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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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  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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  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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  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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  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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  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.

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  Irian Christie's ART399 Portfolio

  Irian Christie

  My art weaves together personal experiences and cultural heritage through drawings, paintings, and sculptures. Each piece tells a story about family, identity, and Indonesian roots, inviting viewers to engage with moments of joy, growth, and reflection. I draw inspiration from childhood memories, family traditions, and cultural symbolism, using bright colors and playful imagery to evoke emotions ranging from happiness to introspection. By sharing these personal narratives, I hope to encourage others to reflect on their own stories and connections.

  Texture and pattern are essential to my work. I incorporate traditional Indonesian techniques, such as Batik—a wax-resist dyeing process—and woodworking, to create detailed surfaces that add depth and movement. These tactile elements allow me to merge cultural practices with modern artistic approaches, bringing both visual and emotional richness to each piece. Artists like Iwan Effendi influence my focus on storytelling by inspiring me to see each work as a visual narrative unfolding through form, color, and material. Similarly, Marina Elphick’s intricate craftsmanship encourages me to explore fine details and textures in my work, pushing the boundaries of my artistic practice.

  At its core, my art is about connection—between identity, culture, and creative expression. Growing up with a mother who pursued art, I was motivated to embrace creativity as a way to find meaning and inspire others. As the eldest sibling, I strive to show my family and others that it is possible to build a meaningful life through art. I believe that art is a universal language—one that fosters understanding by connecting people through shared experiences, emotions, and stories.

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  Art 399

  Jayson Coley

  In my exploration of abstract and portrait photography, I aim to transcend the confines of traditional visual representation, delving into the realm of the intangible and the unseen. Through a careful interplay of light, shadow, form, and color, I strive to capture the essence of emotions, concepts, and fleeting moments that elude direct description. Abstract photography allows me to break free from the constraints of literal interpretation, inviting viewers to embark on a journey of subjective interpretation and personal connection. By distilling the familiar into the unfamiliar, I create compositions that challenge preconceived notions and encourage a contemplative engagement with the visual experience. Through the lens, I seek to capture the hidden beauty within the ordinary, transforming the mundane into the extraordinary. Each photograph becomes a visual poem, inviting viewers to embrace ambiguity and find their own narratives within the abstract forms and textures. In embracing abstraction, I aim to evoke a sense of curiosity, inviting viewers to explore beyond the surface and engage with the layers of meaning embedded in each image. Through this dialogue between the concrete and the abstract, my work becomes a celebration of the infinite possibilities that lie within the language of form, inviting viewers to perceive the world through a new lens and discover the beauty in the ever-shifting patterns of light and shadow. Some of my influence comes from a photographer on Instagram “moniqueyvonn”. A lot of her photos consist of vibrant lighting and abstraction. What inspires me most about her work is the creative work and ideas behind it. I find it truly amazing how she separates the lighting, if she uses more than 2, and the textures it brings within the photos. Ways I try to implement that into my photography is by way of location in the light source or the position of focus on the subject

  (photo with suit and tie). I feed on content from creators scrolling through social media. One in particular has a good sense of video quality, different framework, lighting, and audio selection. His name is Deveja Webb, known as _djuice on instagram. The inspiration from him is use of a strong focus. You’ll see this in most of my black and white abstract photography. One to look at is the last photo. Ways I want to utilize his skills in the future is by using the background to complement the foreground as you see below. .https://www.instagram.com/reel/CmKNt7RPxUy/

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  Faith Conner Art399 Portfolio

  Faith Conner

  My work consists of various explorations across different media and prompts. At Murray State University, numerous opportunities have been provided to experiment with media such as painting, ceramics, woodworking, and more.

  Inspired by artists like Ian Basset, known for creating clay forms that explore diverse glaze patterns, my work often incorporates exaggerated details and intricate forms. A recent example includes a series I made that experimented with different clay forms and combinations of different glazes to create unique bowls that serve as a functional piece as well as a sculptural piece.

