B.A./B.S. Practicum Group Exhibit (ART 499)

Printing is not supported at the primary Gallery Thumbnail page. Please first navigate to a specific Image before printing.

Switch View to Grid View Slideshow

Fragments

Jakyah Acree

Growing up, I’d always been infatuated with fairies and other mythical creatures. After losing my mom during my second semester here at Murray State, I felt a strong urge to reclaim my childhood as a way to both remember and honor her. Cosmic Fayes, Cursed Immoral Rouge, and Cursed Corrupt Fiend take inspiration from both the whimsical and the dark sides of fantasy. The female fairies are vibrantly colored and ornately dressed.

They draw inspiration from Winx Club and Art Nouveau. Each is dressed in a way that represents their individuality but remains cohesive hinting at the fact that they are part of the same team. Conversely, the male vampires are rendered in black and white. Their sanguine alter egos loom over them denoting a menacing change. The conventions of illustration support the growing visual narrative. Saturated colors, glitter, and metallics tell a story of life, beauty and nostalgia. Thick lines, muted tones, and angular figures explore the pain of loss. In the future I want to continue to make art with vibrant color, bold contrasts, and beauty that captivates the eye.
"Fragments"

Zachariah M. Alexander

My work explores identity, memory, and womanhood through portrait photography that reflects personal experiences that shape emotional and psychological growth. With each photograph, I aim to convey a transition between innocence and maturity, dependence and independence, and fragility and strength. The series challenges notions of innocence and maturity, fragility and power. The process of creating the portraits is shaped by an admiration for moments of strength and struggle in the women I have grown up with those who are part of my family or closest friendships. There is beauty in those contrasts in that the reality is women are human yet often bound by unrealistic expectations formed by society and home, and internalized over time.

These narratives guide the use of lighting, environment, movement, and balanced compositions. The colors used in each photograph convey distinct emotions: red for passion and loss, green for growth and change, blue for isolation, and white the combination of all colors to represent a liminal state, a space of transition where someone is not quite one thing or another, but somewhere in between.

My current show explores this visual style, combining color, symbolism, and elements of nature and womanhood. Each photograph represents a different element found in nature: fire, water, air, and earth represented through the women who have shaped my life. By portraying these women, I explore the fluidity of feminine identity and the shared cycles of creation, destruction, and renewal that define womanhood.

Artistically, the work draws influence from David LaChapelle’s theatrical use of color and storytelling through tableau, Trish Morrissey’s focus on family and female gender roles, and Cindy Sherman’s ability to transform herself into different personas. Their practices demonstrate that photography can be more than a record; it can be a space to perform, question, and reinvent.

Ultimately, this practice remains deeply personal. My work uses photography as a means of reflection, locating beauty in the complexity of lived experience and exploring the strength that emerges through vulnerability.
The Best of Whinot Productions

Adam R. Ashlock Mr.

