2012 Faculty Art Show

2012 Faculty Art Show

Gerard Baldwin · Cory Cryer · Julon Pinkston · Joe Kagle · Erich Schmalhorst
Mari Omori · Divya Murthy · Jay Calder · Jessica Dupuis

January 9 - February 2, 2012

2012 Spring Faculty Exhibition

Gerard Baldwin................................................................ 1
Jay Calder....................................................................... 3
Cory Cryer....................................................................... 5
Jessica Dupuis.................................................................. 7
Joe Kagle......................................................................... 9
Divya Murthy.................................................................. 11
Mari Omori.................................................................... 13
Julon Pinkston................................................................. 15
Erich Schmalhorst............................................................ 17

Gerard Baldwin

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 second 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, Bullwinkle, 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. Whereas 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.” gerardbaldwin.com

1

Untitled, 2011, pen and ink Gerard Baldwin

2

Jay Calder

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 solving, 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 explore new ideas in functional ceramics. I love
to create luscious layers of glaze and explore textures.
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” stoneware shop within Universal Studio Tours in Universal City,
California. He was heavily influenced by his father, Sam Calder, who was a professional photographer,
and later pursued a pottery career. Jay’s formal art training began at Brigham Young University and
continued with an M.F.A. at the University of Puget Sound in Washington. He studied under F. Carlton Ball, a ceramic author 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. For
25 years, Jay taught secondary art in the public schools in New Orleans, and Houston. He studied under Roy Hanscom at Lone
Star College while teaching public school. Previously he taught at Houston Community College (Central Campus); and completed a
2008-9 Artist-in-Residence program at Houston Contemporary Crafts Center. Jay currently teaches as an adjunct ceramic instructor for
Lone Star College at the Kingwood campus.

3

Untitled, 2011 Jay Calder

4

Cory Cryer

Before I was old enough to go to school, my days were often spent with my maternal 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 Florida 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 because of its ability to assume many forms and,
as a result, play many roles. The ceramic 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. Emotionally, 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 sensory 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 color 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 contradictory nature of this medium from raw to finished
state continues to fascinate, excite and inspire me.

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.

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 MFA 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.

5

Jessica Dupuis

Invisible and visible boxes surround us every day, from the standards of society and institutions to houses,
studios, and offices. Within these structures, individual perceptions and senses vary, just as our memories
and attachment to objects differ from one person to another. For me, the physical form of sculpture
functions as a journal; architectural spaces that are open for the viewer to explore.
My recent work evolves from an experimental process in which I use a combination of clay slip and
discarded materials such as newspaper and cardboard boxes and transform them into art objects.
Jessica Dupuis is the recipient of numerous awards, including the International Sculpture Center’s Outstanding Student Achievement in
Contemporary Sculpture Award, and was an Artist-in-Residence at Houston Center for Contemporary Craft. Her work has been widely
exhibited in solo and group shows in New Jersey, North Carolina, Texas, and Utah. Jessica taught at Lone Star College-Kingwood in
fall 2011. She received her MFA in ceramics from the University of North Carolina at Chapel Hill, NC.

7

Untitled, 2011, detail, ceramic Jessica Dupuis

8

Joe Kagle

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 Scholar 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 divisions 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 management, fund-raising and Chinese art (having a
Fulbright to the Palace Museum in 1966). In 2008, he had a retrospective exhibition at Lone Star College-Kingwood Fine Art Gallery
of work from 1948 to the present. Since mid-2009 he has created collage works and written for 60 book/journals (110-146 pages in
each), 45 works of art on scrolls (40 images on each), and over 350 individual works of painting and collage.

Kagle’s honors include: Who’s Who in American Arts, since 1965; Artist of the Year for the Pacific Chapter of the American Institute
of Architects, 1976; Who’s Who in the South and Southwest, since 1978; Who’s Who in American Education, since 1979: Who’s
Who in America, since 1980; John C. Gowan Award for Research from the National Gifted and Talented Association, 1982; Kellogg
Educational Fellow at Smithsonian Institute, 1983 and 1984: Who’s Who in nternational 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 received recognition in the National Works in Public Places,
an exhibit at the Smithsonian 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.

