Category: Student Story

When Tia Stephens needed a local issue to explore for her honors capstone documentary film project, the School of Art graduating senior picked a topic we sometimes take for granted in the desert.

Water.

“Every day I interact with water in the most intimate of ways and yet I had no idea where this water came from and how it was managed,” Stephens said. “This disconnect from our most precious resource is something that I’ve noticed all around me, and so I want this film to serve as a way to reconnect people with water.”

“Every Last Drop,” Stephens’ feature-length documentary, explores Southern Arizona’s water practices and policy. A free screening of the film will be held Tuesday, May 2, at 7 p.m. at The Loft Cinema, 3233 E. Speedway.

Stephens blended her skills as a Studio Art student in Photography, Video and Imaging along with her multimedia journalistic skills gained as an editor at the Arizona Daily Wildcat.

For the past 18 months, Stephens collaborated with film students, obtained grants, consulted water and hydrology experts, and executed a data research project to bring “Tucson’s water story to life,” she said. In the film, experts include a faculty and student, and officials from Tucson Water, the Senora Project and the Apache Nation.

“Water must be priority number one for us in Arizona,” Stephens said, “and currently it’s clearly not. I think most people are aware of how important water conservation is, but … we need to bridge the separation that exists between us and the planet and stop seeing it as merely a resource to use.”

Stephens grew up in Flagstaff, speaking out on climate issues at the Arizona Capitol as a senior in high school.

It also helps that Stephens has a keen sense of how government works as a Political Science double-major in International Relations in the College of Social & Behavioral Sciences.

“With her high quality of work, a 4.0 GPA and her leadership across activities, Tia is doing exceptional community-engaged research on environmental issues,” said Marcos Serafim, her capstone project adviser and a School of Art assistant professor.

“Tia’s exceptional creative practice is informed by her journalistic agency and her knowledge of world politics,” he said, “frequently employing investigative strategies to generate poetics and artwork about relevant social issues.”

Serafim “guided me every step of the way,” said Stephens, who will graduate Summa Cum Laude with honors with her Bachelor of Fine Arts degree.

“He gave me the space to dream big and be ambitious and connected me with the resources I needed to get the project running,” she said. “I have learned so much under his mentorship and am forever changed as an artist because of it.”

After graduation, Stephens has a summer internship with AmeriCorps as a videographer.

“My immediate plans are to stay in town, take a much-needed rest, and do some self-discovery in order to figure out my next steps as an artist,” she said. “Eventually, I plan to pursue an MFA, but first want to gain some work and life experience.”

Born in Costa Rica, Jacqueline Arias was adopted by American parents and moved to the Panama Canal Zone at age 4. While she only spent three years there before moving to rural Ohio, the experience made a profound impression on the artist, independent filmmaker and educator.

Now a University of Arizona School of Art graduate student, Arias is working with artisan women from Panama — the Guna people — to make traditional mola quilts that incorporate her personal designs and reference borders, military presence and the canal infrastructure.

Arias held her first solo exhibition, “Mola: Truth Maps,” at Nogales’ Hilltop Gallery in March 2023. Through videos, prints and VR, she activated the molas as visual and aural maps — lived maps — that collect and narrate the lived experiences of the people of Panama.

In September 2022, her video “Panama Narratives,” which incorporates the mola mythology, was shown at the Arizona Underground Film Festival in downtown Tucson. The short documentary coincided with National Hispanic Heritage Month, which also celebrates Latin America heritage.

Arias’ video explores her childhood experience, the U.S. intervention in the Canal Zone area and the relationship between its residents and the Panamanian and indigenous Guna people.

“I’m drawn to the Guna matriarchal society, where the molas are worn by women as protection, a tradition drawn from the story of a young woman who finds enlightenment through overcoming obstacles,” Arias said. “Through enlightenment, she shares the gift of protection and knowledge with other women of her tribe.

“In exploring how this mythology speaks to my personal experience — I am returning to my indigenous roots to find healing and knowledge and re-examining my Latinx experience of dislocation.”

The Guna people are autonomous from Panama and have fought to maintain their land, heritage and governance. Arias’ designs deviate from traditional mola subject matter, which is usually apolitical, she said.

“I’m interested in the mola because the materiality represents a material embodiment of indigenous cosmology,” Arias said. “They use reverse applique technique with fine needlework that stitches together multiple layers and colors of fabric. These layers represent a spiritual labyrinth, which can trap evil spirits within their patterns.”

