https://rejectedexhibition.net REJECTED: Undergraduate Juried Exhibition Sat, 13 Feb 2021 00:50:46 +0000 https://rejectedexhibition.net en https://rejectedexhibition.net/About Tue, 09 Feb 2021 01:50:41 +0000 REJECTED: Undergraduate Juried Exhibition https://rejectedexhibition.net/About REJECTED: undergraduate juried exhibition <img width="229" height="422" width_o="229" height_o="422" data-src="https://freight.cargo.site/t/original/i/a7ff82669b94231836653bff0890de863539c17b061d191044d5c4a5323b5135/DearArtist1.png" data-mid="98364188" border="0" src="https://freight.cargo.site/w/229/i/a7ff82669b94231836653bff0890de863539c17b061d191044d5c4a5323b5135/DearArtist1.png" /> WE EMBRACE THE LIMITLESSNESS OF THE INTERNET!! WE LOVE YOU ALL AND ARE PROUD TO PRESENT YOUR WORK!! THE INTERNET HOLDS NO BOUNDS (IN THIS CASE)! <img width="900" height="900" width_o="900" height_o="900" data-src="https://freight.cargo.site/t/original/i/304e0ef95228d31df31ae78e2cc06740f7b1fb16bd7f2ba198ecdb7f36533179/memes.png" data-mid="98570563" border="0" data-scale="68" src="https://freight.cargo.site/w/900/i/304e0ef95228d31df31ae78e2cc06740f7b1fb16bd7f2ba198ecdb7f36533179/memes.png" /> &nbsp; &nbsp; &nbsp; this show is in direct response to the official 2021 UCLA Arts Undergraduate Juried Exhibition. while we are eager to see our peers' work highlighted in the online New Wight Gallery, we wanted to seize this unique opportunity to take full advantage of the internet's expansive potential. as remote learning has hindered our ability to actively engage with our fellow students' work, we sought to create a platform for our peers to share their talent, vision, and creativity without being bound to the limitations of a physical environment or the norms of a typical exhibition. a show that genuinely reflected the collective endeavor that is the internet. we are proud to present an exhibition that accepted everyone and everything so long as they are current UCLA students studying Fine Arts or Design Media Arts. we hope you will enjoy the art as much as we do &lt;3 https://rejectedexhibition.net/eve-anderson Fri, 12 Feb 2021 01:40:59 +0000 REJECTED: Undergraduate Juried Exhibition https://rejectedexhibition.net/eve-anderson eve anderson Pinky, Molar, and the Very Special Pillow, 2020 Claymation video, 2:13artist statement In Pinky, Molar, and the Very Special Pillow, I revisit my childhood desire to collect,&nbsp; keep, play with, and protect my own lost body parts. I was thinking through the attachments we&nbsp; make as children to our bodies: the subsequent horror of fingernails and teeth falling out, dreams,&nbsp; uncanny nostalgia, imaginary worlds, and the childlike urge we have to tell stories to make sense&nbsp; of certain losses as we age. Working with classroom craft materials like felt and clay provided&nbsp; me with an access point to the mind of my younger self and enabled me to create something that&nbsp; felt somewhat untainted by adult pretense. https://rejectedexhibition.net/maceo-anderson Sat, 13 Feb 2021 00:50:46 +0000 REJECTED: Undergraduate Juried Exhibition https://rejectedexhibition.net/maceo-anderson maceo anderson <img width="1440" height="1920" width_o="1440" height_o="1920" data-src="https://freight.cargo.site/t/original/i/b29074f3bee08c8b235d3d1816499754fbadf50dfaa1d84b4ef7054c94b5846a/Maceo--Detail--2.jpg" data-mid="98730594" border="0" src="https://freight.cargo.site/w/1000/i/b29074f3bee08c8b235d3d1816499754fbadf50dfaa1d84b4ef7054c94b5846a/Maceo--Detail--2.jpg" /> Painting Ripped from Pages of Interview Mag Issue #522,&nbsp;2020 Acrylic, Image Transfers, and Oil Pastel on Wood, 24 x36 inches <img width="1656" height="2208" width_o="1656" height_o="2208" data-src="https://freight.cargo.site/t/original/i/d3d6f1645f0361773e771a4edcc16289f94c6e97595626841ef45960a61d916d/Maceo--Detail--1.jpg" data-mid="98730595" border="0" src="https://freight.cargo.site/w/1000/i/d3d6f1645f0361773e771a4edcc16289f94c6e97595626841ef45960a61d916d/Maceo--Detail--1.jpg" /> <img