Issuu

BA, Art History

10 – 15

Lauren Darpel

32 – 37

Mary Moriarty

16 – 21

Natalie Evans

38 – 41

Alexis Somers

22 – 27

Tarryn Mansfield

42 – 47

Zoe Watson

28 – 31

Valerie Michel

48 – 53

Xiaodong Zhang

BFA, Fine Arts 58 – 61

Kinohi Abafo

200 – 203

Riley Lambing

62 – 65

Kailyn Abell

204 – 209

Brandon Shaneen Lutts

66 – 69

Alyssa Alford

210 – 215

Alex Macon

70 – 73

Emma Alson

216 – 221

Maria Marotta

74 – 77

Jordan Avant

222 – 225

Sally McCormick

78 – 81

Aspen Barbro

226 – 231

Rachel Mills

82 – 85

Sydney Gentry Barth

232 – 237

Libby Moore

86 – 91

Victoria Bell

238 – 241

Lauren Myers

92 – 95

Annabel Biernat

242 – 245

Allan Ong

96 – 99

Teddy Bilott

246 – 249

Chris Quay

100 – 103

Jakob Boggs

250 – 255

Matt Roe

104 – 107

Melanie Brown

256 – 259

Wilhelmina Roe

108 –111

Sadie Brown

260 – 263

Ashe Salzl

112 – 115

Zoë Budzar

264 – 269

Tamia Saunders

116 – 119

Sophia Burch

270 – 273

Turner Schade

120 – 123

Erin Carmichael

274 – 277

Charles Schickel

124 – 127

Lia Irene Cavalaris

278 – 281

Emily Schneider

128 – 133

Stephanie Cuyubamba Kong

282 – 285

Greta Schneider

134 – 137

Lauren Darpel

286 – 291

Penelope Shell

138 – 141

Amanda Delgado

292 – 295

Lauryn Shrout

142 – 145

Nicole Demetriades

296 – 299

Mariana Sosa Saldana

146 – 151

Brandon G Douglas

300 – 305

Emma Spieldenner

152 – 157

Karri Durham

306 – 309

Nia Stewart

158 – 161

Kathryn Enzweiler

310 – 313

Nancy Thach

162 – 165

Carmen Ferraro

314 – 317

Senja Toivonen

166 – 169

Rachel Fisher

318 – 321

Lindsey Tomko

170 – 177

Hailey Ardyce Fulford

322 – 327

Amber Valdez

178 – 183

Taylor Helms

328 – 331

Chelsea Warning

184 – 189

Claire Hummel

332 – 337

Zoe Watson

190 – 195

Hannah Kast

338 – 341

Alyssa Weber

196 – 199

Janine Keding

342 – 345

Olivia Wiedmann

Introduction BA, Art History

The following essays feature the capstone projects of DAAP's art his tory seniors who are graduating with a Bachelor of Arts in Art History. The papers are the result of a semester-long seminar focused on art theory, methodology, research, and writing, in which students con ducted advanced investigation on a chosen research topic. Theory is a daunting subject for most undergraduates, and we have been impressed with our student's consistent progress this semester. Their tenacity and ability to leverage intangible ideas into concrete questions relevant to their work, make it clear that they have mas tered the fundamentals of art historical inquiry. We are immensely proud of their hard work and wish them continued success. Senior Thesis Instructor

Art History Program Coordinator

Dr. Anastasia Nurre

Dr. Lauren Tate

Lauren Darpel

BA, Art History

instagram .com/lau rend a rpel

Hildegard of Bingen and Her Illustrated Worldview Hildegard of Bingen was a visionary scholar, artist, and doctor in 12th century Germany. Her illustrations of her divine visions, es pecially those in her text The Divine Works are often praised for their spiritual properties, but also reflect Hildegard's medical and scientific beliefs. These beliefs developed through her life in the convent as the healer and eventual Abbess. Study ing medical mnemonic devices and scientific texts from the time and under standing the worldview of medieval 12th century Germany, will lead to a new approach to viewing the selected illustrated works from The Divine Works as emblematic of this worldview in which spirit, body, and the world were crucially interconnected.

Hildegard of Bingen, Cosmos, Body, and Soul/ from the Liber Divinorum Operum 1.4, 13th-century copy. Original, 1163-1173. Biblioteca Statale di Lucca, MS 1942, fol. 38r. 11

Hildegard ofBingen &Her Illustra Hildegard of Bingen was an important scholar and visionary during her life in 12th century medieval Germany. Her illustrations in Liber Divinorum Operum (The Book of Divine Works) are often praised for their spiritual aes thetics and cosmic properties, but this work is also key to understanding the worldview in which Hildegar.d lived.

Hildegard of Bingen Born in 1098 of noble birth in the town Bockelheim in what is now western Germany, Hildegard was consecrated as a Benedictine nun when she was 15 at the double monastery and convent of Disibodenberg. After her mentor Jutta died, she became the Abyss of Disibodenberg, then later moved to the convent Rupertsberg near the town of Bing . en. Hildegard would have been exposed to many educa tional resources and materials which would have aided her in her under standing the science and develop ing her own medical practice at the time. In her Time, Hildegard was renown for her musical composi tions, writing, visions, and healing. 12

Hildegard of Bingen Uber illvinorom operum Luce.a, Bibliote,a Statal.e Codex Lafinus 1942 fol-93 Vision: Cosmos Body and'.

Liber Divina This work \I served as a soul, somei reaching d Liber Divin< that encap� concerns o1 Cosmos Be Sphere anc tions. HildE Ptolemaic c . were 1n usE . universe, ar scientific.

ted Worldview The ultimate doctrine of Christian theology positions God as the ultimate creator and power of the universe. Scientific thought was fit into this doctrine and created a holis tic worldview. In my paper, I would like to use two images from Liber Divinorum Operum that illustrate the worldview that fully and systematically integrate theology and science under the doctrine of God as the ultimate creator ,and power. Hildegard's work can then be seen as wholly emblemat ic of conveying the beliefs of the time, those that understood the universe, the human body, the natural world, and spirituality itself as crucially interconnected.

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rum Operum was completed in 1773. rvas Hildegard's last major work that guide to the health of the body and thing that Hildegard felt was key to livinity and community with God; Jrum Operum, contains two works ;ulates the spiritual and physiological f Hildegard. The illustrations Vision 4: ,dy and Soul, and Vision 2: Cosmic I the Human Being. In these lllustra =gard is using the earth centered ,nd humoral medicine diagrams that � in the 12th century to describe the 1d unite the theological and

HIidegard of /Jingen Uber divinorum operum Luc a, Bibliote a St tale Codex L tin/.is 1942 fo/-93 Vision: The Cosmic Spheres and Human Being

Hildegard of Bingen and Her Illustrated Worldview Lauren Darpel 14

Natalie Evans

BA, Art History

I inkedin .com/in/nata I ie-evans-8a440b 180

Kiki Smith: Rapture and Feminist Relations Women artists before the feminist movement were often accused of producing crafts, compared to its higher counterpart, deemed art and created by men. However, with the rise of the feminist movement the climate shifted towards exploring women in the arts as recognizable artists, accomplished critics, muses, and sub ject matter. Kiki Smith (b. 1954) started to create her body of work soon after the initial wave, but primarily during second wave fem inism. Her works show the influence of the feminist movement, dealing heavily with themes of women, nature, folklore, Catholi cism, and the body. I situate Smith's works in her environment and the social climate, demonstrating how her sculpture works com ment on the female experience and encapsulate the societal per ception of women in the early 2000s.

Rapture, Kiki Smith, 2001. Bronze Sculpture.

67 .2" x 61.8" x 26.25" I Pace Gallery

KikiSmith: Rapture and Feminist Relations T'hesis The bronze sculpture, \!vorks entitled Rapture (21001), B'orn (2002), and Tied to Her Nature (2002) by artist Kiki

Smit serve as a reflection of her experiences growing up alongside first and second \!Vave fe,minism. I also

exami e how Smit s portrayal of women has contributed to the field of feminist art. 1

WomEn 11vho ..founded and Jlve

Historical Co ntext •

•

Pap _ure ( rig � arn1 de _ajo" =<:.iki S 1i h. 200-:i. Bronze Sculp� re? 67.2 x 61.8 x 26.25 inches. tt1ace Galler,.,/.

1971, Two American femalE scholars Judy Chicago (1932) and Miriam Schapirc (1923) would start t e first

femh1ist art program at the California Institute of Arts, in Valencia. In t e- same year., 1971,

Linda Nochlin would releas1 er article, Why Are There No Great Women, Mists?., i major oontributio to fe,minist art history.

· atalie Ma ""e Evans- BA. in Art s o,ry College o Design A G itectu e_ A . and Planr ing At t e Unive �·ty o Cir1cinnati R,::Joture

(extJ ressio n e .a.a if), Ki ki

Smith. 2cc ., .

BfiOn?e

Sculpture.

67,2 X 6 .8 X

26.25 inchesL y

Pace Galler .

e· ·n V'Vomanhouse.,. 1972.

• The curriculum gave v.1ay to Womanhouse- t e first feminist ran gallery

•

showcasing 28 female artists. Womanhouse would be dismantled., the follo\l•Jing year it was established.,

in 1972. • The effects of Womannouse- are still felt today in wester feminist art practices and theories., bringing nev.1 p ath\t•Jays of thin ing.

··.::n1anhouse- ins .a Ila icn in Los '.ngeles, ·ea .uring Robin

· rel.:. c:ch's Ktt:he-n and ' icki

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y Femini.s: .A.rt

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Tarryn Mansfield

BA , Art History

Franz Kline: The Influence of Drawing and the Abstract Expressionism Art Movement Franz Kline (1910-1962) was an Abstract Expressionist known for his black and white paintings. Art historians largely analyze his later sketches , which were already greatly abstracted as influenc ing his later artworks. However, Kline's earlier drawings are rarely mentioned as influences. In this paper, I demonstrate that three of Kline's drawings show many of the same elements that are lat er seen in three black and white paintings. By analyzing these artworks within the context of the Abstract Expressionism move ment, I argue that Kline's early works and an interest in fusing drawings with paintings anticipate his later move into Abstract Ex pressionism-a move that was guided by the contemporary New York art world.

Fred W. McDarrah, Franz Kline in his studio, 242 W. 14 Street, 1961. 11 Gelatin silver vintage print I 9 1/10 x 6 3/s 11

Franz Kline: The Influence of Drawing and the Abstract Expressionism Art Movement

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Franz Kline (1910-1962) drew before he ever painted. From the start, his drawings showed expressionist tendencies and the influences of geometric shapes. As the Abstract Expressionism art movement grew, so did Kline's artwork. In wanting to stay relevant to the art scene, while also still engaging with his passion for drawing, Kline infused elements of his old drawings into his abstractions.

Franz Kline, Shop Front, 19351937, ink on paper, 6 ¾ x 4 ¾ in., Allan Stone Gallery, New York

Kline's artworks, Shop Front and Turin show remarkable similarities. His early drawing, Sh op Front, emphasizes the shapes of squares, rectangles, and triangles. These shapes can be seen within Turin, which help to create an architectural structure. 24

Franz Kline, Turin, 1960, oil on canvas, 80 x 95 in., The Nelson-Atkins Museum of Art, Kansas City, Missouri, Gift of Mrs. Alfred B. Clark through the Friends of Art

Kline's Self-Portrait, Nude exhibits wispy lines that help to create the outline of his body. The fluidity of these lines are later seen in Figure Eight. Figure Eight presents these wisps more boldly, which form an outline of an object or even subject.

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Franz Kline, Self-Portrait, Nude, mid1940s, ink and pencil on paper, 11 ¾ x 8 ½ in., The Williams Companies Art Collection, Tulsa, Oklahoma

Abstract Expressionism became popular after World War II. Many of the artworks during this time were seen as political, but Kline was wholly apolitical. As Perl claims, his artworks still followed a few tropes of the movement: artistic subjectivity, use of large-format canvases, reduced palette and a belief in emotional

Franz Kline, Figure Eight, 1952, oil on canvas, 81 x 63 ¾ in., Mr. and Mrs. Hany W. Anderson Collection

Valerie Michel

Nikolai Ge's

BA, Art History

Conscience: Judas: Depicting an

Infamous Figure as Human Nikolai Ge's Conscience: Judas, painted in 1891, depicts a Judas that is rarely seen: one that is conflicted and isolated because of the events that happened before him. T he biblical character has been depicted in art history in manners that represent his greed. Viewing this infamous figure as a man who has no remorse or emotion, would be biased. I will argue that Ge's depiction of Ju das explores a different side which makes him more connected to the idea of being an imperfect human, rather than a destined ma licious figure. As well, the climate of the Russian art world at this time gives evidence as to why Ge had the ability to paint this sub ject matter in a raw and unique way. To support these ideas fur ther, I will compare the painting to lly a Repin's Judas and discuss how even with the same subject matter, the two convey different ideals.

1.01 Ia1. N.k . G es ' Conscience: Judas:, Depicting an Infamo1us Figure as Human Nikolai ,Ge, SelfPortrait, 1,892. 1Oil on canvas. 65.5 x 52.5 cm.. Ki,ev Mus,eum of Russian Art, Ukrain.e.·

Nikolai Nikolaevich Ge, Conscience, Judas, 1891. Oil on canvas, 149 x 210 cm, State Tretyakov Gallery, Moscow.

