New murals brought to Learning Commons by UAA’s artists

Over the past few months, new artwork has begun to appear in the newly established Learning Commons. Two murals span the walls, showcasing different artistic interpretations of diversity, knowledge, and what they mean to UAA’s staff and students. 

UAA associate professor of art Dr. Thomas Chung teaches painting as the painting program coordinator – and is one of the artists hard at work. His piece is being painted with the aid of two of his former students, Ian Anino and Noah Amason. 

Together the three artists have used acrylic paint to outline different objects from around the world, the start to the lengthy process of painting in a realistic style. Chung said he wanted the mural to be a trompe l'œil painting – a French term meaning “deceive the eye” – used to describe a style of painting intended to trick the viewer into believing the objects they see painted are three dimensional and really there. 

Chung utilized objects from the Anchorage Museum’s collection, as well as from the Metropolitan Museum of Arts in New York, where he grew up. “I’m trying to represent as many of the different UAA student demographics as I can,” said Chung. He also asked UAA staff and students what objects they would like to see to represent their cultures. 

Chung was contacted by the dean of UAA’s College of Arts and Sciences, Dr. Jenny McNulty, about completing a mural as part of a renovation plan for the Learning Commons. His former student, Maureen Meyer, had helped Chung with murals in the past and was interested in doing more. 

Meyer is the sole artist of the second mural in the Learning Commons, which will feature a branching tree and different scenes representing the diverse ways knowledge is learned and utilized. 

“My central theme was sort of a tree of knowledge growing out of a book – which is a symbol I think most people tie to knowledge – so I thought that would be a good core to the piece,” Meyer said. 

“Within the tree there’s different symbols from different cultures and history; there's an oil lamp, a lotus blossom, and all these different things from different cultures that sort of tie into knowledge and wisdom,” said Meyer. 

“And then surrounding, sort of encompassing the edges of the piece, are different ways I’ve seen people pass down knowledge.”

Meyer’s piece features ways of sharing knowledge such as science and technology, through research or social media, as well as the arts.

Meyer features the artist Lily Hope, who is described by the Smithsonian American Art Museum as “Lily Hope (Tlingit; born Juneau, AK, 1980; resides Douglas, AK) is of the Raven moiety, belonging to her grandmother’s clan, the T’akdeintaan. She learned Ravenstail weaving from her mother, master weaver Clarissa Rizal, and artist Kay Field Parker. She apprenticed for over a decade in Chilkat weaving with Rizal who, until her untimely passing in 2016, was one of the last living apprentices of the late master Chilkat weaver Jennie Thlunaut. Hope endeavors to leave honorable weavers in her place.”  

Hope is one of few living designers of ceremonial dancing blankets, flowing garments created and worn by northern Northwest Coast Alaska Native peoples. 

Her contemporary works in textile and paper collage weave together Ravenstail and Chilkat design.” Meyer reached out to Hope to incorporate her artwork into the mural, as representation of the passing of knowledge through arts and traditional activities.

Chung’s mural features the work of many artists through showcasing many objects, but some of the pieces feature very recognizable Alaskan artists. 

Grass socks woven by June Pardue – an instructor of Native Arts at UAA – are beginning to be painted. The piece will showcase a traditional method of weaving that many Alaska Native artists continue to use today. 

Alvin Amason is a Sugpiaq painter who also has artwork displayed within the mural. A replication of his painting “Good to See You," features the face of a sea otter. 

Chung’s mural also features some items viewers might find silly, like a bag of Cheetos and a Furby. Chung said “[The Cheetos are] a mundane object that required many generations of knowledge at every stage of their creation to exist.” In using these objects, he introduces concepts of knowledge and diverse experience the viewer may not immediately think of. 

Items that are more prevalent in pop culture, like the realistic drawing of a TV displaying “The Simpsons” in Chung’s mural – or a cell phone with texts and emojis featured in Meyer’s – give different viewers the opportunity to relate to the artwork, and see how the things we take for granted come from years of knowledge and effort. 

Both artists shared how personal experiences with art and culture while growing up have influenced their careers and passion.

Murals make art easily accessible to the public, and are a great way to introduce art to an audience that may be hesitant to interact. 

The artists have been painting eight hours or more each day. Chung expects to continue working on his mural  with former students at least through the fall of this year, while Meyer hopes to complete her’s around the end of May.