Chaffey College and the Wignall Museum/Gallery are pleased to present the Student Invitational 2005, 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 28th year, this annual exhibition reflects the creative professionalism and diversity of the visual arts program at Chaffey College.

The Student Invitational 2005 opened on Saturday April 30 and ran through Saturday, May 28. The opening reception was held on Saturday April 30 from 7pm to 9pm. The ten student artists gave an artists' talk on Wednesday, May 4 at 7pm. The exhibition, reception, and artists' talk were free and open to the public.

The students selected to participate in the exhibition create completely new works 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 every aspect of exhibition development and production. The impressive result is the Student Invitational 2005-an exhibition of exciting and innovative art work that engages the viewer at the intersection of personal obsession and social critique.

Manuel Garcia has produced a single sentence text-piece addressing language, viewership, and class identity that resonates with multiple meanings as the viewer enters and departs from the gallery. Gregory Coats has created an obsessive archive based on a record of his own musical listening choices over the duration of one month. His musical choices then become a launching pad for a surprising and aesthetically startling output of personal data. Johanna Regalado uses traditional figure painting and portraiture to reveal and examine observations about her own social discomfort. Her treatment of the painting of flesh is revealing and perplexing. Jason Dawes uses the camera to document a simple, seemingly innocent, performative act exploring both vulnerability and control. These haunting, engaging and surprisingly intimate photographs of strangers, contacted by Dawes through a newspaper ad, reveal only a portion of this ongoing project. Arielle Yett's hand-drawn images reveal the subtlety and purity of pencil on paper, which is only later, integrated with digital animation tools. The work is autobiographical, but addresses human nature in a very universal milieu. Maria Elena Cardenas has created objects that are layered with drawings of interior space. Often using the motif of containers she creates coy juxtapositions, and explores inside and outside, revealing surface and interiority in complex ways. Kreshnik Kastrati's careful resurrection of cast-off items and discarded bits of everyday life imbues the objects with a sense of longing. His idiosyncratic objects have confused identities-they read like relics yet are displayed as merchandise. Joshua Schandoney's figure-size fiberglass sculpture works incorporate the formal language of painting and sculpture. Their sense of gesture and elusiveness elicit an almost kinesthetic response. Beau Jackson's video projection piece consists of literally thousands of individual digital photographs of Jackson's own personal environment, and reflects his personal responses to the new housing that is prevalent in the Inland Empire. Catherine Mejia's dozen's of tiny anthropomorphic ceramic pieces inhabit the gallery as if they were growing. With the body as a reference, these organic pieces seem to animate the gallery space itself.