Kayla Lockwood's Portfolio

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**************** I question the master narratives of art by celebrating cultural differences in the broad spectrum of human creativity and expression. I represent myself and my artwork in two personas that exemplify my creative practice. One is Miss Identify which is a witty exploitation of the ambiguities of “misidentify,” encompassing my experiences of others misidentifying and erasing my multi-racial and bisexual identities. I utilize this practice as a love language to examine my internal relationships with my emotions and self-identity as well as my external relationships with friends and family through a nostalgic lens. These are works of emotional and physical relationships with myself and others, exploring topics of coping with grief and loss; rediscovering family histories; and reclaiming self-identity. My other persona is Social Sin, which is based on my interest in examining the societal sins of discrimination and injustice through an institutional lens. I utilize this practice to build a stronger community through research, workshops, and community conversations. These works bring

awareness of implicit biases, emphasize empathy and highlight the importance of maintaining self-identity through collaboration and non-confrontational dialogue. These two personas overlap at a unique intersection of exploring the concept of death as a loss of identity and the practice of grief through personal anecdotes, rediscovery, and reclamation. This exploration establishes a relationship between personal and cultural histories as one’s self-identity is shaped by personal experiences and social expectations.




Don’t (Mis)identify her! by Nika Bartoo-Smith

“The beginning of my art journey was [about] trying to grab myself and find my own personal voice,” UO junior Kayla Lockwood said. “Why not use your privilege to elevate or amplify the voices of those within your own community too?” Ever since she was a little kid, Lockwood has turned to art as a way to express herself. At three years old, she loved drawing on the kitchen walls with a rainbow of Crayola markers. That’s when her parents knew she was going to be an artist. Lockwood is an art and technology major. She represents herself and her artwork through different pen names. “Miss Identify” encompasses her experience of being misidentified by others and the erasure of both her mixed-raced and bisexual identity. The work she created under another pen name, “Social Sin,” is specific to the examination of the societal norms of discrimination in her artwork. “Miss Identify” also represents Lockwood’s struggle with imposter syndrome. For her, this shows up as struggling with her mixed-race identity

and the expectations placed on her by society. She often receives messages from people saying “‘oh you’re not Filipino enough’ or ‘you’re not White enough,’” Lockwood said. “Why not embrace both? It’s okay to be Filipino and White at the same time. But again, you have to acknowledge that there is some privilege within that.” Therapy and art have helped Lockwood to process her emotions, find her voice and find a greater sense of acceptance within herself. The piece “Opposites” depicts a ghost-like image of Lockwood melded onto an abstract silver and yellow background. Her image looks directly at the viewer, unsmiling and haunting. Lockwood created the piece from a series of photographs that represent self-reflection and the rise of mental health challenges during the COVID-19 pandemic. Lockwood draws inspiration from everything around her — from her current thoughts about the impact of social media to the struggle with

mental health during the pandemic. Her creativity has flourished during the pandemic and has pushed her to focus more on self-reflection and selfdiscovery in her artwork. In a code-based art class last winter term, Lockwood created one of her favorite pieces: a multi-platform bubble popping game called “Gaming Therapy.” The game consists of tapping on a cloud-filled screen and popping bubbles. The purpose of the game is to “help overcome stress to achieve inner calm and relaxation,” Lockwood said. In a push to prioritize her own mental health, Lockwood has gone “back to the basics” with some of her artwork. She’s been creating less digital artwork and turning to watercolors and drawing. She has also spent a lot of time experimenting with photography and photoshop. “My favorite medium is the body of the self,” Lockwood said. “It’s just me with my camera as my viewpoint.” Recently, Lockwood started doing more collaboration with her peers. In high school, she did a lot of collaborative art

but stopped at the beginning of college because she did not know anyone at UO. Lockwood and her friend are starting an emerging artist collective called “Tech Aesthetic.” The goal is to use technology to focus on social and community based work. “How can we use technology beyond social media to bring awareness to something?” Lockwood said, speaking about her artist collective’s goal. “Or how can we use technology in a more artistic way beyond advertising to bring awareness to someone’s brand?” Lockwood has also been collaborating with Malik Lovette, a UO alumni, to curate a show that will be at the Jordan Schnitzer Museum of Art June 30 through Oct. 10. The exhibition, “I Am More Than Who You See,” documents conversations with UO students of color and their experiences with stereotyping. Post-graduation, Lockwood has always dreamed of being a college professor. She hopes to be a studio art instructor, teaching coding to students.



