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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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  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.

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  Professional Blends

  Cameron Neal

  My works explore personal ties to my living environment and need for comfort. Comfort is something that I often think about because I spent so much of my life feeling uncomfortable in my mind and body. My works consist of many materials, but I mainly work in metals and wood, and my process relies heavily on hands-on experimentation. I’ve had experience crafting, but I have never been so meticulous with my work before now.

  One of the works I included is a domed ring that mocks the shape of a pillowy or cushioned object even though it is made of metal. Another work is a jewelry box that looks like a couch, made to keep personal items. There is humor that can be found in this piece due to it being a place to keep personal items, but a couch is typically where you would lose such items.

  While I take being an artist seriously, I do not think all of your artwork has to be serious. These works represent my personality and show the absurdist and ironic side of me. There is humor that can be found throughout all of these pieces. The nostalgic aspect of the pieces also helps convey a sense of contentedness and comfort throughout these works.

  My influences within the design world have impacted how I view making art. Wharton Essherick stated “If it isn’t fun, it isn’t worth doing,” and those are words that I stand by wholeheartedly. I don’t think that being an artist should be seen as a job you have to perform, you should be having fun and making things that speak to you as a person. Angela Delarmente created works with metals and speaks on how she enjoys being able to take such a hard material and bend and shape it to soft, intricate designs. That outlook on metalsmithing has shaped the way I look at metalsmithing.

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  Art399 Portfolio

  Emily Ray

  I mainly work with paint, using it to captivate texture and feeling on a much deeper level than just its color and flow. Paint is the perfect form of expression I find easiest to express. Themes such as emotion, vulnerability, and personal reflection are topics I like to touch on using human anatomy or skeletal systems.

  When it comes to general imagery, the use of dark/light and body language, my work is inspired by Caravaggio and his use of intense lighting to showcase darker feelings that include a narrative. In connection to Caravaggio, Van Goh as a person also inspires me to think deeper about the parts of myself that I can harness in order to convey emotion and texture. Both of the artists dive deeper into the sense of feeling on a deeper level.

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  Art399 Portfolio

  Sydney Robinson

  At some time, all people struggle either mentally, physically or emotionally. Most have some form of struggle that we carry around with us. Some show their struggle while others hide it very deep down. I create illustrations to show people that they are not alone in their struggles.

  I build illustrations that incorporate heavy outlines, with a tone of cartoonishness and I also incorporate type. I want the illustrations to have heavier strokes to help provide a sense of unrealisticness to very serious concepts. I incorporate text as a way of giving the piece a direct meaning. I want to create the illustration's anatomy that is genderless as a way of allowing everyone in the audience to connect more with the piece itself.

  I also build typography that incorporates a hint of color with a simple layout. I want the typography to express and highlight the overall importance of a quote in which it is referencing. I think the right use of color can help enhance a point and be more eye-catching to the audience. When I create a typography I want to use phrasing in which it sounds as though the words that are being displayed are being said to the viewer themselves as a way of connecting the pieces to the viewer.

  The design process for the layouts of these posters was influenced by illustrators such as Max Erwin and Carles O’Dowd. Their use of line work in their pieces is not over realistic. I find unrealistic artwork to be very comforting and somewhat cartoony. I find that cartoony artwork is a nice way of taking harsh reality and softening it down to make viewers more comfortable with the subject. I want the art I display to stimulate both the viewer’s mind and emotion. While leaving the viewer wanting more.

  Sydney Robinson

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  Hayley Runyon Art 399 Portfolio

  Hayley Runyon

  I often think about the meanings behind my artwork. Why do I create what I create? I’ve realized more recently that the answer is simple. I make art about the things I love. More often than not it can be simplified to the people I love. They seem to be the subject of at least seventy-five percent of my artwork. Not to exclude those we think of as “Children”, or simply our pets. I also love to draw and paint nature scenery. Painting is the medium I mainly use. I use a wide arrange of acrylics, oils and watercolors. I specifically love to paint flowers due to their vibrant colors and different varieties. Most of my artwork is happy, however, it often reflects on my personal life at that time.

  The subject of my work has recently shifted to mental health awareness. This is do to a tragedy that occurred in my family. It has caused me to reflect on my own mental health, and others around me who I know have struggled. When working on landscapes, floral centerpieces, or incorporating pets into my work, I often look to Peach McComb. She combines realism with abstraction. Another inspiration for me is Guy Denning. I gravitate towards the sketchy lines he incorporates into his finished pieces, as this is something I see throughout my works. I use my artwork to send a message about myself, others, or simply the world around me.