Thesis Nikolai Ge's emphasis on Judas's humanity, rather than his wrongdoings, in Conscience: Judas is unusual for the history of art - a change that was made possible by Ge's personal experiences as well as the contemporary Russian art world. Analysis In Conscience: Judas, Ge depicts the biblical figure of Judas on a road as he watch Jesus being taken away by the Roman soldiers. His figure is exuding the emotions his is feeling: isolation, suffering, and regret. He is shown wearing a cream robe and the clothes underneath appear to be extremely worn, which is unusual because Judas is usually depicted wearing a yellow robe and coin purse, which represents his greed for monetary possessions. As well, the moonlight on his back could represent God's light, which is a common motif in Christian art. The way that the light embraces Judas's body shows God's touch on him, and that he had just witness what had just happened. As well, the hues of the color palette of dark hues adds to the dramatics and emotions of the piece.

Comparing Conscience: Judas to Ilya Repin's Judas, who was working at the same time, shows how unique Ge's adaption is. Repin's shows Judas in his familiar motifs: the yellow hue to the face, the c · g expression, and the overall aura of the piece is dark and mysterious. These two paintings have several seminaries as well as differences. Both works have similar color palettes that enhance the emotions conveyed to the viewer. As well, both artists used light as a symbolic gesture of identifying biblical figures. One of the major differences between the two is that they convey different messages: Ge's is emphasizing his humanity, while Repin's is expressing a malicious nature. Another would be that in Repin's, the viewer can identify who the figure is, while in Ge's, they might not know until they read the title.

Ilya Efimovich Repin, Judas, 1885, Oil on canvas, 60 x 49 cm, State Tretyakov Gallery, Moscow.

"This is a confused man," Ge stated, "not a wicked man but a deeply unhappy one, as unhappy as millions of others, who made a fleeting mistake and did a lot of evil but then tormented themselves their whole life or committed suicide, as Judas did."

The Russian Art World and Peredvizhniki

Mary Moriarty

BA, Art History

Inside, Outside, and In-Between: Repositioning the Human in the Work of Ruth Asawa Ruth Asawa (1926-2013) was an American artist who created a multitude of large curvilinear, suspended wire sculptures primarily between the years of 1953 and 1962. This body of Asawa's work resists reductive categorization because it spans classifications such as art, craft and design. In view of this resistance towards reduction, there is an opening for Ruth Asawa's wireworks to in spire divergent understandings of the relationships between per son and object. Recent writings in new materialism reflect on how inanimate objects exert agency on the world and act on humans in largely unperceived ways. From their conception to their public reception, Ruth Asawa's wireworks inspire a repositioning of the human among nonhuman actants.

Ruth Asawa, Untitled (S.401, Hanging Seven-Lobed, Continuous Interlocking Form, with Spheres within Two Lobes), ca. 1953. Enameled copper and brass wire I 78" x 15" x 15"

Inside, Outside, and In-Between: Repositioning the Human in the work of Ruth Asawa Thesis

Due to their resistance towards reduction, there is an opening for Ruth Asawa's wireworks to

inspire divergent understandings of the relationships between person and object. Recent writings in new materialism reflect on how inanimate objects exert agency on the world and act on humans in largely unperceived ways. From their conception to their public reception, Ruth Asawa's wireworks inspire a reposit1on1ng of the human among nonhuman actants.

About the work To the casual eye, Ruth Asawa's suspended wireworks are notable for 3

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their curvilinear symmetry and their towering scale. In their biomorphic semblance, these works suggest the likeness of life forms embedded with intelligence that's informed and

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patterned by nature. The complete forms are composed of multiple lobes of various sizes, shapes, and

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Ruth Asawa (1926-2013)

was born in rural California. Having

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grown up on a farm, Ruth "did many things that were repetitive like stringing the bean pole for beans to climb up on and picking the beans and sorting the tomatoes, picking tomatoes,

sowing

and

planting

onions and gathering them." This experience provided Ruth with an inclination towards processes of repetition and a fondness for a utilitarian vernacular. mary moriarty

densities. The visual appearance of density occurs within the instances where there is a form within a form, or for example when there is a sphere within a form within a lobe flip as occurring in the bottom lobe of Untitled (S.401 ). In this instance we see how Asawa's wireworks demonstrate a continuous flow of material and form, not so dissimilar from the one-sided Mobius strip, where the exterior surface curves into itself so that the outside is the inside at the same time.

Resistance towards reduction

Asawa's wireworks resist reductive categorization because they span classifications such as art, craft and design. Within exhibitionary contexts these works can be considered art objects, yet by peering into Asawa's means and methods of production they can also be considered an artifact of craft; by way of the works' scale and cooperative relationship to architecture they act as an element of the designed space. In this space of ideological suspension, these works have the ability to inspire divergent understandings of the relationships between person and object.

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New ma erialism

New materialism encompass a practical and theoretical 'turn to matter.' Pam Alldred and Nick Fox describe how "the materialities considered in new materialist approaches include human bodies; other animate organisms; material things; spaces, places and the natural and built environment that these contain; and material forces including gravity and time."

Repositioning of the human

We must question the position of human-centred objectivity and take into consideration the vitality of matter. New materialist Jane Bennett suggests that, "One might allow oneself... to anthropomorphize, to relax into resemblances discerned across ontological divides." In her book Vibrant Matter (2010), Bennett proposes the concept of "thing power:" the ability of ordinary objects "to exceed their status as objects and to manifest traces of independence or aliveness." She asks, "Does life only make sense as one side of a life-matter binary, or is there such a thing as a mineral or metallic life, or a life of the it as in 'it rains'?"

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With these concepts 1n mind, one might approach Ruth Asawa's wireworks from a vibrant perspective of inquiry, as one might approach another who obtains insight and capacity.

Working with wire

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"You don't think ahead of time, 'this is what I want.' You work on it as you go along. 11

Asawa's process was an intuitive method of production where, in Juhani Pallasmaa's words, "the thinking process turns into an act of waiting, listening, collaboration and dialogue [in which] one one gradually learns the skill of co operating with one's one work." This notion of "co-operation" is one that begins to bring life to the work, to suggest that within the process both the maker and the material offer their independent capacities in an act of correspondence.

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"All my wire sculptures come from the same loopJ and there is only one way to do it. The idea is to do it simply, and you end up with a shape. That shape comes out of working with the wire. 11

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Extension of influence

Asawa's wireworks have the potential

to extend their influence into the surrounding space in an exchange of cast light and shadow. By casting light from various angles the work is able to multiply. One example of this can be seen in Ruth Asawa's

permanent installation on view to the

public at the de Young Museum in

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what is a tangible object and what is not. Asawa's work multiplies and the viewer is granted an extension of the object's influence.

Inside, Outside, and In-Between: Repositioning the Human in the work of Ruth Asawa

Concluding thoughts

the exhibition space as if in solitary

From their conception to their public reception, Ruth Asawa's wireworks have the potential to inspire a repositioning of the human. In my research I have found that making-processes approaching with a sensitivity to the material and its abilities allow for a vibrant correspondence that can give the work a life of its own. I have also found that 1nsta1Jat1on methods have a significant impact on the type of presence the work exudes which in turn affects the ways that viewers interact and relate to the work. Ruth Asawa was "interested in bringing another personality to wire," and she certainly did so in transfixing the material into organic form.

levitation. While the display at the de

references

Solitary levitation Alternatively, some installations

aim

for the subtle glow of natural lighting as seen in the main gallery of the Pulitzer Arts Foundation's 2019 exhibition, Ruth Asawa: Life's Work.

In this

display, Asawa's sculptures populate

Young Museum multiples the work from four to seemingly eight sculptures, the display at the Pulitzer Arts Foundation showcases roughly thirteen of Asawa's wireworks. The intentions behind each of these displays are unknown, but it proves successful to utilize shadow in order to make a small collection appear larger.

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Bennett, Jane. Vib rant Matter: A Political Ecology of Things. Durham: Duke University Press, 2010. Fox, Nick and Alldred, Pam. "New Materialism" in SAGE Research Methods Foundations. London: Sage, 2019. Hoefer, Jacqueline. "Ruth Asawa: A Working Life" in The Sculpture of Ruth Asawa: Contours in the Air. Berkeley: University of California Press, 2006. Palasmaa, Juhani. The Thinking Hand: Existential and Embodied Wisdom in Architecture. Chichester: Wiley, 2009. Sanzo, Kameron. "New Materialism(s)." Genealogy of the Posthuman. April 25, 2018. https://criticalposthumanism.net/ new-materialisms/ Images sourced from the Ruth Asawa Trust, the Imogen Cunningham Trust, Daivd Zwirner, and Google Arts & Culture.

mary moriarty

Alexis Somers

BA, Art History

linkedin.com/in/alexis-somers-a69049198

Dorothea Tanning: Internalizing the Muse T he Surrealist movement cultivated an image of women that fell short in exemplifying their autonomy. Instead, the movement of ten objectified women and defined them by their proximity to men. One common depiction was women as a source of inspi ration for man's creativity. In contrast, popular women Surrealist artists typically turned their gaze inward. Dorothea Tanning is one example of a women Surrealist who internalized the muse. Her image and reality were a method of exploring her self-awareness through the subconscious narratives she created. In this paper, Tanning's work is set against Salvador Dali's, Young Virgin Au to-Sodomized by Her Own Chastity (1954), to exemplify the con tradicting approaches each gender took when bridging the Surre alist gap between inner and outer reality. T he conducted research reveals themes that correlate to sexuality, Freud, psychoanalysis, and desire while also adding to growing literature on the role of women in the Surrealist movement.

Dorothea Tanning: Internalizing the Muse

Self-Awareness vs. Object of Desire

Birthday, 1942, oil on canvas, 40 1/4 x 25 1/2 in., Philadelphia Museum of Art, purchased with funds contributed by C.K. Williams, II 1999-50-1

Freshly influenced by Surrealism, Tanning created Birthday with a remarkable display of self-awareness. T his piece is a self-portrait and celebrates Tanning's dynamic abilities to represent her femineity and declare her sexuality. She is displayed with an attention to detai I and depicts an expression of self. Tanning looks towards the audience, a gaze that offers a sense of power and authority. Birthday suggests the personal narrative of the option of choice, exploration, and the unknown. Utilizing female form as malleable material, Dalf created art that depicted women in ways that were erotic, confrontational, explicit, and at times indecent. In this painting, Dali exposes the woman's most tender parts and insinuates through specific imagery and title, sexual intention. Her proportions are faded and distorted as she bends over a fragmented railing. As a whole, the exploitive qualities of Dali's female figure, illustrates an example of how male Surrealist's manipulated women into their ideal versions. These unrealistic portrayals only created a further gap between man's idea of woman versus real woman.

Young Virgin Auto-Sodomized by the Horns of Her Own Chastity, Salvador Dali, 1954, oil on canvas, 15.95 in x 12 in, private collection

Dorothea Tanning: Internalizing the Muse

Dorothea Tanning: Tanning's powerful individualism transcends any specific categorization. Although many scholars would attribute Tanning's style to Surrealism, she generally would like to avoid being grouped in with the lot. It's necessary to respect her oppinion, but to evaluate the differing imagery of both men and women Surrealist, it's necessary to separate the two. Tanning's artwork confronted her reality and at times alluded to her childhood. She was born in 1910 in the town of Galesburg, Illinois. T he midwestern town exuded repressive puritanism and Tanning tended to cultivate rich and complex fantasies to escape such principles. Often resorting to gothic books, such fantasies flourished in the readings of Carroll, Andersen, Wilde, Radcliffe, and more.

Dorothea Tanning: Internalizing the Muse

Psychoanalysis:

The focus on the importance of the subconscious as the mode of creating references the Freudian notion of psychoanalysis. The freedom of the human mind resulted in sexist imagery and the objectification of women. The exploitive qualities of Dali's female figure, illustrates an example of how male Surrealist's manipulated women into their ideal versions of sexual desire. Tanning's subconscious expression wasn't externalized onto a specific being but rather was an exploration of self and what may be revealed about oneself. "For Tanning, the path into the unconscious is not the collective and well-documented journey of the Surrealists with its group productions and dictionaries of symbols, but the deeply personal and intuitive exploration of the inner life that insured her _____________ psychological survival as a child and as a Interior with Sudden Joy, 1951, oil on canvas, 24 young woman." X 35 3/4 in.

Conclusion: Annette Shandler Levitt in The Genres and Genders of Surrealism sums up these ideas and says, "While the male surrealist artists painted, sculpted, or wrote of females attuned to nature or to madness, who thus functioned as intermediaries for the men and their closed psyches, the women needed no translator of nature of the unconscious: in their own lives and their paintings they were simply there, already inside and outside at once, thinking and feeling, experiencing and creating, on many planes, in many phyla, of many ages at once."

Selected Bibliography •

Chadwick, Whitney. Women Artists and the Surrealist Movement. London : Thames and Hudson Ltd, 1985.

•

Levitt, Annette S. "Women's Work: The Transformations of Leonor Fini and Dorothea Tanning." Essay. In The Genres and Genders of Surrealism, 89-111. New York City, NY: St. Martin's Press, 1999.

