Jeska 4D: Portfolio
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![Page 1: Jeska 4D: Portfolio](https://reader031.fdocuments.us/reader031/viewer/2022020400/568c51731a28ab4916b2ab4d/html5/thumbnails/1.jpg)
Jeska 4D [jes-i-kuh, fôrd] - noun. A creative person whose work shows
sensitivity and imagination.
Jessica Ford2013
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Portfolio [pôrt'fōlē,ō] - noun.A collection of creative work that has
been selected by an individual to showcase their skills.
![Page 3: Jeska 4D: Portfolio](https://reader031.fdocuments.us/reader031/viewer/2022020400/568c51731a28ab4916b2ab4d/html5/thumbnails/3.jpg)
Portfolio [pôrt'fōlē,ō] - noun.A collection of creative work that has
been selected by an individual to showcase their skills.
Portfolio [pôrt'fōlē,ō] - noun.A collection of creative work that has
been selected by an individual to showcase their skills.
![Page 4: Jeska 4D: Portfolio](https://reader031.fdocuments.us/reader031/viewer/2022020400/568c51731a28ab4916b2ab4d/html5/thumbnails/4.jpg)
To create is to breathe, to feel, to form a sort of connectivity between the physical material and the expression of my soul, my mind, and my experiences of the world I live in. This love affair I have with art and creativity holds my interest in a wide variety of mediums. As of recent, I am fondest of intaglio, serigraphy, and relief methods of printmaking, as well as painting, and mixed media drawing. Digital media, such as photography and video, also intrigue me from time to time. This provides a great means of inspiration for works done with more tactility. In the creation of each piece, I intellectually engage in an act of interpretation by evaluating my emotions and perceptions of how I both see and feel the world that surrounds me. The process in which I construct each piece and the cognitive engagement of the individuals viewing the final work are what I truly enjoy about being an artist.
Stylistic features found in my work tend to stem from geometric, organized compositions. These are coupled with feminine figure-forms that are presented either representational or abstract fashion.. Overall, it is the initial figurative imagery that inspires the creation of hard lined shapes that I break down into geometric forms. I then use colour to celebrate the aura of the work and the essence of emotion it is to convey. Bright and often unpredictable colour combinations are apparent when coupled with varied techniques of application across the mediums in which I choose to work in. When working with colour, I resonate with the fact that each hue has a frequency. This energy and beauty of every hue speaks to me and, in turn, inspires each and every work.
Having been greatly influenced by the softness and femine forms used by Edgar Degas, the characteristic application of paint used by Vincent Van Gogh, I have learned to appreciate what the creative process in art really means. The emotional application of pastel and paint give life to each piece. Not only does this grab my attention, but tells me a story of how each piece came into being. More recent inspiration to me is comes from several artists whom I have been instructed by at the Medicine Hat College. The realism of Laara Cassel’s painting, the free and energetic marks of Poul Nielsen, the line work of Craig Cote’s etchings, and atmospheric movements that is both dynamic and serene in the works of Mato Higashitani; all inspire me to explore countless possibilities in my own work. Another source of inspiration to me is the dynamic, illustrative, colour-packed style of work by Sarah Wilson, an artist and a friend. The intense colours and heavy use of lines in her pieces ignite my inner passion for art. She inspires me to achieve a higher sense of self and spirituality in my own work: a sort of enlightenment.
What is seen, what is communicated, and how artwork is understood by others is a constant fascination for me. I believe creation and interpretation of art generates awareness: awareness of the world, how it works, and how all function within it. This search for an ethereal connection between art and how it is experienced is essential to me. I feel that this connection is important to not only understanding art or the world, but to understanding life, itself.
Artist Statement
To create is to breathe, to feel, to form a sort of connectivity between the physical material and the expression of my soul, my mind, and my experiences of the world I live in. This love affair I have with art and creativity holds my interest in a wide variety of mediums. As of recent, I am fondest of intaglio, serigraphy, and relief methods of printmaking, as well as painting, and mixed media drawing. Digital media, such as photography and video, also intrigue me from time to time. This provides a great means of inspiration for works done with more tactility. In the creation of each piece, I intellectually engage in an act of interpretation by evaluating my emotions and perceptions of how I both see and feel the world that surrounds me. The process in which I construct each piece and the cognitive engagement of the individuals viewing the final work are what I truly enjoy about being an artist.
Stylistic features found in my work tend to stem from geometric, organized compositions. These are coupled with feminine figure-forms that are presented either representational or abstract fashion.. Overall, it is the initial figurative imagery that inspires the creation of hard lined shapes that I break down into geometric forms. I then use colour to celebrate the aura of the work and the essence of emotion it is to convey. Bright and often unpredictable colour combinations are apparent when coupled with varied techniques of application across the mediums in which I choose to work in. When working with colour, I resonate with the fact that each hue has a frequency. This energy and beauty of every hue speaks to me and, in turn, inspires each and every work.
