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Exhibitions

Seeing the Unseen: Math and Art

January 8 – March 9, 2024
Wignall Museum of Contemporary Art

Exhibition Guide (PDF)

Exhibition poster for Seeing the Unseen: Math and Art, 2023, Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA. Kevin Box and Robert J. Lang, One in a Billion (White), 2018. Painted cast bronze (ED/50, AP/6). 12.5 x 9 x 4 inches. Courtesy of the artists.

Programming

Printer-friendly Flyer (PDF)

Seeing the Unseen: Math and Art Calednar of Programs
Exhibition Description

Seeing the Unseen: Math and Art is a group exhibition featuring works of art that investigate the intersections of mathematics and the arts. The featured artists approach their work from unique perspectives, some trained as mathematicians that create visual and dimensional expressions of their studies, some as studio artists that use mathematics as a conceptual foundation and guiding system in their creative practices. These artists make explicit reference to mathematics in their practices and produce forms and images of mathematical principles as works of creative art.

Seeing the Unseen: Math and Art is the second of two exhibitions presented during the 23-24 academic year at Chaffey College that explores the intersections of the arts and STEM. Both exhibitions are presented in collaboration with the STEM Academic and Career Community. Seeing the Unseen: Math and Art is curated by Professor Morgan Rea, Professor Hannah Seidler-Wright, and Wignall Museum Assistant Curator Roman Stollenwerk.

Featured Artists

3-dimensional.space
Rafael Araujo
David Bachman
Kevin Box
Katy Ann Gilmore
Susan Goldstine
Bathsheba Grossman
Richard Hammack
David Harris
Robert J. Lang
Nervous System
Christine Wertheim
Margaret Wertheim

