2015 Carrillo Scholarship Recipients

The Art Department faculty was pleased to select 21 students as the 2015 Eduardo Carrillo Scholarship recipients. Students were selected from a large pool of junior and senior Art majors in good academic standing, who are receiving financial aid, and working in the areas of painting, drawing, and sculpture. Each applicant submitted work samples, a project proposal, research agenda and an itemized budget for consideration. Their projects ranged from a series of six paintings, related to the cruelty and brutality currently proliferating under the regimes of the Taliban and the Islamic State of Iraq and Syria (ISIS) to an investigation of LED light sculpture, to relief and intaglio printmaking techniques that explore social issues of race, class and gender. There is an incredible breadth and depth of talent and interests with this year’s cohort.

The 2015 Carrillo Scholarship recipients demonstrated a proficiency in a range of techniques and media within their respective disciplines. They were clearly able to imagine, create and resolve their work as indicated in the samples they provided and in the project proposals they submitted. Furthermore, these students communicated a strong familiarity to analyze forms of contemporary art with a clear understanding of historical precedents. On behalf of the entire faculty and staff of UC Santa Cruz’s Art Department, I want to congratulate the 2015 Eduardo Carrillo Scholarship winners and wish them the best of luck on their current and future creative endeavors.

Read Artist Statements

Alexander Khah

I see my work as an intuitive expression that is transformed into a physical entity. I work with many different subjects, not fixed on any one idea. Many of my subjects incorporate self-identity with the human figure. .For me, art is a journey; a state of being, independent of outcome. It’s about spending time with myself, and through this process, I am awakened. Therefore, my art making process does not include much sketching and recording beforehand. Rather, I like to leave my options open as I work and allow the textures and materials to guide me. Through my artwork, I hope to pass on to the viewer my inspiration to see and recognize the subject, not only to look at the piece.

Brandon Pritzkat

I am a sculptor and social documentation photographer. I celebrate people and space. Where people live, how people make and use space, and the objects people need and consume are central themes and questions guiding my work.

I use portraiture to honor and tell stories of people who have been historically under or misrepresented; consent and trust-building are essential principles in my photograph making. Imaging the relationship between space, objects, and people help us to see differences in lived experience, which illuminates larger social issues or questions.

Caetano Gil Santos

My works are obsessively composed and compulsively graphic. Carefully drawn lines mingle to create a visual narrative that emerges and references contemporary underground culture. I am heavily influenced by the reckless and dangerous DIY aesthetic of skate, graffiti, and party culture, in which I draw upon to create antagonistically woeful imagery. Much of the iconography within my drawings and etchings allude to the vivacious lifestyles of youthful expression as I depict condoms, pills, alcohol, drugs, floating alongside graffiti caps and stylized fictional monsters. I create an atmosphere of static dissonance, which resonates, throughout my work, referencing the transition between a careless youth to a responsible adult. Precariously placed figures interlaced with sturdy cityscapes depict a superficial sense of security.

Hailing from Los Angeles, California, a city compacted with large amounts of traffic and advertising, I am constantly being stimulated with a dense amount of visual imagery. I evoke this barrage of stimuli in my work through the repetition of closely packed line work. I come from Mid-City Los Angeles, a community on the edge of two different realities. In a few blocks you go from a poor neighborhood of predominantly black and Latino communities with liquor stores on every corner to an affluent predominantly white neighborhood.

The contemporary art process of idea formation before conceiving the work, holds little relevance to my design based graphic style of making art. I feel restricted by the notion that concept should come before creation. I explore what image making is while producing it, leaving the concept behind in order to freely discover all possibilities of image making. Much like a producer edits a song on the whim of a feeling, I add and subtract forms continuously until there is a harmony within the work.

Heileng Chio

Heileng Chio specializes in designing and painting in oils and acrylics. She paints in surrealistic style and creates artworks influenced by rooster. The rooster has a familial meaning to Heileng because she, her parents, and her twin sister belong to this Chinese Zodiac. This animal portrays a unique bond shared between her family members; it reminds her of her personal connection to her family.

Darrel McKelvie Ruppel

Holding a forceful instrument of social construction while enthralled with overwhelming yet momentary emotions, I use sculpture and performance to engage observers in interactive art. By participating and contributing to experiences and conversations, help me build an environment that promotes intimate thought, encourages shared knowledge, and redefines our purpose as human beings.

Formerly a manufacturer of heavy artillery, my vessel of a body and penetrating voice now guide fellow humans to divert social activities through a shifted perspective: one that empathizes with all sentient beings, non-animal life included. By tantalizing viewers with irresistible temptations toward action, I focus on the reciprocal relationship between the audience and the performers, blurring lines of obligatory or secluded involvement and satisfactory completion of a work.

