Professional Practices (ART 399)

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  "Jakyah Acree's ART399 Portfolio"

  Jakyah Acree

  When viewing one of my artworks, one will usually see a painting, drawing, or digital work. The painting or drawing will be that of a portrait or a subject matter. The subject at times can learn toward realism, other times I like to create more animated styled characters.

  While I’ve always had a passion for creating detailed value-filled portraits in realism, my journey began with the excitement of bringing art to life with illustration.Growing up in a small town of Cadiz KY, there was very little excitement. Not only that, but I was a girl of few words, finding it hard to express myself to others. Until I found my love for making art. Art became my expression, I find great joy in creating beautiful characters or portraits that exclude both depth and emotion. After losing my mother in my early college years, I learned that I have an infatuation with being a character artist. In my formative years I’ve always loved the endless creativity of illustration and it has since then evolved into a boundless exploration of my nostalgic imagination. I yearn to rekindle the childlike sense of wonder within my audience. Taking inspiration from color and expression like that of Takashi Murakami and Karen Kilimnik. Creating these original characters allows me to storytell which I enjoy. It reminds me of my childhood of watching a lot of cartoons and animations. Between telling a story or expressing an emotion, It all plays into the tone of the piece that I’m looking for.

  While on my artistic journey trying to figure out what I truly enjoy, I came to the realization that I just wanna have fun. I want to enjoy what I do and for my art to speak to viewers as so. My dream would be to specialize in character design or become a doll designer. I really enjoy creating the subjects themselves, bringing my childhood memories and fantasies to life.

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  Zach Alexander Art399 Portfolio

  Zachariah M. Alexander

  The work I create theatrically explores my identity through reflections on personal experiences. Each piece is layered with multiple meanings, like the pros and cons of childhood or learning about self-reliance. Across mediums, there are aesthetic choices to convey the accuracy felt in moments of low spirits. There's an eccentric and personal aspect in the pieces that intertwine with my life. The common trait in the work often incorporates movement to convey past emotions. Darker tones create disorientation and confusion, setting the scene and foreshadowing deeper meanings. Some pieces reflect the past and address ongoing issues."Echoes of Childhood" reflects my complex relationship with my past. A teddy bear symbolizes innocence and nostalgia, with a clay heart wrapped in wire to represent trauma and the lasting impact of childhood memories.

  Another example is "Alone," a photograph capturing the experience of feeling isolated as a new adult. Using Rembrandt lighting, I conveyed emptiness, with the figure holding herself to symbolize self-reliance during sorrow. "The Imperfect Balance," a ceramic piece, explores identity by rejecting conventional forms. Finger markings create dynamic movement. The clay is shaped into an unconventional form with an odd texture and moody colors. A bright mossy interior contrasts with the exterior, enhancing the appeal. These stylistic choices and meanings illustrate a journey of self-discovery, capturing the mind's chaotic nature through reworked mediums, symbolizing overcoming obstacles and personal growth.

  Going into the central theme of the works, there are a couple of direct influences from artists in each of the pieces. The photograph took inspiration from David Lachaplle's use of vivid imagery and unique compositions to create a more striking and emotionally impactful scene. “Echoes of Childhood" blends the innocent image of a teddy bear with a haunting twist, like the artist Marcel Dzama's work. The juxtaposition of the familiar and the eerie is a hallmark of Dzama's work, making the piece thought-provoking. “The Imperfect Balance” used influence from Marlou Fernanda's concepts by featuring expressive forms with rhythmic finger marks. In conclusion, the work is a journey of healing and growth, illustrating vulnerability and progress. Upon reflecting on the art , it is ulinately a visual representation of an artist finding their way and healing their soul piece by piece.

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  AdamAshlock Art399 Portfolio

  Adam R. Ashlock Mr.