Art is a space where humor and absurdity are welcomed with open arms. It's a way to break down barriers and connect with others—especially when traditional social interactions are challenging. Growing up with Autism Spectrum Disorder (ASD) means I've navigated a world that often feels out of sync with how my brain works. Conversations are challenges, and it’s easy to feel disconnected from the people around me. But growing up I found that humor is a universal language. It's a great way to find common ground and create a shared experience that feels natural even when other forms of connection don’t. Humor and storytelling in these films serves as a way to reveal deeper truths about life, even in the most ridiculous parameters.
Aesthetic choices often lean toward subversion and unpredictability, taking the ordinary and transforming it into something strange or comedic. ‘Freelance’ is a perfect example of this approach, a live-action project reflecting the experiences of a broke, full-time college student. The video follows my attempts to earn money through odd jobs over two days, only for it to vanish in an instant as debt takes over. The punchline, “I hate my life,” followed by a bouncy credits song, captures that dark humor and highlights how even the mundane struggles of life can become a source of comedy in a sort of mocking tone. Humor here is more than just entertainment—it's a coping mechanism and a way to make these universal struggles more relatable and enjoyable. I use film to explore humor in a variety of ways, but for the most part I create simply because I want to do so.
With Autism, thinking is unpredictable and often non-linear. I don't fully plan out my projects—just a rough outline—because trusting instinct and letting ideas develop in real time is how the best work happens. Thoughts jump from one idea to another in unexpected ways, and the unpredictability is something I embrace in the film process. This free-flowing approach often leads to random, absurd ideas, and it’s in this space that the most interesting creative decisions are made. Animation, in particular, has always held a special place in my heart because it most mirrors how my mind operates; It's silly, whimsical, and a little detached from a straight pathway. It's a special interest that's very near and dear to me.
In the same light, the work of contemporary artists deeply shapes how I approach storytelling and comedy. Craig McCracken was a man who started young in the industry and hit gold with his brilliant techniques, his shows having a mix of emotional depth, character-driven stories, and bold visual styles. The defiance of Everett Peck’s Duckman was like hate mail to the censors, defying the expectation that crude, rude and dark humor couldn't touch your heart and be a major player in adult animation. It's here where I derived my comedic philosophy that nothing is truly off limits, and that Comedy should always leave you different than when it found you.If there’s one true kindred spirit, it’s Wayne White. He takes cheesy thrift-store paintings and slaps huge, perfect carnival letters on them—pure joy, zero pretension, massive laughs. Never preachy, yet scary-smart. That’s exactly what I chase: turn my awkward, autistic, broke life into cartoons and videos that just make people grin and feel good. He nails it every time—that’s the energy I’m after.
Ultimately, my goal is simple: to entertain. Having Autism has made connecting with others difficult in many ways, but through my work as an online entertainer, I’ve found a way to bridge that gap, and show people the many facets of who I am. This work is a conversation with the audience, rather than a chance to teach or give commentary. If you learned anything meaningful, its your own fault. No matter the reaction, the only hope is that the experience will create a lasting memory, one we can both share. Through my work, the message is clear: My name is Adam, and I hope you're entertained.
needles&knots

Maria Castlen

Growing up surrounded by tales of the “olden days”, embroidery was a thrilling discovery. It was a beautiful and unique way to create, while also learning a skill my mother praised. As I’ve grown, I’ve discovered ways to combine graphic design with the embroidery through branding. needles&knots prides itself for the beginner-friendly and practical embroidery kits. Whether you’re a seasoned stitcher or just learning your lazy daisies, our kits take care of the supplies so you can focus on what really matters: crafting something with you love.

At the beginning of its creation, I began to create needles&knots’ visual identity, starting with my favorite embroidery stitch, the lazy daisy. The visual identity is supported by a bright mix of pinks, purples, navy, and yellow. These are accented by a motif of embroidery related illustrations, as well as, you guessed it, lazy daisies. Composed of a mixture of a san-serif font and flowing handwritten, the needles&knots logo is inspired by embroidery stitches. Both flowing and rigid stitches are often combined to create a harmonious embroidery piece, balancing each other out. I chose a san-serif font to balance out the handwritten portion and provide more structure. All the elements, in different combinations, create needles&knots’ visual identity and are applied throughout the brand. Most noticeably, the packaging is where these all come together. The brown kraft paper, for the packaging, was chosen for its rustic and minimalist aesthetic

There are many artists and designers that inspire me. However, for this project, in particular, there were a specific few. The Not Your Mother’s brand was a big source of inspiration. The typography, color palette, and decorative elements work so well together, and the overall aesthetic is a particular favorite of mine. Spoonful of comfort is another inspiring brand, specifically their packaging. It’s simple yet strong with a wide range of elements, while staying cohesive. Although a newer inspiration, Shivani Toshniwal’s work for Amika, designing their website, is an additional favorite. Her design for their website blends perfectly with their packaging as well as being easy to navigate, simple, and eyecatching.
Fragments

Rose m. Craig

My work explores the intersection of functionality and self-expression through jewelry. Jewelry is a piece of art that often becomes emblematic of the wearer, revealing fragments of identity and how someone chooses to be seen. It serves as a second skin connecting form and function and becomes both a form of personal expression and presence. My pieces connect the body and materials, using form, structure, and materials to create a narrative related to the wearer's identity.

This exhibition features three pieces of jewelry alongside photographs of the jewelry modeled on the body . Keeper of the Vulnerable balances fragility and strength with its enamel piece contained in a sterling silver basket setting connected to an oval-shaped ring. The enamel piece symbolizes one’s vulnerability and is protected by the stronger sterling silver ring. The ring represents the tough exterior that protects the fragile enamel piece. Nexus of Harmony exhibits completeness and unity with a series of circles and uses the Jasper stone at the bottom, being a product of the earth, to show groundedness and humility. Mark of One focuses on identity and beauty. The necklace features an enamel piece with a fingerprint design representing the physical aspect of identity. The piece itself acts as a “beauty mark” with the enamel, malachite, and mother-of-pearl insets sitting asymmetrically to the side of the necklace in a seemingly random place, acting as a natural beauty mark.