When constructing visual works that elude connected performance, a similarly charged energy of life must be present—that is, an interaction must occur between the viewer and the subject that transcends creation and observance and approaches collaboration. This form of sculpture has lead to my most current examination of human influence, spanning from sound-reactive light sculptures to reimagined domesticated animal habitats to two-day long interviews, as I begin to examine physical presence within a monitored space.

Emma Atterbury

I plan to create a series of dog portraits attempting to capture the personality of each dog through color, composition, and brushstroke. My intention is to create large scale portraits harnessing half-realistic and half-abstract in styles to present a new perspective on the dog that would not be seen in a normal portrait. Dogs have been a part of my life since the beginning, with this I believe they possess a love sometimes difficult for fellow human beings to present to one another; I aim to present this series as a representation of said love which allows us to see these animals in a new light.

Grace Hazel Simpson

I have chosen art the same way art has chosen me. My purpose as an artist is partly selfish but mostly altruistic; I need art in my life to express my creativity and because it feeds my soul; but I also feel a compulsion to share my perspective through my photography to the public eye.

As a visual and kinesthetic learner, I yearn to use my hands and create tangibly. In this way, my art becomes real to me and I am able to better communicate with my audience what I am expressing.

As an artist, I create images through photographic techniques, printmaking, and mixed media, incorporating painting and drawing into my art images. My themes show my connection to nature and my observations of light and space, often involving ideas of the feminine. Within these themes, moods alter to express human experience, incorporating the beauty, the ugly, and the nitty-gritty.

Jessica Levine

Creating art makes me feel like I am pushing back on all of the outside information constantly being consumed by my senses. It allows me to de-tangle my thoughts and turn them into something tangible within my physical reality. I am interested in how ideas come to be as well as what connects everything and everyone together. Metal is my favorite medium to work in because I feel like it is permanent and unwavering, countering the uncertainty and constant change of everything else in life.

Jazel Socorro Muñoz

I use art as a conduit to self-exploration. A common theme I mostly gravitate to express is transcendence and entanglement. I am fascinated by concepts of our existence, the supernatural, the human experience, death, life after death, and the human connection.

Kayla Kemper

The illustrations, photos, and installations that I make explore relationships between people and landscape. I grew up with many ecstatic memories in a semi-wild, coastal environment and discovered how good it feels to be physically connected to nature. Today, I make art in order to restore, build, and deepen relationships with the natural world.

The energy of landscape and its emotional and spiritual vibrations are influential and vital to the decisions I make while producing photos. By manipulating and applying abstraction to landscape photography, I investigate the energy of landscape. Sometimes an image is a poor substitute for the visual, physical, and spiritual experience we have in the natural world. So, I alter colors, textures, and layers of real places to create landscapes that emit energy, emotion, and awaken the imagination. My photos are alcohol transferred onto watercolor paper or wood. These images are characterized by their imperfection. You can tell the photo wasn’t printed by a machine.

When experimenting with installation, performance, and conceptual work,  I juxtapose man-made and natural materials to build visual metaphors regarding the power of nature. I incorporate the surrounding environment into my artwork and involve myself and the viewer in a physical way.

Leonor A Pereda

Through my art, I create spaces for situations and introduce new ways of interaction.The meaning my work lies in the space between the  person and the interface I have created be it electronic or traditional. My electronic installations challenge the passive viewer to have a kinetic relationship with the piece and my traditional work examines life through a critical lens and creates the space for the viewer to consider subjects like homelessness and marginalized people in art.

Leah Stemmann

Torus: This flying disk is meant to remind viewers of the possibility of other intelligent beings and the mysteries beyond our reality. Mystery is important for imagining a reality infinitely different from the one we accept regularly. The piece invites participants to imagine unknown or alien ways of perceiving the universe and our place in it

Moon Clock: A short film about alternate realities and paranoia featuring footage from Godfrey Reggio’s Koyaanisqatsi, monologue from Richard Linklater’s Slacker, and music by the musician Christ. The two-part video shows distorted, layered, and masked moments of daily life, sped up and slowed down dramatically to represent unclear memory and an elusive present that is simultaneously always and never happening. Poorly keyed visual effects portray concepts of reality as kitsch and made-up, but artificial time and space morph into eerie uncertainty.

Michelle Bueno

The intentions behind my artwork are to honor my grandmother and my late grandfather who have sparked my interest in learning more about my ancestral and cultural origins. I utilized a puzzle style painting technique to portray them as pieces that form part of my family tree and depict them in muted and achromatic colors. Through the use of darker and lighter shades of color I am able to capture their emotions and convey their characteristics during a time when they were younger.