  Art is a space where humor and absurdity are welcomed with open arms. It's a way to break down barriers and connect with others—especially when traditional social interactions are challenging. Growing up with Autism Spectrum Disorder (ASD) means I've navigated a world that often feels out of sync with how my brain works. Conversations are challenges, and it’s easy to feel disconnected from the people around me. Humor, however, has always been my in. It's a great way to find common ground and create a shared experience that feels natural even when other forms of connection don’t. Whether through animation or live-action, humor and storytelling in these films serves as a way to reveal deeper truths about life, even in the most ridiculous parameters.
  Aesthetic choices often lean toward subversion and unpredictability, taking the ordinary and transforming it into something strange or comedic. Freelance is a perfect example of this approach, a live-action project reflecting the experiences of a broke, full-time college student. The video follows my attempts to earn money through odd jobs over two days, only for it to vanish in an instant as debt takes over. The punchline, “I hate my life,” followed by a bouncy credits song, captures that dark humor and highlights how even the mundane struggles of life can become a source of comedy. Humor here is more than just entertainment—it's a coping mechanism and a way to make these universal struggles more relatable and enjoyable. I work in both animation and live-action, using each medium to explore humor in different ways—animation gives me the freedom to push the boundaries of reality, while live-action offers a more grounded, human experience.
  With Autism, thinking is unpredictable and often non-linear. I don't fully plan out my projects—just a rough outline—because trusting instinct and letting ideas develop in real time is how the best work happens. Thoughts jump from one idea to another in unexpected ways, and the unpredictability is something I embrace in the film process. This free-flowing approach often leads to random, absurd ideas, and it’s in this space that the most interesting creative decisions are made. Animation, in particular, resonates with me because it most mirrors how my mind operates; It's silly, whimsical, and a little detached from a straight pathway. It's a special interest that's very near and dear to me.
  In the same light, the work of contemporary artists deeply shapes how I approach storytelling and comedy. Craig McCracken was a man who started young in the industry and hit gold with his brilliant techniques, his shows having emotional depth, character-driven stories, and bold visual styles. The defiance of Everett Peck’s Duckman was like hate mail to the censors, defying the expectation that crude, rude and dark humor couldn't touch your heart and be a major player in adult animation. It's here where I derived my comedic philosophy that nothing is truly off limits, and that Comedy should always leave you different than when it found you. John Baldessari’s use of humor to break down conceptual barriers is another influence. His ability to challenge the status quo while engaging with absurdity is something I aim to replicate—high-concept humor mixed with accessibility, challenging norms while inviting people in to laugh along.
  Ultimately, my goal is simple: to entertain. Having Autism has made connecting with others difficult in many ways, but through these films, I’ve found a way to bridge that gap, and show people the many facets of who this artist is. This work is a conversation with the audience. No matter the reaction, the only hope is that the experience will create a lasting memory, one we can both share. Through my work, the message is clear: This is who I am, and I hope you enjoy what you see, friend.

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  Isabel Bolanos

  Isabel Bolanos

  Creating art serves as a profound and meaningful avenue for me to connect with my inner self, particularly during moments when words seem feeble and inadequate. The struggle to articulate my emotions verbally often leaves me feeling lost, but through the act of creating, I find a refuge—a safe space to delve into my thoughts, cherished memories, and personal challenges. By immersing myself in various artistic mediums, I explore intricate themes of memory, identity, and emotional resilience. I hope that my artwork not only serves as a form of personal expression but also helps my family gain insight into the complexities of my experiences, illuminating the struggles I often cannot convey through speech. Living with Bipolar II has significantly shaped my artistic path, transforming the act of creation into an indispensable means of communication with the world around me. The nuances of my personal experiences and treasured memories deeply inform the subject matter of my work. I primarily utilize pencil and charcoal, employing meticulous realism and rich symbolism to express my emotions and ideas. While I typically embrace a more monochromatic palette in my drawings, photography allows me a different realm of expression. In this medium, I revel in the vibrancy of bright colors and bold contrasts, which evoke a nostalgic feeling that resonates deeply within me. Ultimately, my memories manifest themselves in my art, serving as poignant symbols of the miscommunication that frequently permeates my life. Additionally, I am drawn to 3D works, as I thrive on the tactile experience of interacting with my creations, pouring my dedication and labor into every piece. Though I've navigated the art world for some time, I find myself at a crossroads, grappling with uncertainty about the essence of my work. This introspection leaves me struggling to articulate both my personal narrative and the stories embedded within my art, creating a sense of vulnerability that I continue to navigate.

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  Ryan Bridgforth ART399 Portfolio

  Ryan Bridgforth

  Inspired by the philosophies of design duo Dunne & Raby, my work bridges research, future thinking, and creativity through a process known as speculative design. Partially inspired by my own experience with chronic illness, as well as interest in human technology interaction through writers like Charlie Brooker, my recent work focuses on telling the story of neuromodulation, a technology that uses stimulation to alter nerve activity, typically to fight drug-resistent pain and chronic conditions. Product design, advertisements, and other future objects are used to envision a world where this technology is as prevalent as smart phones.

  Though the topic is extrapolated, this technology could allow us to control our emotions and states of being in the future, bringing up new debates about the ethics of human inhibition and enhancement and our reliance on technology. Presenting this as a possible future through my work forces viewers to be confronted with new values and considerations about the future. For instance, the posters REHABILITATION, NOT MANIPULATION and Give Second Chances, Safely present a debate in which the government has proposed a law in which incarcerated individuals could receive neuromodulation treatment in exchange for reduced sentences.

  The creative process behind these pieces is heavily inspired by the work of design-based research studio Extrapolation Factory, who scan for signals of possible futures and imagine them through design and happenings. I work in many mediums: graphic design, digital fabrication, sculpture, video, whichever communicates the topic best. Focusing on creating bold, contrasting designs that catch the eye, I mold imagery and typography into rhythmic compositions. Creating shared connections between my pieces through common imagery, as well as subtle details that imply bigger concepts, I reward close inspection. Ultimately, my goal is to consider what we are made of: not by providing all the answers, but by asking questions and bringing new debates to the table, sparking conversations to help navigate our future.

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  method in madness

  McKenna A. Brownfield

  My art allows me to show people the world from my perspective. I have autism, so many things are different for me. Through bold lines, geometric shapes, and intense contrast, she creates work that captures her unique perception. I use charcoal, and color conveys unrealistic and unnatural forms that exist to emphasize that they're in my mind rather than reality.

