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  21st Century Revival- BA/BS Senior Show

  Kirsten Moore

  Growing up in Kentucky, I had no choice but to acknowledge that I was smack dab in the middle of the Bible Belt, where culture is in many ways defined by Christianity and there is a church on every corner. These deep southern and Christian roots have defined who I am and how I view the world, inspiring me to examine the roles these two factors play in my life as well as the lives of others through my art. 21st Century Revival takes a dive into this specific culture, questioning how southern Christianity has impacted the lives of those who have come into contact with it in both positive and negative ways. These pieces envelop a positive sense of community, inspired by communal activities like quilting or sitting together at church, while still addressing the negative ostracization that can come from being a part of this culture, much like being “stoned” for being who you are.

  The space created in this body of work is one of contemplation and remedy; challenging Christian culture to acknowledge the power it has over the south as well as allowing those who have experienced religious trauma to feel validated, seen, and to potentially heal from the hurt. Tying into these ideas, my work often includes a blend of religious iconography and quilt patterns, taking inspiration from both Biblical stories and the quilts my family had growing up, which are very much a part of Kentucky culture.

  My art combines expressive oil painting with mixed media elements, be it sculpture or fabric. I often use photoshop and collage elements in order to combine my realistic figures with a layered and abstracted environment. This surrealistic approach, together with the blend of naturalistic color and the bright, saturated color in the quilt elements, creates a heightened emotional zone. The installation itself references structures found in places of worship, inviting the viewer to sit down on a surface that has the capacity to either instill peacefulness or cause confrontation and discomfort while reflecting on the painted imagery.

  I am drawn to the works of Kehinde Wiley, especially his Stained Glass series. Though his work isn’t about Christianity specifically, it still uses the detailed and ornate style of traditional religious paintings while still incorporating modern people and elements of design; a perfect visual conversation between old and new, figurative and abstract. The story quilts of Faith Ringgold also serve as a source of inspiration. The abstracted figures encapsulated in a quilted border maintain a patch-work aesthetic, playing with color, pattern, and flatness while telling difficult stories. I often combine the painterly qualities of Kehinde Wiley and the flattened, fabric-like elements of Faith Ringgold in order to create an other-wordly environment for my figures and stories to live in. I also play a unique role in this story of southern-Christain culture, where I am still exploring who I am and where I stand on such matters. To be a Christian while advocating for reform and recognition toys with the very core of my identity, pushing against the structure of the very thing I have devoted my life to while still loving it wholeheartedly.

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  B.A./ B.S. PRACTICUM GROUP EXHIBIT

  Conner Murt

  This work is a study of everyday spaces and activities of daily living that are often overlooked. These photographs capture raw moments of people’s lives, without artistic fabrication, communicating a sense of candor. I create photographs of interior spaces that stand out mentally to me and which include objects with unique characteristics. I illustrate portions of a given location, but intentionally do not give away all of the specifics of the space. There is an absence of a figure, yet symbolic fingerprints are apparent in these very personal spaces. Although the individual is not the focus, the space or environment is enriched by the past and future presence of that individual. The un-fixed daily activities and scenarios captured in my scenes provide insight to an individual and the life they lead. Oftentimes, big highlights of people’s lives are the only memories captured by photographs; however, photographing everyday domestic objects offers a realistic viewpoint of life to reflect upon and view in a different light. I invite the viewer to take an active role in the work by means of reflection, personal interpretation, or memory through life experience.

  The search that is involved in finding the spaces for the photographs is of greater importance than the editing and post-process that follows the making of the photographs. I provide balance and context to the subject of the photographs through the framing of the scene, thus allowing a story to be ascertained. The consistent presence of the individuals’ responsible for the space and their physical absence within the photographs propels the continuation of this conundrum. The photographs depict spaces and physical domestic objects that have worn over time, providing a conclusion in a still frame while allowing the onlooker to imagine the story that may have led up to that point. These snapshots of everyday life allow the mind of the viewer to wander and allow the photo to play out in a variety of ways that are dependent upon their mood, life experience, and personal interests. -Conner Murt

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  BA/BS Senior Show

  Emily Netherton

  Memory is a complicated thing. We often long to hold unto the past, but struggle to actually remember it accurately. We place such importance on memories that we continually collect artifacts to remember things by. We take pictures to remember moments. We hold onto personal items to remember people. We often display these artifacts and spend so much time with them that we place more importance on the objects than the memories associated with them. The relationship with our past and our past selves is complicated. It is both the same person we are now, and a completely separate person from who we are now. We tend to romanticize our past selves even though our memory of that self is inaccurate. In my work, I focus on reconnecting those objects to the memories, and addressing the attachment we have to them. I break down the process of memory, and depict the lack of clarity we have around memory. I also address the relationship we have with our past selves and how we have changed. I tend to use simplified figures and bits of color to obscure memories, in the same way our memories and self are distorted over time. I paint on frames and other storage items in order to communicate our tendency to store and sort our memories in a safe place to be accessed later. I also paint on other found objects to portray our inclination towards connecting our memories to random yet specific objects