Gallery

  • Katy Ann Gilmore, “Catenary Skew 6,” 2019. Acrylic and flashe on dibond. 18 x 46 inches.
  • Katy Ann Gilmore, “Catenary Skew 6,” 2019. Acrylic and flashe on dibond. 18 x 46 inches.
  • Katy Ann Gilmore, “Catenary Skew 6,” 2019. Acrylic and flashe on dibond. 18 x 46 inches.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • David Bachman, 2023. Pen plotter prints (ink on paper). 22 x 30 inches each.
  • David Bachman, “Water,“ 2023. Pen plotter print (ink on paper). 22 x 30 inches.
  • David Bachman, “Wind,” 2023. Pen plotter print (ink on paper). 22 x 30 inches.
  • David Bachman, “Fire,” 2023. Pen plotter print (ink on paper). 22 x 30 inches.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Susan Goldstine, "Fundamental Frieze Scroll II," 2018. Merino/alpaca yarn, glass beads, wooden dowels. 17.5 x 9.5 inches.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • David Harris, “Three Body Problem,” 2019. Rafael Araujo, “Blue Spikes Shell,” 2015.
  • David Harris, “Three Body Problem,” 2019. Digital motion simulation written in Processing (1080p digital video), TRT: 05:10.
  • Rafael Araujo, “Blue Spikes Shell,” 2015. Archival pigment print. 62 x 75 centimeters.
  • David Harris, “Three Body Problem,” 2019. Rafael Araujo, “Blue Spikes Shell,” 2015.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Robert J. Lang, featured in “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Robert J. Lang featured in “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Robert J. Lang, “Octet Truss, Opus 652,” 2014. One uncut irregular polygon of Mylar (and matte board). 10 x 10 x 1.5 inches.
  • Robert J. Lang, “DFF-RFQM-6,” 2017. One uncut irregular polygon of camphor wood veneer laminate. 15 x 13 x 1 inches.
  • Robert J. Lang, “Single-Sheet Pentasia, Opus 645,” 2013. One uncut irregular polygon of elephant hide paper. 9 x 9 x 6 inches.
  • Robert J. Lang, “Pentasia,” 2012. 265 uncut squares of elephant hide paper. 12 x 12 x 6 inches.
  • (projection) Rémi Coulon, Sabetta Matsumoto, Henry Segerman, and Steve Trettel, “Thurston’s Geometries,” 2023. Digital video (1080p), TRT: 12:02.
  • Susan Goldstine, "Hyperbolic Constellation," 2014. Glass beads, crochet cotton thread. 2 x 4.5 x 4 inches
  • Susan Goldstine, "Makeri Mosaic," 2019. Merino/cotton yarn, wooden dowels. 10.75 x 8.75 inches.
  • Susan Goldstine, "Float Free, Bumblebee," 2018. Merino/alpaca yarn, wooden dowels. 18.5 x 11 inches
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Robert J. Lang, “Camphorpot8, Opus 679” 2015. One uncut sheet of camphor wood laminate, 8 x 8 x 4 inches.
  • Robert J. Lang, “Bandpot A10,” 2012. One uncut decagon of Canson Mi-Teintes paper. 8 x 8 x 5 inches.
  • Robert J. Lang, “Seedpot24,” 2012. One uncut 24-gon of elephant hide paper. 4 x 4 x 3 inches.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Bathsheba Grossman. Binder jetted steel, approximatelly 4 inches each.
  • Rafael Araujo, “Dodecahedron,” 2015. Rafael Araujo, “Icosahedron,” 2015. Archival pigment prints, 75 centimeters wide.
  • Bathsheba Grossman, "Rygo,” 2010. Stereolithography. 6 x 6 x 8 inches.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Susan Goldstine, "Redistribution," 2023. Berroco Remix Light yarn, copper wire. 26 x 13 x 5 inches
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Katy Ann Gilmore, “Catenary Drip 7,” 2019. Acrylic on dibond. 73.75 x 37 inches.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Rafael Araujo, archival pigment prints, 75 centimeters wide.
  • Rafael Araujo, “Morpho Double Helix,” 2016. Archival pigment print. 57 x 75 centimeters.
  • Rafael Araujo, “Slim Cone Double Helix,” 2016. Archival pigment print. 75 x 64 centimeters.
