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Bass Staging

A Celebration of Student Artistry

A compilation of three artworks present at the SP/N Gallery 2024 Spring Juried Exhibition. (left) Spencer Cotton’s “Art School Wannabe – sorority Noise” (2022). Dennis the Menace VHS, animated Book of Mormon VHS, foam, hot glue and vinyl records. (An installment of a VHS case made to look like a face with two 45 vinyl records as eyes.) (middle) Delaney Deruiter’s “Self Portrait in Parts” (2024). Paper, adhesive watercolor, ink, wire. (A hanging installment of a person displayed from four different angle, showing different drawn parts of a human’s anatomy.) (right) Abbi Boyd's "My Identity" (2024). Acrylic. (A painting of a laymen leaning in a pink background and a painting of a woman celebrating at bar with friends.)

The 2024 Spring Juried Exhibition showcased the vibrant breadth of the artistic endeavors of upper-level undergraduate students taught by faculty of the Harry W. Bass Jr. School of Arts, Humanities, and Technology at the University of Texas at Dallas.

Hosted by SP/N Gallery from May 3 through May 18, the exhibition shone a spotlight on student talent in a variety of media, including paintings, installations, photography, printmaking, and videos. The exhibition was one of the highlights of the Bass Showcase, an array of events organized by the Bass School at the end of each semester to recognize and celebrate the artistic growth of UT Dallas students and scholars. The Bass Showcase features three weeks of performances, concerts, galleries, and a capstone celebration.

Bart Keijsers Koning, of Keijsers Koning gallery in Dallas, served as the juror for this year’s Spring Juried Exhibition.

On Canvas

Two oil paintings. One of people with life jackets drowning while a helicopter hovers over. The other one is a painting of a bust with its eyes closed, surrounded by several layers of color paint.
(left) Zainab Aziz’s “The Courage to Cross” (2024). Acrylic on canvas. (right) Sung Kim’s “Layers” (2024). Oil on canvas.
A painting of a laymen leaning in a pink background and a painting of a woman celebrating at bar with friends.
(right) Mia Pierce’s “This Bitch Wants a Marg” (2024). Acrylic and oil on canvas.
A painting showing several steps of a dancer's motion inside a black circle.
Sienna Hayes’s “The Dancer” (2024). Acrylic and oil on canvas.
Two paintings, one of the torso, chest, and upper thighs of a woman holding a hole in her gut. The other one is a painting of a the face of a woman with a nosebleed.
(left) Brooke Brockway’s “Gutted” (2024) Oil and hot glue on wood. (right) Brooke Brockway’s “Thyroid” (2024) Oil and on wood.
Two abstract paintings
(left) Kendall Miskimins’ “Suspension” (2024). Oil on canvas. (right) Kendall Miskimins’ “Submerged” (2024). Oil on canvas.
Three paintings: One of a woman kneeling in the sea and touching the water at night. One of a sad woman looking at a sand timer with a fish in it, and one of a woman wearing green color clothes in the snow with a bird on her head.
(left) Raima Hossain’s “Wishing Upon a Black Star” (2023). Acrylic on canvas. (middle) Raima Hossain’s “Sea Glass” (2023). Acrylic on canvas. (right) Sienna Haynes’ “Has Spring Come Early?” (2024). Oil on canvas.
A painting of the inside of a car with a blue facemask on it. A painting of a bathtub with water in it and a rubber duck. A painting of refrigerator doors with sticky notes on them. A painting of a purple pay phone. A painting of a yellow rotary telephone.
(From left to right) Asia Harris’ “Gullible Trusting” (2024). Acrylic and oil on canvas. Asia Harris’ “Bathtub” (2023). Acrylic and oil on canvas. Asia Harris’ “Passing Notes” (2024). Acrylic and oil on canvas. Asia Harris’ “Wanting / Waiting To / For You / a Call” (2024). Acrylic and oil on canvas. Asia Harris’ “It’s Tuesday” (2024). Acrylic and oil on canvas.
A painting of trees in the wind during the day.
Raima Hossain’s “Take me Home, Wind” (2024). Acrylic on canvas.
A painting of a lake at night.
Raima Hossain’s “In a World Where You Only Lose Things” (2023). Acrylic on canvas.
A painting of trees on the horizon with the sunset behind them.
Raima Hossain’s “The Forgotten Me” (2023). Acrylic on canvas.

