Faculty Show 2013

Lone Star College-Kingwood presents

FFaaccuullttyy SShhooww 22001133August 28-September 25, 2013
Open 11am-5pm Monday-Thursday
August 28-September 25, 2013
Open 11am-5pm Monday-Thursday

Adela Andea
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Julon Pinkston

Artist Talks

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Joe KagleA-rStiesptteTmalbkesr 5, 12:30

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Mari Omori - September 5, 1:00
Andela Andea - September 19, 1:30

Lone Star College Kingwood
20000 Kingwood Drive, 77339



Table of Contents

Adela Andea.................................................................... 4
Gerard Baldwin............................................................... 6
Joseph Kagle................................................................... 8
Cory Cryer....................................................................... 10
Divya Murthy.................................................................. 12
Mari Omori..................................................................... 14
Julon Pinkston................................................................ 16

Adela Andea

Artist Statement

I like to think about my art as incorporating 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
economical 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 subjective encounter through personal individual experience with the
artwork is one dimension that creates many other layers of reality. Confronting
the discrepancy between ideas, understanding of the concept in the context
of socio-cultural present preoccupation, and actual experience, events,
reality can be manipulated by the way it is presented.
Through art, the transformation of information has been mitigating the two
extremes, between the valuable resources of information and the end product
responsibilities for recycling, giving a different meaning to the phrase “residual
value.” In addition the fast scientific developments almost enable us to
distinguish between present and future technologies; a question I always ask
myself when encountering new information: has it been done and did it succeed,
is it experimental or is it envisioned to happen in some laboratories?
I like to transform the indoor spaces into installations that involve full sensory
experiences for the viewers. I use all the space that 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, and search for the
new possibilities of personal development through inquisitive experiences. I
strive in my art to vindicate the unintended consequences of technology on the
environment and inspire new exciting ways to infuse technology.

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Biography Adela Andea

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
Romanian Revolution of 1989 which started in her hometown and ended up with
the overthrow of the totalitarian regime in Romania. In the year 1999,
Adela found herself confronted with another dangerous situation, a war starting
within 100 miles on the Romanian frontier, the intervention of NATO in Serbia.
During these times of uncertainty, she immigrated to United States. Before
settling in Texas in 2005, where she also got her American citizenship, she
lived for six years in California working full time as a Paralegal in employment
discrimination civil lawsuits. 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
California, Pennsylvania, New York, Florida and Texas. Her art introduces analyses
of socio-political issues raised through the dynamic and rapid industrialization
and globalization, the current stage of the ecology of electronics, the types of
communications and mediation between the physical presence of electronics
and hyper reality of information. Few of her recent accomplishments this year,
2011: she was given a solo show at the prestigious gallery in Houston, Anya Tish,
followed by a solo show at Cris Worley Fine Art in Dallas and few of her major
works were shown at the MAC in Dallas. She won 1st prize at the Museum of
Geometric and MADI Art - “DERIVATES: Origins in Geometry” in Dallas and her
work was curated in two major art fairs:
Houston Art Fair and Art Miami.
Adela graduated Valedictorian and
Summa Cum Laude from the Painting
program at the University of Houston
and received her MFA in New Media
from University of North Texas. Adela
Andea is represented by three galleries:
Anya Tish Gallery, Houston, TX, Biba
Gallery, Palm Beach, FL and Cris Worley
Fine Arts, Dallas, TX.

Mini Bioluminescence Wall,
2013, 42”X32”X12”

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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
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 Flint-
stones 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.”

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Gerard Baldwin

New York City, 2013, 4’6” x 5’2”

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Cory Cryer

Artist Statement

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 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 contradictory nature of this medium
from raw to finished state continues to fascinate, excite and inspire me.

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Biography Cory Cryer

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.

Pair 1, 2013, Ceramic

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Joseph Kagle

Artist Statement

Recently, my works of art have received Special Recognition from Upstream
People Gallery, an online international competitive exhibit gallery, in each month
since 2008. Almost all of them are works using what I call “creative space”. It is
a simple idea that started as I was studying “the butterfly effect” (chaos theory-
“small things can lead to major events”). Since then, I add something new to a
work and change its whole nature (the viewer does the same when I place works
side by side in an exhibition). The viewer is part of the process and puts in the
missing objects. My mentor at Dartmouth College in the 1950’s was, Robert
Frost; when I asked this poet-in-residence: “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 anywhere in the world can put their ‘self’ into it.”
I have used that insight in my work ever since. My most recent work is called
The Road Taken because I journey now on a path that I have chosen. Each day
is the final frontier. Each day I wake and start a ‘busy-being-born’ adventure.
Lawrence Bradshaw, Curator for the August 2013 ‘13th Annual Summer All
Media Juried Online International Art Exhibition,’ wrote: “Joseph L. Kagle, Jr. of
Kingwood, Texas is a kind of visual genius. His visual orchestrations bespeak of
strength in creativity and an understanding of the human dimension….”