My metalsmithing work is inspired by contemporary metalsmiths Janis Kerman and Sophie Kissin. Kerman's use of organic forms, often constructed from flat sheet metal, inspires the balance and structure within my own work. Kissin’s organic and expressive approach informs and inspires my exploration of form and movement in metal. Together, these artists and their work influenced the way I think about metal as a material, composition, and form, as well as the expressive potential of jewelry as both art and adornment.
Fragments

Kailee Goff

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

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

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

Hugo S. Hodge HSH

TALKING WITH VISUALS

In this exhibition there is a variety

of typographic and layout design

that I composed illustrative

imagery around. This is mainly

because I’m developing job

skills and a intrinsic joy towards

creating something from your

head into reality. Designing my

drawing lets me tell stories, depict

the world I see and learn more

about the things in it. There’s a

new appreciation to be gotten

out of even basic things like the

industrial design of an apple

product or the fashion design

of an outfit. The world is vastly

different when I get to record and

analyze it through a pencil.

In this exhibition, I loved working

on posters alongside a 28-page

comic story where you can see the

character of two boxers about to

fight each other. The posters show

a series of images ranging from

semi-abstract representations to

digitally altered photos, composed

within swiss design rules and an

intuitive understanding of white

space and focal points to grab

your attention.

These ideas bleed into the

paneling and staging of a comic,

too; being able to organize

imagery and text through a

compositional line of sight also

helps me understand how to

organize drawn figures and

panels in a similar way. Hand-

to-hand choreography is better

when you know how proximity

works with panels and can crop

to lead the eyes around them,

establishing a mental continuity

all by itself.

Influencing my work from an

abstract graphic design and

storytelling perspective are

modernist designers Saul Bass,

Joseph Binder, plus Otis and

Dorthy Shepard; alongside comic

artists like Togahiro Togashi,

Tatsuki Fujimoto, and Akria

Toriyama. The illustrations in the

comics are influenced by Steve

Ditko, 1980s Phillipe Durelliet

and Segio Toppi, and Kevin O’

Neil’s work on the League of

Extraordinary Gentlemen. I hope

that by looking at these works,

you’ll have as much fun looking

at them as I did when making

them.
Fragments

Samira Johnson

Being Black and Puerto Rican in a predominantly white area requires a flexible sense of self. I struggle to express my complex cultural identity in a way that feels authentic. Instead, I often feel like I’m performing an oversimplification of who I am. This body of work explores multifaceted identities through clown imagery. Clowns enact emotions through bold makeup, patterned clothing, skits, and props. It is their job to play the part. Similarly, I choose to hide behind the appropriate social mask out of a sense of obligation. Clowns are joyful symbols of humor and childhood, but thanks to horror films like IT and Killer Clowns from Outerspace, they are also haunting. I depict this duplicitous nature by painting my subjects in vibrant colors and incorporating unexpected imagery. I’m inspired by the surrealism of Odilon Redon, the ornate patterns of Khinde Wiley, and the saturated iconography of Takashi Murakami. Paint allows me to layer and revise in much the same way as applying makeup. No matter how you feel about clowns, the ideas of masking or performing the self are universal.
Fragments

luke c. medley

I create artwork with physical durability and timeless conceptual ideas in order to leave behind a tangible legacy, or something permanent, in a world that is constantly changing. In this art form, I make functional artwork that is detailed with visible craftsmanship as well as a resiliant construction. I am truly fascinated with exploring how I can make art in a way that not only looks good but can be used and appreciated. Working with metal allows for a stronger medium and longer lasting material while also attributing to its longevity of life. Creating an object that can be passed down from generation to generation gains not only sentimental value but an appreciation for the craft and a feeling of the object's permanence and worth.

Artist inspiration

1- Seth Gould- | Metalwerx I take great inspiration from this artist because he not only makes tools but he makes the tools extremely detailed through blacksmithing and metal work. He specializes in making jewelry saws and usually you can buy these saws for no more than $25, but he is making these simple tools into art pieces themselves. He uses craftsmanship in every tool made. I love his work and appreciate this artist as a whole.