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  Eve Sexton

  Eve Sexton

  In my personal landscape art, there is a focus on nature, family and nostalgia. Combining those elements usually allows thoughts to percolate of times in life where people feel most akin with nature. I feel there is peacefulness in nature, as well as the fact that it is something that has been around for eons, provokes thoughts of mankind’s place and progression in the world. There is an order and a system that things just instinctively follow in nature, life and death is so common and unavoided. Things grow, they die back, they come up again when the time is right. That connection winds itself into the lives of people as well. When one person or connection fades, there are several others that are still there, and many more to come. By exploring natural elements that people find familiar, but with figures interacting with them, I explore a continued narrative of human connection with natural elements.

  Memories can connect places with people and even objects. My memories imbue life into those spaces people remember, both permanent and temporary. There is something about inviting the viewer into the space that is being remembered that offers a personal insight into those past memories. Inviting viewers into the memories of one specific person-myself- prompts them to think of their own memories, especially those that concern the same subject matter- nature and people. Memories take up a lot of space in the brain, and are used to inform everyday decisions and feelings. These memories interact with each other through layers upon layers. Time spent over and over again in familiar places builds the layers of connection between memories of people and places. Oil paint helps exemplify those layers in a literal sense. By actually painting a figure over a landscape, the two are more coherently visually connected.

  The figural element plays an important role in my memories, for the most part. People’s faces, actions, expressions, and interaction with ourselves and others helps form those memories of them, as well as places they inhabit. The use of unconventional colors in portraiture- the same greens or yellows or browns that are found in natural or homely environments- add the context of the influence of that natural setting, while still allowing these people who are important to me to be rendered with full values. I am influenced by Heather Horton when I render faces. The brushwork she uses, as well as the earthtone color palette are big inspirations. There is an emphasis on the placement of the face in a place. Considering how a portrait interacts with all the other elements surrounding it, one can gain a better understanding of how exactly that person may behave in an actual setting besides a 2-d representation. In surrealist portraiture, like what Jennifer Coates seems to have done, having a face detached from its body can offer a haunting aura. I am inspired by her incorporation of the face, especially making the features and placement ambiguous. Still, I hope, with the right lighting and background and attention to detail, the more mindful meaning of seeing these faces in these impactful places will still come through.

  Contemporary influences:

  Heather Horton:

  Heather Horton has sophisticated rendering of line and texture in objects and has a painterly, blended style I’d like to emulate.

  Jennifer Coates:

  I’m drawn to Coates because of her thematic work. She includes figural elements in a vaguely similar way to what I have been doing. I am interested in how she uses non-local color, and has so much contrast in her work.

  Erin Hanson:

  Erin Hanson's work has a compelling use of strong light sources as well as saturated color. I am drawn to the way that she blocks in colors as shapes, and how she doesn’t shy away from texture.

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  Art399 Portfolio

  Sadie Smith

  My work mainly consists of drawing, using charcoal, ink, and pastels to create pieces that emphasize stark contrasts and surreal, dreamlike atmospheres. The contrast between rendered forms and flat backgrounds creates a sense of timelessness, as if the subjects exist in a space removed from reality. This quality is evident in pieces like “Three Birds,” where three women appear to float in an undefined, eerie environment. The implausibility of the forms and their ethereal nature contribute to the dreamlike quality of the imagery, making it clear that these scenes could not exist in the real world. The themes I explore generally fall into two categories: personal experiences, or larger societal issues. In “Guilt,” I delve into the inner struggles of a woman suffering from anxiety and shame following an abortion. The stark contrasts and monochromatic tones convey the weight of her emotions. Conversely, “Tsar” critiques the power and influence of the wealthy elite, using dark, imposing imagery to challenge the viewer’s perceptions of authority. These themes allow me to connect personal experiences with broader social and political contexts, making my work both intimate and universally relevant. While drawing is my primary medium, I also incorporate 3D elements such as ceramics, metalsmithing, and mixed media sculpture. These additional mediums challenge me to think differently about form and space, enhancing my technical proficiency. This progression is evident in “Tsar,” where the body is depicted with a high level of detail and realism, contrasting with the flatter, less anatomically accurate figures in “Three Birds.” Artists like Mark Rothko, Kathe Kollwitz, and David Cerny have significantly influenced my approach. Rothko’s use of color to evoke mood is something I strive to incorporate in my work because I believe that color is very important in evoking feelings. In addition to this, Kollwitz’s high-contrast drawings influence my rendering of light and shadow, and Cerny’s bold political statements inspire my use of symbolism as a confrontational response to a variety of political and social issues. Through my art, I aim to create visually striking and thought-provoking pieces that encourage viewers to engage with the underlying themes and emotions of the works. My goal is to create art that resonates on a deeper level, challenging perceptions and provoking meaningful conversations.

