Anelise Leishman, Author at BYU College of Fine Arts and Communications

BYU Alum Lands Her Dream Job Dancing for Disney

Anelise Leishman — Sun, 30 Aug 2020 01:30:40 +0000

After teaching and performing in Utah, Bronwen Merrill is pursuing her dance career in France Bronwen Merrill knew she wanted to dance for Disney Entertainment from the time she was 14 years old. “I had the next 10 years of my life planned out before I could even drive a car,” she said. But the BYU alum’s journey to her dream job turned out a lot different than she expected. Merrill grew up in Provo, raised by parents who taught her to appreciate the arts. She briefly took dance lessons at a young age, but it wasn’t until her mother took adult ballet classes and brought a 10-year-old Merrill along that she really fell in love with the art form. “I was totally hooked,” said Merrill. “I knew I wanted to study dance. I said to myself, after graduation I’m going to move to either Anaheim or Orlando, and I’m going to audition and get into Disney Entertainment.” When she met and married her husband at BYU, however, Merrill knew she had to reevaluate her post-grad plans. After graduating in 2017 with a Bachelor of Arts in dance, she moved to China with her husband, Jordan, to teach English for four months. Three days after their return, she joined BYU’s Department of Dance, teaching beginning ballet classes as adjunct faculty. “Teaching was something I never thought I would do, but it was a great way to build up my resume, stay close to the dance community and support my little family of two while Jordan finished school,” she said. Merrill also used this time to gain more experience onstage. She performed in Hale Center Theatre’s production of “An American in Paris,” as well as “Beauty and the Beast” at the SCERA Shell Outdoor Theatre. While her time at BYU helped her strengthen her technical base as a dancer, Merrill’s post-grad experiences onstage helped her grow as a performer. “I feel that I’ve developed a better sense of being able to get into a character and tell that character’s story,” said Merrill. “There can be a disconnect — especially with ballet dancers — because there’s such a focus on perfecting the choreography and the technique, it can be hard to focus on the story you’re trying to tell with the movement. It becomes more enjoyable for both the performer and the audience when those worlds can find a way to balance and combine.” Merrill and her husband moved to Florida, expecting to settle down, when a contract offer came from Disneyland Paris — literally a dream come true. “I was so excited, and then it suddenly became so stressful,” she said. “There were so many big changes we had to make: Jordan had to reevaluate his career path, we had to let go of our goal of homeownership, and we realized we had to sell everything we owned to move to France.” Merrill was hired on at Disneyland Paris as a character performer and parade dancer, where she finished her training right before COVID-19 closed the parks for four months. Now, she is able to perform at the parks — albeit at a distance from guests. “Being here and performing in any capacity is still very fulfilling, especially at a time when so many artists have lost their jobs or are waiting for things to open back up again,” Merrill said. “I’m really looking forward to when I get to dance down Main Street, USA for the first time.” While her experiences between graduation and Disney were never part of the plan, they expanded Merrill’s abilities as a dancer and were crucial to fulfilling her life-long dream. “Learning those skills was so important for me, and helped immensely at my audition for Disneyland Paris,” she said. “I don’t think that I would have gotten as far as I did in the audition without those lessons about character work that I had post-graduation.” Throughout her journey, there were times when Merrill thought about giving up, but the experience has helped her realize the importance of following your dreams. “I just wish that more people believed in themselves enough to chase the dreams that they have,” she said. “It’s not going to be easy — a lot of the time it’s going to be really, really hard — but it’s so worth it. I just want to shout that message from the rooftops.”

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Meet the Students Behind the Piano in BYU’s Ballet Studios

