA LAURA MILKINS LAURA MILKIN ON S S N N S S S S RA MILKIN ILKIN TO TO TO TO A A A A O O O O O O O ASI ASI ASI ASI MILKIN K ILKI K TO TO TO O O O O SI SI S S SI S S NES E STROZ E STROZ HELLE W HELLE AS AS AS AS AS AS essica l ssica l MI MI MI MI MI MI M M SI SI SI SI GARY GARY GARY GARY MILKIN MILKIN MILKIN ILKIN TOM TOM M M M M M M M M M M M M SI SI SI SI SI SI SI GARY GARY GARY GARY GARY GA G GARY GARY GARY GARY AS AS AS AS AS AS A MILKIN K ILKI K MILKIN ILKI K TO TO TO O O O O O O SI SI S S SI S S S S S S S S ORGE PORR MI MI DAN DAN AN AN JO JO MI M MI M MI MI M HEATHER GREE ANNY MARTIN A le w le w le w le w MARTIN MARTIN MARTIN MARTIN MARTIN MARTIN MARTIN ALEJANDRO ALEJANDRO GARY ROZANC OZANC ZANC a a e strozzo zzo RO RO R R SICA LANS ICA LAN MARIA NAVARRO MARIA NAVARRO rae stroz rae stroz rae stroz rae stroz SSICA LANS LAURA MILKINS LAURA MILKINS AD AD AD A WIA WI Y Y Y Y INS INS INS INS DIN DEMASI DIN DEMASI DIN DEMASI DIN DEMASI DEMASI DEMASI EMASI GARY GARY GARY GARY GARY GARY GARY IN IN IN IN IN I I MASI MASI MASI MASI MASI MASI MASI MASI ASI ASI MASI ASI MASI G G G MILKIN MILKIN MILKI MILKI AD AD AD AD AD A A MILKIN MILKIN MILKIN MILKIN ILKI ILKI LKI DIN DEMASI DIN DEMASI DIN DEMASI IN DEMASI DIN DEMASI DIN DEMASI IN DEMASI DEMASI DEMASI DEMASI DEMASI ASI DEMASI N N ILKINS ILKINS ILKINS ILKINS ILKIN LK LKIN LK ILKI LKI LK SSICA ROZZO ROZZO GAR GAR OZANC OZANC OZANC OZANC JESS JESS ESS ESS AK A AK A RO RO RO RO RO RO RO rae stro ADIN D ADIN D DIN D DIN D DIN D DIN D y martin OZZ OZZ JOR JOR JOR JO miche he OZZ OZZ OZZ OZZ maria navarr PEREZ PEREZ MIC MIC i i N anc NY MARTIN NY MARTIN nowiak nowiak nowia nowia N N N N N N N N N N N N N N NS M M AD AD AD MIL MIL MIL MIL DIN D DIN D DIN D DIN DIN D IN D IN DE E DE E DE DE E E E E E E E M M M M M AD AD AD A A ADIN DE DIN DE DIN DE DIN DE DE DE E IN D IN IN D D DE E DE E DE DE E DE E E DE E DE DE E DE E DE E DE E DE DE E DE E E ICA ICA OZZO OZZO OZZO ZZ HSIN- RGE PORRA AD A e stro e stro AD AD AD AD ON wi wi wi wi wi wi wi IN IN IN IN IN IN IN IN IN IN I I I NY MA NY M NY MA NY M nowiak nowiak nowiak nowiak nowiak nowiak nowiak N N N N N N N N N N N N N n n n n n n n N N N N N N N ANNY MA MARIA MARIA h h DA DA MARIA MARIA MARIA MARIA C HSIN-YI LIN ADIN DEM ADIN DEM O JON O JON E ST E ST E ST E ST ARIA NAVARRO ARIA NA HSIN-YI LIN SIN-YI LIN TOMIKO JONE OMIKO JONE TOMIKO JONE OMIKO JONE ARIA NAVARRO ARIA NA E E H H H HSIN-YI LIN SIN-YI LIN SIN-YI LIN SIN-YI LIN TOMIKO JONE TOMIKO JONE TOMIKO JONE TOMIKO JONE TOMIKO JONES TOMIKO JONE TOMIKO JONE s MA MA DEMAS MAS RY ROZANC RY ROZANC M M M M NC NC NC NC RY ROZ RY ROZ RY ROZ RY ROZ GARY ROZAN GARY ROZAN GARY ROZAN GARY ROZAN GARY ROZAN GARY ROZAN GARY ROZAN ess SI SI GARY ROZANC GARY R AR AR IN D IN ra mil a mil MA MA MA MA ON ON HSIN HSIN HSIN SI MA MA MA M ZANC NC ZANC NC M M M M M M M ER GREE ER GREE ER R H H H H ON O ON RY ROZ RY ROZ RY ROZ N O ON n n E E E E anny marti HSIN YI LIN din demasi din demasi E H H ON ON ON SIN YI LIN SIN YI LIN NC NC a a SDON SDON SDON SDON HS S E E H H H HSIN YI LIN SIN YI LIN SIN YI LIN SIN YI LIN ozan alejandr lj d LAURA MILKINS LAURA MILKIN dr dr l l l l aleja aleja ale ale ale ale LK LK ADIN DEMA ADIN DEMA LAURA MILKINS S LAURA MILKIN DA DA DA DA MI MI MI MI MIL MIL MIL MIL MIL MIL MIL DA DA A A DA DA A aria navarro aria navarro aria navarro aria navarro A M A M A M A M LAURA MILKINS LAURA MILKINS LAURA MILKINS LAURA MILKINS LAURA MILKIN LAURA MILKIN LAURA MILKIN M M M M M M M M M M M M M M y mar ym RAE STRO RAE STRO RAE STRO RAE STRO mich mic STRO STRO STRO STRO STRO STRO R MICHELLE W RO RO tomik tomik RO R RO R GARY ROZANC GARY ROZANC OZZO OZZO OZZO OZZO ICA ICA ICA ICA OZZO ZZO OZZO ZZO OZZO OZZO ZO hs hs sin-yi lin sin-yi lin sin-yi li HEATH HEATH HEATH HEATH HEATH HEATH HEATH SICA SICA A A A A A A A LA LA A A eja JES JES LAURA LAURA LAU LAU AURA AURA AURA AURA UR UR UR UR UR UR UR AURA AURA AURA AURA UR UR U U UR UR UR UR UR AURA AURA URA URA AURA URA URA UR UR U U UR U UR UR U UR UR U ry r ry r LA LA LA L MARTIN MARTIN MARTIN MARTIN m m m m A A A maria nava maria nava maria nava maria nava maria nava maria nava maria nav AURA U AURA AURA AURA AURA U AURA AURA UR UR U UR U U UR UR U UR U U U URA URA URA URA URA URA RA URA URA R URA URA RA URA RA in-yi li N N LLE WINOWIA NOWIA N N N N G G AK A M M M M nc nc d d d d RTIN RTIN TIN TIN EL EL L L RTIN RTIN RTIN RTIN TIN TIN IN ASI ASI ASI ASI NNY MAR NNY