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  BA/BS Art Exhibition

  Utarius Rose

  Utarius Rose

  Artist Statement

  As individuals with different personalities, we tend to distance ourselves from each other. Trying to connect with others is hard. So, how do we form connections and how do we create conversations that bridge the gaps between us? I believe the connection can be made by sharing personal emotional experiences through translating them into artistic narrative forms. I make drawings, paintings, and prints that insert surreal elements into representational spaces, often incorporating the figure. Both concepts and details excite me because they expand my imagination and inspire both mental and technical goals to focus on. I imagine my art as a sequence of different ideas, sorting out visual messages to pass on through each of them that creates a place for emotional connection with my viewers.

  I take visual as well as verbal motivation from both artists and people in my life. A great known artist who uses vivid realism is Kehinde Wiley, who is quite literally changing the faces of portraiture with his sensitive, vibrant, and political portrayals of black people, including teenagers he meets on the streets. From his work I reflected on the visual quality of his art, but also pay attention to the narratives of inclusivity in his work. Another artist who inspires is Kara Walker. She inspires me more on a verbal level when I look at her work. One great example would be a quote that I love by her and I say to myself everyday, “There’s no diploma in the world that declares you as an artist -it’s not like becoming a doctor. You can declare yourself an artist and then figure out how to be an artist”. That speaks volumes for me and ensures that an artist can be anyone, it just takes the artist to learn how to express themselves.

  My number one inspiration is my mother, Shanida Rose. Although she isn’t a known artist, she uses the art skills that I have shown her to create contemporary art of her own using our household as her vessel. Her work inspired me as an artist because it always reminds that anyone can be an artist as long as you’re expressing yourself in your own way!

  Within my work, I explore my own internal thought processes about how to express one’s inner emotions with an outstanding visual of experience. Making a way for my viewers to open themselves with what’s troubling them noticing that everyone feels the same emotions.

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  Lingering Space

  Makayla Tapp

  Lingering Space

  Since I was young, I have had a fascination with childhood memories that I should have been too young to remember.. Over the years, these memories have changed and warped, yet the strongest memories that have remained the same are those of my parents, and the spaces they inhabited. As my memories of my parents fade, I begin to lose details, such as the way their voices sounded, the way they smiled, the way they laughed. But the pieces that linger are the spaces I remember them being in, the homes they lived in, the places where we made these memories.

  My work is spurred from these past experiences, memories, and my parents, often combining several different influences into one work. I am interested in concepts such as childhood, nostalgia, memories, misplacement, in both personal works and others’.This series of screenprints is about my mother and father and how their absence has impacted my view of the world. For this I composed several screen prints containing imagery that is significant to both myself and the memory of my parents. A muted palette is used throughout the pieces, with additions of color in specific areas to draw attention to them and invoke thought from the audience. In “Lost,” an empty car interior is shown, the driver's side cobalt blue, my mother’s favorite color. Without her as the driver, any passenger would be lost. In “Apt. 2,” my father’s last home is pictured. It is a simple apartment complex with a single illuminated door and windows that belonged to his unit. These are places tied to my parents and are reminders of them, places where memories were made.

  My style is influenced by both Micah Bloom and David Ralph who both utilize techniques and themes that mirror my own works. Bloom’s flat color paintings and his use of perspective within his works are similar to my own pieces. His paintings often include settings within the home, reflecting the work I have created as well. Ralph’s series of paintings, “Escape Into Life” focuses on temporary dwellings, such as mobile homes or apartments. His work discusses the existence of humanity and how the dwellings we reside in are symbolic to how we live. Spaces we inhabit have a significant role in the way we live, as we leave pieces of ourselves in them. I invite the audience to take a closer look at the spaces I have chosen to represent my parents’ memory and discover memories of their own.

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  Desires of heart

  Hsuan Hsiu Cheng

  Desires of Heart

  When I touch clay, it gives me a feeling of meditative focus and potential, but also vulnerability and surrender. I am reminded that I am His clay. “And yet, O Lord, you are our Father. We are the clay, and you are the potter. We all are formed by your hand” (Isaiah 64:8). Clay’s malleability allows me to put my feeling or emotion into my work. Many of my art pieces are inspired by my personal experiences and faith.

