Advanced Screenprint Digital / Michael Kirk, Instructor
The screenprints in this room are the result of an assignment to create a repeatable module using up to four layers of color to make “wallpaper.” In devising their patterns the students were asked to view the wallpaper as a form of installation and to reflect on an interest or concern that they would like to address.
In preparation we visited the Cooper Hewitt Museum’s current poster exhibition, How Posters Work, and viewed their wallpaper collection in the high-tech Immersion Room. At the outset of the student’s work process, Parsons faculty colleague, Kelli Glancey, demonstrated how to organize repeats. The mounting of this exhibition gave students the opportunity to consider their concept within an architectural environment.
This display reflects the students’ awareness of themselves and their culture. In this way the assignment enabled them to reach beyond the “how” of print, to grasp the “why.” What is represented in this room is the power of their collective voices.
Students: Kuan-Ling Chen, Yerang Choi, Morgan Connellee, Caseena Karim, Jesus Marquez, Madeline McMahon, Elias Paulson, Cassidy Peck, Melissa Peralta, Patrycia Ruman, Ameerah Singh.
1. CASSIDY PECK | Lang Literary Studies/Illustration Senior
Line work is an important element in my art. For this wallpaper project I knew I wanted an intricate line layer that would define the shapes. The intersection of organic shapes and geometry—the striped background—was the starting point. This led me to play with printing layers both opaque and translucent. What appeared out of this method of printing resulted in the creation of ghosts, which interact with geometric, and something intangible rigid forms.
2. KUAN-LING CHEN | Communications Design Senior
My wallpaper is one in a series of rule-based drawings that uses four points and semicircles as starting points to generate shapes. These repeating patterns consist of four colors: red, blue, yellow and green and are divided horizontally into four parts through color transition. Each section has a part that shares the same color with the next one, making the colors seem to flow throughout the composition creating their own rhythm.
3. CASEENA KARIM | Illustration Sophomore
Social hierarchy, and class division has become more prevalent in NYC, just by looking at geography. Gentrification spreading outward, the city has become a fortress for only the rich to play in. As a Queer Woman of Color (QWOC) I experience oppression on three spectrums. Through three lenses I can see the barricades that impede my success and my community as well. These social barriers create physical barriers that benefit the rich at the cost of the disadvantaged. Gated communities, limited public transportation, bum- proof benches, etc., are latent designs meant to keep disadvantaged people at a distance. My work aims to disillusion people, to fight against ignorance and to recognize what is around us everyday so that we can fight against it. I will not be eradicated.
4. JESUS MARQUEZ | Illustration/Communications Design Sophomore
When I created BRUTALITY, I chose to treat it as a continuation of my last piece: POLICE FORCE. As police brutality continues to be prevalent in New York City amongst other places, I wanted to call attention to the brutal tactics that some law enforcement officers use. With this piece, I chose to use traditional police colors as my alternating pattern with weaponry / equipment in the negative space. The icons are easily identified, akin to how a police officer should be unlike plain-clothes officers who may attempt to do their job without notifying a “suspect.” As a minority living in a potentially dangerous city my whole life, I identify strongly with trying to understand how the police force works and how they should uphold the law to protect civilians. These are some of the weapons used in their brutality.
5. YERANG CHOI | Communications Design Senior
I am a visual communication designer. My work includes editorial design, branding identity and poster etc. My recent interests in shapes and color are inspired by my walking trip in Denmark. This wallpaper is based on my desire to seek freedom from the rules that I created during this journey.
6. PATRYCJA RUMAN | Lang/Illustration Senior
I am someone who is bilingual and Polish-American. I have become interested in exploring this avenue in my prints wallpaper design. Eagle imagery is present both in America— the symbol of the bald eagle as the national emblem—and in Poland—the eagle insignia being present on the Coat of Arms. With this in mind I started drawing rough eagle silhouettes, which I then transformed digitally into a repeating pattern. I decided on a tetrad color palette for the larger eagles and used a simplified color scheme of two colors for the smaller scaled eagle prints. What started off as something very personal became an exploration of color and scale.
7. ELIAS PAULSON | IDC Junior
I met the man pictured in a natural hot springs in the woods of eastern Idaho when I was thirteen. He would camp out nearby for weeks on end, and when I got there he was sitting in the water surrounded by cans of soup that he was heating up for lunch, warming them on the rocks as the hot water cascaded over. His image in my memory now serves as a quiet reminder to slow down and think about what really matters in life.
8. MELISSA PERALTA | Communications Design Senior
For decades Mexico has suffered violence from drug cartel wars and corruption of the state. The list of deaths caused by these two factors is endless, causing Mexico to be in a constant state of mourning. On September 2014, 43 student teachers went missing in the small town of Iguala in the state of Guerrero, Mexico. The disappearance of the 43 students caused a political awakening in Mexico. This piece is inspired by the phrase “they tried to bury us but they didn’t know we were seeds,” which is currently being used as a slogan for the Ayotzinapa demonstrations. These missing students are the seeds that have planted a growing awareness of Mexico’s current political state, or lack of.
9. AMEERAH SINGH | Illustration Junior
This piece incorporates patterns from two different cultures. The inspiration was based on the many guesses and curiosity about my race. In this piece there is a mandala, which is very common in henna designs. Within this design there is a “V-shape” pattern. This is known as a dashiki, which is seen on garments widely worn in Africa. These mandalas are intertwined with line work connecting them together. This line work leads to the heart of the piece which is the mandala. I am Black and Guyanese so my ancestry is rooted in African and Indian culture.
10. MORGAN CONNELLEE | Communications Design Senior
A Single Rose: The story behind my wallpaper is very personal to me. I was born on Valentine’s Day, the day of love, but I have never been in love. I think about how strange this is, how there are feelings I have never felt, that there is a part of me I have never experienced.
On my 20th birthday, someone handed me a rose on the street. I’m not sure why they gave it to me and I’m not sure why I kept it. I dried it in a book and put it in a box. I traveled with the rose. It traveled with me all the way to France, where I lived for some time. After a year, the rose is still with me.
Single Rose wallpaper is a halftone screen print of the torn petals from this rose. Some of the petals are ripped because the rose was brittle and fell apart. I printed the rose petals on pink paper because pink is a color of tenderness.
11. MADELINE MCMAHON | Illustration Junior
In my art I reject all constructed order. I do not force my art to be anything it does not want to be. Everything I make is an attempt to capture images of the storm of thoughts inside my own mind; the results are bursts of abstract movement, organic shapes, and / or raw emotion. Continuous, uninterrupted, intertwining lines are often the skeletal structures of my work.
This sample of wallpaper is an unorganized repetition of a free hand ink drawing that transforms into one complete unit of pattern. The ink drawing is one in a series of drawings that depict cognitive brain waves tangled by anxiety. Clusters of tired eyes are entangled throughout, representing insomnia. The brain forms are highlighted by nauseated green and purple pastels. The placement of each print is random and registration was done by eye.