  • Rafael Araujo, “Monarch 3,” 2023. Archival pigment print. 55 x 75 centimeters.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Richard Hammack, “Topological Envelopes,” 2023. PDF-LaTeX, laser-printed paper, cardstock, and glue. Approximately 4 x 9.5 inches each.
  • Richard Hammack, “Topological Envelopes,” 2023. PDF-LaTeX, laser-printed paper, cardstock, and glue. Approximately 4 x 9.5 inches each.
  • Richard Hammack, “Topological Envelopes,” 2023. PDF-LaTeX, laser-printed paper, cardstock, and glue. Approximately 4 x 9.5 inches each.
  • Richard Hammack, “Topological Envelopes,” 2023. PDF-LaTeX, laser-printed paper, cardstock, and glue. Approximately 4 x 9.5 inches each.
  • Richard Hammack, “Topological Envelopes,” 2023. PDF-LaTeX, laser-printed paper, cardstock, and glue. Approximately 4 x 9.5 inches each.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Robert J. Lang and Kevin Box, “One in a Billion (White),” 2018. Robert J. Lang and Kevin Box, “Unicorn Unfolded, One in a Billion, Opus 736,” 2018.
  • Robert J. Lang and Kevin Box, “One in a Billion (White),” 2018. Robert J. Lang and Kevin Box, “Unicorn Unfolded, One in a Billion, Opus 736,” 2018.
  • Robert J. Lang and Kevin Box, “One in a Billion (White),” 2018. Painted cast bronze (ED/50, AP/6). 12.5 x 9 x 4 inches. Courtesy of the artists.
  • Robert J. Lang and Kevin Box, “One in a Billion (White),” 2018. Painted cast bronze (ED/50, AP/6). 12.5 x 9 x 4 inches. Courtesy of the artists.
  • Robert J. Lang and Kevin Box, “Unicorn Unfolded, One in a Billion, Opus 736,” 2018. Painted cast aluminum (Ed/24, AP/5). 33 x 33 x 2 inches. Courtesy of the artists.
  • Robert J. Lang and Kevin Box, “One in a Billion (White),” 2018. Robert J. Lang and Kevin Box, “Unicorn Unfolded, One in a Billion, Opus 736,” 2018.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Rafael Araujo. Archival pigment prints. 75 centimeters tall.
  • Rafael Araujo, “Murex,” 2002. Archival pigment print. 75 x 52 centimeters.
  • Rafael Araujo, “Nautilus,” 2012. Archival pigment print. 75 x 65 centimeters.
  • Rafael Araujo, “Blue Stripes Shell,” 2017. Archival pigment print. 75 x 61 centimeters.
  • Christine Wertheim and Margaret Wertheim, “Hyperbolic Matterings I and Il,” 2016 & 2020. Videotape, wire, yarn, and lava rocks. Approximately 22 inches tall. From the collection of the Institute For Figuring.
  • Christine Wertheim and Margaret Wertheim, “Hyperbolic Matterings I and Il,” 2016 & 2020. Videotape, wire, yarn, and lava rocks. Approximately 22 inches tall. From the collection of the Institute For Figuring.
  • Christine Wertheim and Margaret Wertheim, “Hyperbolic Matterings I and Il,” 2016 & 2020. Videotape, wire, yarn, and lava rocks. Approximately 22 inches tall. From the collection of the Institute For Figuring.
  • Nervous System, “Laplacian Growth 1 & 2,” 2011. Nylon 3d-printed by selective laser sintering. 7.2 x 6.9 x 7.2 inches & 4 x 4 x 3.3 inches. Courtesy of the artists.
  • Nervous System, “Laplacian Growth 1 & 2,” 2011. Nylon 3d-printed by selective laser sintering. 7.2 x 6.9 x 7.2 inches & 4 x 4 x 3.3 inches. Courtesy of the artists.
  • Nervous System, “Laplacian Growth 1 & 2,” 2011. Nylon 3d-printed by selective laser sintering. 7.2 x 6.9 x 7.2 inches & 4 x 4 x 3.3 inches. Courtesy of the artists.
  • (projection) Rémi Coulon, Sabetta Matsumoto, Henry Segerman, and Steve Trettel, “Thurston’s Geometries,” 2023. Digital video (1080p), TRT: 12:02.
  • Katy Ann Gilmore, “Fold 25,” 2019. Acrylic on dibond. 49 x 26 inches.
  • Installation view of “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • “Seeing the Unseen: Math and Art,” January 8 – March 9, 2024. Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.