MAR NNY MAR NNY MAR NN NN NN ICHE CHE ICHE CHE IC IC C NNY MAR NNY MAR NNY MAR NY MAR NNY MAR NNY MAR NY MAR NN NN N NN NN NN SSICA S LAURA M LAURA M LAURA M LAURA M MI MI MI MI MI MI MI MI MI MI MI MI MI SICA SICA URA M RA M URA M RA M URA M URA M M URA R URA R URA RA R URA R RA URA R U SS SS S S S S S S LA LA S S S AU A A A AU A S S S S LAU LAU LAU LAU LAU LAU LAU AU U U U U U U AU AU AU AU AU AU A AU AU AU AU A A AU A U AU U U AU A AU A U U LA LA LA LAU A A A AU A A AU A AU AU A A A A AU A A A A A AU A A A AU A e strozzo ANDRO PEREZ NDRO PEREZ JONES JONES ON ON DRO P DRO P O O HSIN-YI L HSIN-YI L -YI LIN EZ EZ C C nsdon nsdon JONES S JONES S AND AN JONES JONES S S JONES S S ZANC ZANC ZANC ZANC ROZANC ROZANC ROZANC ROZANC C C ROZANC ROZANC ROZANC SICA LANS ICA LANS SICA LANS ICA LANS ICA LANS ICA LANS LANSDO LANSDO ILKINS ILKINS ILKINS ILKINS JESS ESS JESS ESS N N N N ILKINS ILKINS ILKINS ILKINS ILKINS ILKINS ILKINS GA GA GA GA JESS JESS ESS ESS JESS ESS ESS LA LA SDO SDO SDO SDO SDO SDO SDO SDO SDO SDO SDO E A A ANC ANC A A LA LA LA L L L MI I M MI M MI MI I I MI I I MI MI I MI MI I ELLE WINOWIAK ADIN DEMA ADIN DEMA C C HEATH ae stro ae stro AD AD AD AD D D D D D D MICH MICH t ik t ik ik ik a D M M SI ASI D D tomiko m IN DEMASI IN DEMAS EMASI MA MARIA NAVARRO MARIA NAVARRO MARIA NAVARRO MARIA NAVARRO GAR AR alejandr alejandr alejandr alejandr EMASI MA MAS A EMASI MA GAR GAR GAR GAR GAR GAR G ess SI SI SI GAR GAR AR AR IN D IN ra a ra a DO DO DO DO SDO O DO SDO O DO O AR AR AR AR A AR O O SO O n n n SD SD SD SD SD SD HELLE W HELLE W M M M M SI ASI ko jones ko jones ko jones ko jones tom tom tom tom MARIA NAVARRO MARIA NAVARRO MARIA NAVARRO MARIA NAVARRO MARIA NAVARRO MARIA NAVARRO MARIA NAVARRO alejandr alejandr alejandr alejandr alejandr alejandr alejandr GA GA G G GA G G GA GA G GA GA G hs hs hs hs hs hs hs ejandr e ejandr e ejandr ejandr e ejandr e e ejandr e ejandr JESSICA LANS JESSICA JESSICA LA JESSICA LAN J JESSICA LA J JESSICA LANS JESSICA JESSICA LA JESSICA JESSICA LAN JESSICA LA J GA GA G G G G G GA GA G G G G G AN N N A AN N N A ANS N A AN N N A sin-yi lin sin-yi lin si si in-yi li i i in-yi lin in-yi lin i in-yi li in-yi li i ANS ANS A AN AN A A ANS ANS A A AN A A HEATHER GREEN HEATHER GREEN HEATH HEATH HEATHER GREE H H HEATHER GREEN HEATHER GREEN HE HEATHER GRE H H HEATHER GREEN HEATHER GREEN HEATH HEATH HEATHER GREE H H H HEATHER GREEN HEAT HE HEATHER GRE H H JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LA JESSICA LANS J CA LAN JESSICA LA J JESSICA LAN J CA LAN JESSICA LA CA LA JESSICA LANS J JESSICA LA J A LA JESSICA LAN J A LAN JESSICA LA J A LA HEA A H H H H H H HE H H H H H H HEA A H H H H H H HE H H H H H H H JESSICA LA JESSICA LA J J CA LA JESSICA LA JESSICA LA J J CA LA CA L JESSICA LA JESSICA LA J CA LA CA L JESSICA LA JESSICA LA J J CA LA CA L JESSICA LA J J A LA A JESSICA LA JESSICA LA J J A LA JESSICA LA JESSICA LA J J A LA A JESSICA LA JESSICA LA J A LA A HER GREEN HER G AD AD ADIN DEMA ADIN DEMA ADIN DEMA ADIN DEMA stro stro AD AD AD AD HELLE W HELLE W HELLE W HELLE W ADIN DEMA ADIN DEMA ADIN DEMA ADIN DEMA k j k j k j k j k j k j k j HEA EA AR AR R R HEA HEA EA EA H H VA VA VA li li H H H H H H nny mar HEATHER GRE O O GARY ROZANC ROZANC G G G G HEATHER GREEN HEATHER GREEN RA MILKINS H H H H ADIN DEMASI ADIN DEMAS jessica lans jessica lans HE H GARY ROZAN GARY ROZAN HE HE H H MILKINS MILKIN H H H H GARY GARY GARY GARY H H H H H H HEATHER G C HSIN-YI LIN A NAVARRO A NAVARRO ANNY MA ANNY MA A NAVARRO NAVARRO A NAVARRO NAVARRO LAURA MILKIN AURA MILKIN RO RO RO RO tin N N d d M M AR AR AR AR M M M M M M JO JO ARTIN ARTIN N N N N MART MART ART AR RTIN RTIN RTIN RTIN RTIN RTIN RTIN MART M MART M A A MARTIN MARTIN MARTIN MARTIN MARTIN MARTIN MARTIN MA MA MA MA MA MA ANDRO PEREZ ANDRO PEREZ ANDRO PEREZ ANDRO PEREZ TIN TIN TIN TIN TIN TIN TIN TIN TIN TIN TIN TIN TIN TIN TIN TIN TIN TIN an ARTIN ARTIN IN N nowiak nowiak nowia nowia N N N N N N N N N N N N N N ANDRO PEREZ ANDRO PEREZ AN A N N nowiak nowiak nowiak owiak n n N N N N N N N N N N N N N N i i w. tulley straub WIA I demasi ema WINOW WINOW N N ER GREE ER GREE ER GREE ER GREE N N E E E E ER GREE ER GREE ER ER ER GREE E E E E E E E E E a a REE REE ON ON ON N REE REE REE WINOW WINOW la la la la H H HEATH HEATH HEATH HEATH HEATH HEATH HEATH A G N HEATHER GREEN HEATHER GREEN HEATHER GREEN EATHER GREEN EATHER GREEN ATHER GREEN HEATHER GREEN HEATHER GREE HEATHER