Anelise Leishman — Wed, 15 Jul 2020 19:27:09 +0000

BYU provides pianists a rare opportunity to train in ballet accompaniment Matt Arnett, a staff pianist for ballet classes in the Department of Dance, had never heard of ballet accompaniment as a profession before he came to BYU. In fact, he had never even seen a ballet performance. “I didn’t know what to expect,” said Arnett, a senior majoring in music education. “But from the time I started, I loved doing it. Being a dance accompanist is different from any other musical experience I’ve ever had.” Unlike most accompanist jobs, there is no set music for a ballet class. The teacher demonstrates the exercise for the dancers, and the pianist must choose — or sometimes even improvise — a piece of music that matches the steps and movement quality. “A good ballet accompanist has to be quick with their eyes and ears, recognize what is happening in the dancer’s movements and translate it into how you interpret the music,” said Arnett. “You need to be flexible and intuitive, making quick decisions and improvisations.” Brayden Walters, accounting major and head accompanist and coordinator of dance musicians for the ballet area, played accompaniment for musical theatre classes but felt drawn to the creative possibilities of dance. “I like being able to express myself, and ballet is so expressive,” he said. “You can’t come into a class and just play in the background. With ballet, you feel like you’re giving a solo concert one hundred percent of the time.” According to dance major Sasha Chopelas, dancing to live music rather than pre-recorded songs makes a significant difference in ballet training. “Dancers do the same combinations and steps every day — thousands upon thousands of tendus and pliés throughout their career,” she said. “Having a pianist there to give us a little more inspiration helps us feel like we’re not just going through the motions or doing exercises, but that it’s an artistic pursuit in everyday class.” In many ways, the dancers and musicians collaborate in the ballet studio to bring the music to life over the course of the class. “When you play the right piece of music for the right exercise, you can see advanced dancers responding to your playing in very subtle ways, and there’s an energy created there that is inspiring for both art forms,” said Arnett. “The way they move changes the way I play, and vice-versa.” For Arnett, being a ballet accompanist has enriched his experiences as a musician and a music major. “It provides a safe space for me to explore and experiment as a musician, and it has given me a broader understanding of the relationship between music and other art forms,” he said. “I have a greater appreciation for the ballet musical masterworks I’ve studied as a music major because of the greater connection I can see to the visual element.” As a little-known, but highly specialized profession, dance accompaniment can have a steep learning curve, but BYU is one of very few places where pianists can be trained to play for ballet. As a result of their training, both Walters and Arnett have had opportunities to play for classes in Salt Lake City at Ballet West, the largest ballet company in Utah. “You cannot take a brilliant pianist, throw them into a ballet class and expect them to be fantastic, which is what you can expect in almost every other situation,” said Walters. “When you’re specialized in ballet, that sets you apart, and having that skillset is so marketable because ballet pianists are so few and far between.” Even when in-person classes were suspended in March due to COVID-19, BYU ballet dancers were still able to benefit from live accompaniment in classes over Zoom. “I had to play around with it, but I figured out a good setup,” said Walters, who played remotely for classes from his home in Las Vegas. “I’ve been surprised at how well it goes once we get into the rhythm of it, and it’s not as different as you’d expect.” The live music provided a sense of much-needed normalcy to the dancers’ daily classes. “Even though we couldn’t be in the same room,” said Chopelas, “at least we were all dancing to the same music.”

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Students Share Their Heritage in Living Legends’ Video Project