width="1440" height="1920" width_o="1440" height_o="1920" data-src="https://freight.cargo.site/t/original/i/05983fd2fd1faa159da0feb7e8d352d1e773301dde49b077dd14d07ec6dd3e7c/Maceo--Detail--3.jpg" data-mid="98730597" border="0" src="https://freight.cargo.site/w/1000/i/05983fd2fd1faa159da0feb7e8d352d1e773301dde49b077dd14d07ec6dd3e7c/Maceo--Detail--3.jpg" /> <img width="1440" height="2208" width_o="1440" height_o="2208" data-src="https://freight.cargo.site/t/original/i/15667bd8735c578d92e06842a140ae77364fc88fbba795685721cc30304af56f/Maceo--Main-Image.jpg" data-mid="98730598" border="0" src="https://freight.cargo.site/w/1000/i/15667bd8735c578d92e06842a140ae77364fc88fbba795685721cc30304af56f/Maceo--Main-Image.jpg" /> artist statement ucla fine arts student ig:@maceowhatgoeson https://rejectedexhibition.net/lucas-bjelos Wed, 10 Feb 2021 18:53:55 +0000 REJECTED: Undergraduate Juried Exhibition https://rejectedexhibition.net/lucas-bjelos &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; lucas bjelos&nbsp; <img width="2816" height="3656" width_o="2816" height_o="3656" data-src="https://freight.cargo.site/t/original/i/d69f5cc736f887ae13cfea67c13c4c732883e64e77049babcda7c970f5d403c7/BjelosLucas_Avoid_01---Lucas-Bjelos.jpg" data-mid="98566492" border="0" src="https://freight.cargo.site/w/1000/i/d69f5cc736f887ae13cfea67c13c4c732883e64e77049babcda7c970f5d403c7/BjelosLucas_Avoid_01---Lucas-Bjelos.jpg" /> Avoid Baksuz, 2021 Watercolor and pencil on raw canvas, 30x40 inches artist statement A cryptic message engraved on a Whac-A-Mole arcade game: Find Maler, Avoid Baksuz. If the viewer decides to Google it, they’ll find two translations—the German word “maler” to “painter (blue-collar)”; the Serbo-Croation word “baksuz” to “jinx (bad luck).” So, fully translated: Find Painter, Avoid Jinx. I’m Serbian, and I’m using the Serbian definition of maler. Regardless, Google still translates it to “painter (blue-collar)”. However that is an incorrect translation—a result of its usage in German/other languages. In Serbian, the word for a blue-collar painter is “moler”; “maler” actually translates to: jinx, bad luck. This is not possible to find out on Google, so only a Serbian speaker would be able to identify the text as: Find Jinx, Avoid Jinx. In this way, the text becomes a trap. Those who are overly curious will go off in search of a painter, unsuspecting that a crooked contradiction awaits instead. Used as a slight warning clue, Whac-A-Mole was chosen for its espionage jargon of “kill a spy.” Additionally, the game’s linguistic styling of Whac(k) parallels the implication of a missing letter in Mole(r). https://rejectedexhibition.net/bradley-bell Wed, 10 Feb 2021 18:53:57 +0000 REJECTED: Undergraduate Juried Exhibition https://rejectedexhibition.net/bradley-bell bradley bell <img width="3089" height="4119" width_o="3089" height_o="4119" data-src="https://freight.cargo.site/t/original/i/18af886bd99fa06be1c23583a2f34eb676503b54c18be23f1b2a5842c5e82395/BradleyBell_April_01---BRADLEY-BELL.jpg" data-mid="98517323" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/18af886bd99fa06be1c23583a2f34eb676503b54c18be23f1b2a5842c5e82395/BradleyBell_April_01---BRADLEY-BELL.jpg" /> Untitled (April), 2020Oil and acrylic on canvas, 48 x 36 inches <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/263adf516e67a034f3b08738f0e0b765a87145b8e9dd64ba2e39498781978b36/BradleyBell_April_02---BRADLEY-BELL.jpg" data-mid="98517334" border="0" src="https://freight.cargo.site/w/1000/i/263adf516e67a034f3b08738f0e0b765a87145b8e9dd64ba2e39498781978b36/BradleyBell_April_02---BRADLEY-BELL.jpg" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/efd5cfad7accccf91b4585f167a65e6ba1fcecd01faa8bc7f85bc0347bfeb367/BradleyBell_April_04---BRADLEY-BELL.jpg" data-mid="98517320" border="0" src="https://freight.cargo.site/w/1000/i/efd5cfad7accccf91b4585f167a65e6ba1fcecd01faa8bc7f85bc0347bfeb367/BradleyBell_April_04---BRADLEY-BELL.jpg" /> artist