Tangik Ghayvandian
UC Davis Student
Fly to a New Day (A1)
Blue paint in hair, scraps of paper on the floor, clay between fingernails. Art has always been a part of my life. Since childhood, I’ve explored and embraced every aspect of art I possibly could. Now I’m a first-year biochemistry major on the pre-med track at UC Davis. Between all my STEM classes, I take art-related classes to keep that artistic side of myself alive. In this piece, I took my research about the people of the Sonoran Desert and I created a tile that represents letting go of bad times and moving on to a new day, a new beginning. The eagle wings represent flying away from the past, and the superimposed moon and sun represent the start of a new day. This piece was different than many other pieces I’ve done in the past since I was focusing on telling the story of someone other than me. I learned about the different groups of indigenous people of the Sonoran Desert and the symbols they used to tell their stories. I then used some of these symbols in my piece to honor their culture and continue their tradition of storytelling. I learned creative new techniques while working with clay that I hadn’t previously used.
Alondra Bravo-Garcia
First year, Aerospace Engineer
Revolutionizing Insects (A2)
I’ve never considered myself an artist nor have I ever thought that a day would come where a piece of art I’ve made would be on display. As an engineering student at Davis, I’ve always focused on math and science. However, I had the opportunity to study a marvelous scarab beetle named Dynastes grantii. Dynastes grantii is commonly known as the Western Hercules beetle or Grant’s rhinoceros beetle. As a scarab beetle, the Western Hercules beetle improves nutrient recycling and soil conditions. In order to give these underappreciated insects some recognition for their hard work, I decided that I wanted to reflect their unique beauty and give an idea of their environment within my tile. I had never worked with clay before but I was fortunate enough to receive assistance from peers and Professor Ullman. With their help, I was able to make my vision come to life and create a tile that I’m proud to exhibit. Within this tile you’ll be able to see a Grant’s rhinoceros beetle with its unique elytra that contains irregular spots on an ash tree stump even if you’re currently in California and not Arizona. This was an unforgettable experience and I’ve become extremely grateful for being given the privilege to learn the many benefits insects have and how insects can help us develop sustainable designs. As an engineering student at Davis I look forward to designing solutions based on nature.
Bridget Lee
UC Davis Student
Sonoran Desert - Lines in Irrigation (A3)
Hello, I’m Bridget. I created this tile with the symbolism of the Sonoran Desert in mind. These indigenous people were heavily involved in pottery and beautifully decorated the pots they made. Oftentimes, however, access to different colors was very limited. To make up for this, they would use the cross-hatching of lines and other similar methods to add dimension to their pieces, as the glaze would settle in the different depths in contrasting ways. I was inspired by this story and immediately knew I wanted to incorporate elements of lines and depth into my piece. Furthermore, for the indigenous people of the Sonoran Desert, lines also represented water and movement. Early Sonoran civilization utilized vast irrigation systems to survive. Thus, I carved these deep canal-like grooves in my tile to emulate their early ways of life. This was an extremely lengthy process, as I wanted the grooves to have a uniform depth for the glaze to fill. It wasn’t my first time using a mold technique; I took a ceramics class during lockdown last year and we made molds of our hands. However, I learned a new method of creating and filling a mold with the help of my professors!
Ryan Meadows
First Year, Biochemistry and Molecular Biology
Jaws of the Underworld (A4)
My name is Ryan Meadows. I grew up in the California Central Valley on a sheep dairy.
My artwork showcases the ancient relationship between Mayan religion and centipedes. The specific focus of my work was Scolopendra heros, commonly-named the giant desert centipede. The regional overlap between this arthropod's habitat and the Mayan civilization contributed to my work’s focus. To create this piece, I shaped clay in a style inspired by classical-age Mayan limestone works. I specifically looked to classical-age sarcophagus lids to create the border for my artwork. This choice was deliberate: centipedes appear as a significant Mayan death symbol. In their art, the Mayans frequently depict gateways to the underworld Xibalba with the jaws of great centipedes. I felt like this was an interesting association for a venomous arthropod to be given: just as interesting as both associates’ history. The giant desert centipede has an ancient lineage dating back to the earliest terrestrial lifeforms. Relatively little is known about the evolution of this centipede though: a collection of rare, enormous fossils hint at a fantastic ecological history. Similarly, shockingly little is known about the classical Mayan civilization. Tomb-robberies, book burnings, and cultural genocide have left archaeologists with relatively little information about the mystical history of this titanic culture. I hope others finish looking at my artwork feeling curious.
Elise Pierce
UC Davis Student
First Life (A5)
I am a first-year transfer-student at UC Davis and I am studying Communications. Prior to taking this course, I had not had much experience with ceramics, but I enjoyed what little sculpting I had done, and was excited to get more familiar with this subject. My tile draws inspiration from the art and folklore of the Tohono O’odham tribe of the Sonoran Desert. While researching this tribe for my design, I was able to learn a lot about a culture I had not been familiar with. This work is meant to represent a central myth in Tohono O’odham mythology which describes the creation of the world by the god I’itoi. I’itoi is depicted by the central figure in the tile. The background is textured to mimic a woven basket as the Tohono O’odham tribe is famous for their traditional basket weaving. The curving lines around the corners of the tile represent algae which is a material used by I’itoi to create the world as we know it on Earth. The process of sculpting the tile taught me many new ceramics skills and techniques. Overall, I found this project to be very rewarding and enjoyable.