Having been greatly influenced by the softness and femine forms used by Edgar Degas, the characteristic application of paint used by Vincent Van Gogh, I have learned to appreciate what the creative process in art really means. The emotional application of pastel and paint give life to each piece. Not only does this grab my attention, but tells me a story of how each piece came into being. More recent inspiration to me is comes from several artists whom I have been instructed by at the Medicine Hat College. The realism of Laara Cassel’s painting, the free and energetic marks of Poul Nielsen, the line work of Craig Cote’s etchings, and atmospheric movements that is both dynamic and serene in the works of Mato Higashitani; all inspire me to explore countless possibilities in my own work. Another source of inspiration to me is the dynamic, illustrative, colour-packed style of work by Sarah Wilson, an artist and a friend. The intense colours and heavy use of lines in her pieces ignite my inner passion for art. She inspires me to achieve a higher sense of self and spirituality in my own work: a sort of enlightenment.
What is seen, what is communicated, and how artwork is understood by others is a constant fascination for me. I believe creation and interpretation of art generates awareness: awareness of the world, how it works, and how all function within it. This search for an ethereal connection between art and how it is experienced is essential to me. I feel that this connection is important to not only understanding art or the world, but to understanding life, itself.
Artist Statement
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To create is to breathe, to feel, to form a sort of connectivity between the physical material and the expression of my soul, my mind, and my experiences of the world I live in. This love affair I have with art and creativity holds my interest in a wide variety of mediums. As of recent, I am fondest of intaglio, serigraphy, and relief methods of printmaking, as well as painting, and mixed media drawing. Digital media, such as photography and video, also intrigue me from time to time. This provides a great means of inspiration for works done with more tactility. In the creation of each piece, I intellectually engage in an act of interpretation by evaluating my emotions and perceptions of how I both see and feel the world that surrounds me. The process in which I construct each piece and the cognitive engagement of the individuals viewing the final work are what I truly enjoy about being an artist.
Stylistic features found in my work tend to stem from geometric, organized compositions. These are coupled with feminine figure-forms that are presented either representational or abstract fashion.. Overall, it is the initial figurative imagery that inspires the creation of hard lined shapes that I break down into geometric forms. I then use colour to celebrate the aura of the work and the essence of emotion it is to convey. Bright and often unpredictable colour combinations are apparent when coupled with varied techniques of application across the mediums in which I choose to work in. When working with colour, I resonate with the fact that each hue has a frequency. This energy and beauty of every hue speaks to me and, in turn, inspires each and every work.
Having been greatly influenced by the softness and femine forms used by Edgar Degas, the characteristic application of paint used by Vincent Van Gogh, I have learned to appreciate what the creative process in art really means. The emotional application of pastel and paint give life to each piece. Not only does this grab my attention, but tells me a story of how each piece came into being. More recent inspiration to me is comes from several artists whom I have been instructed by at the Medicine Hat College. The realism of Laara Cassel’s painting, the free and energetic marks of Poul Nielsen, the line work of Craig Cote’s etchings, and atmospheric movements that is both dynamic and serene in the works of Mato Higashitani; all inspire me to explore countless possibilities in my own work. Another source of inspiration to me is the dynamic, illustrative, colour-packed style of work by Sarah Wilson, an artist and a friend. The intense colours and heavy use of lines in her pieces ignite my inner passion for art. She inspires me to achieve a higher sense of self and spirituality in my own work: a sort of enlightenment.
What is seen, what is communicated, and how artwork is understood by others is a constant fascination for me. I believe creation and interpretation of art generates awareness: awareness of the world, how it works, and how all function within it. This search for an ethereal connection between art and how it is experienced is essential to me. I feel that this connection is important to not only understanding art or the world, but to understanding life, itself.
Artist Statement
To create is to breathe, to feel, to form a sort of connectivity between the physical material and the expression of my soul, my mind, and my experiences of the world I live in. This love affair I have with art and creativity holds my interest in a wide variety of mediums. As of recent, I am fondest of intaglio, serigraphy, and relief methods of printmaking, as well as painting, and mixed media drawing. Digital media, such as photography and video, also intrigue me from time to time. This provides a great means of inspiration for works done with more tactility. In the creation of each piece, I intellectually engage in an act of interpretation by evaluating my emotions and perceptions of how I both see and feel the world that surrounds me. The process in which I construct each piece and the cognitive engagement of the individuals viewing the final work are what I truly enjoy about being an artist.
Stylistic features found in my work tend to stem from geometric, organized compositions. These are coupled with feminine figure-forms that are presented either representational or abstract fashion.. Overall, it is the initial figurative imagery that inspires the creation of hard lined shapes that I break down into geometric forms. I then use colour to celebrate the aura of the work and the essence of emotion it is to convey. Bright and often unpredictable colour combinations are apparent when coupled with varied techniques of application across the mediums in which I choose to work in. When working with colour, I resonate with the fact that each hue has a frequency. This energy and beauty of every hue speaks to me and, in turn, inspires each and every work.