  Some of my work addresses emotional feelings, like depression, struggles, peace, and joy. In my sculpture called Healing, I use the texture on the outside to represent the struggle, and the brokenness of being a human. The flower inside the sculpture shows the possibility of healing and regrowth from within. Even though it’s broken, He still heals from the inside and out and made it whole again. I hope the viewer to feel touched when they see the work. When people see artwork, they might comment on how it looks at first, but I care more about the meanings and ideas behind the art pieces.

  My faith is also an important influence on my work. In my series of sculptures titled “Desires of heart,” I use water to represent the elemental power and God’s creation. The heart on the water represents me. It talks about how I gave my heart for Him and no matter how many trials and sorrows I endure in this world; He holds me still among the water of the ocean. The heart also evokes the scripture “Wherever your treasure is, there the desires of your heart will also be” (Matthew 6:21).

  My attraction to abstract form began with Hunter Stamps’ ceramic sculpture I like how emotion-provoking, dynamic and chaotic his pieces are. I also admire Antonio Canova’s sculptures because of their strong emotional appeal. While they are very unlike my work in form, his sculptures inspire me to explore abject emotional states with my artwork.

  Chloe Cheng

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  Changed Trauma

  Jessica Free

  Changed Trauma

  In this collection, I am exploring my past trauma that I have obtained as a result of the abuse I experienced years ago. Although my experiences from the 5 years of abuse were bad, the good now overrides the bad. Through these experiences, I have grown into a strong independent person as I have gotten over them through forgiveness and time. Often associated with place, I have never forgotten the memories but I continue to grow from them. Time is a heavy component in this collection. To emphasize this, I used black and white photography to make the places resemble aged moments in time. My influence for this exhibition is the reappearance of past abusers into my life and the memories that have resurfaced. Throughout my work, I will be exploring my trauma as a means to define who I am today. I am using digital black and white photography to give life to these traumatic experiences. I am drawn to photography as an art medium by its life-giving properties, as photographs often give life to experiences, objects, or places. I often use landscape photography as an exploration of the world, people, abandoned places, and amongst other things. Through my photographs, I intend to form a connection with viewers with similar or different backgrounds and evoke vulnerability while allowing the viewers to explore their own trauma. This collection as a whole is an exploration of traumatic experiences that focuses on remembrance and growth. As time passes and your trauma ages, you still carry it with you, sometimes by place or people, as it either haunts you or encourages growth.

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  Unprecedented

  Chris Gill

  Personal experiences hold images and objects together either with, or in place of memories, people, feelings and so on. The pieces I’ve created borrow imagery and iconography of vibrant Belizean life and culture while expanding on the practice of veneration of figures through art and the adornment of charms to express devotion, along with any other object of significant meaning or context.

  Using painting in combination with metalsmithing, the works discuss a narrative between objects and their attachments or connotations to queer identity and as well are used to present the figures as beings of worship.

  The figure is important to my process of documenting the uniquely Belizean queer experience. While I use bright, heavily saturated Caribbean iconography as meaningful tools to represent an unspoken minority within an already small country, my strong Catholic upbringing infuses the work with a ritualistic aim of sanctifying queer bodies. My figurative pieces are my ways of making queer bodies sacred and accounted for, as well as representing them in ways that encourage them and give an insight as to what our history could have looked like.

  The local artists of Belize all carry a specific spirit and vibrancy in their work. I look to them to feed my art and create a base for my concepts. Borrowing styles from other Belizean artists such as Walter Castillo, and Alex Sanker, tropical themes unify the majority of my work while they are contrasted with themes of containment and comment on the mental and social oppression of queer individuals in the celebratory, breez, beachy landscapes of my home country

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  Barkedin BS Graphic Design Exhibition

  Katlyn Hall

  Katlyn Hall

  BS/BFA Group Exhibition

  April 28th, 2020

  Barkedin Animal Rescue

  My design project is based on local animal rescues. I am inspired by communities that volunteer time and money into the welfare of animals. The animal rescue brand is called Barkedin. This is a made up rescue as a case study for my exhibition. The name Barkedin is a play on from the word Linkedin as a way to connect veiwers of the purpouse of the rescue.To connect with potential adopters and find homes for strays and animals that are on the euthanasia list in shelters due to overcrowding.

  I also wanted to learn what it is like to create a brand from scratch based on what professional designers work on from clientele. Based on research, Barkedin is designed with bold modern colors and flat, silhouettes inspired by Finiish patterns. Barkedin is supposed to have a sense of professionalism with a series of four informative posters on the statistics of animals that are sheltered, or strays that get euthanized or killed each year.