  The art has a lot of floral aspects; it makes the connection between nature and people; without people, nature will overgrow and demolish any/everything, yet without nature, people would never survive. The deformed people are based on me; I deal with horrible body dysmorphia, the deformed/masked face is what I see, with the use of harsher colors or cuts like in the ceramic faces to show people what I am seeing. In some pieces, there is the use of symbols and items that are associated with witchcraft, like the triple goddess in the light part of my self-portrait and the candles on the table. Colors in my pieces help with the unrealistic nature, like the highlights not making sense or being overly dark. I use leading lines. I use fabrics in pieces almost as a break from the solid shapes and never-ending lines. The harsh shadows and strong lights give the viewer more fluid, soft breaks in the piece, as seen in the figure drawing, in the woman's dress. I primarily use charcoal and conte to create my pieces.

  Like my favorite phrase, “There is method in his madness.” Shakespeare, Hamlet. Tim Burton’s recognizable, unnerving style inspires the exaggerated features in my pieces. John Nolan’s bold palettes relate to how I use color to exaggerate elements of the piece, like in my self-portrait. Philip Gusto’s deliberate, sharp use of line is similar to my figure drawing. When I use charcoal, it's for the flexibility it has as a medium and the mess it creates, which helps the piece become mine. I use color to separate some aspects that I want to highlight. The use of the messy medium shows the madness that I see.

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  Professional Practices Art399

  Bronwen K. Chun-Ming

  I work in oil paint, as well as clay. These mediums allow for expressive and textured application of medium. My love for ceramic work started in a 6th grade ceramics class and has continued to grow during my time at Murray State. Clay as a medium lends itself to the themes of my work, human and bodily experiences. Clay keeps a record of every touch and mark, creating a deeper connection between myself, the work, and viewer. My ceramic work is handbuilt and intentionally related to the figure/body. Finished pieces are rarely glazed and are instead treated with oxide or salt washes to keep the integrity of the touched surface. Glazed pieces are done in thin, sculptural glazes, adding texture to the surface while still preserving details on the surface of the clay.

  Oil painting was introduced to my practice until my time at Murray State. Oil Paint is a rich and expressive tool in creating works of the figure. Much of my stylistic and technical process is drawn from the baroque period, inspired by bold lighting, expressive and dynamic compositions, and intense emotion. I have recently started exploring techniques in grisaille and impasto to achieve dramatic and painterly qualities within my work.

  In both ceramics and painting, I explore conversations of human emotions and bodily experiences. Creating works that deal with bodily representations of experiences and feelings allows for a personal connection between the work and the viewer, unique to each individual. Influences for my work come from a wide variety of media, both visual and otherwise. A large influence on the form of bodies come from stage performers, including dancers, theatre productions, and singers. Non-visual influence often comes from my own bodily and emotional experiences, as well as music and books.

  While at Murray State, I have had the pleasure of meeting Sunkoo Yuh and watching his process in ceramic sculpture building. His technique of building large, self supporting structures and sketch-like approach to the human figure have impacted my own process, inspiring a looser approach to the figure. Loie Hallowell’s approach to her own bodily experiences and expression of her lived experiences in her work has been a driving force into my own exploration of similar topics. In my continuing work I strive to connect with my audience through addressing shared experiences and feelings, creating a space for connection and reflection.

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  Rose Craig Art399 Portfolio

  Rose m. Craig

  My work often explores personal narratives related to family and childhood, using line, shape, form, and value in a representational style. Heirloom, a cylindrical nickel box with a symmetrical design of organic and geometric shapes, reminiscent of 1930s pill boxes, featuring a mother-of-pearl. Inside the box is a small brass pillbox hat. I chose to create a design and a hat that calls back to the word pill to not only symbolize heirlooms but also how mental illness can be passed down generationally. The mother of pearl symbolizes my family’s traditions of passing down heirlooms from mother to daughter.

  While developing my 2-D and 3-D mediums skills is important, I feel most connected to 3-D art. My piece, Nature's Security Blanket solidified this. No matter the medium, I always start by sketching my ideas to resolve any compositional issues, with many of my compositions having asymmetrical balance or using rule of thirds.

  When I began creating in 2-D, Caravaggio's use of contrast heavily influenced my work. Recently, I've shifted towards a more colorful, dynamic style, inspired by artist Janet Fish’s use of color. My piece Fair, showcases this with its giant colorful swirl, lights, and golden rope trim. Jewelry artist Belle Brooke Barer also inspires me, especially her use of shapes and space, which influences both my pieces Heirloom and Fair. Moving forward, I’m committed to exploring personal narratives using space and color to draw the viewers deeper into the story behind each piece.

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  Ella Cate Downing Art 399 Portfolio

  Ellen C. Downing

  Artist Statement

  Ella Cate Downing

  Rooted in subjects such as Faith, growth, and Biblical truth, while incorporating child development and how a child interprets certain subjects, is found throughout my work. Drawing from narratives that come from the Bible, and how children learn and understand these topics. My work draws directly from scripture and utilizes symbolism to help children learn and deepen their Faith. Intertwining both how a child learns and my Faith is ultimately what my works are about.

