Artifact [BOLD] 2024 Catalog

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Artifact [BOLD] 2024.

OPEN MARCH 18 TO APRIL 5, 2024 OPENING RECEPTION & KEYNOTE SPEECH WEDNESDAY, MARCH 27 FROM 4:30 TO 6:00 PM

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When we first conceived of the Artifact [BOLD] exhibition, we did so with a specific vision: to create a space that celebrates path-breaking design and honors both the legacy and the future of design education at High Point University.

The designers who have generously shared their work with the High Point University community this year have allowed us to do just that. The work that is a part of Artifact [BOLD] 2024 is thought-provoking, forthright, and powerfully reflective of cultural moments.

Whether they are building immersive environments that evoke emotional responses, producing concept-driven type, illustration, or sequence systems, or experimenting with narrative and form across media, the designer’s most fundamental role is to create objects to facilitate the exchange of information. But the designer’s role goes beyond that of being a simple conduit of information. Designers also hold the power, through what they create, to communicate ideas, to question entrenched systems, to propose new solutions, and to envision a different world.

Artifact [BOLD] 2024 offers viewers an opportunity to reflect on design’s power to question, to provoke, to bridge, to heal.

As we celebrate Artifact [BOLD] 2024, we express our gratitude: to the wonderful Kaleena Sales, whose astute sensibility as a juror has crafted this diverse, exciting collection; to High Point University’s Art and Graphic Design faculty and students, who have lent their expertise to creating an intentional exhibition space; and, most of all, to the designers who have answered our call with a body of work that holds the power to help us all see the world anew.

Thank you, Emily Gerhold Exhibition Co-Director Director, Sechrest Art Gallery Janis Dougherty Exhibition Co-Director Senior Instructor of Graphic Design Skylar U’Glay Exhibition Designer Sechrest Art Gallery Program Manager

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Professional

Designers, faculty, and current graduate students

Andrea Hempstead WHAT HAVE YOU DONE? Riso print; digital work on paper

Alireza Vaziri Rahimi FOOD WASTE Posters and AR

Christina Singer GOLDEN Digital print

Cuetlaxochitl (Poinsettia)

Paper b Min heig Min Wid NFS

Dan Hale KEYS Physical Animation

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Dan Martin WP V1–56 Digital print on archival paper

Danielle Langdon Statement: CUETLAXOCHITL Cuetlaxochitl (Poinsettia) is a narrative poem with a trans experience with my father-in-law to my mother in our chi (POINSETTIA) work, I explore my experiences with various universal the Paper book Using poetic phrases and forms, I construct narratives of experiences. The accordion paper books imply a sense of motion and depth.

After the unexpected death of my father-in-law, I impulsiv

Alba Conejero Gutierrez WITNESSES UNCERTAIN FUTURE AN EXPLORATION OF JOY Screenprint

Angela Wells #FLOWERSFORLOVE BUTTERFLY EFFECT RED VELVET Digital Van Dyke Hybrid

Edward Rushton WHERE’S MY FLAG: “AMERICAN FLAG, CONFEDERATE FLAG, CELTIC CROSS, ODAL RUNE, SONNERNRAD, SS BOLTS, WOLFSANGEL” 2-ply rag

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Danqi Cai FEMALE + CHILD = GOOD Handmade paper, hidden collage, and animation projection

Anna Jordan BOOM TIMES FOR THE END OF THE WORLD SOLENOID A STORY THAT HAPPENS Book covers

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TO RAISE / TO DISCARD Handmade paper and animation projection FILIAL PIETY / “I GAVE YOU YOUR LIFE” Handmade paper, collage, and animation projection

Mis Colores This poster proposes the recognition of pluriversal visual languages as a way to expand canonical design history and stories. Embracing all visual cultural identities, practices, and ways of living is an important first step to centerGaby decolonial design in our classrooms and practice.

Highlighting everyone’s Erica Holeman Hernandez Jillian Ohl innate visual languages as forms of expression that are unique and unrepeatable, helps come closer to UPSIDE oppressed, hidden, or marginalized MIS COLORES GIVING MURDER A visual cultures.

Poster, Mixed media illustration (generative analog collage, digitized)

GOOD NAME Ink, watercolor, digital composition

PLEASE HANDLE WITH CARE

Poster, Mixed media illustration (generative analog collage, digitized)

Emily Clare HIDDEN MESSAGES LEFT TO RIGHT 5 HIDDEN MESSAGES LEFT TO RIGHT 2 HIDDEN MESSAGES LEFT TO RIGHT 1 Akua Ink, 1618 Arnhem Cotton Rag Paper

THIS END UP

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Jeff Murphy CREST Digital composite - ink jet print on aluminum

Kenzie Ulrich INTERSECT Print

Kevin Mercer A RECORD OF THINGS TOO UGLY Zine

Mehrdad Sedaghat Baghbani UNITY IS STRENGTH Poster and AR

Natalie Tyree GOD WILLING AND THE CREEK DON’T RISE Letterpress and AR

Rodgers Dameron THE WATERFALL Ink, gold leaf, animation

[copy] KATS [copy] KATS

JANU Lisa W

January 2024

Jamie Runnels (MOSTLY) RED THINGS Colored pencil and gouache digitally collaged HOMESICK Mixed media digitally collaged SO.MUCH.TO.UNPACK Gouache on illustration board

LISA WINSTANLEY DESIGN Singapore +65 83437608

ENTRY 1

www.lisawinstanley.com

Lisa Winstanley KATS POSTERS Printed poster series THE TRIDEA PROJECT BOOK Printed book

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Meaghan Dee WOMEN LIFE FREEDOM Photographed/scanned image of human hair VOTE SO YOU WILL HAVE A CHOICE Digital Illustration TOLERANCE Digital illustration