  The logo and spine cover illustrations of the volunteer book were inspired by the Atrament font face used for the posters. The animals are abstract and modernized with a uniform line work to make my branding stand out from other rescues. The typeface for my logo Barkedin is Gill Sans to give a modernized look with a sans serif typeface and use of grey color to go with the mint green of the logo. I chose gray and mint green as my colors for the logo because I wanted to stay away from the black type and usual bright colors.

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  The Whole Shabang

  Bohui Liu

  We all live on the same planet, but we look very different. Sometimes people can be criticized by their skin color or country they are from. People always define a person in a glance, simply through someone's appearance can be concluded that he or she has some characteristics. But in addition to skin color and language is different, everyone has their own personality, there are advantages and disadvantages. If we just see the appearance then to comment on a person is also irrational and unfair. In this theme, I represent that we have lots of differences outside but we are the same internal. First I used a pencil to draw people’s portraits, then I filled in one color for each of the portraits in the background. In the background, I use white, black, and yellow colors to represent different skin colors of people. I keep the portraits in pencil because I enjoy the original mark, and this also can indicate people are the same from inside. The white, black, yellow rose next to them also shows that rose has different color but they all rose basically. People can not change who they are, everyone is born with the color of their skin and the way they look. So never judge others by their looks, their skin color, and their nationality. We are all the same.

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  Whole Shabang

  Aman Madan

  Aman Madan

  Spring 2020

  Artist Statement

  My work usually has something to do with balance. Being a Hindu, I have always believed in Karma, which is the sum of a person's actions in this and previous states of existence, viewed as deciding their fate in future existences. The law of Karma ties along with balance in life. Therefore, I’ve been a firm believer in balance. I believe it exists everywhere and is essential for any sort of growth. The key to life is balance. Some of my recent sculptures were completely exploring the term balance in different ways.

  As a graphic design major, majority of my artwork is done on the computer, using Photoshop and Illustrator and other design software’s. My designs vary from typographic quotation, illustrations, UI&UX design to 3D installations to video sculptures. I chose graphic design because I seem to do fine with technology and I feel it is a good way to communicate to the audience and yet be creative enough to grab their attention and convey the message. I tend to work with the visual hierarchy, fonts and contrast to make it readable yet aesthetically pleasing, trying to find the balance and keeping up with trends. Graphic design gives me the freedom to incorporate my drawings within my work. My UI mobile application aesthetics are made user experience friendly, easily navigable. I use gradient color in my UI designs after researching about the application. Some artists I look forward to their work and take inspiration from are Craig Frazier, David Carson, Milton Glazer and Saul Bass for Illustrations and Massimo Vignelli, Paula Scher, Louise Fili and Paul Rand for the typography.

  I lean towards working with a limited color palate, mostly black/white or complimentary colors because for me it adds up a timeless quality and makes the work cleaner and helps add contrast to my work. Sometimes using just one color against the black and white helps me to add an emotional appeal to the artwork or emphasize on something (keeping up with the meaning). I have a corporeal drawing in which I only added hints of red, to convey that the figure is hurt, which heightened the emotional value of the drawing. Most of my graphic design work uses combination of two complementary or contrasting colors. Illustrations is where is where I chose to work with a wider color palate, as it depends what I’m trying to express and what the client requires and then try to find the balance between that.

  As Danielle Orner said, “Life is a balance between what we control and what we cannot. I’m learning to live between effort and surrender.”

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  Unprecedented

  Emma Mitchell

  The broad concept behind my work is that of acceptance for one’s true form. As someone who struggles with self-acceptance, building ceramic sculptures bearing flaws and strange features has been a sort of therapy. When looking at my work, the viewer should feel empowered and safe in their own skin. They should see a reflection of their own flaws and insecurities in my sculptures, and feel a sense of belonging.

  Out of the five senses, the one I resonate with most is touch. In all ceramic work, touch is utilized in the making; whether the finished product is meant to be held, felt, or seen. Through the element of texture, my work awakens the human desire to reach out and touch; however intimate and unconventional. Although I don’t want the viewer to touch my work without expressed invitation, I do want the sculptures to evoke the innate desire to feel. I am continuously experimenting with different textures and the sensations they provoke in the viewer. In executing these textures, nature is used as both the tools and the inspiration. I have used lava rocks as well as other unconventional tools to texture my sculptures. Some of my sculptures invite touch as they are visually satisfying surfaces, while others are hostile and rough to the touch. Texture not only serves as a physically appealing aspect, but a visual one as well. The contrast that texture adds to a piece draws the eye in all different directions; inviting the viewer to look at every curve and crevice.

