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.

Christmas At Biola

Biola welcomes students, faculty and other guests to the concert.

Set against a backdrop of snowy white lace (an alternative to the traditional projector), twinkling lights and wreaths of holly, Biola University’s annual Christmas concert showcased the talented school ensembles including the chorale, studio orchestra and the six-man acapella group The King’s Men. Staying true to the university’s Christian roots, the concert did a fantastic job of leading the audience through the festivities of American Christmas traditions to a tribute to the soldiers overseas, (“I’ll Be Home For Christmas” and finally landing on the true reason for the season: Christ.

The school ensembles end with a lively performance of Glory! Glory! Taken by Heather Tanji

The show took off with a lighthearted and fun opening of “Sleigh Bells,” emphasizing the strong unity between the string section and the percussions although the brass section could have been tighter in their synchronization. The overall dynamics of the piece was excellent, not too loud and not too soft, creating an atmosphere of lively yet muted Christmas cheer. The orchestra continued to give a strong performance throughout the show, particularly during a medley of “The Most Wonderful Time of the Year” and a jazz rendition of “Jingle Bells.” If you were to close your eyes you might feel as if you were in the midst of a Disneyland Christmas parade.

Easily the strongest performers in the group, The King’s Men excelled in their harmonies, mesmerizing the audience with soulful stylings of “I’ll Be Home For Christmas” and “Road to Zion.” Senior Arnold Geis stood out in particular with his perfect pitch and stellar tenor range. Soloist Matthew Kellaway was equally impressive as he sang “The Promise.” His vibrato and pitch control created a compelling picture of Old Testament prophecies of the Messiah’s arrival, from his deep bass to a surprisingly beautiful falsetto.

The female soloists didn’t fare so well. Kristin Tucker—another senior singer—put far too many theatrics into her performance of “Grown-Up Christmas List,” creating the wrong tone altogether as she gave more Broadway than subdued sentiment. Her over-the-top vocals contrasted poorly with the lyrics, especially given the war and recent natural disasters of the past year. Lauren Bartels voice was not strong enough to carry her through “O Holy Night.” Her tone was pitchy, lacking the fullness needed to properly accentuate the dynamics the song requires.

The chorale stayed in perfect pitch throughout every song, sounding united as every singing group should be. Unfortunately, their volume was poorly mismatched with the studio orchestra, the brass and strings often overpowering the vocals. Still, the audience seemed to enjoy the program, from the joyful tones of the Christmas carols to the somber harkening of Christ’s birth and the triumphant ending of “Glory, Glory!” ending in satisfied applause and a spurt or two of fake snow.

"Heart Of Manger" taken from Biola University site

Individual Project #3: Freshman Project

Freshman Project from Heather Tanji on Vimeo.

Hyatt Moore at Biola University

Moore's mural "Feeding the Three Thousand" on display at Biola University

The “Year of the Arts” has invaded Biola and the university library is not exempt. Dotted with sculptures, paintings and photographs, a building usually confined to the silver color of Macs and brown pages of books is splashed with color from top to bottom. Paintings by famous artist Thomas Kinkade line the stairwells and the Thomas Macklin Bible—the largest English Bible in the world—is displayed on the main level. Upon entering the upper level of the library, several large paintings grasp your attention. These are the work of painter Hyatt Moore.

Moore’s paintings focus on people of all races, backgrounds and time periods. Several of his paintings line the walls of the library, portraits and still life especially. His paintings are not intricate or particularly detailed. His art is not noticed because of its realism or minute brushstrokes, but for the bold colors and the vivid vision in each of his pieces. There is life in his work.

Moore's paintings can be seen on all levels of the library

One mural in particular stands out from the rest, titled “Feeding the Three Thousand.” Drawing from the Biblical account of Jesus feeding His many followers, the painting shows missionaries of many races giving Scripture rolls to the thousands. The “three-thousand” aspect of the mural is the number of peoples in the world who are without written words. The expressions on the faces of the people are vague, the details of location and time unknown, but Moore makes his message clear: those with the written word must venture to those who do not. The colors of his art grab your attention but it is the concept and symbolism of the art that make you appreciate the mural itself.

Another such art piece available in the library is “The Last Supper with Twelve Tribes.” Deriving off Leonardo DaVinci’s beautiful masterpiece, Moore’s interpretation replaces the 12 disciples with 12 nationalities with Jesus Christ as the center. Moore enhances the differences between races with detail to clothing, skin tone and facial features. The acrylic painting is a tribute to the diversity of the world, with no one man standing out above the rest, all eyes focused on Christ, the only figure in bold red. It is a mural that makes you look twice. It is a familiar scene with a different meaning. His art makes you ask why.

Moore’s murals and paintings aren’t just pretty things to admire. They make you pause, stare into the eyes of a portrait or stop and find the meaning in a mural. Though the humans in his portraits aren’t realistic they are lifelike. The eyes of the woman in “Happy Mother” draws you in, the bold brushstrokes of “Two Writers” gives one a sense of appreciation for the simplistic picture of learning. Moore’s artwork is beautiful because it captures the essence of a human soul: life.