Arias said she’s begun to incorporate her mola panels into printmaking to “talk about invisible labor, constructed borders and U.S. occupation.”

A second-year MFA candidate in the interdisciplinary program, Arias was selected for the Border Lab Graduate Fellowship program by the Confluencenter for Creative Inquiry, a $10,000 award possible with funding from the Office of the Provost and University of Arizona HSI Initiatives.

She studied photography at Parsons School of Design, experimenting with video art and performance work. Her work addresses the invisible social barriers in society and the feelings of cultural detachment they cause, she said.

Arias is enjoying her classes and hopes to graduate in 2024.

“I’ve learned so much in the short time I’ve been here,” Arias said. “I The instructors are just as nurturing as they are challenging. My goal is to soak up as much knowledge as I can while I’m here.”

• Jacqueline Arias’ website

Before bringing her storytelling skills to the University of Arizona School of Art’s graduate program, Semoria Mosley found out just how impactful her photography could be during a social justice reporting project for the San Diego Union-Tribune called ­“____ while Black.”

Mosley amplified the voices of seven Black Americans who faced subtle and overt discrimination and exclusion in San Diego after interviewing more than 300 people. She told her editors, “I have hopes that the photographic art I create will give the invisible the superpower of being seen and probe the ones who never saw them to ask themselves, ‘How long have I ignored this voice?’”

Her hopes were answered.

“When it was published online and in print, I started getting calls and emails from San Diegans who felt moved by the work — it caught me by surprise honestly,” Mosley said. The seven profiles online contained film and digital photography, along with audio clips from her interviews.

She was one of six young journalists from diverse backgrounds selected to participate in the 2019 project, which won national and local awards. She grew up in Columbia, South Carolina, which has a 40 percent Black population compared to 6 percent in San Diego.

Mosley, 26, is pursuing her Master of Fine Arts in Photography, Video and Imaging after earning her B.A. in Mass Communication and Media Studies from Claflin University in South Carolina. “While emphasizing the Black American experience, my work is a portal to multicultural understanding,” she writes on her LinkedIn page.

She answered questions for the School of Art during February’s Black History Month.

Q. How did your Southern roots help you become a better photographer and storyteller?

A. Being from the South taught me that there is a truth that’s subjective (and pretty objective in my opinion, but y’know) to my lineage and a truth that is subjective to their lineage. It inspired me to look beyond the normal bounds of truth and storytelling to see where the proof could exist; beyond devices like bondage, history, racism and representation.

Q. How important is authenticity and preserving cultural identities in your work?

A. Preserving cultural identities in my work is imperative because it assists me in being resistant to colonial constructs and more uplifting of the “discredited way of knowing that discredited people often have” (to quote Toni Morrison) — which I find in myself. It’s the permission I’ve given myself to fully immerse in the actuality of my experiences. With representation on everyone’s plate, at the dinner party where all men are created equal, I have hopes that outside the smoke and mirrors, my work can serve as reference to a life truly lived — in all of its subjectivity, nuance, and vision.

Q. You attended the same middle and high schools as Dylann Roof, convicted in the 2015 racist slayings of nine members of a Black South Carolina congregation. How does that reminder affect you and your work?

A. It reminds me that Black, Brown and other colored communities are in close proximity to racists whose ideals can manifest in extreme ways and not even know it. In creating work, I realize I have no time to be slight in my expression as an artist; nor do I have time to explain. Walking on eggshells is a disservice to the resilience of my people. I think we’ve been cornered into being submissive to the voice that is not ours for far too long. My voice is my gift, so I work it as such.

Q. How did your Social Justice reporting project with the San Diego newspaper come about? What was the experience like?

A. I applied after my photo editor at the San Diego Union-Tribune suggested it. Of course, there weren’t any guarantees, but I’d just done 10 portraits for their front-page Sunday story — about a week after George Floyd was murdered. The editor knew I was eager to do more print work and that I would deliver, so it was a good opportunity. Working on that project solidified the passions I have for documenting, community and creating. I worked on it for about six months.

While I was excited, I was hesitant to speak about a community I had only been in for a year. Careful not to impose my idea of Black, my identity politics on to them, I asked the Black community what they dealt with. I interviewed anybody who considered themselves Black and was a native of San Diego — making exceptions for individuals who migrated to San Diego and/or lived there 10-plus years.