  Soft, vibrant colors and a more simplistic style are what viewers see within my work. Using a more illustrative minimalist style makes it pleasing to the eye and easier for children to comprehend. The medium of painting lets this style come through very successfully. Within painting, it gives you the chance to blend and mix fun, vibrant colors and smooth textures. When all of these things combine, it creates a smooth, seamless composition. Within the world of painting, I have explored oil paint, but have recently focused more on using acrylic paints. Using this type of medium is more versatile, while still giving a texture that looks polished like.

  These works are drawn from a variety of influences, one big one being the Bible. Combining scripture along with childhood experiences and how children develop is what brings my work to life. Drawing on impactful parables and stories from scripture, I utilize imagery and simple forms to effectively communicate and break down important truths. Exploring different artists who either use scriptural references or are children's book illustrators is what has physically influenced my work the most. All of these influences come together to make work that is grounded in Faith and growth.

  All of this comes together to make up work that is rooted in Faith and Biblical truth, along with making it easy for all to understand. Using parables, narratives, symbolism, and imagery, and intertwining child development makes the work easy to understand. Combining both how a child learns along faith is what my work encapsulates.

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  Bryce Drake ART399 Portfolio

  Bryce R. Drake

  Every person has to grow up, but that doesn’t mean we have to let go of our childlike wonder. Our imaginations can be an escape, letting us temporarily run away from reality to something refreshing and healing. My work embraces my love of everything soft, round, and whimsical to create art that embodies the safety, joy, and adventure of childhood.

  By working digitally, I create works with bright colors and larger-than-life characters that have a sense of whimsy, separated from the physical world. When working in Adobe Illustrator or Photoshop, I begin by sketching layouts and characters on paper or on a tablet. I then transfer those sketches into the programs and build designs underneath them, starting either with simple shapes or varied lines. The Harbor Seals flyer uses curved shapes to build a soft seal character who, though believable, also seems to have a friendly smile. The flyer’s rounded, legible typography in various weights feels both exciting and safe. Distorting the proportions of characters can allow them to be more expressive and relatable, like the characters in my illustration, The Lion and The Mouse. Their facial expressions are exaggerated to connect their emotions with the audience, and their bodies are rounded like the world around them, making them seem more playful. Even in my brand designs such as Cozies Café, using bubbly, rounded typography can make the brand feel more inviting and entertaining, and creating dynamic type lockups adds movement and excitement.

  My use of bright, saturated colors and playful proportions are inspired by Devin Elle Kurtz and Sam Yang, who use these elements to create larger-than-life scenes that draw the viewer into another world. Kiana Khansmith also uses these lively proportions along with strong expressions and movement to create characters that feel exciting and relatable. These three artists challenge my use of color and proportion, pushing it further so that I can make a world that sweeps a viewer back to younger, safer, happier times.

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  Raini Evergarden: ART399-FA25 Portfolio Final

  Raini Evergarden

  The value of an American worker has long since been measured in the value they provide in the enlargement of a billionaire’s wallet. Manipulated and oppressed by the system, American laborers have been reduced to shells of themselves, their sole purpose to keep the machine running. My work picks up the broken narrative and reflects the modern effects of violent American Capitalism on the working class.

  Lithography and book arts are inherently anti-capitalist. The process and laborious nature of printmaking and bookbinding is inefficient, unruly, and full of failure. It resists the capitalist obsession with speed, productivity, and optimization. Through these methods, my work offers a perspective on working-class life. One that represents American workers and their lives honestly, their struggles, sympathetically. By using corporate objects and controversial livestock animals–such as pigs– to represent workers' simultaneous complacency and oppression, I can better reflect the underlying injustice that the American system perpetuates. Printmaking evokes lustrous textures and expressive linework that is often a nod to the underlying exhaustion behind the figures and objects. Inspired by Micheal Barnes surrealist landscapes and soft rendering, I make imagery that might not always be real, but is always, reflective of the real emotion.

  Much of my inspiration comes from both observation and conversation. Inspired by Kelly and Kyle Phelps, ceramicists who depict American labor, my lithography book, Inheritance, was inspired by an inside wireman at IBEW 702, who described her life as, “Inherited labor, with no reward”, influencing my use of negative space, and rich values, to illuminate how capitalism has structured her life. Ultimately, my work is a wake-up call. One that seeks to reflect an emotion that the average laborer can resonate with, one that might inspire them to move beyond their slaughter, and promote resistance.

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  Kailee Goff Art 399 Portfolio

  Kailee Goff

  My current body of work explores the intersection of graphic design and photography through the format of a lifestyle magazine. This work highlights individuality and diversity, an appreciation for the uniqueness that each person has to share. By combining visual storytelling, portraiture, and thoughtful layout and typography, this project creates a space where people can be seen for who they are and celebrated for their individuality.

  I sought out and photographed some individuals I had never met before, engaging with their lives, perspectives, and stories. Each photography and layout design was created using Adobe Creative Suite, merging image and typography to celebrate individuality. I purposefully selected iconography, such as re-occurring objects from their daily lives, to emphasize key aspects of their character. To highlight the subjects’ differences, I separated them using monochromatic color pallets, allowing the iconography, typography, and imagery to stand out and distinguish each section of the magazine in a playful way. Influences such as Paula Scher, who uses design as a form of storytelling and representation, Cipe Pineles, whose playful modernist style connects image and type in editorial work, and JR, whose portraits give my approach and reinforce the purpose behind this project.

