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  It Builds Character

  Harlene Simmons

  In the depths of our minds, we carry fragments of our past, pieces of childhood experiences that shape our future selves. Memories, whether warm and joyful, unbearably bad, or insignificant, serve as the building blocks of our character. It is the give and take between these memories and the vices we often keep hidden. My work brings to light the vices that quietly shadow our journey from innocence to adulthood—through methods of printmaking, primarily lithography, I set my childlike self in an empty space to emphasize the idea of memory, however clear or faint it may be. Central to my artistic narrative is the symbolism of the bucket—a vessel ready to receive inspiration, knowledge, and, most profoundly, the core of our youth. This empty vessel represents the receptivity of childhood and our minds' malleability as we absorb the world around us. Through photographs and drawings drawn from my childhood, I develop my artistic narrative. I juxtapose these snapshots of innocence with the presence of the bucket, making a connection between the past and the present. The resulting combination challenges viewers to confront the obscured vices that have quietly guided our evolution. Two significant influences shape my artistic perspective. Karol Pomykala's distinctive approach to printmaking, particularly in his series 'Changes,' diverges from my techniques. Pomykala, a dedicated relief artist, employs dot matrices to construct hyper-realistic compositions, often deviating from traditional compositional norms by extending the edges of his boxes into the margins of his paper. His mastery of space and balance resonates deeply with my artistic aspirations, particularly within the realm of printmaking. Notably, his choice of subject matter, such as rendering an open cardboard box, adds an intriguing dimension to his work. In contrast, Paul Galang's innovative lithographic methods captivate me as a printmaker. Galang's experimental process involves silk-screening gum arabic images onto litho stones and applying asphaltum to the negative spaces. This approach, which incorporates photo references, mirrors many aspects of my work, fostering admiration and inspiration. In “It Builds Character” I invite the viewer to retrace their steps through memories, to recognize the unspoken vices that lie hidden beneath the surface of nostalgia. Through this exploration, we confront the paradox of childhood—the simultaneous embrace of wonder and the inheritance of unseen burdens. I hope that this visual representation sparks interest, illuminating the profound impact of our early experiences on our adult lives.

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  Human Nature

  Karl Smith

  Building a brand means looking beyond a product or organization and finding an aspirational vision that creates value for the consumer. Through my design work, I want to transform products and other subject matter and transform them into unique, powerful experiences. By using intentional design choices, I can create effective visual communication. My design centers on strong hierarchy, bold color, and clear typography that creates attractive, memorable, and distinct visual identities.

  Human Nature represents the positive impact a brand can have on the world by authentically connecting with consumers to provide real benefits. Skincare is the pursuit of beauty and health on a personal basis, and the Human Nature visual identity adds clean design to every step of this worthwhile journey. The clean, simple typography and flat visual treatment on the boxes, paired with energetic imagery and copy, conveys dynamism and honesty. An intentional selection of cohesive, minimal forms for packaging keeps the brand consistent and maintains an aesthetic fitting for personal care and beauty products.

  When creating this project and in my general design practice, I am inspired by the work of several designers and studios in the branding and packaging space. The work of Studio MPLS creates simple visual motifs that, when combined with quality finishes and materials, create appealing tactile experiences and emotionally engaging designs. Han Gao of Workbyworks Studio uses clean, straightforward type to create stunning visual effects that facilitate effective, elegant visual communication. I am also inspired by the works of Bruce Mau and bmd, which use space and bold color to create lasting impressions for brands.

  Human Nature is simultaneously the culmination of my work as a student and the beginning of my work as a designer. I hope to use design to create a positive impact on the world around me and real value for those that interact with my designs.

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  Camp Create

  Lyle Smith

  In life, there are certain feelings and emotions that are better conveyed through art than words alone. Using media such as graphic design and photography, I strive to organize information in a unique and thought-provoking way, and convey emotion through the elements of art and design. In art, I draw from my own experiences and create a time and place where I can ask questions without being interrupted. In design, I combine form and function, and organize elements in a way that is simultaneously logical and visually appealing. I am creating cohesion between photography and graphic design. In short, if I can give people a reason to look at my work in the first place, then I can provoke them to think and care about what I’m saying.

  Creating my first photo book required dissection of my photography to find the through line across the compositions. What I found, in this reflection, was a visual record of the times where I felt comfortable to frame life through my lens. Through elements such as leading lines, geometric shapes, and the juxtaposition of man-made and natural forms, I organize my compositions. Most of these photographs are created as I walk outdoors, which is a meditative time to reflect on my thoughts and feelings. Time and space are important elements in my work, and my subject matter reflects that. Man-made forms are controlled, and tied to a time and context, whereas nature is timeless and ultimately uncontrollable. Both are grounding in different ways. With the exception of my twin brother, there are no human figures in this photo book. I choose not to photograph human figures because my photographs are created in a private, solitary space. After gaining time and space from my compositions, I can share them with others. My artistic practice serves as a conduit for introspection, inviting viewers to embark on a visual journey where meaning intertwines with form, and emotion finds expression in the language of design and photography. I aspire to not only captivate but also provoke contemplation and resonance in those who engage with it.

  In my work, I’m attracted to bright and saturated colors, leading lines, bold use of negative space, creating symmetry and juxtaposing elements, creating balance and movement, finding and creating patterns, and creating texture and depth in digital works. I am fascinated with the way that the treatment of type in particular can affect the meaning of what is being said. In graphic design, drawing the eye of the viewer to the text in a composition is important to me. In my creative process, I’m inspired by the forms, colors, and other elements of design I see around me in everyday life, from the timeless organic forms found in nature, to architecture, interior design, automotive design, consumer electronics, music packaging, product packaging, print ads, and the work of photographers that I have found such as William Eggleston, Uta Barth, and Douglas McCulloh. William Eggleston uses color, type, and automobiles as subjects in a way that resonates with me. Uta Barth uses light and abstraction to create reflective pieces in a way I explore in my work. Douglas McCulloh’s formulaic way of creating chance occurrences to facilitate his work deeply resonates with me. In conclusion, I like to intertwine graphic design and photography to create work that captivates and provokes resonance in those who engage with it.