After listening to 300-plus people’s experiences, I picked seven to express the recurring sentiments I heard of Growing up / Birthing / Speaking up / Identifying / Fostering / Parenting /  being Homeless … while Black. It was hard to meet the subjects because Covid was extremely new, we were about four months in. The subjects changed often due to feelings of health anxiety, targeting from the (police department) and not wanting to lose their jobs — I understood. I’d like to do a shout-out (to the subjects) — Mikey, James, Ms. Shelley, Eryn, Billy, Ms. Ebony, Diamondz and Ra — for lending their stories and voices. The community appreciated it. I appreciated it, much gratitude. …

I spoke on San Diego’s NPR about it which made more people engage with it. It made me more confident. Now, I have community in pockets across San Diego, that are just one call away if need be. I also keep up with what’s going on, always still there to lend a hand.

Q. What attracted you to attend the MFA Photography, Imaging and Video program at the School of Art?

A. friend of mine (alumna Nassem Navab, MFA, ’19) who I met in San Diego suggested it to me. She was a graduate of the PVI program and knew it’d benefit me. I had always wanted to go to art school and the opportunity presented itself as organically as it could. The care from the School of Art and PVI’s welcoming arms, it felt right — and you always do what feels right. I’d like to give a shout out to Nassem; you’re a real one!

Q. What project(s) are you working on now?

A. I’m working more with the moving image, making myself the subject, challenging my visual language. I’m definitely in an experimental phase, but I enjoy.

Q. What are your career goals after you graduate?

A. It’s too early to tell. Circle back in 2025!

Basketball television analyst Bill Walton is a huge Grateful Dead fan. As luck would have it, the University of Arizona School of Art graduate student tasked with repainting his special McKale Center chair also shares his love for the eclectic rock band.

“I’m a big fan, so I originally did a design where it was all Grateful Dead,” said Gabrielle Walter, an MFA candidate in Illustration and Design. “But then I did some research on Mr. Walton, and I realized he also loves the Sonoran Desert and Tucson.”

So Walter incorporated more desert artwork on the seat and a small university logo on the back, while still including two small skull and lightning bolts – the band’s iconic logo – on the front. The lettering on the back, with the band’s font, simply says “Bill’s Chair.”

“I wanted to make sure the design was a culmination of all the things near and dear to his heart,” Walter said.

The finished product left Walton almost speechless on Jan. 7, when Arizona Athletics presented the yellow chair to Walton before the men’s basketball game against Washington State. Walter, who goes by “Gabi,” attended via Zoom and chatted with Walton as School of Art Director Colin Blakely and Assistant Director Karen Zimmermann looked on along with University of Arizona President Robert Robbins and Director of Athletics Dave Heeke.

“Oh, my. Look at this chair,” Walton said after it was unveiled at center court. “You’re incredible, Gabi. How did you know I like all this stuff?”

The new paint job idea came out of a meeting between College of Fine Arts Dean Andrew Schulz and Matt Ensor, assistant athletic director for communications.

“Obviously Bill is an iconic fixture in all walks of life and a champion of the University of Arizona,” Ensor said. “Once the idea came out in conversation with Andy, it was off and running.”

Walter ran her design ideas by Blakely, Zimmermann and Arizona Athletics. Walter sandblasted the chair to begin with, then had it finished with a protective coating afterward.

“When you get artists involved like Gabi, this is how cool you chair can look,” Blakely told Walton.

“Yes, I now have an ultimate destination (on press row),” said Walton, admiring the chair, which will stay in McKale.

The tall chair makes the 7-foot Walton seem even more imposing. A member of the Naismith Hall of Fame, the center led UCLA to two NCAA titles and helped the Portland Trail Blazers and Boston Celtics win NBA championships in a stellar professional career.

His career took a toll on his body — Walton has had nearly 40 orthopedic surgeries, including several on his back — so he asked the University of Arizona years ago to order him a plain gray metal chair that helped his posture during the games.

To spruce up the chair, the School of Art ordered some enamel paints, and “I was lucky enough to get to do all of the detail work by hand,” Walter said. “A lot of the imagery is inspired by the Saguaro National Forest and the plants found there.”