  Ultimately, the goal is to encourage viewers to embrace new possibilities within their own lives. The work serves as a reminder that experimentation with unfamiliar materials can lead to discoveries about both oneself and the surrounding world.

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  Caitlyn Cooper - ART 399 Portfolio

  Caitlyn Cooper

  My body of work combines Graphic Design and UI/UX design to investigate and problem solve how to make well-designed products that are interesting and accessible to the broader public. UI/UX work has allowed me to design with intention, finding purpose in my choices and making the experience easy to navigate for the end-user.

  Accessibility is not an afterthought but a cornerstone of the creative process. Whether crafting a website, a mobile app, or a digital interface, each project must be approached with a deep understanding of its context, audience, and objectives, ensuring that every design choice aligns seamlessly with overarching goals. My design process includes using tools such as Figma, Adobe Illustrator, and Adobe Photoshop. Inspired by the study of Sociology, a fascination with the human experience and the patterns of human behavior within design has emerged as a primary theme within my practice. Language, behavioral patterns, and social norms are shaped by our culture. Learning how to apply sociological knowledge to design allows one to work with human behavior rather than against it.

  “Alpha-Gal Pal” is a UI/UX mobile design mockup centering around Alpha Gal, an allergy causing intolerance to red meat and other mammalian products. The app that I conceptualized and designed would allow users to scan grocery items while shopping, checking the ingredient list and product for known allergens. The app’s visual design and functionality would ideally allow users to feel safer when shopping, as the FDA is not required to alert consumers about red meat by-products in ingredient lists. By making the design accessible and helpful, allergens become easier to navigate for users.

  Massimo Vignelli is an influential Graphic Designer and his work has shaped my approach to design and typography. Studying Vignelli's work, including his New York subway signage, has taught techniques for creating visually engaging typography and accessible design solutions. For a Web Design course at Murray State University, students were tasked with redesigning an Art Museums exhibitions website only using typography. Vignelli’s bold typography work inspired my work for the project and allowed for the creation of aggressive typography that reflected the Tate Museum and the contemporary art they exhibit. Although the typography is visually aggressive, navigation and accessibility were still important factors when constructing this design.

  Through the convergence of graphic design and UI/UX, I strive to redefine the boundaries of digital creativity, forging new paths that prioritize accessibility, intentionality, and above all, empathy.

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  Abigayle Cothran ART 399 Portfolio

  Abigayle Cothran

  After my mother passed away, my interest in her old photos grew, and I became intrigued by changes throughout time. With everything in my own life changing so much, I began searching for consistencies in the photos. Through my grief, I needed there to be things that hadn’t changed and would not change. There had to be something that had remained unchanging. Anything that hadn’t been touched by time could be something that connected me to her. The people in the collection of photos stayed the same, but their appearances were ever changing. The rooms and the homes were always different. The places and cities never stayed the same. But, soon I noticed a dining room table. It showed up in many photos. Everytime in a different room. Everytime one of my parents, or both, were sitting at it. And now that very same table sits in my own dining room so many years later. A table that’s been a constant for nearly 5 decades. An old table is not something I ever would have considered special, but now it is something I can find comfort and peace in.

  My paintings are naturalistic; I strive to honor the details and accuracy of the moment I am painting. The scenes I choose are significant, so the time put into studying and recreating every detail is important. I am inspired by Jeremy Lipking’s ability to use refined levels of definition and detail, while leaving other areas vague and loose, and how he uses subtle color shifts to achieve a more naturalistic look. I also look to Ekua Holmes as inspiration for her use of vibrant colors and seemingly unimportant moments to explore ideas of childhood and family bonds.

  This series of paintings maps the inevitable transformation of lives, environments, and relationships across 5 decades from the steadfast perspective of a dining room table. Through my work, I encourage my audience to consider the enduring constants within their own lives.