2015 Carrillo Scholarship Recipients Gallery
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Latino Art Now Conference

2014 Carrillo Scholarship Recipients

Museo Eduardo Carrillo is pleased to present the work of the 2014 Carrillo Scholarship Recipients from University of California, Santa Cruz in our online gallery “On View”. The faculty recognized great promise and commitment in these students’ art and selected them for this honor.

Please linger, add your comments, and follow the artist’s links to see more.

Read Artist Statements

Kristian Talley

Through depicting the human form, I attempt to catalog the tension and harmony apparent between our bodies and the spaces we inhabit, while also striving to involve my viewers through representational acuteness and ambiguity. I hope in the pursuit of honing my own practice and critical eye, I implicate the eyes of others in a resistance to our modern trend of seeing. From our tendency to personify the natural and synthetic landscapes we each create, destroy and inhabit, I hope to illuminate each viewer’s unique and often contradictory condition– as well as the distance one maintains between themselves and the context they habituate.

Ruben Alexander Barron

My artwork is about metamorphoses of the human spirit. Exploring the parallax of space and time, it expresses a deep understanding of mythological epochs juxtaposed in the foreground of an unattainable post-modernity. My work is concerned with the ancient as much as it is inspired by the possibilities of the future, intending to reach for the future with a sense of gratitude and connection with the past.

Jeremy Rathjen

The artwork I create has a strong connection to the environment in which I was raised and the difficult struggles that the diverse majority of people still face every day in my hometown of Stockton, California. After Stockton was crowned by Forbes “The Most Miserable City in the United States” twice, my eyes were opened to the obvious misery on every passing face. I am interested in translating all emotions that relate to “misery” into at times easily digestible yet often deeply conceptual mechanical reproductions through any and every print making process, alongside more tactile mixed-media pieces incorporating photography, painting, sculpture, collage, and assemblage.

Lulu Zilinskas

I feel you can conjure up the plainness of emotion with almost nothing at all. Following intuitive motion, my work has a handmade or sketchy quality. In graphic novel style, I utilize simple lines and shapes to command attention with understated power.

Gloria ‘Shile’ Cifuentes

After many years of doing small paintings I was introduced to murals in Gavilan College in 2006.

My interest has changed; I put aside my personal work and now dedicate myself to giving back to my community, and to bringing back arts to schools.

Jennifer Macias

I have always loved drawing; however there is something about printmaking that I have not been able to experience with any other art medium. With printmaking not only am I a printmaker, I am also an illustrator, a sculptor, a painter, an athlete, and even a chemist. It amazes me where I am now and where I have yet to go, and I owe it all to my humble beginnings in drawing.

Louise Couzens

My interest as an artist is tied in closely with my curiosities of the individual, and the inner and outer working of the Self.  In my work I strive to show the person as they truly are, stripped of all social contexts and material objects so that whether they be proud or angry, they are simply seen as human.  I have found that my explorations work best in layers, and so my pieces are usually a culmination of many different creations combined into one piece, just as I feel the complex human being is.

Joanne Wang

I fully immerse myself in the processes of playing, manipulating, accumulating, morphing, deconstructing, and building. I create visually tactile installations and sculptures that are jarringly uncomfortable when finished yet still represent familiar, biomorphic forms. My work incorporates calming, organic forms that have unsettling undertones due to the minuscule details of excess and reverberation throughout the surfaces. Each piece evolves through extensive processes of repetition and experimentation with multiples and found materials of various textures. These processes are representative of the prolonged natural, physical, and chemical processes that our planet and its inhabitants undergo—mutations, formations, death, erosion, evolution, growth, and decay.

Jesus Zuniga

I am interested in the mind and body’s markers of lived experience. My mixed-media work portrays my mind and body as merged landscapes processed by my own perceptions of those experiences. It is exciting to know that, when under enough pressure, these bodily tectonics will reveal their limits and potential for growth.

Jessica O’Handley

My practice tends to focus on the exploration of color and how it triggers a response to the viewer. Most of my work is about social interaction and exchange while exploring individuality.

Richard Vallejos

My artwork takes a critical look at the constantly deepening relationship between culture and information technology. In order to pose questions about how we understand the world through the framing of technology, I examine concepts related to computation, such as, user-interface design, gamification, big data, and simulation. In recent projects, these themes are explored in interactive, sculptural installations that feature data-shaped tensile structures, constructed using folk building techniques

Jaysie Yu

My fascination with pop art, fashion, and food has such a relationship with each other that can easily be both aesthetically pleasing yet deceptively pointless. I find a lot of humor and light-heartedness in my work and I want my audience to feel the same. With bold colors and patterns, differently textured fabrics, and a whimsical theme of food, my work directs to different eras and evokes the feeling of nostalgia along with a hint of the munchies.