Anelise Leishman — Tue, 30 Jun 2020 18:02:07 +0000

The videos highlight traditional dances with personal meaning to the dancers When their outreach performance plans were thwarted by COVID-19, BYU Living Legends found a creative way to overcome — producing a series of videos to share their heritage, talents and testimonies. The ensemble — made up of BYU students of Polynesian, Latin American and Native American descent — performs traditional dances from their cultures. Living Legends created “Message of Hope and Joy,” a 50-minute limited release for youth and young adults in two local stakes where they were meant to perform in March. Edited by Scott Cook, the video is a compilation of songs and testimonies from Living Legends. To finish out the rest of the semester strong, the company divided into teams and continued to work towards their goals despite the distance — like Team Fit, who created workouts to help keep the team active and healthy, and Team “Rep It,” who worked on social media promotion. In addition, Team “Keep It” created three shorter videos, each centering around a specific cultural dance with a personal connection to one of the dancers. Living Legends members consulted with cultural experts on campus and drew from their personal experiences to provide context around these traditional dances. Leiema Hunt, who graduated in April with her master’s degree, consulted with BYU’s Dr. Gaugau Tavana to educate viewers on the Sasā, a dance from her native Samoa. “One of the key messages of these videos is knowing and remembering who you are,” said Hunt. “First and foremost, we have a divine heritage. We also have a cultural heritage — learning about our culture can help anyone to gain a deeper understanding of who their predecessors are. That is a beautiful message for everyone.” Savannah Ampuero, a data science graduate on Living Legends, chose to spotlight the Bolivian Caporales dance. She saw the project as an opportunity to inform viewers and foster a loving appreciation for culture. “I think it’s important for a community to appreciate the diversity of its citizens,” she said. “This allowed me to share a part of my heritage with my community. As we learn to understand each other and appreciate all cultures, I believe our community will be more unified and peaceful.” Kiona Lucio, a junior on Living Legends, narrated the video for the Native American Hoop dance, which he began learning from his father when he was five years old. “There are so many ways we can help others become more aware and understanding of our cultures,” said Lucio. “These videos are just one of many ways we can do this.” Jacob Payne, the lead audio engineer for Living Legends, was an instrumental part of bringing these videos to life. Normally, he works to set up and manage audio for the group on tour, but he brought his videography expertise to help Living Legends share these messages on-screen. “In most touring groups that I’ve worked with, the technicians and the performers kind of keep to themselves, but Living Legends is different,” said Payne. “We are all a family, and it is that family environment that made me want to give back to the group and use my talents to create something special, both for them and for those who will end up seeing those videos.” Living Legends is a tight-knit group, but working towards these projects during quarantine helped bring the group even closer. “There’s still very much a sense of community and love for and help for each other, but there’s something about going through something difficult together that helps you to love each other more,” said Living Legends director Jamie Kalama Wood. These videos are part of Living Legends’ larger mission to reach out to the community, both locally and out of state. While on tour in Yuma, Arizona, the company performed for a school on the reservation they visited, and Wood heard from one of the teachers about the impact their performance had on the students. “He said that he now had students at the elementary school level running up to him and saying, ‘Is that what college can be? There are people who look like me, doing dances that I know — what college is that? Can I go there? Can I dance for them?’ And now they have this goal to go to college,” said Wood. “These people are not just on reservations far away, they’re very much a part of our local community as well.” In addition to sharing the cultural history behind these dances, Living Legends has a unique opportunity to testify of the gospel through their performances and their outreach. “Part of it is the spiritual side, our testimonies and the gospel of Jesus Christ, and how everyone in the group is literal descendants of the people in the Book of Mormon,” said Wood. “The other part is sharing what our cultures look like now, who we are and how we live. That’s exciting to me because as we do that, we naturally start to break down walls and stereotypes, even though that’s not the specific mission of the group. It really is just to share who we are.” Follow Living Legends on Instagram (@byulivinglegends) and stay tuned to see the videos.

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Professor Lynn Curates Project Highlighting BYU Alum in LA Art Show