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  What Lives and What Lingers

  Kaylee Vanlue

  Like a flash in the night, reality blurs, and colors take shape. Manifestations spark within the form of a dream, allowing us to momentarily connect with those who are and were. This body of work draws inspiration from generational narratives that echo through time, particularly mid-century themes intertwined with Vietnamese and American heritage.

  At the heart of this exhibition lies a personal dream that has evolved alongside my journey from childhood to adulthood. Each piece serves as a visual exploration of perspective and identity, rooted in the mid-century miniatures of a dollhouse living room from my youth and cultural themes stemming from the Vietnam War. These pieces reflect and borrow from the aesthetics of that era, characterized by sharp lines, organic forms, repeating patterns, and a blend of function and artistry, but also the cultural significance embedded within both Vietnamese and American design.

  Each work in this exhibition encapsulates memories that stem from a personal and generational place, preserving the stories of both my past and broader cultural experiences relating to the way that people tend to cope. As real-life events have unfolded, each joy, struggle, and revelation has subtly shifted this dreamscape. This interplay of memory and imagination is reflected in the materials used: metal, wood, fibers, enamel and found objects come together to create a room of preservation that honors these shared histories. The pieces range from culturally significant jewelry that evokes cherished moments to structures reminiscent of childhood play and relationships, each item modified to tell its own unique story.

  Drawing inspiration from Jenna Spevack’s work and her shared emphasis on materials, as well as their unique roles in storytelling. Both of our practices explore interactions and conversations between various elements to invoke deeper reflections on memory, identity, and how they convey a particular event. The way that she creates an environment around her works to establish a feeling within the space is particularly notable as it adds a layer of encasement that guides a viewer’s sensibilities. Observing the way Maya Lin approaches her architectural designs from a poetic and dreamlike place, there are organic forms that employ a fluidity and ethereal mood adjacent to harsh geometry and repeating patterns that have sprung great influence on my personal work. Her use of lines that guide the eye creates a journey throughout her designs and installations, while also tying in cultural narratives and personal reflections, raises distinct influence and interest.

  As a whole, this work serves as a reliquary for the influences that have shifted perspectives through time. It invites you to ponder the insights we can gain about ourselves and each other as we reflect on the intricate tapestry of our identities. Within this shared dreamscape, we are reminded that our stories ultimately converge to form a singular, enduring circle - one that may continue to grow or fade away, depending on how we choose to honor and remember them.

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  The Mart of 8th Ave

  jacob zhao

  1. Identity is extremely valuable but can be a broad category; and it never comes in a box but also with labels, addresses, materials, care, shapes, and sizes. Graphic design is everywhere and I believe its purpose is to create an identity and message but not all messages are for the greater good. Packaging in common food and other products includes labels of misleading or false information. The rules that enforce these labels and most of the time it’s pointless to label on. Words like “Natural” make some foods sound better than what the label implies. People are tricked into buying expensive products with the promise of a better product. I have created a satire based store around this idea expecting people to connect this experience to their own experience. The corner store I’ve created to attract people to view eye-catching products from afar, while holding the extreme absurdness up close. Bodegas usually provide cheap and everyday products in a tight compact space, I have recreated the look and feeling, with more expensive products. I want the viewer to pick up and look at the many products and realize how absurd it is and put it back and repeat. My artistic influences came from Kati Forner because of the product designs she has made with minimalism and clear hierarchy that pairs very well with her color choices. I am also inspired by Omega Mart because of the variety of odd products that would seem normal but out of place as a real product. I combine the styles of Kati Forner and Omega Mart to fit the show message with my experience on misleading products.

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  Seven Recipes to Save Yourself

  Megan Bachman

  Food is an undeniable constant. Food can be a declaration of love, gratitude, or wealth. It can be a reflection of individuals, as well as communities. The relationship between a person (or character) and food can speak volumes to the audience about who they are and how they interact with the artist's world. I am inspired by the works of Domee Shi (Director behind Bao and Turning Red) and Hayao Miyazaki (Director behind Studio Ghibli). They use food to further their narrative, and do so with enticing colors, textures, and sounds. That is why I chose to create posters and animations depicting food illustrations and their recipes. These foods not only appear on the wall, but in the original short story, as well, presented as chapter dividers. The recipes are not only essential to the narrative of the story, but they are also stand-alone artworks.

  Similar to Hayao Miyazaki, I also find beauty in making the animated experience sound beautiful. As well as writing, illustrating, and animating the foods, I also supply the flute music played in the background of the animations. To create the artworks, I begun with a recipe and sketches in Illustrator. During this phase, I focus on the composition and texture of the food. The recipes that I've selected for each of the foods each stem from a color I assigned to them before beginning work. When researching the seven deadly sins, I found colors that were most commonly associated with those sins and used those as a jumping-off point for my color exploration. I found myself using the movies these artists directed for inspiration of the textures and aesthetics behind the illustrative styles I present in the posters and animation. The scale of the posters is used to further the 'larger-than-life' quality of the recipes.

  In my animation, I use the opportunity to redraw doos in multiple angles to define my artistic style. I use dynamic lineart and interesting textures to relate back to the style used in the illustrated posters.

  When a chef (Ryan) and photographer (Landon) are thrust into the middle of the supernatural apocalypse, it is up to the two of them to work together not only to stop the end of the world but also to figure out which ingredients they will need to do so. Indulge in the delicious world of the seven deadly sins, the supernatural, and food with seven delicious posters, animation, and a short story sure to leave you sinning for more.

  MJ Bachman

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  Corporeal Forms

  Ella Curran

  The human body is the only tangible thing that connects us to the earth. So much is contained within it, at the same time so much happens around it - including ongoing attempts to politicize and regulate bodies in our contemporary climate. We are bound by forces outside of ourselves. Whether the limitation is self-inflicted, relational, or societal, it asks for reflection. My practice is a response to these forces, an assertion of my physical self onto materials that become a record of my presence. Through the labor and performance involved in creating this work, I perceive myself. It gives me permission to be in the liminal spaces of growth and to explore my place within them.

