post grad life is awesome. with no specific plans i have really been enjoying everything.

currently i’m working full time in admissions. having a real person job on the side of my artwork has taught me a lot. i’ve successfully completed two pieces since graduation.. in total, three portraits. once the commissioners receive their pieces, i’ll post some pictures. (they’re a surprise, so i wouldn’t want to spoil that for them).

i’ve found a great importance in balance and motivation. although i feel exhausted and consequently always hungry, it’s apparent to me to make time for myself and to more importantly, draw.

i’m NOW looking forward to beginning a series of drawings. i’m thinking… 400series drawing paper, mostly because it’s amazing and i love the tooth. my typical graphite pencils, i wouldn’t steer far from those. but it more importantly been the subject matter that’s really struck an interest.

i was folding laundry the other day, like any good college graduate would &i’m fairly sure i’m not the only individual that uses those dryer sheets? the ones that make your clothes smell and feel like heaven. well, i had a few crumbled up &thought it was awesome how transparent but thick they are. they have very limited purpose & are hardly necessary but i figured i could utilize them as a still life subject. it would really allow me to practice and visualize transparency and shapes. although the pieces of ‘paper’ are white, they display a variety of tones. the shape moves back in space and when placed on a flat surface, it’s really a matter of found and lost edges.. these are really all the things that excite me about drawing &art in general. the small changes of value that create form and the variety you can depict from something simple. i think it’s a perfect reflection of what i’ve been attempting to accomplish through my portraits.

in relationship to those ‘things’, i was interested in mounting my drawing paper on panels, i’ve done it before and sealed the piece with multiple layers of elmers glue. it was truly a fun experiment but i was highly pleased with the results. unfortunately it’s not something that can really be enjoyed via photograph. the layers become blurred and the physical feature of the glue only really benefits from physically looking at it. i will try and photograph the process &piece when the time comes!

these are really just the sort of rambles that are filing through my head. we’ll see how it goes &the work i come up with. i promise to keep you updated!

xo.

my closest friends, jake &geoff – ‘the twins’ we go back to circa 2000

jake : the mongrelstag.com

geoff : geoffis2good.com

my family – mom dad &brother devlin (who flew down from seattle).

my roommate of the last 3years, meredith burgeson, me, julie madelmont &our professor randall cabe

(he teaches fundamentals, composition theory classes &MFA mentor).

he’s become a strong backbone towards my education and artistic future.

i can’t thank him enough.

she wouldn’t let me walk without a hug,

helen garrison – vice president of academic affairs.

a very special person to me, darryl grant. moved here from england four years ago &a finished a semester early!

darryls work : www.gigjam.com

&finally the admissions team.

james miller, sammy macias, me, lindsay farr, mike rivas & christian ramirez.

this is my family.

i wanted to share with you my capstone, the hard work that was put into it and the happiness to be a LCAD graduate. we’ve got a busy week, grad dinners, practice and mondays graduatiiiiiiion. if you’re interested it will be at 3:00, main campus on monday the 17th. thank youuu for all the love &support. i’ll thankfully still be blogging about upcoming life and be around LCAD all summer 9-5.

happy monnndayyyy!

Softened To Silence – Capstone 2
When I began my senior project, the only confident feeling I had was my dedication to picture making; I started this process working with pictorial images to develop a visual conversation. It was only after my body of work took shape that it began to reveal its meaning. My portraits are a direct reflection of my personal connection with the world. My work is not narrative, nor can it be categorized as social commentary. My drawings have revealed themselves to be the structure of relationships. As artists, it is the pleasure we take in art itself that determines our likes and dislikes. The core of my ‘likes’ in my current work is the aesthetic taste I have developed over my four years at Laguna College of Art + Design.
I did not hesitate to start working; drawing comes naturally to me, and I am familiar with the process of creating portraits. My mentor, Randall Cabe, once said to me, “Start with something you are familiar and comfortable with and screw what it means to you”. I found comfort in this statement because allowed me to find pleasure in the simple act of drawing. Finding comfort in this, I made a bold decision to put paint away and focus on what I believe to be the structural core of picture making, drawing. I strive to understand not why drawing is important in general, but why it is important to me. This has allowed me to think of my life and how I equate drawing to living. I strongly believe that you can not build anything of substance without a solid foundation. This applies to relationships, architecture, business and most importantly art. Art is not just “made”, it requires planning, construction, time, love, dedication and purpose much like a healthy relationships. I take my relationships just as personally and seriously as I take my artwork. This series is a current re-presentation of my feelings towards life and relationships.
Part of my artistic creation is a dialog between my feelings and consciousness. I have continuously struggled to understand the purpose of these pieces, but through the process, I found these pieces to be representations of my sub-conscious mind. The only true way to reflect on this body of work is to be honest about how out of touch I was mentally when it began. I was an emotional mess. Having to work and advance through the semester, I was repeatedly challenged by my professors and friends to find meaning and purpose in my work. I internalized this struggle and continued to make pictures. It then became apparent to me how affected I was by this process of creating and not necessarily what I was creating. These portraits are not visually specific to the individuals, they are records of intentional un-intentions. The act of drawing has become a meditation and practice of solace that has allowed me to grow as an artist and individual.
For the sake of understanding my creative process, I began to observe the significance of small value changes. It is important to me that shape and value compliment each other to create form. The relationships between the two then creates content. Form is content and art is nothing without content. The muted range of values I have used is provided with subtlety and illustrates sensitivity between tone.