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Reclaiming identity with faces by Krista Kroiss

Because of certain stereotypes around having short, bob style hair and glasses, a style that Kayla Lockwood has, she said she is either bisexual or a Filipina grandma — according to those around her. Lockwood, an art and technology major, has received many jokes and comments about this in the last several years. She has straight hair coming down slightly past her chin, in a bob. It perfectly fits the description of a “bisexual bob” — a stereotypical hair cut for bisexual woman, with hair cut in a straight line around the head between the chin and shoulders.

Drawing herself in this way allowed Lockwood to reclaim her hair style as a form of her own expression — not just a stereotype forced on to her. Her experiences led her to focus on reclaiming or deconstructing stereotypes through her art, she said. “I try to use either my personal experience or a stereotype that’s been brought up based on my personal experience,” Lockwood said.. “To highlight that it’s a form of me reclaiming my personal identity.”

Lockwood said she found this humorous, as those making these jokes had no idea she is actually bisexual. Inspired by the irony, she started drawing herself with the “bisexual bob.”

Much of Lockwood’s art specifically has to do with deconstructing myths about bisexuality. An example from her personal experience is being told she is faking her relationship status, simply because she is in a heterosexual, straight-passing relationship, Lockwood said.

“I started drawing myself with no face, just with hair,” Lockwood said. “To represent people joking about my sexuality without actually knowing my sexuality.”

“That led to me drawing my boyfriend and I a lot, but also distorting it,” Lockwood said, referring to other people’s doubt and erasure of her sexuality, “to show that it’s a healthy

and normal relationship, but at the same time it’s different.” For Lockwood, reclaiming stereotypes or myths doesn’t end at her sexuality — it intersects with her racial identity as well. Lockwood is half white and half Filipino and said she began getting comments that her hair cut in combination with her glasses made her look like a “Filipino grandma.” Finding this second stereotype interesting, Lockwood turned again to drawing faces to reclaim her haircut for herself. “I went from drawing this blank face with just the hair cut to this face with my glasses and my hair,” Lockwood said, “further going into these intersections of how my appearance is now these two stereotypes.” Art is Lockwood’s way of combating the stereotypes and myths she has faced around her sexuality and its intersection with stereotypes about her racial identity — proving the ways creativity can empower marginalized voices.

That said, art can also give the LGBTQ+ community a place of safety and comfort in an often unsafe society.





PROJECT STATEMENT Fading Away is a 3D animated video that reflects the ambiguities of loss and grief. This work responds to the passing of my grandparents, Barbara G. Lockwood (May 1947 - Dec. 2019) and James W. Lockwood (Aug. 1946 - Dec. 2020). Despite living fruitful lives, they also experienced pain from physical illnesses during their last years of life. I have since come to terms with their passing as they're no longer suffering in the physical world but I do face many difficulties of dealing with the reality of no longer being in contact with them. Combining 3D animation with sound to create a simplified version of my grandparents' living room, I document the passing of time during my grandparents' last years of life in their Cerritos (California) home. My grandparents enjoyed the calming sounds of wind chimes as they grew old from their living

room. However, while moving my grandparents' belongings out of their home after their passing, I noticed that the chimes were unsettlingly eerie. Maybe it was my grandparents' spiritual presence? Maybe it was my grandparents' souls communicating to me?




IMMORTALITY Do not stand at my grave and weep, I am not there, I do not sleep. I am in a thousand winds that blow, I am the softly falling snow. I am the gentle showers of rain, I am the fields of ripening grain. I am in the morning hush, I am in the graceful rush Of beautiful birds in circling flight, I am the starshine of the night. I am in the flowers that bloom, I am in a quiet room. I am in the birds that sing, I am in each lovely thing. Do not stand at my grave and cry, I am not there. I do not die. - Unknown

THESIS STATEMENT Glitched Memories // Fragmented Mementos is a time-based video and photo album that explores the concept of death as a loss of identity and the practice of grief through personal anecdotes, rediscovery, and reclamation. This experience provides a narrative around the preservation of identity and family histories through a collection of family photographs that were discovered in personal photo albums and public archives. The images were digitally manipulated by voice recordings of handwritten letters I wrote to those that were photographed as a veil of hiddenness. The letters to my great-grandfather and grandfather were written after their passing; however, I wrote a call to action letter to my father, who is still with us today, to help him process the recent loss of his parents. Death is a taboo subject within my family, especially as I define death being the loss of one’s identity rather than its conventional definition. I believe this culture of avoidance has been established for generations. This was especially emphasized to me when I discovered that my grandfather stored my grandmother’s cremations under the family dinner table. I strive to challenge this cultural aspect within my family by acknowledging the importance of preserving the stories and identities of loved ones for future generations.


