university at buffalo 2013 senior thesis exhibition
... shibboleth university at buffalo
2013 senior thesis exhibition
..................... Faculty Advisors .....................
........................... Thank you ........................... Department of Visual Studies Hi-Temp Fabrications John McKendry Jose Natalie Fleming Daniel Calleri Tony Dimezza
Rob Barker ...................................... Amanda Cannon ............................ Caitlin Caldwell .............................. Jeanette Chwan ............................ Teke Cocina .................................... Jen Cornwell ................................... Kristian Dalland ............................. John Derrigan ................................. Brittney Dullin ............................... Gero Eaton ...................................... Andrew Fix ...................................... Jennifer Gavens ............................. Matthew Guzenski ....................... Adam Heman .................................. Lauren Howard .............................. Tom Kavinsky ................................. Rick Klingensmith ......................... Caroline Kopesky .......................... Katie Kosciolek .............................. Kelzie Leach ................................... Bobby Le .......................................... Ian McCrohan ................................. Anthony Melice .............................. Mills Colbert ................................... Melissa Osterweil ......................... Cara Radom .................................... Michael Reyes ................................ Rob Rossi ........................................ Ned Semoff ..................................... Caraline Stocker ............................ Matt Toles ....................................... Kyle Tymon ..................................... Raevon Williams ............................ Jiwon Eunice Yang .......................
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Rob Barker Aim Low and Measure Photons Wearing Heavy Eyelids Medium: Oil paint on canvas, wood, metal, & plastic
Artist Statement I typically view my art as I would a small segment of life; a melding of every human sense into a web of thoughts and emotion. Enough context to ground the piece in reality, but laced with abstract elements to suggest an impossibly limitless world dictated only by the viewers eyes and mind. I am influenced and fascinated by the ordered structure and illusion of chaos in our universe and the vibrations that fill it. Equally inspiring are the countless many who have left their own interpretations of these vibrations we are immersed in and connected by. I attempt to in my work interpret any given concept, image, or idea and imbed in every detail a hint of an impossibly abstract realm that can only exist in the mind.
Amanda Cannon Underwired Medium: Steel
In my work I explore the relationships that women have with their own bodies as well as the affects that outside forces can have on these relationships. Body image is a big topic that has come up in my sculptures. I am also fascinated by plastic surgery, one of the more extreme ways that people deal with body image. I have explored the very serious possibility of women losing access and rights to their own bodies. I like to use humor to and ease the discomfort that these serious issues may bring on. Throughout my work, one question remains present. What damage has already been done by allowing others into the delicate relationships we, as women have with our own bodies — and how much more are we willing to risk?
The bra, as it is referred to now, has been around in some form for at least six hundred years. The earliest known garment for supporting the breasts was discovered in Austria and was dated back to the 1400’s. It was flimsier than what we are accustomed to wearing today, made solely from material similar to canvas. Since the 1920’s, bras have been made with a metal underwire. “Support” is arguably the most common word association for bras. Many women believe that bras keep breasts perky, and it is not uncommon for women to wear a bra to sleep at night or to wear 2-3 sports bras during physical activity for fear of sagging. Contrary to popular belief, it is possible that bras can be the cause of health issues. The constant support of the breasts causes chest muscles to weaken and atrophy, which causes the sagging that many women fear. The metal underwire may damage breast tissue, especially in an ill-fitting bra and there also could be a correlation between wearing a bra and breast cancer- though the research is still in its early stages. Perhaps it is time to introduce these concerns into the conversation about breast health and consider giving our boobs a little more freedom.
Caitlin Caldwell Never Settled Medium: Print media
Artist Statement For me, space is measured in points and picas instead of inches and feet. I work primarily in Letterpress and relief printing to embrace the aesthetic imperfections that come from hand printing. My work seeks to understand how language shapes our understanding and how the aesthetics of letterforms can be a filter for that understanding. I attempt to forge a direct connection between both the analog and digital through combining my experiences with letterpress printing and more experimental digital typography. This is usually achieved through the depiction of contemporary imagery and ideas through traditional printmaking methods. Iâ€™m interested in how language can be altered and misunderstood through its visual representation, and my work often augments the skewed aspects of communication to draw attention to how easy it is to misunderstand.
Jeanette Chwan Change Medium: Wood, paint, muslin, & film
Artist Statement The relationship that humans have with the environment has evolved. Once completely immersed, the humansâ€™ status of that bond as a whole now seems to be growing more foreign. There is beauty in nature, such as an untouched forest, but it is also present in a structure that could create a dialogue with the environment it was built upon. When the two worlds meet, the natural and the built, a harmony is reached. In my art practice, I like to use a combination of analog and digital practices of photography and printmaking to convey this relationship. Utilizing film and digital cameras, alternative methods of printing such as the cyanotype process, and through digital manipulation and collage, imagery of the world as it is influenced by man is recorded and presented. Using these methods, I view my practice as a sort of microcosm of the world in which we live in today, where the man-made, technologically digital world; and the natural exist together â€” sometimes in consonance, and other times in discord, creating a tactile experience which may have been lost to some in the new millennium.
Teke Cocina 1/6084 Medium: Print media
Artist Statement Responding to the synthesis of several cultural backgrounds, which I find common in current American culture, my work aims to capture the idea of controlled or tailored identities, and the difficulties in communication that result. I see these identities as the result of a society constantly connected to the Internet; specifically social media websites. Much like the romantic idea of the â€œOversoul,â€? I view this new pervasive interconnectivity as an unavoidable collective consciousness that creates new issues in communication and privacy. To compensate, an individual is given the ability to moderate their personality and presentation through the tailoring of their social identity across multiple platforms. This divorces the individual from a harmonious understanding of self, creating a new, altogether separate identity. Through hybridization of human figures with animal qualities, I am attempting to express both a symbolic representation of a simplified idea or personality facet. I primarily use various methods of printmaking to create different compositions with these figures, using them as an established formula or vocabulary to draw from. My current work critiques the established format of the Tarot through reinterpreting the archetypal characters in an attempt to modernize the subject matter for a contemporary audience. The tarot also allows a secondary comment on identity, as it is a meaning system that requires user input/ investment in order to create meaning.
