VISUAL ARTS
Sterling Yun, Tejus Krishnan, Chelsea Ji, Antalique Tran, Victoria Hsieh
Sterling Yun, Tejus Krishnan, Chelsea Ji, Antalique Tran, Victoria Hsieh
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Badminton
Photography by Sterling Yun
Artist's Statement
This set of three photographs depicts the same badminton match played by Jacob Zhang at the 2018 US Junior Badminton Nationals in Milwaukee, WI. The photographs depict the emotions and fleeting moments within a self-contained sports match - what might be seen as a single event reveals itself to be a narrative within which small moments of triumph, loss, support, and struggle are placed. Even photos depicting the act of reaching for a shot hint at a dynamic between the competitor and his environment: in one, the match umpire observes, a power dynamic at play between the two, while in the other, the audience as backdrop reminds the viewer that each player has some sort of external pressure on them. Photography can document these dynamics and reveal them subtly even in something as seemingly straightforward as documenting the rigors - both mental and physical - of athletic competition.
Photography by Sterling Yun
Artist's Statement
This set of three photographs depicts the same badminton match played by Jacob Zhang at the 2018 US Junior Badminton Nationals in Milwaukee, WI. The photographs depict the emotions and fleeting moments within a self-contained sports match - what might be seen as a single event reveals itself to be a narrative within which small moments of triumph, loss, support, and struggle are placed. Even photos depicting the act of reaching for a shot hint at a dynamic between the competitor and his environment: in one, the match umpire observes, a power dynamic at play between the two, while in the other, the audience as backdrop reminds the viewer that each player has some sort of external pressure on them. Photography can document these dynamics and reveal them subtly even in something as seemingly straightforward as documenting the rigors - both mental and physical - of athletic competition.
Determinism
Illustration by Tejus Krishnan
Artist's Statement
This piece started as a fun visual idea of drawing Seattle in someone's hands, but I started taking inspiration from Nick Bostrom's "simulation argument," which suggests that we live in a simulation controlled by humans of the future. I liked the godlike imagery evoked by having ancient, human hands holding a modern, developed environment, as it reflects the popular sci-fi theme of "humans playing god" by trying to control the future (or, well, place it "in their hands.") I named it "Determinism" after the philosophy that we have no free will and that human actions and events are determined by external causes. I don't believe in the common religious version of this argument, but it does remind me of the reality we are creating for ourselves through advances in automation technology, which goes well with the futurist aesthetic I wanted for this piece.
Tejus Krishnan is a staff writer for The Daily and a student at the University of Washington.
Illustration by Tejus Krishnan
Artist's Statement
This piece started as a fun visual idea of drawing Seattle in someone's hands, but I started taking inspiration from Nick Bostrom's "simulation argument," which suggests that we live in a simulation controlled by humans of the future. I liked the godlike imagery evoked by having ancient, human hands holding a modern, developed environment, as it reflects the popular sci-fi theme of "humans playing god" by trying to control the future (or, well, place it "in their hands.") I named it "Determinism" after the philosophy that we have no free will and that human actions and events are determined by external causes. I don't believe in the common religious version of this argument, but it does remind me of the reality we are creating for ourselves through advances in automation technology, which goes well with the futurist aesthetic I wanted for this piece.
Tejus Krishnan is a staff writer for The Daily and a student at the University of Washington.
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Paper Dragon Paper Cutting by Chelsea Ji Chelsea Ji is a senior at Interlake High School. She has been paper cutting for years, and plays cello at a state-recognized level |
Artist's Statement
Cut out on white paper, a Chinese dragon is juxtaposed against a red background in this paper pop-up. The dragon symbolizes my exploration of self in a Western world, shown by the Westernized interpretation of the appearance of the Chinese dragon. The piece is placed on a red background, a color traditionally associated with good luck in Chinese culture, thus denoting my cultural roots and heritage. There are several tiers in the pop-up, paralleling the various layers and cultural "parts" of me that makes me, me. Ultimately, this work is representative of my cultural identity, where I am part Asian, part American - Asian-American.
Cut out on white paper, a Chinese dragon is juxtaposed against a red background in this paper pop-up. The dragon symbolizes my exploration of self in a Western world, shown by the Westernized interpretation of the appearance of the Chinese dragon. The piece is placed on a red background, a color traditionally associated with good luck in Chinese culture, thus denoting my cultural roots and heritage. There are several tiers in the pop-up, paralleling the various layers and cultural "parts" of me that makes me, me. Ultimately, this work is representative of my cultural identity, where I am part Asian, part American - Asian-American.
Awkwafina
Digital Illustration by Antalique Tran
Artist's Statement
To improve in some activity, you must break it down into its parts and master each of those parts. Learning is a feedback loop: performing a part, assessing the errors, repeating the performance while trying to fix those errors. While drawing, I tend to focus too much on fixing just the end result. This time, I decided to focus on shapes, using the same, hard opacity brush with only 4 colours in an attempt to draw Awkwafina. This study has helped me understand shading better, and though I know it's not perfect nor completely resembles my idol, I know that I need to concentrate on improving, which this piece helped me do. Likewise, I know that my mental health cannot swing upwards all at once. I must break it down into its parts—improving my diet, changing my sleep schedule, exercising consistently, forming positive relationships. After all, the whole cannot improve without better parts.
Antalique is a self-taught digital illustrator and a rising junior at Yale University. She is a prospective neuroscience major pursuing an MD-PhD and currently works as an art studio aide and Peer Wellness Champion. She hopes to bridge together arts and mental health. You can follow her art at @ntalique on Instagram.
Digital Illustration by Antalique Tran
Artist's Statement
To improve in some activity, you must break it down into its parts and master each of those parts. Learning is a feedback loop: performing a part, assessing the errors, repeating the performance while trying to fix those errors. While drawing, I tend to focus too much on fixing just the end result. This time, I decided to focus on shapes, using the same, hard opacity brush with only 4 colours in an attempt to draw Awkwafina. This study has helped me understand shading better, and though I know it's not perfect nor completely resembles my idol, I know that I need to concentrate on improving, which this piece helped me do. Likewise, I know that my mental health cannot swing upwards all at once. I must break it down into its parts—improving my diet, changing my sleep schedule, exercising consistently, forming positive relationships. After all, the whole cannot improve without better parts.
Antalique is a self-taught digital illustrator and a rising junior at Yale University. She is a prospective neuroscience major pursuing an MD-PhD and currently works as an art studio aide and Peer Wellness Champion. She hopes to bridge together arts and mental health. You can follow her art at @ntalique on Instagram.
Part
Illustration by Victoria Hsieh
featured on this issue's cover
Illustration by Victoria Hsieh
featured on this issue's cover