Anelise Leishman — Thu, 28 May 2020 16:37:29 +0000

The project featured the works of husband-and-wife artists Amanda Smith and Casey Jex Smith, a BYU alum This February, BYU art professor Christopher Lynn spent spring break in Los Angeles — that is, he curated a project for SPRING/BREAK, an annual art show for independent curators. After Lynn and BYU art alum Casey Jex Smith got talking at a benefit auction, they decided to submit a proposal to SPRING/BREAK for a two-artist exhibition featuring works by Smith and his wife, Amanda. This year’s theme for the show — “In Excess” — fit perfectly with the Smiths’ art style, which Lynn describes as “fantastical and detail-oriented, to the point of obsessive.” SPRING/BREAK began in New York City in 2012 and expanded to Los Angeles last year. At first, Lynn wasn’t sure whether they could find a platform in the art show, which almost exclusively features artists based in those cities. “We thought it may be a long shot to have a Utah curator and Utah artists get accepted,” said Lynn. “But Casey and Amanda are peerless artists and I wanted more people to see their work.” Their proposal was accepted, and the team found themselves with only two weeks before the fair in Los Angeles to prepare the exhibition. When Lynn visited the Smith home to select works for the exhibition, an unexpected art project caught his eye. “I noticed a well-worn cardboard box in the corner, teeming with craft foam that had been drawn on and cut out into the shapes of imaginative characters,” said Lynn. “For years Amanda and Casey would take drawing requests from their children. They usually wanted odd hybrids of their favorite TV show characters — the head of Ms. Frizzle from ‘The Magic School Bus’ on a Pokémon body, Spider-Man with his spider wife and spider children, and other variations. As their children grew older, they started making their own foam characters. It became a collaborative family artwork.” Lynn ended up taking the entire box of foam figures with him to Los Angeles to install as part of the exhibition. “It became a whole family affair,” he said. The art show was a first for Lynn, whose experience as a curator and director has mostly been in the nonprofit art sector. The exhibition was a success, and Lynn had the opportunity to show the Los Angeles art world a taste of what Utah artists have to offer. “I met so many excited and earnest curators, organizers, collectors and artists who were a bit surprised to find out that we had such talent in Utah,” he said. “One well-known collector who owns a private museum in West Palm Beach, Florida gladly snatched up one of Casey’s large drawings to add to her collection.” And the Smith family’s cast of hybrid characters — known as “Foam Babies” — was a huge hit among the art show’s youngest visitors. “We let toddlers play with the ‘Foam Babies’ and they loved it,” said Lynn. “One kid even spent a half hour finding all the Spider-Man variations and lining them up on the floor.” Lynn looks forward to sharing what he learned from the art fair experience with students in the art program. “Many of our students are operating at or beyond the level of art I saw in the fair, but lack insight into how to apply to or work within an art fair structure,” he said. “I hope to return next year — COVID-19 restrictions allowing — and bring students with me so they can participate firsthand.”

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‘To See and Be Seen’: CDT Dancers Explore Isolation, Connection in New Video ‘Vanish’

Anelise Leishman — Tue, 19 May 2020 18:19:03 +0000

The video continues a collaboration with NYC-based choreographer Jesse Obremski and pays tribute to graduating seniors As the socially-distanced BYU community prepared to celebrate graduation in new and unexpected ways, Contemporary Dance Theatre premiered “Vanish,” a 10-minute video featuring the work of New York City-based choreographer Jesse Obremski. Keely Song Glenn, director of CDT and producer of “Vanish,” described the video as “a tribute to the vitality of human connection and a hope for the day when we can one day physically connect to each other again.” In addition to filming the video, CDT performed the piece in their annual concert this February. “Vanish” is set to music by commercial music alum Jarom Hansen and was filmed and edited by media arts alum Scott Cook. For many students in the company, working with Obremski was a highlight of their year. “I’ve never worked with someone who puts so much heart into their work and also creates a space of individual self-discovery for their dancers,” said Vanessa Redden, a graduating senior on CDT. “Throughout the entire process of working with him, Jesse would often remind us that ‘it’s all about the humanity,’” recalled Bronte Hopkins, a dance education graduate. “He is a talented choreographer and such a generous human being. It felt like a journey.” Watch the video below and read more about “Vanish” at dance.byu.edu.

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Professor Peter Everett Represents Utah in State of the Art 2020 Exhibition at Crystal Bridges Museum of American Art