  This series embodies the evolution of self. Lived experiences, life cycles, and the properties of natural materials are the starting points. The sculptures reckon with the absence of the body. Whether pressed, contained, or recreated, each work is done to human scale. The inclusion of video allows creation and interaction to exist alongside the object. The works act as artifacts documenting moments through these cycles from confinement to the remains left behind from emergence/death. I offer up my vulnerability, frustration, and joy, making space for the shared experience of facing these cycles in the hope that we will not be still.

  Exploration of the limitations of the materials is essential to my process. I begin with the creation of a structure or framework; a rigid boundary to contain the fluid work. This could be the camera view, wood, steel, or hardened forms of ceramic, concrete, or plaster. These become analogs for the physical body. There is an opposition between the high level of attention to the container in comparison to the raw quality of the materials that fill the frame. The fluid elements include water, sand, earth, polyfill, wax, and light. To these there are minimal adjustments or interventions. The material speaks for itself. The manipulation of light, transparency, and visibility is used to conceptualize how our understanding of the world is constantly changing.

  Surrendering to the material's inherent properties pushes the work conceptually from a purely physical awareness of the body to a spiritual one. The relationship between the concrete and changeable echoes the need to engage and adapt as we try to know ourselves and our world. This mode of creating with materials allows the work to exist in a perpetual state of the in-between: the liminal state of the rigid, physical world/pressures and the fluid, abstract realm. We will gain the courage to be active participants in aligning with ourselves inwardly and our interconnected world externally.

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  Scavenging For Narrative

  Jesus Gallegos Moreno

  rowing up in a “rancho” (small farming village) in Durango, Mexico, I only learned one way to “live”: to move forward relentlessly, no matter how many barriers slow you down along the way. Some of the people in the village were stuck at a standstill in their life, with no clear ambition or trajectory on the horizon. With increasing stagnation surrounding me, the world I saw outside of that small village was so incredibly big and vibrant, with so many experiences just waiting to be lived.

  I strive to show my way of life as a scavenger, using everything that has ever been around me, even the otherwise discarded experiences, to propel me and my work forward. All of my work displays a passion for narrative that has continuously pushed me toward Cinema and filmmaking as an art form. The thematic elements in Vulture Pictures also acknowledges and exhibits my diversity and experiences as a first-generation Mexican immigrant. The layout and placement of this display attempts to enclose you within the world of Cinema inside the gallery space­—to facilitate an immersive visual experience.

  In Latin America, the things that you cherish the most are often inexpensive and ephemeral, but the wonderfully bright colors of these items is what gives them life. Using the traditional Hollywood movie poster style as a framing device, I strive to use color in a similar way to the items that might be found in a “puesto” (street vendor booth) to elevate my small-budget posters into something more memorable and meaningful than those of cinema’s new blockbusters. Vulture Pictures is the culmination of every skill and experience that I have had in my life, whether Typography, Photo Manipulation, Cinematography, Photography, Illustration, or Branding. I hope that through having my viewers question their knowledge of the foreign world by sincerely presenting rural Mexico I can aid in connecting them to another culture; Is your world anything like mine?

  Inspired by Rik Bracho’s use of a wide range of typography and unconventional pairing of Type, my static media explores the duality of feeling Mexican but being more American. Yolanda M. Lopez’s use of classic, culturally rich imagery found in Mexico inspired the approach I took to my subject matter. The dynamic media was primarily inspired by Adam Grabowski’s experimental techniques in motion graphics. I tried to subtly address important contemporary narratives affecting Mexicans, such as “Illegals,” some microaggressions, and ALMO’s “Hugs not Bullets” policy.

  While creating this exhibition I was able to explore my past, and the current situations affecting Mexicans and Chicanos alike. I am proud of the unorthodox combination of media I have explored, and the narratives that I am providing a platform for. My work tells a story—my story: my experiences, my viewpoints, my emotions—all to show you how I have viewed the world by way of original photography from my rancho. Through showcasing my perspective to broaden your cultural viewpoints, I want to spark your interest in the differences that culture can inform your interpretation of the world around you; The world right in front of you.

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  ARTISTICO

  Alma Garcia and Alma Angelica Garcia

  The word Artistico in Spanish references someone gifted with the arts, providing meaning to the name of this fictional self-branded stationary store. Artistico is a paper goods store that provides personalized items with unique and fun designs. The products are composed of elements like packaging, posters, illustrations, notebooks, pins, greeting cards and more. The body of work as weel as the logotype is unified by the bold and dynamic typeface, Comfortaa. Artistico embraces vivid colors, fun patterns and clean designs that create a strong brand identity.

  Recieving a piece of high-quality perzonalized stationary feels meaninful. As an artist I express myself better through my compositons and designs. With my work, I like to grab inspiration from the people and places around me. Developing an identity in graphic design has helped me create a style worth sharing with others. Throughout my work, I like to pair bright colors with playful pattern in hopes to get the audience’s attention and interest.

  Throughout the brand Artistico I want to provide meaningful pieces of art and through package design that incorporates a unique experience and composition that works with other pieces in display. The brand incorporates playful icons that are seen across the work tied together with fun colors and organic shapes. A big part of these compositions is the usage of sustainable French paper that provides the vintage aesthetic.

  For the visual of the storefront, I was inspired by many works of Dani Klaric. She takes on empty and dull spaces and fills them up with one-of-a-kind pieces that transform the space. In the same way, Lotta Nieminen’s work inspired me to work with different shapes and compositions. She incorporates patterns in her illustrations. In my designs, the overall use of typography was inspired by the style of bold sans serif fonts that Massimo Vignelli’s work has. Also, companies like Rifle Paper Co. and Papersmiths utilize bold colors and playful characters into their stationery. With my work, I want to provide the audience some of the joy that always comes from handmade stationary items.

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  Like Pulling Teeth

  Sam E. Haines

  Like Pulling Teeth’s album Living and Dying in a Bathtub captures every detail and the drive of a punk band except for the fact that they do not exist, its existence, however, does not negate the impact the lyrics, music, and imagery have in the same way real bands express our emotions and turmoils through their creations. For me, there has always been a strong connection to the grunge and punk music scene - the loud noise and screams about our world’s injustices or personal grievances echo and ring in a captivating manner. Former Dead Kennedys lead singer, Eric “ Jello Biafra” Boucher has stated “Punk rock will never die until something more dangerous replaces it” (1978 – 1986) and his impact on his followers, myself included, couldn’t agree more. However, rather than choosing to make music as an outlet for my advocacies and emotions, I have taken a predominantly visual route through distorted imagery with harsh lines and dark colors in an amplifying manner. With this show, there is cohesion in both art forms to produce the anger and aggression that makes a punk band what they are.