Jordan Goldfine-Middleton

I believe that we humans draw meaning out of a hollow space that surrounds all of us. My abstract paintings often begin with a layer of black gesso to illustrate the process of searching and building that we go through in constructing our own meaning. Some of my work in this vein references the lights of bio-luminescent deep-sea animals, creatures who literally construct their own guiding light in a black and shapeless environment.”

Giovanna Martinez

My artwork analyzes the social standards that have been defined for women of today’s society in order to educate them about a lesser-known space using the ideals of a woman of color. I am drawn to the subject of women and their space in society because as a Hispanic woman, I have observed that there is no space to represent me as something other than fetish or sub parity. I explore the themes of fat shaming, fashion bias, and unrealistic depictions of the female body

2014 Carrillo Scholarship Recipients Gallery

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Mary Holmes Festival: April 17 – June 5, 2014

Mary Holmes and Eduardo Carrillo were joined by a deep love of painting and the exploration and discovery it afforded them.

You will get to know Mary from this fantastic series of events held at the University of California, Santa Cruz.  You can learn more about their friendship at

Alison Carrillo on Mary Holmes: Mary Holmes was a gorgeous, long-legged painter, teacher and mother who loved men even more than she loved horses. She was forty five, smarter than most, outspoken, iconoclastic, with a quick eye for what mattered: painting.

Read more of Alison Carrillo on Mary Holmes at our website


"On View" now online at the Museo Eduardo Carrillo Gallery

The 2013 Eduardo Carrillo Scholarship Recipients are “On View”.

Museo Eduardo Carrillo introduces the launch of our on line gallery  “On View” by presenting the 2013 Eduardo Carrillo Scholarship Recipients from The University of California, Santa Cruz.

These young artists have been recognized by University of California, Santa Cruz faculty as exhibiting exceptional talent in and commitment to their artwork.

Eduardo Carrillo was an influential Professor of Art at University of California, Santa Cruz from 1972-1997. He taught courses such as drawing and easel painting and offered unique classes in group mural painting, fresco techniques and  native earth pottery intensives.  His art history classes brought new focus on the arts from Meso America from ancient through current times.

Heidi Cramer

I am intrigued by the dramatic changes that all living things are capable of undergoing, both physically and mentally. I aim to represent the transition, from a state of being to another, using 3 dimensional sculpture.  To represent change, I manipulate the material and transform how it is received by the audience. By changing soft lace into a stiff material, or making shopping bags into a substance that can be molded and sewn, I build works of art that encourage participants to manifest the moment of transformation within themselves.



Michelle Spetner

My work examines the way in which objects reflect and determine culture and memory. I am interested in nostalgia, and why objects transform perception and shape the way in which past experiences and places are remembered. Particular objects evoke nostalgia, and by identifying those that attract me, I draw the viewer into the constellations of my personal iconography.


Colin Schildhauer

I enjoy interpreting the beautiful landscapes of coastal California, which I paint on location en plein air. I work with both oils and acrylics for my landscapes.

I also depict scenes reflecting my inner thoughts.  These often involve environmental themes, registering my concerns about man’s impact on, and involvement with nature; including our relationships with animals, particularly the dynamic between fertility (creation) and consumption (destruction) of living organisms, inclusive of mankind.

This triptych scrutinizes the conservation of our depleting natural resources. My goal as an artist is to record through my paint brush scenes that incite imagination and environmental awareness.



Sally Su

I I’m a creative, adventurous person, and I try to reflect that in my art and philosophies. I aspire to merge art and the interactive nature of gaming to tell stories that inspire, awe, and most importantly, offer a different perspective of our world philosophically and visually.

My greatest inspirations are Pixar, Hiyao Miyazaki, Noah Bradley and Feng Zhu.

My blogger:

Linked in:


Patrick Appleby

My paintings are concerned with the human body and its relation to or absence from mediated images that create, alter, and replace memory and sensory perception. Grappling with the immaterial form of light as well as the photographs that enhance and substitute my vision, each brushstroke acts as a material recording of my existence that carries along with it the inherent distortions and expressions that emerge naturally in painting.


2013 Eduardo Scholarship Recipients

The Carrillo Scholarship was set up in honor of Art Professor Emeritus Eduardo Carrillo, who taught at UCSC until 1997. Scholarships support student art projects in the areas of sculpture, drawing, and painting.