The purpose of this piece is to allow me and my father to

reconnect and discuss our relationship with death through the preservation of one’s memories and identities, and to allow viewers to reflect on the processes of grief and loss by questioning how family impacts their identity and how they will preserve their family’s history and identity. Upon completion of this project, I’ve come to realize that my father and I do preserve the memories and identities of our ancestors through the social and emotional actions we’ve learned from our personal relationships and interactions with them. Although my father struggles to discuss grief and loss due to learning it from previous generations, my father does preserve the memories and identities of his grandfather and father through his actions as a father to his daughters. I also think his actions show how family and ancestry greatly impact both his and my identities.

JSMA I was drawn to working with the JSMA for its contribution to the education of UO students by helping them become culturally competent global citizens. I was particularly drawn to the museum’s guiding principle of providing art education programs and collaborative opportunities to make the museum central to learning and building diverse audiences. I think this guiding principle is important to address as all academic institutions should be aware of their constituents and should engage in museum practices that allow access, inclusion, and representation of their constituents. I see the Community Conversations program at the JSMA as a great opportunity for the student constituents to be involved in the development of a creative and vocalized student community within the institution. This type of programming is especially needed within academic museums as exhibitions and collections should reflect the academic interests of the institution it resides in as well as its student community by creating a space for student voices to be elevated and represented.



RESEARCH Diversify ArtEd is an independent research journal that contains case studies, guest speaker notes, and personal insights on museum practices, highlighting the role object-based nonprofits play in the community and regional partnerships.




EXHIBITION STATEMENT For the past three years, the JSMA has hosted a series of workshops and community conversations with UO students centering around themes of identity, representation, and self-expression. The discussions and artwork created during the sessions were documented, resulting in the production of photographs taken by UO student curators, who contributed their own individual artistic approach to the exhibition. This year’s student curators, Malik Lovette (incoming graduate student in Architecture) and Kayla Lockwood (undergraduate BFA) were given the theme, I Am More Than Who You See, which was developed by me, as director of the JSMA Education Department and senior faculty instructor in the UO School of Public Planning, Policy, and

Management. This theme, inspired by UK photographer Cephas Williams’ 56 Black Men campaign, aims to reframe how Black men are represented in the media. A sample of 16 of the 56 portraits hang simultaneously in the JSMA South Hallway. The exhibition documents multiple community conversations with UO students, many of whom identify as students of color, and examines their experiences surrounding the stereotyping to which they have been subjected. The project team sought to represent each participant’s authentic view of their personal identity by providing the critical and internal reflections that accompany their images. This year’s workshops were conducted remotely on Zoom during winter term, and engaged

students dispersed across many geographical areas of the US, while grappling with isolation, anxiety, and unchartered territories as a result of the COVID pandemic. We were unsure whether the virtual platform would allow for deeper conversations, but quickly found that the students were not only comfortable sharing their stories, but also eager for this connection with their peers. They embraced the museum as a forum for these candid discussions and self-reflection. They completed art and writing prompts addressing misrepresentation and individuality, and those living in the Eugene area volunteered to be photographed in clothing that illustrated their own aesthetic and unique identities. I would like to thank all the students who participated

in the community conversations for their willingness to share their stories and trust the museum as a safe place to process and reflect. I also would like to thank Malik and Kayla for their leadership, creativity, and passion for this project and for accepting the responsibility as its co-curators and co-creators. —Lisa Abia-Smith JSMA Director of Education/Senior Instructor I


Expression through clothing by Nika Bartoo-Smith

“When we see another individual, we often have some form of assumption or judgment towards an individual based off of whatever they are wearing,” Malik Lovette, UO grad student and cocurator of the “I Am More Than Who You See” exhibit, said.

This is one image in a series that all highlight the subject’s clothes by breaking up their body into different sections. The background is black and serves to make the subject’s clothing and accessories the focal point of the image.