Genevienne Le
UC Davis Student
The Intertwining of the Snake and its Circles (A6, E2)
I have always enjoyed using my hands when doing art. Researching the Zuni Tribe, I found that they have fetishes, which are inanimate objects worshiped for their magical powers or because they are considered to be inhabited by a spirit. One fetish I saw that stuck out to me was the snake. In Zuni culture, snakes represent life, death, rebirth, and transformation because they shed their skin. I liked that snakes could symbolize all four of these things that are vastly different from one another. The circles also represent life, death, and rebirth. Even further, they represent all aspects of native culture. The community, the elders, the children, the traditions, the language, and much more. I made the circles and snake intertwine to represent intersectionality and commonalities. Some circles are deeper to represent history and depth, while others are at a surface level to represent birth and new beginnings. I learned that I enjoy textures and how things feel, more so than how they look. I did cross hatching and lines in my tile because these markings are integral to Zuni pottery, and I wanted to incorporate that piece of Zuni culture.
Annalisa Magana
UC Davis Student
Necessities of Life (A7)
I had previously taken two years of ceramics while I was in high school and found that I really enjoyed working with clay. Then when I discovered this seminar course, it allowed me to continue to do something that I enjoy. With this particular piece of artwork, I chose to incorporate Native American symbols that resonate with the everyday lives of everyone. The rain cloud, representing water, the crossed arrows representing friendship, the circle representing continuity, and the butterflies representing beauty and change are all symbols that encompass the important things that make life, life. While working on this piece, I learned that not all symbols have the same meaning to every group of people that sees them, but there are some symbols that have a universal meaning. Symbols are used as a language and as a means of communication, therefore symbols and what they represent are very important.
Claire Kubicki
UC Davis Student
Scarab Beetle (A8)
I am a student at UC Davis who had the amazing opportunity to contribute to the Sonoran Dreams Project. My academic studies lie mainly in human biology, but my enjoyment of the natural world has led to my passion for entomology. After taking several entomology courses, I have learned that insects are often overlooked or looked down upon, but no matter how tiny, they play an important role in a variety of ecosystems. Although I do not have an artistic background, this project has allowed me to try something new, while representing insects in a meaningful way. For my tile, I decided to represent a scarab beetle along with a series of geometric triangles and diamonds. Scarab beetles play an important role in soil nutrient recycling, which allows for plant life in the harsh Sonoran Desert environment. In Indigenous cultures, geometric patterns have been an important way for them to represent the environment around them. By depicting a beetle with geometric patterns, I hoped to represent the importance of insects and the natural world in a culturally significant way.
Heidi D. Tejeda Mata
First Year, Sustainable Agriculture and Food Systems
When the Summer Sun Shines on Diceroprocta apache (A9)
This four-by-eight-inch clay bas-relief tile depicts my subject, Diceroprocta apache, more commonly known as the citrus cicada or Apache cicada. People who have ever lived in the Sonoran Desert (i.e. parts of Arizona, California, and Mexico) might be familiar with these insects, who fill the summer air with their shrill song. Apache cicadas are important to their habitat and homes, mesquite trees, because they help the trees prosper through soil aeration, reducing soil compaction, as well as mixing nutrients, and helping water travel through the soil, all of which promote plant growth. I created this tile by drafting several designs that showed off the biology and depicted the life of Diceroprocta apache. I eventually chose the design that this tile is based on, which best illustrates the life of a citrus cicada, and depicts the cicada on mesquite tree, emerging as an adult from its exuvia, with the sun in the background. My goal in creating this tile was to help people appreciate these small but significant insects, which are often thought of as a noisy nuisance, and to highlight the unique beauty of Apache cicadas, as well as their relationship with mesquite trees.
Imagine Morales
First year, Evolution, Ecology and Biodiversity
Emergency Supplies (A10)
My clay tile features a favorite insect of mine: Myrmecocystus mexicanus, commonly known as the honeypot ant. This species is a favorite among insect enthusiasts, of which I am one, and is well known for its unique type of worker ant. Honeypot ants live in a dry climate and use living storage units, called repletes, to keep food secure throughout the dry season. These repletes are filled mostly with nectar and fruit juices from nearby plants and hang off the nest’s ceiling deep below the ground. They are also an important source of food, sugar especially, for native populations in the areas in which they live. My design shows a couple repletes clinging to the ceiling as well as their queen ant standing below them. I wanted to show an aspect of ant life that people do not notice much, the part that is hidden below the ground. As with the queen of any colony she must work to constantly lay all the eggs within the nest to keep the colony alive. Along with the work of foraging ants are required to do many jobs and I wanted to show them off. I wanted my piece to show the unique beauty of these insects that are normally seen as pests. My hope is that people will take the time to pay more attention to what makes insects unique and have a little more appreciation for their place in nature.