Mills Colbert 210413 Medium: Wood & plaster
Artist Statement Experiences often lead us into realms unimagined and wholly without our express consent. I have led a somewhat polar and nomadic life which has informed much of my decision making when making much of my work. Though the medium of print is perhaps not one in which space is as literal as one such as sculpture, the opportunity to play with dimensions and perception allows for a strong emphasis on implied space. This ability enables my interests in our use of space and what is considered both necessary and normal to be expressed in a way that is both an interrogation and emphasised expression of this modern time and its seemingly unstoppable quest for more. My work in its varying forms has been, thus far, more about commanding the media of print more specifically than representing any specific theme. With that said, much of my previous work has inadvertently dealt with the idea of effectively being someone else and what they would consider enough. If I didn’t have the life I do, of what would it consist? This separateness from the ego enables an ideally non-exploitative exploration of another person’s life and allows for a more objective analysis of my own life. With such an existence I end up constantly analysing what is present in my life and thus recalling me to my investigations into the world. Often in this exploration of another life, the basic feel of the world seems to come up. The materials used in everyday life for me are wholly unnatural and should seem alien, but feel common, while 13
the often more basic and unprocessed materials or objects feel unnatural and out of place. This material usage is one which has become more present in recent works, including various matrices used for prints and materials used to print on or otherwise create an image.
Project Statement The project is inspired by the painting by Lorenzetti “The Allegory of Good and Bad Government” in which the effects of government which did well for the people and did poorly by the people were clearly illustrated. The interpretation, a series of white pillars against a flat white board, while simplistic, is arranged in a parabolic curve which, as one moves around the piece, reconfigures itself and shadows. These shadows, their varying lengths, and their placements, are our actions and reactions to external stimuli in our lives and change the direction of our progress. The challenge becomes then to view our own shadow, our own effects, independent of our environment and the obstacles which predate our observation.
Jen Cornwell H-H HISTORY Settled Medium: Graphite on card stock displayed as photocopies & wallpaper paste
Artist Statement What does it take to get from point A to point B? What happens in between the beginning and the end of a project? The answers to these questions are always more important to me than the end result. Process defines what you’re actually doing to get from a beginning to an end point. Process defines my work. As an artist and a designer, what I am able to get out of a project isn’t based on the final product, but rather what it takes to get there. The efforts, sketches and researching that goes into any design project is so significant to the entire production, much more so than then whatever the endpoint may be. Design is my outlet for process. In order to create something new and effective, I believe it’s important to reflect upon what has already been done. Researching past projects and information when designing keeps me thinking, inspires new ideas and continues to push me and my work in a forward direction. Research and spending more time within the technical parts of a project help make that project more relevant and allows me to produce work while still allowing me to be curious.
Project Statement There are a lot of things in our lives that we encounter daily or that we love to do or see, and we know little or nothing about these things. Hiphop was and still is that for me, I really enjoy it but I never knew much about its history. Deciding to make this the epitome of my project was an important decision because at the ‘end’ of my process, I wanted to create something as well as
have a grasp on a new topic. Spending a majority of my fall semester doing some intensive research, reading and searching I was able to further understand the next steps of my project. Like any art form, hip-hop progressed from roots in other genres into several forms before we know it as we do today. A major decision in my process was which songs I was choosing and why they were important so it was important to include the element of progression within the final piece. Next creating a guideline for the songs within each time period: choosing songs that had content dealing with issues within their time periods of release. This meant reggae songs dealing with revolution, 70’s and 80’s dealing with gang wars and oppression, and the 90’s and beyond where songs dealt with relevant content less frequently, but what was relevant included drugs and humanity as a whole. Hip-hop is frequently overlooked as a genre that deals with real issues. Of course not every song will and popular songs are frequently shallow. Proving this relevance of a genre that deals with cultural issues was a huge part of my concept and development in this project. Content was followed up by construction decisions. Determining a medium and presentation was key in developing this project into something more than just a collection.
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Kristian Dalland Untitled Medium: Wood
As a rule, I try not to take anything too seriously. My sculpture is not about conveying meaning. When I am given free rein over my work, it tends to organized chaos. I am interested merely in the act of creating objects. My process is my work. Sculpture is a social experience. A picture of Richard Serraâ€™s Ellipses does not compare to walking in and around them. The pieces that I make are simply there to be experienced.
Each block is cut from reclaimed red oak boards bought from Buffalo Reuse. My goal was to reach one thousand blocks however I threw out many because of cracks that split the wood when it was cut. Every board has a coating of tar on one side from when it was in use at the Larking building which was designed by Frank Lloyd Wright. This project has conceptual aspects to it; however, I only really set out to make a struc-ture made out of blocks. The shapes that make up the structure are nine cylinders and the plane that slopes up towards the top of the piece. These can be explained with a few mathematical equations. It is only after the completion of the piece that I realized it was more mathamatically oriented than anything else.
John Derrigan Fabricated Deconstruction Medium: Rawhide (deer), hardware cloth, & lightbulb
The third dimension allows for the ability to create in an incomparable way. Working in a size that can challenge the human body is critical for the development of a relationship for the viewer and work. A presence that is unavoidable and protrudes the viewers space, allows for an undeniable interaction. This forced contact permits the importance of conveying an idea to supersede aesthetic alternatives to increase visual lure. The function, capability, and association of all materials fluctuate but each influence the development of a concept. Creating a relationship with a material becomes an important process for expanding on a conceived idea.
The bare nature of Herbert Spencerâ€™s phrase, Survival of the Fittest has been overpowered. Humans and what they create, technology, continuously grows and becomes a dominant force. Some sort of technology quickly treats any deficiency that the Homo sapiens specie attains. Technology, though useful and efficient itâ€™s byproducts through ignorance and neglect creates complications for all those who are inferior. As expansive and far along technology is, it is missing the hand of nature. Manufactured metal mesh becomes vital to the attempt at reconstruction, allowing the hides to keep form. The mesh is left revealed for the notion of an architectural and gridded effort to remedy what has been destroyed. The cavity containing a light gives the deer an ominous soft glow paying respect to the animal in a monumental way. The bright unnatural light peers through scattered throughout contrasting with the dark shadows of the gridded mesh beneath casted on the hides.