•

UKEssays. "Both Psychoanalysis And Surrealism Unconscious Mind Psychology Essay." UKEssays.com, January 1, 2015.

Zoe Watson

BA, Art History

zcwatson a rt. com

Ann Hamilton: Examining the Intersections be tween Materials, Process and Labor in indigo

blue (1991/2007) Ann Hamilton (1956) is a contemporary visual artist, known for her large scale installations that combine a variety of media, including sculpture and performance. Hamilton's work uses an interdisciplinary approach to explore site and human experience, immersing the viewer in the atmo sphere of the work through sensory experience and acute use of ob jects. While it can be argued that site is the driving factor in Hamilton's work, I seek to argue that her emphasis on historied materials is the key in her successful approach to site specific and process oriented work, especially in indigo blue (1991/2007,) a site specific work that explores the history of labor in Charleston, South Carolina. indigo blue utilizes materials with worn histories of labor, alongside a live action erasing of written history, and the sensory experience of the life and death of the cash crop, soy beans. I believe it is these worn, used and historied found objects that provide rich context to the artwork, silent, y et active subjects bearing evidence of the human experience.

Hamilton, Ann. indigo blue ( performance view),1991. 1 Multi media installation I Mike s Garage, Charleston, South Carolina https://www.an nhamiltonstudio.co m/p roj ects/indigoblue.htm I

Combined, these elements seek to tell the story of labor in Charleston, one that cannot be discussed without recognizing the labor of enslaved people with which the city was built. The street's name bears evidence of this"Pinckney Street was named for Eliza Pinckney who, while running her father's plantation, introduced indigo to Charleston in 1744." 2

FIGURE 3

Detail of the 14,000 lb mass of blue cotton work clothing, folded and stacked on a 17' x 24' steel platform, 16 ft high. The clothing has been treated meticulously- carefully folded with embroidered names on the lapels on display. FIGURE 4

Behind the clothing, sits an attendant erasing textbooks with a pink pearl eraser, I icking the eraser to keep it wet, as eraser shavings accumulate on the desk.

FIGURE 5

Upstairs, there is a sequestered maintenance office with a window that overlooks the main garage. On the largest wall, hangs 60 differently shaped woven net sacks of soy beans, that sprouted, smelled, and eventually died over the course of the exhibition. 45

This work displays the unique "thing-power" 3 of used fabric- the clothing is clearly worn faded fabric, patches, and the embroidered names show signs of use, evidence of the people that wore them.

•

----0

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Rebecca Des Marais, who worked on the project with Hamilton, says:

"The uni{orms had come from a commercial supplier. They had been worn by people who had since been laid offor were from companies that had gone out of business, adding yet another unspoken element of loss"�

The table used in the book erasing perfor mance was borrowed from Charleston's city market, which had previously served as an agricultural market and, many years before that, a site for auctions of enslaved people, 4 another example of history hiding in plain sight in the Charleston tourism industry. For the books, Hamilton turned to the secondhand books stores of Charleston and selected blue military naval texts, books that described various boundaries between land and sea. These details are so necessary in the work-

"Turning to everyday objects then, and the artworks that utilise them, might reveal the power relations embedded in the s1nall-scale social exchanges that comprise our daily lives" 5 46

NAVY

I believe the process of working with these garments, pondering the histories of the cotton and indigo used to produce them, may act as a ritual of alleviating guilt, paying homage to these workers. Hamilton says;

"/ am also interested in the way the body-through physical labor-leaves a transparent presence in material and how labor is a way ofknowing" 6 I believe part of this work, with its acute use of historied materials and tediously meditative processes, is also a personal tribute, from Ann Hamilton as an artist, to the unnamed laborers she calls attention to in indigo blue. FIGURE 6

FIGURES 1: Portrait of Ann Hamilton, photographed by Calista Lyon, https://www.annhamiltonstudio.com/biography.html 2: Hamilton, Ann. indigo blue (performance view). 1991. Multi media installation. Mike's Garage, Charleston, South Carolina, https://www.annhamiltonstudio.com/projects/indigoblue.html 3: Hamilton, Ann. indigo blue (clothing detail). 1991. Multi media installation. Mike's Garage, Charleston, South Carolina, https://www.annhamiltonstudio.com/projects/indigoblue.html 4: Hamilton, Ann. indigo blue (book detail). 1991. Multi media installation. Mike's Garage, Charleston, South Carolina, https://www.annhamiltonstudio.com/projects/indigoblue.html 5: Hamilton, Ann. indigo blue (soy bean detail). 1991. Multi media installation. Mike's Garage, Charleston, South Carolina, https://www.annhamiltonstudio.com/projects/indigoblue.html 6: Hamilton, Ann. indigo blue (clothing detail). 1991. Multi media installation. Mike's Garage, Charleston, South Carolina, https://www.annhamiltonstudio.com/projects/indigobIue.htmI

REFERENCES 1: Hamilton, Ann. "Biography." ANN HAMILTON Studio, www.annhamiltonstudio.com/biography.html. 2: Hamilton, Ann. "indigo blue Project Description" ANN HAMILTON Studio, https://www.annhamiltonstu dio.com/images/projects/indigoblue/Project_description_indigo_blue.pdf 3: Bennett, Jane. Vibrant Matter: A Political Ecology of Things. Duke University Press, 2010. 4: Simon, Joan. Ann Hamilton. New York: Harry N. Abrams, Inc., 2002 5: Amarica, Sarah (2018) Working Bodies, Poignant Cloth: Materialising Histories of Labour in Ann Hamilton's indigo blue (1991, 2007) and Ibrahim Mahama's Occupations (2012-). Masters thesis, Concordia University. 6: Wallach, Amei. "A Conversation with Ann Hamilton in Ohio." American Art, vol. 22, no. 1, 2008, pp. 52-77., doi:10.1086/587916. Mccann, T. (2018). Art, Artifacts, and Residue: The Space of The Exhibition in Ann Hamiltons indigo blue. . (Electronic Thesis or Dissertation). Retrieved from https://etd.ohiolink.edu/ Mary Katherine Coffey & Ann Hamilton (2001) Histories that Haunt: A Conversation w ith Ann Hamilton, Art Journal, 60:3, 10-23, DOI: 10.1080/00043249.2001.10792073 Rogers, Sarah J. "How does the body become object?" the body and the object: Ann Hamilton 1984-1996. Columbus: The Wexner Center for the Arts, The Ohio State University, 1996.

Xiaodong Zhang

BA, Art History

https://www.linkedin.com/in

/%E5%AD%9D%E4%B8%9C-%E5%B C%A0-58568017 3/

The Economic Realities of 18th Century France This research will analyze and study the allegorical meanings of the characters and their symbols in the Allegorical portrait of King Louis XV, in order to explore the influence of the images in mythology on European art. At the same time, a special observation instrument for observing artworks will be mentioned in the article. The use of this instrument in art to analyze Van Loo's motives for painting is to please the royal family, and the class monopoly on knowledge in eighteen century France, or through this superb technique to show to the royal family the exquisite painting skills. By analyzing these elements to states that access to technology is in the hands of the elite, regular person could not get the tools to understand the painting, and the importance of class structure in 18th century France.

Charles-Amedee-Philippe van Loo, Allegorical portrait of Louis XV, 1762.

Oil on canvas 82.5 x 71.7 cm Chateau de Versailles, France

The economic realities of 18 th Century France Van Loo, as the Royal Academy painter of the time, was primarily aimed at the elite and royal family, so it is easy to see that the elements he used to create the Allegorical portrait of Louis XV are those preferred by the upper class, including mythology and this mode of viewing the painting with a special installation. The elements used in the Allegorical portrait of Louis XV are those Rreferred, which indicates that the work was created specifically for them, without any consideration of whether the common people could understand the content of the painting. The painter's little trick, that the hidden information in the picture can be discovered through the lens, not only completely praises Louis XV, but also seems to affirm to some extent the privileged class who are qualified to use this optical instrument. Mythological subjects are favored by elite clients, they have a certain level of education that lower class patrons did not have. When Van Loo created this painting, he did not consider the riublic's perspective at all. The reason why you can't see the 'emperor's new Clothes" may not be because you are naive, or even you have not yet reached the qualifications for being an audience.

Heroic courage

The lion

Warlike courage

Magnanimity

Minerva

Generosity

Apollo

The Mask

Medusa

Justice

Characteristics of King Louis XV

Introduction of the lens

The artist arranges the hidden elements in the picture at the corresponding position according to the law of lens refraction. The viewer observes the painting at an appropriate angle and position through the lens, and the lens will combine these hidden elements scattered in the picture to form new content. Therefore, when observing this portrait with this special lens, the lens happens to combine the corresponding part of each character's head into a portrait of Louis XV, which appears in the mirror in the center of the picture.

Conclusion & Significance Van Loo used this special way of painting to have two very clever features: firstly, he could show his perfect understanding of the elements favored by the upper class and could also show from the side that his identification was more inclined to them, and secondly, he could show his painting skills through this kind of painting that only the elite and court could understand and satisfied them with the information they monopolized. This is also a way to distinguish themselves from the commoners. In this way, the painter subtly flattered the royal family of the time and subconsciously raised his class status.

Selected Bibliography

De Luce , Judith. "Roman Myth." The Classical World 98, no . 2 (2005): 202-05. Accessed April 16, 2021. doi:10. 2307/4352931. Jevons, F. B. "Report on Greek Mythology." Folklore 2, no. 2 (1891): 220-41. Accessed April 16, 2021. http://www.jstor.org/stable/1253527. Schalk, David L. "The Character of Loui s XV." American fmago 19, no. 4 (1962): 425-35. Accessed April 16, 2021. http://www.jstor.org/stable/ 2630183 7. Cohen, Percy S . "Theories of Myth . 11 Man, Ne w Series, 4, no . 3 (1969): 337-53. Accessed April 16, 2021. doi:10.2307/2798111.

Introduction BFA, Fine Arts

The 2021 Bachelor of Fine Arts Students faced the challenge of com pleting their Capstone experience in a variety of ways. With more planning and new creativity, many of our students inhabited the physical studios while others worked online. The following pages demonstrate a wide range of approaches to their Thesis projects. Some are documentation of physical exhibitions they held in and around campus, some are works developed specifically for online public platforms, and some are in between. These fine artists contin ue to be innovative, resilient in the face of change, and bold as they launch their careers as artists. Thesis Professors

Ben Britton Denise Burge Matt Lynch, BFA coordinator Jenny Ustick

Kinohi Abafo

BFA, Fine Arts

kinohiabafo.com

Na Keiki o ka Aina My piece, Na Keiki o ka Aina, stands to claim present identity within social structure and history. Na Keiki o ka Aina is a Hawai ian saying which translates to "Children of the Land". I continued my exploration of fibers by upcycling and transforming old Aloha shirts and then captured my Hapa (half Hawaiian and half Cauca sian) identity in a photograph. The connections between person, nature, and culture are the reasons that the photographs are of only the transformed clothing, the individual Hawaiian, and their solitary existence within nature. The garments that I upcycled blur lines between masculine/feminine attire within the context of the female frame (body). This art series opens language about racial identity, decolonization, representation, and allowance for a re examination of femininity. My art exists to broaden and connect various ideas of existentialism and identity within one's own exis tence, using an abundance of different mediums.

Kinohi Abafo, Self-Portrait Hapa Romper

Spring 20211 Cincinnati, Ohio

Kinohi Abafo, Kaliona Hapa Sweatpants Spring 2021 Cincinnati 1 Ohio

Kinohi Abafo, Morgan Hapa Skirt & Crop Top

Spring 2021

I Cincinnati, Ohio

Kailyn Abell

BFA, Fine Arts

instagram. com/art_abe11

When Moods Become Chairs After a global pandemic, humans find themselves at a standstill due to governmental mandating. People are spending more time indoors than ever before and are sitting down more than usual. I began questioning the act of sitting and how it has changed over time. Centuries ago, sitting was not done as often as we see it today. In the modern, western world, seats and chairs have transi tioned from a luxurious commodity to an everyday item. This work questions what a chair can be by expanding the function of every day objects not normally affiliated with sitting. Through various sculptural approaches, I aim to change how we perceive chairs.

Racquets 63

Balloons

Doritos

Straws

Stuffed Animals

Alyssa Alford

BFA, Fine Arts

alyssaalfordart.com

A Dyslexic Point of View I am a multi-disciplinary Dyslexic artist focusing on embedding works with meaning and an interest in helping people rethink their expectations of common objects throughout daily life with words on them. The viewer will reconsider why and how my brain sees these words this way and what experiences that someone with this challenging circumstance endures every day. Dyslexia is more than numbers and words. It's my whole journey of life, one that I will have to endure seeing the world of words and numbers the way that I do. I represent my Dyslexia through my work so others can see a glimpse of the world as I see it. My attempt to incorpo rate the many different aspects of living with Dyslexia is an over whelming and vulnerable experience.

Sand Dollar 11

Canvas, Vinyl, Digital I 3'.5" x 5' x 1.5" Sand Dollar is how I see an analog clock which to this day, I still cannot read. 11

Digital, Bond Paper I 20" x 40" lvory & Ebony is how I see letters and numbers on keyboards and the struggles of typing and spelling words using them.