This years recipients:

Patrick Appleby
Karla Barahona
Ross Chambers
Cheyanne Epps
Nat Fisher
Kendall Fong
Lynn Jackson
McKenzie Laird
Patricia Ledezma
Kelsey Middlebrook
Dalynna Olmos
Jose Rodriguez
Colin Schildhauer
Alick Shiu
April Smith
Michelle Spetner
Sally Su
Helen Sylvia

Museo Eduardo Carrillo awarded $50,000 to complete documentary

Press Release

Contact: Betsy Andersen 831 239-9411

Museo Eduardo Carrillo was granted $50,000 toward the completion of the documentary Eduardo Carrillo: A Life of Engagement. Awarding the grant, Peter Mithoefer of the Robert T. Keeler Foundation said, “We look forward to the realization of this tribute to Ed’s inspiring life and work.”

Eduardo Carrillo: A Life of Engagement will underscore Carrillo’s connection to his roots in San Ignacio, Baja California.  As the cultural environment of the 1960s affected global perspectives, it also deepened Eduardo’s understanding of his place in the world.

Pedro Pablo Celedon, the renowned Chilean filmmaker of Barefoot Productions in Hollywood, CA, has been part of the project since inception.  He shares “I’m very, very happy and proud to be part of this project.”  Please view our promotional short: (

Professor Dr. Gilberto Cardenas, the Julian Samora Chair of Latino Studies and the Director of the Institute of Latino Studies at the University of Notre Dame, Indiana comments, “Eduardo was a true pioneer.  He exhibited his art and was recognized in the early 1960s. That was so early for a Mexican-American to gain recognition.” Ralph D’Oliveira, co-founder of the Tortuga Patrol mural project in Watsonville, CA, states, “He was always just ahead of his time in terms of his art view. He didn’t believe you built fences to get ahead—you opened up fences, you opened up doors.”

While Eduardo was earning his Bachelor of Arts and Master of Arts at the University of California, Los Angeles, the arts of Mexico were missing from the curriculum.  As he began his teaching career at UC Santa Cruz in 1972, he addressed the need by developing culturally relevant classes for an increasingly diverse student population.   He taught at UCSC for 25 years until his death in 1997.

Our film will trace Eduardo’s discovery of his Mexican heritage in Baja California, Mexico.  The simplicity of life, the beauty of the land, and the authenticity of the people drew him back again and again.

In 1966, Eduardo and his young family relocated to La Paz, his ancestral homes, and founded El Centro de Arte Regional, a school for the revival of regional crafts.  During the 1970’s he took a group of students to a remote tribe of Tarahumara Indians in the mountains of Chihuahua.  The travelers were introduced to the tribal ways: drinking potent brews, running for miles, and stylized fighting in ritualistic games.  The blend of Christianity and the magic of indigenous rituals fueled Carrillo’s imagination and was expressed in his paintings and murals.   In 1981, he started building a studio on a hillside above San Ignacio, his maternal homeland in central Baja.  From then on he returned several times a year to paint, to explore ancient cave paintings, and to renew family bonds.

Eduardo’s evolving relationship to his ancestral homeland exerted its influence on his art.  It was a geographical connection, a familial bond and, beyond that, it was a spiritual relationship that evolved over many decades.  This story will be told in our film.

For more information please contact:

Betsy Andersen    Director
Museo Eduardo Carrillo
831 239-9411       Visit

Congratulations to the Eduardo Carrillo Memorial Scholarship Recipients

The Carrillo Scholarship was set up in honor of Art Professor Emeritus Eduardo Carrillo, who taught at UCSC until 1997. Scholarships support student art projects in the areas of sculpture, drawing, and painting.

This years recipients:

Ramille Bagguio
Karla Barahona
Pariesa Halterman
Hanna Henderson
David Huynh
McKenzie Laird
Miguel Libarnes
Katelynn Mills
Christian Moore
Oscar Moreno
Jordan Paddock
Michelle Spetner
Helen Sylvia
Ayla Thurmond
Morgan True
Michelle Truong
Oliver Whitcroft
Kate Willard

Master restorer James Pennuto, brings "Sacrifice of the Head and Heart" back to life

Master restorer James Pennuto, brings the painting “Sacrifice of the Heart and Heart” back to life.  This master work by Eduardo Carrillo was painted in the 80’s.   It came on the heels of a decade of large scale murals and commissions.  In Los Angeles, the mural El Grito still stands across from Union Station and only steps away from the new Siquieros Interpretive Center.