Brittney Dullin Ceremonies Medium: Digital projection, sound, & CCTV
Artist Statement You are being watched. For some time now I have been very interested in the fairly secretive role that surveillance plays in our society under the guise of security. Communication and the human sensorium are constantly being influenced by the idea that our actions can be viewed at any time either in the physical and virtual world. My work typically focuses on graphic design as a medium, but instead of using it as a tool for effective communication as it is intended, I would prefer to exploit its conventions. I attempt to encode the message of a piece in a way that is unrecognizable at the first glance of the viewer, but possible to decipher if they stay with it long enough to figure out the system. This process of encoding is my method of masking what I create from the always spying eye.
Project Statement In the book Everyday Surveillance, author William G. Staples describes surveillance ceremonies as routine events in our lives where we willingly allow ourselves to be watched. There is a chance that we know it is occurring, but sometimes it goes unseen. Either way, the significance is typically ignored. When a criminal is caught by use of surveillance and data mining, these processes are praised but what is the data for the rest of us being used for? Events often take place that have the ability remind us how constantly we are being watched and the extent that our personal, private information is not as
unknown as we once thought. Am I being portrayed correctly through my non-physical presence inter world? Could I be mistaken for someone I am not? My project, â€œCeremonies,â€? focused on revealing to the viewer some of the ways we are all being watched. I lend my own surveillance ceremonies to be seen, showing where I live, who I have been calling, the pattern of my fingerprint, et cetera. Instead of passively accepting these technologies into our lives as necessary, I try to distort my information in an attempt to make the collection of data impossible. I remind the viewers of what has allowed this level of invasive technology into our daily life by adding an element of sound, a looping breakdown of the Patriot Act that was created to allow new methods of heightened security in a post-9/11 America. As the viewer experiences this, I am also actively trying to include them in the process. By using one of the most common tools in surveillance, Closed Circuit TVs, I am altering the viewer and watchersâ€™ ability to see as they as they are trying to see me.
Gero Eaton Re-Awaken Medium: Oil on canvas & wood frames
Artist Statement My goal as a painter is to evoke a higher consciousness and a certain freedom, which will allow my audience to connect to my paintings at a deeper level. I want to compose works that will be able to etch a lasting impression within all who might see them. For the past couple of years I have been vigorously studying the approach to traditional figurative painting. Through a 19th century approach I am interested in expressing emotions in which I feel will not only allow for my audience to recognize each subject, but visually it would be enticing to look at as well. I have always been interested in representing the idealized subject whether it be male, female, child etc., in which will allow me to work in wonders and be able to have an appealing effect to the unconscious inclinations of others. In order for me to evoke a core response within my audience I incorporate daily events in our lives that allows us as humans to share feelings whether it be within public or ourselves. When painting snapshots of events in our daily lives I want to be able to freeze those moments and allow people to slow down in life and appreciate every moment they have and not take anything for granted.
Andrew Fix The Hatter, Goldilocks an Unhappy Ending, One Dead Little Mermaid, & Derelict Archway Medium: Digital painting & mixed media
I have a passion for digital art, with a focus on conceptual work. My interest in the medium stems from my fascination with video games and animation and the conceptual work that goes into creating such things. In my work I try to imagine fantastical characters and landscapes, then render them in an illustrative style. The best part about the digital medium is that I can set up my computer and tablet in a public place and allow the atmosphere to drive my creative process. Though some view digital media as a cold dispassionate medium, to me the stylus of my Wacom tablet has become much like a paintbrush and allows me to create colorful stylized works. My current work focuses on the idea of becoming disillusioned with beliefs and ideals we hold as children. To accomplish this I have taken to twisting fairy tales by giving popular childrenâ€™s stories more sinister endings. Through digital paintings I attempt to take the viewer from their comfort zone and bring them to a much harsher reality. My work is both conceptual and illustrative in nature. I am constantly trying to progress my skills and push my work to all new levels. This drive ensures my commitment to my art and continued progress.
My work revolves around the notion of losing ones innocent ideals. As children we are told fanciful fairy tales that more often than not have happy ending, and lead us to believe that the world is always fair and just. However as we grow older, we learn that this belief is not always true and reality is much harsher than it is portrayed in fairy tales. Keeping with this ideal I set out to twist fairy tale endings so that they may better reflect reality. Though the new endings are somewhat gruesome they serve to tear the viewer from their previous innocent and sheltered ideals subsequently thrusting them into the cold light of reality.
Jennifer Gavens DearDiary.com Medium: Flash animation, paper & wallpaper paste
A blank screen, a single white page for a million ideas to be formed. As a designer this is where it all begins and the fascination to discover what this screen will be transformed into. With an obsessive need for perfection, I subconsciously force myself to analyze every detail in the development process of my art and strive to find the most challenging way to transform the blank screen into something that has never been seen before. When developing, I try not to look at work that has been done but at situations and emotions in my own personal life that are unique to whom I am as a person. I see myself reflected within the concepts I have chosen for my projects that range from my religious beliefs, self-image, and the boldness of my personality. Though at times it is difficult to find the inspiration needed to create these projects, I have always enjoyed the thrill of discovering a different part of myself through the decisions I make to form every design and the final project I have successfully developed.
When I was a little girl, I always saw in movies and television shows how girls kept personal diaries. They wrote in them everyday, confessed their utmost dire secretes and hide them from the rest of the world. That was ten years ago. Today almost every means of journaling can be seen documented in online blogs, Facebook, Twitter, Instagram and Pinterest. We no longer see actors in shows or maybe even close friends writing out their lives on paper. For my project this is change is what am showing to the viewers. Using flash animation, I have designed a functioning social network or online blob that portrays how people document their lives in todayâ€™s society. This website shows friendâ€™s diaries, a newsfeed and my own journal entries. In flash I have made the website look as if I were sitting at a computer using the site and were typing, commenting on friends posts and even uploading photos. The wall in which the website is projected onto, represents the old ways of journaling. From ceiling to floor, the wall is covered with hand written journal entries, based on my own personal experiences. The entries are symbolic of a real diary one would keep over the course of a semester. When both pieces are placed together, they represent a metaphorical image of new technology taking over the ways in which we used to live our lives.
Matthew Guzenski Return To Station Medium: Lithographic prints
As an artist I work as a printmaker working primarily in stone lithography which is one of the world’s oldest forms of printmaking. It lends itself well to rich blacks and a variance of gray tones. It is also the one form of printmaking where ones matrix is essentially destroyed upon completion of the printing process. I work primarily in a reductive fashion to achieve the richest of blacks while using a minimalist approach that leads the viewer to the area of the print that contains the information/image. I use various techniques to achieve such an image. The most important is that of a stop-out which prevents the stone from accepting ink into any given area. I developed this way of working as opposed to a pure reductive style which involved a great deal of push and pull, which in turn made the end result different than what I was hoping to achieve. The majority of my work is more of becoming re-acquainted with making prints as I haven’t pulled an edition in close to five years due to an overwhelming addiction to heroin. Some might argue that I have in fact met my maker but the truth is the best is yet to come.
