Memoriae Lends a Different Angle to Biola’s “Year of the Arts” Theme of Sacred Spaces

"free cable" (2011) created by Elisabeth Mikottos. Photo taken by Heather Tanji.

The human mind is a complex thing, filled with dreams, memories and intuitions. Science tells us why our brains act this way but does little in helping us to visualize the things we see. That is something only the individual can do. Memoriae is photography major Elisabeth Mikottis’ senior thesis depicting interpretations of her own memories.

Her entire exhibit is based on the concept that space—actual locations—are where memories find their roots and serve as a container for those visuals while at the same time acting as a means to bring those memories back to life. Then and now meet in a single photograph and with the help of Photoshop and skillful lighting technique, Mikottis invites viewers into her mind.

A mix of photography and graphic design, Mikottis’ collection is an interesting and colorful display of her personal recollections. She uses the concept of layering—taking two photos and merging them together—to create an illusion of past and present. Although it is difficult to see the purpose of the photos without studying the context first, each visual stands alone as an interesting piece of work. The lines and shadows of one image intersect with the lighting and colors of the second, so that although both images were shot from the exact same angle, they appear to be entirely different.

One piece in particular illustrated the desired effect perfectly. Titled “free cable” (2011), the original shot was taken three years ago in 2007, yet the lighting and colors were tampered in the more recent photo to rein focus on an open door. Although there is no explanation or description of the specific memory, one gets the distinct feeling that they are looking into a room with a story to it; a memory.

What is so jarring about this photo and the rest of the collection is how the first image in the photo is more realistic—clear, defined lines and traditional colors—while the second image is comprised of what looks like a projection of the first image, with serious tampering done to the temperature of it.

The images themselves aren’t particularly interesting. Given that the exhibit is a senior thesis, Mikottis might have thought to showcase more of her creativity regarding angles and originality. Are they good quality shots? Yes. Do they use the rule of thirds and have correct composition? Yes. However, it isn’t the quality of the images but rather what she did with them and the concept she developed that is the point of the gallery.

Blue Man Group Brings Weird to Orange County

Blue Man Group beats on drums as paint explodes from the surface. Photo by Joshua Sudock, OC Register.


The epitome of eccentricity, avant-garde performance group Blue Man Group astounds audiences throughout the world in places as sultry as Las Vegas to as exotic as Berlin. How this weird trio found themselves in the pristine Segerstrom theater in Costa Mesa is anyone’s guess.

The only way to really describe their antics is watching children at play. The trio brings everyday, ordinary objects (drums, paint, marshmallows and even cereal) to the stage and with them creates a playground teeming with imaginative instruments, art displays and other inventions. There isn’t any rhyme or reason nor point or plot to the show and some may find that frustrating and almost bewildering. The only way to enjoy a Blue Man show is to take it in its stride; take it for what it is.

Although the performance is classified as theater, it is more an over-the-top art show above all else. At its heart, a Blue Man Group show is performance art, no more and no less. They come to make a statement, although what that statement is remains unclear but at least they made a big deal out of it, colors, special effects and all. Known more for their whimsical antics than for any talent in particular, the group made use of the audience and the stage, parading around in their brilliantly blue nonsense.

Blue Man Group is all about having fun, drawing fans and newcomers alike into their strange little world, sometimes even onto the stage to participate in their games. Their uniformity and their solemn expressions only enhance the comedic aspects of their performance. At one point, they brought one audience member on stage and lined her up with themselves at a table, placing a Twinkie on each of their plates. What ensued was a hilarious act of the three straight-faced performers grappling with their fluffy Twinkies, attempting to eat them simultaneously and all three glancing over at the audience participant, expecting her to follow suit and shaking their heads when she couldn’t keep up.

A glimpse of the finale. Photograph from Broadway.com


Spoilers withheld, the finale was undeniably spectacular. Loud upbeat music enveloped the audience as the three men splashed paint across the stage, beat drums and pipes to accompany the music and created a happening party right in the theater. Brightly lit lanterns gently descended into the audience, glowing and changing colors as they bounced throughout the crowd. Three large plasma screens bedecked in iPhone attire sparkled and exploded with designs as dancers dressed in neon-lit morph suits moved around them. Confetti floated gaily among the chaos.

What is so entertaining about three blue men spitting paint out of their mouths and banging on empty pipes to make melodies like “Bad Romance” by Lady Gaga come to life? It’s hard to pinpoint what makes the show so great. Well-timed physical comedy, special lighting effects or just an innovative way of looking at things? There is no answer, but whatever it is they do, it works. The audience was on the edge of their seats, waiting to see what would happen next.

It is the Blue Man Group after all. What else are you to expect besides the unexpected?

The Chili Peppers Are Still Spicy (Non-Biola Art Review 1)

Variety is the spice of life and the Red Hot Chili Peppers seem to agree. Their newest album “I’m With You” (2011) mixes unique sounds of funk, blues and rock from each of their albums and creates a hybrid of them all.

Marking their eighth best-selling album, the Grammy-award winning band manages to maintain the upbeat vibe from their first album mixed with the instrumental ease of
“Stadium Arcadium.” Gone are the days of continuously rapped out lyrics and repetitive chorus lines that gave them initial success with “Blood Sugar Sex Magic” (1985). Their new album presents a variety of ska, funk and alternative rock, easy on the ears of any surf or skate fan; a compilation of the best of their style.

The 14-track album gives proof that the band is slowly but surely refining their sound. Anthony Kiedis vocals have decidedly improved since the debut of their first album and the band has amped their instruments into rock machines.

Holding consistent with the sound of their last album, “Stadium Arcadium” (2006), the band continues with alternative rock chords but bring back fun-loving side of the past. There is no hint of the obnoxiousness of “Sir Psycho Sexy” (Blood Sugar Sex Magic) or the dull monotony of “The Other Side” (Californication.) What remains are the catchy beats and funky lyrics the fans fell in love with; a wonderful mixture of slow and fast songs, great riffs courtesy of guitarist Josh Klinghoffer and even some saxophone and piano thrown in, thanks to the many talents of bassist Michael “Flea” Balzary.

“Happiness Loves Company” and “Monarchy of Roses” are good for bobbing your head around as you get through the day. “Did I Let You Know” throws in some brass instruments, while “Ethiopia” brings back a taste of the hit single “Californication” (Californication) and that’s not a bad thing. The style is the same, the melody sounds the same, but it doesn’t make the song boring. “Even You Brutus?” is similar to the band Cold War Kids but there is no mistaking whose voice is on the track. Kiedis carries an undeniably unique sound. A new element to the artist’s style is the smoother, softer side of alternative rock, most apparent in “Dance Dance Dance” and “Meet Me At The Corner.” Think The Killers meet 311. It’s a welcome addition to their repertoire.

Although there are some tracks that don’t necessarily seem pure Peppers, Kiedis’ voice leaves no doubt that the band will always stay true to themselves. Change can be a positive thing. The Red Hot Chili Peppers have managed to stay true to their style while upgrading their music to a new level. It’s fun, it’s nice to listen to, it’s laidback. It’s them.