• MFA in Fine Arts

  • Andrea Gonzalez
    Byron Peters
    Jacob Wick
    Jaimie Healy
    Jordan Reznick
    Jsun Charles-Jeremiah Parizo
    Julia Robertson
    Julie Feldman
    Kenny Kong
    Nan Peletz
    Sadie Harmon
    Sara Sellitto
    Seth Gutierrez
    Tiffany Canter
    Tim Power
    Zoe McCloskey

  • Stephanie Wickizer - CCA Graduate Thesis Events

    Stephanie Wickizer

    You, Remove Hue
    Pineal Eye
    Annunciate Enucleate
    Old, Old, Elder (Mimetics)
    The Cost of the Aggregate
    I Need Connective Tissue Here
    The Acceptance of Multiples
    Sectioned Creatures

    You, Remove Hue

    60" x 48"

    2013, bedsheet, crochet thread, acrylic, knotty pine

    Pineal Eye

    66" x 48"

    2013, bedsheet, crochet thread, acrylic, repurposed redwood

    Annunciate Enucleate

    80" x 54"

    2013, bedsheet, crochet thread, acrylic, repurposed redwood

    Old, Old, Elder (Mimetics)

    96" x 36", variable elements

    2013, knotty pine, acrylic

    The Cost of the Aggregate

    10" x 14"

    photograph, found object arrangement

    I Need Connective Tissue Here

    variable

    2013, yarn, crochet thread, rope, fabric

    The Acceptance of Multiples

    72" x 54"

    2013, felt, wire nails, repurposed redwood

    Sectioned Creatures

    72" x 54"

    2013, felt, acrylic, rustoleum, repurposed redwood

    You, Remove Hue thumbnail
    Pineal Eye thumbnail
    Annunciate Enucleate thumbnail
    Old, Old, Elder (Mimetics) thumbnail
    The Cost of the Aggregate thumbnail
    I Need Connective Tissue Here thumbnail
    The Acceptance of Multiples thumbnail
    Sectioned Creatures thumbnail

    spwickizer@gmail.com

    spwickizer.com

    Artist Statement

    The world offers arbitrary stimuli. I pick through it, grasping for echoes of myself. The whorl of the branch is the knot of the grain is the callous of my elbow. Making these connections provides an object based resonance that aids in the identification of my body’s boundaries within the environment. Through locating these positions, I determine where I start and stop. Conversely, these points of exchange provide fluidity, as I empathize with things that are a semblance of myself. Pattern is a tool that mediates between the self, culture and the environment. In my paintings, I am questioning patter’s shifting identity as both a bare-bones armature, the order upon which chaos accumulates, and as a permeable membrane, with which human beings might blanket their world in order to unify it. The slipcover perhaps. It really ties the room together.

    Allowing natural patterns to provide frameworks for my mark-making process, large-scale pieces attempt to address a shift between flat and sculptural space. Through the sheer accretion of layers, the inference of the hand, the failure to maintain objectivity, the pieces shift, growing their own identity. It is that point between intent and production, structure and dissolution, that might vibrate. It is idiosyncrasies that capture my imagination.