  With such a roaring sound, punk music will always have album artwork that wraps it together with an equally roaring aesthetic. I have always been fond of the way Barbara Kruger modifies found photography and turns them into cutthroat political commentary by Barbara Kruger, she works heavily with high-contrast black and white imagery but accents one other color, predominantly red, to create an eye-catching and grim appearance. Similarly, Bill Direen is a musician who will use heavily altered photographs and prints for album work to match the post-punk scene, which I have also come to reference in album work and band collateral. The imagery used is not meant to be ‘beautiful’ in any way, but rather bizarre and visceral. As for the typographic elements, I have found inspiration from Brent Ashe, who uses San Serif typography and a minimal color palette to bring a bold and sharp aesthetic to the advertised product: including album art and band logos.

  My media of choice are digital-based, including photography and illustration. However, through my merchandise, I have incorporated screen printing and relief printing to give a more traditional “Xerox” appearance while using modern digital art programs. I chose mediums that are commonly used when advertising tours and creating merchandise sold at the venue - large-scale photography and illustrations in posters, opaque designs printed into shirts, bags, and pins, as well as a full-length music video and interview to hone in on the music aspect of the exhibition. Everything from the large-scale album works to the design on ticket stubs all match the bold text and dark color palette, giving a more grunge style. The work I am bringing you today is all for a band that doesn't currently exist but has work and music that represents everything I stand for.

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  Murder & Merlot: An Interactive Mystery Experience

  madison johns

  As a maximalist specializing in illustration, I use common elements to visually connect my work and make the narrative and aesthetic more cohesive. Bold colors and patterns enhance detailed imagery, character design, and environmental design, along with monochromatic and complementary palettes. These elements are often paired with similar typography. All font choices are deliberately representative of the personality of each individual piece and its voice. Each suspect has their own signature font to help the viewer visually connect to the character, but the entirety of Murder & Merlot is branded in such a way that it has a specific heading font, Theories, a subheading font, Haarlem Deco, and a body font, Avenir Next Condensed.

  Work flow begins with visual research and references. Flat, crisp, vector illustrations with many vibrant colors are some of my favorite things about graphic design. The way that small organic shapes come together to produce a larger interesting image is something I am always working to achieve. Masking patterns over flat areas or blocks of color is a fun way to strategically add texture and dimension. I draw inspiration from Neethi, an illustrator who uses shape, perspective, and loud patterns and colors to grab viewers’ attention and their eyes around the piece. Lulu Debreuil is another illustrator from whom I take heavy inspiration. She uses all of the aforementioned elements, especially flat shapes with patterns, to create gorgeous, captivating imagery. To avoid visually overwhelming an audience with too many conflicting elements, I take breaks during my workflow to view my progress from afar. Working with software where layers can be hidden is essential when deciding how much is too much. Balancing white space and intricate detail is a crucial step in my process because it is important to give the viewer’s eyes a place to rest among so much visual stimulation. This is something I use to my advantage in Murder & Merlot. Manipulating where a viewer will go for rest after high amounts of visual intake allows room for hidden clues and messages that may not be otherwise interpreted.

  Growing up, I watched old mysteries with my family. Alfred Hitchcock, Agatha Christie, Clue, and other icons of the genre brought us together and gave us a common interest. In an attempt to share that bond with others, I have completely brought to life an interactive murder mystery exhibit where viewers can observe all of my designs which will help them solve the mystery. I have incorporated a variety of different skill sets such as layout, composition, typography, color, character design, and illustration. The aesthetic is vibrant, but mysterious, and immerses the viewer into the world of the characters making them feel as if they are involved. Each character has colors, patterns, and display fonts, as well as a poster detailing their role within the mystery. Clues are displayed throughout the exhibit, along with additional posters and artifacts from the story to aid the viewer in their investigation and the final solution.

  The ultimate goal is for the audience to come together and have a memorable connection, similar to what Agatha Christie did for my grandmother and me. Using illustration and graphics to make others feel excited and included is part of why design is important, and an interactive exhibit where the viewer becomes a fundamental part of the piece achieves this goal by providing an opportunity to unite an audience. Murder & Merlot is saturated with imagination and creativity in the hope that it will allow others to feel the same sense of excitement that I feel when designing.

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  Olive Branch

  Abigail Kyle

  Art has become a means for me to reflect on and understand myself and my surroundings. When I experience something beautiful, I want to keep that moment with me. When I feel joy or confusion or grief, I search for a way to both process and visualize those emotions. This desire to express and capture emotion drives my creative process through photography and design.

  Photography can only say so much about who someone is on the inside, but I have a desire to photograph in a way that connects a person’s outward and inward self—I want glimpses of their true personality to be felt through their portraits, and I think clothing design can accomplish this same goal. My goal with the apparel I’m designing is to spark conversation and reflection rather than explicitly state any specific ideas or values the wearer might hold. Not everyone will interpret each of my designs to have ties to biblical themes, but I hope the viewer wonders about the importance of the words and the nature imagery and how they connect. I chose to design these shirts with bright and optimistic colors, rather than adopting the neutral color palette that is often associated with nature, and I used forms that felt organic, relatively simple, and recognizable. These decisions came from my hope that the shirts will feel welcoming and will invite viewers into open discussion. Additionally, my goal is that they could be worn and appreciated by anyone, rather than having an exclusive demographic of just the people who understand the references. I want the promotion of my shirts to feel available to everyone through photo and video advertisement, while the supplemental booklet I’ve designed gives deeper insight into the inspiration and meaning behind my work.

  Much of my design process for this clothing brand has been influenced by the paper cutout designs from Henri Matisse, such as his piece Snow Flowers. This work and its flat, solid forms gave me inspiration specifically when designing my first shirt, titled “When the Waves Rise.” I was also influenced by the patterns in Jessica Walsh’s monochromatic work for Pet Plate when I was designing my “To Work and Keep It” t-shirt. As I photographed models wearing my shirts, photographers like Cass Bird served as my inspiration, especially Bird’s editorial work for Harper’s Bazaar.