My thesis project is titled “Return To The Within” and the work is just that. This body of work is as simple as it sounds. It is the tale of an artist who had returned from the brink and depths of heroin addiction to re-assimilate them self with the art world. The images contained within are portions of one self that have been hidden/buried over the years. The final installation is a series of lithographic prints presented in diptych form. In presenting the work in such a fashion it gives it both the idea of broken/fixed all in the same viewing as each image is comprised of two separate prints. It appears broken because they are arranged with borders and space between each print. And they appear fixed because both prints actually comprise a single image, and are contained within the same frame. The first print is titled “Leaves” and “Branches” and uses a combination of stop-out and crayon work for the gray tones. The second print is titled “Absent” and “Moments” again using a combination of stop out and crayon work. And the third and final print is titled “Ana” and “Tomical”, once again using stop-out and crayon work.
Adam Heman Giants in Relatable Scale Medium: MDF, wood, masonite, latex & spray paint
The way we humans communicate is something I have been interested in for a long time. Before transferring to a design major, I had been going to school for journalism, a profession all about the dissemination of thoughts and ideas. After taking many classes that dissected every form of mass media, the greater my interest in visual studies grew. The choice to switch was made because design can be so much more potent at communication than regular written text, often in doing so in deceptively basic forms. Simple geometric shapes are something present in a lot of my work, because I think some of the most effective designs are also the least complicated. An example is the biohazard symbol. Being nothing more than collection of semi-circles, it kindly reminds us that plunging our hands into bins of medical waste is a bad idea, even without the aid of explicit written warning. It is the ability of design to transmit so much information in such a compact package that intrigued me from the start, pushing me to learn how even better vehicles for information can be created.
Beyond a very limited scope, data has little meaning to people. If a person is given a fact or figure, for example, â€œThis is so and so tallâ€?, the idea that the object is very large is simply accepted because of the impressive looking number. Without associations, the data is merely accepted, but not truly understood. This interferes with learning, and can even prevent an individual from appreciating some of the natural wonders of the world. This installation attempts to communicate data through visual context, using known objects such as the space shuttle to express just how titanic some forms life on this planet truly are, or were. Viewers can either look first to the information panels on each object then to the scale itself to provide context for what they have read to cement the information as being truly understood, or do the reverse and look at the comparisons of the figures before reading. On this scale, 2.5 inches is equal to 10 feet, making a grown man no bigger than the last digit of your thumb.
Lauren Howard A Survey of Black Femininity (It Is The Crown, Rise, Blue Magic, She Is You, The Black Female And Her Culture) Medium: Acrylic, canvas, wooden bead, kanekalon, beads, barrettes, found objects & photography
Artist Statement Though the Post Black era has granted me the latitude to explore themes beyond race, the resurgence of the â€œBlack is Beautifulâ€? movement has led me to narrow my artistic focus to issues germane to the Black experience. This has most recently manifested itself in an exploration of the distorted depiction of Black women in American culture. I seek to free the African female from the bonds of caricature and misogyny by rejecting her forced conformity to a European beauty standard. This is achieved by deconstructing the mythos of black femininity through painting, installation, and performance pieces, while injecting sarcasm for levity, in a pseudo academic survey of themes in Black female identity. Rhythmic brushstrokes fill my unstretched canvases with gold and earth tones: mimicking the freedom of the presumably untamable Afroed mane, while deconstructing the notion that kinky hair, in its purest, coily form, is of no intrinsic value. My installations are created in a similar vein; through the manipulation of found objects which commonly represent feminine identity. I feel it my duty as an artist to refocus the lens of aestheticism, to challenge norms which are grounded in artifice and reject diversity, in pursuit of true beauty.
Tom Kavinsky Stadium, Stampede, & Interrogation Medium: Silkscreen
Artist Statement NOT SUBMITTED
Richard Klingensmith Dyslexia Medium: Mixed media
Seeing is a gift that should not be taken for granted. It is through sight that I get the most out of life. This constant interest in observing attracted me towards visual arts at a young age. Now as a fully composed artist, graphic design fulfills the void of pursuing this visual lure. My process is simple. When I see something within my daily routine that is significant, I take notice. What can be seen, what inference can be made and how these two manifest within our conscience is ultimately the underlying vein within my work. In my studying of visual arts as well as applied arts, I strive to create this connection between our sense of sight and our interpretation of what we see and how this is translated into a personal reflection of the stimuli within our everyday environment. Overall I am a process-based artist, influenced by social, political and personal interaction. I use my art practice as a personal reflection, not of how I see the world but rather, how the world reveals itself to me.
Dyslexia is a typography installation meant to reflect the disconnect between visual interpretation and cognitive processing within an individual with dyslexia. Normally when reading text, the “what you see is what you get” rule is the given response. But with dyslexia, circumstance affects the interpretative process. A word or phrase, so to speak that is visually accurate can be distorted multiple times during the cognitive process resulting in an inaccurate display of what was read. This interactive installation is meant to reflect this process of interpretation, inviting the audience to engage as a viewer and as a decoder of typography. When the light is moved out of position, the letterforms begin to fall apart and become illegible. It is only when the pieces on the mirror are seen within the “correct light” that the word Dyslexia is revealed.
Caroline Kopesky Simulations in Hypertext Medium: Pen & ink, presented as digital prints
As an artist I explore the sequential art format and use it to convey larger concepts that interest me, as well as to elevate it as a medium. As a comic book fan, and a feminist, I am constantly faced with the reality of a male dominated, and male oriented industry. This fact motivates me to continue working with sequential art, and produce work without underlying sexism that many comics have. I primarily use pen and pencil on paper to create my intricate line work, which is then scanned into a computer and colored digitally. Although the themes of my illustrated narratives tend to be eclectic, I find I am drawn to fantastical aesthetics and ancient symbolism, creating my own mythology within the work. Through that frame I then talk about pop culture, identity, and gender studies. Currently I am fascinated with the virtual world, and the relationships built within it, and the way one searches for identity in the digital age. To me the Internet is a mystical, and eerie place, so I am attempting to reflect that complexity through a narrative inspired by my own virtual history.