statement this painting is about ketamine and hating school and listening to pc music and SSRIs and name dropping bars in new york and drinking topo chico and being non-binary and owning a pre-revolutionary musket and almost being able to kickflip and this painting is about being unemployed and taking SSRIs and harm reduction and spicy potato soft taco (rip) and calling everything cottagecore and getting blitzed with my girls and buying costume jewelry from boutique shops and forgetting to take my SSRIs and using for and having uti but then the uti just goes away on its own.&nbsp; ︎︎&nbsp;&nbsp; &nbsp;I am primarily concerned with how the lineage of painting relates to a society structured around images. A culture in which we experience our physical reality more through digitally rendered representation of the referent then the tangible source material itself. As public space slowly begins obsolescing and we catalogue the built environment through various media, the signifier has seemed to have replaced the sign. I aim to investigate where the act of painting fits into this equation and how I can remain inspired by Diebenkorn’s landscapes while barely going outside. With this work, the marks shift between abstract, gestural, drawing based line work to constructing the structure of a figurative character, based on the the aggregated human form crowdsourced from overproduced human output. The marks were accumulated through months of layers starting around the beginning of lockdown in April 2020. I then highlighted and specified the paint through layers of white paint acting like a whiteboard eraser covering and defining the line work. I used fluorescent pigments in order to adhere it to an existence beyond the natural world, as well as collaged paper and found images sourced from the mass amounts of election mail I was receiving at the time, as they seemed designed to portray the institutional understanding of “everyone”. The image peaking through on the bottom of the cacophony of lines and brushstrokes depicts these systemically fabricated archetypes looking bewildered at the form appearing above them, with the paint dripping down, about to consume them next. The line work is vague enough for the viewer to act in the position of an artist and formulate their own images and experiences within them, as they gesture towards familiar forms while remaining free to work as an inquiry into their own development as formal elements. ig:@13rad8311 https://rejectedexhibition.net/louise-buckley Tue, 09 Feb 2021 04:18:04 +0000 REJECTED: Undergraduate Juried Exhibition https://rejectedexhibition.net/louise-buckley louise buckley<img width="8272" height="6200" width_o="8272" height_o="6200" data-src="https://freight.cargo.site/t/original/i/3948b44e86ab31ed303f648a0f1266e72200485d7527bb857832ab0092c221ef/buckleylouise_kitchen-copy.jpg" data-mid="98358783" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/3948b44e86ab31ed303f648a0f1266e72200485d7527bb857832ab0092c221ef/buckleylouise_kitchen-copy.jpg" /> Self Portrait in Kitchen, 2020Photograph artist statement I take tender care of my fish Coltrane. He’s the perfect shade of blue and lives in the waves next to the speakers. I make sure to feed him every day - just once, but I’ve been told it’s enough for him. As soon as I wake up I plop five fish food flakes in the tank for Coltrane. SPLASH. I watch to make sure he eats them all. SMACK. I can hear him smacking his little cobalt lips, announcing that he’s full. Satisfied. I turn on some music and stare at Coltrane, making sure he doesn’t get lonely. The music whirls and twirls and he stares back as he dances, waves. The song has fizzled out and Coltrane doesn’t move soon I’ll jump up and