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  Finding Solace

  Cassie Melcher and Cassie Victoria Melcher

  In a world filled with heavy overwhelmingness, the creatures I sculpt help root myself and the viewer in a lighter, gentler place. The creatures have diverse body shapes and sizes, colors, and an exploration of pattern and texture with a focus on tactility. I want viewers to feel compelled to touch or engage personally with my sculptures, and for the creatures to live through the viewers by interacting with them or their environment. This brings moments of curiosity, self-acceptance, or compassion. Though we are often overburdened with negative thoughts, our inner critics speaking louder than anyone in the room, my sculptures present the opportunity for a peaceful, comforting break.

  The wide range of creatures I sculpt is inspired by the variety and diversity of all living beings, but with a focus on animals. Identifiable features such as eyes, mouths, and noses are often left out to reject and remove labels from my sculptures. I seek to reduce their forms down to essential expressions of animal curiosity and unselfconsciousness. In dialogue with the way Chanakarn Semachai uses sometimes humorous animal imagery to talk about radical self-acceptance and belonging, my work also expresses self-acceptance and joyful freedom through the peace in my soft sculpted creatures. Semachai, or Punch as she is known, works to bring pieces that embrace all people through her color and shape choices. The shapes I choose to sculpt produce a gentle or friendly appearance, inviting positive interactions. The purpose of my sculptures is to give a sense of joy, curiosity, and acceptance. I find that I most enjoy working with more bulbous, smooth shapes because they are reminiscent of plush forms and best convey a sense of comfort and support. It is through their shapes, colors, and textures where differences are enforced and welcomed.

  Starting as nothing more than a mud mass, clay is a malleable tool able to take on any number of forms and aligns well with my desire to experiment and play. In contrast to my ideas of wonder, warmth, and gentleness, it is hard and cold to the touch despite the life poured into each sculpture. With this consideration, a dichotomy is created between the comfort these sculptures represent and the material; a soft presentation of a cold reality. Like the Velveteen Rabbit, these make believe creatures may not be alive, but they are real in the sense that they were made with love and care and that is enough for me. They are designed as companions and guides to self-acceptance and care. I find solace in how something so gentle, open-minded, and curious can be evoked by an inanimate sculpture. Through them, I am reminded to make time to find joy and reach for peace.

  Cassie Melcher

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  Clamor of a Catalyst

  Gretchen Ruth

  The beauty of change and time are found in cycles of destruction and rebirth. Time is active, spitting out transformed versions of everything in a constant cycle it remains as an ever present inevitability of existence. To adjust with this transformation can be stifling as much as relieving. This body of work focuses on repurposing found materials while pondering the inherent nature of change.

  Some objects are left to collect dust and remain as they are. Every object questions what is truly disposable. Do the things we throw away remain discarded forever? To challenge this, I cultivate an art practice that aims to enhance the potential of reclaimed objects by incorporating them into multimedia experiments. Paintings, metalworks, fiber, and textile objects shown are all composed of scraps that are usually left untouched.These materials experiencing the catharsis of renewal are able to exist intrinsically as artifacts. The outcome of these pieces is dependent on the intricacies of each object's individual creation.

  Every project starts with an initial tactile response. Simply being curious about the outcomes of putting two different things together.The constant problem solving, along with pure intuition, makes finding each solution a step further into a subconscious state. This feels like a haze that is mindless yet mindful. A frantic distortion of the self which leaves no indication of its existence aside from the work made. Actively taking the role of a catalyst to cause a metamorphosis of these materials. They become objects beyond their piles.The fleeting nature of creating these works mimics the transformative nature of ourselves. The same as all things in this world. This art practice attempts to memorialize the ephemeral qualities of this body of work: the artmaking process, the present self, and the remnants of what was left behind.

  Gretchen Ruth

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  honey, i'm home

  Kaley Shackelford

  Within my current work, I explore the tension between surface appearances and the complicating phenomena, emotions, and circumstances that lie underneath. The stories I tell are grounded in my everyday experiences as a woman, as well as familial, ancestral, and communal observations. My work utilizes motifs such as irons, laundry baskets, and kitchenware that are attached to traditional gender roles, examining the tension that these items emit and, at the forefront, how I have internalized it. This deeply contrasts with my love for the domestic and its ability to foster moments of intimate care and bonding, which also emerges within the work. I aim to navigate these home spaces that should, ideally, be our safe-havens, but have been tainted by social standards and expectations that are difficult to ignore or transcend.

  Psychological color is an integral element in my work, as I mesh natural color palettes with moments of bright, fiery oranges to imply that these accents are merely heightening something that already pervades the everyday. The process of painting is essential to my practice; intuitively building up and stripping away paint acts as a very literal way to reveal underlying layers and construct additional barriers, coverings, and second skins. Other ways of making have also played invaluable roles in exploring these feelings and concepts. Hand-building with terracotta has allowed me to venture into the uncanny with dishware that is irregular and heavy. There are also moments of embroidery, a medium through which I aim to pay homage to a long history of women artists who were not often celebrated as such.

  My paintings share some qualities with Lois Dodd’s, as her observational paintings utilize painterly, intuitive brushwork and vibrant, complementary colors. Dodd frequently returns to motifs such as windows, house exteriors, and clotheslines, but is able to create a variety of exciting outcomes based solely on familiar surroundings. My work also dialogues with Shannon Cartier Lucy’s, particularly paintings in her Our New Home series, as they are grounded in everyday spaces and often put women in vulnerable positions that can make the viewer feel alarmed and concerned for the figures involved. Her works are always framed in a way that is conscious of the aspects of viewership, ambiguous as to what degree the viewer is a voyeur. My paintings ask similar questions when dissecting the performative aspects of domestic life, creating compositions that force the viewer into situations like peeking through a cracked door or looking down on the figure.

