Assemblage

A Show Featuring a Collection of UNCG Student Artists

January 17 - 28, 2023

*Reception: Friday, January 20th, 6-8PM

*with a live, virtual interactive installation by

Roni Baker, Sydney Hall, Jocelyn Marencik, and Triston Mullis

More About The Show

Assemblage acts as a gathering place for a collection of seven distinct artists whose artistic processes and exploratory themes interconnect in a symbiotic way, forming a holistic aesthetic idea - like several unlike objects that fit together as one, an assemblage. The works in the show allow one to look through a kaleidoscope that represent the webs that weave us all together - a representative patchwork of grief, trauma, violence, rebirth, memory, mystery, knowledge, play, and the hope that exists through collective support. Featuring UNCG undergraduate students, Assemblage invites an art experience through both physical and digital/interactive installation works. The artists investigate concepts through visual, digital, and/or textile manipulations in hopes to articulate the interconnectedness of unrelated ideas; we are all more alike than it seems. 

Featuring UNCG Student Artists:

Melanie Antle

Peter Deligdisch

Brenda Fonseca- Martinez

Viveka Krumm Castaneda

Triston Mullis

Daniel Rogers

Mia Zabala 

More About The Artists 

Melanie Antle 

I have always been drawn to objects with a history, and over the years I have continued to fill my personal spaces with these objects.  They bring me comfort, but also a curiosity about what those pieces and the people who had them in their possession have been through.  Through my work, my intention is also to create objects that have a history, or at least tell of a history.  I learned crochet, sewing, and other fiber arts at young age, skills that have been passed down from generation to generation by the women in my family.  Although the mediums I have chosen to use throughout the years have varied, I always come back to artistic processes that focus on the craft and involve an intensive physical process, and I feel most fulfilled by creating something with my hands that carries the weight of its history and experiences that inspired it.  The mediums that I return to the most are charcoal and pastel drawing, block printing, and mixed media that incorporates my fiber arts background into traditional artistic mediums.  Ancient cultural practices and mythology have fascinated me for most of my life, and the subject matter and styles of ancient art are some of the elements that come up most in my own artwork.  I have continued to create art, and portraits in particular, throughout my life in an attempt to make sense of the human experience and find my place within a time and place where it is seen as wrong to not fit into the narrow boxes that society creates.  Currently, my main goal as an artist is to take these ancient symbolic and material practices that I have become surrounded by and apply them to a modern context, and to represent the tension between traditional and modern experiences of femininity through the synthesis of domestic and fine art traditions. 

Peter Deligdisch

As I experience and engage with the world around and inside of me, I have the endless desire to learn how things work. However, the more I learn, I start to suspect that existence itself is inherently incomprehensible.

My art reflects this dual fascination and frustration. Growing up, some of my favorite books to look at were ones with intricate diagrams and cross-sections. These delightful graphics tickled my brain. From these I learned both an appreciation for fine linework and densely-presented information. A lot of this aesthetic carries on to my own artwork, but mixed in is my feeling that life is also confusing in its complexity at its core, and overwhelming in the endless amount of information that can be found.

In creating my drawings and other pieces, I find some humor and peace in my frustration. I feel like I’m fighting back a little. As I digest all my experiences, everything I’ve ever learned and remembered gets regurgitated back out. Everything I’ve understood returns in a new form making less sense, as a reflection of all the things I still don’t understand.

Brenda Fonseca- Martinez

I use vivacious colors but the more you read and the longer you look the more you understand that it’s the same as people. My mom once told me “ The more you get to know a person the more you really see.”.As an artist, I work hard to develop works that speak to me but also to others about issues people don’t want to remember. My work challenges me on how open I want to be and I am willing to let people see that side of me. 

Viveka Krumm Castaneda

To not only see art but be IN art. Touching, engaging, and interacting with a painting that is fully 3D-matrix makes the art piece alive. Not only is the piece just sitting on a wall, but it also surrounds a space that emulates my intrigue and playful mindset I enter once I touch paint or any other material. This 3D-matrix is alive, and with the interaction of others, they themselves become infinite versions of the piece itself.  

Triston Mullis

Working with coding, I have always been intrigued with randomness. This piece was created to explore how randomness can create unique pieces. Every 100 seconds, the piece will change into something new, meaning whoever views the piece, will get a unique view. With how the piece creates itself, the chance of ever seeing the same piece is near-impossible, and that's what I wanted to explore. 

This piece is what I enjoy so much about creative coding. Seeing what can be made with only a bit of code, it's easy to think about what more can be made in this medium, and exploring this medium is something I plan on doing much more.

Daniel Rogers

My practice has evolved over the past year, with a large focus on redefining what art is to me. Figuring out what type of work I myself like to create, and what I enjoy from a viewer as well. Incorporating computers, code, and alternative processes into my daily practice, and into my pieces is the biggest changes I’ve seen in who I am as an artist now. 

Mia Zabala 

My work has become an outlet in which to delve deeper into my sense of self by exploring and reclaiming the mediums and practices of my grandparents and indigenous Filipino ancestry. From textile arts, jewelry making, and various forms of mark making, I have been forming connections with myself and the generations and cultures, where growing up as a Filipino Mixed-American, I have been isolated from. These connections have brought a series of revelations, such as the Filipino-American diaspora, and with them, various ranges of emotions and impact. As the eldest daughter of an Immigrant parent, as well as a first generation student, I have not only inherited a tremendous responsibility, but also a substantial amount of pain in which I need to heal and overcome.  Facing this pain from what I now know as transgenerational trauma, reveals my cyclical relationship with grief, self healing, reflection, care, and accountability. With each pass of the seasons, I undergo transformational growth and rebirth, in which I navigate life differently. These concepts that now manifest within my work, serve as an archive and open dialogue on my experiences while offering uplifting perspectives.