2- Nash Quinn- Nash Quinn — SNAG//SPACE I take even more inspiration from this artist's use of mechanisms. His use of hinges and all around craftsmanship when making mechanical rings and even containers is unmatched. His attention to detail really shows when he completes his artwork and explains how the mechanism works he designed and created.
Fragments

Addison E. Miller

Plants have cultural, spiritual and medicinal importance. Artists have long been inspired by the beauty of flowers, but how do we determine what’s considered a flower and what’s considered a weed? In the series “Beyond the Evergreen”, I create characters based on the environment around me, specifically, the plants and animals in my own backyard. I illustrate species which are often considered a nuisance, elevating their importance and honoring their ecological importance. My work created, develops their personalities, and explains how they interact with each other in their ever-changing world. tells the stories of the characters I have created and give my audience a glimpse into my character’s personalities and how they relate and interact with each other in their ever-changing world.

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). Both artists' works focus on giving anthropomorphic traits to animals or other various objects. Though these artists have quite a considerable influence on my work, my style is also reminiscent of the works of Kiana Khansmith, Dana Terrace, and Alex Hirsh. All three of these artists have illustrative styles of drawing. These artists use shape to their advantage when it comes to character design, with their bubbly characters having rounder features and their more serious characters having sharper features throughout their design.

My process starts in my current sketchbook. Sometimes characters get reimagined from an earlier time in my life, the ones that I feel I could improve upon. Most character designs 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, character personalities may be inspired by a real person or be based on appearance.

I work mainly with COPIC or Huhu markers on Bristol paper. This is my chosen medium because of the smooth and easy blending of the materials. This makes it possible for me to achieve the look I am trying to achieve. Recently, I have been incorporating colored pencils and gouache into my work as well. Typically, the colored pencils and gouache are used to color the background, which serves to make the characters pop more than a marker-on-marker look would.

Overall, the central theme of my story is community. Multiple installments of “Beyond the Evergreen” include characters that are different in appearance, age, gender, and social status all of them not only coexist, but together they thrive and become friends. In the future, I plan to continue developing this story. I can see it potentially becoming a series of children’s books.
Fragments

Vuanh Pham

My work draws on animals, birds, and, most recently, flora as symbolic vessels through which the human experience can unfold. By placing our intricate emotional capacity into the bodies of creatures and plants, I create a space where the complexities of being human can be observed from an outside perspective from my own. These forms allow me to explore the intensity of emotional growth—its highs that feel like flight, its lows that demand shedding, retreating, or transforming.

Animals and birds become stand-ins for our instinctive selves: the parts of us that react, protect, yearn, and adapt. Their movements and postures mirror what it means to navigate vulnerability, strength, isolation, and connection. With the introduction of flora, I extend this metaphor into the cyclical nature of growth—how we root, bloom, wilt, and regenerate. Plants offer a quieter language for change, one that emphasizes endurance, seasonality, and the unseen processes that shape who we become.

Through this interwoven imagery, I hope to reveal an emotional truth that words often struggle to hold. My work is ultimately a study of humanity through the lens of the natural world—an invitation to see ourselves not as separate from it, but as evolving beings shaped by the same forces of tension, beauty, and renewal.
Thank The Heavens! By Ciro Astarita

Ciro Astarita

‘Thank The Heaven’s Issue 1: Plate of Bones’ is an issue of a comic I have created inspired by the older style of weekly publications such as that of Casper The Friendly Ghost or Archie that people would buy at newsstands. This comic is set in Europe in a vaguely distant time period and inspired by my background as an Italian American. My work aims to combine the best of both worlds of physical and digital art by blending traditional art methods, primarily illustration in the form of comics, with the ease and convenience that technology and digital tools allow for in layout design and storyboarding. When creating this comic book, i used varying lineweight with little to no value to create a stark, attention grabbing aesthetic. this work is 15 pages for a total of ninety-four panels all hand-drawn with pencil on paper, inked, scanned, and layed out digitally. This was influenced by traditional inking techniques of the past. There was also a careful attention to detail in the rhythm and flow of the panels with an emphasis on consistency and structuring the comic using hierarchy. 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. When creating the designs of these characters, I looked to ancient greek and roman sculpture and tried to replicate that stoic style often featured in those timeless works of art. This is paired with biblical motifs within the narrative and framing of certain scenes.
Drifting Through It All

Cross Berry

Mimicry is an important adaptation for survival in the natural world. In nature this comes in varying forms, such as a stick bug that camouflages itself from predators, or how the Myrmarachne camouflages itself as an ant to ambush its prey. Mimicry in our childhood allows us to enhance our creative development. During my childhood, I often tried to mimic the way my cousin would create fantastical creatures. These creations gave me a sense of comfort and confidence in my own imagination, which allowed me to explore design and the way life functions. In my day to day life, I continue to see mimicry within my own children, and the positive effects it has on developing their imaginations.