  The form beneath the texture is inspired by both natural formations and the fluidity of the human body. My sculptures begin as a flat surface, mirroring a starting point in every journey towards acceptance. I often let the clay dictate which direction it wants to grow in; offering help when gravity threatens failure. I enjoy working with clay because it’s natural, almost a creature of its own, growing and collapsing with the elements.

  I draw inspiration from modernist sculptor Barbara Hepworth as well as German contemporary artist Birgit Piskor. Hepworth’s work was influenced by motherhood, history, and war as she sculpted forms evoking the human body and the space it occupies. The minimalist quality and psychological meaning reflect in my work. Birgit Piskor focuses on catching transformation and inevitable change as she sculpts with concrete. Her sculptures depicting the feminine form inspire my work to be poised and elegant.

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  The Whole Shabang

  Allison Pitt

  My art is a combination of my two favorite things; painting and food. I use my paintings to communicate my relationship with food. Over time, my love for food has transformed into a disgusting obsession. This is shown in my work, as I display all of my favorite foods and drinks, in a manner that is unsettling. This reflects my feelings after a binge of food or my ever changing relationship with the foods that I love. I also discuss the image of my own body, and how I see myself in my own head. Like in my head, the images in my art are distorted and contain pushed perspectives that don't always make sense. I use this as an outlet for my feelings, whether I am craving pizza, or feeling guilty for my indulgence. While I use painting to manage my own relationship with food, I find that others find comfort in images of food, as I do.

  I use primarily oil and acrylic paint to make my artwork. I am drawn to the paint because of the fluidity and interaction between shades. I like taking my own reference pictures, so that I can capture the exact motion or placement that I have in my head of specific subjects. I use these images and my imagination to invent a composition that pushes perspective. This reflects my in and out relationship with the foods. I like additions of things that don’t make sense or confuse the viewer with the sizes of different objects and creating some flatness on a dimensional plane. I enjoy this as an art to keep my mind creative and my artwork very intentional. Overall, I intend to use these concepts and my personal relationship to food in my artwork for myself. But I also want others to find something in my paintings, whether it be just a love for that food or sharing a similar feeling as I do.

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  The Whole Shabang

  Allison Pitt

  My art is a combination of my two favorite things; painting and food. I use my paintings to communicate my relationship with food. Over time, my love for food has transformed into a disgusting obsession. This is shown in my work, as I display all of my favorite foods and drinks, in a manner that is unsettling. This reflects my feelings after a binge of food or my ever changing relationship with the foods that I love. I also discuss the image of my own body, and how I see myself in my own head. Like in my head, the images in my art are distorted and contain pushed perspectives that don't always make sense. I use this as an outlet for my feelings, whether I am craving pizza, or feeling guilty for my indulgence. While I use painting to manage my own relationship with food, I find that others find comfort in images of food, as I do.

  I use primarily oil and acrylic paint to make my artwork. I am drawn to the paint because of the fluidity and interaction between shades. I like taking my own reference pictures, so that I can capture the exact motion or placement that I have in my head of specific subjects. I use these images and my imagination to invent a composition that pushes perspective. This reflects my in and out relationship with the foods. I like additions of things that don’t make sense or confuse the viewer with the sizes of different objects and creating some flatness on a dimensional plane. I enjoy this as an art to keep my mind creative and my artwork very intentional. Overall, I intend to use these concepts and my personal relationship to food in my artwork for myself. But I also want others to find something in my paintings, whether it be just a love for that food or sharing a similar feeling as I do.

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  Unprecedented

  Drey Reed and Drey Reed

  My goal as a designer is to draw the audience’s eye, making it clear what information is most important. I make my designs visually pleasing through the overall layout and use of color combinations. Recently I have discovered an interest in character design. I aim to improve diversity seen in tv, comics, and video games. Which is why I have decided to focus on designing a more diverse character, in this case one that is based off myself, half white and half black. I designed this character with the intent of him being in an animated tv show, which is why I chose a flat shading style. The color of the clothes was intended to work well with the skin tone but also to contrast the warm colors from his fire abilities. The cool green of the shirt as well as the dark pants and shoes both contrast the bright flames throughout the illustrations. Both the scale of these illustrations and the thick outlines on the character brings the piece to life a bit, adding an energy to the piece that would otherwise be missing. I feel it is much more impactful to see these near life size, rather than on a small poster you could just hold in your hands. I feel my biggest inspiration for my character designs would be Bryan Konietzko. He was the art director for Avatar the Last Airbender, a tv show I grew up watching. Even now, I like not just the show, but the art style. While many cartoons tend to greatly simplify the human figure or take liberties with the proportions, the style in this show is much more realistic as far as cartoons are concerned. The characters are rather simple in terms of line work but still have interesting designs and tend to be very memorable. These are some of the qualities I focused on bringing into my own design.