â€œSimulations in Hypertextâ€? is a sequential art piece that explores the nature of relationships developed online, as well as an exploration of my own personal digital experience. It began with the twinge of nostalgia I felt reminiscing about the time I spent as a young girl navigating the Internet, through forums, message boards, games, social networking, etc., I was able to take my web presence and re-invent myself to be whoever I wanted to be, especially during a time when anonymity was easier to obtain in the online space. I knew that this experience could apply to many other people from my generation, and even though we still seem to be collectively afraid to admit that we build close friendships online, it is, or was, a reality for many of us. I wanted to expand on all of these digital communication concepts I am fascinated by, and create a narrative that reflects an experience that any digital natives like myself could have had. The narrative that I chose to focus on was fictional, but with a lot of my own personal experience infused into it. While considering my digital past, there was a lot about the relationships I made with people online that I could not quite articulate, or understand why it was so significant to me, and continued to be a significant point in my life after several years. These unanswered questions made creating my piece also journey in understanding myself, as well as an exercise in accepting the past and moving on.
Katie Kosciolek Woodstock Medium: Digital, layar, & interactive print
People always gravitate to where they are comfortable. For many, this place is their home. The place they have created to fit them; A place where they feel safe. For me; my home is my art. It is my safe place. I am a designer. I design for comfort, to explore, to grasp what is going on around me. Mostly, I design for myself. I focus my work digitally and through photography. I believe in the natural beauty a camera can capture but also believe in the enhancements an image can gain digitally. I am fascinated by the world that surrounds me and how I can manipulate it to make it my own. I create to entertain, to teach and to prove that I can. I continue to mature and change everyday. With this I have learned that my artwork is never truly finished and I will never completely be satisfied. I can only hope that when I invite people into my home they gain the sense of comfort I get from creating.
The 1970s are known for peace, love and hippies. It is also associated with Woodstock and the changes it brought upon our teenage generations. This experience will take you through the time periods of the 50s, Woodstock and the 70s and the generations of today. I will expose the truths of our generation of youth. I want to remind people of how the world used to be and show how we got to where we are today. I am using a new technology called, â€œLayarâ€?. It is an augmented reality program that will take you through a virtual tour of the different time periods.
Kelzie Leach Family Portrait Medium: CMYK, transparency, nylon bolts, washers, & fishing wire
Artist Statement I design for my future & I design for my past. Each layer unlocks and invites a new level of understanding into my world. I have always had, what I consider, a skewed interpretation of self and what one should look like, while never really being able to become that ideal. It was for this reason, many years ago, that I began making art. I thought that if I could not physically be what I considered ideal, perhaps I could create it. My work has become the ultimate signifier for the constant struggle I have to define myself. I continue designing in hopes to encounter the core of who I am. The digital layers I create become my map to self-realization. The foundations of my art can often be traced back to childhood, home and self: interpreting what each of those things mean and ultimately how they can be visualized. Exploration into the past is a frightening process, making myself vulnerable to the subconscious. As suppressed forgotten memories come to light, I often negate their truth in existence. Similarly in my design, I create decoy concepts that I want the viewer to pick up on. My intention is to purposefully drive them away from understanding other conceptual undertones I have hidden in the work. In the past, my art was created on opposite ends of the spectrum: either digital or manual. I am currently working towards weaving these two together, creating a perfect harmony. My most recent series of design work investigates the relationship between genetics and experience
within a family setting. I am investigating the fine line between private ritual and public space. By turning my design into an installation, I allow the general audience to observe my creation. When I expose my work to the audience, I stand naked in the eye of the beholder. As the viewer deconstructs my ideal, self-definition resonates.
Project Statement The Rorschach inkblot test is a psychological test in which subjectsâ€™ perceptions of arbitrary inkblots are analyzed. What you see in based on your past experiences. Historically, this test has been used to examine a personâ€™s personality characteristics and emotional functioning, as well as aid those who are reluctant to describe their thinking processes openly. Before you, is an abstract family portrait, my familyâ€™s portrait: represented by 16 inkblots, in age order from the eldest member to the youngest. Each set is in CMYK, with each color representing a different age level in life. The first being Cyan: representing within the past month, Yellow: representing young adult, Magenta: representing childhood and finally Black: representing preconception; therefore, my parents or for my parents, their parents.
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Bobby Le Split Personality Medium: Digital illustrations on luster
I enjoy things that are puzzle like, anything that are full of limitations, where there are few choices but you have to make it work. Limitation offers solutions and I donâ€™t have the time and the patience to be looking through every possible scenarios. I rather build on a solution to make it better rather than having to find the perfect solution. To me, there are no such things as a final answer to a problem, only a temporary fix. It is the designerâ€™s job to make the right decision, with each decision is one step closer to solving the puzzle. I work in a strict grid structure, clean, exact lines and spacing. I indulge in perfection, graphic design is communicating visually, and if your message did not get through, youâ€™ve failed.
For this project, I will create a group of modular birds from the region of South Viet Nam and Western New York. The birds that will be used are mostly male due to their flamboyant colors. The birds will be made uniquely using one-size shape circles overlapping each other to suggest the birds. I am using them to expresses my journey from Viet Nam to America, the ideas of migrating, adapting and assimilating to a new culture. These birds will be digitally crafted using Adobe Illustrators and will be presented in print-media; mainly on semi-glossy luster paper to captures the birds rich and vibrant colors.
Ian McCrohan Scheme No. 3: Revolving Interventions Medium: Wood, metal, rope, & found objects
Mobility: Through its many definitions, mobility by and large is concerned with the ability to move. In economics the term intragenerational mobility refers to the movement between social classes within one’s lifetime. My artwork explores through constructed and found materials how economic kinesis, or lack thereof, affects culture.Constructing items to interact with found electrical devices allows for me to set up my own make shift laboratory of kinetics where the question is not only what the object can do for me, but what I can do for the object. It is this symbiotic approach that I feel is necessary for true mobility both physically and economically. While various isolated motorized objects rotate near the center of the installation, the surrounding lights react to viewers walking around the outside by means of motion detectors. The laboratory is acknowledging the presence of movement both inside and outside of its fixed location. In other words, there is now room for a new understanding since the artwork and the viewer recognize each other as both being kinetic mechanisms struggling for movement.