GREE EATHER GREEN ATHER GRE EATHER GREEN HEATH E HEATH E HEATH HEATH E HEATH HEATH HEATH hs hs hs hsin sin sin in in in in HEATH HEATH HEATH HEATH HEATH EATH EATH HEATH HEATH HEATH HEATH HEATH HEATH ATH lkin lkin HEATHER HEATHER HEATHER HEATHER SICA LANS ICA LANS SICA LANS ICA LANS ANSDON ANSDON ANSDON NSDON KINS INS KINS INS IN IN I H H H H H H H JESS ESS JESS ESS JESS JESS ESS HEATHER GR HEATHER G HEATHE HEATH HEATHER GR HEATHE ATH EATHER GREEN ATHER GREEN EATHER GREEN ATHER GREEN EATHER GREEN EATHER GREEN ATHER GREEN EATHER GREEN ATHER GRE ATHER G EATHER GREEN ATHER EATHER GREEN N N N N N N H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H d d d d GR GR GR GR GR GR GR SDO SDO SDO SDO SDO SDO DO GR G GR GR G WINOW WINOW ANSDO NSDO ANSDO la la a a la a a H H H H H H H HEATHER GREEN HEATHER GREEN HEATHER GREEN HEATHER GREEN EATHER GREEN EATHER GREEN ATHER GREEN HEATHER GREEN HEATHER GREEN HEATHER GREEN EATHER GREEN ATHER GREEN EATHER GREEN HEATHER GREEN HEATHER GRE HEATHER GREEN HEATHER EATHER GREEN ATHER GRE EATHER GREEN ATHER HEATHER GREEN HEATHER GREEN HEATHER EATHER GREEN A A N N N N N N N N N N H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H H W. TULLEY STRAUB W. TULLEY STRAU laura milkins aura milkin E WINOW WINOW WIAK WIAK IA IA MARTIN MARTIN ura m ura m am am CH CH MA MA IKO JONES IKO JONES WINO WINO WINO WINO ilkins ilkins lkin lkin MICHELLE MICHELLE MICHEL MICHEL OW OW OW OW OW O O JORGE POR JORGE POR MICHE MICHE MICHE MICHE aura mi aura mi aura m aura m TOMI TOM TOM TOM LLE LLE LLE LLE LLE LLE LLE ilkin lkin lki lki lk lk lk ANNY M NNY M ARTIN ARTIN ARTIN ARTIN HELLE W HELLE HELLE W HELLE A N A N A A ria navarro ria navarro DANNY M DANNY M DANNY M DANNY M MIC MIC MIC MIC ANN M M ANN M M ANN M ANN M M maria navarro maria navarro maria navarro maria navarro maria nav maria nav maria nav maria nav maria nav maria nav maria nav LAURA MILKINS LAURA MILKINS LAURA MILKINS LAURA MILKINS LAURA MILKINS AURA MILKINS AURA MILKINS LAURA MILKINS LAURA MILKINS A MILKINS LAURA MILKINS LAURA MILKINS URA MILKINS W. TULLE IN N zo zo HSIN YI L HSIN YI HSIN YI L HSIN YI raub NC p p GARY ROZAN GARY ROZAN GA GA ro p ro p ON ON d dr dr ES ATA O JON O JON NNY M NNY M DANNY MA DANNY MA Y MA MA miko miko A ALE NNY M NY NNY M NY m m ny mart y mar HSIN-YI LIN HSIN-YI LIN N-YI N-YI MARTIN MARTIN MARTIN MARTIN ARTIN ARTIN ARTIN ARTIN AR AR AR j j j j AN O N EJANDRO PERE MARTIN A MARTIN A MARTI MARTI A ANDRO PEREZ ANDRO PEREZ RO RO TIN TIN TIN TIN ARTI ARTI RT RT HSIN YI LIN HSIN YI LIN HSIN YI LIN HSIN YI LIN N YI N YI N ART R ART R RTIN RTIN RTIN RTIN RTIN RTIN RTIN ANDRO PEREZ ANDRO PEREZ ANDRO PEREZ ANDRO PEREZ RO RO RO TIN TIN TIN TIN TIN TIN TIN adin demasi adin demas din demasi din demas N N Z N N z z z RY ROZAN Y ROZAN SICA LANS ICA LAN CA L L RY Y RY Y S S S S ZAN ZAN SDON SDON DON DON D nn nn LAUR LAUR W TULL W TULL il il il il ria nav ria nav ria nav ia nav maria na maria na maria na maria n n ATHER G ATHER G GR GR GR GR R GR R GR R GR R GR GR GR GR GR GR GR GR ATHE ATHE RR RR R ATHE ATHE ATHE RO RO RO RO RO RO R GR R GR R GR AUB i i i i b b ATA ATA ATA ATA masi masi mas mas z z z z z z z ATA ATA ATA ATA ATA TA TA z z z z z z z z z z z masi masi z z z STRAUB REEN ALEJANDRO PEREZ RO S RE E R JESSICA LANSDO JESSICA LANSDO and aleja leja ones nes ER GREEN ER GREEN ER GRE ER GRE VARRO VARRO VARRO VARRO HEATHE HEATHE HEATHE HEATHE HEAT HEAT H AR AR R R R R R jand and VAR VAR VA VA VA VA VA TOMIKO JONES TOMIKO JONES TOMIKO J TOMIKO J ER GREEN ER GREEN ER GREEN ER GREEN ER GRE ER GRE ER GRE O O O O O O O ATHE ATH ATH ATH ATHE ATH ATH AT AT AT AT AT AT jand jand jand TOMIKO JONES TOMIKO JONE TOMIKO JONES TOMIKO JONE TOMIKO JONE TOMIKO JONE TOMIKO JONE RY ROZANC RY ROZANC RY ROZAN RY ROZAN VARRO VARR VARRO VARR VARR VARR VARR HEA HE HEA HE HEA HEA H H H H H H H alej alej lej le ale O O aleja aleja le e aleja e ale ale ale ale le e ale ale a e eja ja ja ja ja ja j RY RY RY alej alej alej alej le le le ale ale a e VA VA VA VA VA and and aleja aleja le aleja aleja e e ale ale ale ale le le ale ale e . tulley strau . tulley strau NC N C o perez o perez o perez o perez GARY ROZAN GARY ROZA GARY ROZAN GA GARY ROZA GA GA ro p ro p o S S o o o JESSICA LANSDO JESSICA LANSDO JESSICA LANSDO ESSICA LANSD d dr dr dro dro dro dro ro ONES ONES NES NE N EN EN EN dro dro ro o o dr dr dr dr B B R R R R RRO R RRO RO RO ER GR ER GR RRO RRO RRO RO RO E E E RO RO RO RO RO RO RO R GR RG R GR gary rozanc MICHELLE MICHELLE LAURA MILKINS S JESSICA LANSDON W. TULLEY STRAUB W. 