Valerie Jones
Community Member
Hummingbird Spirit (B1, C3)
I am a volunteer community member helping the Art/Science Fusion program at UC Davis and I participated in creation of the Sonoran Dreams project. My interest in hummingbirds led me to research the different species of hummingbirds found in the Sonoran Desert. Today, Southern Arizona hosts more than a dozen species of hummingbirds. The most common species are the Costa, Black-Chinned, Broad-Billed, Anna and Rufous Hummingbirds. It is conceivable that a Black-Chinned Hummingbird could migrate through Davis enroute to the Sonoran Desert. When creating a design for the hummingbird spirit tiles, I studied the art and symbols used by several Native American tribes. Many tribes created symbols and myths around the hummingbird. Some ancestral Sonoran Desert people believed that hummingbirds intervened and spoke with the Gods convincing them to bring rain to humankind. These Hummingbird Spirit tiles are meant to bring good luck and offer protection to all who enter through this portal.
Chloe Cho
UC Davis Student
Hummingbirds in Flight (B3, C11, T9)
I’m a community member who had the wonderful opportunity to contribute to the Sonoran Dreams Project. My academic background lies in ecology, entomology, and data science but I’m also passionate about science communication and making information engaging and accessible to the public. As someone who has always enjoyed embracing the overlap between art and science, this project was the perfect opportunity for me to express my creativity with clay within the context of natural subjects. For my tile, I chose a combination of hummingbirds and geometric designs. Seeing these brightly colored, tiny birds racing around always brings me joy and I’m fascinated by their iridescent feathers, how much energy they consume daily, and their importance as pollinators. By including geometric patterns, I intended to showcase both the hummingbird’s cultural meaning for many groups of the Sonoran Desert and their ecological value.
Diane Ullman
Project Designer and Instructor
Desert Protector (B4)
As a professor of Entomology, and the Co-Founder of the UC Davis Art/Science Fusion Program, I am delighted to see my students bring their knowledge and their creative forces to bear in beautiful artwork and deep learning. I don’t always get to do my own artwork as I lead large scale projects like Sonoran Dreams. I am delighted to present an important predator, and a key species keeping life balanced in the desert ecosystem, Stamomantis limbata, also known as the Bordered Mantis or Arizona Mantis. This species of praying mantis is native to North America, and is a beneficial insect that feeds on harmful insects, such as moths, grasshoppers, aphids, and caterpillars. Among the indigenous people of the United States, all insects are considered sacred, as insects were present long before humans. Praying mantises symbolize wealth and good fortune, also representing the cycle of life, death, and resurrection.
Adele Zhang
Community Member
Feathers (B5, C8)
As a Lecturer in the Department of Design at UC Davis and curator of the UC Davis Design Collection, I see the importance of patterns and symbols for people around the world in textiles and clothing. They are visual narratives for stories and cultures or used to establish a mood or sense of style. For many Indigenous cultures, birds and feathers hold great value and significance. Feathers, like those depicted on my tile, often are symbols of power, honor, and creativity and are found on many traditional pots and plates. This community project provides me a hands-on opportunity to express my admiration of the aspiring spirit of Indigenous people through the adaptation of the feather motif. Design and art are everywhere and can be personal. To use design and art to benefit our community empowers the teaching and learning experience. I am so proud of being part of this community based, educational project.
Teresa Slack
Community Member
Iron Cross Beetle (B6)
I am a community artist who assists with Professor Ullman’s Art-Science Fusion classes and volunteered to assist with the Sonoran Dreams Project. I researched the different insects found in the Sonoran Desert and was drawn to the Iron Cross Beetle (Tegrodera aloga) for its beautiful colors, bright red, yellow, orange, and black. The name refers to the black cross on the wing covers. Turns out in the desert environment these colors are actually a way to ward off predators and this is known as “aposematic coloration”. If you come across this beetle don’t touch it! These beetles secrete a blistering agent known as cantharidin, a compound toxic to mammals. This is another way to deter potential predators. These beetles are .55” to 1.02” in size and can fly. They appear in spring and early summer throughout the Sonoran Desert.
Igor Bejenari
UC Davis Student
The Apex Predator (B7)
The main emphasis of this piece of art was to share some essential cultural beliefs and symbols of indigenous people of the Sonoran Desert. In my design I used knowledge of native wildlife, lines, and geometrical figures linked to concepts and experiences of people living in the southwestern U.S. and northwest Mexico around 5,500 B.C.E. In my research I stumbled on the idea of the crucial role animal played in the lives of the Sonoran Desert people. Wolves are subjects of mythology and folklore, and are symbols of loyalty, intelligence, and guidance. The representation of the wolf I carved is a symbol of balance. First, in the center of the head, I represented a half moon and sun. Native Americans believed in balance, harmony, and peace among humans, animals, and plants. The wolf, an apex predator at the very top of the food chain, is a keystone species; having a disproportionately large effect on its natural environment. I decided to use lines and geometrical figures within the wolf’s head to combine the animal symbolism of Sonoran Desert people with abstract ideas inspired by the California-based conceptual artist Alison Kunath.