Having been greatly influenced by the softness and femine forms used by Edgar Degas, the characteristic application of paint used by Vincent Van Gogh, I have learned to appreciate what the creative process in art really means. The emotional application of pastel and paint give life to each piece. Not only does this grab my attention, but tells me a story of how each piece came into being. More recent inspiration to me is comes from several artists whom I have been instructed by at the Medicine Hat College. The realism of Laara Cassel’s painting, the free and energetic marks of Poul Nielsen, the line work of Craig Cote’s etchings, and atmospheric movements that is both dynamic and serene in the works of Mato Higashitani; all inspire me to explore countless possibilities in my own work. Another source of inspiration to me is the dynamic, illustrative, colour-packed style of work by Sarah Wilson, an artist and a friend. The intense colours and heavy use of lines in her pieces ignite my inner passion for art. She inspires me to achieve a higher sense of self and spirituality in my own work: a sort of enlightenment.
What is seen, what is communicated, and how artwork is understood by others is a constant fascination for me. I believe creation and interpretation of art generates awareness: awareness of the world, how it works, and how all function within it. This search for an ethereal connection between art and how it is experienced is essential to me. I feel that this connection is important to not only understanding art or the world, but to understanding life, itself.
Artist Statement
To create is to breathe, to feel, to form a sort of connectivity between the physical material and the expression of my soul, my mind, and my experiences of the world I live in. This love affair I have with art and creativity holds my interest in a wide variety of mediums. As of recent, I am fondest of intaglio, serigraphy, and relief methods of printmaking, as well as painting, and mixed media drawing. Digital media, such as photography and video, also intrigue me from time to time. This provides a great means of inspiration for works done with more tactility. In the creation of each piece, I intellectually engage in an act of interpretation by evaluating my emotions and perceptions of how I both see and feel the world that surrounds me. The process in which I construct each piece and the cognitive engagement of the individuals viewing the final work are what I truly enjoy about being an artist.
Stylistic features found in my work tend to stem from geometric, organized compositions. These are coupled with feminine figure-forms that are presented either representational or abstract fashion. Overall, it is the initial figurative imagery that inspires the creation of hard lined shapes that I break down into geometric forms. I then use colour to celebrate the aura of the work and the essence of emotion it is to convey. Bright and often unpredictable colour combinations are apparent when coupled with varied techniques of application across the mediums in which I choose to work in. When working with colour, I resonate with the fact that each hue has a frequency. This energy and beauty of every hue speaks to me and, in turn, inspires each and every work.
Having been greatly influenced by the softness and femine forms used by Edgar Degas, the characteristic application of paint used by Vincent Van Gogh, I have learned to appreciate what the creative process in art really means. The emotional application of pastel and paint give life to each piece. Not only does this grab my attention, but tells me a story of how each piece came into being. More recent inspiration to me is comes from several artists whom I have been instructed by at the Medicine Hat College. The realism of Laara Cassel’s painting, the free and energetic marks of Poul Nielsen, the line work of Craig Cote’s etchings, and atmospheric movements that is both dynamic and serene in the works of Mato Higashitani; all inspire me to explore countless possibilities in my own work. Another source of inspiration to me is the dynamic, illustrative, colour-packed style of work by Sarah Wilson, an artist and a friend. The intense colours and heavy use of lines in her pieces ignite my inner passion for art. She inspires me to achieve a higher sense of self and spirituality in my own work: a sort of enlightenment.
What is seen, what is communicated, and how artwork is understood by others is a constant fascination for me. I believe creation and interpretation of art generates awareness: awareness of the world, how it works, and how all function within it. This search for an ethereal connection between art and how it is experienced is essential to me. I feel that this connection is important to not only understanding art or the world, but to understanding life, itself.
Artist Statement
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Serigraphy [sĕr-ĭ-gră-fē] - noun.A printmaking technique that uses
a silk-screen process.
Serigraphy [sĕr-ĭ-gră-fē] - noun.A printmaking technique that uses
a silk-screen process.
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Serigraphy [sĕr-ĭ-gră-fē] - noun.A printmaking technique that uses
a silk-screen process.
Serigraphy [sĕr-ĭ-gră-fē] - noun.A printmaking technique that uses
a silk-screen process.