Ivory & Ebony 1

Detour Vinyl I 48" x 18" "Detour" is a piece in the series called Construction Zone. It is about my journey of being a dyslexic driver.

vvv

'A....A'

Road Closed Ahead, Dead End

Vinyl I 48" x 68" "Road Closed Ahead, Dead End" is another piece in the series, Construction Zone. My brain is constantly trying to unscramble directions, words and especially numbers while on the road. 69

Emma Alson

BFA, Fine Arts

instagram.com/emmarosevisuals

Morphism This body of work contains a series of large scale figure paint ings with a focus on the manipulation and interaction of skin and bodies. I often work from my own photographs, experimenting with color to portray various moods and atmospheres. I paint the body in thin layers, treating curves of the body as a kind of topo graphical map. While I do work from my photographs for propor tion and lighting, I push to experiment with color hue and satu ration to convey various atmospheres and emotions. This body of work aims to provoke the audience to consider relationships between visual aspects of touch such as color and texture of skin, and the physical experiences of intimacy and vulnerability.

Morphism

Acrylic paint I 3 x 4 1

Bridge

Acrylic paint I 3' x 4' 72

Hold

Acrylic paint I 2' x 4'

Choke

Acrylic paint 12' x 4'

Jordan Avant

BFA, Fine Arts

jordanavant.com

"The Art of Doing Nothing" The art of doing nothing is a photography series of 5 images that glorify and immortalize black bodies at rest. I use these unpro tected black and brown bodies as the center of focus in my work making sure that the shots I take are holistically natural to their daily routine of rest to ensure that I am staying true to my mission. I keep the photos in black and white to symbolize that every sub ject is on a level playing of disadvantage, all knowing that they are all subject to answer for their lawful crimes of 'nothingness'. I use this idea of rest in my work to symbolize this deprivation of calmness, peace, tranquility and stillness that every human has outlined in their entitled inheritance of rights. This a photographic protest to the crimination of black and brown doing 'nothing' and in that nothingness it takes many forms.

REM Photography, Fibers, Digital Edits I 2000px/1333px

STILL Photography, Fibers, Digital Edits I 2000px/1333px

TRANQUIL Photography, Fibers, Digital Edits I 2000px/1333px 76

IN THE MORNING Photography, Fibers, Digital Edits I 2000px/1333px

THE CALM Photography, Fibers, Digital Edits I 2000px/1333px 77

Aspen Barbre

BFA, Fine Arts

aspenbarbro.com/thesis

Cornfield Mary Historically, decoration and handicraft have been regarded as women's work because they are associated with the domestic and the feminine. The belief that the decorative aesthetic is mechan ical rather than felt out holds a notion of craft as automatic labor, receptive, and consequently unartistic. This almost machine-like means of production is what Barbra is interested in. The subversive history of sewing and needlework intertwined with its systematic production presents two forms of labor - artistic and domestic. The methodical, repetitive and physical act of sewing signifies the body as machine performing the same action over. To be me chanical, in this sense, is to be kitsch. Kitsch operates by formulas. There is no discomfort, no ugliness or awkwardness, no sense of intruding on privacy. Cornfield Mary challenges this by evoking experiences that are deeply personal to the artist. The utilization of vibrant colors, familiar icons and materials suggest the same ' cheap' emotions as kitsch; yet their context elicits the uncomfort ableness of performative religion in the Midwest.

Cornfield Mary

Sewn satin, cording I approx. 6' x 3'

Cornfield Mary (face detail)

Sewn satin, cording I approx. 6' x 3'

Cornfield Mary (hand detail)

Sewn satin, cording I approx. 6' x 3'

Sydney Gentry Barth

BFA, Fine Arts

sydneygentrybarth.com

You're Smiling (but i dont believe you) The process has always consumed my art practice; documenting the items that travel with me to each address supplementing my idea of a home, using photography to show the inhabitation of each dwelling I reside within, and creating a sanctuary within the darkroom in order to process through the images I am creating. Poeisis is the activity in which someone brings something into existence which ceased to exist prior. I created, and brought into the world, a home, for myself. Creating a timeline, rather than a chronological list of events in the order that they occurred, but consisting of the moments in which new experiences happened, forcing me to relive my past; forgotten abrasions in my history being resurfaced. With the comings of new abuse, past abuse is internally relived. Each of these moments are represented through a photograph in my series, You're Smiling (but i dont believe you).

did i do something to deserve this? 11 83

i liked how wrong it felt 11

11 84

wishing it were you 11

i can still feel your breathe on my ear 11

11 gravel impressions in your knee 85

Victoria Bell

BFA, Fine Arts

victoriabel lj .com

Home for

---

This series is based on my desire to create meaningful exchang es in the process of building an image. As a form of small-scale social practice art, I have recreated a handful of images that people have sent to me of the places that they feel the most at home. These paintings were given to those participants in piec es to complete while spending time in their loved space by using their surroundings as a reference. Additionally, scenes of my own home were painted and left in pieces to be assembled within a gallery installation. Using jigsaw puzzles from my childhood as repurposed canvases has allowed me to experiment with methods of sharing memories. Though "home" is a feeling that changes over time, these puzzles serve as capsules to preserve wherever "home" is for now.

Home for Alex and Lindsey

Acrylic on Jigsaw Puzzle 21.5" x 15"

Home for Lindsey 11 11 Acrylic on Jigsaw Puzzle, 20 x 20

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Home for Madeline Acrylic on Jigsaw Puzzle, 15" x 21.5"

Home for Myself

Acrylic on Jigsaw Puzzles (3) 8" x 1 O" Visitors of the gallery installation swapped pieces in the process of assembling the puzzles

Annabel Biernat

BFA, Fine Arts

instagram.com/dumptruck.wherestheket

Dumptruck There is an ever-growing anxiety that exists in the contemporary which stems from the expectations of over-performing. There is very little emphasis or room for pause, and pause is even pun ished by societal dogma. The stigma behind pause and rest can be devastating to our own identities as we struggle to maintain our sense of self through these pressures. My work encourages pause and sentimentality by capturing familiar moments in time through fiber forms. Comfort cannot come from the alien, so in using found fibers I reach the viewer through familiar material. My work serves to remind the individual that it is crucial to make time to relish in moments of rest.

Party's Over, Hit the Bricks! (2021) Acrylic Paint on Fiber I 20"x 44" 93

ile-on 11 (2021) 1 1 Fiber Sculpture Installation I S x4

11 P

1 Am Not Here, I Am Just Looking 11 (2021) 11 11 Yarn, Wood, Plastic Beads I SS x 30 11

Final installation shot from my thesis exhibition titled Dumptruck, Where•s 11 the Ket? The exhibition was a collaborative with graduating senior Hailey Fulford, and explored themes of productivity, waste, rest, and ketamine. Dumptruck ran out of Hailey•s backyard from April 12-19, 2021. 95

Ted Bilott

BFA, Fine Arts

tedbilott.com

FIELDS FIELDS IS AN EXPLORATION OF THE LIMITS OF TEXTURE, SPACE, STRUCTURE AND MOVEMENT. EXISTING IN A SPACE THAT IS BOTH IMMATERIAL AND ACCESSIBLE, FIELDS SERVES AS A DEVICE TO PUSH WHAT ONE CONSIDERS TEXTURE CONTAINED IN A MOVING SPACE. COMBINING THESE VISU AL EXPLORATIONS WITH AMBIENT SOUND CREATES AN AT MOSPHERIC EXPERIENCE OF PREVIOUSLY WELL ESTABLISHED CONCEPTS. THE CONCEPT OF TIME IS THOROUGHLY DECON STRUCTED, AS EACH VIDEO LOOPS, ELIMINATING THE TRADI TIONAL BEGINNING AND END OF AN ANIMATION

1: I

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FIELDS: A collection of abstract animations. Scan the OR code to view

FIELDS2: Scan the OR code to see the actual video

FIELDS8: Scan the OR code to see the actual video

Jakob Boggs

BFA, Fine Arts

jlboggs-artist.net

Document ID: 282-3-55-264 Welcome to the cHange oVer. Our messages can only be deci phered with the correct tools, did you come prepared? As you progress you may find it more difficult to read them, but I assure you, on your journey to discover the truth will afford mania, obses sion, charm, and fascination. The search is not yet over...

100

282-3-55-264

Multimedia Installation I Room Size 15 x 15

101

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282-3-55-264 live streamed over the course and a box that contained a looping video du Scanning the OR code will take you to an on

102

of six days. Installed were a series of prints, ring the entire duration of the livestream. line portion of the show. Good Luck.

103

Melanie Brown

BFA, Fine Arts

instagram.com/Ladybugartworks/

Escape My Thesis will focus on capturing the peacefulness that I find in na ture and re-creating that in an installation other can experience. I will be combining nature photography and stained glass to bring the aura of nature into a gallery space. The photography will be blurry pictures of the spaces I experience, and will act as the back ground, while the stained glass pieces will make the environment livelier by shining in the colors captured in the piece. Around the room will be various wind chimes to bring the beautiful soft chime of the air. There will be cushions sat in the room for people to relax and experience the aura of the room.

104

tranquility

105

bliss

106

meditative

107

Sadie Brown

BFA, Fine Arts

instagram.com/sadie_ann_

... and I love you! Losing a parent is like losing half of yourself-the person who raised you, and who has been in your life forever, suddenly gone. My photos affect the viewer emotionally by connecting with mem ories they may have from feeling alone while grieving. Earlier last year, my father passed away from heart valve disease. Moments from the night he died have replayed continuously in my mind-a broken record, replaying moments where I felt broken, lost, and unsure. Working with film captures a moment in time that cannot be duplicated. The raw unedited photo from film photography mirrors the raw emotion of grief. I created this project to open up about my relationship with grief and loss-I may be lost, and un sure at times, but this work has given me the strength to share my experience with others.

108

Untitled (2019) Photography 120 11 x 20 11

109

Untitled (2019) Photography I 20 1 x 20 11 1

110

Untitled (2019) Photography 120" x 20"

Untitled (2019) Photography 20" x 20"

Untitled (2019) 11 Photography 120" x 20

111

Zoe Budzar

BFA, Fine Arts

instagram.com/zoe_budzar

Not Your Barbie Throughout history men have given women one role, to sit and look pretty. As time has gone on we, women, have become stron ger, more fearless, and unapologetic in our actions and strides. The more power and confidence women gain in their professions, the more ridicule flung by men who fear us, or feel shame about their own place or their own choices. Women in the public eye are of greater target, as seen through experiences with Natalie Maines of the band formerly known as the Dixie Chicks, Represen tative Alexandria Ocasio-Cortez, and First Lady Dr. Jill Biden. Are women still being viewed as "precious objects"? Pressured to fit in a Barbie doll mold? Never to be removed from our boxes? Through interests in repeating patterns, fashion, wallpaper, came this project where the view of powerful women in society is ques tioned. Through repetition, the images and situations should stick with the viewer, in hopes that they will not happen anymore.

112

Not Your Barbie Mixed Medium

113

Not Your Barbie Mixed Medium

114

Not Your Barbie Mixed Medium

N�t Your Barbie Mixed Med·1um

115

Sophia Burch

BFA, Fine Arts

instagram.com/pancakesandsteak/?hl=en

Midwest Perspectives I am passionate about perspectives and often wonder why people think the way they do. The past couple of years have forced me to reflect on my own views that I have accumulated during my life as a straight, white, cisgender in the Midwest. Discovering how different people's perspective and stories overlap has been my way of looking for peace in the chaos. With this process of photo collection and collage creation I was able to find some of the light and joy that surrounds and connects us. The Midwest Perspectives painting is a composite of other peo ple's donated images. It is my hope that when looking closely at the details within these paintings, the viewer considers the person behind the image and their story. As I pieced these images to gether in a new composition, I tried to lean into the absurdity and humor to help express the chaotic and dynamic reality we experi ence together.

116

Midwest Suburban Summer (2020)

Acrylic Paint on Wood 120" x 26"

117

Midwest Perspectives (2021) Acrylic Paint on Wood 12' x 4'

118

Colledion of Summertime images sketch (2021) Pen on Paper 12" x 15"

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Colledion of City images sketch (2021) Pen on Paper 12" x 15"

119

Erin Carmichael

BFA, Fine Arts

instagram.com/erincarmichael_art

5 Exciting Ways to Spice Up Your Life This body of work began with an article entitled 23 Ways Not to Lead a Cookie Cutter Life. This comical list of tips and tricks to break the cookie cutter mold of an ordinary life felt ironic in its "quirky" ways of thinking outside the box. When I read suggestions such as: joining a diverse group of friends, trying out a new wardrobe, and traveling somewhere off the grid, somehow the shadow of cults hung over my head. Cults are formed from the desire to break from the norm of society and be a part of something different, yet they simply become anoth er herd in society. Throughout this series, I attempt to explore this concept by poking fun at the idea that wanting to live a life that's not "cookie cutter", can promote cult-like behavior. These propaganda-sized posters attempt to encourage viewers to join yet another cult inspired by notable cults in history and implied cults in pop culture.

120

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Travel Somewhere Unexpected

Silk screen print on paper I 20" x 0 3

• _1

121

Pack Up Your Life! Live in a Van!