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TULLEY STRAUB IN N zo zo HSIN YI L HSIN YI HSIN YI L HSIN YI w. tulley straub SICA LANSDON SSICA LANSDON SDON SDON l l -yi yi yi yi -y -y y y y y y l l l l i i i i i il il l i i i i - - i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i i hsin il il i i h h i i i i i i i TRAUB RAE S RAE S JES JES RAE STR RAE STR RAE STR RAE STR M M STR STR STR ST STR STR ST ST STR ST ST S S S S S S S S L L L L L L L L L L L S S S L L L L L S S S S S S S S S L L L L L L L L L L L L L L L L L L WIA IA JES JES JES JE AD AD AD AD JES JES JES JE JES JE JE JES J JE J JE JE J JES J J JE J JE GA G J J J JES J JES J JE JE J E E E AD AD AD A AD AD A J J J J J J J JES J JES J JES JES J JE J J JE J JE JES J JES J JES J ES JE JE J JE J ORGE POR ORGE POR JORGE PO JORGE PO JORGE PO JORGE PO TOMIKO TOMIKO OMIK OMIK ORRATA ORRATA ORRATA ORRATA RATA ATA ATA mik mik ik ik ALEJANDRO PEREZ ALEJANDRO PEREZ ALEJANDRO PER ALEJANDRO PER ALEJANDRO PEREZ ALEJANDRO PER ALEJANDRO PER ORGE PORRA E PORR ORGE PORRA E PORR JORGE PORRATA JORGE PORRATA JORGE PORRATA miko jones iko jones miko jones iko jones iko jones iko jone iko jon ALEJANDRO PEREZ ALEJANDRO PEREZ LEJANDRO PEREZ LEJANDRO PEREZ ALEJANDRO PER LEJANDRO PE LEJANDRO PE ALEJANDRO PEREZ ALEJANDRO PEREZ EJANDRO PEREZ ALEJANDRO PER ALEJANDRO PER EJANDRO PE JO JO JO O J s s s s IKO KO K ORRATA ORRATA ORRATA ORRATA RATA RATA ATA s s s Z Z Z Z Z Z Z alejandro p alejandro p alejandro p alejandro p alejandro p alejandro p alejandro p s s s s es es es es es es es Z Z Z Z Z Z Z alejandro p alejandro p alejandro p alejandro p alejandro p alejandro p alejandro p alejandro p jandro p jandro p alejandro p jandro p alejandro p s s s s s s s s s EJANDRO PEREZ EJANDRO PEREZ EJANDRO PERE EJANDRO PEREZ EJANDRO PEREZ EJANDRO PER EJANDRO PER din de in din de in din de din de in s s s s Z Z Z Z Z Z Z Z alejandro perez alejandro perez an an alejandro perez an an alejandro perez alejandro perez an alejandro perez alejandro perez an s s s s s s RA RA RA RA RA RA RA A A A A A A A perez perez perez perez perez perez perez pere pere pere pere pere pere perez perez perez perez perez perez perez perez pere pere perez pere perez pere pere pere pere pere pere pere pere pere pere pere pere pere pere perez pere perez e e e e pere p pere p ORG ORG ORG ORG O O O O m m J J m m J J J J J J J J mi mi i i mi i i mi i mi i J J J J J J J J J J J J J J ge ge ge ge r r r r d d d d d d d KIN KIN J J J J J J TO TO TO TO J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J J r r r r d d d d d d d g g g g d d d d d d d d d d d d r r r r r r r d d d d d d d d d d d d d rg rg g g rg g g g g g g g g d d d d d d d d d d d d d d d d d d d d d d d d d r r r r r r r d d d d d d d d d d d d d jone rae JOR JOR e e y y y y r r danny danny danny danny danny danny dann n n n n n n r r r r dan dan dan dan dan dan d dan da d dan da dan dan dan dan dan dan dan da dan da da dan da dan dan dan dan dan dan da dan d dan dan da dan da d r r r r r danny danny danny danny d d d d d d d d d o JO JO RAE RAE RA RA OZZ OZ OZZ OZ JO JO JO JO JO JO JO O JO O JO RAE RAE RAE RAE ata ata TOMIKO TOMIKO y marti y marti marti marti RAE STRO RAE STRO RAE STRO RAE STRO RAE STRO RAE STRO RAE STRO E PORRATA E POR E PORRATA POR DRO PEREZ DRO PEREZ PEREZ RAE RAE RAE RAE RAE RAE RAE O O at at at at ES ES ES ES ES ES ES RRATA RRATA RRATA RRATA RRATA RRATA RRATA EZ EZ EZ EZ EZ EZ EZ RAE RAE RAE RAE RAE RAE RAE RAE RAE RAE RAE RAE RAE RAE GE POR GE POR PO PO AN AN O AN O AN O TOMIKO TOMIKO OMIK OMIK JANDRO PEREZ JANDRO PEREZ NDRO PEREZ NDRO PEREZ TOMIKO OM TOMIKO M TOMIKO TOMIKO M AA AA AA AA DRO PEREZ E DRO PERE PEREZ E PERE T T T T OR OR O JANDRO PEREZ JANDRO PEREZ ANDRO PEREZ EZ Z EZ TOMIKO TOMIKO TOMIKO ORG ORG ORG RG A A A A A A A ALEJ ALEJ ALEJ ALEJ AL A A OR OR OR OR ALEJ ALEJ ALEJ ALEJ ALEJ ALEJ ALEJ JORG ORG JORG RG JORG JORG RG ALEJAND ALEJAND E ALEJAND ALEJAND E E ALEJ ALE ALEJ E E E E ALEJ ALE ALEJ LE E E EJAND JAND JAND JAND N JAND JAND N JAN ALEJ ALEJ ALEJ ALEJ E E ALEJ ALEJ ALEJ ALEJ E E E ALEJ LE ALEJ ALEJ ALEJ E E E E E ALEJ E ALEJ E ALEJ ALEJ E E E E E e e e e e e e J J J J A A A A y y y y anny anny anny anny anny anny anny anny s TR TR Y STRAUB r r r university of arizona school of art MFA 2008 MASTER OF FINE ARTS THESIS EXHIBITION