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ZodiacEdition Print
ZodiacEdition Print
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OctophantEdition Print
Lucy in the SkyEdition Print
OctophantEdition Print
Lucy in the SkyEdition Print
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OctophantEdition Print
Lucy in the SkyEdition Print
OctophantEdition Print
Lucy in the SkyEdition Print
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Rhythms of a Bamboo ForestMonoprint
Journey Through a Sleepless LandMonoprint
Rhythms of a Bamboo ForestMonoprint
Journey Through a Sleepless LandMonoprint
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Rhythms of a Bamboo ForestMonoprint
Journey Through a Sleepless LandMonoprint
Rhythms of a Bamboo ForestMonoprint
Journey Through a Sleepless LandMonoprint
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Relief [ri-'lēf] - noun. A printmaking technique where the raised surface
is what gets inked and printed.
Relief [ri-'lēf] - noun. A printmaking technique where the raised surface
is what gets inked and printed.
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Relief [ri-'lēf] - noun. A printmaking technique where the raised surface
is what gets inked and printed.
Relief [ri-'lēf] - noun. A printmaking technique where the raised surface
is what gets inked and printed.
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Where’s Hollywood?Woodcut
NestingEnd Grain, Woodcut
Where’s Hollywood?Woodcut
NestingEnd Grain, Woodcut
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Where’s Hollywood?Woodcut
NestingEnd Grain, Woodcut
Where’s Hollywood?Woodcut
NestingEnd Grain, Woodcut
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SollitudeLithograph
UntitledLino Cut Sollitude
LithographUntitled
Lino Cut
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SollitudeLithograph
UntitledLino Cut Sollitude
LithographUntitled
Lino Cut
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Spoken DreamLino Cut
MercyReduction Block, Woodcut
Spoken DreamLino Cut
MercyReduction Block, Woodcut
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Spoken DreamLino Cut
MercyReduction Block, Woodcut
Spoken DreamLino Cut
MercyReduction Block, Woodcut
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Intaglio [in'talyō] - noun. A printmaking technique where the recessed image of
a plate is inked and printed.
Intaglio [in'talyō] - noun. A printmaking technique where the recessed image of
a plate is inked and printed.
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Intaglio [in'talyō] - noun. A printmaking technique where the recessed image of
a plate is inked and printed.
Intaglio [in'talyō] - noun. A printmaking technique where the recessed image of
a plate is inked and printed.
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LoungingMonoprint
LoungingMonoprint
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MeditationEdition PrintLady Bird
Edition Print
MeditationEdition PrintLady Bird
Edition Print
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MeditationEdition PrintLady Bird
Edition Print
MeditationEdition PrintLady Bird
Edition Print
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Squid BitchEdition PrintHome Land
Edition Print
Squid BitchEdition PrintHome Land
Edition Print
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Squid BitchEdition PrintHome Land
Edition Print
Squid BitchEdition PrintHome Land
Edition Print
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Sucubus No.1 & No. 2Monoprints
River PigAquatint, Edition Print
Sucubus No.1 & No. 2Monoprints
River PigAquatint, Edition Print
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Sucubus No.1 & No. 2Monoprints
River PigAquatint, Edition Print
Sucubus No.1 & No. 2Monoprints
River PigAquatint, Edition Print
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Illustration [il'е-strā-shen] - noun.A depiction that is created to elucidate
a story or dictate visual information
Illustration [il'е-strā-shen] - noun.A depiction that is created to elucidate
a story or dictate visual information
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Illustration [il'е-strā-shen] - noun.A depiction that is created to elucidate
a story or dictate visual information
Illustration [il'е-strā-shen] - noun.A depiction that is created to elucidate
a story or dictate visual information
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VoltswagenIIllustration, Prismacolour on Mylar
VoltswagenIIllustration, Prismacolour on Mylar
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VoltswagenIIllustration, Prismacolour on Mylar
VoltswagenIIllustration, Prismacolour on Mylar
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Mass Effect: Comic Spread RenditionIllustration, India Ink and WatercolourMass Effect: Comic Spread RenditionIllustration, India Ink and Watercolour
Mass Effect: Comic Spread RenditionIllustration, India Ink and Watercolour
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Mass Effect: Comic Spread RenditionIllustration, India Ink and WatercolourMass Effect: Comic Spread RenditionIllustration, India Ink and Watercolour
Mass Effect: Comic Spread RenditionIllustration, India Ink and Watercolour
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Graphic Design [graf-ik, dih-zīn'] - noun. The means of visually communicating
information to an audience.
Graphic Design [graf-ik, dih-zīn'] - noun. The means of visually communicating
information to an audience.
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Graphic Design [graf-ik, dih-zīn'] - noun. The means of visually communicating
information to an audience.
Graphic Design [graf-ik, dih-zīn'] - noun. The means of visually communicating
information to an audience.
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Fukuda ShigeaoPoster Concept
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Fukuda ShigeaoPoster Concept
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DookLogo Concept, Black-footed Ferret
MHC Visual CommunicationsLogo Concept
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DookLogo Concept, Black-footed Ferret
MHC Visual CommunicationsLogo Concept
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