Cerritos College Virtual Art Exhibit

Matthew Espinosa

Kimberly Rosenfield has played a major role in organizing many of the women’s history events at Cerritos. Not Eric Rosenfield, the name that came up by accident when receiving online art.

Cerritos College hosted an online art reception on Zoom on Monday where several female art students presented work specifically in honor of Women’s History Month.

Led by Professor Audra Graziano and Kimberly Rosenfield, the reception was launched with around 15 attendees after a brief wait for other panelists to join in time.

“As you go, you’ll only have your artistic community,” Najarian said, “unless you meet other people who have strength and shoot at them, that’s all. what you will have.”

Organized alphabetically, the art reception began with the work of Jennix Bien, whose exhibition consisted of portraits of herself sketching and another woman in a motorcycle helmet and in a green jacket.

“With my art, I like to express my identity and where I come from; as a queer woman, I create to inspire with the goal of raising the voices of women and LGBTQ+ people in the creative world,” Bien said.

Then comes Mia Delgado, absent but whose Helping Hand, a ceramic figure without arms and without legs giving rise to an assembly of coiled metal wires, is nevertheless appreciated by the students present.

Then there was the work of Rayanna Enriquez, one of which depicted a woman pulling out a tooth while the other depicted the distortion of another woman’s face as she tugged at the skin in what appeared. entitled morning rituals.

Enriquez said, “I wanted to paint my perspective as an aging young woman with anxiety about growing up – feeling like an adult now, but you still feel really like a teenager.”

by Julie Gallo Influx and Primavera were displayed next; the first being the colorful abstract art that graced the cover of Monday’s virtual art exhibit and the second being a charcoal rendering of herself.

“The Influx, which appeared on the cover. I worked more intuitively, I would say,” Gallo said, “I felt like you had to have some energy and there’s just this sense of movement that I wanted to incorporate as well. “

This sense of movement was what Gallo attributed to a feeling similar to Enriquez’s own work on time passing as everyone is left behind.

After Gallo, there was Francesca Hogi and then Michelle Learner, who were absent from the reception although the works of the two artists had had some time to be inspected by the attendants.

Hogi’s Ordinary objects displayed a random assortment of items ranging from a single eye to a leaf and Three nesting bowls—three stacked blue bowls—all constructed of ceramic.

Learner’s work was a series of monotonous renderings of fallen leaves and abstract lines.

Along with artist exhibits, Najarian suggested that attendees share the types of words that would be most appropriate to describe elements depicted in certain artworks.

One of these words was provoked by a student to spot the feelings generated by Janneth Uriarte Ghost Roomanother artwork on display that details two women seated on a bed thrust against a backdrop of swirling particles of light.


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Reggie S. Williams