Mimicry is the primary adaptation that I explore throughout my work. I push the boundaries of functional furniture, focusing on the form of the furniture and how that plays into its functionality. Utilizing zoomorphic qualities throughout my work, I aim to both transcend and embody the craft itself, lending a sense of camouflaged beings to inanimate objects. Their functionality is integral to understanding how they would live in their natural environment. My biological curiosity resonates with the work of both Michael Brolly and Luigi Serafini, who use their art as a vessel for creature creation. Throughout this work, take the time to ponder how these creatures use their form as an object to become either the predator or the prey.

Cross Berry
"Drifting Through it All"

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.
Drifting Through It All - Caitlyn Cooper

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. All of the works featured are Graphic Design works, with mockups and videos used to show the designs.
Teresa Hill BA/BS Drifting Through It All Exhibition Spring 2024

Teresa Hill

Among other themes, the idea of nature reclaiming what it had lost to humanity is what has been driving my work recently. The evidence of it appears all around us; wandering past run-down homes with choking vines and knee-high weeds, traveling past old gas stations with rust-covered pillars, even old gardens left in disrepair for the wilderness to take back. I’ve been surrounded by older buildings and lived in places filled with greenery, and the interaction the buildings and plant-life have is so interesting to me. In my eyes, it makes the buildings have a new purpose outside of keeping wildlife safe. It makes those buildings feel quiet and somber, yet beautiful. Sitting there, in the weeds and grasses of what used to be a home or gas station, gives a sense of peaceful reflection.

I mostly use traditional drawing, painting, and ceramics more often to get the effects I want in my works, wanting to connect to that peaceful reflection I feel while adding a curiosity to it. All three forms are processes that call out louder than others due to the textures, forms, and vast array of hues I can get.

My ceramics have functional and/or sculptural elements that mimic plant-life while blending in animalistic traits. The pushing and pulling of forms lets me break from rigid plans of how something may look and adapt them based on how the clay reacts to being manipulated and changed. My drawings have the grain of the paper and the original color of the paper, acting as a type of middle ground for the colors. From scratchy free-handed markings to smooth blended markings, I use them all to give the drawing the best balance of color and texture while keeping the grain noticeable. For my paintings, I focus on texture and detail of the scene I’m painting. Taking more time to render the scene and giving it the same feeling I felt when originally seeing it in real-life. Whether it be a run-down gas station or an old family home, I want that same emotion I first felt to be immortalized in my paintings.

Aside from inspirations I find in my life, there have been artists that have inspired me as of late; one being Bonnie Seeman. Seeman’s use of floral and anatomical traits to create the charmingly disturbing vessels while giving them an awareness of life itself. The use of textures and colors causes leaves to look like flesh, bones to hold the structures together, and tiny details like eyelashes and insects connecting everything to each other. Another artist who has influenced my work one way or another is Edward Hopper. Hopper’s use of scenery and color scheming leads his paintings to be reflective of the beauty and/or depression of aloneness in urban and rural settings. That reconnecting of his works to real life being one of the many reasons his works influence my own.
A Showcase of Digital Design

Grant Hoffman

As an artist, my design is heavily inspired by a lifelong passion for creativity and desire to effectively communicate with an audience. My work tends to lean into the realm of swiss design, characterized by simplistic layout and bold san-serif typography. The use of neutral tones and bold hierarchy contribute in building an effective but unique way of communication to the viewer. Oftentimes, my work conveys complex ideas that provoke the viewer to deeper understanding behind a seemingly superficial piece of work. I enjoy exploring the concepts of reliance on technology, false imitation and abstraction within a composition.

I find outside influence in several designers such as Saul Bass and Paul Rand. Bass possessed the ability to captivate the viewer through the use of non-traditional typography and simplistic but contrasting color pallets. This can be seen in several poster design series throughout his career. Rand however, primarily drew his inspiration from the Dada movement. The use of geometric figures and child-like illustrations promotes an abstracted but modern portrayal of childrens book covers. Although both of these artists use several methods of unique abstraction, they also are excellent at logo design. Similarly, I hope to portray both sides of Bass and Rands abstraction and clean straightforward design within my work.