Installments

Nine blue and white pictures hanging in three columns, five of them are different angles of a woman’s body and in the middle there are pages of The Book of Mormon.
Anais Anderson’s “To Honor and Obey” (2024). Cyanotype and Solarfast dye with coffee on 1005 cotton fabric, eyelet and hook, book of Mormon and copy paper.
An installment of a skateboard made to look as a wide open mouth with eyes made to look like eyes.
Spencer Cotton’s “Equip Sunglasses – Hot Mulligan.” Baker skateboard, Adidas crossbones, Nike hat, hot glue, foamcore and paint
A metal installment of a golden and blue clock.
Thu Huong Huynh’ s “Mandala” (2024). Mixed media.
A hanging installment of a person displayed from four different angle, showing different drawn parts of a human’s anatomy.
Delaney Deruiter’s “Self Portrait in Parts” (2024). Paper, adhesive watercolor, ink, wire.
A frame with eighty tiny crocheted white ducks with yellow beaks.
Shuo Chai’s “80 Ducks” (2024). Crocheted yarn.
An installment of a VHS case made to look like a face with two 45 vinyl records as eyes.
Spencer Cotton’s “Art School Wannabe – sorority Noise” (2022). Dennis the Menace VHS, animated Book of Mormon VHS, foam, hot glue and vinyl records.
A mold of Hydrostone to make human-shaped silicone characters.
Kristin Stevens Schmidt’s “Processes of Puppet Production: The Art of Mold Making” (2024). Hydrostone, silicone, wire, and oil clay.
A wooden installment of six carved moths in a circular pattern.
Megan McNeal’s “Moth Mandala” (2024). Wood and resin.
Models of body parts on plaster with laser prints of guts adapted to the inside of the cast.
Delaney Deruiter’s “Body Casts, Insides/Outsides” (2024). Plaster, laser prints, wheatpaste.
An installment of a square with various eyes and feathers.
Spencer Cotton’s “Nocturne No. 2 in E-flar Major, Op.9 No. 2” (2024). Plastic, feathers, Polyfill stuffing, hot glue, metallic powder, and paint.

On Paper

Handcrafted drawings of six versions of a drawing of a person sitting in front of a bathroom mirror.
Megan McNeal, “I would Agree with you, But Then We Would Both Be Wrong” (2024). Six prints, linocut, monotype, drypoint and stencil block.
A drawing of two black-and-white hands with yarn tangled between the fingers with a blue eye and two grids in the background.
Giselly Gomes ‘ “Fate” (2024). Graphite, colored pencil and yarn on paper.
A digital drawing of a man getting in a cat at night in front of a bank.
Nicholas Patrinos’ “Midnight Getaway” (2024). Digital Drawing.
One print and three drawings. An abstract print with red, pink and orange tones. A drawing of a yellow bee with blue wings resting on green flowers. A drawing of a yellow and black bee resting on red and green flowers.
(left) Mikaylee Turner’s “Gummy Bear Pop” (2024). Digital Print. (middle) Aide Muñoz’s “Pollinator’s Dream 1” (2024). Hand colored monotype. (right) Aide Muñoz’s “Pollinator’s Dream 2” (2023). Monotype.
Sketches of indigenous idols drawn with dots of pencil on paper.
Daniel Dinh’s “Unleashing Pandora” (2024). Pencil on Paper.

Photography

Black-and-white picture of two kids looking at easter eggs.
(left) Ali Kaheh’s “Egg Collectors” (2024). Digital print. Hugo Avila’s “Inocencia” (2024). Digital Print.
Three colored pictures. People walking on the White Rock Lake path. People feeding ducks by a pond. People walking and playing in a downtown area.
(left) Jocelyne De La Rosa’s “White Rock Walk” (2024). Archival pigment print. (middle) Jocelyne De La Rosa’s “Lost with Nature” (2024). Archival pigment print. (right) Jocelyne De La Rosa’s “Siblings at Play” (2024). Archival pigment print.
Three black-and-white abstract prints lined up vertically.
Alondra Reyna’s “Beauty in Decay” (2024). Photograms on gelatin silver paper.
A color picture of an old abandoned building among a developed, modern, downtown area.
Amy Loya’s “Abandoned” (2024). Archival pigment print.
Two pictures: A black-and-white picture of an abandoned house. A black-and-white picture of the top of an old car.
(left) Mason Zabojnik’s “Memory Lane” (2024). Gelatin silver print. Mason Zabojnik’s “Echoes of Silence” (2024). Gelatin silver print.
A black-and-white picture of a woman wearing a crown of flowers.
Maryam Nadim’s “The Flower Crown” (2024). Digital print.
Three pictures. A picture of a tree with antlers on the ground. A picture of two fruits in the dark, one yellow and one red. A picture of a person standing in a lighted wooded area.
(left) Molly Grubbs’s “Oddities” (2024). Archival pigment print. (middle) Molly Grubbs’ “Plum Opera” (2024). Archival pigment print. (right) Molly Grubbs’ “Temptation” (2024). Archival pigment print.
A colored picture of a brick road with one of its bricks out of place with debris in the hole where it’s supposed to be.
Amy Loya’s “Brick” (2024). Archival pigment print.

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