Diane Ullman
Project Designer and Instructor
The Tale of the Corn Maiden (B8, T5)
As a professor of Entomology, and the Co-Founder of the UC Davis Art/Science Fusion Program, I am delighted to see my students bring their knowledge and their creative forces to bear in beautiful artwork and deep learning. I don’t always get to do my own artwork as I lead large scale projects like Sonoran Dreams. I am delighted to present an important symbol of indigenous people in the Sonoran Desert, but also across North and South American Continents. Throughout the history of Native American people, corn has been a main food source. The Corn Maidens are said to have been created by the Great Spirit to bring one seed of corn to each clan, with the instructions to place the seed in the ground, and this tiny seed would sustain the tribe forever. The Corn Maidens took the sacred image of the kachina, and are often found in native art work.
Heather Eckels
Community Member
Constant Sun (B9, C1)
I am a community member who volunteered to assist with the Sonoran Dreams Project. I’ve worked with Dr. Ullman on several projects over the years and am honored to have participated in this mural. The image I chose for my tile is from the Diné (Navajo) tribe and it is “Sun Rays”. This image is meant to represent constancy. Constancy can mean so many things to different people. My hope is that these rays enrich those who look upon it and an reflect the “constants” in their lives. Whether it be people or things, remembering that which can be counted on as each day’s sun rises and sets.
Sarah Rizzo
Community Member
Saguaro Cactus (B10)
I am a community member who has enjoyed volunteering with Dr. Diane Ullman, Professor of Entomology UC Davis, and the UC Davis Art/Science Fusion program since 2006. I was very pleased to be invited to assist with the Sonoran Dreams Project conceived by Dr. Ullman and Gale Okumura, retired Lecturer in Visual Communication UC Davis Department of Design. Carving the saguaro cactus was an easy choice for this project. The Sonoran Desert is the only place on earth where the saguaro cactus is found and it is one of the desert’s most distinctive features. These giants can grow from 40 to 60 feet tall with up to 25 arms. In the right growing conditions, they can live up to 200 years, but the growth is slow. The saguaro cactus grows only an inch or so in the first 10 years and only up to 6 ½ feet in 70 years. Between years 95 and 100 it may reach 15 to 16 feet and produce its first arm. The saguaro cactus is covered with a thick waxy coating that reduces water loss to transpiration, plus an armor of hard spines and flexible bristles to defend water stored inside. To obtain the water, the saguaro cactus has an impressive root system. A single taproot is sent straight down into the soil about 5 feet to access water stored deep underground. A massive maze-like array of roots within several inches of the ground's surface, spread out as wide as the cactus is tall and enables the cactus to gather any rain water that may fall. The water collected is stored in the interior of the cactus in a sponge-like tissue for later use in times of drought. A large saguaro cactus full of water can weigh up to 6 tons. It provides both food and shelter for many desert animals and is considered a keystone species, meaning that the saguaro cactus helps hold the ecosystem together.
Teresa Slack
Community Member
Eagle Soaring (B11)
I am a community artist who assists with Professor Ullman’s Art-Science Fusion classes and volunteered to assist with the Sonoran Dreams Project. I was interested in doing some research into the many symbols used in Native American Culture. They have developed a vast number of symbols to use as a communication tool, for expressing ideas, describing objects, as well as creating beautiful art. The symbols are almost always rooted in nature. Each symbol is an attempt to extract meaning from the natural world and their spiritual essence. I decided to make a landscape incorporating 4 of the Native American symbols. These are the symbols I chose and the meanings they have: Sun- Earth's Guardian (healing energy and warmth, giver of life); Sun Rays(constancy); Mountains (great abundance); and, Eagle (divine spirit, connection to creator, freedom). These symbols spoke to me in a personal way as I love birds (eagle), and I also cherished the connection the Native Americans felt to the creator. I too feel this connection. I included the sun (giver of life) as a reflection of God’s light and love.
Diane Ullman
Project Designer and Instructor
Spiral (B12, C6)
As a professor of Entomology, and the Co-Founder of the UC Davis Art/Science Fusion Program, I am delighted to see my students bring their knowledge and their creative forces to bear in beautiful artwork and deep learning. I don’t always get to do my own artwork as I lead large scale projects like Sonoran Dreams. I am delighted to present a spiral scattered throughout this elevator surround. The spiral is painted and carved as symbol throughout the world and across many cultures. Among indigenous people of Americas, the spiral is known as the symbol for eternity or for the path of our existence on earth. It may also represent the sun, or the portal to the spirit world. Some say it may have represented life beyond life in eternity.
Lily Larsen
First Year, Undeclared
Mexican Amberwing (B13)
The insect I researched for my tile design is the Mexican Amberwing, or Perithemis intensa. It is a small species of dragonfly in the Sonoran Desert that helps to keep the ecosystem in check by preying on other small flying insects such as flies and mosquitos. They also act as a food source to crab spiders and other large species of dragonflies. Through my research I designed a tile depicting an Amberwing perched on a reed as you will usually find them. My goal in this design was to create a natural scene in which one would find the Mexican Amberwing in the Sonoran Desert. The outcome was a tile entirely made up of red clay and sculpted using clay working tools and a wet paintbrush for smoothing. To create the dragonfly, I traced my final design onto the clay using a blunt pencil, and carved around that outline. I accentuated the dragonfly further by adding clay to some wings and taking it away from others to add dimension. The smaller dragonflies in the background were made my pressing tools into the wet clay and using a wet paintbrush to smooth their edges. Additionally, I added a border around the tile in hopes that the glaze would pool in the center and allow the dragonfly to stand out even more. This piece was not only fun to create, but also extremely educational as it forced me to dive deeper into the anatomy and lifestyle of an insect I otherwise wouldn’t have.
