SUBMISSIONS BEGIN APRIL 13
About
ASUCLA Art in the Union takes the place of the former Student Commissioned Art Program, which started in 1972 and commissioned more than 60 pieces of original artwork over 30 years. In 2003, ASUCLA modernized the original program and created Art in the Union as an opportunity to honor excellence in the visual arts. This contest allows UCLA students to showcase their talent and gain recognition for their work. In addition to highlighting the skills of talented UCLA students, the program adds to the growing art collection that graces the walls and corridors of the ASUCLA Student Union.
2025 Winners
Madeleine Tsoi “Out of Storage”
Second Year, Bioengineering
I layered three pieces of wood to create a 3D effect, first designing each piece in Adobe Illustrator. After cutting and engraving, I colored the wood with oil pastel and assembled the layers. Finally, I knitted balls of green yarn and glued them onto the wood to resemble shrubbery spilling out of the phone, physically popping out.
My family moved out of my childhood home while I was at UCLA, and I realized too late that I hadn’t taken enough photos. I combed through my drive, but I could only find fragments of it in backgrounds. Instead, I drew my home from imagination. This piece reflects how memories resist containment; no amount of digital storage can fully capture the emotional weight of those hazy, childhood years, no matter how hard we try.
Michelle Lin “Resilience in Bloom”
First Year, Statistic and Data Science
I took a picture of the flowers that I had bought and reimagined it into the current painting. I wanted to utilize a lot of contrast to symbolize hope in the darkness and the contrasting feelings I felt in the turmoil of adjusting to college life. I also focused a lot on the composition and accentuated some flowers over others to represent different priorities and outlooks. The bouquet itself is not a perfect bloom but rather a combination of wilting and blossoming ones, representing different aspects of life, as it cannot always be perfect. I painted this in our building’s lounge when I had free time.
When I began my first few months at UCLA, I struggled with self-doubt and a sense of displacement. College came with both newfound freedoms and heavy responsibilities, but it also left me feeling lost. I faced rejection from several clubs, felt uncertain about my career path, and even felt alienated in my own room. After one particularly difficult day, I bought a small bouquet of carnations at Trader Joe’s as a simple act of self-care. This gesture was more than just a way to lift my spirits; it became a symbol of my determination and hope for what was to come. I decided to paint those flowers as a reflection of my journey of independence, growth, and self-discovery amidst the rollercoaster ride of adjusting to college life. It was a way of taking those tough moments and transforming them into a celebration of resilience and personal transformation.
Diane Park “Bearing Multi-Tasks”
First Year, Film
I used procreate, substance stager, substance painter, and Maya.
I wanted to try using 3D art as a medium. When I think of technology, I think about studying on my iPad, where I usually have multiple tabs open—it’s often hectic. I imagine little bears managing all the different tasks.
2024 Winners
Katie Fang “Carousel”
Second Year, World Arts and Cultures
I created this painting in multiple layers, first sketching the detailed carousel horses with black ink, then bringing it to life with watercolors, and finally painting the clouds in the background. To add more texture and dimension, I illuminated the horses' accessories with a gold metallic shimmer.
Through this piece, I aimed to convey the sense of liberation we gain as we grow up. Whenever I think of a merry-go-round, I am struck by a sense of nostalgia because it was my favorite ride as a kid, so I used warm, gentle colors to create a dreamy atmosphere. The peach-colored clouds progress into a cool blue to illustrate the uncertainty and ambiguity of adulthood in comparison to our childhood days. In the flow of the painting, the horses on the right side are embellished with heavy ink outlines and excessive mark-making, as well as accessories and carousel poles. As the horses gallop across the background, the lines become sparser and their accessories fade away: they break free from the carousel’s confines and run on their own path without reins or saddles. Although the future is undefined, we must move forward with resilience and seek the moments of sunlight streaming through storm clouds.
Yifei Wu “Half the Sky”
First Year, Art
Before beginning this project, I conducted research on Nüshu, the script traditionally used exclusive by women, and honed my skills in calligraphy by practicing its form. Building upon this foundation, I explored cyanotype techniques and developed a method to incorporate calligraphy into cyanotype printing. I applied this technique by transferring symbols and elements representing femininity onto specially treated fabrics using cyanotype. Finally, I hand-sewed these fabric pieces together to create a cohesive whole.
Nüshu, the women's script, is the syllabic script that was invented and used exclusively among ethnic Yao women in Jiangyong County, Hunan, China, before going extinct in the early 21st century. This secret language between women creates a safe space for them to escape from feudal power suppression, allowing them to recover their pure nature. The first time I saw the women's script, I was fascinated by its femininity and naturalness. The strokes of the brush are like dense willow leaves and flying birds. I intend to revitalize this beautiful language, show my respect for the struggle for freedom and independent will of women who once lived on Chinese soil, and contribute to the cultural preservation of this intangible cultural heritage.
Maia Faith Hadaway “A Friend I Could Never Replace”
Fourth Year, Art
I first drew an outline for my envisioned design and carved the drawing out using a bandsaw, jigsaw, and sander to transform my wooden surface into three different shapes--the top and bottom portions of the paper and the two embracing figures. I then used wood glue to arrange the pieces into one sculptural form and prepped the surface for painting.
I’ve always admired Tupac and Jada’s platonic friendship seeing parallels with my own close bonds with those I call brothers. I aim to portray the intimacy in their relationship beyond celebrity status, prioritizing their human connection.
The divided and damaged letter reflects not only its discovery but also their relationship torn apart by his untimely death. Untimely—a word often forced upon many within the black community. Despite the division, she holds on tightly, refusing to let go.
This piece wasn't solely about them, but rather about their humanity. It explores the impact of her love on him beyond romance, leading him to write genuinely heartfelt words. Never delivered, it’s a journal entry, not a letter.