Lockwood and Lovette chose the students based on who had come to the talks and also by reaching out to those interested in being photographed. According to Lovette, only a quarter of the people who were photographed had also been to the talks.

In the top, left-hand corner of the frame, a smiling face greets the viewers. The person pictured in the photograph has a gold hoop in their ear, a chain necklace on and a red bandana containing their many braids. Their smile is carefree and their eyes are warm and inviting.

“What we wanted to focus on more was the positive aspect of clothing,” Kayla Lockwood, UO senior and the other co-curator of the exhibit, said. “But we wanted to focus on having the student express more of how they identify themselves rather than how they are misidentified.”

Lockwood and Lovette requested that the students wear clothing that they felt a strong connection to for the photographs. After taking images, Lockwood and Lovette spent weeks editing and breaking the photographs up based on what they wanted viewers to focus on.

These images are part of a series called “I Am More Than Who You See” which is being shown at the Jordan Schnitzer Museum of Art. The exhibit was created by the Director of Education and senior instructor, PPPM, Lisa Abia-Smith based on an annual workshop focusing on identity and representation. The exhibit was led and curated by UO students, Lovette and Lockwood. The inspiration for the exhibit came from the “56 Black Men” campaign by Cephas Williams.

Another focuses on a woman with sky blue braids, her head tilted and a smile on her face. The image is broken up in a similar way to that of Jackson: head and shoulders in the upper left, torso in the middle and legs down in the bottom right. Kundi Kapurura, the woman in the picture, is wearing a Nike top, Nike shoes and holding a “Museum of Fine Arts Boston” canvas bag.

“That fit on that day, felt like a form of gender-expression for me,” UO alum Jasmine Jackson wrote in response to the before-mentioned photograph of them. “This outfit makes me feel like a person who people would question if I’m a “tomboy” and to me, this fit falls under a more unisex look. Which is selfaffirming as a non-binary person.” The image itself is broken up — Jackson’s head and neck float in the upper left corner, their torso is in the center and their feet are pictured in the bottom right. The center image of their torso highlights their gold necklaces, watch and what looks like a handmade coin purse in their hand. They have a tattoo in bold font on their arm with only the word “girl’s” legible. On their feet, they wear a pair of black Nikes and their hands are tying the laces.

According to Lockwood, the pieces came from a series of conversations that were held throughout the last school year over Zoom. Lockwood and Lovette hosted these conversations where they talked about people’s experiences with misidentification and the relationship to clothing.

the subject about why they chose the clothing they are wearing. “I hope that people can see this, no matter the age or what you are going through, [as a message to] just be yourself and embrace who you are as an individual,” Lovette said. “On top of that, try to really reflect on what allows you to think that you are who you are.”

“We gave the participants the freedom to dress however they wanted to,” Lovette said. “There wasn’t really any parameters besides just try to have it mean something.” “I Am More Than Who You See” will be featured in the Jordan Schnitzer Museum of Art until Oct 10. The 14 images exhibited in the museum are all accompanied by a statement from














Beyond the layers of clothes by Trever Bolton

Everyone has a way of expressing themselves, whether it be through their words, works or actions. One of the essential ways we see ourselves and how we see each other is through the selection of clothes and accessories that we choose every day. “I Am More Than Who You See,” an exhibit in the Aperture Gallery at the Erb Memorial Union, hopes to explore the themes of external perception through garments. The Daily Emerald covered this exhibit during its run in the Jordan Schnitzer Museum of Art in the article “Expression through clothing.” The exhibit is a collaboration between first-year graduate student Malik Lovette and fourth-year undergrad student Kayla Lockwood. In early 2020, Lovette proposed the eventual project to Lisa Abia-Smith, who connected Lovette to Lockwood to work on it together. They wanted to help bolster the inclusion and equity within museums. Through the conversation of identity and clothing, they grew their project. “However, there are implications of others, like stereotyping or putting others in a box because of their aesthetics as well. So then we were kind of discussing the nuances of how does