Along with these well known designers, I also have outside influences that have shaped the composition and concepts within my design. Growing up I feel that my family promoted this constant expectation of perfection and unachievable expectation. Often in my work, this idea of flawed perfection is transparent and highlighted to better convey the message. Additionally, as a High School student I also enjoyed creating and listening to all genres of music. This influenced my work to be more aligned with pop culture and better able to express myself through abstraction.

As a college student, I'm continuing to grow and learn more about the principles of design as well as the balance between abstraction and simplistic composition. In past work, this has been done through the use of geometric shapes paired with a contrasting collage style. I've also found using simple compositional techniques such as repeating elements or a drop shadow can also be effective. I'm looking forward to designing, creating, and implementing these principles in the future.
The Last Crusade

Macy Kendall

Since I was little, I was always drawing and it has always fascinated me. Drawing was something that allowed me to let my overactive imagination roam as a child and it also allowed me to bond with people. I remember being in Elementary School and I would have inside jokes with friends about some art project we came up with together. Growing up, in high school I was still the ‘quiet kid’ that people like my current partner thought didn’t even speak, until they saw me in the art room. Truth was, the art room was a release for me and I felt safe there. I felt free. I became infatuated with realism and how astonishing of a talent it was for someone to create, by hand, all of the intricate details that can be seen in the real world, even down to a microscopic level like the individual skin cells on large drawings of the human face. From what started out originally as a hobby, art soon became my life and I found myself striving to create realism. To be honest, I always knew I wanted to be an artist, but financially, I knew it would be a struggle to only create art. Therefore, going into college, I decided to pursue Graphic Design, hoping to continue to draw.

Looking at the illustrations I have created, my drawing style can still be seen peeking through. Somewhere along the way of developing said style, while I was originally wanting to do cartoons, I was taken back by realism. Eventually, my style began to be more and more detailed. When it comes to drawing, I think of compositions in my head about what I could create. While the subject comes to me relatively fast, I very roughly gesturally sketch my idea onto paper, then I make notes to the side if it’s necessary to establish anything I’m specifically thinking about, any ideas I have in the moment, or maybe colors that come to mind. Afterwards I typically get a few reference photos and then start to create the artwork itself.

There is one goal that I have as an artist, I take inspiration from others, but I refuse to take inspiration from the subject matter of their work. With this being said, I’m inspired by Renaissance artists like Leonardo da Vinci, not by his famous painting Mona Lisa, but how he studied the world around him in drawings like Vitruvian Man. In fact, I’ve always taken inspiration from the Renaissance for my own artwork which has influenced me to create realism as well. Moreover, I’m inspired by Georgia O'Keeffe and her array of beautifully painted flowers, not to mention, her determination to continue painting even when her eyesight began to fail, which inspires me, someone with terrible eyesight, who will never have 20/20 vision, to continue to do something like realism. Even if I have doubts in my capabilities or the quality of my work, O’Keeffe helps me remember that it doesn’t affect my abilities as an artist and she motivates me to keep creating what makes me happy. I also take inspiration from David Carson, a graphic designer that creates work with the intention of breaking the rules, yet he creates something successful and cohesive, reminding me I don’t always have to follow the rules to be a successful designer. I’m not sure where my next work will take me, but I am excited for the journey that is yet to come.
The Last Crusade

Catrena Kovaloski

Through photographs, I utilize minimal and direct composition to address objectification of the female form and domestic violence. The photographs I take focus forwardly on the subject matter and are meant to have the viewer interpret the scene without any unwanted distractions. By incorporating myself as the model, I allow my experience to be shown through my eyes rather than as an outsider. The photos with their black and white tonality correlate with color theory as they strip away the emotion from the scene and allow the viewer to interpret the work. My photographs address abuse on the psyche portrayed in a physical depiction. This is accomplished with the use of dramatic lighting and compositions that abstract the female body by cropping the frame. This is utilized in “Voiceless”, a self-portrait, by using Rembrandt lighting to create an atmosphere of mystery and subtle violence. A photographer who influenced my work is Brooke Shaden. Shaden intended to portray concerns with motherhood in, “Fallen Fruit”, however, my first impression of the piece was about the sexual violence that can occur within domestic abuse which resonated with my personal experience. My work, with the use of minimal visual elements and direct composition, creates an introspective look into objectification and domestic violence. It exists to process my experience with consensual relationships and domestic abuse, while not catering to what is considered comfortable with the disturbed and explicit disposition.
The Last Crusade