My work investigates the meaning of mobility in regards to both physics and economics. The term intragenerational mobility refers to the movement between social classes within one’s lifetime. This notion of movement or mobility transcending beyond its physical traits and into the realm of metaphor is exactly what I am interested in for this project. In the world of physics we associate mobility with movement, time, and space; yet when this word expands its association into socio-economic issues one is able to gain a better foothold on how this kinesis, or lack thereof, affects cultures. The use of moving objects such as record players and household fan motors symbolize this lack of economic mobility found in poverty stricken communities. Sure there is movement, but due to the fixed pivot on which it originates…these devices may only move in circles. Like a dog chasing its tail, there is motion, yet no progress to be had. As far as these objects’ previous purposes, they have been discarded. The record player cannot play conventional music; instead it may only provide listeners with static noise. The fan motor no longer spins fan blades…rather it spins a broken record player. I want to set up an environment in the middle of the installation where the potential outweighs the purpose.
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Anthony Melice Seven Deadly Sins Medium: Paper & wheat paste
Artist Statement My artwork has taken a turn from a large body of digital works to a growing body of canvas work. I like to work with my hands to create art and a variety of different mediums and tools such as spray paint, markers, latex paint and stencils. I use these materials to mimic tone and emotion in the negative space while keeping the subject matter as simple and as clear as possible. The influences and styles I am attracted to are taken from abstract expressionism, street art and pop art. In an experimental process I try to blend certain elements of these diverse artforms together to make my own style. What I want to do with my pieces is to present the subject matter whether it is an object, celebrity or a photograph and then describe the emotional aspects with different color arrangements. I want viewers to be able to understand who or what the subject is about by the use of color and stroke patterns.
Melissa Osterweil Interactive Typography Medium: PlexiGlass & vinyl sheets
Artist Statement When I was younger I believed I was going to be a great architect. Playing with Legos to create and destroy different forms was what I became accustomed to. However, after a year of architecture school, I realized I enjoyed the idea of being able to completely destroy a design and create a new one from the same materials. This idea is what led me to graphic design. Given that I have an architectural background, I have a strong sense of space and how people feel in a specific environment. I take advantage of the option to move objects around and replace them however I want. As a graphic designer I have the ability to recreate existing objects. Although graphic design allows for the freedom to create and destroy, it also has some restrictions in the space allowed for remaking. However, I use this to my benefit by striving to find different ways to break boundaries on a computer screen. One of these methods is to use text as texture and let the patterns cut off at the ends of pages. I also enjoy finding ways to incorporate a sense of threedimensionality to my work by using different forms of perspective. When I’m doing my original designs I don’t like to think about what I’m doing until the redefining phase. This allows me to break out of my comfort zone and experiment with new ideas. In a way, I took this idea from the child version of me who wanted to build skyscrapers. Being young, I didn’t realize what I was doing, which is why my designs were crazy and extravagant. Now as a
designer, I don’t want to lose that freedom to experiment with my work and find a better solution for it later on. I want to forever hold onto my childhood way of looking at the world. I am a child. I like to play. I like to create. I like to reimagine. I like to redesign. I am a designer.
Within the field of Graphic Design, I try to incorporate the idea of meshing typography with space. I thought what better way to do this than to make letters into a physical object which can be interacted and played with. I was first inspired to do this project by driving around and looking at logos and thought it would be great to make these logos into something playful and interactive. Then I thought how many people would actually take the time to stop from their busy lives and play? This is what led to my concept: due to technology people don’t have time and forget to physically “play.” For my project I want to create an all ages “playground” where anyone from kids to adults can take time off from their hectic lives and have fun.
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Cara Radom Tedium Medium: Print media & wood
Artist Statement The work that I do is generally created for the purpose of identification and explanation of a point. As a designer, the success of my work is largely based on clarity and aesthetic interest. My goal is to relay a point while maintaining an amount of visual appeal. I have a broad variety of interests and work in a number of materials, but I generally prefer to work digitally. I find that working digitally suits my tendency to be both impatient and indecisive, and I enjoy the freedom that it gives me to create marginally different versions of the same piece of work until I create one that I am happy with. However, the process of creating work is also very important to me. I find that the repetitive nature of my process calming and often enjoyable. I often break down and rearrange images with the intention of re-contextualizing them to create a sense of depth and texture in my work. Typography operates in a similar way for me. Although I generally work digitally, much of my personal work is done in pen, paint, and cut paper. I am interested in patterns and enjoy the tedious process of drawing them and working with small details. I find that this enjoyment of working with details and repetition translates into my work and encourages my instinct to control my art down to the last letter.
Michael Reyes Untitled Medium: Mixed media
Artist Statement Embracing a world of mixed mediums and varying practices, my art serves as a vehicle for me to express my thoughts and opinions of society. By utilizing methods of printmaking, sculpture, and illustration, I attempt to question the implications of human action on their environments, and consequently the effects theses actions have on the organisms that inhabit them. People have become callous to our history of manipulating the natural world for the sake of resource exploitation and aesthetic ambitions. I explore the consequences of selective breeding in plants and animals and how narrow gene pools, physical deformities, and detrimental mutations have shaped the symbolism these organisms have come to retain in our global culture. I use sarcasm as a tool for me to investigate the shortcomings of people. Through the use of tongue-in-cheek subject matter and titles my work directly reflects this playfulness in obscure and subtle ways. By placing importance on the fundamentals of art, my work relies on bold compositions, colorful schemes, and carefully planned spacing, allowing me to manipulate my ideas into pieces that focus both on meticulous aesthetics and satirical content.
Rob Rossi [fuRR] Medium: Print media
My art is a manifestation of subconscious characters I place in scenarios to investigate the outcomes. By exposing these characters to my screen I am able to print these images altering their color and position to explore the possible resolutions. Screen-printing lends itself to being easily printed on clothing, which allows me to spread the ideas in my head to a wider audience than a print kept on a wall. I have always kept a journal of drawings that I just thought was a sketchbook before I realized that these sketches reflect my life. Going through these books I find characters to play off each other in various ways similar to the way you think of possible outcomes of a conversations before you have it. My first exploration of exploiting these characters was combining them on a single canvas. Screen-printing however gave me the opportunity to add new dimensions to these static images and allow these characters to show their full potential. However printmaking is losing it original function since computers can make copies better and faster. As a printmaker I found that there is no reason to make exact copies and that each print can be its own piece by being a little different from the rest without having to be a copy from a series. Making these prints on t-shirts instead of just on paper forced people to see them instead on waiting for people to come see them.
