Fall Faculty Show

Lone Star College-Kingwood

Fall Faculty Show

August 27-September 20, 2012

Adela Andea
Gerard Baldwin

Jay Calder
Cory Cryer
Joe Kagle
Divya Murthy
Mari Omori
Julon Pinkston
Rebecca Riley
Scott Rosenberg
Erich Schmalhorst

Adela Andea

Artist Statement

I like to think about my art as incorporating as many layers of reality. My ideas for
the spaces I plan to generate are structured as a dialogue about the interaction
between people and new technologies, socio-political issues raised through the
dynamic and rapid industrialization and globalization. This socio-political and eco-
nomical constructed reality is part of a consensus reality about the current stage of
the ecology of electronics.

In my vision there is not one unilateral truth or message about reality. The subjec-
tive encounter through personal individual experience with the artwork is one di-
mension that creates many other layers of reality. Confronting the discrepancy be-
tween ideas, understanding of the concept in the context of socio-cultural present
preoccupation, and the actual experience, events, the reality can be manipulated
by the way is presented, argued.

Through art, the transformation of information has been mitigating the two ex-
tremes, between the valuable resources of information and the end product re-
sponsibilities for recycling, giving a different meaning to the phrase “residual val-
ue.” In addition the fast scientific developments almost enable us to distinguish
between present and future technologies; a question I always ask myself when en-
countering new information: it has been done and succeed it, is experimental or it
is envisioned to happen in some laboratories?

I like to transform the indoor spaces into installations that involve full sensory ex-
periences for the viewers. I use all the space is available to expand for the purposes
of the installation. I consider all physical aspects of the building and the level of
audience involvement. Where films and video games convey a futuristic approach
generating virtual realities, my art is trying to deconstruct the clear delimitation
line between reality and virtual reality.

The numerous transitions in my life made me think about the enormous capability
of people to adapt to situations and even more, search for the new possibilities of
personal development through inquisitive experiences. I strive for my art to vindi-
cate the malign consequences of technology on the environment and inspire new
exciting ways to infuse technology.

Biography
Adela Andea was born 1976, in the city Timisoara on the west side of Romania,
Eastern Europe, and lived under the oppressive communist regime of Nicolae
Ceausescu. At the age of 13, Adela Andea was a direct witness to the bloody Ro-
manian Revolution of 1989 which started in her hometown and ended with the
overthrow of the totalitarian regime in Romania. In 1999 Adela found herself con-
fronted with another dangerous situation, a war starting within 100 miles on the
Romanian frontier, the intervention of NATO in Serbia. During these times of un-
certainty, she immigrated to United States.
Before settling in Texas in 2005, where she received American citizenship, she lived
six years in California, working full time as a Paralegal . While returning to school
to pursue an Art Degree she realized that Texas would be a better place to live and
be an artist.
Adela started her artistic career as a teenager, when she was awarded the silver
medal in International Shankar’s Competition, New Delhi, India, in 1994. After
moving to United States, in 1999, she was included in numerous shows in Califor-
nia, Pennsylvania, and Texas. In 2009, Adela graduated Valedictorian and Summa
Cum Laude from the Painting program at the University of Houston with BFA in
Painting. She has an MFA in New Media with minor in Sculpture from University of
North Texas, where she is also working towards an MA degree in Art History. Adela
Andea is represented by Anya Tish Gallery, Houston, TX, Cris Worley Fine Arts in
Dallas and Westwood Gallery in New York.

“Silvash”, 2012, 32” x 32” x 75”

Gerard Baldwin

Biography

From an artistic clan that goes back to Felix the Cat and Snow White, artistry runs
deep. Baldwin is of Irish descent. Blarney is his mother tongue; creativity is his se-
cond language. Some kids are born with a silver spoon, Gerard Baldwin was born
with a pencil.

Gerard Baldwin's formal art training came from the Chouinard Art Institute (now
California Institute of the Arts) and the Instituto Allende in Mexico. David Alfaro
Siqueiros was one of his mentors. Baldwin began his apprenticeship in animation
at UPA studios. Taking two years out for the Korean War, where he was assigned
to the National Security Agency, Baldwin returned to his apprenticeship and began
a rapid rise in the world of animation that spans more than fifty years. Some of the
animated films that are a showcase for Baldwin's talent include Mr. Magoo, Bull-
winkle, George of the Jungle, Yogi Bear, the Grinch, Aladdin, the Flintstones and
the Smurfs.