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  Cosmic Displacement

  Meg Slatton

  In my work, I explore the concepts of humor, identity, and fiction. I have always had a desire to make others laugh and use humor to express broader concepts. I plant humor into my work through telling engaging stories. Being able to create fictional worlds and otherworldly experiences is something I have an interest in; and it’s something that I am continuing to pursue. Most importantly, I’m exploring issues of identity within my works. I am specifically focusing on the themes of ethnicity, race, sexuality, and self-acceptance in these current pieces. I am incorporating the unique elements of my identity into otherwise fictional settings in order to create more dynamic work, like that of my graphic novel, Interposed & Orbiting, for example. It is a collection of sci-fi novels that center around aliens and are a metaphor for my own struggle with my Mexican identity and my multicultural upbringing. Using aliens and outer space as metaphors allows me to create a more digestible story for my audience, while also allowing me to depict my experiences in a more comical way, which both pleases and frustrates me. I love that my multicultural experience will be able to be more easily understood by a wider audience, but it’s also frustrating to feel the need to simplify my experiences due to it being such a multifaceted subject.

  This is also expressed by other artists I am in dialogue with: Marjane Satrapi and Jose Posada. Marjane Satrapi creates art based upon her identity in reference to multiculturalism. Her work also touches upon the same feeling of frustration that I feel with my graphic novels, with her use of contrast and space. I am also in dialogue with Jose Posada and his use of line as value. Posada’s use of line was the inspiration behind the detailed shading within my graphic novels. This dialogue with Satrapi and Posada has allowed me to grow as an artist and be able to get out of my comfort zone when it comes to expressing my Mexican identity through my art.

  Being able to talk about my struggle with my ethnic identity has always been difficult for me, as I was often discouraged by my peers for doing so when I was growing up, so being able to express that experience through my art was the inspiration for creating this collection of works. I hope that when people view these pieces, they are able to empathize and relate to the struggle of feeling lost or trapped within one's own identity and the perception of that identity. This collection is asking two different questions: Can you accept your identity, faults and all? Can society change its perceptions of how people of a certain race or ethnicity ‘should’ look? While these questions have a very real weight in our contemporary world, within my graphic novels I depicted an optimistic and hopeful narrative because it is my wish to see that reflected in both society and myself.

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  Exigency

  Laurie Snellen

  Birds are very sensitive to environmental changes and indicators to issues surrounding the biodiversity crisis. Exigency, by highlighting common beloved songbirds, allows for a link to the crisis that is so much closer than what many are used to seeing in the news. It also encourages users to explore solutions they can apply in their everyday lives like window stickers for bird strikes or bird boxes for bluebirds.

  The relationship between the complexity of nature and the part people play in it has always been of interest. These current works act as a bridge between the environment and the people. Natural imagery and symbolism can be used to invoke a viewer's interest and curiosity by focusing on either unnatural additions to an ecosystem or parts that are in decline as a lens for both environmental and social concerns.

  Using natural imagery that are integral parts of the problems combined with manufactured effects such as aberrant overlays on the birds the concept takes form. This implies an abnormality in the environment, through the opposing natural and unnatural elements. By using relatively well-known birds such as Meadowlarks, Bobwhites, or Bluebirds that are usually identifiable to someone living in a rural community, they allude to environmental issues already affecting those communities. In this way a connection can be made by the user to their own experiences.

  Similarly to artists like Marilee Salvator, my work is very heavily influenced by extensive research. Intense value shifts with pops of vibrant hues of color can create very breathtaking imagery. My linework and composition could be comparable to artist Jenny McCabe’s, although I prefer to add more vibrant, less natural hues to shine a light on human intervention in nature and create an opposing composition. This provides rich groundwork to continue to explore relationships between humans and the natural world.

  Through Exigency, learn about the biodiversity crisis and how it is something that affects us even in our own backyards. Life is precious and connected to each other and everyone of us can be part of the solution.

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  Industreality

  GraciLou Ackerman

  Days go by, rain comes and goes; buildings are built, occupied, and abandoned. Walls that were once so vibrant with life are eventually silenced. Generations upon generations witness the same subject with different eyes, perspective, and time. Minds are stimulated with excitement through the curiosity of our senses. Restorilazation and revitalization are a necessity to honor the enchantment that has once taken place. Constructing an infinite memory out of what was once a fleeting location is the goal to be achieved throughout the artwork.

  As a community we cannot let the walls be silenced or forgotten. The sounds heard, textures witnessed, and the industrial infrastructure itself that once held such importance must be esteemed. The buildings and structures alone in them self is of art, the linear patterns, the geometric depth, the shape, and forms standing alone are mostly overlooked. Bringing these sites into the contemporary context with digital photography lets the unoccupied location have a new life, in a new era.

  Personal influence was cultivated within a small blue-collar county, of Carmi, Illinois. A town full of momentary dreams. The remote town forced creativity and appreciation to be pushed beyond the stereotypical. One child might find peace, beauty, and comfort in the subway, or surfing in the ocean; however, for me, it was found in my own back yard. Watching my father work in his collapsing metal shop with his worn-out equipment. Waking up to the sound of a diesel engine running, a chain rustling, or an air pump accelerating might displease a stranger but to me, it is a lullaby and alarm clock. To me it is what I call home.

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  Efflorescence

  Cassandra Carroll

  Curiosity is an innate human drive that is often lost in childhood, but easy to find if one looks. I find a strange beauty in examining the broken wings of a dying butterfly. Within my work I hone in on these beautiful moments, and have found textiles to be the most diverse medium to show what I see. Within textiles, I’m able to emphasize the glimmer with glitter and the soft textures with felt and silks. When taking a road trip in Kentucky, we often pass by hills that’ve been blown to pieces, exposing the layers of rocks and opening opportunities for new growth within them. This growth is glamorized, but the slow decay of those rock forms and the fossils within is often ignored. Mistletoe feeds off of a tree like a parasite, yet these blemishes and natural diseases are admired. While negative at first glance, it consistently reveals hidden value and beauty upon closer examination.

  This process of transformation within the natural world inspires me to create work. I use imagery like bugs and fungi to show they are as beautiful as they are necessary. By using a textile medium when using this imagery, I create a relationship between decay. It’s important that textiles degrade the same way. The transformation from growth to decay is part of a beautiful bigger cycle.