(cont’d)

9

Kagle

Kagle 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 of his profession as 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, born 1932, Pittsburgh, Pennsylvania (education: Dartmouth College, B.A., 1951-55; University of Colorado, M.F.A., 1955-
58; and the University of Arkansas at Little Rock, M. ed., 1983-84)

10

Open Wide Series #5, 2011, 32 x 40 inches, photo process, collage and acrylic

11 Joe Kagle

Divya Murthy

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, as well as in 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. www.divyamurthy.com

12

Synott Bridge, 2011, 8 x 10 inch photographs, archival pigment Divya Murthy

13

Mari Omori

I explore concepts of identity, memory and transformation, through manipulation of materials and objects
from everyday life.  I am interested in tapping into the nature of these materials, exploring their physical
qualities and connotations. The series of objects in this show are made from these explorations. A pivotal
moment came after serving tea in 1997, when I noticed the tea stains on a teabag paper. The stain
marks that had formed along the folded edges of the teabag paper appeared to me as pieces of memory
made visible by the essence of the tea and the passage of time. They created a visual vocabulary, a
language of stains and patterns that I was able to explore. Born and raised in Japan after WWII in a
time of scarcity, I learned to value the seemingly insignificant things in my childhood environment.  This
may be part of the motivation behind making use of everything to create art. Tea, sugar, salt, soap and
paper appeal to me for their consumable nature and for my earliest associations with them.  

In my presentation, I use containers and bases as significant parts of the work. The manner of presentation is culturally bound, consistent
with the Japanese tradition of incasing gifts and presenting objects as valuable and meaningful things to treasure over time.  Yet the
objects presented are temporal in nature. What exactly are the changes that will occur with these objects? How much of the original
composition is lost? What will be gained at the end?  In what way will the transformation of the object affect the viewer? How may
these fragile and environmentally sensitive materials be seen as art? How does the smell of soap or dried wood or tea affect the senses? 

An artist and art educator born and raised in Japan, Mari Omori received a BA from Cal State University Northridge and an 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-residence 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. 

Omori’s awards include the Palm Beach County Cultural Artist-in-Residency Grant in 2007, working with 25 non-profit
organizations and over 500 participants in an exhibition 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: Resonance” (Poissant Gallery, 2007),
“cross roads: asia/america” (Galveston Arts Center, 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 exhibitions in 2010 includes
“Mothers/Daughters” at Bosque Gallery, LSC-CyFair, and “akari kami mori: illuminare”, at the College of the Mainland Art Gallery. 
www.mari-omori.com

14

object - tea with our mothers, 2011, 12 x 5 inches, paper, string, plate

16 Mari Omori

Julon Pinkston

I believe there is nothing in life which is not subject to change, and truly believe in the concept that art is
always in a state of flux. With that in mind identifying exactly what I am doing in my work currently is often
futile, except to say it is a process of discovery. I consider my work responsive to life, incorporating more
intuition and play than careful planning. In a sentence, by taking advantage of my existing environment,
I seek to identify visual and cognitive connections with societal detritus, idiosyncratic objects, gesture and
symbolism as a means to exploit the duality of conscious, subconscious and metaphysical continuums
through my work. I make art as an exploration of my world and as a process to understand that world
better physically, spiritually and intellectually.
Born and raised in Houston, TX, 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 Texas, 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. A young emerging artist, his work
has been exhibited throughout Texas and was recently featured as part of McMurtrey Gallery’s Holiday Group Exhibition 2010 and
Assistance League of Houston’s Texas Art 2011. www.julonpinkston.com

17

Untitled, 2011, 15 x 15 inches, acrylic on canvas

18 Julon Pinkston

Erich Schmalhorst

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. My two dimensional work in the show is a portrait of
my daughter when she was four. I started with a woodcut print that I then hand colored with Prisma. Each image is unique. The visual
vocabulary at the top of the piece I borrowed from drawings that she made at that age.
Erich Schmalhorst was born in San Antonio, Texas, but spent his early years in Mexico City. He attended high school in San Antonio
and went to the University of Texas at Austin, where he received a BFA in studio art, a BA in Spanish and French, and an MFA in studio
art. He has taught art at the University of Texas as a teacher’s assistant, and, as an adjunct, at San Antonio College, Valencia College
in Orlando and Lone Star College (Kingwood and Tomball campuses). Schmalhorst has exhibited at the University of Texas at Austin,
Koehler Center at San Antonio College, previous faculty shows at Lone Star College-Kingwood, and numerous galleries in San Antonio,
Austin, Houston, and Boerne. His art is in private collections in the US, Mexico and Nigeria.

19

PAB1, PAB2, 2010,
11 x 30 inches & 11 x 31 inches
mixed media

20 Erich Schmalhorst

Many thanks to ...
LSC-Kingwood Media
Diana Sorensen: Photographer
LSCK TV: Garrick Joubert, Edwin Brega, Dan Ko
Pamela Clark: Dept. Head of Designs in Print
Brochure design: T.C. Robson

LSC-Kingwood Fine Art Gallery
20000 Kingwood Drive

Kingwood, TX 77339-3801
Phone 281.312.1534
LoneStar.edu/Kingwood

Affirmative Action/EEO College