one view you because you're wearing Supreme versus like, how does wearing Supreme make you feel?” Lockwood said. This helped focus the exhibition and what themes they wanted to explore when creating it. “One way that I guess we thought of it was pulling the internal and external perspective of someone's aesthetic and that's kind of something I've always tried to implement within my personal work and Kayla's ethos to her work is similar. So that's what kind of allowed us to come to mesh very organically to develop a pretty cool project,” Lovette said. Subjects from the student body met with them over Zoom when the pandemic made it difficult to meet in person. Through these conversations and worksheets, they let the 14 subjects show how they express themselves with one out of their unique clothes collections. “That was like a huge driving factor for me was that emphasis in the community voice, especially the student community voice, having a say and pretty much driving the narrative of this overall project as well,” Lockwood said. The person explains why they may wear a brand, like Maxine Francisco who

explains how she bought her Stüssy shirt while visiting her mom's hometown in Osaka, Japan. They also explain why certain clothes make them feel more comfortable in their identity. Jasmine Jackson does this by explaining their “tomboy” uni-sex clothes choice.

March 25 through May 20 for any student to peruse and be inspired by.

The original run of this exhibition took place at the JSMA from June to November of last year. This was a chance to help people feel more welcome in a space that can seem inaccessible to many people. When a diverse set of students are let into the museum or art gallery who are expressing their true selves makes the space feel more open. With this they hope to inspire others to follow and express their voices. “There's this bridging the gap of bringing the community one into an atmosphere, or infrastructure or building that they're not used to going to, but then on top of that, being able to see themselves in it. For me, I think that inspires everyone to then find their personal expression, which I think is like the ultimate thing that defines creativity,” Lovette said. “I Am More Than Who You See” will be on view in the Aperture Gallery between

* 'I Am More Than Who You See': an exploration of identity by Kayla Nguyen Vibrant photographs depicting bold, unapologetic faces line the wall of the EMU Aperture Gallery. The University of Oregon students captured in these images, primarily racially diverse students, wear stylish clothing and accessories that strike passing viewers. No two pictures are the same. Though this exhibition emphasizes the beauty of diversity within the campus community, the subjects’ apparel carries a significance far beyond personal style. The UO student-produced exhibit, which ran from March 25 to May 20, illustrated racially diverse students' struggles with stereotyping, misidentification and sense of self. Kayla Lockwood is a UO senior studying Art and Technology. She worked in partnership with second-year graduate student Malik Lovette to produce the exhibition. She said the inspiration for the showing stemmed from Cephas Williams’ “56 Black Men” campaign, which touched on the theme of racial profiling by presenting the cliched image of black men in hoodies.

Originally hosted by the Jordan Schnitzer Museum of Art in July of 2021, in the thick of COVID-19, Lockwood and Lovette learned to find new ways to enhance their project’s theme. The exhibition centered around a series of community conversation workshops focusing on identity and misrepresentation, Lockwood said. “The exhibition documents multiple community conversations with UO students and their experiences surrounding stereotyping,” she said. “We represented each participant’s authentic view of their identity with the critical and reflective dispositions that accompany their personal development.” The incorporation of clothes and accessories that were handmade or held familial value was a central element in the exhibition. Students selected items to showcase how family or avocation plays a critical role in shaping their characters. “The inspiration for the project was to offer an internal versus external

perspective on issues that are related to implicit bias,” Lovette said. “In other words, utilizing personal aesthetics such as attire, jewelry, shoes or other apparel to express oneself. More importantly, what is the intent, meaning, or purpose behind these items that create your personal aesthetic?” Kundai Kapurura, a third-year product design major and one of the featured students, said she chose her apparel out of a desire to share a glimpse into her persona with others. “At the time, I was really into doing unique hair colors and my hair was blue,” she said. “I wore a sweatshirt and jeans that I customized because it was what I felt was the most authentic version of me.” Lovette said he reveled in the project’s entire process because of the ways he and Lockwood overcame barriers from the pandemic. “Kayla and I accepted curating this project at the height of COVID-19, so being able to improvise with a set of

extreme parameters surrounding us showed our true passion and integrity for creativity,” he said. “Along with being able to share these sorts of moments during a time of crisis, it reassures one to stay optimistic about our futures.” Kapurura said the exhibition represents more than just a collection of experiences. It empowers students to fearlessly express themselves through clothing and embrace the unique qualities that define them as individuals, she said. “I ultimately want viewers to understand that being yourself is something very valuable,” she said. “It’s really easy to get caught up in the judgments, thoughts and opinions of others, but you must free yourself from those things to get closer to being the most authentic version of yourself. We are all one of one, and we should all be confident knowing that.”