Anelise Leishman — Mon, 27 Apr 2020 19:15:58 +0000

Two oil paintings and an edition of lithographic prints by Everett were included in the exhibition, which opened at the Crystal Bridges Museum in February 2020 Last April, Department of Art professor Peter Everett was contacted by the Crystal Bridges Museum of American Art for a studio visit. Curatorial team Lauren Haynes, Allison Glenn and Alejo Bendetti were narrowing down their list of potential artists to feature in State of the Art 2020, the second iteration of an expansive exhibition that seeks to showcase a diverse cross-section of contemporary art in the United States. Haynes — curator of contemporary art at Crystal Bridges and of visual arts at the Momentary, Crystal Bridges’ new contemporary space — visited Everett’s studio, as well as several other artists around Utah. “It was a good visit, and Lauren was really thoughtful,” said Everett, “but I didn’t know if anything would come as a result of the visit.” That August, however, Everett was invited to take part in the exhibition as one of 61 artists from across the country — and the only artist chosen from Utah. “It was an honor for me to be curated into this exhibition,” said Everett. “This is a powerhouse team of curators with a great understanding of contemporary art in our country, and I was flattered to be the representative of Utah. It has been great to show my work alongside so many amazing and accomplished artists.” In addition to the two large oil paintings of Everett’s included in the exhibition, an edition of hand-pulled lithographic prints was also commissioned for the exhibition’s opening, a project Everett produced with master printer and retired BYU professor Wayne Kimball. Everett describes his own work as an exploration of the non-linear narratives that reside, interact and evolve between moments. “These narratives often exist between the apocalyptic and magical and frequently locate themselves in the quiet immediately before or after something has happened,” said Everett. “I am interested in forms and entities that have an immediate visual power, physicality and a sense of urgency growing from a place just out of sight. Visual phenomena that I experience in transitional periods — between sleep and consciousness or in a meditative state — are often used as source material. These liminal spaces and the forms they generate have an energy that feels familiar and strange, like echoes from a parallel reality.” In February, Everett traveled to Bentonville, Arkansas to visit Crystal Bridges and attend the opening of the Momentary and State of the Art 2020. The exhibition will be on display through May 24, 2020. “Crystal Bridges is an amazing institution with a breathtaking facility and collection of art,” he said. “The new contemporary space, The Momentary, is equally impressive and promises to energize art and culture in our country.” Though measures taken to prevent COVID-19 have temporarily closed the museum, Crystal Bridges continues to promote art from the exhibition online, and there are plans to take State of the Art 2020 on the road to museums across the country. Everett’s inclusion in the exhibition is a significant accomplishment, but he sees the achievement as “equal parts luck and hard work.” “I think it is important to recognize there are so many great artists around the country and in Utah that could have been included in this show,” he said. “I am a committed artist and have been making art for a long time, but that does not always bring exhibitions and recognition. I had many studio visits in 2019, and some led to good things and others didn’t. Happily, the visit with Lauren Haynes led to this opportunity.” For Everett, this experience has reminded him of the importance of finding internal rewards and an honest voice as an artist. “I feel it is important to not pay too much attention to extrinsic rewards and praise and to not get discouraged when there is a dry spell,” said Everett. “These things can be fickle and come and go. What is critical is to be honest and focus on where your center is, what you have to offer and what is intrinsically rewarding that you can hold onto even if no one else seems interested.”

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Art Major Elisabeth Baird on Inspiration, Collaboration and Kindness

Anelise Leishman — Fri, 10 Apr 2020 17:25:25 +0000

Baird — a native of Garden Grove, CA — will graduate with a BA in art on April 24, 2020 Ever since she was a young girl, Elisabeth Baird has felt drawn to art. “I remember watching my mom draw when I was little, and wanting to be an artist because I wanted to be like her,” she said. “I also love the idea of storytelling. Some of my favorite artists tell stories without saying anything.” Growing up in California, the beauty of nature and landscapes has also had a profound effect on Baird as an artist — something she didn’t realize until she traveled abroad. Last August, she went on a field study to Scotland and the Faroe Islands with a small group of students and faculty. “I loved learning from the landscape and the ocean, and watching the birds dive over the sea stacks into the water,” said Baird. “I’ll never forget driving around Scotland with the other students and our professors. I loved learning from them.” Baird points to the field study as one of the most memorable and influential experiences she’s had at BYU. “I love that BYU gives students so many opportunities to apply for experiential learning grants. That trip has been really impactful on me, retrospectively,” she said. “I know it impacted my art, but I don’t think I’ll fully understand how until I’m older and can look back and trace that influence over the expanse of the work I’ll make. It will be interesting to see.” Throughout her time as an art major, Baird has learned the importance of collaboration and how involving others enriches the creative process. “I see more and more how no one really accomplishes anything great on their own,” she said. “We build off of the ideas and successes of those who came before us and those who have worked alongside us.” In addition to her art degree, Baird will receive a teaching license through the art education area’s K-12 licensure program. The connections she has made through student teaching have been among her most rewarding experiences in the art program. “I felt great going to teach every day. I felt like I was doing something really meaningful,” said Baird. “I want to empower students the way so many of my teachers throughout my life have empowered me.” Baird hopes to find ways to empower and support those around her — as an artist, family member, and friend. She is passionate about social issues, and after graduation, she wants a career that fulfills both her passions: teaching art and working with marginalized groups. “I’m hoping to combine the two,” she said, “but honestly, so much is so up in the air right now, I mostly just want to be a kind person. I want to use my education to be kind in any way I can be.” To students just starting out in the art program, Baird’s advice is to be engaged and take advantage of every opportunity to collaborate with others. “Ask for teachers to mentor you, work one-on-one and in groups with teachers and classmates as much as possible,” said Baird. “Asking for help is important. And so is being willing to say ‘I don’t know,’ and being comfortable with that. I’ve learned I’m a better creator when I do these things.” Q&A WITH ELISABETH BAIRD, BA ‘20 ART | ART What did you want to be when you grew up? “I wanted to be an artist or teacher.” What was your favorite class that you took at BYU? “I loved the storytelling class taught by Teresa Love because I’m interested in telling stories. I continue to use things I learned there in my work as an artist.” Is there a specific work or practitioner in your field that has had a particularly strong influence on you? “Ei Weiwei’s work has had a big impact. I love how he works with social issues and makes the most beautiful installations. His works using the life vests of refugees have been really important. So has Olafur Eliasson. I got to see his retrospective at the Tate Modern this summer, on my way home from Scotland. His piece ‘Your Blind Passenger’ was one of the most spiritual art works I’ve witnessed.” Do you have a hidden talent or a hobby outside of what you do for your major? “I’m learning to whistle! I’m also a wilderness survival guide — I lead trips mainly in Arizona wilderness areas. I enjoy learning and passing on some of these ancestral survival skills.” What is your favorite snack for between classes? “Pop-Tarts. The strawberry ones.”