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  Unprecedented: BA/BS Senior Exhibition Fall 2020

  Samantha Tudor

  Cryptids are heavily based on oral legends and strange occurrences. Some of these legends are based on good versus evil like the Wendigo, an evil spirit that possesses someone who commits cannibalism, and some are based on happenings that cannot be explained like the Chupacabra.

  I have been fascinated by the appearance and lore of cryptids and how these stories are created. That fascination has begun to seep into my work. I am also interested in the evidence, real or fabricated, that is provided for these creatures as I create my own cryptids and compile relatable evidence to support my claims.

  My works often start with a mysterious dream or a sketch made from an inkblot. Inkblots are a form of projective test, a test that uses ambiguous stimuli to activate the subconscious mind. I use inkblots because it draws on the underlying issues that I face. I create cryptids that embody my subconscious mind because I find that it engages more people in a meaningful way.

  As humans, we are obsessed with information and the truth. However, people also like to be amazed whether or not what they are looking at is real or fake. My work plays on that fine line through the stories, articles, and other documents created in support to develop credibility. The large-scale sculptures of these beings encountered on my journeys act as documentation of and tribute to their existence.

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  Strange Fruit

  Tia Whitaker

  As a young child, I was always interested in history. I found it fascinating how big or small events, directly or indirectly, affected the life that I am now living in today. Although my hometown was small, the history of it was enormous. Trips to the city museum fueled my love for history and the desire to learn even more about myself, my town, and my country. Being a person of color, I was aware of the adversity that my people have faced. Knowing the turbulent history that African Americans have faced in this country has always inspired me to create imagery that celebrated black people and educated others who are not aware of these atrocities.

  My theme, Strange Fruit, was a term used to describe African Americans hanging from trees during the early 1900s. It was also a song sung by the late Billie Holiday, whose lyrics were the inspiration for my work. While creating prints for this exhibition, I considered all the things that I have absorbed, both from my personal life and my educational experience. I wanted to combine my love for art with my passion for history. As a child, I was aware of moments in history such as slavery, segregation, and discrimination; but that was as far as my knowledge went during that time. As an adult, I can dig deep and learn about the hidden moments kept from me to preserve my innocence. My goal is to take this newfound knowledge and use it to educate others. I have chosen to depict this theme to represent my feelings about this history and how many, including myself, have been shaped by it.

  My style is heavily influenced by the work of fellow African American artists, Kehinde Wiley and Kara Walker. I enjoy the way their detail-packed scenes beautifully depict people of color while also providing some history for the viewer to take away. These unsung moments in history require a tremendous amount of detail and attention. The main form of printmaking I use, lithography, reflects this idea because it allows me to create detail-packed scenes while fulfilling my desire for realism through the heavy use of line and the ability to create a full range of value. My lithographs use a strong value scale that invites the viewer to examine the intense details. I use landscapes and still-life's as the primary objects in my compositions and then add smaller figurative elements that symbolize black obsessions. Lithography allows me to draw highly detailed images that are primarily black and white, adding formal contrast and movement to the composition. By combining these elements, I invite the viewer to take a closer look, examining the use of detail to discover the work's true content.

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  Our Rainbow and Butterfly World in Progress

  Emma Wilson

  I have always been an artist ever since I was a child. My mom was one of my influences to become an artist because she always made arts and crafts with me. My aunt, Janet Wilson, is a very skilled self-taught painter and was also a large influence on my artistic life. I thoroughly enjoy the art of photography. I often capture photographs in black and white. “When you photograph people in color, you photograph their clothes. But when you photograph people in black and white, you photograph their souls.” -Ted Grant

  Tara Chisholm once quoted, “Photography is the beauty of life captured.” With photography, a moment can be captured that you might not ever get back again in your lifetime. My photography is very sentimental because it’s mostly about family. I enjoy creating work that is personal to me and relevant to my life. Family is so important to me and so is being able to create work about my troubled past life experiences as well as happier present times. My past work focuses on the concept of the happiness that family brings and my current work is centered on the dark moments that I experienced as a child.