“Amanda” Rose, Mallory 2010. Graphite on paper – 15 inches x 15 inches. Laguna Beach, CA.

In the image of Amanda seen above (detail on the right), I am displaying
atmosphere and subtle range between values to aid the concept of ephemeral moments. I do not view my life as temporary, but I want this to represent the concept of appreciation in those quick and fleeting moments in life. I have always known myself to be thankful for the little things, and I rejoice in having recently found the ability to communicate that. I stress the fact that it took the process and creation of this series for me to declare its purpose. My work was created, pushed, pulled, antagonized, loved, destroyed, re-created and completed before I knew exactly what it meant to me.
My drawings consist of a limited range of graphite pencils. Less is often more, and for this series, I chose to only use one 4H graphite pencil. H pencils range from a 1-5 value scale, 1 being very light and 5 being a medium tone. 5-10 value range would consist of B pencils. The visual below provides a perfect example of how the values gradate in scale: 6H being the lightest and roughest pencil grade, HB the middle tone and 6B the darkest and softest. H pencils can be compared to drawing with something rough like a rock, where B pencils generally feel more smooth like a Crayola Crayon®.

“Value Scale”. Rose, Mallory 2010. Illustrator.

The graphite value scale I use mimics the visualization of a moment and memory that is fleeting. There is an appreciation for minimal mark making and the greater impact it can provide. This ephemeral concept provided through my work mimics my appreciation for the small things in life that most people take for granted. I find my drawings to be a direct reflection of my love for the subtle details. My process in which these portraits develop physically is fairly simple in the time and building of shapes, layers and tone. I lay the flat light tone down in the shadow shapes and work the transitions from light to dark. I find my core shadows, darkest darks and save my lightest lights for the transformations of form. While I purposefully keep my pencils sharp for better control, it allowing me to establish a variety of edges. The placement of the right notes in the right places is essential. It is a matter of figuring out the elements that work to benefit the piece and build successfully the relationship I am evoking.
I initially planned on creating 10 portraits in an array of compositions. Friends, moments and elements in life are often intangible, therefore my drawings have no ‘correct’ or specific placement. Like a memory, these elements are not distinctly placed. 15 inches x 15 inches, my portraits square off to signify the equality, one never being greater than the other. I do not measure my passions; they are significant in their individuality and the squared composition mimics the concept of equality.
My inspiration on the other hand stem from pure aesthetic. The concepts may not always be displayed in my work visually but are always influential in development. It is important to me to take from the artist an understanding of their passion and why they create their work. I read a lot about how artists work, what their work means to them, and what they are trying to evoke through their art. It is important for me to keep these elements in mind because it allows me to reflect on my own work. Visually speaking, when I need inspiration I look towards contemporary artists like Steven Assael, Nicolas Uribe, Daniel Dove, Antonio Lopez Garcia and Sophie Jodoin. Historical artists I am inspired by include work of James Abbot Whistler, Andrew Wyeth, Vija Clemins, Jean-Auguste-Dominique Ingres and Henry Darger. I am attracted to these artists for their great drawing facilities. They are all able to utilize drawing to re-present importance and beauty in structure. Jean-Auguste-Dominique Ingres once said “Drawing includes three and half quarters of the content of painting”. (Artinthepicture.com. 2010). This quote is special to me because it validates my choice to focus on my drawing technique. My relationship with drawing is passionate, without passion behind motivation, nothing would ever be complete. Drawing has become a relationship to me and I put forward as much passion as I expect to receive. These artist have not only visually stimulated me with their technique but their drive and passion.
Artist like Steven Assael and Ingres have beauty to their line quality that I strive to emulate in my work. It is not always about what you are illustrating in your pictures but often what you are not providing. Examples of this show in Steven Assaels figure, below.