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Rachel Henriksen on Exploring through Art, Building Relationships

Anelise Leishman — Mon, 06 Apr 2020 17:51:49 +0000

Henriksen — a native of Provo, Utah — will graduate with a BFA in studio art on April 24, 2020 Rachel Henriksen came to BYU confident that art was her calling. “I’m one of those lucky people that already knew what they were going to do,” she said. Henriksen was drawn to art because it allows her to engage with a wide variety of other interests, including philosophy, psychology and sociology. “Some of the most amazing art I’ve seen is interdisciplinary, where an artist will explore scientific concepts abstractly through art instead of trying to explain them with data, numbers and logic,” said Henriksen. After being accepted into the BFA program, she left to serve a mission — but upon returning home, she began to feel lost. “I felt like I didn’t know how to do art anymore,” said Henriksen. “It felt like a selfish pursuit when I had just been serving so many other people. Art felt like an indulgence.” It wasn’t long, however, before she felt at home in the art program. “The faculty and students in the art program pulled me in,” said Henriksen. “They’re really special people, and I think that’s what drew me to the major.” Her most memorable experiences in the program include an advanced art summer intensive in 2017, during which she and her peers traveled around Utah and LA, visiting land art installations such as the Spiral Jetty and Sun Tunnels and drawing inspiration from museums and landscapes. Henriksen also interned as an art assistant in Berlin for a summer. Henriksen’s most challenging — and rewarding — experience while at BYU was her solo show “knew/new” at the Utah Museum of Contemporary Art, inspired by time she spent with her grandmother suffering from Alzheimer’s disease. She found out about the opportunity in mid-September of 2019, and was tasked with creating a full show of her own work by the end of October. “It was a short turnaround, and really intimidating being invited to do this at a notable museum,” said Henriksen. “But it really pushed me — I knew I could do it if I put my mind to it, and so I did.” Henriksen is currently applying for residency programs and is planning on taking some time post-graduation to experiment with her art. “I eventually want to go to grad school, but I want to take a few years off and see what I make without the influence of academic critique,” she said. An independent person by nature, Henriksen has learned throughout her college career how to reach out and ask for help from professors, friends and the Savior. “I’m a stubborn person when it comes to doing things on my own; I feel like I have to prove to people that I can carry everything by myself even though it’s way too heavy for me,” said Henriksen. “But there have been so many times in this program where I’ve needed to reach out. I recognized it as giving other people an opportunity to serve by asking for help, instead of selfishly denying them that opportunity.” Henriksen’s advice to prospective art students is to get to know their faculty and peers and to take advantage of opportunities to build a network of strong relationships. “You can take those relationships beyond school and have a network of people that you can turn to after college. Being an art major is not necessarily something that leads you to a lucrative job right away,” said Henriksen. “You have to work your way through the world and figure out your own path. Having people to turn to is a good thing.” Q&A WITH RACHEL HENRIKSEN, BFA ‘20 ART | STUDIO ART What did you want to be when you grew up? “My mom said I always used to tell her I wanted to be a street performer who played guitar or danced for money. And then that turned into wanting to be on Broadway, until I realized I really can’t dance or sing.” What was your favorite class that you took at BYU? “I think most of my favorite classes were the art theory classes for my major — the ones that were less about technique in art, and more about ideas and concepts and theories.” Is there a specific work or practitioner in your field that has had a particularly strong influence on you? “There’s a contemporary artist named Felix Gonzales Torres who passed away only a few years ago. He’s a conceptual artist who creates really powerful works in really simple ways. He uses a lot of universal themes that we all experience and feel, like love and loss.” Do you have a hidden talent? “I’m unusually good at finding really cool stuff at yard sales and thrift stores — just funky stuff that is hidden in weird places. That comes in handy, especially as an artist.” What is your favorite snack for between classes? “I usually have some sort of dried fruit with me. Right now I really like apricots.”