Gale Okumura
Project Designer and Instructor
The Eye of Wisdom One, Two, and Three (B14, B16, D1, T7)
The Great Horned Owl, Bubo virginianus, can be found in all habitats from open deserts, dense wooded areas, swamp marshes and isolated tundra. The birds are native to Northern America with the exception of extreme Arctic regions. Even though Great Horned Owls may wander for hunting, they are non-migratory birds. These birds also have incredible neck mobility that can rotate 270 degrees.
I have been intrigued with the Great Horned Owl because of their symbolic representation of knowledge, being the “wise one” and their observant nature. I see them as a mindful and protective elder spirit. As a nocturnal bird and their excellent night vision, they watch over the earth’s animals and are fearlessness, strong and aggressive. They are our silent flying spirits encompassing and protecting the small animals of the earth. Eye of Wisdom One shows this beautiful bird flying over an agave plant, a key plant species in its Sonoran desert environment. Eye of Wisdom Two brings the viewer to the magnificent eye of the Great Horned Owl. Eye of Wisdom Three transports the viewer to a moonlight night of flight.
Abbey Perry
UC Davis Student
Guidance (C4)
My tile is meant to represent the bear as a symbol of strength, guidance, and healing. Qualities Pueblo Indians believed they possessed. These traits are embodied in the story told by a tribe who was led to water during a time of severe drought by a single bear. The reason I chose to make the bear’s claws in the shape of rain drops was to symbolize its intuitive connection to the resources around it, which gave it the ability to guide. I’ve always believed animals and nature are connected on a level beyond our own understanding. Hearing the Pueblo stories further solidified my belief. What I saw in their art reflected the relationship they had with nature and their meaningful interpretation the world around them. During the creation of this piece I gained an appreciation for symbolic art and how it can be used to tell a story beyond words.
Gale Okumura
Project Designer and Instructor
The Ku Bird (C7)
Symbols create and reveal a shorter distance in conveying a message or story. Being a graphic designer and teaching graphic design and visual communications in the Design Department at UC Davis, I am always utilizing research, design principles and elements, and start my designs with the simple shapes of circle, square and triangle. In this clay tile piece, the symbolism of the Ku Bird shows this simplistic use of short line strokes and shapes to create the image of the bird and its feathers. It represents the Ku Bird with its beautiful feathers fleeing from the owl’s call of, “Ku, Ku, Ku”. The large spiral and short lines represent the owl’s eye as he continues to search for the Ku Bird. The curved shapes of the bird’s body show transformation and simple elements of design used by the indigenous people as a form of pictorial communication. I found humor in this legend with the use of a pun for the sound that the owl makes and the call of the Ku Bird. But I also wondered if there was a moral to this legend. Maybe. My interpretation was that there is beauty in kindness to others. What do you think?
Grace Tueros
UC Davis Student
Owl of the Night (C9)
When I began working on this tile piece, I wanted to capture both the beauty and culture of the Zuni tribe within my original design. My design depicts an animal spirit of an owl, which was highly inspired by the original work of a Zuni potter named Nellie Bica in the mid-20th century. Now the symbolism of the owl within the Zuni Culture depicts the creature as being a wise protector of one’s home. I chose to depict an owl with the idea that everyone should have a protector at all times. I’m grateful that I had an opportunity as a student of the University of California- Davis to not only learn about different Native American tribes but to explore my own creativity and understanding through art. My overall goal for this tile piece is to inspire my fellow community members to always learn and explore different topics through art.
Alison Stuermer
UC Davis Student
Eternal Prosperity (C10)
As an artist, I have learned that different people find different meanings in the same symbol. I am fascinated by the way that people on opposite sides of the globe have attached completely different meanings to the same symbols, often based on the diversity of their values and experiences. Certainly, our values and experiences are critical in interpreting art, our own and that of other people. The Indigenous people of the Sonoran Desert have fostered enticing symbolic meanings to naturistic objects, such as the land that they walk on or the animals they surround themselves with. This is why I chose to create a piece that included a spiral and a rabbit. The spiral encapsulates all that is connectedness and eternal, while the rabbit represents fertility of the land and prosperity.
Heather Eckels
Community Member
The Hopi “Spider Grandmother” (C12)
I am a community member who volunteered to assist with the Sonoran Dreams Project. I’ve worked with Dr. Ullman on several projects over the years and am honored to have participated in this mural. My tile is the Kokyangwuti, or “Spider Grandmother” in Hopi mythology. According to Hopi mythology, this symbol represents leadership, a wisdom and good fortune. The Spider Grandmother is a deity that can appear in the shape of an old woman, or the guise of a spider. When she is in her spider shape, she lives underground. The Hopi call upon the Spider Grandmother for advice or to cure illnesses and ailments. Its story intrigued me and I hoped it would equally intrigue those who view it. I love its representation for this project.
