How do you describe your work and practice?
The basis of my work and practices focuses on intricate abstractions and as well as creating narratives that dwell into mental and emotional processes. In doing so, I want to simulate an emotional response to the audience through my artwork.

Tell us about your work in PUSH.
The concept of Amalgamate is exploring the mental processes of creative thought through abstractions. For this artwork, I wanted to create a representation of what the process of overthinking or mental stress would look like in an abstracted form. The overwhelmingness of the artwork forms an image that looks dynamic and alive but unrecognizable to anything physically representational.
The concept of Self Free is to explore the self-gratification individuals get from the use of social media. People are comfortable with framing the image of their bodies through selfies on their smart devices. As gratifying it is to receive likes and comments from the public, it shifts the image of our bodies as objects of validation.

How do you approach a new work?
When I approach a new artwork, I research data or techniques that would help create the artwork I am conceptualizing. I focus more on the process of artmaking rather than imagining what the end result should look like.

How do you describe your work and practice?
My goal is to inspire those who see my work to look more carefully at the world around them, and to discover beauty in unusual places.

Tell us about your work in PUSH.
Not Water attempts to capture a perception of movement through an abstract minimalist approach. I intended to create a texture like liquid, and therefore titled the piece Not Water. 

What’s a medium or theme you’d like to explore in the future?
In the future, I would like to explore themes regarding current events such as the riots against systemic racism and impacts of climate change. I would like to align my artwork within cultural contexts during my life.

How do you describe your work and practice?
Photography for me is of great interest as it is the medium that all visually capable people can understand; it is simply capturing what we see. As an artist, photography grants me the opportunity to capture or modify something as elemental as light. Ultimately this interplay between the literal and abstract is where I enjoy finding what I consider art.

Tell us about your work in PUSH.
My work is primarily focused on the interplay between humans and nature. Sometimes this may be our natural element, or what we see within fellow individuals. A process of mine recently, has been abstractions and manipulations of light. I see both of my works as variations of this theme and process. I do not want to describe either piece as even my own understanding of them has grown with me.   

What’s a medium or theme you’d like to explore in the future?
A theme I would like to pursue more in the future is within what I have discussed above. The idea of humans and nature is of interest to me. Scholars have now even begun to reference exactly that dynamic. They are calling our current geological epoch the “Anthropocene,” where-in humans are the major geological driver of change. Not glaciers, not volcanoes, not oceans, not rivers, but humans. This interests me.

How do you describe your work and practice?
I do not self-identify as an artist - my main interests are Art Theory and Art History the study of which is informed by my art practice. I feel that in order to fully understand the historical and theoretical aspects of Art, I need to learn the techniques, materials, and approaches used by artists.

Tell us about your work in PUSH.
The Words of the Prophets represents my continued interest in texture, composition and printmaking.
If Wishes Were Wasted (For Bill) is my first exploration into both sculpture and research-based art. Trees hold a spiritual significance in many cultures, modern and ancient. In some areas of Britain, coins were driven into fallen trees in order to rid individuals, or loved ones, of disease. One coin, one wish. During the process of making, the theme of Wishes changed from hope to personal loss.

What’s a medium or theme you’d like to explore in the future?
I usually divide my time equally between Art History/Theory and visual art practice. In the future I would like to study concepts of authenticity and authorship (in the Art Theory realm) and drawing as a visual exploration.

How do you describe your work and practice?
The concept of identity is inquisitive and fascinating to explore and comprehend. It also leads us to questions about what makes us who we are and why we do the things we do. In my artwork, I specialize the identity through a combination of dream analysis and body modification by Painting.

Tell us about your work in PUSH.
I was born and raised in a Latin-American Christian family and I studied in a semi-private Lutheran school that restricted me from understanding the exploration of human identity through psychology and the aesthetics of body modification. As I studied visual arts at the university, I took the advantage to explore myself through the process of studying the inner psyche to identify my hidden wishes and desires that are suppressed in my subconscious thoughts and determine how my dreams reflect my identity. After performing the dream analysis and explaining it, I noticed that the series of Skull Girl (such as Skull Girl V) is a reference of who I am and who I want to be; thus, I began altering myself from my old canvas into a new style of canvas. 