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  Kaylee Vanlue ART399 Portfolio

  Kaylee Vanlue

  Serving as vessels through which one is able to navigate notions of identity, belonging, and passages of change, honoring intersections of cultural heritage alongside influence of the diasporic community, my work is established. Central to my body of work is exploration of lived experiences alongside the development of materials over time. Emphasizing the interactions of an item with the environment it has been placed in. How do these reactions of environment evolve into something relatable to lived experiences of humans, and how does it tie everyone together?

  Consisting of ancestral impact, close at hand with modern comforts, an intertwine of multicultural perspectives is established. I include motifs of Vietnamese history into my work through traditional practices or forms juxtaposed with contemporary content, combing through heavy and light topics of race concerning more than the Asian community alone, tying in any and all issues of identity or a communal identity that one can identify strongly with.

  Exploration of the metamorphosis of something that will be created and the interactivity of a piece with its environment or an audience have recently become essential in my planning or indented finishing of a piece. Acknowledgement of what will become of someone or yourself in the future is essential, as is what something will become once you have left it to continue within its natural process. Just as materials undergo transformations in response to their environmental factors, we as individuals adapt in our own ways. Similar to how weathering can shape the form or texture of an object, life factors such as experiences and cultural upbringing shape a person’s perspectives, beliefs, and personality. Moreover, the “decay” of an object acts as a metaphor for the wearing processes an individual would undergo throughout their lifespan. Relationship between material change and human change serves as a distinct reminder of the interconnectedness of the natural world; all the while, roping in universal themes of impermanence, resilience, and adaptation.

  Conducted through metals, fibers, and wood, recently my work has held inspiration from an Asian American artist, Georgina Leung who specializes in cultural motifs in both two-dimensional and three-dimensional fabrications and Chie Shimizu, whose work focuses on significance of human existence while also tracing back into his ancestral past. Leung tends to air on the lighter side of things using comfort imagery to bring a more ataractic sense to her work while Shimizu evokes a more intense use of similar imagery to portray individualistic energy and “immensity of nature”.

  Ultimately, the navigation of self and others mirrored by the continuation of evolution are what drive the intention of this body of work. The relationships and reciprocal nature of an object with an environment produce messages of everyday experiences that can relate all people together despite the personal significance of a piece. Interconnection of human life and the life of a tangible object is what I find best transcends cultural boundaries and bridges individual gaps of understanding between all people.

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  Art 399 Portfolio

  Virginia Walsh

  My work is deeply rooted in my upbringing and the environments I grew up surrounded by. Most of my inspiration comes from revisiting childhood memories and translating them into themes relevant to my adulthood, primarily through painting. The majority of my body of work consists of portraits, specifically those of people I love dearly and whose faces are most familiar to me. I am fascinated by the way light interacts with skin, how sunlight at a particular angle can allow the flesh to appear translucent, and the myriad of color within the shadows of the face.

  I strive to tell a story through the eyes of my subject, which is an aspect of my portraiture I put special attention into rendering. Eyes can transform the insipid to something deeply poignant, and unveil meaning behind mundane. Though my work is incredibly personal, eyes are my connection to the audience; there is no need to ‘understand’ portraiture, but the ‘windows to the soul’ translate the semblance of the piece for my viewers to empathize with.

  Being raised in rural western Kentucky has also had a profound impact on my art making, as well as the environments my subjects are seen existing within. My landscapes are inspired by the nineteen acres of woods I once lived in, and exploring the creek with my younger sister in the summer. Spending many late July afternoons hiking through sun-lit foliage and collecting geodes in the sparkling stream of the brook has heavily influenced my painting, where I long to recreate the feeling I experienced during those many summers within my work.