Adeliz Ulloa
First Year, Animal Biology
Mimicry (C13)
I am a first year UC Davis student originally from San Diego. For the past few months in my entomology class, I’ve had the opportunity to learn about insect biology and its relationship with one of my favorite hobbies, art. In class we’ve been researching insects and other arthropods found in the Sonoran Desert, and then using this research we were to create ceramic tile designs. Throughout the class we have made several designs, received critiques, and then learned how to fabricate these ceramic tiles from clay. For my insect, I chose to research the Limenitis arthemis arizonensis, or more commonly known as the Arizona red-spotted purple. The red-spotted purple butterflies are important pollinators in the Sonoran Desert. When it came to designing my tile, I wanted to explore different aspects of this species’ biology. After many designs and critiques, I decided to use the proposal design that showcased what I thought was interesting about this species: it’s batesian mimicry. This species closely resembles the appearance of the pipevine swallowtail butterfly which is poisonous to its predators. Not only did I think the design was aesthetically pleasing for our community project but I hoped that it would spark curiosity of this species and other insects’ biology.
Sarah Rizzo
Community Member
Prickly Pear Cactus (C15)
I am a community member who has enjoyed volunteering with Dr. Diane Ullman, Professor of Entomology UC Davis, and the UC Davis Art/Science Fusion program since 2006. I was very pleased to be invited to assist with the Sonoran Dreams Project conceived by Dr. Ullman and Gale Okumura, retired Lecturer in Visual Communication UC Davis Department of Design. I chose to carve the prickly pear cactus given that it is a main course in the diet of many Sonoran Desert animals. The prickly pear consists of segmented cactus pads that grow on other pads. The pads are a form of modified stem that grow flat instead of round. Each pad is referred to as a nopal. Each nopal can produce several flowers that bloom in the spring. The blooms attract bees that harvest the pollen to feed their larvae, pollinating the plant as they forage. When the bloom fades the fruit known as a prickly pear emerges. Insects, birds, reptiles and mammals show up to enjoy the fruit as it ripens. Packrats, jackrabbits and javelina even eat the stems, spines and all.
Ashley Valdez
First Year, Computer Science & Engineering
The Metamorphic Connection (C16)
I am Ashley Valdez, a first-generation college student at the University of California, Davis. My piece “The Metamorphic Connection” is a red clay tile that revolves around the metamorphosis of Vanessa cardui, the painted lady butterfly and the Hohokam, an indigenous tribe native to the Sonoran Desert. “The Metamorphic Connection” establishes a connection between the human world and the insect world. I wanted to showcase the uniqueness of the Hohokam and the painted lady respectively while still connecting the two. My piece achieves this connection by tying in the Hohokam culture through the metamorphosis of the painted lady butterfly. The Hohokam people were known for their artistry and vast knowledge of the sun, creating sun watcher petroglyphs that pointed in the direction of a sunrise or sunset. Both aspects of their culture are showcased through the painted lady’s metamorphic stages, which are designed in a pyramid structure to portray how insect metamorphosis has a similar structure to man-made architecture. A Hohokam Pima basket represents a painted lady butterfly egg at the top and a sun watcher petroglyph serves as the design for the painted lady’s wings at the bottom. I hope “The Metamorphic Connection” helps society see past the negative stereotypes it has given insects and see how vital these small creatures are to our lives. The word “metamorphic” means change, and humans go through changes in life just as painted lady butterflies do. Thus, humans have a “metamorphic connection” to the insect world.
Ayana Call
First year, Animal Science
Beauty Within the World’s Unknown; The Condalia Silk Moth (D2)
Ever since I was a young child, I have always loved art as well as the natural world. Animals in specific have always captivated me even when society pins specific species to have a more off-putting appeal. Throughout this project I have researched the Condalia Silk Moth, also known as the Agapema anona, a silk moth regional to the Sonoran Desert. The Condalia Silk Moth’s purpose within this project is to showcase the unnoticed beauty that the natural world has hidden within its vast biodiversity. By showcasing this beauty that people may not realize is out in the world, I wish to push people to open their minds and see that there is in fact beauty within the unknown. My design was inspired by the anatomy of the male silk moth’s antennae, a feathery structure with hundreds of sensory receptors, used for ease of finding a mate. These antennae like structures were placed in a foliage like manner to frame an anatomically correct depiction of the Condalia Silk Moth. By depicting a part of the moth as a décor piece, I wish to emphasize that perspectives can be altered to find elegance and appeal even within the smallest aspects of our natural world. I depicted this design by using a bas relief style carving, relying on the glazing of the tile to define dimension and coloration contrasts upon the tile.