  At its core, this work reflects my growing understanding of the value found in every person’s identity. Beyond our differences – we all deserve to be acknowledged, understood, and celebrated. Each composition serves as a reminder that diversity is not just something to observe, but something to embrace as a defining part of what connects us all.

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  Katie Hart Art399 Portfolio

  Katie Hart

  Recently, I have begun exploring color as an emotional language—one that can communicate the complex and often contradictory aspects of the human experience. Color is not merely a visual tool; it is a deeply emotional medium that conveys the subtle tensions, contrasts, and harmonies inherent in the process of self-discovery. Through photography, I delve into the concept of self-duality, the coexistence of seemingly opposing forces within us, and how these forces shape our understanding of who we are. Within some of my portraits, I explore the tension between organic and geometric forms. By applying contrasting values—highlights, shadows, and tonal ranges—to suggest depth and mood. This conflicts with other photos, where the geometric forms engage with pattern and rhythm instead. The transition of focus through the depth of field is central to my digital work, allowing me to play with texture and tone in different ways, but the underlying goal remains the same: a snapshot of an emotional and psychological state that may evolve or transform as time moves forward. Through this process, color becomes a visual representation of transformation itself. Self-duality reflects the inherent contradictions of the human condition. We are constantly negotiating between light and darkness, certainty and uncertainty, peace and turmoil. Color becomes a way to explore this internal conflict, embodying the emotional and psychological spaces between these contrasting states. By using color, I am able to reflect the fluid and dynamic nature of identity, acknowledging that who we are is never static. Our emotional landscapes are layered, ever-changing, and composed of diverse hues that can both clash and coexist. Photographer Uta Barth and her study with light and how it interacts and abstracts onto things, has been a recent new influence for me. One such example that I wish to explore further by pairing two pictures that share either a small moment or juxtaposed with one another in some way. Whether it be implemented with abstract self portraits combined with natural landscapes or lighting, the connection between the two will seem to meld into a feeling. Ultimately, my work is about more than the visual—it’s about preserving the beauty that exists in small, often unnoticed details, and offering a glimpse into the emotional layers beneath them. This intentionality is influenced by the work of Sally Mann and Imogen Cunningham, who inspire my approach to tone and composition, Uta Barth’s study of abstraction in light, as well as Brooke Shaden with her past projects involving a closer look at the concept of death.
  All this to showcase that I’m still developing which I will pair together, but the emotion the two either display will be something that seems fleeting, the question of whether or not we are the result of our own making or if we can go against ourselves and change.

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  Future - 2025 (2nd Annual Juried Exhibition, Promotion, Sales)

  Hugo S. Hodge HSH

  Hello. Hugo Hodge is a creative working artist in Saint Louis, Missouri for graphic design and illustration. The work involved includes the student work of unofficial brands and collateral designs from both material and phantom companies like the Cincinnati Art Museum’s unofficial “Corporate Annual Report”, Grephone’s digital “Logo Package”, and the fictitious Mach Pizza’s “Branding Style Guide” from my Graphic Design classes. The main idea behind the work is to communicate a “vibe” or “strong image” for the subject it’s designing around, in order to tell the viewer Additional student work include engaging user interfaces for mobile applications (UI/UX Class) and appealing children’s book illustrations (Illustration). Outside of my student work, Hugo Hodge had a Romeo Films internship for a movie trailer/poster series (1207, Cocaine Time Machine) and a bunch of posters for advertising an art gallery (“Today I See Myself”). Work on his own time includes unofficial collateral merch (posters pamphlets, coins) for 2024’s Quakecon convention in Grapevine, Texas.
  
  In addition to digital work like graphic design and user interface, there is a large array of physical work to look at. Pen drawing and comic work specializing in reference and imagination drawing for figures/still life is a strong point in Hugo Hodge’s portfolio. These drawings often stylistically involve linework of various pen thickness marking forms that change perspective, shape, and posing to deliver a feeling of dynamism through these repeating forms in space. With his observational skills in conjunction with the design sense of typography, white space, and composition, he will have work that’s versatile enough for whatever artistic need you have.

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  Matthew Lopez Art399 Portfolio

  matthew W. Lopez mr.

  Artist Statement — Matthew Lopez

  At the heart of my practice lies Lucky Void, a persona and creative extension of myself that thrives within and alongside the warfighting community. My work is a tribute to the culture and contradictions that define the modern warrior. Through the use of mediums such as graphic novels, videography, photography, illustration, and the reworking of "acquired" military gear, I explore the identity and aesthetics of those who live within our niche community.

  The visual language of Lucky Void rejects the overused tropes that dominate both mainstream and military art—the endless parade of skulls, nods, and clichés. Instead, my work draws from the shared imagery many of us grew up with and reinvents it through the scope of military life, much like the transformative process of indoctrination itself. What emerges is something familiar yet still completely distorted—a reflection of how the individual becomes part of a collective story.