Biography

Kagle has exhibited in over 725 national and international exhibitions. In the
early 21st century, 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”. 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.
Since mid-2009, he has created collage works and written 75 book/journals (110-
146 pages in each), and created over 500 individual works of painting and collage.

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Kagle has been honored in: Who’s Who in American Arts, since 1965; Artist of Joseph Kagle
the Year for the Pacific Chapter of the American Institute of Architects, 1976;
Who’s Who in American Education, since 1979: Who’s Who in America, since
1980; Kellogg Educational Fellow at Smithsonian Institute, 1983 and 1984; Who’s
Who in International Art, since 1990; Who’s Who in American Business and
Finance, since 2003; and Who’s Who in the World, since 2004. His major work on
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 received The Published Writing Award for
Lone Star College System in March, 2009. Since 2008, 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 art profession. 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-40 year career in museum
management). His educational belief is: “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”.
Through all of his 81 years (starting by being selected to study at the age of eight
at the Carnegie Museum of Fine Arts, 1940-1951) of creative, administrative,
curatorial, and academic pursuits, his credo has been: “May the beauty we love
be what we do.”

Waiting Room, 2013, 10 x 14 inches

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Divya Murthy

Artist Statement

Locals, Photographic Installation, 2012 - Locals follows the tradition of early 20th
century photographic documenting processes in order to create an unofficial
black and white photographic archive. I am always asking the question: Does
anything ever exist if it is not recorded?
I am interested in the images of natural history classification of plants and fruits
and the way archives, information and identities are formed. I partake of some of
those classification traditions and create edited and revised information to show
filtered representations of most of the fruits and vegetables prevalent in my
hometown of Bengaluru, India.
Locals also involves collaboration with botanists and scientists in Bengaluru to
research and reveal information and classification details about each and every
documented fruit and vegetable that have been under-represented in the main
canons of natural history texts. This project is still in progress.

Biography

Divya Murthy received an M.F.A. in Interdisciplinary Studies from the School of
The Museum of Fine Arts, Tufts University in Boston. Her photographs, videos,
and installations have been exhibited throughout the United States at venues
that include the Galveston Arts Center, Museum of Fine Arts, Boston, Baltimore
Contemporary Museum, and the Blaffer Museum at the University of Houston.
Some of her awards include a Yousuf Karsh Prize in Photography, The En Foco
New Works, a Carol Crow Memorial Fellowship from the Houston Center for
Photography, and a AIGA World Studio Foundation Grant.

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Divya Murthy

Sitapala, 2013, Print

The original home of the sugar apple is unknown. The Spaniards
probably carried seeds from the New World to the Philippines and the
Portuguese are assumed to have introduced the sugar apple to southern
India before 1590. A sitapala has the reputation, particularly in India, of
being a hardy, drought-resistant crop. The crushed leaves are sniffed to
overcome hysteria and fainting spells; they are also applied on ulcers and
wounds and a leaf decoction is taken in cases of dysentery. The crushed
ripe fruit, mixed with salt, is applied on tumors.

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Mari Omori

Artist Statement

August 6th and 9th of 2015 will mark the 70th Anniversary of the 1945 atomic
bombings over two cities, Hiroshima and Nagasaki, Japan. Over the past
six months, I have gradually worked on an idea for an installation piece in
commemoration of those whose lives were lost. As a Japanese and Japan-born
artist, this project has been a personal one although I did not have any family
or friends directly affected by the bombings. In 2012, there was a NPR program
about the Oak Ridge National Laboratory, IL, where the nuclear bomb was made.
The laboratory was called, The “secret city”, among the scientists who worked
there. I decided on the title of the installation and book work to be the same.
The installation, “secret city: 1945-2015”, materialized through my personal fear
of the continual threat of nuclear war and my sincere wish for world peace.
The work is an interpretation of emotions through images and objects.
I would like to thank Chris Akin for his assistance with the layout design and
poem contribution in the process of making the book. I would also like to
thank Kris Larson and Vachu Chirakamarri for their help creating the sculptures.