 

Seeing the Unseen: Science and Art

August 21 - November 18, 2023 
Wignall Museum of Contemporary Art 

Exhibition Guide (PDF)

Image of the exhibition poster for "Seeing the Unseen"

Programming

Printer-friendly Flyer (PDF)

Image of the calendar of programming for "Seeing the Unseen"

 

Exhibition Description

Seeing the Unseen: Science and Art is a group exhibition featuring works of art that investigates the intersections of the sciences and the arts. The work asks several prescient questions including: Why do artists engage with science? Why are scientists interested in visual or creative representations of their work? Are these collaborations creating clarity or new access points for information in the STEM fields? Are artists expressing and making visible the work of scientists and science? The exhibition further attempts to increase our understanding of how art and science influence each other. Artists engage in new methods of scientific research in their rigorous and awe-inspiring works of art.

Seeing the Unseen: Science and Art is the first of two exhibitions presented during the 23-24 academic year that explores the intersections of the arts and STEM. Both exhibitions are presented in collaboration with the STEM Academic and Career Community. The fall exhibition is curated by Professors Joann Eisberg, Robin Ikeda, Mark Padilla, and Wignall Museum Director and Curator, Rebecca Trawick.

Featured Artists

David Bowen
Hannah Chalew
Catherine Chalmers
Maru García
David S. Goodsell
Lia Halloran
Juniper Harrower
Elizabeth Hénaff
Karey Kessler
Laura Splan

Gallery

  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • Laura Splan (in collaboration with Adam Lamson), "Tangible Variations,” 2022. Computerized Jacquard cotton weavings. 54 x 54 inches. This work was made possible by the Simons Foundation.
  • Laura Splan (in collaboration with Adam Lamson), "Tangible Variations,” 2022. Computerized Jacquard cotton weavings. 54 x 54 inches. This work was made possible by the Simons Foundation.
  • Laura Splan (in collaboration with Adam Lamson), "Tangible Variations (cubehelix): 5000,” 2022. Computerized Jacquard cotton weavings. 54 x 54 inches. This work was made possible by the Simons Foundation.
  • Laura Splan (in collaboration with Adam Lamson), detail of "Tangible Variations (cubehelix): 5000,” 2022. Computerized Jacquard cotton weavings. 54 x 54 inches. This work was made possible by the Simons Foundation.
  • Laura Splan (in collaboration with Adam Lamson), "Tangible Variations (cubehelix): 5500,” 2022. Computerized Jacquard cotton weavings. 54 x 54 inches. This work was made possible by the Simons Foundation.
  • Laura Splan (in collaboration with Adam Lamson), detail of "Tangible Variations (cubehelix): 5500,” 2022. Computerized Jacquard cotton weavings. 54 x 54 inches. This work was made possible by the Simons Foundation.
  • Laura Splan (in collaboration with Adam Lamson), "Tangible Variations (cubehelix): 6000,” 2022. Computerized Jacquard cotton weavings. 54 x 54 inches. This work was made possible by the Simons Foundation.
  • Laura Splan (in collaboration with Adam Lamson), detail of "Tangible Variations (cubehelix): 6000,” 2022. Computerized Jacquard cotton weavings. 54 x 54 inches. This work was made possible by the Simons Foundation.
  • Laura Splan (in collaboration with Adam Lamson), "Tangible Variations,” 2022. Computerized Jacquard cotton weavings. 54 x 54 inches. This work was made possible by the Simons Foundation.
  • Laura Splan (in collaboration with Adam Lamson), "Tangible Variations (cubehelix): kymograph,” 2022. Computerized Jacquard cotton weavings. 54 x 54 inches. This work was made possible by the Simons Foundation.