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Dallin Jones on Animation, Filmmaking and ‘Curing Souls’ Through Art

Anelise Leishman — Mon, 06 Apr 2020 17:16:41 +0000

Jones — a native of Midland, Michigan — will graduate with a BFA in animation on April 24, 2020 As a freshman, Dallin Jones took several art classes to find a major that would satisfy his creativity and love for 3D art. In the end, the animation program won him over. “I ultimately found out that I really only care about art in the context of story — and animation is all about story,” said Jones. “I don’t enjoy creating just for the sake of creating so much as I enjoy creating for worlds, for characters, and for stories with messages that can change people.” When he applied to the major, Jones jumped right in, taking figure drawing classes multiple times, filling his time with extra credit work and asking for feedback from professors. He also got involved with that year’s short film, which students in the animation program collaborate on each year. Now, Jones is focusing his efforts on a collaborative animated senior short film titled “Salt,” which he has been working on with about 20 other classmates for the past year and a half. “It has been an absolute blast to work together,” said Jones. “I love how collaborative animation is. It is so empowering and inspiring to work together towards a common goal. It really feels like magic when all of our talents come together and we see the finished product.” Working on “Salt” has been rewarding for Jones, but like any creative endeavor, it has had its challenges. When the producer left on a study abroad, Jones found himself stepping into the position and learning just how difficult making a film can be. “It has been challenging at times to ‘rally the troops’ and keep morale high, especially when we didn’t see many results,” said Jones. “It has also been a challenge to find the right balance between delegation, keeping the director’s vision and keeping things on a schedule without being overwhelmed. I know that most people realize that making a film is really hard, but I don’t think people understand just how much work it requires.” What’s next for Dallin? “Right now my main goal is to lead ‘Salt’ to the finish line,” he said. “After that, I hope to get a job at a feature film studio as a texture artist.” Jones also hopes to collaborate with his wife — a commercial music major — on a future project. Jones advises incoming students and prospective animation majors not only to work hard, but to be proactive and get as involved as possible with the program. “If you don’t get involved and work hard, you can’t expect to succeed,” said Jones. “I also tried to adopt an attitude of, ‘If something scares me, then I really need to try it.’ Having this attitude led me to face my fears and turn my weaknesses into strengths.” During his time in the program, Jones realized that everyone in a society is needed, including those who make art. Although some careers — such as medical, scientific or humanitarian professions — may help people in more tangible ways, artists make profound differences in people’s lives. “After hearing a classmate say, ‘well, we aren’t curing cancer,’ my professor, Brent Adams, responded, ‘well, yes, you aren’t curing cancer, but cancer is temporary. You are curing souls.’ And I know that it’s true,” said Jones. “The stories that we make can cure people’s souls. That is the power of art.” Q&A WITH DALLIN JONES, BFA ‘20 DESIGN | ANIMATION What did you want to be when you grew up? “I always knew I wanted to do something creative, but I cycled through several ambitions — illustrator of children’s books, magician, balloon artist, animator.” What was your favorite class that you took at BYU? “My favorite class was Shader Programming, taught by Seth Holladay. I loved it because we only had two projects, so we had enough time to really polish them. I also loved learning about procedural shading and just enjoyed making beautiful art! The pieces I made in that class are some of the pieces I am most proud of.” Is there a specific work or practitioner in your field that has had a particularly strong influence on you? “I am of course inspired by all the animation greats, such as Glen Keane, Chuck Jones and Pete Docter. But I am also really inspired by the BYU animation alumni who have gone before us and given such a great reputation to the program.” Do you have a hobby outside of what you do for your major? “Well, it is still related to art, but I have always been fascinated by pop-up books, and I have a collection of them. My dream is to make pop-up books on the side of whatever my job is.” What is your favorite snack for between classes? “Almonds if I am feeling healthy, Cheez-Its if I am feeling unhealthy.”