JESSICA LANSDON JORGE PORRA MICHELLE W MIC …rar ez yilin jessica lansdon rtin totomikom iko mi heather herg rgr m g n din demasialejan danann na gary rozanc nnc c greeh jessica lansdon

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Page 1: JESSICA LANSDON JORGE PORRA MICHELLE W MIC …rar ez yilin jessica lansdon rtin totomikom iko mi heather herg rgr m g n din demasialejan danann na gary rozanc nnc c greeh jessica lansdon

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university of arizona school of art MFA2008 MASTER OF FINE ARTS THESIS EXHIBITION

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university of arizona school of art MFA2008 MASTER OF FINE ARTS THESIS EXHIBITION

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ESSICA LANESSICA LAN

UNIVERSITY OF ARIZONA SCHOOL OF ART 2008 MASTER OF FINE ARTS THESIS EXHIBITION

april 10 – may 18, at the joseph gross gallery and the university of arizona museum of art

04 ADIN deMASI

06 HEATHER GREEN

08 TOMIKO JONES

10 JESSICA LANSDON

12 DANNY MARTIN

14 LAURA MILKINS

16 MARIA NAVARRO

18 ALEJANDRO PEREZ-AVILA

20 JORGE PORRATA

22 GARY ROZANC

24 RAE STROZZO

26 MICHELLE WINOWIAK

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adin demasiADIN DEMASIadinadinADIN DEMASI

ADIN deMASI. Women are fascinating and complicated. Women are

cryptic and beautiful; women are peculiar and compelling. Women are

dangerous. But so are men, and so are rattlesnakes and small choking

parts. The ironic statement is a bold one and even smacks of provocation.

It is undeniably true even if sorely incomplete. Gender relationships have

so rapidly morphed over the last 30 years that the framework for how we

should act is nebulous. There is no singular model for how the modern

man should relate to the modern woman. I am trying to represent my own

bewilderment through this cacophonic¹ display of images, text and music.

I am trying to pull the viewer in using the cheapest of means. Screaming

declarations tend to polarize and force dialogue (even if the technique is

a little like that of the carnie).

‘Them is fightin’ words.’