For my senior thesis project I would like to create a series of mono-type screen-prints which will examine a sketch by breaking it up into different pieces and then changing the color and position of these pieces to find different resolutions of the original drawing. Using my sketchbooks ill pull out some of the drawings I feel are the strongest and decipher their meaning. Then going back the elements that gave me this meaning starting to change them to see what other answers I can get. I look at this as an equation. If part (x) and part (y) equal this outcome what can I do different to x and y to get a different outcome and repeat this processes giving myself many different resolutions to the problem. To achieve all these different answers I will burn the images of x and y into my screen I can start to experiment with overlapping them, changing there color, repeating parts of the image, and placement to trying to find the best answer to the problem. All these prints will be done on t-shirts instead of paper. I like the idea of t-shirts more than paper because a print on paper is usually just stuck in one place while the t-shirt be experienced by more people. It is easier to put these works in public instead of trying to get the public to go see the work. Also when people buy t-shirts they are usually printed in bulk and these shirts become more personal to their owner since each one is printed individually, which reflects how they started out as personal problem spilled on paper.
Ned Semoff Ursonate Medium: Digital animation, digital print, & audio
My work is a disruption of conventional practices that explore the deconstruction of manipulation and alters the balance of the composition. The inner expression that is placed in my work is signified by conveying the understanding of an idea. Variations of designs are placed quickly onto the page and then are slowly organized into a cohesive piece of work. Its behavior must be agitated, interrupted, and put back together to explore new conventions of meaning. Developing an unconventional way of understanding allows me to explore challenging the common perception of written words. Bo Wa Taa Zee Kwiee
Dadaists led a revolution that boldly embraced and caustically criticized modernity itself. Their innovative strategies of questioning everything challenged the Dadaist artist to think around the stereotypes of art. My piece is a recreation of Kurt Schwitters poem â€œUrsonateâ€? created in 1922 which was a performative phonetic poem and considered one of two masterpieces he created. Schwitter left few instructions about interpreting his poem and he believed that his work required imagination and that it should be performed the way you understand and see the work. The idea of creating a manifested expressive animation allowed me to develop my own structure and logic of how it should be perceived and I felt it should intimate the sounds through digital rendering.
Caraline Stocker Wearable Art (Tentacle Scarf with Hood, Sakura Kimono, Modern Kabuki 1&2, Tea Time in Harajuku) Medium: Fabric, cotton stuffing, silk, fake flowers, plastic, recycled clothing, buttons, sewing materials, make up, & fabric markers
Artist Statement My work reflects both my immersion in Japanese culture, and a strong theater background, resulting in an eclectic mix of 21st century kabuki and geisha inspired performance pieces, with current Japanese street fashion added for flavor. Regardless of the medium I choose to experiment in; the final work will be an extension of my cross-cultural life experiences. Japan has always been my sanctuary; itâ€™s rich culture and history inspires my choice to use kabuki elements in the costume and makeup design of my performance pieces. I also incorporate the limitless expression of Harajuku, the popular fashion mecca for Japanese youths. Bright colors, candy-colored headdresses, and extravagant costumes make up my wearable art, which I view as a form of selfexpression, rather than fashion. I choose close friends as my models, which allows the chemistry from our relationships to engage the audience and take our performances to a higher level. My art, with Japan as its foundation, is a collaboration of all my inspirations and styles of art coming together, the same way all the different elements of a theatrical performance come together.
Matt Toles The Aerial View Clothing Co. Medium: Print media
Artist Statement As a contemporary artist in the 21st century, I focus less on what I can create, and more on what I can manipulate. As a believer that nothing is truly original, my practice consists of using important figures, icons, and pop culture references to influence my work and regurgitate them into a new visual with enough of a trace of the original idea left behind to provide context for the viewer. Through the manipulation of color, a grungy style, and scale, I am able to create works that express my satirical, light hearted, yet sometimes distasteful view on life and American culture as I see it. The incorporation of text also provides viewers with an aesthetic eye candy. The text I choose causes the audience to think critically about the cultural collage in front of them. Printed media is usually the means I choose to work with, mainly that of a digital background. Occasionally more traditional methods such as hand done drawings and paintings are incorporated with the things I do digitally. Urban culture, hip hop, and punk rock music greatly influence the way that I create, as both are ever changing, also satirical, and very opinionated. A hip hop producer thinks about his sampled compositions in the same manner a resourceful postproduction that give the work I create a style you can recognize.
Kyle Tymon Awaken, Shaping The Land, The Planting Process, The Great Architect, Soil Birth, Invisible Planting, Interaction, Invisioning the Botany, Re-discovery, Pulling The Creation, Whispers, Plant Anatomy, Water Source Visions, Echo Trees Medium: Gelatin Silver Print Artist Statement
I do not remove the imperfections in my photography instead I give them attention. What I see is a different kid of beauty, something I want to staple into the physical world through my experimental photography. Using darkroom techniques instead of traditional Photoshop editing, I have distanced myself from my digital camera, and surrendered to the beauty that film can create. The darkroom has a feel to it that a computer will never replace. Hand editing and chemical production feel more fluid than using Photoshop tools. I have not distanced myself from the digital image making process with ease; film processing takes a long time to get used to and ranges in different results. It is, however, elastic in the sense that cross processing with different chemicals or even bodily fluids can alter the image. The plastic Holga camera opens a new window to climb through, utilizing a plastic lens to create the imperfections I want. Colors are skewed; light leaks eliminate parts of the photograph and the image becomes otherworldly.
The idea of creation interests me, mostly because to some extent I cannot understand it. I do not understand how everything came to be from absolutely nothing over the span of 12,000 years. Through my project “The Great Architect” I have explored the ideas of creation theory and photograph myself as a “god persona” using multiple cameras in order to produce multiple images. I want to explore the idea of creation, and try to understand it coming from a point of view that scientific evidence disproves but still maintains a following in the millions.