  Ultimately, my work exists almost exclusively “for the boys” as both an act of creative expression and a communal rallying point. It’s constantly a reminder that even within structure, there’s room for distortion, humor, absurdity, and art. Through my work, I aim to redefine what warfighter art can be: raw, self-aware, and deeply human.

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  Luke Medley

  luke c. medley

  Creating artwork with physical durability and enduring conceptual impact in order to leave behind a tangible legacy, or something permanent, in a world that is constantly changing is my goal. In this art form, I make two-dimensional drawings, three-dimensional objects, and functional wearable art. I am truly exploring how I can make art in a way that not only looks good but can be used with an aspect of craftsmanship.

  For example, I emphasize value with dark and light areas of a subject to show lots of detail just like artist Chuck Close when creating the charcoal drawing of my grandfather. In this work, form is strongly evident in my three-dimensional works as seen in my cardboard chair, which I translated an unconventional material into a functioning chair to sit in. Texture is an impactful element that I utilized in my artwork of the chair, incorporating a tangible woven pattern that engages with the user. For Example, Tim Kowalczyk who creates three-dimensional ceramics with the intent to make dishware look as if it were made of cardboard, helped with my building process of the chairs design. The principle of proportion is shown through the example of my cast silver rings. The use of measuring and accurate sizing was necessary for the casting process as well as the filing and sanding. I used emphasis as a method to show detail while allowing the rings to have an implied texture from the porous cuttlefish bones. Taking inspiration from artist Isamu Noguchi, I used unity by incorporating the same shapes to the top of the silver rings as he did in his free-formed furniture.

  My artistic process begins with a vision of a final product and tested through a series of fixing mistakes and learning what works while continuing to be inspired by similar artists. Keeping my mind active helps me to visualize the final result which I personally find to be the best part of the process.

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  Profession Practice Portfolio Spring 2025

  Cheyenne L. Pender

  Artist Statement

  Fruits have long been used as a metaphor for women, reducing them to symbols of ripeness, sweetness, or fertility. Fruit is scientifically defined as “the fleshy or dry ripened ovary” of a plant. However, with my experience with making ceramic sculptures, I continue to find more and more similarities between the two that I wish for those around me to discover as well. My work is an experimentation on how the female body can be portrayed through fruit and how beauty is subjective.

  In developing these artworks, I study fruit shapes and women figures combining coil building with carving to shape fruit figures. I am focusing on “zooming in” on the figure to have the audience decipher what I am showing and why. I study how different body types in the same position differ, and make them into sculptures to make my audience see them and compare them to fruit you would buy at a fruit market.

  In Spring of 2024, I looked into Jessica Stoller whose work deals with idealized femininity and objectification. Her sculptures work with the female body and food, making comparisons more with desserts. Upon researching Jessica Stoller, I quickly became inspired by Feminization Theory which talks about how femininity is framed through a variety of contexts such as age, sexuality, body size, style, and culture. Femininity is defined differently by people based on their beliefs in the contexts mentioned above. However, many of these are passed down beliefs, and it influenced me to let my audience know how they observe/objectify.

  My most recent inspiration has been Daniel Maidmen, a 2-D artist who focuses on drawing figures. I take inspiration from his female portrait poses, which focus on the curves and form of the female figure. He purposefully sketches voluminous poses such as stretches, bending down, and fetal positions

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  Art 399 Portfolio

  Bailey D. Provine

  The United States foundation is built on laborers and the importance of sacrifice. My Dad and my Grandaddy provided for our family by working construction and building custom cars for many years. Their hard work provides a prosperous and fulfilling life, but it takes a toll on their bodies. My work explores the softer side of manual labor. Through watching and working beside them, I have learned the value of hard work. Through depictions of trade work in my paintings, I connect to the shared experience of living in the rural United States and cultivate an appreciation for these labors of love.

  By painting and putting long hours of work into my paintings, I feel as though I am fully connecting to my work. All these paintings are photo-based and focus on naturalism, some of which I took myself and others are from years back. Like Honoré Sharrer’s, Tribute to the American Working People, my paintings elevate these contributions. I am inspired by her work and other artists that shed light on similar topics. I am also inspired by local artist, Jennifer Fairbanks and her use of naturalism and portrayal of still lifes.

  Through my application of the paint, I convey the feeling of ruggedness through texture. This can be seen on the top of the toolbox shelf and is related through the paintings that are on physical pieces of metal. I have spent many hours in the shop with my dad and him the same with his dad, and that is what makes this series so personal to me. These paintings commemorate moments spent with family, foundation of American people, and aspects of rural life.

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  Grace Rittenhouse Art399 Portfolio

  Grace L. Rittenhouse

  With my work, I focus on the beauty of humans and nature through painting and digital illustration. It emphasizes small moments and details like intricate patterns and subtle expressions with soft, blended art in a wide range of vibrant colors. This exploration is mainly through portraiture and original characters.