During this time, Baldwin was also pursuing serious painting. But one morning
while shaving, he had the sudden realization that he was not Pablo Picasso. It was
not too painful. Perhaps the realization was a blessing, because it plunged him into
an intense and continuous effort to be the best animator he could be.

His first job as a director was in 1959 on Jay Ward's Rocky & Bullwinkle show. He
worked on and off for the Ward Studio through 1967. In the following decade he
went from series to series, from prime time special to prime time special, from
commercial to commercial, as a happy hired gun. He is the recipient of numerous
awards including eight Emmy nominations and three Emmys.

In 1989, Baldwin moved to Houston where he intended to retire. But that did not
happen. As a long distance free-lance director, there was less work but there was
also more time to draw and paint. "Painting," Baldwin says, "is closer to writing
poetry than it is to film making. Making an animated cartoon is a collective effort.
When painting you are quite alone…not like conducting a symphony, but more like
whistling in the dark." Gerard Baldwin

Website: gerardbaldwin.com

“Cowboys & Indians”, 1990, 25”x31”, mixed media

Jay Calder

Biography

Jay Calder is a native Southern Californian, and a second generation potter.
For many years, his family operated Calder Pottery, a “one of a kind” stone-
ware shop within Universal Studio Tours in Universal City, California. He was
heavily influenced by his father, Sam Calder, who was a professional photog-
rapher, and later pursued a pottery career. Jay’s formal art training began at
Brigham Young University and continued with a M.F.A. at the University of
Puget Sound in Washington. He studied under F. Carlton Ball, a ceramic au-
thor and a monthly contributor to Ceramic Monthly for nearly ten years. Jay’s
work has been exhibited in juried shows and galleries in California, Utah,
Washington, Louisiana, New York, and Texas.

Clay has been the medium for a series of life-long learning experiences for
me. It has been the means of personal self-expression, visual problem solv-
ing, and unlimited variations in artistic growth. My personal goal is to create a
body of work that is both aesthetically and visually stimulating. My focal
points are to combine multiple-joined forms into ceramic sculpture, and ex-
plore new ideas in functional ceramics. I love to create luscious layers of glaze
and explore textures.

For 25 years, Jay taught secondary art in the public schools in New Orleans,
and Houston. He currently teaches as an adjunct ceramic instructor for Lone
Star College at the Kingwood campus. He studied under Roy Hanscom at Lone
Star College while teaching public school. Previously he taught at Houston
Community College (Central Campus); and a completed a 2008-9 Artist-in -
Residence program at Houston Contemporary Crafts Center.

Untitled ceramic vases, 2011

Cory R. Cryer

Artist Statement

Before I was old enough to go to school, my days were often spent with my mater-
nal grandmother, Gladys K. Welch. She owned a store that, today, would be called
an antique store. She and my mother would re-finish, re-upholster and generally
re-habilitate items they found at yard sales and then sell these items in the store.
I can vividly remember riding shotgun in her blue station wagon, watching the Flor-
ida countryside pass by looking for house numbers that matched the red-circled
addresses in the folded newspaper lying on the seat between us. It was in this
setting that I learned not all objects are created nor revered equally.

I am attracted to clay as an expressive medium through three different formats –
conceptually, physically and emotionally. Conceptually, I am attracted to clay be-
cause of its ability to assume many forms and as a result play many roles. The ce-
ramic pieces people choose to surround themselves with in the home fill important
roles – they can provoke memories, contain sustenance and refer to identity.

Physically, I am attracted to clay due to its relationship with our senses. The senses
of sight, touch and sound may be aroused and engaged when a person comes into
contact with a ceramic piece. Although the viewer may consider these sensory
experiences sub-consciously, I think about them consciously while working. Emo-
tionally, I am attracted to clay and prefer it as an expressive medium because of
the personal satisfaction I receive from the ceramic process as a whole. The senso-
ry experiences of sight, touch and sound of clay during the forming process are
very different from those of the viewer of a finished ceramic piece and constitute
an intimate bond between creator and the created. As an artist working with this
material the colour of the clay as well as the decorative treatments bear little, if
any, resemblance to the finished result. As I work the clay is warm, malleable and
responsive to my slightest touch after firing the piece is cold, hard and fixed. The
sound of a piece while I’m working on it is low upon completion it’s high. The con-
tradictory nature of this medium from raw to finished state continues to fascinate,
excite and inspire me.