How do you approach a new work?
The more I explore myself the more freedom I have and the more beautiful I become. At the same time, I challenge society against the idea of traditional beauty by exploring and understanding the inner psyche and the aesthetic of body modification. I believe the beauty of art comes from being self-integrated in your uniqueness despite the heckles and criticisms from society.

How do you describe your work and practice?
Over the course of my degree my work has dealt in varying ways, with concepts of memory and isolation of place. My focus on oil-based painting has led me to explore both the rendering of realistic forms and the mixture of these forms with fictive elements that recall both the act of recalling memories and surrealism.

Tell us about your work in PUSH.
The piece Natasha deals with interests in the creation of portraits and how that tradition can be expressed in a contemporary fashion through experimentation with space and surface. The piece It’s Torn deals with the unreliable nature of memory, with a concentration on depicting memories of strain. The torn layered canvas reflects the way in which memory decays over time and is a continuation of experimenting with the painting surface.

How do you approach a new work?
Much of my new work deals with the depiction of memory and trying to reflect emotions of memories to the audience. When approaching this new work, I begin with trying to access and reflect these emotions though listening to music, creating palettes based on old photographs, and sketching. I find that reading psychology texts also helps with conceptualizing how to render the idea of memory.

How do you describe your work and practice?
My work merges handicraft and fine art mediums to create conceptual and research-driven art pieces. By blending materials, I ask audiences to consider how objects are valued or devalued based on their materials, processes, and producers.

Tell us about your work in PUSH.
Mimic III is part of a series in which I explored the conceptual overlap between crazy quilts and portraits as visual and tactile forms of self-representation.
She’s Got A Knife! is based on a family photograph of me in my grandmother’s garden. I was holding a water gun in the original, but a knife seemed funnier.

What’s a medium or theme you’d like to explore in the future?
I would love to learn how to weave. I am interested in how it can be both a regimented and intuitive process of creation. It’s also struck me as quite meditative so it would align well with my experience embroidering.

How do you describe your work and practice?
My work consists of simplified and minimalist approaches to broader, heavier topics. My practice explores my past experiences and current thoughts, as a means of self-exploration as well as art as a means of therapy.

Tell us about your work in PUSH.
A Moment Remembered is the first piece in a new series in progress titled Memory. The series explores how nostalgia and the romanticization of the past can lead to the distortion of reality.

How do you approach a new work?
I rarely start new works with a theme or finished product in mind. Instead, I make sure that I contribute to my practice in one way or another everyday through which new themes and ideas emerge.

Tell us about your work in PUSH.
This piece is all about selfie culture. I wanted to emphasize private vs public aspects of taking selfies in this generation. Each singular pixel has a selfie on it. There are also many pixels that are extending towards the viewer that they can open to reveal a selfie camera pointing directly at them. The purpose of having these open up is to show that while the viewer is engaging with a piece, they are also under surveillance behind their screens. Once viewers back up from the piece, the whole picture is a woman with her head resting on her hand.

How do you describe your work and practice?
Born and raised in BC, I have always been surrounded by nature, however, when I moved to Calgary, I had to drive out of my way to be close to flora and fauna. It felt as though a piece of myself was missing, which is partially why I use nature as inspiration in my art practice. Using various mediums, I create representational works of plants, animals, humans, and scenery.

Tell us about your work in PUSH.
The purpose of Combinations was to try different colour combinations. The works include a variety of analogous, complementary, harmonizing, and triadic colours. An abstract shape caused the creation of a bacteria-inspired series of artworks being contained in petri dishes. I researched different types of bacteria and loosely used their shapes to create all my additional layers. These three works are only a small representation of the collection of 62 different screen prints.