  By using oil paint and digital illustrations, I focus on creating unique characters; drawing inspiration from mythology, folklore, and cultures from across the globe. Some works take inspiration from traditional Chinese fashion or the symbolism of marigold flowers within Mexican culture. These characters have been with me since I was in middle school and have evolved with my skill and knowledge. The simple brush strokes speak for themselves when highlighting bright reflections of light, or in hair strands and very glossy fabric while the variety of brushes create unique textures. My works also heavily layer with various colors in order to create a sense of depth found in real colors and how they interact with each other.

  My goal is to create engaging characters that reflect the fantastical worlds they inhabit; whether in a single work or a stream of new sketches. They represent my interest in fairy tales, mythology, fashion and worldbuilding by taking inspiration from different cultures. A strong influence in these works is manga in the shape, line, and colors for the characters, especially artists like Hirohiko Araki and Yana Toboso. Araki’s eccentric characters and unique fashion design are incredibly inspiring and add a new layer to his visual storytelling. Yana Toboso takes immense time and effort in researching both historical context and visual references in order to bring a grounded accuracy in her fantastical narratives. Finally, the works of Alphonse Mucha have dynamic, bold outlines that highlight the forms of his subjects to contrast the subtle blending of his colors that I wish to emulate.

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  Elisabeth Roach ART399 Portfolio

  Elisabeth L. Roach

  Artist Statement

  Elisabeth Roach

  I want to make people uncomfortable with my art. Using drawing, photography, and audio to make striking pieces that blend disciplines, the art is often gross or distorted and is meant to unsettle while conveying a feeling. A large amount of my work is self-portraits, where I distort my own image to convey personal themes: from medical issues to emotions like agony. Using myself as the subject of my work allows me to express myself very directly; and I am greatly inspired by Maria Lassnig’s self-portraits that abstract the form to convey meaning.

  In my drawing work, I use colored pencil, often over watercolor. Texture is a big focus in my work, both the tactile texture of my drawing mediums or implied in my photos. Many pieces are focused on texture, alongside lighting. My art has limited intentional color palettes that draw inspiration from color meanings and how that relates to each work’s meaning. Approaching drawing like more like painting, I have started looking towards painters like Francisco Goya as inspiration. Having long had a fascination with process and imperfection, my work often has evidence of the process in it, with sketch lines or intentional flaws like warped paper and blurry photos. Audio art is another medium I have explored. For example, in my piece Sinew, the audio of chewing sounds makes it more uncomfortable as the drawing uses cannibalism as symbolism.

  Beauty and horror are not as opposite as many people believe, and horror art does not always equate to negative emotions. A theme I am interested in exploring in my work is the overlap and how horror art can be used as a tool for comfort and self-reflection. Recently, I have started using more body horror inspired by artists like Junji Ito, whose masterful use of body horror has impacted my own imagery, and Mokumokuren, who distorts human figures to vaguer shapes in order to emphasize their work’s themes of humanity and what defines it.

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  Jamie Rogers Art399 Portfolio

  Jamie Rogers

  Sex is political. Here, I view kink as a non-authoritarian resistance to conservative sexual values. This subculture has a long tradition of opposition to mainstream conservative values, particularly those of sexual and political correctness. While the association of pain with sexuality can be dated back to ancient rituals, such as those in favor of the Goddess Inanna in 3000 B.C., the post-World War II era witnessed an exponential growth of sexual fetishism, particularly in BDSM. This period also saw the emergence of fetish material like rubber, latex, and military or medical gear, with leather fetishism evolving into a subculture. Leather and latex were employed as vehicles to challenge the perceived innocence that is symbolized by cotton and lace. Using these materials, I have created wearable ceramic sculptures inspired by the kink community's opposition to authority grounded in history, sociology, and psychology.

  Inspired by artists such as Nicole Moan, with her highly detailed corsetry, and Wolfe Von Lenkiewicz, with his dark and surreally challenging paintings that confront traditional aesthetics, I want my pieces to be visually appealing and simultaneously quietly disturbing. The central theme for my work is the idea of restriction. My work delves into the ways in which the body can be constrained and controlled using hard, ceramic components in conjunction with different forms of binding seen in the kink community. Ceramics, as they are hard, cold, and unpleasant, are the ideal medium to counteract the softer, though highly exoticized, textures of leather and latex. This juxtaposition reflects the strong yet balanced power dynamics required in a healthy BDSM relationship. Along with employing materials that evoke the foundations of kink, I use colors like black, red, and gold in my artwork to arouse ideas of femininity, sexuality, and personal power.

  This emphasis has pushed me to be creative in combining disparate textures and materials in cohesive pieces, while simultaneously stretching my technical skills in ceramics. Through this focus, I have pushed the boundaries of what is possible with clay: Producing work with the intention of being visually appealing while provoking a personal conversation with the viewers personal biases associated with sex and sexuality.

  written: 3.22.2025

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  Professional Practices(ART 399)

  Ciro Astarita

  The blending of cultures and the fusion of art mediums are both integral components of contemporary art culture. High art, low art, sculpture, fashion, graphic design, animation, traditional drawing and digital illustration are all coming together in today’s world in interesting and unique ways. This parallels my life growing up as an Italian American, one side of my family being from Italy and the other half from America. Growing up, I was inspired by my love of comics and cartoons as well as my frequent trips to Italy and visiting my nonno and nonna. Italy is considered ‘old’ and America is considered ‘new’ in the greater context of history and both pull inspiration from each other in our current day. My work aims to combine the best of both worlds by blending traditional methods of creating art, primarily illustration in the form of comics, with the ease and convenience of technology and digital tools while incorporating influences from American popular culture and Italian art. This can be seen in ‘Thank The Heaven’s Issue 1: Plate of Bones’ where I have created an issue of a comic inspired by the older style of weekly publications such as that of Casper The Friendly Ghost or Archie while having it set in Europe in a vaguely distant time period . Some of the artists that inspired this work include italian comic artists Angela and Luciana Giussani, the creators of the italian black comic ‘Diabolik’, and comic book artists and writers Frank Miller and Dave Gibbons, creators of the comics 300 and Watchmen respectively.