Walter grew up in Houston and listened to her family to stay in Texas for her undergraduate degree, which she earned at Texas Tech. She loved Lubbock, creating a mural there, but said she was “ecstatic” when she was accepted into the University of Arizona School of Art.

Her partner, a graduate student in Omaha, Nebraska, also is a huge Grateful Dead fan. Walter plans to move to Omaha to be with him after graduation in May.

Walter is a graduate assistant for the School of Art, teaching studio art classes for First Year Experience students.

“I really love teaching,” Walter said. “I also worked with high school students as an undergrad at Texas Tech. I realized how much a difference you can make as a teacher.”

She certainly made an impression with Walton.

“I’m the luckiest guy in the world,” he said. “Spectacular job, Gabi. Empty the Thesaurus. You did it right here.”

Walton added: “I need my chair, and now I have a special one, and I can beam ever more proudly.”

“I’m happy to do anything for a fellow Deadhead,” Walter said.

Creating art is helping Erika Tenorio honor the University of Arizona student’s Nicaraguan-Mexican Indigenous heritage and grandmother, who died from COVID a year ago.

Not only is the two-spirit senior working on a printmaking project this semester titled “Linda Nicaragua, Mi Nicaraguita,” but one of Tenorio’s designs was chosen by the university’s Indigenous Cats Association to mark Indigenous People’s Day in October 2022.

Tenorio, who is double-majoring in Studio Art Illustration and Latin American Studies while minoring in American Indian Studies, was an inaugural scholar for the LAS department’s first-ever Central American Certificate Program.

In July 2021, Tenorio created a “caballa bayo,” a traditional Nicaraguan ceramic item, used to keep food on top of a dish warm. For the student’s paternal grandmother, it was the last image of Tenorio’s artwork she saw before dying two months later.

“My grandma said, ‘It’s beautiful to see you creating artworks about where you come from, whether it’s from this side of the family or your maternal family. It warms my heart – you are our family’s matriarch storyteller and will continue on the traditions,’” Tenorio said.

Tenorio’s father fled Nicaragua in the 1980s to escape fighting tied to the Contra War. Tenorio’s indigenous heritage draws from three communities: Chorotega (Nicaragua), paternal; and Tohono O’odham (Mexico) and Yaqui or Yo’eme (Mexico), maternal.

Born in Tucson, Tenorio saw few Nicaraguans or Central Americans while growing up in Arizona.

“Living in a predominant Mexican population, my father explained he had no choice but to assimilate to Mexican culture and Spanish when he arrived in the states because he stood out with his appearance and dialect,” Tenorio said. “In doing so, he forgot his Nicaraguan Spanish and culture for the most part.”

That’s one reason Tenorio is using artwork to “show the heritage I carry.”

For the independent study printmaking project, Tenorio is working with Professor Karen Zimmermann, assistant director of the School of Art, with possible topics of Indigenous history, identity, social politics and folklores.

“I’ll be carving my drawn images onto a linoleum block and carving it by hand, and finally moving the block onto the printmaking press,” Tenorio said. “The timing is tedious but very fun at the same time.”

As for her classes at the School of Art, “they are simply great,” Tenorio said. “I get to learn in different fields – design, typography, illustration, sculpture, ceramics, painting, figure drawing, etc. – and get to apply it to my artworks. Some professors have made me appreciate more of what I am capable of and … to think outside the box.”

Tenorio is proud of the winning design for Indigenous People’s Day, which will be included on T-shirts.

“I included a part of myself into the design,” said Tenorio, referring to a red, green, white and black flower at the top – a design used by the Chorotegas in Nicaragua. “This also shows that a Latino-Indigenous person such as myself exists and is capable of creating any representation works, whether its Central American, Mexican or Indigenous related.”

Tenorio joined the university’s Native Student Outreach Access and Resiliency (SOAR) program as a mentor – teaching Indigenous students from the Southwest about painting and sketching. Tenorio also helped other SOAR instructors gain a connection with Indigenous college students in Guadalajara, Mexico.

“With my community connections of the Tohono O’odham nation and Pascua Yaqui nation by my spouse and his family (O’odham), my family, friends and Indigenous communities on social media, it’s been healing to reconnect and actively help my family and Indigenous community in general,” Tenorio said, “and help those who are Indigenous outside of the global north and teach others that our relatives exist outside of the global north.”

After graduation, Tenorio hopes to keep making ceramics, which the Chorotegas are known for in Nicaragua.