Silk screen print on paper I 20" x 30 11

122

Don 1 t Drink the Kool Aid

Silk screen print on paper I 20" x 30 11

&RDUI DI IRIERDS

Find a Diverse Group of Friends

Silk screen print on paper I 20" x 30 11

Up Your Shoe Game

Silk screen print on paper I 20" x 30 11

123

Lia Cavalaris

BFA, Fine Arts

liacavalarisart.com/naturalrhythm

Natural Rhythm Exploring the synergistic relationship between body, mind, self, and environment through rhythm.

My artistic practice has always revolved around observance. Cu rious about my interest in observing the natural patterns and rhythms of my living environment, I began to question why expe riencing and observing rhythm is so important, and what it does for my mental health space. I realized by witnessing rhythm, I was able to come home to the rhythm inside me. Noticing daily pulses became the medicine to the mind-body disconnect I often expe rience. This series of work is exploring pattern and progression through the medium of natural environmental spaces and the hu man body. I depict this exploration through video, sound, anima tion, and poetry.

124

'--

On a Walk (2021)

Digital video with audio, silkscreen, ballpoint pen, vellum paper

12 min 37 s

125

They Looked at Me and Said, "Oops! You're Still Alive, See You Next Time." (2021) Digital video with audio, ballpoint pen, vellum paper I 3 min 12 s

126

Erosion (2021) Digital video with audio

min 37 s

Coming Home (2020) Audio I 4 min 40 s

127

Stephanie Cuyubamba Kong

BFA, Fine Arts

instagram.com/monasoleada

Dreaming of Oasis "Dreaming of Oasis" imagines a world where euphoric and fan tastical joy resides. It manifests itself in the landscape, calling us to join in its utopia-esque liveliness. This series explores the ideo logical role of Oasis as an escapist fantasy, what it represents, and perhaps, what it falsely promises us. Armed with a lush visual language, Cuyubamba Kong's "Dreaming of Oasis" uses artificial flora and decaying produce to create decadent and inviting land scapes that reflect the complexity of building utopia. Cuyubamba Kong invites you to wonder why we dream of escaping when our world feels as if it is crying out in despair. Offering a voyeuristic peek into this imagined place, she holds Oasis at arm's length, not quite ready to give in to the promise of greener grass on the other side.

128

Remnants of joy, life, and rejuvenation take on new life as the sun rises/ imbued with a strange sense of calm in their stillness (2021) 11 11 Ink on archival paper 124 x 30 framed ,

129

Dreaming of greener grass #1-6 (2021) 11

Ink on archival paper I set of six, each 16 x 20", framed

130

131

Under the glare of the highland sun, a quiet glory falls upon my heart/persisting (2021)

Ink on archival paper 24" x 30", framed

132

Vamo' a hacer maldade'/No le pare y dale/Baby, cuida'o por ahi (por ahi)/Que eso se te sale, que eso se te sale (2019) 11 11 Ink on archival paper, 24 x 30 framed ,

1·

133

Lauren Darpel

BFA, Fine Arts

instagram.com/laurendarpel

Ontologies In my art practice, I work across photography, ceramics, and print making to explore what it means to have a body. As someone who is limited in motion and capabilities, I have been at odds with my body for most of my life. In making, handling, and pho tographing my own body abstractions, I am manifesting the dis tance I feel to it while also appreciating it for its form, adaptability, and growth. In this way my art is investigative and introspective, but does not offer a solution to how to occupy a body. Instead, I reveal the my riad of way s in which one can experienced and cre ated.

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Handslime Digital Photo

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0 N T 0 L 0 G I E s

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fossil double

growth

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new piss

fractureslime

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The experience of having a body that is limited in motion and capabilities has left me feeling at odds with my body as a separate entity from my being. Working in the philosophy of object oriented ontology, which declares that the human body is equal to any other object, I create abstrac tions of my body which are then photo graphed in nature. In creating and physi cally handling these abstractions, made from ceramics, sculptural media, and found organic materials, I am physically manifesting the distance I feel to my own body. Through their handling and docu mentation, I am mimicking the medical actions applied to my own body that has been subjected to multiple surgeries, examinations, and documentations.The photographed abstractions create an indirect corporeal index, in that they equalize the external world and the body as comparable objects, and become subjected to new contextual meaning. Direct images of my body and nature images are also framed in this new contextual meaning. It is important that these body objects be placed in nature as a reminder that the body is first a living natural object that has temporality, rnuta bility, and animalistic qualities. Through this series, Ontologies, I am exploring what it means to have a body, and how I can reconcile my body with the natural world in hopes of admiring it for its adapt ability, growth, and form. I am not seeking to offer a solution of how to occupy a body, but explore the myriad of ways in which one can be experienced and created internally and externally.

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Amanda Delgado

BFA, Fine Arts

twitter.com/amandadc_art

Playlist #3 - Life Playlist #3 - Life is the last installment of the Playlist series meant to explore my memories, love, and life through music and com ics. My clinical neurodiversity often causes me to feel left out in most conversations and social situations, as it hinders the ability to read and perform social cues in the way the average person does. Navigating these social spaces often feels like I am trying to understand entire histories with only fragments of information. In this last installment I am replicating that feeling by utilizing what I always considered to be the more understandable visual language of comics, and the poetry of song lyrics that hold great meaning to me to create a story of my life so far. In this way, I finally feel like I am forcing you to understand me on my own terms.

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11 11 Acrylic ink screen-printed on colored paper I 30 x 24

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STARRING

VICTORIA SONG SULLI CHOI

Dracula 140

Digital 11O" x 14"

AMBER LIU

LUNA PARK KRYSTAL JUNG

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Nicole Demetriades

BFA, Fine Arts

nikkidemetriades.art

I am the Beast I Worship The work I make is about being a deity in your own right, and forging your own relationship with a religion or belief in a higher power, if you so choose to have one. In a transformative display, I have moved from playing copycat with the Byzantine Greek Or thodox religious iconography that I was raised with to introducing themes from LaVeyan Satanism to create a mashup all about be ing both a dirty, filthy human and something to worship. By using digital tools, I am able to experiment ad create iteration after iter ation of my all encompassing theme of vile greatness and am able to broadcast my word at the touch of a button, much like religious propaganda of the past. As traditional paintings become a more in-your-face attack, the viewer may be left feeling both empow ered and disgusted by the mere depiction of a woman enjoying herself and living how she pleases. I am the beast I worship.

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How to Finally Get Sterilized

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Cerberus

Fuck Who's Watching 144

Ziegenmilch

Polycephaly 145

Brandon Glynn Douglas II

BFA, Fine Arts

brandondouglasstudio.com

Autobiograpire; To Be Frank Monsters serve as a mirror for the fears and conflicts that any cul ture may experience. To confront a Monster, one confronts their fears; they accept and even grow past an aspect of themselves. Auto-Bio-Gra-Pire ; To Be Frank is an exercise in this concept of growing. T he piece is a self-portrait through metaphor, a narrative poem illuminated with an illustrative style reminiscent of American and Japanese graphic novels. Many inspirations flow forth from the piece as a way for the artist to confront the concept of Self as a standalone idea. Auto-Bio-Gra-Pire narrates a portion of the life of a stitched together abomination, a persona the artist uses to both pay homage to all of the inspirational pieces of his artistic practice (from Mary Shelly, to Naomi Madgett, to Katsuhiro Otomo), and to confront his own personal demons, or, Monsters. "It's alive!" ; and, ever-maturing.

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Autobiograpire; To Be Frank Cover I Digital Illustration

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0nce upon a time 'There existed, ( or perhaps never existed), J{ rivalr� 'Between ¢)ifferent kinds of folk 'That grind their teeth. 'There were some that Chose to grind against bone, for marrow J{nd some that Chose to grind against �esh, for blood. qhouls, and \?ampires J¼:spectivel�. 'The results of this R.[val� was J{ macabre war. Wherein qhoul, the oppressive aggressor, violent!� ground down t.lnprepared \?ampire. Rfducing them to stains of Cremated specks. J{s this was /{II that was left, 'The qhouls claimed this ¢)ust J{s their prize 0f \?icto�. Scooping it all up J{nd jhipping it ·round the world. 'To

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Page One

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¢)ust. 0ne such qhoul, J{ doctor, J{ sorcerer, �own b� some as ':,Sam", Figured he could get J{ good kick 0ut of all that /{sh J{nd ¢)ust. He poured it out J{nd packed it back down 'Into Rfcognizable parts. 'Bod� parts. He took those parts J{nd stitched them together, J{nd �ixed in some bits of Chopped up qhoulish Cadavers.

f'low, 'Before we go further, !,et it be known that

Page One Letter Detail

Page One Scene Detail

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Great big eye, Big, strong, handsome, and driven, Even while throwing him into lockers and Plunging him headlong into toilets. He unfortunately wasn't a Gargoyle; Immaculately stony skinned And quick-witted, Squawking about like socialite ravens, The epicenter of adolescent comedy, Even when he was the butt of their jokes. So easily they tripped him Up and down the halls. For this, Frank mused that the Doctor must have accidentally given him two of the same feet; Lefties. But then, If not with them, Where did he belong? It absolutely wasn't with The True Vampires. The REAL Vampires; Flowing and Elegant; Taut and Concise; Deep and Dark;

Almost every day. The way his pieces sat So mismatched In his crumpled-up silhouette A frequent conversation topic, Under hushed tone. Like if he asked them about it The only logical response they would have Would be 1 '1'm sorry, Is there a reason You thought Someone was talking to you, Freak?" And then the Zombies; Wait, no. He wasn't sure about them. These were reanimated Ghouls, Awkward, shambling about Without purpose Clammy, saggy, ugly, Lethargic and confused andActually, let's double back. Perhaps he fit right in. At the very least, They never turned him away.

Like notes sung from a baritone. Like silky leather. Like bat wings.

He got to sit with them at lunch. They weren't much for conversation, but, They were decent listeners, And Frank, He actually Really liked to talk.

They were these things to him Even when they shunned him, Questioning His very existence In their rhetorical way

He'd go on and on About the books he read Magic Tomes for Beginners, Introductory Spells for Dummies About the mind-numbing 6

Page Seven sketch next to final version

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So €asil� th€� tripp€d him tip and down th€ halls.

For this, Frank mus€d that th£ �octor must hav£ accid£ntall� 9iv£n him two of th£ sam€ f €rt; l£�i€S. 'But th€n, 'If not with th£m, Wh£r€ did h£ bdong? 'It absolutd� wasn't with 'Th€ 'fru€ \?ampir€s. 'Th€ J\1¥{6 \?ampir£s; Flowing and R1£gant; 'faut and Concis€; cE>€€p and e>ark; 6ik€ not€s sung from a bariton€. 6ik£ silk� 1£ath£r. 6ik£ bat wings. 'Th€� w£r€ th€s€ things to him Rv€n wh€n th€� sh unnro him,

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His V€r� �xist€nc€ 'In th£ir rhrtorical wa� J{lmost €V€r� da�.

you thought jom€on£ was talking to �ou, Fr£ak?" J{nd th£n th£ Zombi£s; Wait, no. H€ wasn't sur€ about th£m. 'fh€s€ w£r£ r£animat€d qhouls, J{wkward, shambling about Without purpos€ Clamm�, sa99�. ugl�, 6rthargic and confus€d andJ{ctuall�, 1£t's doubt€ back. f'€rhaps h€ fit right in. J{t th€ V€� 1£ast, 'Th€� nt:v£r turn£d him awa�. H€ got to sit with th£m at lunch. 'Th€� w£r€n't much for conv€rsation, but, 'Th€� wer€ d€c£nt list£n£rs, J{nd Frank, H€ actual!� ]¼all� lik£d to talk. H€'d 90 on a.nd on

/{bout the books he read;

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'Th€ wa� his pi€as sat jo mismatchro 'In his crumpl£d-up silhou€tt€ J{lwa�s pa�ing h£€d J{ fr£QU£nt conv£rsation topic, 'fo shut up and nod his h£ad tlnd£r hush€d ton€. 0nc€ his Zombi£ p€€rs startro going on 6ik£ if h€ ask£d th€m about it J{nd on about 'The onl� logical response the� would hav€ qrinding t€€th Would 6€ J{gainst bon€, for 'Brains. "'I'm sorr�, H€ wond£r€d if th£� tol£ratro 'Is th£r€ a r£ason Him

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Karri Durham

BFA, Fine Arts

instagram.com/karridurham

Taking Care Taking Care demonstrates an exploration of repair and mainte nance as an ethics of care for people and objects. This labor in volves mending household items, completing unfinished projects, and repurposing objects that may not have a practical use in their current form. This focus on repair/care within my art practice re flects my roles as mother, caregiver, artist, educator, and student, while my exploration of multiple methods and materials allows me to acknowledge my fluid and intersecting identities.

While the care for materials is most obvious within my work, I also want to acknowledge the roles that these objects may play in caring for the user(s), whether the objects act to symbolize or facilitate re lationships, life events, or whether the object itself is meant to pro vide comfort or care to the user.