  This balance of growth and decay and how nature creates an environment that causes people to closely examine their surroundings. I spark the viewer's interest by using vibrant colors and eye-catching material to depict macabre imagery. Disease and parasites are heavily associated with my consistent theme of growth and decay, as it is a growth that causes decay– like many other diseases. All too often, people tend to go about their days on autopilot ignoring much of the world around them. My goal is to encapsulate the viewer in an environment and push them to comprehend new subjects and perspectives by bringing attention to the world around them.
  Stay curious and observe the beauty of our world that has always been there.

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  Roots to Ridges

  Amanda Cohoon

  We all want a place to call home where we get to put our roots down. For some, this place is the state they were born in, and for others, it is a place they stumble upon along the journey of life. Some of us are lucky enough to live in such unbelievably special places, however, we don’t always seem to notice or appreciate this. The seemingly endless nature of our bustling society seems too often keep our focus shifted away from the natural beauty around us. This thought prompted me to begin this series of paintings and prints that highlight not only everything I love about my home state of Kentucky, but also all that it has to offer, from land to resources. Roots to Ridges stands for many things; from the roots we put down, to the roots of the agriculture that provides for us all, to the ridges that our livestock roam, to the ridges we explore. To bring this to life, I first focused on my hometown. These works explore multiple facets of the Kentucky landscape, from the rolling hills of horse country to the lush forests, rivers, and small towns that shape The Bluegrass State’s identity. This visual story creates a balance between our breathtaking geography to the agriculture that provides so much for us. My mission behind doing this is that I hope it brings the viewers to appreciate all of our untouched natural beauty. Our society's constant need to expand is consuming not only miles of land, it is consuming wildlife, habitats, and scenery that can’t be replaced. Through the appreciation I hope to spark, I also hope it sparks the conversation of conservation. Conserving what we have is important for so many reasons; the most obvious reasons are to protect wildlife and to promote biodiversity but also so that we can preserve what we have so future generations can enjoy it as a reality and not a distant memory.

  In these works, I address many components of the Kentucky agriculture system from the industry overall to livestock and crops. My lithographs take a scientific visual approach. The choice to complete these works monochromatically in black and white allows the viewer to get lost in the realistic detail used. Through my careful attention to rendering, I work to capture the essence of what is and what once was and to intimately appreciate all that our agricultural system provides for us. In contrast, my screen-prints and paintings incorporate a more colorful and playful approach. Vast and bold color bring life and energy to my oil paintings. I use these heightened color palettes to convey my feelings of love and gratitude for the landscape’s generosity and never-ending beauty.

  I take inspiration from printmaker Stephanie Berrie’s ability to render subject matter with attention to detail and for her compositions. Ioana Villatoro also inspires me with her acrylic paintings of the natural world that she enlivens with intuitive, expressive decisions about color and mark making. Highlighting all that Kentucky’s environment provides is important for those that live here because in a world that is so fast paced, we could all use a reminder to slow down and take a look around, Hopefully, Roots to Ridges inspires us all to take pride in the wild spaces our Southeastern state of Kentucky.

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  Consuming Fashions

  Malcolm Fife

  We live lives that revolve around consumption and buying more than we need. Past fashion preys upon our laziness and encourages our rather prodigal spending. Why repair something when you can just buy a new one? We have become disconnected from how the clothes we wear are made and distanced from the people who make them. Fast fashion companies are more concerned with profit than creating durable products, paying their workers a living wage, or protecting the environment.

  I want to contrast current fast fashion trends with older and more thoughtful practices, some of which are coming back. A century ago, people took great care in creating garments that would last a very long time. They also went to the almost insignificant (to them) trouble of mending their clothes, rather than throw them away as is common practice now. Visible mending, a new wrinkle on an age old practice, makes a statement through extending the life of a garment while also making that garment desirably unique.

  Wearing used and thrifted clothes can be a way to make a difference and an easy habit to acquire. I myself wear secondhand and vintage clothing on a daily basis. In my experience, the vintage clothing community is a safe and supportive place for people of all ethnicities, genders, and sexual orientations, allowing them to merge aesthetic appriciations of the past with contemporary activism. This is exemplified by the popular motto and hashtag: "vintage style not vintage values,"

  My work is spread over multiple media: painting, printmaking, and ceramics. The square format throughout much of my work alludes to social media interfaces influence our self fashionings. The juxtaposition of historic and contemporary ways of "consuming fashions" should invite the viewer to reflect upon their own practices to fashion a sustainable self.

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  Instropection: Another World

  Gabby Gillette and Gabby M. Gillette

  For 20 years I experienced physical, emotional, verbal, and mental abuse at the hands of my biological mother. At an early age I had to face the harsh reality of my situation and develop skills that helped me survive day-to-day, but that left me with a very skewed idea of who I was as a person. But the one thing that I knew for certain about myself was that I loved to create. I would write stories and draw characters as an escape, and as I got older I would build bigger and more elaborate worlds to explore until it turned into my passion. Writing and drawing were an intertwined part of me that I could never be without; everything I wrote had to be drawn and everything I drew had to have a story behind it. Introspection: Another World, is my exploration into who I am, both as a person and as an artist. The central piece in this show is a book, entitled “Introspection”, which features a collection of short stories and illustrations that explore themes of identity, family, self-discovery, and trauma. Some illustrations are a visual representation of what is happening in their story while others are more figurative as an emotional response to their story. These illustrations and these stories serve as a place of healing for me, allowing me to look inside myself and explore who I am and what I once was. As an artist, I’m inspired by the world around me, with things like music, and culture, but movement is a big inspiration for me. I find it interesting seeing movement in texture and trying to create a texture out of movement itself. Junji Ito’s illustrations are what I strive for when I’m creating a piece, something that’s very detailed and that’s moving in some way with the lines. Bob Masse is a designer who’s posters combine Art Nouveau and Psychedelic styles with influence from Alphonse Mucha. His line art and figures have been a major inspiration to my practice. With all this inspiration and a mind full of never ending worlds and stories to explore, I’m putting my true self on display in another world.