  My work featured in my exhibition focuses on my family and I overcoming the impact of the experience we had with an abusive man living with us for part of my childhood. We had a house fire in 2007 which was actually a blessing in disguise because it allowed us to kick the abuser out of the house for good. The abuser always told us that we would never live in a rainbow and butterfly world, so we have now created our butterfly and rainbow world.
  Look who won.

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  The Whole Shabang

  yiyang Xie

  I always want my works can deliver a positive and relax feeling to my audiences. I usually use the computer as my work tool. The form of my works is graphic design. I like using computer work and create my work. Using a computer, I can try different positions and combinations for my work also it is easy to change.

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  The Whole Shabang

  yiyang Xie

  Entertainment is an element that is relatively lacking in this metropolis. Especially for those who work hard at work. So, I decided to make two greeting cards. In one year of life, everyone must be looking forward to the holidays. The most important meaning of the festival to us is that it is totally immersed without thinking about its meaning. Humans invented the program for carnival, noise, gift-giving and laughter. Let yourself pull away from the busy, like a buffer zone, these are usually lacking. Only festivals can immerse everyone in this atmosphere and create the illusion of loneliness being eliminated. My two greeting cards represent the most important holiday in the two relationships. One is Christmas with family and the other is Valentine's Day with love.

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  Scattered: Shelby Adams

  Shelby Adams

  Currently, I am focusing on the aesthetic nature of my artwork and how its appearance aids to its use. My work tends to lean towards the more organic/imperfect side of crafting: whether it be in my ceramic work or metalsmithing, I enjoy the small variations in form that create a true sense of the handmade. I further this sense of hand-craftedness by exposing the materials themselves, such as leaving metal to patina over time or leaving the clay exposed while glazing. The strong sense of materiality within my work, along with their organic sense of form, creates very naturalistic objects that emphasizes the materials themselves. I’m interested in the minimalism that these choices can evoke and how these aesthetic leanings affect the functionality of each piece. Recently, I’ve begun to incorporate shapes that are not simply round. I began by forming bowls and cups with my hands, giving them a sense of an abstract, bodily shape. I’ve pulled these forms into my recent metalwork, as well, implementing them into earrings, pins, and patterns.

  Influences for my work include Chris Staley, Tom Kemp, Mary Giles, and Peter Pincus. I draw inspiration in the forms, color, texture, and materiality that each of these artists implement into their own work and experiment with ways to reinvent it into my own.

  - Shelby Adams

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  FINALLY.

  Tiffany Day

  Tiffany Day

  Trash has become part of our everyday scenery. Check the Highways. Litter Breeds Litter. The physical effects on nature made through human intervention, drives me to document the aftereffects of what those interactions cause. Whether it be forgotten buildings in the middle of the woods, or plastic bags caught on broken tree branches, I capture images of the environment in disrepair. Through exploring ideas such as human interaction with nature, I hope that my work heightens my viewers’ awareness of the global climate crisis as they move through nature every day. I pay attention to everyday evidence of this environmental crisis in my work in hopes that it helps others notice it around them.

  Through capturing images of abandoned buildings the viewer sees the consumption and disposal of resources made available to humans. This creates an idea of a consumer society which leads to the disposal of consumable products and trash. I am passionate about protecting the environment through recycling and educating others to do the same. Photography acts as an important way to record and to mourn the careless destruction of our world. The camera is a way to highlight the idea of destruction by capturing images overlooked by society on a daily basis. I walk through nature noticing every piece of trash left behind and can find a beautifully tragic image in the midst of these walks. I play with the scale of my images to find the most impactful effect desired. I want the images to feel not only large due to the importance of the topic but also small due to the lack of widespread determination to enact change in the issues at hand. What started out as a technical accident turned into a compositional choice to put the main object in the middle or almost in the middle of the composition to highlight the desired concept.

  Much like another favorite photographer, Ansel Adams, I am constantly inspired by nature. Adams’ landscape & nature photography is beautifully inspiring, with all of the textures incorporated and the rich black values. Before I even realized it, I was photographing nature with similar ideas as Adams. Adams writes, “I cannot change the optical realities, but only manage them in relation to themselves and the format.” Like Adams, I formulate images through a photographer's eye to depict the realities of issues that threaten Earth’s future. I utilize natural forms such as trees, rocks, and water yet emphasize the harmfulness of manmade interventions.

  Benjamin Von Wong sparked my interest in using photography to raise awareness for important environmental issues. Much of his elaborate photography is centered around environmental issues. The first image I ever saw of his was an image that depicted a mermaid lying lifeless on top of an ocean of plastic bottles. Seeing this image struck a chord in me, because the artist beautifully captured a very serious, ugly, issue in our world. I use my admiration for Von Wong’s work to inspire me to create photography that sheds light on issues that invoke passionate determination in myself and others.