zip over to the tank. It’s the most action in this apartment all week. He can’t die yet. Not Coltrane.I lay on the floorSilent and still No music is playing as I float towards the top of my own tank. I can’t let him see me like thisI feed myself like I feed Coltrane, one meal a day. I’m not full, but I am satisfied. I know he would jump up and check on me if he couldColtrane keeps me company on the day I&nbsp; peel myself off the floor. He turns on some music. It’s slow and heavy, or maybe I am. On three - - - I begin the measured dance I’ve practiced in my headArms bend and press upMy stomach grazes the floorI’m on my knees, halfway there I crawl over to the table and grab onto its legs for support. I pull myself up with comic book strength. My mission is to tend to myself as if I were ColtraneI walk into the kitchen repeatingYou can do it You can do it You can do itI believe in the power of wordsBut sometimes it’s exhausting. website: louisebuckley.com ig: @louisefromschool https://rejectedexhibition.net/grace-ciacciarelli Wed, 10 Feb 2021 18:56:42 +0000 REJECTED: Undergraduate Juried Exhibition https://rejectedexhibition.net/grace-ciacciarelli grace ciacciarelli <img width="2564" height="3254" width_o="2564" height_o="3254" data-src="https://freight.cargo.site/t/original/i/67fbaf3a73327f0a65c8a02ab24183d25a6515ae0dc361edce68ffd2de9ce809/Ciacciarelli_Grace_Mirroring_01.jpg" data-mid="98717925" border="0" src="https://freight.cargo.site/w/1000/i/67fbaf3a73327f0a65c8a02ab24183d25a6515ae0dc361edce68ffd2de9ce809/Ciacciarelli_Grace_Mirroring_01.jpg" /> Mirroring, 2020 Graphite on paper, 18 x 20 inches artist statement “Mirroring” is a pencil drawing I created in the fall of 2020. While incorporating some naturalistic elements from photos I took of myself, my intention with this work was primarily to evoke sensations of objectification and depersonalization. Having spent the majority of my childhood and teen years in the ballet studio if not at school, my college-aged visual arts practice is frequently influenced by ideas of dimensionality and representation within the dance world. During a ballet class, the mirror is a correctional tool: a device through which to identify what is wrong about one’s positioning. This continually produced a sense of dissociation or alienation from the body within myself and my peers: students had to understand how our bodies functioned not through internal physical feeling (say, misalignment or pain) but instead through witnessing a reflection of the external. Referencing body horror illustration and imagined stroke imagery, I aimed to recreate the sensation of unreality felt when using a mirror to (fail to) understand my physiology in and beyond ballet class. Unlike photographs or mirrored reflections, I am interested in the potential for drawing to generate and record bodily experience rather than solely function as a representation of an individual--carefully rendered strands of hair, nudity, and somewhat sexually suggestive positioning serve to allude to discomfort in submission and gender performance. Though intended to be compositionally realized and harmonious, the full ‘body’ is disjointed; I omitted identifying features and let limbs flow into each other and dissipate so that the more the viewer observes the drawing, the less it makes sense. ig: @graceposting https://rejectedexhibition.net/louisa-edwards-louise-buckley Thu, 11 Feb 2021 19:32:42 +0000 REJECTED: Undergraduate Juried Exhibition https://rejectedexhibition.net/louisa-edwards-louise-buckley louisa edwards &amp; louise buckley <img width="1650" height="1177" width_o="1650" height_o="1177" data-src="https://freight.cargo.site/t/original/i/efbec0f04187888b2fb2c98ba2bed1bc42ce12b76ca7f1fe81971f3b921e7c60/1.jpg" data-mid="98622453" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/efbec0f04187888b2fb2c98ba2bed1bc42ce12b76ca7f1fe81971f3b921e7c60/1.jpg" />Ghost