  • Laura Splan (in collaboration with Adam Lamson), detail of "Tangible Variations (cubehelix): kymograph,” 2022. Computerized Jacquard cotton weavings. 54 x 54 inches. This work was made possible by the Simons Foundation.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA. Karey Kessler, 2022. Watercolor and ink on Hanji paper on panel.
  • Karey Kessler, “The Mystery,” 2022. Watercolor and ink on Hanji paper on panel. 24 x 36 inches.
  • Karey Kessler, “A Viciously FRAGILE Environment,” 2022. Watercolor and ink on Hanji paper on panel. 30 x 40 inches.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA. David S. Goodsell, 2020. Watercolor on paper.
  • David S. Goodsell, "Phage-based COVID-19 Vaccine," 2020. Watercolor on paper. 20 x 20 inches (framed).
  • David S. Goodsell, "Respiratory Droplet," 2020. Watercolor on paper. 30 x 23 inches (framed).
  • David S. Goodsell, "Coronavirus," 2020. Watercolor on paper. 20 x 20 inches (framed).
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • Juniper Harrower, “Botanical Entanglements,” 2022.Silk, ink, cochineal dye. 42 x 15 inches each. Collaborative research with Benjamin Blonder's UC Berkeley lab.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • Maru García, "Vacuoles: Bioremediating Cultures," 2019. Installation with video and twenty-nine ceramic pieces containing lead-contaminated soil. Dimensions variable.
  • Maru García, "Vacuoles: Bioremediating Cultures," 2019. Installation with video and twenty-nine ceramic pieces containing lead-contaminated soil. Dimensions variable.
  • Maru García, "Vacuoles: Bioremediating Cultures," 2019. Installation with video and twenty-nine ceramic pieces containing lead-contaminated soil. Dimensions variable.
  • Maru García, "Vacuoles: Bioremediating Cultures," 2019. Installation with video and twenty-nine ceramic pieces containing lead-contaminated soil. Dimensions variable.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • Juniper Harrower, “Gazing on the Past,” 2023. Microscope slide, ink, digitally altered historic image of Rancho Cucamonga, cochineal dye, silk string. 1 x 4 inches.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • Hannah Chalew, “Study for Structural Trap,” 2021. Iron oak gall ink, ink made from shells on paper made from sugarcane combined with shredded disposable plastic waste ("plasticane"). 33 x 25 inches.
  • David Bowen, “46°41'58.365" lat. -91°59'49.0128" long. @ 30m.,” 2014. CNC carved acrylic. 6 x 6 x 6 inches each.
  • David Bowen, “46°41'58.365" lat. -91°59'49.0128" long. @ 30m.,” 2014. CNC carved acrylic. 6 x 6 x 6 inches each.
  • David Bowen, detail of “46°41'58.365" lat. -91°59'49.0128" long. @ 30m.,” 2014. CNC carved acrylic. 6 x 6 x 6 inches each.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • Elizabeth Hénaff and Living Interfaces Lab, "GENE ZINE,” 2018-2023. 8.5 x 11 inches (flat).
  • Elizabeth Hénaff and Living Interfaces Lab, "GENE ZINE,” 2018-2023. 8.5 x 11 inches (flat).
  • Elizabeth Hénaff and Living Interfaces Lab, "GENE ZINE,” 2018-2023. 8.5 x 11 inches (flat).
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • Lia Halloran, "Magellanic Clouds, After Henrietta Swan Leavitt," 2016. Cyanotype on paper from painted negative (edition 1/2). 46 x 76 inches (framed). Courtesy of the artist and Luis De Jesus Los Angeles.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • Hannah Chalew, “Solastalgia,” 2018. Pen and ink on paper made from trash and abaca. 84 x 84 inches.
  • “Seeing the Unseen: Science and Art,” 2023. Wignall Museum of Contemporary Art at Chaffey College, Rancho Cucamonga, CA.
  • Catherine Chalmers, “Leafcutters,” 2017. Video. 17:26 minutes.
  • Catherine Chalmers, “Leafcutters,” 2017. Video. 17:26 minutes.
  • Catherine Chalmers, “Leafcutters,” 2017. Video. 17:26 minutes.
  • Catherine Chalmers, “Leafcutters,” 2017. Video. 17:26 minutes.
  • Catherine Chalmers, “Leafcutters,” 2017. Video. 17:26 minutes.
  • Catherine Chalmers, “Leafcutters,” 2017. Video. 17:26 minutes.