Here the words “Women Are Dangerous” function to limit the multiplicity

of connotations offered by the images even while it relays and expands

the significance of the images. I am interested in the phenomena of

proximity and how our cultural codes tell us that when words and images

are next to each other they belong together or “mean something.” I am

also emphasizing the essentiality of the viewer—when a viewer steps onto

the dance floor/stage they trigger the motion-detected music²—when they

stop moving, the music stops. This heightens the sense that the viewer’s

very presence is vital and actually completes the piece. The music is

coupled with a jumble of images to stress the physicality of the act of

viewing (even the eye must move about quickly). By exaggerating the

physical experience, the viewer then becomes hyper-aware of the perfor-

mative nature of active viewership.³ ■

¹ Thanks Gwyneth.

² The original “Women Are Dangerous” dance tracks.

³ When confronted with a barrage of visual information (like we are every day) the

active viewer will consciously analyze, interpret, decipher and conclude for him or

herself what it all means. The passive is simply barraged. It is not enough to be bom-

barded by images to qualify the bombardee for active viewer status. It is not unlike

the difference between being force-fed unlabeled cold canned goods and going to

the market, selecting ingredients and making your own meal.

Women Are Dangerous, 2008, mixed, dimensions variable

|ADIN DEMASI 05

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HEATHER GREENHEATHER GREEN

heather greenGREENGREEN

HEATHER GREEN La Cholla, a headland near Puerto Peñasco,

Mexico, has one of the largest tides in North America. The semi-diurnal

rhythm of the tide completely empties the bay and exposes the thriving

biodiversity in the rocky reef and tidal flats, then hours later erases any

trace of the organic texture, replacing it with a vast expanse of blue.

The red chair depicted in the paintings alludes to the fable of King Cnut,

so besotted with his own power that he boasted he could control the

tides. Though a story over a thousand years old, its point is apt: one can-

not control the natural cycles of the world, nor demand that they bend to

one’s will.

The skeletal steel structures of the mutoscopes bear a resemblance to

coastal beacons, museum cases, the inner workings of clocks, and devices

from the 20th century tourist industry. This reference to early technology

evokes the industrial age, when we began to harness natural resources

on a grand scale to improve the quality of life, forgetting that part of that

quality was simply the presence of the wild expanse of the other, and the

time necessary to appreciate it.

The mutoscopes speed up the process of the tide so we can see it more

evidently, as a phenomenon that sets La Cholla apart from other places.

They offer us a technique to control the speed of the tide by how fast we

crank the handle and yet provide us with an apparatus for delighting in

the incredible breadth of the tide’s wake. ■

Tide Cycle — An Act Against Erasure, 2008, mixed, dimensions variable

|HEATHER GREEN 07

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tomiko jonesTOMIKO JONESTOMIKO JONESESES

TOMIKO JONES

draw forth, cast aside

small gestures of drifting weight

open sky above

It is said that the one thing we can be certain of is change. It is a constant,

yet we never can predict when and at what velocity it will arrive or depart.

It came as a tempest raging. Then began the long cycle of yearning deeply

for something past, a permeable dark anger, while struggling to lift eyes to

the open sky above that offered possibilities. In consideration of attachment

as a physical state, a ball of string finds it’s way into my hands. At first I

walked out into a dry desert wash, a place that holds the memory of water.

Later I took it everywhere: wound it, unwound it, cast it into rivers and off of

cliffs and drew it back, longing and despising, a gesture of almost desper-

ate measures. At times we find the most profound things during our lowest

points, the richness of the well revealed.

I have heard many times that everything you need to know you can learn

from a river. It is always flowing but always different, moving constantly

towards its destination. Memory, like water, is fluid and changing. The

landscape offers metaphors for existential understandings.

Transformation occurs in allowing things to change states as simply as mol-

ecules become solids, liquids and gases. Small gestures repeat themselves,

and finally, something very physical and recognizable, a visible change to

the body. The moment of ritual creates a liminal space for transcendence

beyond the everyday exhaustion of human activity. ■

(from left) Shorn, 2008, part three of a timed sequence video installation

Drowning, 2008, video, part one of a timed sequence video installation

Wound, 2008, video, part two of a timed sequence video installation

|TOMIKO JONES 09

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jessica lansdonJESSICA LANSDON

j i lj i lJESSICA LANSDON

|JESSICA LANSDON 11

JESSICA LANSDON I have made these six things to be viewed together

and in order. Each is an articulation of the relationship between consump-

tion and war, celebration and casualty.

When my aunt, Gail James Yoakum, died last year, the newspaper

republished an editorial she wrote when the Paris Peace Accords were

signed, officially ending U.S. involvement in Vietnam. Seven months after

she became a widow Gail wrote about how she viewed the end of the

war: its repercussions and responsibilities, the relationship between the

personal and shared loss, private and political sacrifice. She is aware of

her problematic position as one who belongs to the side of the aggressors

despite their sympathies and pain. The article helped me mourn and re-

member Gail as she was, and gave me cause to consider the similarities

and differences between the conflict we are currently engaged in and the

one that was ending 35 years ago.

On the shelf are copies for people to take home with them.

The legacy of the Endless Column is, foremost, an advanced language of

“pure” form and geometry. The great master produced the sculpture many

times over at smaller scales in timber, bronze, and stone. As it was reiter-

ated, divorced from it’s original context (Romanian memorial to soldiers

who died in World War II) and reference to real and symbolic preexisting

forms (funerary poles, axis-mundi) the column has lost much of it’s intend-

ed meaning. I wanted to use this multivalence form: war monument, acme

of pure form, and glorified-useless furniture to examine how individual

works are depoliticized and emptied of their intended significance.