Michael Ridenour

Michael Ridenour

My work comes from imaginative inspiration as well as a personal nostalgia. This visual influence on my work comes primarily from Japanese animation as well as my memories of the visual culture of my youth—I filter these touchpoints through current trends to inspire new work. The vast majority of my art involves drawing with graphite and/or charcoal. My art making reflects critical thinking about my experiences by trying to portray a breadth of emotion in the confined two-dimensional space of a drawing. I am interested in continuing to explore the ideas of childhood nostalgia in my future work. I am attracted to pieces that I can relate with and pay particular attention to work based on popular culture.

I seek consistency in my artwork through the use of a monochromatic color palette and cross-hatched line work. I am attracted to the idea of how nostalgia might lead to a deterioration of stress and relief from some of the strain of life. For instance, in my drawing “Atlas” the central character from the popular video game “Halo” struggles to lift a heavy cinder block over his head but is ultimately caving to the pressure and weight of it. Another work that is influenced by my childhood is the “Back to Square One” piece I centered on the theme of popular trading card games. “Self-Portrait”, inspired by my feelings of finals week where I am a clown. Even though clowns are known for being ridiculous, they have to perform for the audience's expectations. “Confined” which sticks to the limited access of youth where the plush doll is locked in a glass vault for its own protection. But this is also scarring the toy psychologically for not being able to go outside and have fun. Though it is a sort of transition from a previous theme of mythical animals drawn on torn journal pages, it further incorporates some elements of my personal childhood such as a passion for mythology and wildlife.

Some direct influences on my art pieces are from Japanese animation studios, such as the films of Studio Ghibli directed by Hayao Miyazaki that often feature stunning and whimsical scenes that frequently also contain complex symbolism and intense conflict. I am also inspired by character designs made by James Turner for the Pokemon franchise, particularly how he makes his own designs of Pokemon while still maintaining the traditional values and iconography of a very established brand. Speaking of keeping things traditional, my final influence is an American sculptor named Daniel Arsham. Most of his art pieces are based on characters and paraphernalia of popular culture as well as classical art and having them seem to be eroded with crystals exposed. This in a way is relatable in a way with my artwork because it takes these themes of remaking the popular culture and turning them into an ancient.
The Final Crusade

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
Through all of it

Thomas Townsend Jr

My art is about feelings and thoughts that can’t be expressed with words. I want to make art so that my audience can understand the importance of the places I have been and their significance to me. The drawing I recently made, Self-portrait, is about how I am dealing emotionally with familial loss. In my piece Family Museum, the background was made to have a museum or memorial feel, displaying two rooms for my passed family members. In addition, the value of contrast helps elevate the understanding of depth and space, giving it a more authentic look.

Listening to music and being able to connect with my thoughts in my own space is one of my biggest motivators. Most of the drawings I make don’t have color because it seems more personal and shows my improvement with tonal contrast as well as my attention to detail. My paintings are enhanced through my employment of symbolic objects and colors. My artwork that does use color, displays my range of color value and blending, capturing the eye of the audience.

I draw influence from the likes of African American artists such as Toyin Ojibwa Odutola and Jacob Lawrence. Odutola’s portraits tend to fight against the negative stereotypes most often depicted of black people. Lawrence illustrates the black experience by painting the streets of Harlem where he grew up. Another point of inspiration from Odutola’s work is her use of the contrast of black and white which is seen in my own art for more dynamic emotional expression.
The Last Crusade