Raevon Williams Souls of The City Medium: Chip board, temper board, LED lights, tape, wood, & paint
The thought is the idea, the process is the development. Allowing the mind to continue to develop opens the door to a creative space. Embrace the creative space and you will not be defined like another. With no method to my madness on how I approach my work. Cartoons and animation are always integrated in anything that I do, being heavenly influenced by Takashi Murakami. The use of several of color selections; generally juxtaposing colors offering a pop and a mind-boggling twist in which I embrace and try to keep that style incorporated in some shape or style. I create work that generates the question “why did he do that?” As a digital artist I find traditional forms of drawing boring because I believe it limits the artist in terms of compiling layers of work. With drawing applications, Photoshop and the rest of the adobe suite I am able to transcend my thoughts and cultivate it with technology.
For my project “Souls Of The City” designed to capture night and day of a city that is being utilized. A city with a population of 0 is considered a city of ruins. Key factors in this project is time and lighting. In the 4’x4’ painting you will see the progression of lighting and how the city illuminates in the time span of 4-8 hours. When the city is light up in bright environment you will notice that it does not reveal as much but as darkness falls you will see the electricity grow and it will change the perspective and emotional feel. The city will only contain very minimal landmarks because I do not want it be someone else’s city. I also want to show a depth of field and to allow the lights from the city cast a shadow so that when the sun actually set it will set at a different angle as it does over us.
Jiwon Eunice Yang Back to Basic Medium: Paper, black pen, & marker
My passion about work is to help people to see the beauty of what around we have. I would like to share with people that beauty of the elements. It always being around people make them to forget about how much value it is and keep them from seeing the beauty of it. People do not respect how much we have and use. Look around, have development an interest in environment, bring it on your life. People are busy. They are busy and ignore things behind them based on their order of priority. Especially nature is easily disregarded because it is nearby. People wish their luck searching for four-leaved clover overlooking three leaved clover; nonetheless three-leaved clover is a symbol of happiness. Through my work, I wish people to find their happiness by the beauty of natures which has been overlooked. I drew beauty of nature by simply using lines. Creating attractive and familiar patterns by this technique would make you feel comfortable. Instead of majestic of nature, comfortable and familiar setting of nature was brought and showed in my drawing that always can see and easily looked by care.
Working as a volunteer in Haiti for a year in 2012 affected me in many ways My life, my thoughts, and my art. It was an incredible moment in my life. Living in Haiti was nothing like living in America or South Korea. Even though I learned that Haiti is the one of the poorest countries and is one of of the dangerous cites in the world, Cite Soleil (City of Sunshine). Actually, lives in Haiti was a cultural shock than I expected. However I saw beauty within the poverty more of sights that resonated for me were, small leaves, the trees, breezes, the ability to find clean water to drink, and flowers that were covered by dust. These things sound commonplace they became beautiful in a city so imparished life style. I was living in a shadowed world and was not able to see the true beauty or appreciate it. I also learned I was missing important things in my life due to my busy modern life style. The significance of nature is the same way. We forgot to appreciate nature because we, are so focused on own lives. I also realize how â€˜Modern Lifeâ€™ was inference my art. After a year when I came back, I checked my painting. All of them has so much stuff and so many things were doing on in my art. I decided to change my art to the basics of art like what I learned in Haiti the basic of beauty which nature things around us what we can usually missing.
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Continued Artist Descriptions Jen Cornwell
from page 16
Graffiti as an element of hip-hop culture is often deemed as vandalism rather than expression. It began as a way for gangs to claim their space and evolved into an art form that was shared and appreciated amongst those in the tagging community. Words and illustration as a way to claim and consume a space became a very enticing concept and I began to develop that into hand drawn 5” x 8” cards. Each card includes the song’s lyrics in hand lettering and small illustrations that represent the lyrics and the emotions and topics portrayed. Installation was a paneled piece using photocopies of the original fifty graphite on cardstock cards. I developed two interlocking shapes, one diamond arranged chronologically by song release date and symmetrical vertically, and a second parallelogram, arranged chronologically by song release date and symmetrical horizontally. The first shape was meant to cover space lengthwise while the second shape carried up the wall and onto the ceiling to create feeling of being overwhelmed as well as deal with my concept of claiming a space. Both shapes were wallpaper pasted to the white wall in order to better blend and engage the space.
from page 44
The inkblots themselves are not consistent with that of the Rorschach test, meaning they are not arbitrary. On the contrary, the inkblots are forcefully filled with experience. How? Because these inkblots are designed out of family photos., the epitome of experience, captured. These 16 photographs clearly displayed my family members’ life experiences and give insight to their emotional functioning. Collectively, the viewer now sees an equivocal family portrait.
Understanding the family’s emotional functioning and characteristics are now cloaked and unclear, leaving the viewer to create new definitions of my family. A viewers response to any inkblot and what they “see” test is based on their past experiences, and here-in-lies the twist: the viewer will be redefining the past of my families characteristics and functioning based on their own past.
from page 48
The outer parameter of the installation maintains lights with motion detectors. Here is where progress can be found for the lights’ activity is impacted and depends upon the actual life moving around them. During this activity the goal is to provoke a visual conversation between the viewer and the object, or rather the self and the other. In this allegory I want to project the importance of collaboration and interaction when attempting to generate genuine progress or change. There is no easy answer regarding the solution to the divisions of classes found in various cultures, yet there are steps towards gaining a better understanding on the issue. Physicist and mathematician Isaac Newton once claimed “No great discovery was made without a bold guess.” Well my bold guess to solving problems with economic mobility is that there needs to be a collective effort by all, rich and poor, towards understanding each other as well as the circumstances we all live under.
from page 52
I chose the word CYBERCITY based on the fact that people are constantly moving and losing focus due to technology. Whether itâ€™s playing video games, talking on a cellphone, or using an iPad; I believe technology is the cause of a sedentary lifestyle. Therefore I chose cyber (meaning the world within the internet) and city (meaning the world we are living in). This project is made of numerous pieces of Plexiglass. The multiple pieces add to the playfulness of the project by making it into a puzzle piece. The animation also echoes the interactive portion of the project.
Jiwon Eunice Yang
from page 69
So I just choose to draw line work on the paper with the pen that is basic medium. It is represent basic what I want to tell people. I draw the greatness of the nature with simple patterned line that were simple but not simple, the nature. I want people to know we can happy by noticing the small basics things that we pass by every day. I want people to find beauty and happiness through small basics things that we overlook or ignore.