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Horse Quilt, Quilt Inherited Fabric Squares, Glitzy Shirts Applique Horse, Thread, Yarn, Misc. Fabrics, Hangers: Wood, Resin, Mica Powder, Glitter I 60" x 60" 153

Repaired Vice Handle

Resin, Mica Powder, Glitter 5

½" dia. x 2"

Repaired Vice Handle 154

Resin, Mica Powder, Glitter 5

½" dia. x 2"

Untitled (Recipe Holder Repair)

Found Recipe Holder, Resin, Glitter, Mica Powder

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Cicada Quilt, Quilt

Found (green and white) Quilt Squares, Assorte cadas, Hangers: Wood, Resin, Spangles 23 ½"

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d Fabrics, Thread, Screen Printed Ci x 23 ½" 157

Katie Enzweiler

BFA, Fine Arts

instagram.com/art_huh

I Spy Once considered to be at the bottom of the Hierarchy of Artistic Subjects, still life painting earned its spot in the canon after the Dutch masters of the 17th century revolutionized the genre. This series continues the tradition of still life painting displaying mate rial possessions, but features objects of personal and sentimental value rather than monetary value. "I Spy" is a series of still life oil paintings inspired by personal clutter. What kind things peo ple decide to keep based on nostalgia and memories can create a visual narrative about who they are. "I Spy" composes clutter into dynamic still life arrangements and encourages the viewer to make assumptions about the owner of said clutter.

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Ducks & Dolls

Oil on canvas 20" x 16"

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Angel? Oil on canvas 11 O" x 8"

What Happened? Oil on canvas 120" x 16"

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A Hard Game to Play Oil on canvas I 12" x 16"

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Carmen Ferraro

BFA, Fine Arts

carmenferraro.com

Ashes to Ashes Ashes to Ashes showcases a set of ceramic plates made to decon struct, define, and destroy my personal idea of home. In my work, I am interested in the idea of home and the ever wide and varying feelings, emotions, and individualized definitions that come with this word. Being interested in the idea of deconstructing not only the concept of home but my physical house itself, I began experi menting with fire both as a way of destroying but also as a way of mark-making. I started a cycle of taking parts of my house down, burning them, and using the ash to make my own paints. With a background in ceramics, I remade my ash paints into ash glazes and began to focus on creating a set of plates made specifically for my decrepit house. The last thing I needed to bring into my research and experiments was my family. It was important for me to include them in the making stages as they are a huge part of my definition of home. It only felt right to then hang the plates in the house that inspired and supplied this personal conquest of home.

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Ceramic Plate Set Ceramics I 6"

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Carmen's daughter Sky helping glaze the plates before the Raku firing.

View of plate being loaded into kiln for firing 164

After the firing, the plates need to be cleaned of ash and residue from the Raku.

Final view of plates hanging in house

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Rachel Fisher

BFA, Fine Arts

instagram.com/rachelfisherart

Natural Connections Art is not for everyone; the rules of visual art have always created exclusions. My work is an exploration of art that can be judged based on its tactility as well as its visual qualities to include those who can't appreciate it through sight. The show itself was largely not able to be made more accessible so it is simply a start rather than an end. lnclusivity and interconnectedness are at the core of this piece, from the tactility to the imagery itself. The spiritual form highlights our reliance on each other, and was created with some collaboration. By inviting people to weave parts of the structure with me, my voice has been softened in favor of a com munal one. I used secondhand materials, along with handmade paper, to create interest while being kind to our environment. As we navigate it we see constant change, and if we don't recognize our ties to one another we risk falling apart.

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Natural Connections 1 1 Mixed media I 6 x 11

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Detail of the upper half of the woven structure

Close up of weaving, with sewn raffia attaching it to a form extend ing to the right

Another close up of weaving detail 168

Detail of felt shape

Detail of plastic material

' 1

Detail of handmade paper 169

Hailey Ardyce Fulford

BFA, Fine Arts

instagram.com/dumptruck.wherestheket

DUMPTRUCK: where's the ket I think thinking too much about art can ruin your art. Not that art shouldn't have intent but like listening to some of these bluechip losers makes me wanna spit. I think most rules are dumb, and should be broken. I make a lot, right now my focus is soft objects, where I explore the textures of cloth. I like drawing and writing and creating easily accessible easily shared art, because i have po litical motives and i want to push those to as many people as pos sible, cheaply printed things can do that. I draw messy and i write messy, i make messy. Order is a unobtainable myth, and to main tain it you must take up the helm of sisyphus. instead, i embrace the chaotic ever shifting nature of the world, i think my art reflects that.

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Taylor Helms

BFA, Fine Arts

taylorhelmsart.com

I Cannot Be What You Need I Cannot Be What You Need focuses on relationships and expec tations with ourselves and others. Through introspective thought the paintings use the figure to address our ideas of ourselves, what others expect or want us to be, and what we are. We are constantly critiquing ourselves, and allow ourselves to be vulnerable to others when we choose. We live under pressure and expectations from our guardians, peers, educators, and ourselves. The figure as self, the bed as vulnerability, and the loose style represent the dynamic con stant change in our life. Nothing is concrete, we are ever changing; no one is ever going to be what you need.

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I Cannot Be What You Need

179

Is This It?

11 6 11 Oil on panel 24 x 3 180

Everything You 1 ve Come To Expect 11 11 Oil on Panel I 24 x 36

I Cannot Be What You Need 11 11 Oil on panel I 24 x 36

181

Procreate Sketch - This piece is fo cused around the idea of expecta tions from our parents, my current body in my childhood bedroom. Feet just off the edge of my bed, I am a friend and stranger with my former self. We are afraid of change and find comfort in familiar places.

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Procreate Sketch - A photo I took in New York, The window with the light coming through from two points gave me the feeling of longing wanting something more, but con fined by the blanket and structure of the building. Confined by comfort and the relationships we have built, afraid to break anything in our reach in fear of failure or disappointment from ourselves or others.

Procreate Sketch - I wanted to look at myself in a place of comfort, thinking about limitations that I fear in a place that I spend a lot of time overthinking and replaying conversations and questioning if I am in the wrong, if it's me or something else. We should strive to be what we want, trust in our own judgement and rely less on what others may think or say even if they're close in relationships or family. We shouldn't feel bad for making our own decisions, and shou Id be confident in knowing what is best for us. 183

Claire Hummel

BFA, Fine Arts

clairehummelart.com

Growth & Regrowth: My Experience with Vulnerability There is a long history of masks and their meanings, dating back to antiquity. Their purposes varied widely from functional masks for disguise or protection, to entertainment. The mask is also some thing people wear ev ery day but cannot be seen phy sically. In this work, the masks are modeled on my face and represent the meta phorical mask people wear to hide and filter how they want to be perceiv ed. I want to share my v ulnerability and the struggle to re veal what is beneath my mask. Through sculptural wall hangings of manipulated faces, the mask is breaking away from the authentic self. Juxtaposing these hangings are the vessels with faces. They are used to highlight the importance of self-reflection, self-care, healing, and ultimately growth. The masks make what is normally inv isible, v isible, illuminating the barriers people hide behind. Re vealing these hidden truths shows the importance of vulnerability and self-awareness to achieve growth.

184

Breaking Out I

Ceramic, wood, glue, glass 11 O'' x 17" x 2.5"

185

Breaking Out II

11 11 11 Ceramic, wood, glue, spray paint 123.5 x 15.5 x 3

Breaking Out Ill

11 11 11 Ceramic, wood, glue, spray paint 110 x 17 x 2.5

186

Breaking Out IV

11 11 11 Ceramic, wood, glue, spray paint I 9 x 14.5 x 4

187

L: Coneflower (2021) Ceramic, mixed media 5 x 3 x 10.5 3 2 11 3 2 11 11 R: Thyme (2021) Ceramic, mixed media I . 5 x . 5 x 7 11

11 11 11 L: Chives (2021) Ceramic, mixed medial 8 x 4 x 7.5 R: Lavender (2021) Ceramic, mixed media 5.5 11 x 5 11 x 7.25 11

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Chives (2021)

Ceramic, mixed media 8"x 4"x 7.5"

Lavender (2021) Ceramic, mixed media I 5.5"x 5"x 7.25" 189

Hannah Kast

BFA, Fine Arts

tinyurl.com/ihgviapsl

I Heard God's Voice in a Pink Stretch Limo The digital book , I Heard God's Voice in a Pink Stretch Limo, is a collection of written accounts of how I, and those in my Chris tian community, have encountered God. With this collective re membering, graphics and photographs wrap visuals around the text as the text wraps words around faith. Then what is invisible becomes visible. As the literal come-to-Jesus' moments multiply, the repeated imagery of the limousine becomes a symbol for un expected appointments with the Divine. The limo's frequency and iteration are modes to lodge itself into religious iconography by insisting that God is eager to meet with us anytime, anywhere, and in any condition that we find ourselves in. Read the full book at tinyurl.com/ihgviapsl or on lnstagram @ihgviapsl.

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Holy Limo Co. Pg. 62-63

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Left: Cover artwork, Right: Pg. 72-73 194

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Janine Keding

BFA, Fine Arts

janinekeding.com

Pity Party A pity party is in an instance of feeling self indulgently sorry for yourself. Typically used in a negative way, pity party is a way to say to others that their sadness is below them or an inconvenience. However, sometimes we attempt to achieve greatness but end up failing miserably and I believe that deserves some pity. Fail ure can be looked at as something funny and I hope to help share the ridiculousness of life. Sharing your problems is one of the best ways to deal with them. I am inviting the viewer to share in the indulgence of a pity party with me through these pieces.

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Cake

Digital painting

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Confetti

Digital painting

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Celebration Digital painting

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Riley Lambing

BFA, Fine Arts

Crochet Club Crochet represents the best parts of humanity: compassion, con nection, and softness. Crochet makes the perfect gift for a loved one, or a way to connect with a stranger, and it can also be a meditation practice to connect with yourself. Using found and secondhand crochet as well as my own work, I am welcoming the souls of these makers to create my dream crochet club. I am com bining and patchworking these pieces together to build as much love and kindness as possible into one piece. I hope that the space created around my work makes you feel safe to be as hu man as possible.

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Crochet Club 1 Crochet I 7 x 1

o· 201

Crochet Club

Crochet 7' 202

o· I Detail

Crochet Club

Crochet I 7' x 1 O' I Detail 203

Brandon Shaheen Lutts

BFA, Fine Arts

instag ram.com/brandonl utts

Connected Collective Identity I am a digital photographer and fifth-year fine art student study ing at the University of Cincinnati, DAAP. Using my knowledge of photography and interest in psychology to explore themes of perception and self-identity by examining how I method act out the roles I play in my day-to-day life. I explore these concepts by using photography and post processing create simulated situation in which play out these roles. My work is a multiple self-narrative portraying introspection through the simulated moments of my interactions with myselves. Using multiple visual appearances of myself in a single image to portray the multitudes of roles I play in my life. I created these simulated versions of myself, with each version representing a different role within a role to demonstrate the complexities and variation of my character. With each of these simulated narratives of my representational selves working together to complete one goal. Each photo set is a fragment of my identity and all together they form my connected collective identity.

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Marlboro Frat boy 11 11 Digital Photography 14.387 x 7.5

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White Boi Summer

Digital Photography I 6.747 x10 All of the Privilege. None of the consequences

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The Terrified Beekeeper Digital Photography I 3.583"x7.5" Triad of Mechanics 11 Digital Photography I 4.57"x 7.5 208

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Alex Macon

BFA, Fine Arts

instagram.com/alex.theartist

The Margins The Margins is a lavish, lurid new media series and installation depicting what it looks like to party in the margins. Inspired by the 11

inclusive decadence of the Disco era, and the idea of a Gesamt 11

kunstwerk, or a total work of 11

art 11

the space will be hedonistic

in nature as the party goers are captured using the space for lib eration. This work will be a direct criticism to the exclusion of mar ginalized individuals in fine art and in society, and the lack of rep 11

resentation in media. The term party in the margins is coined by the writer bell hooks, popularized by Michelle Visage and Ru Paul Charles.

Alex Macon is a photographer and installation artist that focuses on color, camp, and the human exp erience.

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Jimmy Blum is Offering You A Drink!, digital photo

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Maria Marotta

BFA, Fine Arts

mariamarotta.com

What Can I Hold You With Marotta investigates futile bodies and structures through her in stallations. She creates fatigued soft sculptures that bend under pressure of gravity. Their submission to their environment imbues the work with exhaustion, futility, and weight. Marotta's practice has centered on longing and the idea of "reach but can' t touch". "What Can I Hold You With" aims to integrate ideas of connection, reaching, looking backward and forward, and uncertain thresholds. She utilizes symbols of industry and the failing American infrastruc ture to underline what could be/what has been. The almost touch ing threshold supported by soft locks hopes to illustrate the fragility of security and desire for grounding. The fatigued ladder imbues the space with the exhaustion of reaching and the weight it brings.

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What Can I Hold You With Installation Image

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What Can I Hold You With Video Frame

What Can I Hols You With Well Detail Image

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What Can I Hold You With Moria Marotto

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What Can I Hold You With Installation Image

What Can I Hold You With Soft Ladder Detail Image

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What Can I Hold You With

Vinyl Poem and Soft Ladder Detail Image

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Sally McCormick

BFA, Fine Arts

soledadarts.com

Instant Momentum I produce media art, illustrations, and paper art with influences from artists such as Hiroyuki Takahashi, Shirow Miwa, and Yeni Kim.