Melinda Eckley Posey LA SILLA VACIA Envelope format book THREAD Woven accordian book THE CRUMMY YEARS Accordian book

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Shannon McCarthy HOLIDAY CARDS Cards and stickers AN AMERICAN PORTRAIT Poster, book, animation

Ting Wang-Hedges THESE TRYING TIMES - BEING CHINESE IN AMERICA THEN AND NOW Screen print and digital print on Shimarein paper

Summer Doll-Myers SCOLIOSIS BLUE Digital composition

Valentina IN EXCHANGE FOR FREEDOM Acrylic on canvas and found ice skates

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Undergraduate Current undergraduate students

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Alishah Aamir WAKE UP Digital poster series

Ariel Escobar HAPPY HOME DIGITAL SUITE Digital illustration

Brookelynne Wagner THE WANDERER Digital Illustration, acrylic on wooden box

Charlotte Booker VENUS IN CYBERSPACE Oil on canvas

Ella Gutenstein CULTURAL IMMERSION Book - photographs, digital imagery, hand-drawn elements

Merran Decker NO SERVICE HERITAGE Digital Illustration

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Kinsey Gebhart KEEP GOING THE CALM OF FRANCE Photography

Kyler Koning NEW WORLD IF YOU CAN SAY IT, MAGAZINE YOU CAN FEEL IT Some scientists believe we Printed have infinitemagazine emotions, so

Lainey Polmateer LANDSCAPE I Oil on canvas

long as we can name them.

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CHANGING

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/Ŷ Ă ǁŽƌůĚ ĚĞĂůŝŶŐ ǁŝƚŚ ĨŽŽĚ ŝŶƐĞĐƵƌŝƚLJ ĂŶĚ ĞŶǀŝƌŽŶŵĞŶƚĂů ĚĞŐƌĂĚĂƚŝŽŶ͕ Η,ƵŵĂŶΗ ŽĨĨĞƌƐ ƵƐ Ă ƌĞŵ ŽƵƌ ĐŽůůĞĐƚŝǀĞ ƌĞƐƉŽŶƐŝďŝůŝƚLJ ƚŽ ĐƵůƚŝǀĂƚĞ ƐƵƐƚĂŝŶĂďůĞ ƉƌĂĐƚŝĐĞƐ ĂŶĚ ĨŽƐƚĞƌ ďŝŽĚŝǀĞƌƐŝƚLJ͘ /ƚ ĐĞůĞďƌĂƚĞ New World February 2020 ƌĞƐŝůŝĞŶĐĞ ŽĨ ƚŚĞ ŚƵŵĂŶ ƐƉŝƌŝƚ ĂŶĚ ƚŚĞ ƚƌĂŶƐĨŽƌŵĂƚŝǀĞ ƉŽǁĞƌ ŽĨ ĂŐƌŝĐƵůƚƵƌĞ ƚŽ ŶŽƵƌŝƐŚ ĐŽŵŵƵŶŝƚ ŚĞĂů ƚŚĞ ƉůĂŶĞ new world | Issue 06 page 1

dŚƌŽƵŐŚ ƚŚŝƐ ĂƌƚǁŽƌŬ͕ / ŝŶǀŝƚĞ ǀŝĞǁĞƌƐ ƚŽ ƌĞĨůĞĐƚ ŽŶ ƚŚĞ ŝŵƉĂĐƚ ŽĨ ƚŚĞŝƌ ĨŽŽĚ ĐŚŽŝĐĞƐ ĂŶĚ ƚŽ ƌĞĐŽŐ Stephen Whitehead II Sarah Hines Madi Lovell HUMAN THE GRANDFATHER KITSUNE (きつね) ƉŽƚĞŶƚŝĂů ƌ ƉŽƐŝƚŝǀĞ ĐŚĂŶŐĞ ƚŚƌŽƵŐŚ ŵŝŶĚĨƵů ĐŽŶƐƵŵƉƚŝŽŶ ĂŶĚ ƐƵƐƚĂŝŶĂďůĞ ĨĂƌŵŝŶŐ ƉƌĂĐƚŝĐĞƐ͘

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Linocut print with hand inking on paper

Dried flowers, dried okra, dried pink oyster mushrooms, dried peppers, tree bark, sticks, peanuts, acorns and glue

Film photography

2024 Juror:

Kaleena Sales Kaleena Sales is an Associate Professor of Graphic Design and Chair of the Department of Art & Design at Tennessee State University, an HBCU in Nashville, TN. Sales’ design writing and research centers on Black culture and aesthetics; she has recently authored the book Centered: People and Ideas Diversifying Design, and co-authored the book Extra-Bold: A Feminist, Inclusive, Anti-Racist, Non-Binary Field Guild for Graphic Designers.

In memory of Allan Beaver Artifact [BOLD] was conceived both to showcase innovative and impactful work in graphic design, new media, illustration, printmaking, and the expanded field, and to honor the life and legacy of High Point University’s long-time Artist in Residence, Professor Allan Beaver.

Allan taught Graphic Design and mentored High Point’s students from 2007 until 2018. Before beginning his work at High Point, Allan’s career in graphic design and advertising put nearly every consumer of American cultural materials during the 1960s, 70s, 80s, and 90s into contact with his pathbreaking artistic vision, which was seen in ad campaigns for Subaru, Matchbox Toy Cars, Jockey Underwear, Panasonic Electronic, and more.

Independent of the significant accolades given to Allan by his professional peers throughout his illustrious career, his friends and colleagues at High Point remember him as a wonderfully supportive mentor to the students who admired him, and a bold innovator whose unique perspective and vision made the entire High Point University community a more creative and vibrant place.

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