What are some of your artistic goals?
Some of my artistic goals for 2020 include filling out an entire sketchbook in order to improve my skillset, being a part of a total of 10 exhibitions, which I’m already over halfway done, and being hired to paint three murals, which is also over halfway done. This is another career direction I would like to explore more thoroughly.

How do you describe your work and practice?
I would describe my work and practice as everchanging! I am always developing my style based on what I am experiencing in my day to day life, and the things that inspire me.

Tell us about your work in PUSH.
My piece Femininity is about reclaiming the female body from traditional, patriarchal use. I do this by using techniques and materials that were traditionally used by women such as embroidery and florals.

What are some of your artistic goals?
My biggest artistic goal for the future is to continue developing my style, and also continue being inspired by what life has to offer, the good and the bad.

How do you describe your work and practice?
Exploration, imagination and creation. My work encompasses these ideas as I strive to find myself through my artistic practice. I plan to continue this process of learning and exploration as I work towards my degree. I want to discover as much knowledge as I can while I have the opportunity to immerse myself in my own creative process, wherever that takes me.

Tell us about your work in PUSH.
These pieces, although vastly different, both exemplify my desire to explore materials. My past dance training provides me with rich inspiration for pieces regarding connection, passion and community and I hope to continue to explore these ideas through my experimentation with artistic mediums.

What’s a medium or theme you’d like to explore in the future?
In the future, I would like to explore how to create digital artwork. I have experience in 2D and 3D art and would love to learn more about the digital realm of artistic creation.

How do you describe your work and practice?
Although my art has always revolved around nature, my focus has recently shifted to the destruction of our planet. As an environmentalist, I try to use my platform as a means to celebrate the beauty of nature while simultaneously reminding the viewer of the disreputable acts we as humans have inflicted on our planet and hope that creating this art inspires some change within those who view the work.

Tell us about your work in PUSH.
Our plastic crisis, specifically the build up of pollution in our oceans, is an issue that has upset me for quite some time. Starbucks (2019) is an artwork that symbolizes the mistreatment of our planet, specifically in regards to water. The message behind this piece is that we should boycott big and unethical corporations, reduce our plastic and waste, and ultimately respect our planet. ​

What’s a medium or theme you’d like to explore in the future?
I would love to continue making art surrounding this theme seeing as the preservation of nature is of outmost importance to me. I have recently been experimenting with sculptures and installation, and would love to continue down that route; broadening my artistic horizons. I believe that to create art about uncomfortable subject matter, you need to work outside of your comfort zone.​

How do you describe your work and practice?
My work focuses on the interactions between man and nature and the consequences of continuing human expansion on the natural world. I explore the fragility and adaptability of the environment in the face of destruction.

Tell us about your work in PUSH.
My work for PUSH came from a series that focused on extinction events throughout geological history, and the flora and fauna that were implicated in those events. The work aims to have the viewer consider their place in the world and the ultimately insignificant nature of humanity in the lifetime of our planet.

How do you approach a new work?
New work, for me, begins with research. I identify a loose topic and start to compile information on that topic, narrowing down a concept before beginning the creation process. Often, in the course of my research the work changes drastically from what I had initially envisioned. This process allows me to grow and develop my ideas.

How do you describe your work and practice?
I like to convey themes in my work through abstract and minimalist ways. The viewer must dig within themselves to find what the piece means to them. I hope to challenge viewers to contemplate their own sense of identity and the experiences that have shaped them when looking at my work.

Tell us about your work in PUSH.
Becoming, explores themes of self-identity and feminity. The soft pink tones throughout the piece show the soft aura I feel shapes me as a woman. The lines converging in the center of the piece are to emphasise that entity being formed. In this instance, a woman’s body in the center of the piece. Nurture speaks about the nature of the relationship between a mother and a daughter.

How do you approach a new work?
As an artist, I enjoy searching within myself to find what shapes me as a person to create my art. My inspiration comes from the colours and shapes that surround me and what they represent to me. This could be simple shapes such as cubes or circles or complex shapes such as architectural designs. Pink and yellow tend to be the colours I gravitate towards the most, symbolizing femininity and happiness.