Biography
Cory R. Cryer was born and spent her early years in Seminole, Florida. Her family
moved to Houston, Texas when she was seven. Shortly after the move to Houston
the family relocated to Tehran, Iran for a year. She returned, briefly, to Florida and
then was off to a girls’ boarding school in Broadstairs, England. School holidays
were spent in Houston and ultimately, Houston, became home.
Ms. Cryer is a Professor of Art at Lone Star College - Kingwood in Kingwood, Texas
where she has taught Ceramics for the past five years. She received her Master of
Fine Arts Degree in Ceramics from Texas Woman’s University in Denton, Texas and
her Bachelor of Arts in Teaching Degree from Sam Houston State University in
Huntsville, Texas. Her work is shown nationally and she has been the recipient of
numerous awards.

Untitled ceramic dish, 2012

Joe Kagle

Artist Statement

My works of art, receiving Special Recognition from Up-
stream People Gallery, an online international competi-
tive exhibit gallery, in each month of 2012, are works using what I call “creative
space”. It is a simple idea that started when I drew a face with only one eye fin-
ished and someone asked, “Where is the other eye?” “You have placed that in with
your question,” I answered. In these sky view landscapes, I leave out sections of
the landscape that, with what is placed in the works, the viewer is part of the pro-
cess and puts in the missing objects in the ‘creative space’. It is what we do in a
fulfilling lifetime (check out our space). My mentor at Dartmouth College in the
1950’s, Robert Frost, when I asked him: “Can you tell me what you mean in The
Road Not Taken?”, he told me: “No, I do not know. I write poems with holes in
them so that any person coming to the work can put themself into it.” I have used
that insight in my work ever since. Recently, I was again reminded of the fact that I
was born eighty years ago. I know that we all embark on a voyage, and reaching 80
is a pleasant thought where that time has been well spent exploring new creative
spaces. We all journey through life, and we all disembark at some point in time.

Where No Man Has Gone Before: “Creative space; the final frontier. These are the
‘busy-being-born’ adventures of the artist Joe Kagle. His lifetime mission: to ex-
plore strange new relationships, new combinations, and new worlds of ideas/
images (ideates), to seek out new life experiences, to boldly go where no man has
gone before.”

Biography
Kagle has exhibited in over 695 national and international exhibitions. In recent
years, from 2000 to 2006, he was asked to come to the Republic of Georgia and
Mongolia as “artist in residence” and “professor in residence as a Fulbright Schol-
ar and Fulbright Senior Specialist”. The American Embassy in Tbilisi, Georgia (that
recently bought two large paintings for their new building) asked him to represent
the United States at an International Plenary of Artists in Kutaisi, Georgia (with 20
other artists from all over Europe). He has headed and directed six museums (two
university and four public), 1961-2000, and consulted foreign national museums on
collecting and fund-raising. He has headed five university art departments and divi-
sions of Fine Arts, 1958 through 2001. He has taught all the standard art and art
history courses as well as special courses in world architectural history, arts man-

agement, fund-raising and Chinese art
(having a Fulbright to the Palace Museum in
1966). In 2008, he had a retrospective exhi-
bition at Lone Star College-Kingwood Galler-
ies of work from 1948 to the present. Since
mid-2009 he has created collage works and
writing for 60 book/journals (110-146 pages
in each), 45 scrolls works of art (40 images
on each), and over 350 individual works of
painting and collage. Kagle’s honors in-
clude: Who’s Who in American Arts, since
1965; Artist of the Year for the Pacific Chap-
ter of the American Institute of Architects,
1976; Who’s Who in the South and South-
west, since 1978; Who’s Who in American
Education, since 1979: Who’s Who in Ameri- “Busy Being Born”, 2012, medium, 32”x40”
ca, since 1980; John C. Gowan Award for
Research from the National Gifted and Talented Association, 1982; Kellogg Educa-
tional Fellow at Smithsonian Institute, 1983 and 1984; Who’s Who in Internation-
al Art, since 1990; National Advertising Award for Non-Profit Video, Writing and
Directing, 1993; Who’s Who in American Business and Finance, since 2003; and
Who’s Who in the World, since 2004. His major work on the island of Guam re-
ceived recognition in the National Works in Public Places, an exhibit at the Smith-
sonian in 1975. He was voted Outstanding Educator on World Campus Afloat,
Chapman College, 1968. He was honored with a National Volunteer of the Year
Award in 1991 and given the Outstanding Service Award for the Class of 1955,
Dartmouth College, in 2005. He received The Published Writing Award for Lone
Star College System in March, 2009. Today, he exhibits with the Upstream People
Gallery, an Internet gallery, which gets 800,000 visitors to its site each month. He
continues to win international awards through competitive exhibition and works
each day on his profession of artist/professor.