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  Professional Practices Portfolio

  Krizianna Groves

  My artwork consists of large self portraiture drawings and paintings. Exploring the amount of distortion I can create with my face and hands. The distortion of my body stems from the sexual assault I’ve experienced in my life. How their hands on me made me feel disconnected from my body and self. Living with that trauma that will continue to follow me, caused myself to not see me correctly or even feel like me. Maybe if I looked different it wouldn’t have happened. I also create work that has my partner as the subject instead of myself. He’s drawn to be sort of a safe place for me since he’s the only one that hasn’t hurt me and instead is helping me grow. I feel as if he’s the only one I can draw in the closeness of distortion that I take on because he also bears my pain with me. He’s the first partner I’ve ever wanted to draw, I feel as if that makes him permanent in my life.

  I wasn’t listened to when I said no, stop, or don’t touch me in the past. I want to regain that power back, where I can give permission. I want people to touch my work. When people see a painting or a charcoal drawing they assume you can’t touch it because it will change the artwork. I want people to interact with my work even though it will change the outcome, it’s taking back what was taken from me, my word, my permission.

  Color used to not play such a big part in my work. It was a scary experience first trying out color and how it would react with the charcoal. But now that I’ve gotten to know color, it’s everywhere on my drawings. It’s now playing a big part in my work with how my self portraits are focused on the warm tones. Red, orange and yellow are really intimidating colors for me because they are bright and out there, but that’s what I want people to be attracted to with my work, you have to look at the bright colors to focus on what’s going on in the drawings. The works with my partner being the figure are using cool tones where they aren’t as attention grabbing, which it’s to show that I view him as safety and comfort, where I feel most at peace.

  Artists that I’ve grown my inspiration from are artists like Jenny Saville, Marlene Dumas, Junji Ito, Maria Lassnig, and Chloe Piene. All of these artists have helped me figure out my own style when it comes to creating how I see myself and how I create the pain and distortion of my body.

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  Jordan Harrell ART399 Portfolio

  jordan harrell

  Life is an intricate tapestry of emotions, aspirations, and profound interactions. My artistic journey is dedicated to capturing the essence of these moments and offering viewers a glimpse into my unique perspective. Whether through the rich textures of oil painting or the raw expressiveness of ink and graphite, my aim is to transport viewers into immersive narratives that resonate deeply.

  Drawing inspiration from masters like Vincent Van Gogh and Sarah Dean, I integrate vibrant colors and dynamic lines into my work. The swirling patterns reminiscent of Van Gogh's night skies and Dean's masterful equine portrayals serve as guiding influences, enriching my artistic vocabulary.

  Each stroke of my brush or pen is infused with personal experiences and observations, inviting viewers to connect with scenes they may never have encountered firsthand. By harnessing the power of visual storytelling, I strive to evoke emotions and provoke contemplation, fostering meaningful connections between art and audience.