Kimberly Moniz
First Year, Environmental Engineering
Intricity of the Creepiest Critters (D3)
In this piece, I wanted to display the adult version of the Derobrachus hovorei insect, more commonly known as the Palo Verde root borer beetle. As an engineering student at UC Davis, I have no background in the art world. Being my first experience working with clay, this project opened my eyes to how impactful supplementing our learning of science through art can be for a student. I had the opportunity to explore a variety of tools for molding my tile. My favorite tool I found was a double-ended wooden carving tool, which became my best friend, especially when adding undercuts. Before beginning the molding process, I had always believed ceramics had to be an entirely delicate process. However, through this course, I learned that it is okay to get dirty and apply pressure when molding. This course project also introduced me to the fascinating lives
of insects. Having chosen a beetle known for its frightening appearance, I found beauty in this beetle's life cycle. The beetle lives entirely dependent on the root system for three to four years of its life as a larva. This dependency demonstrated how perfectly evolved, and beautiful life through coexistence is, even in the most unexpected places. Being able to mold this insect with my own hands inspired me to learn about the intricacies of this beetle. I would not have achieved this depth of learning through a typical lecture-style course, and I am grateful to have experienced the art and science fusion program.
Lily Soucek
First-year, Economics
Murgantia histrionica: A tile made from love (D4)
My name is Lily Soucek and the insect I chose to immortalize in a tile is the Murgantia histrionica also known as the Harlequin Cabbage Bug. It is a vibrant orange and black bug that lives on its host plant, which can be any large-leafed plant, but it prefers variants of cabbages. It feeds on its host using a piercing-sucking mouth, extracting the liquids and leaving behind cloudy spots. The agriculture industry views it as a major pest and it affects mainly areas in the Southern United States and Mexico. When I was designing my tile, I wanted to preserve the beautiful and intricate features of the beetle, and keep the design anatomically correct, and not make it too difficult for an amateur artist like myself. With feedback from my classmates, I chose to make a border around the tile, with the corner pieces containing imagery of the unique eggs of the Harlequin Cabbage Bug. I kept the design symmetrical, and formed the tile you see before you. During this process, I learned design strategies to make my tile more appealing, I learned how to work with clay for the first time, and I learned the biology and behaviors of similar insects.
Sarahi Bahena
UC Davis Student
The Thunderbird (D5)
For my art piece I wanted to share one of the myths/legends of the indigenous people of the Sonoran Desert. This myth is specifically held by the Anasazi people. This mythical creature is known as “The Thunderbird”. I wanted to bring attention to the thunderbird because they believed this creature would help bring rain for their crops. They idolized the thunderbird and hoped this entity would help their agricultural pursuits and bring luck and prosperity to their people. I drew inspiration from pottery pieces of the Anasazi people I saw in a museum collection online. It was so interesting to me to learn about the importance of honoring a creature in hopes of receiving good luck as their crops blossomed. It was definitely difficult for me to depict this importance because the creative process we were learning was very new to me. I never made an art piece like this before, and because my interpretation of the thunderbird myth was so different from previous drawings I have done, it was definitely nerve wracking for me to get right.
Melissa De La Cruz-Vasquez
UC Davis Student
The growth of time (D8)
My intention was to reveal the fantastic designs present in the Comcáac – Seri culture, and to show the importance of the “haat plant” in the lives of the Seri people. The Seri peoples resided on the coast of Sonora, and their baskets or hataal were woven of haat (also known as limber bush, Jatropha cuneata). The haat plant had many meanings related to different types of flowers. The Senna is an example of one of the flowers symbolized by the “haat plant”. This flower was called he he quiinla or the plant that rings by the Seri; given its name by the rattling sound produced by the seed pods. Another flower of symbolic importance is the rock hibiscus (Hibiscus denudatus), a lovely mallow family plant with eye catching white flowers and red patterns emanating from the center. For the Comcaac Seri tribe, the flower was depicted on baskets, pottery, and sometimes jewelry. I personally enjoyed creating this plant in my tile because to me it resembled a flower, and it had a wonderful texture, along with a wonderful way of making certain things prominent. My depiction implied basket coils in the background, showing my respect for the beautiful baskets make by the people of the Comcáac – Seri. From my research, design and creation of a tile I learned that one symbol can underly many events and/or emotions.
Tessa Yee
UC Davis Student
The Dream Catcher of Love (D9)
The focus of my work is family. The bear paws represent authority, strength, leadership, and inner strength. They also represent family to me, and I put three of them to represent my family members: my mom, my dad, and my brother. The dream catcher symbolizes letting good dreams come through while keeping bad dreams out. The spider I placed at the top of the tile symbolizes a protector, thus protecting the bear paws representing my family. I feel like I am the spider in the dream catcher. I would do anything to protect my family, and I love them very much. Spiders also represent creative powers, and I feel like that is a good representation of me. The spiral in the big circle represents continuation. No matter what happens, I will always be with my family and my love will be for eternity. Each bear claw is also connected to a feather which are marks of honor. My whole family honors each other and respects one another. In the end, we’re all connected and will love each other until the end.