By combining various media, I am able to find the best process for each material.

I bring the viewer into a more beautiful world of no illusions or pre tensions with art that deals with familiar yet surreal imagery, a focus on detail and bodies in motion, and decadence in decoration.

Each work is approached with a playful spirit to lighten the heart to bring the observer into a relaxed space; With the main goal of the works being to engage and entertain an audience.

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Instant Momentum: Drink Paper Cutout 120cm x 20cm A papercut and animated illustration showing a girl posed sitting at a table enjoying a beautiful drink.

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Instant Momentum: Drink Animation I 1920 x 1080

https://www.youtube .com/watch?v = mq1 iOixHBhM&ab_channel = soledadarts

Drink Cutout Detail Focus on the Girl

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Drink Cutout Detail Focus on the Tableware

Drink Process The vectorization of linework for the paper cut process.

Drink Sketch The sketch which was used as a basis for the animation and cutout. 225

Rachel Mills

BFA, Art History

ra ch e Im i I Isa rt ist. com

The Path of The Hero We are born into the luxury of sacrifices made before our birth, and gifted stories, which get refined, given importance, and pre served. Rather than assuming superiority over people and ideas of the past, especially with regards to morality, perhaps we should recognize that we are ourselves flawed creatures with the same tendencies to destroy civilizations.

By not following a narrative

journey of growth and hardship, such as a protagonist in a book or movie, of, we become the villains of society. Resentfulness seeps in, and there is often no path for redemption. All life is, ultimately, is a story. And y ours beckons for a hero, a solemn warrior who stands in sacrifice and reverence of their path. The path is true, perhaps the only real truth there is.

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The Path of The Hero (Detail)

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Many gather around the hero to watch his great fight with the dragon. He, they. Tl:tesoulsef tl�e dead; He was sent to rescue them, him. They are he and he is they. They wish to be free of the purgatory in which they reside; They wish the hero to complete the story once and for all.

Some are of a gentle nature, and are uplifting and pleasant creatures, but others are of a heinous one and cannot hide their true form. And they warn of great dangers!

A snake form begins its start in a circular shape, one that begins with many, but ends with only one. Suddenly, rather than complete the rotation, the circle in. which it would bite its own tail, the snake veers from this path. It does 11ot complete the path set before it, instead it slithers fu.m.11. Forward. rather than in an eternal circle which brings it no closer or fartner in any place except where it has already been. Many have taken the path of the circle, but how many have slithered forward? This break in the cycle is the representation of the birth of the The head of the snake does not then lead to eternal paradise. Instead, it leads to chaos, to a creature with endless legs, paths, ways of being. A path which must be walked through chaos will not be paved easily, and will not succ ee d in heroism with any wrong with any missteporlesson not learned . hero.

The dragon fight has taken many before. It is a rare hero who has the cour;:igp to fight it, :md oftf'n ;:i stupid onf'. {l)ut .stopiclily is the onJytrciit thc,t lcC1dsm1yone anywhere! Sm<1rt people <1lreacly know e,•crythitrgf)

STUPIDITY and the desire to not be so stupid. No one "educated" would believe they could conquer a dragon ...

But THE DRAGON MUST BE SLAIN! in order free the souls which have been ifflprisened. A frozen moment of anticipation, the action just seconds away from u11foldi119...

The hero is reminiscent of one of the most famous heroes of literature; Jesus Ho111i11um Snlvntor- the hero does not wield blade and shield to fight this dragon. This is why he does not worry that as soon as the moment ends, and the sto1y begins again, he will inevitably be swallowed by the many teethed beast. He is fearful, but not so much that is could change his composure, for it is the path. the story. And when he truly believes in it, he will always rise as the true champion. After a measure of time, the hero will emerge from the dragon with its heart in his own maw.

The victor, The Hero.

Life doesn't mimic literature; it is literature which mimics life

The Path of The Hero

Soot, graphite powder, oil paint I 24" x 36" 228

229

This is a place in which the voice is lost. The true voice is locked away, far, far out of reach. It only waves it hand out only at brief moments. It exists, somewhere, but not here. Not here.

The sage has something to say, the sage has something to say! It's the truth. The sage is a man in a mask! See! Look! You were the sage all along? I would have never known you were in ther . But what good luck yo have found your voice, and just in time, you have a dragon to slay!

Isle of Lost souls

Soot, graphite powder, oil paint I 12"x12"

The Sage in Disguise

Soot, graphite powder, oil paint I 12"x12"

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231

Libby Moore

BFA, Fine Arts

libbymoorestudio.com

July Child July Child is a collection of works on girlhood that embodies the spirit of adolescence and initiates a dialogue on age, autonomy, and constructed ideals. Saturated hues and a do-it-yourself aesthetic generates a daydream like escape for my viewers, and the means to find safety in nostalgia. By using bright colors, hazy overlays, cheap stickers and tacky crafts I have reclaimed a time of my life in which there was a lack of confidence, empowerment, and poise.

232

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237

Lauren Myers

BFA, Fine Arts

sa ra la u ren. net

Way Back Way Back is a virtual scrapbook that documents a series of daily ac tions which respond to past moments. Over the course of a month, I gave into whatever I felt like making at any given minute. By do ing so, I abandoned the self-imposed standards and restrictions I placed on myself for art-making. The most important aspect of this body of work is time. While I want you to take me and my work seriously, I also want you to pay attention to the temporal aspect of this work over the end product of each piece. Overall, Way Back deals heavily with shame. Without the validation of this body of work being presented as a daily practice, or having a

"' temporal

aspect "' , I would be ashamed to show this work. By

doing whatever I want every day, and then asking you to take it se riously, I begin to shed the shame I harbor around myself and my work.

238

03/01/2021

239

t lenten clownery 4:12 pm

03/02/2021 my current obses . taking a moment to take ::f inventory of my �ction of stamp s

ink on wallpaper segment 8:34pm

240

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one morning, upon awakening from agitated dreams, I found myself, in my b :d, transforme<1 into a monstrous vermin. i have become a tiny persoii. i cannot stand myself! yeck!

03/04/2021

living and dying as an insect?

performance documentation excerpt 3:30 pm

241

Allan Ong

BFA, Fine Arts

i nstag ram .com/probablya I lanong

Alter to Edith & Whitney Around the world, millions pray fervently to gods that they can not see but that they believe in anyway and millions more find their own religions in the people and influences around them. For these millions, religion brings them a sense of happiness, of sta bility, and most of all hope. My work is a critique of these religions and how these believers respond to their faith. Using humorous, cartoon characters juxtaposed to traditionally painted figures, I strive to force believers to confront themselves, their behavior and most of all the absurdity of these stories that they have convinced themselves as true. Though I cannot say I am any different from those millions of people who have been found. I have found reli gion unnecessary.

242

Altar to Edith & Whitney

Gouache on paper 60 x 40

243

Adoration

11 1 Gouache on paper 30 x 25

Edith Enthroned

11 11 Gouache on paper 30 x 20

244

Punishment

Gouache on paper I 15"x 25"

Rebellion Gouache on paper 115" x 20"

Reward

Gouache on paper 11 S"x 25"

Submission

Gouache on paper 115"x20"

245

Chris Quay

BFA, Fine Arts

chrisquay.com

Azure Skies Azure Skies is a local multiplayer cooperative experience based around the idea of working together with others to complete a common goal, for better or for worse. It focuses on strategy and communication, occasionally devolving to bewilderment and cha os. Visually, it takes inspiration from games of the PlayStation 2 and Nintendo 64 era, with low-poly models, heavily pixelated tex tures and bright colors. Whether played with a friend, an enemy, or a complete unknown stranger, I hope to examine how people can interact with each other through a piece of interactive art, how that differs from other more traditional mediums, and how players react to being told to work together in unfamiliar situa tions.

246

247

248

249

Matt Roe

BFA, Fine Arts

mattroe.carrd.co

Love Between Others I have struggled to find comfort in stories that do not represent me my whole life, this is why representation has alway s been cen tral to my practice. Common narratives are intrinsically transpho bic and strive to uphold antiquated ideals of gender roles in our society. In this zine I explore themes of gender euphoria, emo tional growth, found family, and accepting help, which are often left out of common narratives. Perpetuating isolation and sadness while ignoring positive perspectives of a vibrant community does not allow LGBT + people to experience happiness, even in fic tion. Showing positive exploration of identity along with character growth is what I want to see in media. It is significant to encour age positive representation in order to allow the viewer to cele brate their identity, not wallow in it.

250

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The Love Between Others 11 11 Inkjet, screenprint, cardstock 8.5 x 5.5 A comic anthology of queer love and life.

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Wilhelmina Roe

BFA, Fine Arts

V wilhelminaroe.com

The Old Normal I want art to be fun. For the majority of my time in Fine Arts my goal was to make stuff that looks cool. It has been a struggle to make art during the pandemic. I have not been in a classroom for more than a year. On March 11, 2020, COVID-19 was declared a global pan demic. On March 16, 2020, my childhood pet passed away. For me, the death of my cat marks the beginning of the pandemic. It is one of the few events for which everything else comes either before or after. I chose to use my technical and visual storytelling skills to con vey how I felt through the medium of animation.

256

Bus Interior Digital I A memory of a commute on a crowded bus.

257

Car Interior

Digital Moments after taking my cat to the vet for the last time. It is the emotional climax of the story.

258

259

Ashe Salzl

BFA, Fine Arts

instagram.com/ashesalzl_art

Exploring the World: Entomology ft. Art Within my work, I aim to combine the science of entomology (the study of insects) with artistic practice. By demonstrating the beau ty of the insects using art, I also hope that my viewers will learn a little something about what they're looking at. Through the use of ceramic and drawing, I want the viewing experience to feel like a museum rather than an art show. The art is more of an accessory to the insects, who are the real stars of the show. Overall, I hope the experience of my erratic work is able to help educate people about the beauty and importance of insects.

260

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261

Xylocopa caerulea (2021) Ceramic, acrylic paint, taxidermy 11 11 11 insect 6 x 3 x 3

Xylocopa caerulea (2021) 11 11 Watercolor on paper 122 x 18

262

Xylocopa caerulea (2021) 11 11 Watercolor on paper 122 x 18

Hyles lineata (2021)

Deroplatys desiccata (2021) 11

Watercolor on paper 22 x 18

Deroplatys desiccata (2021)

Watercolor on paper 22 x 18

11 11 11 Ceramic, acrylic paint, taxidermy insect 8 x 6 x 6

263

Tamia Saunders

BFA, Fine Arts

instagram.com/tamia_ari

Prelude of a Heart Unseen What does your heart mean to you? Would it be heavy? Would it be light? Tear you apart, or hold the very fiber of your being to gether? How would one communicate that?

Taking an intricate and illustrative approach, Tamia's work expands upon her mental landscape as she tries to answer these questions. Using unfamiliar symbols as a language to reveal yet conceal vul nerabilities. As well as traditional processes and mediums such as relief printing, marker and ink to represent these answers. What would the heart, taking the appearance of a chrysanthemum, look like when met with outside forces that could prove to be ben eficial or detrimental to this metaphorical appearance? With so many questions and very few answers, how are we to survive the very things that plague the human experience?

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268

Chrysanthemum Struggle (2021) Marker and Ink on Marker Paper I 11,, X 24.44,, My heart Never closed To whoever dares To walk in For a battle rages Between the offensive And defen sive nature Of love Unseen No in-between The toll For victory Is too high The heart Too sha Ilow Damaged and ruined Before the gallows A tale told in a picture Void of a victor...

269

Turner Schade

BFA, Fine Arts

turnershade.com

The Liar's Fables Fable: a short story that imparts a moral lesson. T he plot of these narratives include a simple encounter and a resolution, finaled with a maxim. Fictions who feature anthropomorphized animals, natural elements, and strawmen as main characters.

Liar: a person prolifically practicing quackery or a quite similar confidence trick or temptation in order to obtain ostensible mon ey, fame, or advantage through pretense or deception.

Truth: the property of being in accord with a fact or reality. In the common tongue, truth is typically ascribed to things in an aim to project reality or otherwise collapse it. Hidden away as beliefs, hypothetical propositions, and declarative statements. Truth is un usually believed to be antagonistic to falsehood.

270

The Liar•s Fables

271

A True Tale

272

273

Charles Schickel

BFA, Fine Arts

instagram.com/barliekorn/

The Bathroom is in Use In a visually wild world, simplicity seems refreshing and clear. Complexity is reduced to a visual language leaving only the sim plest elements in order to be understandable, promoting a sense of inclusion and accessibility. I use familiar symbols and imagery to speak a common language: one that reflects our culture's communal soul. The language confronts universal themes of the human condition and invites the viewer to parallel their own. The pursuit is a democratic beauty.