of Broad, 2020 unfired clay, 36 x 20 inches <img width="1511" height="1095" width_o="1511" height_o="1095" data-src="https://freight.cargo.site/t/original/i/683b6d389f61a6d98e63eddc0bd965afd755d3a25d6ecda60d471f31d2528768/Screen-Shot-2021-02-12-at-12.03.17-PM.png" data-mid="98691425" border="0" src="https://freight.cargo.site/w/1000/i/683b6d389f61a6d98e63eddc0bd965afd755d3a25d6ecda60d471f31d2528768/Screen-Shot-2021-02-12-at-12.03.17-PM.png" /><img width="1114" height="840" width_o="1114" height_o="840" data-src="https://freight.cargo.site/t/original/i/6fdea0875f83e6cbd696d0636ae80eb589946730c55fe7d2f60e2b5ca471c517/2021-REJECTED-Juried-Exhibition_EntryForm-2-dragged.jpg" data-mid="98691549" border="0" src="https://freight.cargo.site/w/1000/i/6fdea0875f83e6cbd696d0636ae80eb589946730c55fe7d2f60e2b5ca471c517/2021-REJECTED-Juried-Exhibition_EntryForm-2-dragged.jpg" /> <img width="1282" height="1004" width_o="1282" height_o="1004" data-src="https://freight.cargo.site/t/original/i/5a392857e2f43b998a2afe40b27635b6df9c8987945d9b116d88bf1781a2b079/Screen-Shot-2021-02-12-at-12.02.35-PM.png" data-mid="98691166" border="0" src="https://freight.cargo.site/w/1000/i/5a392857e2f43b998a2afe40b27635b6df9c8987945d9b116d88bf1781a2b079/Screen-Shot-2021-02-12-at-12.02.35-PM.png" /><img width="1229" height="1531" width_o="1229" height_o="1531" data-src="https://freight.cargo.site/t/original/i/c12976e1315804ab199638ebe1093582242e81611d4b2c7abe80bac403185c52/2021-REJECTED-Juried-Exhibition_EntryForm-1-dragged.jpg" data-mid="98691294" border="0" data-scale="94" src="https://freight.cargo.site/w/1000/i/c12976e1315804ab199638ebe1093582242e81611d4b2c7abe80bac403185c52/2021-REJECTED-Juried-Exhibition_EntryForm-1-dragged.jpg" /> artist statementThis clay board game is a remembrance to Broad, the UCLA Art Department building. The object of the game is to restore the soul of Broad which has been left empty and abandoned due to the COVID-19 pandemic. This is done by collecting as many points as possible before any playerreaches the finish line (The Richard Serra replica) and the game is over. Each object that is collected has a certain value; each player is responsible for tallying their points on the game score cards provided. More of Louisa’s work ︎︎ More of Louise’s work ︎︎ https://rejectedexhibition.net/gabriela-freid Fri, 12 Feb 2021 01:58:05 +0000 REJECTED: Undergraduate Juried Exhibition https://rejectedexhibition.net/gabriela-freid gabriela freid The Ruach of Apartment 2D Video, 13:11 artist statementWhen I think of my grandmothers one bedroom apartment in Kew Gardens, Queens: smell, texture, sound, taste, remain static. When my grandfather passed, the space remained static, when my grandmother passed this past year, it remained static. The apartment demands my psyche to perpetually project a fossilized memory onto an inanimate stratosphere. Or perhaps it is my own demand, fearful to one day not remember the feeling of static familiarity. The apartment resists its torn up carpeted floors, painted walls, and absent furnishings and rather serves as a vessel, romanticizing my intimacy with the abject, and my attunement to the anthropomorphized lives of my inanimate surroundings.I wonder how my body has felt so ardently convinced of my presence in experiencing the lives of my grandparents: growing up in Poland, in Palestine, my fathers market stall, my fathers tobacco and butcher shop, a train to La Vuv, being gifted my first pair of sandals, riding bikes on the roadless mounds of sand, an amusing bewilderment at the families that had two floor houses, Russian soldiers warning my family that the Germans were coming, vegetables from Jordan, leaving my family with Haim to go off to fight in the war, my sister learning how to play piano, being a tomboy, being 14 and disillusioned, unable to fathom the mass genocide, meeting each other at a night