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Higher Ed Art Educator of the Year Tara Carpenter Estrada on Her Jumpst(ART) Program

Anelise Leishman — Tue, 31 Mar 2020 17:58:49 +0000

Estrada shares her passion for promoting the arts in the community and inspiring creative confidence in students This year, BYU assistant professor of art education Tara Carpenter Estrada was recognized as Higher Education Educator of the Year by the Utah Art Education Association (UAEA). “I was honored to be named Higher Ed Art Educator of the Year,” said Estrada. “I’m grateful for my association with UAEA, through which I’ve been able to meet and learn from inspiring teachers throughout the state.” Estrada was recognized as an outstanding teacher for her efforts to build confidence in her students at BYU and to enrich the community at large. Estrada is the creator and director of Jumpst(ART). Originally called “Art Buddies,” the program — now in its fourth year — offers after-school and summer art classes to local K-12 students, taught by BYU students and hosted on campus. The program gives local children an outlet for creative exploration through art, and also allows art education student teachers to have firsthand experience teaching children. “A lot of education classes are theoretical — you’ll learn how to teach, but then you don’t actually get to try it out. It’s very different when you’re actually working with kids,” said Estrada. “Our students get to plan their lessons, practice teaching them, and then reflect on how it went and adjust and do it again.” Art education students in Estrada’s class spend the first few weeks working with different media and finding activities to incorporate into their classes. With her guidance they create a lesson plan, which they use as a jumping-off point to get feedback from the children about what they want to learn. Children and student teachers also have the advantage of working in small groups. With 40 to 50 children participating in the program each semester, each BYU student works with the same two to four children for eight weeks. “They’re able to get a feel for each child’s personality and how they react to things, and we troubleshoot problems by reacting in positive ways,” said Estrada. “They also get to see kids’ art, which I think is in a lot of ways more creative and spontaneous than adults’.” One of Estrada’s main goals is to cultivate what she calls “creative confidence” in her students. This involves reframing self-criticism in positive ways to maintain a constructive approach to their progress as artists and teachers. “I have a rule in class that my students can’t say anything negative about their own work. They have to rephrase,” said Estrada. “Students may not be excellent at every project that we do, but I hope by the end of class, they feel like they can approach new art-making techniques and try them out.” Only certain sections of Art for Elementary Teachers (ARTED 326) work with Jumpst(ART), but the course can also be taken as a General Education class. “It’s a great option if you want to dive into lots of different art-making techniques, and also figure out how to work with kids,” said Estrada. “Regardless of what you do later — whether you’re in teaching, or you’re a parent, an aunt or a friend — I think being able to interact with young people is an important life skill. Kids are very different from adults, and they react differently to the world.” Estrada cares about making art accessible to children who wouldn’t otherwise have access to art classes, and Jumpst(ART) offers scholarships and adjusted costs based on financial need. “In Utah, there isn’t a visual arts teacher in every school. We have a lot of really great art teachers out there, but there’s just not enough funding for every kid to get access to visual arts,” said Estrada. “When we offer scholarships — and kids that wouldn’t normally get to take art can — I think that’s a win for society.”

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