Jonathan Wong

I’m driven by a desire to explore human emotions and how we are influenced by social media. While a useful communication tool, it is also a part of the reason for poor mental health. I am myself an emotional person. Making video and photography helps me to soothe my own anxiety, while working with people who express their own conflict with their current life. Photography and film serve as a vessel for the variations of personal mental health struggles, friendships, and offering a timeless reflection of emotional states. I want my art to be therapy and remembrance that grounds you to reality, showing you, the audience, themes of friendship and loss to bring positivity. Social media can bring dissociation and regret, video media can help change that narrative, as ironic as it may seem. Through pieces like "How to Use a Book" I delve into the impact of technology on modern society, utilizing vivid imagery and video inserts to social media videos that seem to have the solution to all problems. “XANNY”, “As it Was” and “Deep Sea” focus on showing an angle of specific mental tropes based on individual experiences. These can come from the stress, depression, and overstimulation pervasive in modern society. Emotions are universal for every person, and my goal is to portray my feelings in those moments with the hope that the audience can relate in their own way. Everyday tasks or moments can still bring momentary sadness but that isn’t always bad. They are the product of fully experiencing life. In my creative process, collaboration and introspection intertwine, culminating in works that speak to both personal experiences and reality. Drawing inspiration from luminaries like Massimo Vignelli and Paula Scherr, I navigate the intricacies of design/video media with a keen eye for detail and narrative clarity. Ultimately, my artistic vision is about shared emotional experiences. Regardless of how big or small these may be, I want to bring those emotions out of you to self-reflect on your experiences and how it feels now regardless of time. Every piece is made with vulnerability, through use of color, music, angles, facial expressions, and the use of social media everywhere. If I am able to elicit any strong emotion from your mind, then I have achieved my goal.
The Essence of Introspection

Rebecca Curtis

Fantasy was a household theme during my childhood. It appeared in the form of unicorn figurines, a fairy mural on my bedroom wall, a healthy obsession with Amy Brown, a love of Sci-fi movies, and regular Dungeons and Dragons games with my parents. After experiences including sexual abuse, divorce, coming out, and my son’s autism diagnosis my art made a metamorphosis from fantasy to reality. My current work explores the positive and negative feelings associated with all of those personal events.

Uniquely raw, figurative works combine themes of love and trauma into my recent prints, paintings, and ceramics. Taking notes from Doron Langberg’s explorative and evocative use of color, my color palette is highly saturated and portrays the intense emotions of underlying narratives. Similarly to contemporary painter, fellow queer artist, and mother, Jenna Gribbon, I am using personal references incorporating LGBTQ themes and referring to my son’s struggles and triumphs. The figures in my work are to be regarded with empathy as you capture a glimpse into tender scenes of interaction and personal discovery.

Embracing representational art in all mediums, enables me to weave these universal narratives together. My prints, ceramic works, and oil paintings are executed with elements of realism to allow viewers to enter the scenes and relate to the figures as well as to my experiences. This art is the prime mode in which I express the love and grief and empowerment and anxiety of daily life.
The essence of Introspection

Mahaila Pinchot and Mahaila Pinchot

The work I create is experimental and stylized. I like to use certain art making processes such as photography or ceramics to document different events or emotions that are going on in my own personal life. The concept of taking something common and turning it into tangible art is a topic I am passionate about and continuously exploring. This particular body of work is a celebration of my journey working through my own personal experiences and highlights. As well as a way to honor my life, past and present.

The imagery used in these photographs are inspired by places that are memorable to me and invoke the sense of nostalgia. These photos help document the ordinary moments that have accounted for so much of my life that oftentimes are forgotten. Throughout my work I am constantly finding myself dealing with the subject matter of a photograph, and problem solving on how to add the right amount of detail and information which allows the viewer to grasp the sense of nostalgia that I am creating. The ceramic work used in this show is a direct reflection of this emotion. The realistic cake slice represents the ‘party’ aspect one might feel when feeling a sense of accomplishment. In addition to this, the color scheme used throughout my work is influenced by childhood memories. Being able to manipulate an object brings a sense of awareness to it which plays a role in the concept of turning something boring into something extraordinary. Using art as a way to convey a feeling of sentimentality is something I like to do in my work.

One contemporary artist that has been a heavy influence in my work past and present is Virgil Abloh, who was famous for his collaborative work with Louis Vuitton, as well as his sole label ‘Off White’. His way of taking mundane objects and creating elaborate art with them is something in which I can relate and admire. I see my work reflecting ideas similar to his such as remembering past experiences and using art as a way to voice those experiences. In addition to Virgil, another artist who had a great impact on me is Karl Baden -- a contemporary photographer who is best known for documenting and shaping perspectives with his images. This concept is something that I carry with me through my own work by constantly trying to convey thoughts or ideas that the viewer can also relate to. In addition to this, Baden’s photography is very stylistic and used in a documentary way. I relate to this because my work is similar in the fact that it is distinctive - regardless of medium. In addition to this I also enjoy the need to archive my experiences through photographs. I'd like my work to allow the audience to feel a sense of recollection of their own life experiences, and hopefully inspire someone to capture those memories too.