club in Palestine where the military brigade would assimilate themselves back into some narrative of normalized youth, meeting him at the train station equipped with smuggled chocolates, fighting with the Polish underground, changing my last name to sound more British and less German, discovering brother Haim on a kibbutz right next door, dating, marrying, not wanting him to fight again, moving to America, waking up at 5 am to work at Peter Pan Bakery, giving birth, buying her flowers every Friday, my mother in the grass in front of the apartment complex, climbing the stairs to the second floor apartment 2D, my grandfather surprising my mother with a pair of green velvet shoes, my grandmother thinking my grandfather is passive (when in fact he has PTSD), my mothers room which later become the dining room, my mother going to public school and than Ya Shiva, meeting my father at The Pines, getting married, having kids, passover, sitting on grandpas lap tapping my shoulder as I look behind him pointing to the ceiling as if someone from above had extended their arm down, hearing the planes from Laguardia airport, feeling the carpeted floors between my toes, eating the stale candy in the bowl on the coffee table, my grandfather passing, my grandmother watching hallmark movies and old B&amp;W Hollywood films, going to the 99 cents store, my grandmother trying to give me her old jewelry and knick-knacks, questioning why I am not wearing the gold chai that she gave me, questioning why I don't call her enough, calling her and her hearing aid not working, my mother sorting through stacks of my grandmothers mail, my grandmother telling me that I lost weight and that my brother gained, my grandmother passing, revisiting her apartment revamped for sale.Fear is a biological consequence of fight or flight, whereas safety is culturally and socially conditioned. Perhaps this may inform why I feel that I’ve absorbed an intangibly (and almost irrational) familiarity with my grandparents own psychological attachments to memories that do not belong to me. Maybe this is why we hoard sentimental objects.Yet sentimentality can never exist in a universal physical form, but the feeling of attachment based on a human comprehension of our relative psychological ecosystems may be able to. My biggest task has been not only in activating a conditioned psychological intuition within my connection to my process of creation, but also in the aftermath, as other people begin to experience my work as an audience. How do I tell the narrative of familiarity, in a world where it is dangerous to label universalisms, without fully telling my own story verbatim, leaving my own narrative up to imagination and contestation but resurrecting a feeling of personal nostalgia. https://rejectedexhibition.net/sarah-goldacker Fri, 12 Feb 2021 01:45:56 +0000 REJECTED: Undergraduate Juried Exhibition https://rejectedexhibition.net/sarah-goldacker sarah goldacker <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/87f557ffe2964bbd60237daf01b717c747fef256c7aefe125dc859a824e915df/Goldacker_Ghosts_01---Sarah-Goldacker-1.JPG" data-mid="98643898" border="0" src="https://freight.cargo.site/w/1000/i/87f557ffe2964bbd60237daf01b717c747fef256c7aefe125dc859a824e915df/Goldacker_Ghosts_01---Sarah-Goldacker-1.JPG" /> Ghosts, 2019 Acrylic on canvas, 21 x 33 inches artist statement (Trigger Warning: Mention of emotional abuse) This was the first abstract piece I ever made. It was during a time that I was in a heavily emotionally abusive relationship, and I could never dig myself out of the hole I was in to even motivate myself to make work. Finally, when I had had enough of it, this was the first piece I made. I threw paint at the canvas, and essentially treated it as if it were the person I had been abused by. It came from a very raw place and was a way of me processing my grief, anger, and disgust.