How do you describe your work and practice?
I would describe my work as very imaginative and organic. Through my work I create characters that help illustrate a fantasy. My practice consists of drawing and digital illustration, I have so far entered the realm of painting.

Tell us about your work in PUSH.
You’re Tearing me Apart is a piece that is meant to discover what it’s like becoming our own independent beings. As the two figures exit from the wall of organs, they tug at each other and try to tear themselves free. The two figures are in a mess, and now they attempt to transform into their own life forms as they rip at the sheet of skin that keeps them together.

How do you approach a new work?
When approaching a new work I try to think of the best way to make it as magical and as absurd as possible. I want my work to focus on capturing the essence of being out of this world. Therefore I create characters that help portray this imaginative experience.

How do you describe your work and practice? 
My artistic practice revolves around a critical view of societal standards based on femininity, gender, sexuality and the concept of consumption. Typically, I aim to explore the relationship between being female and how people expect that to be represented and consumed through the consumption of goods, through what is sold to us and the ideas those items represent for femininity and gender.

Tell us about your work in PUSH.
My piece "Reflect", speaks towards a historically inspired view upon women as objects in art. The eyes within the reflection are those of multiple people who are viewing her body without consent and inherently sexualizing the body. The reflection of the multiple eyes is meant to expose the people viewing the image to create a sense of guilt or discomfort for viewing the body as solely sexual under their gaze.

What is a medium or theme you'd like to explore in the future?
Often, I find I am most attracted to both oil paint and fabric materials and their ability to express strength, delicacy, femininity, through their movement and application. However I have not used lace, this is a material I am very intrigued by because of it's femine association and association to a sense of sensuality and how those two themes connect thematically through what we are sold under consumption of femininity.

How do you describe your work and practice?
My work can be described as a constant exploration of media and content within the context of the principles of art and design.

Tell us about your work in PUSH.
The watercolour, Homework was created as part of a series called Conversations from the Crescent Room, where each watercolour work accompanied a haiku poem, which collectively narrated a story.

What are some of your artistic goals?
My artistic goals are to continue to learn as much as I am able from mentors as I develop the ability to stay in the present moment with my medium, in creativity, and in play. Homework is essential! It involves reading, testing, exploring, viewing, observing, listening, learning, lighting, creating, failing and beginning again. In watercolour, I want to learn how to undertake portraits of children, people, pets, flowers and landscapes.

How do you describe your work and practice?
I describe my work as flowy, bold and delicate.

Tell us about your work in PUSH.
The image is meant to represent the vulnerability of a person. From everyday observation of people on their first day of class, I have found that there is always a sense of loneliness and the hesitance to do things on our own before we create a sense of community with one another.

How do you approach a new work?
When I approach a new work, in this case a portrait, I want to get to know the person first and draw them in such a way that they are being truly represented in my work.

How do you describe your work and practice?
I view my work as my visual journal. Sometimes, words are not sufficient to describe my feelings. Colours and shapes allow me to express my emotions onto a physical medium - in this case, a panel. Art allows me to convey my feelings and thoughts through my paintbrush. In the end, I create these surrealist inspired works that entice viewers to come and experience another realm.

Tell us about your work in PUSH.
Opening up your feelings and getting dismissed is the most heart-wrenching feeling you will experience. You have done everything, but it was not enough to keep them by your side. It is not their fault, and that is a hard pill to swallow. You have bled and cried all day. By the time you already realized it, you are already floating in an ocean of your tears. I know it hurts, but it's all right, my friend. Let the thorns, storm, and ice-cold winds create the unbreakable person that you are.

What are some of your artistic goals?
One of my artistic goals is to have a solo exhibition. Having my own space that allows me to showcase a collection of my artwork and allows people to immerse themselves in my realm would be a dream. Art is significant to me because it allows me to connect with other people on a raw and deeper level.