Kagle has been chairman of fine arts at Washington and Jefferson College, Keuka
College, and the University of Guam. He has directed Southeast Arkansas Arts and
Science Center, Brockton Art Museum and the Art Center Waco (an over 30 year
career in museum management). He was artist in residence for Washington State
University and is an honorary professor in the Republic of Georgia and Mongolia.
His educational beliefs are: “If education is the fuel that fills and stirs the mind
and spirit, then art is the flame that sets the mind and spirit ablaze” and
“Learners do not care how much you know until they know how much you care”.

Through all of his 79 years (starting by being selected to study at the age of eight
at the Carnegie Museum of Fine Arts from 1940-1951) of creative, administrative,
curatorial and academic pursuits, his credo has been: “May the beauty we love be
what we do.” Joe Kagle

Divya Murthy

Biography
Divya Murthy is a project- based installation artist. She is currently collaborating with
another artist and creating outdoor sustainable sculptures for Art League Houston.
Murthy is also creating an eco-conscious installation for ALH’s gallery space which will
debut in November 2009.
For the past three years, her major endeavor, "The Homeland Project," documents the
development and destruction of her neighborhood in Southwest Houston through
large-scale panoramic photographs and environmental installations. Her work deals
with her own comprehension of a homeland identity. She was born in Bangalore, India,
but moved to America as a young child and grew up in Houston, Texas.
Murthy has exhibited at Galveston Arts Center during Fotofest 2008, in Houston at The
Williams Tower Gallery and the Houston Center for Photography, Miami, New York,
and Boston, MA. She is a recipient of the En Foco New Works Award, a Houston Center
for Photography Fellowship, The Yousuf Karsh Prize in Photography and an AIGA World
Studio Grant.

“Chacotha” 2012, archival ultra-chromogenic pigment print, 10” x 16”

Mari Omori

Artist Statement

Since the artist-in-residency of 2008 in the paper village, Mino, Japan, I have been
exploring Kozo (Mulberry paper) for its possibilities. The common notion of hand-
made paper can be said fragile and difficult to work with, however my experiences
working with Kozo have been limitless and absolutely rewarding.

The works in the Fall Art Faculty Exhibition developed from my everyday explora-
tions. They are process based, dictated by the medium with the attention focused
on moments of development. Each developing stage is like an event that is un-
folding and happening. During the process of working with wet media on Kozo,
there is an experience on my part that is deeply personal and highly spiritual at
the same time.

I perceive the blank sheet of paper as an unknown field filled with abundant possi-
bilities. To me, a new sheet of paper is not empty. The paper is luminous and in-
viting. The space within the paper appears to me, waiting to be activated. A drop
of ink from the downward pointed brush soaked in Sumi ink takes on a spiritual
journey. Right before my eyes, I see the forces of nature acting as gravity pulls the
ink downward silently until I hear the sound of the ink striking the surface of the
paper. It is an extremely brief and fleeing moment yet each blink of an eye mo-
ment leaves unforgettable traces and impressions over the surface of the paper.

This working method is liberating and allows me to have a deep sense of self-
discovery. It is as if I am getting in touch with my roots. The process of exploring
with ink over Kozo can be thought of as a pilgrimage, a process of self-realization
that creates a visible mark of what is invisible within me.