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  FINALLY.

  Larry Eakels and Larry C. Eakels III

  I have always liked to create things and make interesting pieces of artwork. Making work in the design field has been very delightful and engaging for me. Learning about how people react to imagery even when its digital or print has been one of the biggest things, I have learned from becoming an artist and focusing in graphic design. I chose to do graphic design because of my experiences with past classes and pieces that bring joy to me. As well as, the aesthetic you can achieve doing design work. Being able to create sleek, clean, and simple designs to fit the modern style is very pleasing and catches my attention and others. Seeing or knowing that my viewers of my work can understand it and also get a vibe of interest into the pieces gives me a satisfactory feeling which I enjoy.

  Most of the work is made digitally, but always starts from sketches with a pencil and paper. Easiest way to make many different ideas for a topic is starting from paper and pencil then you can scan your desired pieces to the computer and go from there. Being able to make multiple revisions digitally is one of my favorite things about design and also the use of technology is amazing of all the beautiful things you could create digitally. Along with digital design I can also do print design as well which is another reason why being a designer you can do many things that can do physically and digitally.

  Currently, my work has been inspired by advertisement and my poster design class. Experimenting with layers and colors to create diverse and complex posters that are also very clean and concise. Being able to continue this aesthetic in my current work brings me joy and hopefully viewers of my work can appreciate and see what I see with my work.

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  FINALLY. BA/BS Senior Exhibition

  Emily Glowicki

  My most recent work delves into the relationship of sculptural form and ceramic tradition and how we perceive amorphous beings that exhibit resonance of the recognizable. I’m interested in where we draw the line between form and function in ceramics and how we can explore both possibilities through the creation of ambiguous three-dimensional representation of these ideas.

  My work addresses these ideas through both sculptural vessels and nonobjective forms that leave the realm of the vessel completely. This exploration of form and fluidity started with single word: torpid. Torpid, according to the dictionary, is an adjective to describe slow, sluggish, languid movement, and the first thing that came to mind when thinking of this word is the 1958 American science fiction-horror movie “The Blob”. The first work in this series is Torpid, which is my response to the slow moving, vaguely ominous amorphous being and an investigation into representing the essence of torpidity in a rigid sculptural object. Over the last year, the series has progressed from the representation of languid movement to an investigation of our perceptions of objects and their apparent function, or lack of. After spending time attempting to marry the formal aspects of the blob with traditional ceramic profiles, my more recent blob forms leave the world of the vessel altogether, but still imply a relationship to ceramic tradition as well as the historical and archeological significance of pottery with references to blue willow china patterns and surfaces inspired by geological occurrences.

  Pieces from this series often evoke a sense of whimsy and mystery and intend to inspire curiosity and questioning from the viewer. Two individuals that directly influence my current work are mixed-media sculpture artists Dan Lam and Alexandra Searle. Dan Lam is an artist who works primarily in polyurethane and resin to create psychedelic, other-worldly drip and blob sculptures dominated by vibrant hues and uncontrollable form to create a sense of unpredictable entertainment and whimsy while simultaneously shrouded in an unnerving sense of the unknown. Alexandra Searle creates installations dominated with concrete and medical materials to draw attention to the relationship between soft and rigid objects in a formal setting in relation to the human body and health. Works from these artists inspire me to explore new ways to represent malleability and flow in my work.

  Ceramics has remained my preferred media as this series has progressed; However, during research and continuous production of works, an interest in installation has arisen in me and the blob series will continue to morph just as the blob itself does.

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  Scattered

  Casey Johnson

  My art comprises one unifying idea: the body. We are our bodies, and with these bodies we experience life, death, and countless emotions. With my drawings and other work I embrace these experiences and depict stark symbols relating to the body.

  I explore traditional symbols of play—such as toys and games—as well as images tied to life and death. The body is more than just a thing that can live and die. With our bodies, we feel emotions and interact; with these ideas in mind, I compose pieces related to color and our capacity for connection and interaction. In this sense, these drawings are not simply about the body; they are about life, movement, emotion, and death.

  In my other work, I also explore the concept of body and bodily experiences; my photography, for example, emphasizes the lifelike and organic qualities of what is essentially lifeless, such as animal remains and city scenes. My prints explore subjects of dreams and the arcane. And my sculptural works explore the boundaries between organic and inorganic substances. In this sense, all of my work encompasses the ideas of the body in some way.

  Casey Johnson

  2019