Tenorio recently created a ceramic work of a mother and child, which “is about me and my son!”

“It’s almost identical,” Tenorio said, “to the one I made in sculpture of a mother holding her infant child – representing my father when he was an infant and my grandmother.”

That bronze sculpture now rests with Tenorio’s grandmother at her tomb in Nicaragua.

• Watch a video of Erika Tenorio for Native American Heritage Month,

TENORIO ADDRESSES COUNTY SUPERVISORS MEETING

Tenorio read the Land Acknowledgement on Nov. 15, 2022, at the Pima County Board of Supervisors Meeting.

“Koi muriό, S-ke:g taṣ, Tui taewai, Buenas, my name is Erika Tenorio, I am Central-American Mexican Indigenous and come from the Chorotega, Yaqui, and Tohono O’odham communities respectively. I’m an undergraduate senior studying at The University of Arizona where I’m double majoring in Studio Art Illustration, Latin American Studies, and minoring in American Indian Studies. Many of my works, both essays and artwork wise, revolve around my Central American, Mexican, Indigenous backgrounds; therefore the representations and acknowledgement is very important in a colonial diaspora. Kupa kastai, S-ap’o, Chiokoe uttesia, Gracias!”

As K. Lynn Robinson explores collective learning in her research, she’s convinced it can help change the art education profession in ways that better represent the nation’s diverse populations and communities.

For her efforts, the School of Art doctoral student has been named the recipient of the 2022-23 Dr. Maria Teresa Velez Diversity Leadership Scholarship. The award is given annually to a Ph.D. candidate at the University of Arizona who’s committed to diversity and inclusion through teaching, research or outreach and service.

“My research is less about teacher development than it is about modeling new possibilities for all educators,” Robinson said. “We tend to look at education as the sole work of the teacher, but students learn in nearly all the spaces we find them in. Grandma’s house, at the community center, or in their dad’s garage. What if we gathered all these educators and gave them access to art materials and ways of doing?

“What if we encouraged them to work together and shared authority in the design of the lessons their children will engage within the classroom? We’d then have the village our ancestors spoke of, and we’d return to a collective learning environment more conducive to the diverse populations we serve.”

As a graduate research assistant, Robinson helped create an arts equity student fellowship for the College of Fine Arts and has been “key to the successes” of the university’s Equity in the Arts, said Dr. Amy Kraehe, associate vice president for the Arizona Arts’ program.

Robinson, also a graduate teaching assistant, calls the Art & Visual Culture Education program in the School of Art “one of a kind,” led by Drs. Kraehe, gloria j. Wilson, Ryan Shin and Carissa DiCindio and Robinson’s first-year mentor, Dr. Manisha Sharma.

“The art education field is over 70 percent white women, so joining a program that has such a diverse faculty spoke to my own experiences in the arts and education and the kind of practice I hope to have,” Robinson said. “Getting your Ph.D. is a certain kind of evil and really takes everything from you in the process, but (these professors) have given me such a fulfilling and multidimensional perspective on the power of the arts and how interwoven equity can be in its practice.”

Robinson received her B.A. in History & Peace, War and Defense from the University of North Carolina at Chapel Hill and her M.A. in Heritage Preservation/Public History from Georgia State University. While earning her master’s, she began consulting as an exhibit and program designer for small and large museums around Atlanta.

As for what to do with her Ph.D., Robinson is still working on her career plans.

“I’d love to teach ways the arts can be integrated into the curriculum for formal and informal education,” she said. “It’s a big passion of mine as I received this kind of teaching from my parents and schooling.

“I’d also love to continue into the arts business world and open my own gallery/community space in the communities that have been largely excluded from access to the arts. I want a space where people can talk the talk and walk the walk. Where art and education are accessible and transformative at all levels.”

For Robinson, art education has a “keen ability to work against the grain.”

“If we allow it, the methods of art education, in all of its reflexive beauty, can be elevated in such a way that it touches the deepest parts of our humanity — that urge to come together.”

ABOUT THE VELEZ DIVERSITY LEADERSHIP SCHOLARSHIP

• Named in honor of Dr. Maria Teresa Velez, associate dean, University of Arizona Graduate College, and her lifelong commitment to promoting graduate student diversity and inclusion.
• The award consists of $25,000, plus full base graduate tuition and student health insurance for a year.
• More information