Biography
An artist and art educator born and raised in Japan, Mari Omori received a BA from
Cal State University Northridge and MFA from UCLA. She is currently a Professor of
Art at Lone Star College-Kingwood, Kingwood, TX, a position she has held since
2002. She was awarded an artist-in-residency at the Mino Cultural Village, Mino,
Japan for three months in 2008 in conjunction with her Sabbatical Research Leave
with the International Faculty Exploration Grant from Lone Star College Systems.
Omori’s awards include the Palm Beach County Cultural Artist-in-Residency Grant
in 2007 working with 25 non-profit organizations, over 500 participants in an exhi-
bition at the Morikami Museum, Del Ray Beach, FL. Her works have been widely
exhibited in solo and group shows in California, Massachusetts, Oregon, Texas,
Japan, Taiwan and Thailand.
Her curatorial projects include “Washi5” (LSC-Montgomery, 2010), “Kyomei: Reso-
nance” (Poissant Gallery, 2007), “cross roads: asia/america” (Galveston Arts Cen-
ter, 2006), and “affinities” (Heritage Gallery, JP Morgan Chase, 2005). She was the
featured artist, "mari omori" at the Pearl Fincher Museum of Fine Arts, Spring, TX
in 2011. Her solo-exhibition in 2010 includes “Mothers/Daughters” at Bosque Gal-
lery, LSC-CyFair and “akari kami mori: I lluminare” at the College of the Mainland
Art Gallery.
www.mari-omori.com

Silence, 2012, 16 “ x 16”, kozo, ink, acrylic, tea stain

Julon Pinkston

Artist Statement
Art for me is about joy and play. Art should always embrace change and discov-
ery in its process. It is a practice of harnessing your intuition and seeing what
you discover along the way. My most recent body of work consists of acrylic
paintings of “fake tape” and “red dots” which are meant to simulate the look
and texture of exactly what they seem to represent. Red dots are a symbol for
art world sales and tape is an art supply omnipresent in the studios of countless
painters. I also made them because I was a new father last year; I needed a se-
ries of work that I could make on my coffee table while my daughter was taking
a nap. The “fake tape” and “red dots” paintings were an idea that I thought
would be a funny side project, but in the end took all my interest as it trans-
formed itself over the last year in my studio practice.

Biography

Julon Pinkston earned a B.F.A. in Painting at the University of Houston in 2003.
He earned his M.F.A. in Painting and Drawing from the University of North Tex-
as, College of Visual Art and Design in 2008.

Julon Pinkston is currently an adjunct professor at Houston Community College-
Central and Lone Star College-Kingwood. Julon Pinkston’s most recent body of
work included “fake tape” paintings, which reproduce the texture and look of
various types of tape in the acrylic medium and selection of paintings based on
red dots – the ubiquitous symbol for artwork sales.

www.julonpinkston.com

“Duct Tape Wrap”, acrylic, canvas, 2012, 4”x10”

Rebecca Riley

Artist statement
“My work is an exploration of the ways in which we interpret experience and
the obvious differences between those interpretations and direct experience
itself. It is about the tension of opposites that arises from this apparent dichot-
omy. I’m interested in the layers of meaning we pile onto direct perception.
I’m interested in how those layers of meaning are assembled, as well as the
source of meanings we conjecture. I believe this interest expresses itself in my
work through color, texture, a love affair with rich and varied materials, and
the layering of forms. The tension created by the juxtaposition of abstraction
and realism, color and black-and-white, opacity and transparency speaks to
these concerns.”

Biography
Rebecca Riley is an artist and Vice President at Lone Star College - Kingwood in
Houston, TX. Dr. Riley received her MFA degree from Texas Tech University in
printmaking, and her doctoral degree from Sam Houston State University. Pri-
or to becoming Vice President, Dr. Riley served as Interim Vice President of
Student Success and Dean of Arts & Humanities at LSC-Kingwood.
Dr. Riley’s exhibition record includes more than 200 local, regional, national
and international exhibitions in printmaking and watercolor. Her work is in
numerous corporate, private, and museum collections.

Tiger Lilies, watercolor, 2011, 40” x 50”

Scott Rosenberg

Artist Statement

My work begins when I notice something that I see every day in a new way. This
spark of curiosity resonates with me. Usually it evokes something that I cannot
quite put my finger on, an ambiguous memory that interests me enough to take
the form into the studio and begin to replicate it with my own hands. Throughout
this process I transform notions of the everyday into objects that exist within a
strange, psychological space.