• 

  Bread & Butter

  Katlyn Indalecio

  Katie Indalecio | Bread & Butter

  A dash of joy and a pinch of whimsy. Ingredients of my ever-evolving design approach. As if instinctual, I find my thoughts wandering to food for subject matter. Food and Design parallel one another in many ways, through bold colors, interesting textures, and unique flavors; they are both subjects that are consumed on a massive scale daily. What better way to represent my interest in food, and also display my versatility in illustration, layout, and typography than in the form of a magazine?

  Bread & Butter is a simple, forthright title for both the food magazine and the exhibition itself. My show features a self-branded magazine, package designs, posters, and an instructional cooking video inspired by a recipe from the magazine. The magazine consists of lively illustrations, bold colors, and clever typography that engage readers of any age to appreciate food through the scope of the brand. A huge part of my process starts in the sketching/planning stage. I spend a lot of time here because I involve so much illustration within my design. Since the brand extends to physical products and videography, I focus on consistency and detail to connect each element to one identity. The main focus in the magazine is the illustration as it enhances my layout, hierarchy of type, and maximalist intention. I have chosen to work with a bold, saturated color palette to give my brand a vibrant and energetic feel. My color palette is complimented by my choice in typography, which features fun pairings of letterform families that echo my influences in design.

  Consistent research helps me stay aware of everyday content that is created by both print-based and digital food media. A few contemporary food identities that have fueled my inspiration are the King Arthur Baking Company, The Momofuku Group’s discontinued Lucky Peach magazine, and various personalities from the company Bon Appétite. Designer identities that have informed my design practices are Kate Bingaman-Burt, for her “doodle-like’ illustration style, Aaron Draplin for his eclectic visual design, and Gian Wong for his work in lettering. These influences have informed my own design voice that I have communicated throughout the food identity Bread & Butter.

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  Obsessively Compulsive

  Macie Kane

  When I was 7 I was diagnosed with Obsessive Compulsive Disorder (OCD) which is a debilitating neuropsychiatric disorder that affects men, women, and children. But, most people often use it as an adjective to describe when a person is organized or a perfectionist. My designs attempt to inform and demonstrate to viewers who do not have Obsessive Compulsive Disorder what it is like to have OCD. Through package, product, and layout design, I have created boxes and informational materials that not only raise awareness about Obsessive Compulsive Disorder, but also demonstrate the repetition and overwhelming, chaotic nature that is associated with living with OCD into tangible experiences for viewers.

  The work in my show begins with a moire pattern that illustrates the brain scans of a person with OCD and a neurotypical person, and the subtype of OCD that is typographically illustrated using a decoder design on the interior of the box. Inside of the larger box I designed interlocking compulsion boxes whose exterior matches the chaotic, overwhelming decoder design of the larger box they are in. These boxes are meant to demonstrate the repetition of obsessions and compulsions. Also inside of the boxes are various informational materials including, decoder filters, stickers, a brochure, and an informational booklet. The materials on the inside of the box are meant to be a way for viewers who don’t have diagnosed OCD to begin learning about what OCD actually is while also dismissing the trivialization that is often associated within the disorder. Because OCD is a diagnosed medical disorder I relied on factual information from the International Obsessive Compulsive Disorder Foundation, which is a foundation that is chaired by medical professionals who have researched and/or treated OCD.

  Stylistically, my work consists of minimal illustrations and typography. Throughout my designs I only use 5 colors and black and white. I chose these 5 colors for my work because they are bright and overwhelming while still having the ability to overlap and contrast to make the layered typography designs. The 5 colors I use in my works help me to complete intriguing and educational layered compositions. While choosing these colors I was inspired by Massimo Vignelli’s Knoll designs in which he uses bright, saturated colors, bold sans serif fonts, and typographic overlay. For the overall typographic designs I chose Futura, a bold sans serif font, to make the designs seem overwhelming to the viewer while still being readable. Paula Scher’s use of typography as an illustrative element, especially her work with typographic overlay and her “How are you?” posters inspired the layout designs of my informational materials and posters. Overall, while designing the pieces in my show I drew a lot of my inspiration from minimalist designs often seen in modernist typography design.

  For more information visit…

  • https://iocdf.org/

• 

  #representasian

  Shin Kim

  As an Asian American, I am always dealing with racism. The racism worsened during COVID-19, not only for me but for the AAPI community as a whole. There was an increase in hate crimes because we were considered the cause of the pandemic. There were attacks, harassments, and threats made against Asian Americans. People tried to help on social media with the #stopasianhate movement. However, like other trends, this one soon disappeared. The unsettling nature of social media that allows people to apathetically scroll onto the next post and the acceptance from both communities fuel my show. My works discuss what it’s like being Asian American. In the past, I was hesitant to speak up about my racial problems because of my docile nature. However, it is time to stop living in fear because I deserve to have my voice heard.

  #representasian combines graphic design and photography to raise awareness about the issues I face as an Asian American. There are typography works, illustrations, and package designs. The typography posters use soft colors and bold sans serif fonts to highlight racist quotes that people have said to me in the past. Next to them are kinetic type videos that animate other quotes. Both works are scaled large to force the viewer to pay attention to what is being said. The illustrations and milk carton designs depict my fondest memories of my trips to Korea. They also use soft colors to create a soothing quality that expresses how I felt when I was there. My photography is used for a similar purpose. The film photos document my trips to Asian American towns to show proper representation and to convey the warm feelings associated with each place. Lastly, is a documentary video on my parents’ immigration story. Having my parents and myself as the focal points bring attention to what we have done to accomplish the American Dream and the struggles to get there.

  I’m constantly inspired by designers and photographers who shake the art world. Jessica Walsh is an unapologetically loud designer who uses bright colors and funky typography. Her color choices inspired the color palette of my show. She also incorporates a lot of display fonts, which influenced the font choices for my posters. Victore’s works are rebellious and defy perfection. He’s influenced by racism and comments on its destructive quality through the usage of erratic, handwritten fonts. My type videos comment on racism while encompassing an unstable feeling with overwhelming animations. Nikki S. Lee is a Korean fine art photographer who explores the struggles of understanding American culture. By conforming into different stereotypes, she found herself constantly changing her identity. Instead of finding the need to change myself, I embrace and display a representation of my Asian American identity through my show.