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  Beth Bailey ART399 Portfilio

  Beth Bailey

  My photographic work documents the landscape and plants in rural Western Kentucky and Tennessee. Through botanical specimens, such as flowers, I show the beauty of this area. I contemplate the influence of humans and the transformation of previously untouched land. Through landscape photography, in color with black and white film and alternative processes, I seek natural places that provide a calm and stable feeling.

  Exploring the relationships between objects, considering the lines they create or the interplay of soft shadows, reveals a play of rough and soft textures, accentuated by mid-tones—a shared element with the three chosen artists. Many of the works render a flower that grows wild or a seasonal one, bodies of water, a forest or a rural landscape. A focal point in many of my works shows a symmetrical composition, emphasizing stability. In my cyanotypes and photograms, I rely on instinct and intuition, reflecting the manual skills ingrained in me growing up and my background as a former biology major. The inclusion of Buttercups (Daffodils) seamlessly honors my grandfather, fondly known as "poppa," symbolizing beauty and life's possibilities. His teachings, emphasizing step-by-step problem-solving, resonated with me, while my biology background informed my exploration of nature through landscape photography.

  The influence of photographers like Terry Evans, particularly her body of work "Prairie Specimens" is one that I emulate because of our shared affinity for botany to document the ever-changing landscape. Dana Fritz creates photographic monographs of natural and constructed landscapes, both of our works, mostly use black-and-white imagery. Imogen Cunningham's bold use of plants, characterized by striking mid-tones, center composition, and a filling of the frame, serves as inspiration. Whether employing cameraless processes or capturing landscapes each subject is approached with curiosity and respect, leading to a profound exploration of digital and analog photography.

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  Art399 Portfolio

  Kristian Canada

  I value a synergistic use of color or value. Additionally, using details that can be seen working conjointly to further the level of my art. The mediums I enjoy working with are charcoal, oil paint, graphite, and clay. Most of my work is illustrated in black and white with my main medium being charcoal due to its ability to form and cast by using layers. I use this element to add expressive additions, shading, and line work to my art.

  The ideas that I want to focus my work on are freedom of expression and creation where I can simply create in-the-moment work that a viewer of the piece might personally relate to or simply admire. Concepts that I feel drawn to from inside and outside of art are bold and dynamic pieces that portray movement or expression while also taking up space. I have always been drawn to contrasting elements such as lighting and shading because of their ability to add a tone to the piece that wasn’t there before.

  An element I tend to focus on in art is organic pieces because of the immersive aspect of the movement an organic shape or line can bring to create the desired movement in a piece. Other elements in combination are value and composition. It also utilizes organic shapes and lines tied with a value of contrast and form that feels unique to each character to create diversity.

  Kristian Canada

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  Maria Castlen Art 399 Portfolio

  Maria Castlen

  Often, I find myself following the mindset of “go, go, go”. I get caught up in the rush and chaos of the world. The bold, stimulating designs that are prevalent today further feed into the need to constantly to keep busy. To counter this, I like to bring a little bit of the past into my designs. I see it as a throwback to a time when things were simpler. Whether it be through the font, color palette, or illustration style, I embrace the chance to use a blast from the past.

  I create designs that find the medium between modern enough for the high-paced world we live in yet still incorporating vintage charm that many designs of today lack. Serifs and monospace typefaces are favorites of mine as well as using a subdued color palette to recapture the quaint aesthetic. When used in the right way, these elements can harken back to the past. Digital illustration has also been a method I use to fuse the old and new. This is shown in my social media advertisement using antonyms for the ice skate brand, Edea. I illustrated the skates and structured the type to mimic a vintage advertisement of the 1930s. Branding allows me to utilize the styles I admire and combine graphic design and embroidery. Joining these allows me to create a brand which honors the roots of embroidery and draw in the modern viewer. For example, the “lazy daisies” used in the motif for my brand, Needles & Knots, are one of the first embroidery stitches learned when learning embroidery. They convey a simple style that embroidery can be done in that is not usually seen in by the mainstream audience.

  Everything about Louise Fili’s designs are the direction I want to take my design work in. She and her team create elegant and simple, yet eye-catching designs. Upon stumbling into Ella Phillips Embroidery on Instagram, I knew that this was a brand to follow. She has a range of designs while still staying true to her overall aesthetic. Helen Green’s illustration style is something I continue to admire. The simplicity in which she draws her subjects is something I wish to achieve.