Biography

Born and raised in Chiba Prefecture, Japan, Mari Omori is a multi-media artist,
art educator, and curator who received her MFA from UCLA and BA from
California State University Northridge. She is currently a Professor of Art at
Lone Star College-Kingwood, Kingwood, TX, a position she has held since 2002,
teaching Design, Drawing, and Painting. Her awards include the Mino Culture
Art Project AIR, Mino, Japan (three months), in 2008 in conjunction with her
Sabbatical Research Leave with the International Faculty Exploration Grant from
Lone Star College Systems, and the Palm Beach County Cultural AIR Grant in 2007
culminating a solo exhibition at the Morikami Museum, Palm Beach, Florida.
Her recent Artist-in-Residency experiences are Hilmsen, Germany in 2012
(five weeks), and COLLAGE: Art for Cancer Network with MD Anderson Cancer
Center, Houston, TX, on-going since 2007. Her works have been widely exhibited
internationally in Japan, Germany, Taiwan, and Thailand, as well as in one person
and group shows in the US, California, Georgia, Massachusetts, Oregon, and Texas.

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Omori’s curatorial projects include “Plurality: Paperwork” (LSC-Kingwood, Mari Omori
2012), “Washi 5: International Handmade Paper Exhibition”) LSC-Kingwood
and LSC-Montgomery, 2010), “Kyomei: Resonance” (Poissant Gallery, Houston,
2007), “crossroads: asia/america” (Galveston Arts Center, 2006), and “affinities”
(Heritage Gallery, JP Morgan Chase, Houston, 2005). Omori was the featured
artist in “mari omori” at the Pearl Fincher Museum of Fine Arts, Spring, TX, in
2011, “mothers & daughters” at the Bosque Gallery, LSC-Cy Fair, celebrating
Women’s History Month in 2010, and “akari kami mori: illuminare” at the
College of the Mainland Art Gallery, in the same year. Omori has been invited to
numerous collaborative projects with organizations in Houston such as, Dominic
Walsh Dance Theatre,” Uzeme”, 2012, the Menil Collection, “the Artist’s Eye”
2011, the Museum of Fine Arts Houston, “Art Teacher Workshop”, 2009 and
2007, and the Asia Society Texas Center, “the Art of East Asian Ink Painting”,
2013. She has created films, videos, self-published books, and collaboratively
worked with artists in Houston community. Currently, her works are available for
viewing in Houston, BIG SHOW at Lawndale Art Center, Paper Cuts at M Square
Gallery, and L’esprit de l’escalier at Diverseworks.

Fieldwork: 2007-2013, video, 1 min, 2013

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Julon Pinkston

Artist Statement

The use of play and intuition is a very important part of my creative process.
In my latest body of work I am making what appear to be utilitarian objects
ubiquitous to the art world (duct tape, red dot-stickers, masking tape, etc.)
but are, in fact, made of paint, exploring a duality between objective and non-
objective actualities. The varieties of the surfaces on which these paintings are
made become an integral part of the art so that the paintings take on a sculptural
aspect. All of these elements are the tools I have set up for myself in order to
be able to play with compositions and discover new possibilities along the way.
This is a visual vocabulary that I hope to expand.
I like the idea that art should seem like it is easy, even when it’s not. I enjoy
pushing the conventions that confine artistic media, whether traditional or
nontraditional, and seeing what else I can do with it. I hope that when you look
at this work you see it with the same kind of play or sense of discovery in which
they are made.

Biography

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.
Since graduating, Julon Pinkston has worked as a practicing studio artist and
adjunct professor at Houston Community College Central and Lone Star College
Kingwood teaching two dimensional and three dimensional design, painting,
drawing, watercolor and art appreciation.
Julon Pinkston first began his studio practice in college after serving as an Infantry
soldier in the US Army. It was as a result of that experience the spurred him
into taking the bold move and practicing art as a career, embracing the motto
Fortuna Favet Fortibus. His work has been exhibited throughout Texas, featured
at Houston’s Art Car Museum, the Beeville Art Museum, McMurtrey Gallery and
currently represented by Zoya Tommy Contemporary Galley.

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In his current work he creates tromp l’oeil, textured and ordinary objects like Julon Pinkston
duct tape, wood, stickers using acrylic paint as a medium (these are objects used
in common studio practice for painting). At the same time he is using paint as a
gestural device. His work explores transformation of painting media as subject
matter of itself and maintains a seductive, elegant quality.

Shirtless Young and Catching Flesh, 2013, 10’ x 7’ x 2’

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Many thanks to ...
LSC-Kingwood Media and Jason Watson
LSCK TV - Garrick Joubert, Edwin Brega, Dan Ko
Pamela Clarke: Dept. Head of Designs in Print
Gallery Assistants: Jennifer Espejo, T.C. Robson
Lone Star College-Kingwood Art Gallery

Mon–Thur 11am–5pm
20000 Kingwood Drive
Kingwood, TX 77339

281-312-1534
[email protected]

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