  My artistic influences are an assemblage of individual works I was introduced to in development that shaped certain aspects of my portraiture currently. My hometown of Paducah, Kentucky houses the Lower Town Arts District and Yeiser Art Center, where I was fortunate enough to both witness and be a part of many exhibitions growing up. Local artists such as EJ Abell, who taught art classes out of her home that my sister and I attended in elementary school, and Bill Ford, a long-time family friend and icon of Paducah, have shaped me into the painter I am today. I have drawn inspiration from popular artists such as Georgia O’Keeffe for their color palettes and brush work in addition to my influences closer to home.

  My art is a reflection of myself and all I have loved, the experiences that have molded the reality I currently exist within, and a sincere admiration for the natural beauty of all God’s creations. Striving for exploration and the desire to stay curious.

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  Jonathan Wong ART 399 Portfolio

  Jonathan Wong

  Jonathan Wong’s artistic journey revolves around the profound connection between emotion and expression, finding solace in the realms of illustration and film. This transformative medium serves as a vessel for encapsulating the nuances of personal mental health struggles, offering a timeless reflection of emotional states.

  Central to Wong's creative exploration is a focus on mental health, exploring the complexities of the human psyche and societal influences. Through pieces like "Social Media Kills," Wong delves into the pervasive impact of technology on modern society, utilizing vivid imagery and symbolism to evoke a response from viewers. Color palettes, facial expressions, and spatial composition are meticulously crafted to convey the overwhelming influence of digital media.

  In Wong’s creative process, collaboration and introspection intertwine, culminating in works that speak to both personal experiences and universal truths. Drawing inspiration from luminaries like Massimo Vignelli and Paula Scherr, Wong navigates the intricacies of design with a keen eye for detail and narrative clarity.

  Driven by a desire to provoke introspection and empathy, Wong’s art catalyzes dialogue and understanding. Through the medium of video, he confronts the detrimental effects of online content on mental well-being, offering a beacon of hope amongst the digital noise. Each piece invites viewers to engage with their own emotions, fostering a sense of connection and shared humanity.

  Ultimately, his artistic vision transcends individual expression, advocating for the power of creativity to instigate change and promote healing. By fearlessly embracing vulnerability and authenticity, he invites others to join him on a journey of self-discovery and growth.

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  Art 399 Portfolio

  Alexus DeVaul

  Seeing how humans pollute nature by leaving their trash behind has been an ongoing question. Why are humans contaminating our environment? As an artist, I am passionate about the environment and its preservation. Drawing and making art from found materials has always been a part of my life. When I was young, I would draw in the dirt or stack objects into structures; and in my first year of college, I realized the connection between my lingering question and my childhood art-making.

  In my freshman year, I started to explore art-making from recycled materials. Since we live in a throw-away society, junk is an abundant resource. Most of the junk I use is sourced from the natural environment left behind by humans. I use these found objects in my work to create a sense of connection between the viewer and nature. By working with trash, I aim to promote the preservation of our environment or questioning of consumption and I will continue to conserve materials by reusing waste. My work is thought-provoking. I want viewers to become more aware of their surroundings and our Earth.