Sarah Lopez
UC Davis Student
The Hope of the Horned Toad (D10)
My tile pays homage to a legend of the Hopi People. The legend represented was about a young boy who saved his people from invading giants with the help of a horned toad. This horned toad had armor that scared the giants and eventually defeated them. The young boy’s name was Lolomi, which means welcome. Lolomi defeated the invading giants by having them fall off a cliff in the mountains, now known as Giants Falling. My tile includes a sun, symbolizing hope, a fitting message because Lolomi gave the people of his tribe hope that they would not have to live in fear anymore. I also included mountains to symbolize the giants falling, and where the Hopi people once lived. I loved this legend because of the happiness it brought to people. That is what I wanted to convey in this image. Bringing happiness to someone’s life is what I strive to achieve every day. As I say, “one act of kindness a day brightens the smile of at least one person a day.”
Colby Kalasardo
UC Davis Student
Dream Catcher (D11)
I’ve never been a huge artist, so this class was more difficult for me, and took more preparation and thought than I anticipated, but I enjoyed the project none the less. I wanted my design to include symbolism relating to the Sonoran Desert, because that was the focus of the assignment, and the project for the community. Learning that circles represented Earth encouraged me to make a dream catcher, because these artworks are built upon a circle that branches into separate sections internally, in my mind representing the responsibilities of people of the Sonoran Desert. I chose to put a spiral in the middle of the art piece because it represents renewal and continuation. Because it is at the center of the circle, the spiral symbolizes the Earth revolving around renewal and continuation. Knowledge of the indigenous people of the Sonoran Desert was new to me and I learned about them with this project. I also got to learn about clay and how to work with this medium. I had no idea how much effort went into simply creating a rectangular tile like the one that I put my design on. It was a struggle because I am not the most artistic person, but with the help of the professors, I managed to make something I found quite beautiful in the end.
Alyssa Cerda
First Year, Plant Science
The Western Hercules Beetle of The Sonoran Desert: Dynastes grantii (T4)
The first quarter of my first year was a challenging shift in my life. Much like Dynastes grantii, I spent most of my life “underground”. I was never social or outgoing. The transformation from larva to a majestic adult captivated me because I related to it. The larvae are most important as they are decomposers in their ecosystem. Decomposers are important for new life because they provide nutrients for the surrounding plants. As they mature and eventually emerge, I saw their elytra as mother nature’s art so I wanted to show the patterns. The tile of Dynastes grantii was first created from a slab of clay and transformed into something I am proud of. I created an original design using the leaves of their favorite tree, and the beetle flying. The ability to fly was astonishing because it is such a heavy insect with incredible strength. I wanted to have the wings shown and the beautiful horn that gave name to the Rhinoceros beetle family. A top view was optimal to show both.
Sarah Rizzo
Community Member
Arizona Bark Scorpion (T6)
I am a community member who has enjoyed volunteering with Dr Diane Ullman, Professor of Entomology UC Davis, and the UC Davis Art/Science Fusion program since 2006. I was very pleased to be invited to assist with the Sonoran Dreams Project conceived by Dr Ullman and Gale Okumura, retired Lecturer in Visual Communication UC Davis Department of Design. I chose to carve an Arizona bark scorpion. Though just 2 to 3 inches long, it is the only scorpion in North America whose bite is considered to be life threatening. It is a climber that lives in trees and cliff walls, as well as under rocks. The Arizona bark scorpion is a night feeder and sometimes a cannibal. Besides eating fellow scorpions, it feasts on beetles, spiders, cockroaches and other insects. The female can birth 25 to 35 live young which she carries on her back until their first molt, about 3 weeks after birth. The lifespan of this type of scorpion is about 6 years. Scorpions including the Arizona bark scorpion are incredibly resilient. The scorpions found near ground zero after US nuclear testing, suffered no adverse effects.
Sydney Lizarde
UC Davis Student
Duality of the Snake (T8)
In my tile design, I highlighted important symbols of the Hopi people of the Sonoran Desert to portray the duality of good and bad in the universe: a literal snake, a spiral, and the sun. My artwork shows the positive connotation snakes have in nature. Commonly snakes are seen as evil, negative, and often associated with death and the underworld. I wanted to explore how, like most things in life, snakes have both good and bad associations. The snake, spiral and sun are all affiliated with the theme of rebirth and the continuity of life. The sun rises and sets, a snake sheds its skin, and a spiral can continue on in its pattern indefinitely. Rebirth is a positive force in the universe, and by highlighting its connection with snakes, I could demonstrate how everything has positive and negative meanings. In my own experiences, seeing both the good and the bad has been incredibly rewarding, and taught me to learn from my mistakes. Additionally, through the process of creating my own design and tile, I learned more about how symbols in certain cultures, such as the culture of the Hopi peoples, are connected to each other.
Diane Ullman
Project Designer and Instructor
The Sun Cornerstone
As a professor of Entomology, and the Co-Founder of the UC Davis Art/Science Fusion Program, I am delighted to see my students bring their knowledge and their creative forces to bear in beautiful artwork and deep learning. I don’t always get to do my own artwork as I lead large scale projects like Sonoran Dreams. I am delighted to present a sun symbol as the cornerstones of the elevator surround, one at each side of the top row. The sun symbolizes life-giving abundance with its warmth, giving light and life to planet, thus a fitting symbol overseeing this portal.