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STUDENT INVITATIONAL 2006, A JURIED STUDENT ART EXHIBITION TO OPEN AT CHAFFEY COLLEGE
Rancho Cucamonga, CA - Chaffey College and the Wignall Museum are pleased to present the Student Invitational 2006, an annual exhibition of work by students that have excelled in the art program. Participation in the exhibition and the honors class that accompanies it is competitive. The students are selected by a jury of full-time faculty from the Art, Photography, Ceramics, and Digital Media departments. In its 29th year, this annual exhibition reflects the creative professionalism and diversity of the visual arts program at Chaffey College.

The Student Invitational 2006 opens on Saturday, April 22 and runs through Saturday, May 20, 2006. The opening reception will be on Saturday, April 22nd from 7:00 pm to 9:00 pm. The ten student artists will give an artists' talk on Thursday, May 4 from 4:00-7:00 pm. The exhibition, reception, and artists' talk are free and open to the public.

The students selected to participate in the exhibition create completely new bodies of work specifically for the show. They also participate in a unique, honors seminar course where--with the support and assistance from the art faculty, gallery curators and staff--the students intensely explore their own artistic process, as well as participate in many aspects of exhibition development and production. The impressive result is the Student Invitational 2006—an exhibition of exciting and innovative artwork that engages the viewer at the intersection of personal obsession and social critique.

Christopher Alday's readymade inspired projects focus on the seduction of consumption and ownership. He offers tidbits of himself to the viewer to take, enjoy and eventually throw away or forget. Christopher literally excised small pieces of his sketchbooks to create wearable buttons that can be bought by the viewer from an old-fashioned gumball machine. This body of work uncovers Christopher's desire to manipulate, process or transform his environment in little, secret, and personal ways.

Ranee Delarosa's process is highlighted through her delicate stretching, folding and twisting of clay. The process leaves paper-thin tears that allow the viewer to peek into an interior space. The result is almost fluffy, intimate objects whose whimsy comes from the juxtaposition of the known weight and texture of clay with the look that Ranee is able to achieve.

Lacey Lipis tells it all in brutal honesty and beautiful detail. Her large-scale self-portrait paintings are titled after the men who "made" her. She adds visual interest and more seething honesty by detailing the ground with patterns from her underwear. Lacey works on enormous canvas painted drop cloths which she drapes over and attaches to stretcher bars – the end result creates pooching and sagging that adds to the visceral quality of the figurative images.
Gabriel Gonzales creates a synaesthesic experience where sound, sight, color, texture, space, dream and reality merge into one intimate moment. Gabriel's' intuitive process begins with the same swirling brushstroke. His final images are a direct response to his dream life.

Miles Smith loves to paint and it is evident in his abstract images where he explores color, texture, illusion of space, brushstroke, figure/ground relationships, and compositional structure. Miles images create complicated spaces of layered curves and slashes that provoke the sense of hidden and lost images.

Part celestial, part oversized dog toy - Price Hall's grand scale ceramic work puzzles the viewer first by seeming to be of natural origin. With closer observation the viewer recognizes the intense and obsessive work of the artists' hand. The immense weight and size of his ceramic work in combination with the primordial shapes and handwork leave the viewer happily wondering where, how and why.

The self-portrait photography of Stephanie Schmitz confronts the viewer with the raw and stunning gaze of the artist. Larger than life size, we become witness to the private conflicts and struggles of an artist and her camera. With richly colored backdrops and chiascuro lighting, the figures' intimate recline and stare are further dramatized.

Kate Thomas celebrates the assumption that documentation IS reality. Kate's daydreams take on reality in the form of band flyers and movie posters. The fun and mysterious combination of images and text leave space for the viewer to insert their own daydreams and narratives.

Through photography, Aubree Harris depicts her view of motherhood by photographing herself, child, and husband over the past few months. She has involved her husband in her work by including him in the photograph without his knowledge. She photographs him while he is asleep and poses herself and child around him. She juxtaposes her very formal, portrait like poses against her husbands' very candid positions in which he falls asleep.

Celia Sanchez questions the idea of choice and progress in her photographic work. Celia's triptych portrays an anonymous woman who seems to be caught in a 1950's time warp sarcastically serving a contemporary looking household and husband. Celia has recently become a mother and her new frustrations, experiences and emotions inform this work.