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  Samira Art399 Portfolio

  Samira Johnson

  When you are first seeing my artwork, wanting it to bring some type of Joy. The main reason I make art is because it reminds me of when I was young, I’ve always had a creative mind. I loved creating things and my favorite classes to always go to was art. The initial reaction when seeing my art is it wouldn’t be what you would expect. Most people looking at it would see some similarities but at the same time sometimes my concepts don’t flow. The main similarity you see when you look at my art is how I use color and when I discuss color it’s mostly bold colors. I love how color can transfer your work into your own, especially pallet choices and how you tend to use color. My work tends to be based around things I enjoy or that would make the audience think about why I’m making art about it. I like for my artwork to be unique and so I try to do things that I know I specifically like so I can see other people's reaction to those things as well. Concepts for me are very broad, my main thing I would want to solve is getting into the flow of how I can connect all these things together. For the most part, I want the audience to just enjoy and think about what they’re seeing. I wouldn’t say it’s too complicated to pinpoint what the concept is, more so why I chose subject matters and how I chose to use them. Color for me is my most obvious in my artwork, I really enjoy blending colors together and getting different tones for different vibes I want to go for. Most of the time with my work I like to add pink if possible, overtime it’s just been my signature and it’s shown up in a lot of my work, so it kind of becomes a thing where it becomes my own. I think in the future I would like to do more with that color and explore it more. When I create art, I enjoy painting the most, I would say that’s my preferred medium because you can do lots of color mixing. I also liked the process of painting because you sketch it on so you get that drawing aspect but instead of shading you go in with paint. I have enjoyed oil paint because that’s what I’ve used since coming to Murray and taking an art class. I have tried other paints in the past but oil has definitely been my favorite. It’s been my favorite because of how blendable it is and also how long it takes to dry because then you can go back over certain things. Artist I take influence from is Khinde Wiley, what draws me to his work is the background he chooses to put his subjects in making his own. I enjoyed Takashi Murakami’s work as well for the bold colors, and the repeated symbols that he continues throughout his works. I also really enjoy Odilon Redon even though we don’t work in the same medium, I enjoy the unique concepts and characters that he uses throughout his work it makes you take second glances when looking at it. With my art as a whole, I’m still finding myself and finding what I want to make art about. I’m not a very open person, so I think it’s hard to dig deep and put the other layers of myself into my work. For now I can say that what I make is things that I enjoy, and sometimes that’s what you need in a world of chaos.

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  Ash McIntyre Art399 Portfolio

  Ashlynn Eve McIntyre

  Artist Statement

  Ash Eve McIntyre

  I create figural work exploring themes of object-human relationships in the context of childhood trauma and its aftermath. The works are made using a variety of media, including wood, ceramic, paint, and even found objects such as stuffed animals. The same craft techniques that are used to create comfort within domestic settings, I utilize to give care to the figures.

  In the work, there is an emphasis on comfort and platonic love in my work. Stuffed animals are used in my sculptures to relate back to both domesticity and physical comfort. While the works represent the traumatized individual, the tone of the pieces are generally of emotional recovery and resilience. In this context, elements of ideal domesticity such as stuffed animals and hand-made clothing express realistic and achievable forms of happiness.

  Many of my works reference the Greek mythological stories, like those from Ovid’s Metamorphosis, in which characters often undergo a transformation into an object or animal after experiencing a traumatic event. This transformation creates a paradox in which the character both survives and dies. In Ovid’s recounting of Greek myths, their new form is often supposed to protect them from further harm, but ultimately this objectification only further takes away their agency. These references to mythology allows the work to make obvious that traumatic loss of identity is a long-established but often unspoken human reality.

  The relationship between psychological death and physical comfort in my work ultimately yields itself to these artworks acting as their own alternative to heaven. Despite surviving, their object bodies have been taxidermied into the state of eternal comfort.

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  399 Portfolio

  Addison Miller

  The overall goal of my works is to tell the stories of the characters I have created and give my audience a glimpse into who the characters are and why they are the way that they are. I make pieces and characters based on the environment around me, specifically the plants and animals in my own backyard. My process starts in my current sketchbook. Sometimes characters get reused from a previous time in my life that I feel I could improve upon, characters designs will more likely than not change over the course of time. When I am satisfied with the design of the character, they are ready to be incorporated into the story, whilst designing the character I probably already have a good idea of what their personality is based on appearance or if they are based on a specific person.

  I work mainly with COPIC or Huhu markers on Bristol paper, this is my chosen medium because the smooth and easy blending of the materials make it possible for me to achieve the look I'm going for, although recently I have been incorporating colored pencils into my work after it was recommended to me. They are mainly used to color the background; this helps the characters stand out as opposed to the marker on marker look.

  When it comes to my style of drawing, I am heavily inspired by the works of E.H. Shepard (the illustrator of the Winnie the Pooh books) and Beatrix Potter (the writer and illustrator of Peter Rabbit) with both of these artists' works focusing on giving anthropomorphic traits to animals or other various objects.