My endless column is a bottomless container for those needs left unmet by

desire based consumption at the end of war. ■

(opposite, from right to left) New Era, 2008, Essay by Gail James Yoakum; originally

published January 28, 1973 and again June 17, 2007 with Gail’s obituary. Column

After Brancusi, 2008, cups, house and craft paints, telescoping extension pole. Field,

acrylic on ink jet print. We Will Bury You (Hollow Monument), 2008, plastic bottles,

string, wire polyurethane foam, PVC, bamboo, house and craft paints. LOSS, 2008,

acrylic on ink jet print. Waving/Still/Fallen, 2008, cut vinyl and shopping bags,

construction twine, novelty yarn, adhesive tape, stones, bricks, and concrete

(below) LOSS, 2008, acrylic on ink jet print

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danny martinDANNY MARTIN

yyDANNY MARTINININ|DANNY MARTIN 13

DANNY MARTIN The Magic City is a reference to the nickname of

Birmingham, Alabama. This is important because I like to think of

Birmingham as my hometown, even though I grew up in a very rural

section of Alabama, about 45 minutes south of the city. I consider a

person’s hometown to be their point of reference…not just of origin.

This is my amusement park ride version of Birmingham. I had to present my

imagery in a ride format to properly present how I remember/experienced

my background. To have any honesty at all…there had to be an element of

the silly while still presenting the subject matter with respect.

Hopefully I have done an adequate job of balancing those elements. ■

The Magic City, 2008, inked sintra plate, dimensions variable

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laura milkinsLAURA MILKINS

llLAURA MILKINS

|LAURA MILKINS 15

LAURA MILKINS “The central question is why would any woman —

for that matter any man — want to make themselves over just to please

another person? There is no such thing as a ‘Perfect Woman’…or a

‘Perfect Man’.”

–Cheshirecat on The Perfect Woman BLOG

Cheshirecat is right. There is no such thing as a Perfect Woman or

Perfect Man. Yet, there is a whole industry built around the pursuit of this

impossible goal: cosmetics, fitness, plastic surgery, diets, and makeover

shows. You can have your hair styled, cellulite massaged, teeth fixed,

nose reshaped, penis enlarged, and breasts augmented. You can consult

self-help books, life coaches, psychiatrists, psychics, personal trainers,

and shamans. And the lists continue. There are endless ways to “improve”

yourself, and plenty of people to help you along the way, for a fee.

The question I hope to ask with this project is, “Why would any woman

— for that matter any man — want to make themselves over just to please

another person?” Indeed, why is American culture so obsessed with

“perfection” and “personal transformation”? How does this affect our

expectations in relationships and shape our sense of self?

By offering my body as a canvas for the desires of others and by going

through this transformation and dating process in a public, unedited,

transparent way, I hope to encourage people to take a look at their

lives and how they are or are not affected by social pressures. Ideally,

Perfect Woman Project will foster dialogue about cultural practices, love

and identity. ■

(opposite) Perfect Woman Project #2, 2007–2008,

Online Interactive Performance, 180" x 108" x 120"

(below) Perfect Woman Project #3, 2007–2008,

Online Interactive Performance, 54" x 48"

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MARIA NAVARROMARIA NAVARRO

maria navarroVARROO|MARIA NAVARRO 17

MARIA NAVARRO my creative praxis is informed by a deep desire to

explore and visually interpret social issues that affect me at personal or

empathic levels. Concern such as the gross inequalities often encountered

in our society — nurtured and fueled by innocuous causes cloaked as re-

ligious, pseudo-scientific, nationalistic or political dogmas greatly impact

my art making.

My work also charts how differences in cultural patterns, belief systems,

race, and lifestyle choices are hierarchically positioned to creating the

illusion of dominant and subordinate classes. I am moved by the recogni-

tion that groups who feel threatened, strategize to create meanings to

subdue, exile or destroy that which does not calibrate with their social

constructs or views of themselves.

It is a prodigious misconception that one’s wealth must be accompanied

by another’s poverty, one’s success by another’s failure. We are condi-

tioned to believe in this dichotomy as the natural and inevitable process

of the survival of the fittest, when, in fact every individual has the natural

right to enjoy what the world has to offer, and has the potential to

succeed certeris paribus.

As a graphic designer, I am interested in creating compelling messages

that contribute to the betterment of society. I am to bring awareness to

issues that affect those that have no voice. My process is to maintain an

attitude of inquiry and a desire for experimentation. I endeavor to avoid

limiting my message by a specific set of tools or media. Rather, my objec-

tive is to enhance what I have mastered with new materials, processes,

and technologies.

Through my visual work, I desire to bring attention and encourage

participation in the discourse of current conditions of social inequality,

command the attention of the viewer by placing him or her in the position

of the marginalized, and inject a cerebral aftertaste that will provoke

participation in social change. ■

(below) Muñeca, 2008, Artist Book–Exterior: red book cloth, glass vial containing

human blood, Interior: digital prints on Masa Rice Japanese paper, Font: Gills Sans

Light, 5"x 9"

(opposite) 92,160, 2008, Artist Book–Exterior: red book cloth, glass vial containing

human blood, red embroidery thread, Interior: digital prints on Masa Rice Japanese

paper, Font: Gills Sans Light, 7"x 5"

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alejandro perezALEJANDRO PEREZ

jjALEJANDRO PEREZEREZEREZ|ALEJANDRO PEREZ-AVILA 19

ALEJANDRO PEREZ-AVILA I am interested in the digital: using computer

code to create meaning and balanced compositions. But how can a com-

puter function form a narrative?

“Code” is just a set of define instructions that tell a computer what to do,

but the meaning of the “code” can also serve to define a purpose.

From this idea I envision the piece Family Portrait.

The piece is divided in two sections:

The visual — “Family Portrait” — which includes five interactive portals,

each representing my relationship with my parents and siblings.

The code behind — “Family Portrait” — which includes computer instructions

that defines my relationship with my parents and siblings.

— Mother: The Visual: set of flowers. The Code: Mathematical function that

draws flowers.

— Father: The Visual: Unbreakable bricks. The Code: Physical function that

applies forces to a brick depending on the surrounding bricks.

— Older Brother: The Visual: Spinning circles. The Code: Recursive function

that finds the shortest path to a point.