 

Past

Reunion

January 9 – March 11, 2023
Wignall Museum of Contemporary Art

Reception on January 24 from 4-7pm (PST)

Exhibition Guide
Schedule of Programming
Programming Poster
PRINT Exhibition PDF

The ongoing global pandemic has left communities living, working, and interacting differently from pre-pandemic times. As Chaffey College continues to move towards more open campuses, the Wignall Museum presents an exhibition that reminds us all of the continued creativity of the Chaffey College community and that introduces students to the skills and abilities of our faculty and staff in the Arts, Communication, and Design (ACD) Academic and Career Community (ACC). Discipline areas from the ACD Degrees and Certificates that are represented in the exhibition include English, Journalism, Studio Art, ESL, Theatre Arts, Art-Ceramic Studio, Dance, Graphic Design for Digital Media, Broadcasting and Cinema, and Photography.

Reunion proudly presents recent work from faculty and staff within the ACD ACC. The work artists have selected to share in the exhibition may or may not be directly pandemic-related, but all of the work was created within the last three years.  For many students, spring term 2023 may be the first time they are taking courses on the campus in a face-to-face modality. For others, spring term may represent a return to Chaffey College. Regardless, Reunion presents an opportunity to come together around the innovation, the artistry, and the expertise found in the Arts, Communication, and Design community at Chaffey College. 