274

Butt Stuff 11 11 Acrylic on Panel I 12 x 16 275

Sunset

Acrylic on Panel 112 11 x 12 11

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Abduction

11 11 Acrylic on Panel I 36 x 48

276

Serenity

Acrylic on Panel I 18 x 24 11

Mutation

Acrylic on Panel I 12 x 20 11

Polyphemus

11 11 Acrylic on Panel I 24 x 30

277

Emily Schneider

BFA, Fine Arts

instagram. com/em i lyisnotana rtist

Landscapes My interest in landscape revolves around a curiosity for intangible spaces, specifically ones that exist within the past and our mem ories, but most importantly, ones that are wholly imagined. My paintings are a representation of a world that embodies the char acteristics of places that exist within our heads. The world that I depict within my artworks aims to mimic the manner in which our minds construct reality. Our realities are constructed by an amal gamation of our past experiences, and we often find solace and comfort in familiarity. It is these feelings that I am hoping to in duce in others. By keeping the places with in my work lightheart ed and approachable, my goal is to invite viewers to recognize and make connections to their own lived experiences.

278

Seaforest 11 Acrylic on panel I 27"x 50 279

What Kind of Woods

11 11 Acrylic on panel I 54 x 44

Lone Tree

11 11 Acrylic on panel I 51 x 27

280

Winter Mountain

11 11 Acrylic on panel I 46 x 40

Four Trees

11 11 Acrylic on panel I 39 x 51

281

Greta Schneider

BFA, Fine Arts

gschneiderart.com

its personal Everything is a self-portrait. What is art if it is not a constant reflec tion of our changing thought processes, experiences, and moments in time? My art exists as some kind of hybrid of printing, painting, photography, and unusual eclectic DIYs, all of which are me and mine. My work grapples with personal mythology and how we all define our perceived and actual selves. On one hand we have the reality, the pieces and parts that brought us to the place we are, on the other we have our own likeness, how we exist to everyone else. While delving into discussions surrounding identity, religion, gender norms, and processing my trauma, I learn what it's like to make a home in a place you hate. After all, I have to deal with myself all the time.

282

cavity

Acrylic on canvas I 36" x 48"

283

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....____ me in my bed

Acrylic 0 n canvas 48" x 36"

284

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285

Penelope Shell

BFA, Fine Arts

tinyurl.com/TheBlindArtCollector

The Blind Art Collector and Other Stories My work explores queerness through the Southern Gothic tradi tion. In any time of instability in America, the South echoes the financial and political hardships more intensely. I examine the state of womanhood and queerness in the American South as a practice in checking the pulse of this country. These layouts are excerpts from my collection of short stories and poems, The Blind Art Collector and Other Stories. In the work, I reflect on identity, religion, fascism, morality, and the arts through over a hundred pages of short form fiction and poetry. This is supplemented by archival and personal photography and digital illustrations.

286

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288

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291

Lauryn Shrout

BFA, Fine Arts

instra gram. com/ Lauryn_Shrout_art

Trophies to Self Trophies to Self is an installation that plays on my biracial identity, and my history of playing sports. As a biracial woman growing up in an all white community, and a white family, I struggled with my identity constantly. In a time when I was so confused about who I was or who I was supposed to be, playing sports felt like a place where I didn't have to worry about any of it. Nothing gave me greater joy than winning a trophy for being the best team, the best player, etc. It was a physical object that told me I was meant to do this, I am good at what I do, and I belong here. As I grow older, and begin to love and accept my biracial identity--1 wanted to reward myself for all of the steps I have taken towards self love. For all the hard and confusing parts about my identity that I ap preciate and accept now, Trophies to Self is a way that I can give myself the same validation that sports gave me, but for the things that really helped me grow.

292

You didn't pity laugh at your white friends racist joke 11 11 Mixed Media 121.5 x 17.5

293

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You wore your hair curly today 11 11 Mixed Media 22 x 18

Just Wear It 11 11 Mixed Media 17 x 15

Confidence is Key 11 11 Mixed Media 115 x 13

294

Self love is a journey 11 11 Mixed Media 122 x 18

Every shade of you is beautiful 11 11 Mixed Media 18 x 14

It's ok to feel confused 11 11 Mixed Media I 18 x 14.5

295

Mariana Sosa Saldana

BFA, Fine Arts

sosasaldana.com

Liminality in Spaces I explore liminality by producing work that resides in it. Trains are liminal spaces because they serve as a location to transition into other locations. They are not intended as final destinations them selves. Liminal spaces are all around us, yet often times they go unnoticed. I call on you to observe their existence and reflect on how they make you feel. There are often times feelings of discom fort and uneasiness associate with in-betweenness. There is also beauty. It is in these in-between places where a lot of waiting is done, that transformation and life happens.

296

Waiting II

Digital painting 12250 x 1688px

297

Waiting I

Digital Painting 3000 x 2250px

298

Take A Seat I Digital Painting 1500 x 1125px

Take A Seat II Digital Painting I 1500 x 1125px

Take A Seat Ill Digital Painting 1500 x 1125px

299

Emma Spieldenner

BFA, Fine Arts

insta gram. com/esp ie Idennera rt/

Controlled Chaos My fascination began with the beauty, texture, pattern and growth of invasive species. I tend to feel overwhelmed and trapped by the many changes in my life. Therefore, I am always reaching towards consistency and control. I use the way invasive species grow and expand over a space to symbolize these feelings that I have. The growth and expansion of these species is hard to see or notice at first, until it becomes out of control. This led me to cre ate work that played with challenging the human eye. Throughout my body of work, I experiment with laser cutting into silk screen prints on paper, creating a subtle illusion. By doing so, I am creat ing intricate details and texture in the paper. While processing my imagery, invasive plants and insects stay consistent, but the entire process overall is a continuous experiment.

300

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Silk-screen ink and cut paper 18'' x 24"

Asian Longhorned Beetle

Silk-screen ink and cut paper 18.75" x 25.5"

303

Magnify Cut paper I 19.5" x 25.5"

304

Me and My

Matte Vinyl Sticker 14' x 5'

305

Nia Stewart

BFA, Fine Arts

instagram.com/nia.nes

Mental Reality My passion started when I picked up my first video game and could remember my first cartoon. I wanted to create something that stayed in people's hearts but also made them think. I make work with the feeling of life, color, and comfort in mind to express and invite the feeling of nostalgia. In many ways, I felt that video games and cartoons were the best way to realize this artistic goal. Another driving artistic force is the idea and development of de pression I mainly focus on what triggers it and makes people slip into the darkest parts of themselves, the method of cartoons and games is how I experiment with this; I want critical thinking to be at work in my pieces. These passions drive me as a creative and inspire me to reach for the better and bring viewers to a livelier state of mind while also challenging their state of mind.

306

Announcement 307

Heart & Brain 308

309

Nancy Thach

BFA, Fine Arts

instagram.com/nancy.thach17/

Imagine I look for or create moments that wer e once familiar to me and yet also want those moments to be familiar to everyone else. It's this idea where a stor y is created visually and give enough infor mation to also create this awe and wonder of a journey. It's to also tell a story of childhood and moments of introspection to evoke a memory to those that view the images. What I want is for the viewers to understand the type of personal feelings I felt what I experienced my imaginations. As I get older , those experiences start to linger and feel bitter sweet. I want to leave some of the details vague to allow the audience to think and connect. I want people to finish the story that has star ted. My goal is to create something that makes the viewer engage, imagine, and feel.

310

The End Photography 14" x4"

311

Blanket Fort 11 11 G IF I 8 x 6

The Fall 11 11 Photography 110 x 7.5

Character Design 11 11 Digital Art 1 10 x 7.5 312

The Wonder

Photography 110 11 x 7.5 11

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313

Senja Toivonen

BFA, Fine Arts

senjatoivonen.com

Cats, Cuteness, Questions In Cats, Cuteness, Questions, Toivonen uses the aesthetic of cute ness and all its complexities to investigate the world of her cats. By examining the obsessive relationship between T hor, Zap, and herself, Toivonen makes us ponder how far cute aesthetics may be pushed, sometimes until it becomes a cause for concern. When she delineates her love for them in crayon and frames the drawings in washi tape, glues googly eyes to their kibble, or pens an academic essay about how Zap exemplifies the convoluted nature of the aes thetic she intensely studies, she wants you to stop her and ask: "are you okay?"

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Untitled (Kitty Kibble) Googly eyes on cat food Di mensions Variable

316

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Cats, Cuteness, Questions Installation view, photos and bedazzled tissues Dimensions Variable

Cats, Cuteness, Questions Installation view, crayon drawings in washi tape frames, photos, and bedazzled tissues Dimen sions Variable

317

Lindsey Tomko

BFA, Fine Arts

lindseytomko.com

Objects of Affection What things do we attach ourselves to and choose to carry with us throughout life? How do we memorialize loved ones, memo ries, and ourselves with our physical objects? These sculptures are some of the objects that I've collected, cherish, and carry myself. By creating ceramic replicas or portraits of my beloved objects I'm attempting to glorify them and give them the attention they deserve. I hope to bring more permanence to my favorite things, preserve them in all of their beauty as they exist now, and cherish the memories and people that they represent to me. I want to honor and acknowledge our personal relationships with our things and explore the comfort that can be found in our possessions.

318

Poptab Stoneware 11" x 1" 319

Class Ring

Stoneware

320

17 1

x 6 11 x 5 11

Group Image Stoneware, plywood, vinyl stickers

321

Amber Valdez

BFA, Fine Arts

ambervaldez92.wixsite.com/daap

An Escape into a New World How would you capture a moment in time that you can escape into? Thinking about jumping into a painting and going on a crazy ride, in a world that doesn't have ups and downs and turns you around. This is something that can be hard to find with current circumstances. Being stuck at home, I'm looking for a way to escape into a new world. Getting away from the world and finding a relaxing place just to be me is something that I crave more than anything. These paintings helped to show that fun side of my creative side, to let loose.

322

Fall Photography 17.5 11 x 5 11

323

Pathway of Life 11 11 Photography 110 x 8

Structure of a Tree Structure of |a12” Tree Photography x 9”1 11 PR324 28tography I 12 x 9

Escape into a New World 11

Digital Painting 115 x 20

The Abstraction of the Landscape 11 11 Digital Painting 115 x 20

Looking for the Light 11

Photography 115 x 20

11 325

One by Themselves Digital Painting I 30" x 20" 326

327

Chelsea Warning

BFA, Fine Arts

chelseawarningart.com

Fast Food, Big Mood My work is about self love, self encouragement, and acceptance. Over time I have obtained a lot of insecurities related to being a woman in society and my work challenges those insecurities. I like using elements of pop culture to get messages across because I have always had a fascination with and been influenced by pop culture. I take a light-hearted and humorous approach to convey meaning. My work is a visual representation of my journey in heal ing and inner growth.

328

Freaky Fresh

Acrylic on canvas I 16" x 20"

329

Hot-N-Ready

Acrylic on canvas I 16" x 20"

330

Finger Lickin • Good

Acrylic on canvas I 6 x

20 11

331

Zoe Watson

BFA, Fine Arts

zcwatsonart.com

Guilt Quilt Guilt Quilt is an introspective and ongoing work on waste, my re sulting guilt, and attempts to alleviate it. This large-scale quilt is made of my personal collection of fiber scraps compulsively collect ed over years of personal sewing projects, as well as fabric scraps from DAAP's Sustainable Fashion Initiative scrap closet collection. The tedious processes required for quilting allows me a contem plative process, though my technique is not nearly as meticulous as generations of quilters before me. This decision, along with the scale, repetition and pockets, represents the the magnitude of consumption and lack of quality in mass production that leads to excess of waste, especially in the textiles industry. I channeled my desire to make use of my scraps through this quilt, which ultimate ly places me repeating the absurd cycle of production I attempt to critique. This is an ongoing project, the quilt will never be backed, and thus, will never provide the comfort or warmth a quilt intends.

332

GUILT QUILT

11 Fabric scraps I 13' x 5' 6

333

GUILT QUILT

Fabric scraps 113' x

334

s· 6

335

GUILT QUILT

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Fabric scraps 3' x 6 https://www.zcwatsonart.com

336

337

Alyssa Weber

BFA, Fine Arts

alyssamweber.com

Haze As an artist, I develop artwork that speaks about the relationship and exploration of dreams, memories, and reality. There is an en vironment we live within, and the other that lives within us. Sleep is a way for the body to learn and create solutions to problems that we experience in everyday life. No one shares the same ex perience when dreaming and my work is a way for me to share my own dream experience. My dreams create a sense of emotional ease and discomfort, so I create artwork that allows my viewers to share the feelings and emotions that these dreams create.

338

Haze Acrylic painting on canvas with projection

339

Haze

Acrylic painting on canvas with projection

340

Haze

Acrylic painting on canvas with projection

341

Olivia Wiedmann

BFA, Fine Arts

oliviawiedmann.com

Tumbleweeds I was four years into art school when I realized I cared about people far more than I ever cared about art. I was five years into art school when I realized that the gallery art I've been trained to produce isn't an effective way to reach people's ears, brains, or hearts. At most, it'll satisfy the eyes. These pressed flower tumbleweeds speak on ideas of temporality, community, and fragility. However, the expe rience of viewing them is much like the experience with tumble weeds out west. They are there one moment and gone the next. Those who have prior knowledge about tumbleweeds will appreci ate how they are pollinating as they go by and supporting our eco system. Those who do not will remember them for a moment and they're gone the next. To the average viewer, gallery or museum presentations of art are a temporal and an ineffective way to share ideas.

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