“Vivian Sleeping” Assael, Steven 2004. Crayon and graphite on paper- 11.8 inches x 17.5 inches.

He provides with subtle mark making, a beautiful display of the bedding and how the figures hair wraps over, under and back over the folds of the comforter. I immensely enjoy the intentional and simple lines he uses to create the folds of the fabric and equally as important the features of both figures face. The variety in tone and marks are not separated by anything but line quality. They are both important passages through the picture and both provide different information for the viewer. I admire his ability to give significance to every element in a picture through his use of nuanced line quality.
Ingres is a prime example of the structural importance of drawing. I am humbled by the beauty of his figures and portrait work. I admire his ability to describe form and texture with line. His character in simplicity is something I could only hope to achieve through my work. His work is the epitome of structural drawing and utilizes line quality like a writer would words. In the drawing below, it excites me to see the energy and creativity that plays throughout his graphite marks. From the folds of their scarfs to the delicate marks made in their eyes, Ingres uses a variety of mark making to differentiate texture and form with the utmost brevity. Each element of this piece is specifically illustrated with dedication and commitment. He gives a variety of contrast to show importance of the figures competing with the city scape in the background. I admire how beautifully these two young ladies complete the composition as a whole.

“Lady Harriet Mary Montagu and Lady Catherine Caroline Montagu”
Ingres, Jean-Auguste-Dominique 1815. graphite on paper

The placement of each line is commenting to what that form is representing, but he manages to leave just enough freedom for the viewers imagination. What inspires me the most about all these artist is their love for what they do and their passion for making it happen.
After reflecting on the work that I have made and the process it took me to get to where I am, I find little limitations holding me back from working. This is supportive to the fact that I had never created any boundaries for myself. My journey has been my destination all along. When approaching this series, I was open to an experiment with no expectations or excuses. I had only the intent to create an honest body of work. I am thankful that I had the opportunity to participate in mentor and personal dialog, it benefitted my series and allowed me to build the work I am proud of.
My practice as an artist allows me to continuously learn about life. Being honest with my work and myself is one of the easiest and the hardest things I have ever had to do, but it has been the only route of perspective growth. I am sensitive and indebted for the little things in life that amuse or please me. These drawings effect me in their ability to exploit my feelings. I only allow few people to admire me from close and these drawings are a pure example of the dedication, effort and love I give to my relationships. They are something to be looked at and cherished at an intimate distance, not from a far. As individual pieces these drawings can only hint at the richness and complexity of life. The practice of drawing has taught me the ability to display ephemeral moments. As seen in the image below, my drawings are subtle, sensitive, light and delicate.

“Michelle” Rose, Mallory 2010. Graphite on paper- 15 inches x 15 inches

They are personal passages to me and epitomize my appreciation for life. I have not reached the place with these portraits in which I have given up. I am left with more work physically and mentally, whether these portraits are how I view people or how I want them to view me. It has opened a new door for me to explore and I can only hope the continuation of these pieces allow me to say and learn more.

fellow graphic design, friend &graduate: JAKE PARRISH – themongrelstag.com

Kinetype from Jake Parrish on Vimeo.

congrats &meet MISS LAUREN MOLINA. she just finished up her freshmen year at LCAD &is ready to share with the world how amazing it was. she’s smart, funny, immensely motivated &talented. my friend lauuuuurennnn.

there is a 9th piece, i haven’t had the chance to photograph. as well as a double portrait. all of the above have sold &it’s truly been a long accomplishment that i am entirely satisfied with. bittersweet and full of progression and development. i love these pieces for what they are and i’m more than excited to continue this journey.

i would like to share (now that i am no longer an lcad student) my appreciation for my friends, mentors and lcad family. finals went amazing. here are photos of the senior show soon & this experience has changed my life. thank you a thousand times over.