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  ART399 Portfolio

  Wesley Hammer

  Since a young age, my art has been a proper channel in which it allows me to express my own lived experiences by visually processing the thoughts and emotions that are made through everyday living. The process in which art is made deepens the understanding of oneself. Why I bring into existence art is why I exist. One of the most important influences to the creation of my works is the fact that I am transgender. The way in which I exist in the world as well as the relationships created are also influenced by this aspect. As I continue to transition, I continue to change. Through this change. I have to learn to accept the differences. Learning and flowing with these changes has led to oil painting becoming my main medium. Oil painting takes a long time to dry, this allows for a constant manipulation of the work. Working wet paint into wet creates fluid moments that change the piece. Even working wet into dry, such as glazing, changes the work. Creating the works that I do allows me to accept these changes and process my feelings. These feelings can be seen in the way I paint the flesh. I often use vivid colors, to exaggerate the way flesh looks. The most distinct colors I find myself coming back to is orange, red, and purple. These colors get mixed into the skin in order to create depth that is interesting to look at. With these colors, I hope to express the warmth of kindness and love that I have for these changes. Another influence to my art making is often Christianity and other religious themes. I do not consider myself to be Christian, but I was raised in a Catholic family, so those beliefs have been ones that stuck with me and still influence me today. One theme that I specifically come back to is that of what makes someone holy, and how change through suffering is what creates holiness. I use this theme to relate Christianity to being transgender. Like Christian forms of suffering aimed at sanctification , the actions I take in order to transition are aimed at changing myself to be the best version of myself, or my highest form. I find it important for me to use these themes of Christianity to explore my gender in order for others to be able to connect with my works. This is because many of us experience christianity in our day to day life, or have grown up with some aspects of it. Exploring the way others create art helps me with my own works. Two artists who have influenced what my art looks like are Egon Schiele and Jenny Saville. These two have an extreme understanding of the human body that allows for abstraction to occur. While I deepen my understanding of the figure, seeing Schiele and Saville’s works helps create that understanding. In regards to Schiele, I find myself drawn to the works where he depicts skinny figures with exaggerated bones. Along with his textured application of color, he is able to create borderline grotesque works that explore human nature as well as sexuality. In a similar way, Saville’s works also come across as graphic. Specifically, her influence in my work comes from the way she paints skin. She is able to create an accurate depiction of flesh while also abstracting it to create an overwhelming presence in her works. Exploring these influences, as well as how I approach my art making, allows me to understand myself to a deeper extent. This understanding also allows me to understand my own artwork better. Allowing myself to explore uncomfortable and often raw topics also creates the appreciation of softer aspects of life. Art helps me find myself, as well as allowing others to find me, or even find themselves.

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  TERESA HILL ART 399 PORTFOLIO

  Teresa Hill

  Aside from the aesthetics of cartoons and video games that I was attracted to in childhood; other influences that often guide where works would go are personal experiences, our connection with nature and others, the development of the imagination, and the human eye. The pieces made from that influence contain something tied back to others, whether it is the use of various warm/cool hues, the use of nature and flowers, colorful clothing on figures, or hands and legs being slightly longer than the rest of a figure’s proportions. Artists like Yayoi Kusama, Bonnie Seeman, and Hayao Miyazaki have also impacted my creation process in unexpected yet exciting ways; especially in recent years as I continue to refine my skills.

  Kusama, creating disorienting bright and patterned installations in her Mirror Room pieces, allows for the viewer to become physically lost in those worlds whilst interacting with them. The use of color, lighting, and pattern in her works transforms the once ordinary rooms into a visual stimulation of a world that she sees often. Ceramicist Bonnie Seeman creates her ceramics via meshing animalistic and plant-like elements into one surreal and bizarre piece, despite there being clear elements of flesh, sinew, leaves, and seeds. The bizarre mixing and squishing of elements leave an oddly satisfying yet strange adaptation of everyday items, from cups to teapots. All the while making it seem like a single entity that is a perfect symbiosis and synthetization of both flora and fauna. Hayao Miyazaki has influenced my personal works more significantly due to his use of detailed linework, shading, and his studying of real-life people you would in everyday life. His refusal to warp the human figure outside of normal proportions whilst breaking that rule with his supernatural figures makes every character in his animations and films unique and individual in the sea of characters that are in the plot. The meticulous development of creation for figures allows for the viewers to have a much more personal connection to specific characters without other with significant importance being too close to one another in design work.

  With traditional drawing media, the resulting pieces often evoke the somber nostalgia of childhood through the unglossed lens of maturity. I use the grain of paper and uneven blending to mimic the aesthetic of a vintage photograph, selecting colors of varying hues calling attention to specific aspects of pieces to describe the narrative to the viewer. Some with heavier use of color abandon this common theme for a more reactionary and expressive tone in regard to heavily debated topics such as preservation of nature and euthanasia. My personal works, on the other hand, focus on character and world creation, posing, shading, and conceptual development from idea to paper. As I work on my traditional drawings, it often results in separating the focuses of personal works and public works unless I find parallels between themes and sketches.

  My ceramic pieces, however, focus on the shape and placement of forms that often result in resembling the scenes from childhood storybooks, warping of common elements such as eyes and plant structures, or simply call attention to themselves via color and/or patterning. Leading to much more experimentation in what looks good and what doesn’t, but also leads to more critical evaluation and more pickiness toward detail and coloration. Ceramic works consistently have a sort of plant element to them, especially with recent works due to me viewing that humanity and nature go hand-in-hand, a relationship where both affect the other in the dance of life.