Reunion features: Brody Albert, Cabrina Alviar, Mark Batongmalaque, Mary Beierle, Brian Benfer, Brice Bischoff, Haylee Bolinger, Jason Charles Dawes, Michelle Dowd, Kevin Eichorst, Charity Capili Ellis, Megan Fowler-Hurst, Kent Hammond, Stanton Hunter, Daniel Jacobo, Cj Jilek, Arthur Kayzakian, Mark Robert Lewis, Sheila A. Malone, Amy Maloof, Carrie Ohm, Michael Penilla, Jenny Phelps, Charmaine Phipps, Laura Picklesimer, Elizabeth Preger, Seth Pringle, Amber Marie Smith, Roman Stollenwerk, Oliver Sutter, Sympathie Fahteague, Andrew K. Thompson, Victoria Barras Tulacro, Pamela Valfer, Robert Watkins, and meital Yaniv.

  • Installation view of “Reunion” at the Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Installation view of “Reunion” featuring Amy Maloof, Carrie Ohm, and Jason Charles Dawes.
  • Amy Maloof, “Sad Clown,” 2019. Mixed media with found objects. 19 x 15 inches.
  • Amy Maloof, “Sad Clown,” 2019. Mixed media with found objects. 19 x 15 inches.
  • Carrie Ohm, “Below the Surface,” 2022. Ceramic, wood, and paint. 41 x 11 x 11 inches.
  • Jason Charles Dawes, “Everything You'll Ever Need. In One Neat Little Package.,” 2021. Magazine pages, paper, glue on paper mounted to mat board. 20.5 x 20.5 inches (framed).
  • Michael Penilla, “ROYGBIV cups,” 2022. Porcelain. 5 inches tall each.
  • Michael Penilla, “ROYGBIV cups,” 2022. Porcelain. 5 inches tall each.
  • Installation view of “Reunion” featuring Michael Penilla and Mark Robert Lewis.
  • Mark Robert Lewis, “North Hollywood,” 2022. Acrylic on canvas. 64 x 48 inches.
  • Installation view of “Reunion” featuring Oliver Sutter, Elizabeth Preger, and Daniel Jacobo.
  • Oliver Sutter, “Darth Vader and Kilo Ren Play Croquet in Heaven,” 2022. Oil on canvas. 16 x 32 inches.
  • Elizabeth Preger, “Towards a resplendent portraiture, Lusi & Tulio,” 2020. Archival pigment print. 36 x 24 inches.
  • Daniel Jacobo, “Troika - Royalty in Exile,” 2022. Acrylic and collage on canvas. 24 x 48 inches.
  • Mary Beierle, “Excavation Series, 92, The Tempest,” 2022. Porcelain, glazes, minerals, and oxides. 14 x 23 x 13 inches.
  • Mary Beierle, “Excavation Series, 92, The Tempest,” 2022. Porcelain, glazes, minerals, and oxides. 14 x 23 x 13 inches.
  • Installation view of “Reunion” featuring Mary Beierle, Elizabeth Preger, Daniel Jacobo, and Stanton Hunter.
  • Stanton Hunter, “Pandemic Still Life (Cocoon & Pots),” 2022. Ceramic. 14 x 36 x 12 inches.
  • Stanton Hunter, “Pandemic Still Life (Cocoon & Pots),” 2022. Ceramic. 14 x 36 x 12 inches.
  • Stanton Hunter, “Pandemic Still Life (Cocoon & Pots),” 2022. Ceramic. 14 x 36 x 12 inches.
  • Installation view of “Reunion” featuring Seth Pringle and Sympahie Fahteague.
  • Seth Pringle, “Untitled,” 2022. Acrylic on cement and fabric. 30 x 18 inches.
  • Sympathie Fahteague, “Ongoing Daily Practice,” 2020 -2022. Colored pencil, oil pastel, and acrylic on paper; mixed media sculpture. Dimensions variable.
  • Sympathie Fahteague, “Ongoing Daily Practice,” 2020 -2022. Colored pencil, oil pastel, and acrylic on paper; mixed media sculpture. Dimensions variable.
  • Sympathie Fahteague, “Ongoing Daily Practice,” 2020 -2022. Colored pencil, oil pastel, and acrylic on paper; mixed media sculpture. Dimensions variable.
  • Installation view of “Reunion” at the Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • meital yaniv, “bloodlines,” 2020. Projection. Dimensions variable.
  • meital yaniv, “bloodlines,” 2020. Projection. Dimensions variable.
  • Brian Benfer, “Untitled (HLE-127),” 2022. Ceramic. 9 x 8 x 8 inches.
  • Brian Benfer, “Untitled (HLE-127),” 2022. Ceramic. 9 x 8 x 8 inches.
  • Brice Bischoff, “How Close,” 2021. Archival pigment print from large format negative. 28 x 24 inches (framed).
  • Brice Bischoff, “How Close,” 2021. Archival pigment print from large format negative. 28 x 24 inches (framed).
  • Brice Bischoff, “How Close,” 2021. Archival pigment print from large format negative. 28 x 24 inches (framed).
  • Brice Bischoff, “How Close,” 2021. Archival pigment print from large format negative. 28 x 24 inches (framed).
  • Amber Marie Smith, “Spiral,” 2021. Ceramic and acrylic paint. 10.5 x 9.5 x 9.5 inches.
  • Amber Marie Smith, “Spiral,” 2021. Ceramic and acrylic paint. 10.5 x 9.5 x 9.5 inches.
  • Amber Marie Smith, “Spiral,” 2021. Ceramic and acrylic paint. 10.5 x 9.5 x 9.5 inches.
  • Installation view of “Reunion” featuring Amber Marie Smith, Brice Bischoff, Roman Stollenwerk, and Kent Hammond.
  • Installation view of “Reunion” featuring Roman Stollenwerk and Kent Hammond.