i will still fortunately be working for lcad admissions and look forward to meeting a lot of you in the future.

please visit my website and enjoy your new lcad fine art blogging rep. malloryroseart.com

xo.

myself, olivia demilta, hailey sivadge, meredith burgeson, alex krigbaum and julie madelmont- there were 22 senior fine artist showing at 7degrees on tuesday night and 38 sales made. congrats, i’m so proud of everyone and thankful for the experience i was able to share with you.

so, for those of you who unfortunately missed our capstone presentations – i’d like to share with you…

my name is mallory rose, &i’m a fine arts major

when i first got into the studio, i wanted to do something i was comfortable with. i wanted to make a picture. working with shape, form, value and how they interact and support each other.

i knew drawing was important to me. the potential beauty that supports painting and the structure to everything creative.

i chose to take this year to ONLY draw, in order to grow fundamentally.

i work with strathmore 400 series, drawing paper

it has a graphite friendly tooth & i’m able to utilize the roll for composition and size.

these are my best friends – my pencils

graphite works on a 1-10 value scale.

h: pencils consist of a 1-5 value, really light like drawing with a rock. where b: consist of a 5-10, darker and soft, like drawing with a crayon.

i often think less is more, so all my work this year consist of a 4h pencil, keeping things light and atmosphereic

my process is fairly simple, building shapes in layers. transitions from darks to lights and really placing the right form, shape, value in the right places. everything essential.

i pull a lot of my influences from photography- shape, composition, lights, portraits. unseen spaces and things not normally looked at.

historical influences consist of – henry darger, vija celmins, andrew wyeth, ingres.

contemporary – nicolas uribe, steven assael and daniel dove.

ALL my first semester influences really embody composition, line quality, form and edge work.

taking this first semester, my influences- i was really able to see what worked for me and how i could improve

this is my first piece first semester, graphite 4h – 25×18inches. i was really satisfied with the process of this piece, but i wanted to push myself

along with that piece, i created this series of portraits. i have about 5-10 give or take a few, they are all 5×3inches graphite pencils. likewise, i was satisfied with this series but it was about continuing to ask myself questions and improving for my second semester work.

this is a page that’s really special to me, it’s pages of my sketchbook. it’s really my dialog and communication between my friends, mentors and myself. it allowed me to establish control and development of my thoughts, in order to continue my education and series.

so back to the studio for my second semester

i really reflect BACK on my influences and how things had changed, the communication that had changed between them and my current work. i started reflecting differently on how they inspired me. i began looking at simpler photography, sophie jodoin, antonio lopez garcia and james abbot whistler. it was really their atmosphere, simplicity, composition, light and more so, the power, drive and passion they have for their work that began to move me. reading about this artist became more important than their actual work.

my first piece second semester, displayed more and more what i was looking for. andrew wyeth once said “it’s a moment that i’m after, a fleeting moment but not a frozen moment” this quote perfectly tied together with my series and current mind set. it’s the ability to illustrate a moment that caught my attention.

this body of work is really about my ability to self reflect. it’s a personal connection with my life.

it took CREATING this body of work to UNDERSTAND how much it meant to me. at first it was really about education, form, shape, value and process, but when i was HONEST with myself and these pieces, they really DISPLAYED how i felt about my life, friends and relationships.

you have to get CLOSE to these pieces and ME, in order to love, trust and appreciate them.

these pieces are about a glance, not a gaze. fragments of reality, RE presentations of relationships. value and appreciation in subtlety. fragmented moments. traces of time and space. intimate and atmospheric, but really how i honest value my life, mentally and artistically.

thank you to my friends and family.

randall cabe, without your time, support and inspiration, i wouldn’t have gotten through this. it means the world to me.

whew!

post. yes, POST capstone.

yesterday, april 22nd- fine art students gave their capstone presentations. it was such a great experience to see all my friends present something that was special to them. after all the time, support, inspiration and work we have put into this thesis project, i couldn’t have been more satisfied with the results.

it wasn’t till half way through the capstone process (yesterday) that i really realized how important this presentation was. this is our statement, our purpose, our drive and really what we got out of our four years at lcad.

i’ll share more about my capstone thesis with you. perhaps i’ll post some photos and footnotes from my presentation. but i really want to say thank you.

to all my friends, family, lcad family &mentors. i couldn’t have done it without all of you.

love.