Throughout the making process, the initial interest and expanded ambiguity of the
object becomes the life of the piece. This ambiguity is worked out formally and it is
what separates my rendition from the original. This occurs from a slippage of the
hand, the accepted limitations of the materials that I use, and a personal relation-
ship with my imagery. This physical slippage is mirrored by a conceptual slippage
that is created through accumulations of things and their presentation.

Handmade and unique souvenir coffee mugs are displayed on the floor. Each has
its own distortion from the original. Some of the mugs are covered in black rubber,
others have illustrations of yoga poses and some jumbled prescription drug logos.
This stack is topped with a cumbersome porcelain ashtray that appears to have
been purchased at a make shift gift shop near the Grand Canyon. This wonky me-
mento from the largest hole on earth begins to take on characteristics of the land-
scape that the text on it is making reference to. The uncanny nature of these ob-
jects suggests individuality in shared experience.

The objects I choose to replicate are often domestic in nature. I am interested in
the comfort of objects we possess, and their use in everyday life. Aesthetically
pleasing and tactile in their formal and material qualities when displayed as art ob-
jects, while at the same time they become somewhat disturbed and gross in their
transformation from material to object; resulting in a strangely familiar situation.

The minimal empty form of a bathtub brightly colored with thick enamel paint,
clean upon first glance, but stained with the residue of everyday life. This simple

gesture is punctuated by a fabricated glass of pink Pepto-Bismol on the rocks, in an
attempt to create a poetic and open narrative.
The viewer must make sense of these normal everyday things placed in awkward
contexts, usurped by scale manipulation, color exaggeration, enhanced surface qual-
ity, or unlikely material choice. The formal, material, and presentational strategies
that I use eliminate function and make these objects “wrong”, leaving the viewer
with more questions than answers. Expanding our role as subjective viewers.
Biography
Scott Rosenberg was born in 1982 in Milwaukee Wisconsin. He went on to earn his
BFA in ceramics from The Kansas City Art Institute in 2005. After that he went on to
participate in several residencies, one at Southern Methodist University in Dallas
Texas, and a second in rural Napa Valley at Richard Carter Studios. Rosenberg re-
ceived his MFA from USF in 2012. Scott is happy to be in Houston.

Untitled , 2012, 18” x 26” x 36”, paper, colored pencil, cast resin, clay, luster

Erich Schmalhorst

Artist Statement
My three dimensional work incorporates societal concerns with tactile interests.
Growing up in Mexico City, I was surrounded by structures that were centuries
old. I was fascinated by their surfaces and how they had evolved over time. I try
to reproduce in my work the patina of age that weathering creates. My pieces
look like the structures that will linger after man has passed.
Out of my concerns for sustainability and the environment, my work is made
primarily from discarded materials such as Styrofoam packing, old newspaper,
plastics, bottle caps, etc. I like the way that these materials lend themselves
thematically to art that is about the passage of time.

Biography
I was born in San Antonio, Texas but spent my early years in Mexico City. I
attended High school in San Antonio and went to the University of Texas at Aus-
tin where I received my BFA in studio art, a BA in Spanish and French, and a
MFA in studio art.
I have taught art at the University of Texas as a TA and as an adjunct at San An-
tonio College, Valencia College in Orlando and at Lone Star College (Kingwood
and Tomball campuses). I have exhibited at the University of Texas at Austin,
Koehler Center at San Antonio College, previous faculty shows at Lone Star Col-
lege —Kingwood, and numerous galleries in San Antonio, Austin, Houston, and
Boerne. My art is in private collections in the US, Mexico and Nigeria.

“Bottle Cap Universe”, 2012, 20” x 10” x 2.5”
Styrofoam, found objects , acrylic wash

Thanks to ...
LSC-Kingwood Media
Diana Sorensen: Photographer
LSCK TV - Garrick Joubert, Edwin Brega, Dan Ko
Pamela Clark: Dept. Head of Designs in Print

Lone Star College-Kingwood Art Gallery
Mon–Thur 11am–5pm
20000 Kingwood Drive
Kingwood, TX 77339
281-312-1534

http://www.lonestar.edu/arts-kingwood.htm