— Younger Brother: The Visual: “a square blob”. The Code: Physical func-

tion that generates a center of gravity. ■

(opposite, top) Family Portrait, Para Jorge (for Jorge), always ending together,

2008, digital, 19"x15"

(opposite, bottom) Family Portrait, Reel Interface, 2008, digital, 19”x15”

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jorge porrataJORGE PORRATA

jjJORGE PORRATA

|JORGE PORRATA 21

JORGE PORRATA What came first, the story or the image? What the

Animals Had to Say explores the relationship between the creation of

images and stories. As an illustrator, I often create illustrations for stories,

but in this work the images informed the stories, and both later defined

the final illustrations.

Beyond this process, this work is a tiny version of human history, or pas-

sages of it, as some sacred books have recorded. It also depicts different

facets coexisting in our own personalities that shape our behaviors. As

a spiritual book, as its narrative suggests, it calls for a harmony between

man and nature and within man himself.

More than the obvious Aesop’s Fables, What the Animals Had to Say is

a hybrid work rooted in oriental philosophy, similar to the five ancient

books of the “Panchatantra” which were the first animal fables to appear

in literature. More intimately, it owes a debt to the works of poets like

Khalil Gibran and Rabindranant Tagore, and to spiritual masters like

Paramahansa Yogananda and Lao Tse. I also cannot deny influences

from the Ancient Testament and Christ’s teachings. I was also inspired by

the conversations with my great-grandmother about spirituality and her

Rosicrucian practices. ■

(opposite) What the Flying Cat Said to the Fish Headed Man, 2008,

intaglio, 9"x12"

(below) What the Three Headed Dragon Said to the Stubborn King

(detail), 2008, intaglio, 9”x12”

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GARY ROZANCGARY ROZANC

gary rozanc|GARY ROZANC 23

GARY ROZANC what forces might cause one booming urban center to

grow depressed while another major population center in severe decline

remains spirited? Many assume that economic growth and cultural attrac-

tions create thriving cities and downtowns; however, across the United

States, modern-day ghost towns are paradoxically experiencing substan-

tial economic and cultural growth, a phenomenon that defies existing

stereotypes. The Pavement Memoirs project is dedicated to understanding

and celebrating our relationships with major urban centers.

My Pavement Memoir is a celebration of the relationship I maintain with

Cleveland, Ohio, a four-time All-American City. My connection emerges

from Cleveland’s ability to submerse me in its daily rituals. Once suffused

in such beauty and history, I go beyond the architecture and public

works that represent the historical richness, and realize that businesses

have closed, public schools have failed, and local government have

been hopelessly buried in a myriad of problems too complex for any one

person to solve.

Once the fifth-largest city in the United States boasting nearly one million,

Cleveland now ranks fortieth in population with a mere four hundred

thousand. This reduction in population suggests a corresponding decline

in spirit, yet modern boomtowns in the United States scarcely compare to

the exuberance of a shrinking city like Cleveland. This duality of beauty

and decline makes me question why Cleveland remains a destination that

enlivens the soul.

This duality can only be understood once submersed in a depressed, yet

booming urban center after losing yourself in an urban center that leaves

you energized. ■

(left and right) My Pavement Memoir, 2008, mixed, dimensions variable

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rae strozzoRAE STROZZO

RAE STROZZO|RAE STROZZO 25

RAE STROZZO I’ve carved out a place for myself that is male; it’s true.

To look at me, you might not see anything other than a white guy. A set

of cues that say this person is male. But that is just an external place. A

clothed place that makes my life safer. It is only a layer of my identity.

Perhaps the most radical thing I could do is take off my clothes and show

my multigendered form. But that too is just a set of external cues that lead to

some sort of gendered conclusion. And anyway, I’m not that kind of guy.

I could let people see photographs of my growing up and my transition.

Let the “truth” in those photos tell the tale. But in photos, there is more

information than one could ever make sense of. Too many facts. Too much

revealing. Too much happening.

So I draw the lines, and give gendered hints. Recreate the photos in a

way that they couldn’t be seen at the time. And let the grey areas expose

the truth they’ve always held. ■

(opposite) tell me something else, 2008, acrylic on board, installation shot

(below) two goodyears, 2008, acrylic on board, 6'x4'

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MICHELLE WINOWIAKMICHELLE WINOWIAK

michelle winowiakWINOWIAKNOWI |MICHELLE WINOWIAK 27

MICHELLE WINOWIAK being present in the moment is simultaneously

to question your own self, and to find answers there. Change in life

comes from the same place where butterflies churn inside your stomach.

This is the place I call the epicenter.

It is your core from which you give birth to ideas, dreams, and thoughts.

Every transformation begins here. Epicenter: the moment of action that

carries us forward, and then back to our core self.

I am caught between my layers.

The layers of

paper which I choose to sort through

and the layers of my skin

that I am transforming out of.

Every day is a constant of trying to keep

Balanced…

Breathing 15–20 intakes per minute

Drinking 3–4 liters

Eating 3–4 small meals...

Nurturing and to be nurtured in tandem.

When the ice below your feet

begins to crack

what do you hear?

Do you hear the ice giving way,

is it your own breath,

or is it your heartbeat

filling your ears?

My epicenter is here

in this now.

I transformed from an artist who solely makes objects by bringing myself di-

rectly into my artistic expression. Using my own body as a component of my

installations, I create a very temporary, very unique event — a performance.

Using time-based video and audio, I transform a white-walled area into an

environment within which any willing viewer can engage by participating or

by observing: here is a space where we can share and be in the moment. ■

(opposite and below) Epicenter, 2008, video projection, sound collage, light, rock

with india ink, 20'x10'

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Edi ted by Mar t ina Shenal & Brooke Grucel la

Designed by Meagan Shoots for Studio A

THE UNIVERSITY OF ARIZONA SCHOOL OF ART

art building, room 108

po box 210002

tucson, az 85721-0002

520.621.1251

web.cfa.arizona.edu/art

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SCHOOL OF ART


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