  • Roman Stollenwerk, “Corner Painting (Scorpion),” 2022. Acrylic and shellac over magazine pages and wallpaper paste on Maisonite with jute webbing. 80 x 30 inches flat.
  • Roman Stollenwerk, “Corner Painting (Scorpion),” 2022. Acrylic and shellac over magazine pages and wallpaper paste on Maisonite with jute webbing. 80 x 30 inches flat.
  • Kent Hammond, “Blue and Reds,” 2021. Acrylic on shaped wood panel. 23 x 15.75 inches.
  • Installation view of “Reunion” featuring Jenny Phelps and Andrew K. Thompson.
  • Jenny Phelps, “4647 #1,” 2022. Collage (paper, rubbings and found materials), graphite and colored pencil. 18 x 18 inches.
  • Andrew K. Thompson, “Punctured Orange Tree - Bleeding with Blue Embroidery,” 2021. Chemically altered Chromogenic print accentuated with thread and embroidery floss. 20 x 16 inches.
  • Installation view of “Reunion” at the Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Pamela Valfer, “Dome Fire by Dome Fire (Joshua Tree),” 2021. 18 x 24 inches. Pamela Valfer, “Wolsey Fire by Wolsey Fire (Malibu),” 2022. 18 x 24 inches.
  • Pamela Valfer, “Dome Fire by Dome Fire (Joshua Tree),” 2021. Found charcoal on paper. 18 x 24 inches.
  • Pamela Valfer, “Wolsey Fire by Wolsey Fire (Malibu),” 2022. Found charcoal on paper. 18 x 24 inches.
  • Installation view of “Reunion” featuring Pamela Valfer, Cj Jilek, Amber Smith, and Brice Bischoff.
  • Cj Jilek, “Grevillea Robusta,” 2021. Ceramic. 6 x 6.5 x 5 inches. Cj Jilek, “Erinaceinae Androecium,” 2022. Ceramic. 4.5 x 3 x 2 inches.
  • Cj Jilek, “Grevillea Robusta,” 2021. Ceramic. 6 x 6.5 x 5 inches. Cj Jilek, “Erinaceinae Androecium,” 2022. Ceramic. 4.5 x 3 x 2 inches.
  • Installation view of “Reunion” featuring Cj Jilek and Brice Bischoff.
  • Installation view of “Reunion” at the Wignall Museum of Contemporary Art, Chaffey College, Rancho Cucamonga, CA.
  • Brody Albert, “Western Union (2),” 2022. Painted wood. 52 x 52 x 24 inches.
  • Brody Albert, “Western Union (2),” 2022. Painted wood. 52 x 52 x 24 inches.
  • Brody Albert, “Western Union (2),” 2022. Painted wood. 52 x 52 x 24 inches.
  • Mark Batongmalaque, “4 Portraits Out of 32,” 2021. Acrylic on canvas. 20 x 16 inches.
  • Mark Batongmalaque, “4 Portraits Out of 32,” 2021. Acrylic on canvas. 20 x 16 inches.
  • Mark Batongmalaque, “4 Portraits Out of 32,” 2021. Acrylic on canvas. 20 x 16 inches.
  • Installation view of “Reunion” featuring Robert Watkins, Kevin Eichorst, and Cabrina Alviar.
  • Robert Watkins, “Horologion,” 2022. Oil on canvas. 48 x 30 inches.
  • Kevin Eichorst, “Present Future Self,” 2020. Mixed media and archival pigment print. 16 x 26 inches.
  • Cabrina Alviar, “Thankful To Be Healthy,” 2020. Digital photograph. Dimensions variable.
  • Cabrina Alviar, “Together,” 2020. Digital photograph. Dimensions variable.
  • Cabrina Alviar, “Unjust Suffering,” 2020. Digital photograph. Dimensions variable.
  • Haylee Bolinger, “Jack Lemon & Walter Math’How,” 2022. Steel. 30 inches tall.
  • Haylee Bolinger, “Jack Lemon & Walter Math’How,” 2022. Steel. 30 inches tall.
  • Haylee Bolinger, “Jack Lemon & Walter Math’How,” 2022. Steel. 30 inches tall.
  • Haylee Bolinger, “Jack Lemon & Walter Math’How,” 2022. Steel. 30 inches tall.
  • Installation view of “Reunion” featuring Haylee Bolinger and Charity Capili Ellis.
  • Charity Capili Ellis, “Imagination Walkabout,” 2021. 18 x 56 inches. Charity Capili Ellis, “Soar,” 2022. 11 x 7.5 inches.
  • Charity Capili Ellis, “Imagination Walkabout,” 2021. Acrylic and ink. 18 x 56 inches.
  • Charity Capili Ellis, “Soar,” 2022. Watercolor, ink, and relief print. 11 x 7.5 inches.
  • Megan Fowler-Hurst, “Hold Space,” 2022. HD digital video (1080p), TRT 10:07.
  • Sheila A. Malone, “Dykes on Bikes: Origin Stories, Part I,” 2022. HD digital video featuring animation and audio (1080p), TRT 7:29.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.
  • Charmaine Phipps, “Whimsical Garden,” 2021. Upcycled metal kitchen items. Dimensions variable.

Xavier Cázares Cortéz

A Mixed Media Site-Specific Installation
*on view in the museum lobby
October 24, 2022 – March 11, 2023

ESTE ES EL JARABE LOCO 
QUE A LOS MUERTOS RESUCITA 
QUE A LOS MUERTOS RESUCITA
SALEN DE LA SEPULTURA, MENEANDO LA CABECITA
(ALSO) 
I WANT EAGLES IN MY DAYDREAMS, DIAMONDS IN MY EYES
WE WERE BORN UPSIDE-DOWN (I'M A STAR STAR)

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Presented by the Chaffey College Center for Culture and Social Justice.

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