EXHIBITION STATEMENT I was drawn to working with the JSMA for its contribution to the educationof UO students by helping them become culturally competent global citizens. I was particularly drawn to the museum’s guiding principle of providing art education programs and collaborative opportunities to make the museum central to learning and building diverse audiences. I think this guiding principle is important to address as all academic institutions should be aware of their constituents and should engage in museum practices that allow access, inclusion, and representation of their constituents. I see the Community Conversations program at the JSMA as a great opportunity for the student constituents to be involved in the development of a creative and vocalized student community within the institution. This type of programming is especially needed within academic museums as exhibitions and collections should reflect the academic interests of the institution it resides in as well as its student community by creating a space for student voices to be elevated and represented. From this experience of leading a series of workshops for student peers to openly express their voice and values, I found it to be important for students to engage in non-confrontational dialogue and artistic expression within a positive framework that fosters empathy and brings awareness of implicit biases. I also thought

it was important to shift the exhibition’s focus to amplifying the literal voices of students as it was beneficial for students to practice vocal empowerment and to find their social and civic voices, allowing students to be recognized for beyond their academic achievements within the institution. This student exhibition was inspired by Hank Willis Thomas’s “Truth Booth”, an inflated speech bubble that invites visitors to share their thoughts with a video camera. The portable, inflatable “Truth Booth” embarked on multiple tours including a world tour in 2011 run by Cause Collective (Thomas, Ryan Alexiev, Jim Ricks, and Will Sylvester) and an epic coast-tocoast road trip during the 2016 election season. I was particularly inspired by Thomas’s purpose of this project, believing that it’s a crucial time where people need to hear from the public and less about the public as the “Truth Booth” provided a platform to elevate people’s voices and for people to speak in their own terms about issues that are important. I thought this was a profound declaration of empowering and reclaiming the social and civic voices of all citizens. Therefore, I collaborated with student peers to practice vocal empowerment and to find their social and civic voices through storytelling and nonconfrontational dialogue. I was also inspired to provide a steppingstone for future student-

led exhibitions to be created by students, for students. Although the main purpose of portrait photography is to capture the essence of the model’s natural state and personality as the subject, the practice of portrait photography raises questions about the power dynamics between the photographer and model. To challenge the control of the environment and the construction of the model’s costume, I pulled away from photographic practices for this exhibition by recording student stories and converting them to spectrogram prints. This transition of control from curator/artist to students is not truly perfect but allows student participation to have more control over the narrative and works produced within the exhibition. I say that this transition isn’t truly perfect as I had to convert the audio recordings to spectrogram prints on behalf of students. However, the prints were produced by the students’ individual stories and voices allowing them to have more control over how they want to vocally express themselves and their stories. I hope this transition will inspire future student curators in providing a space for students to express their self-identity and to create their own individual works for future student exhibitions at the JSMA. —Kayla Lockwood Lead Student Curator

ACKNOWLEDGMENTS: Thank you to the Cheryl and Allyn Ford Endowment and Cooling fund for supporting students to work on this project. Thank you to Sam Berry (BFA in Product Design, 2024) for assisting in the curation of this project. HEAR MY VOICE: CREATING CONNECTIONS THROUGH CONVERSATIONS For the 4th year in a row, the JSMA has provided a series of workshops for UO students focusing on building community and engagement through the arts. These Community Conversations are held as a museum program and center around creating a space. This year’s conversations were facilitated by Kayla Lockwood who has been on staff as a student employee and co-curated the 2021 exhibition, I am More Than Who You See. The work on display in this current exhibition illustrates a digital illustration of each student’s narrative. This project represents the JSMA’s mission to create a space for students to connect with one another, to experience museums as agents of change and learn more about the world around us through the arts. —Lisa Abia-Smith JSMA Director of Education/Senior Instructor I



















Augury House is a collective that imagines new models for creative projects centered around collaboration and play. As a cohort, we craft growthoriented experiences for digital spaces in collaboration with artists and friends both locally and internationally. We utilize game development tools, livestreams, websites, objects and podcasts to visualize our ideas. RESTAURANT STREAM




Tech Aesthetic is an Art and Technology Collective of emerging contemporary artists located in Eugene-Springfield, OR. We believe that knowledge of Art and Technology enriches people's lives and should be accessible.

DREAM LAB I was drawn to working with the UO Libraries' DREAM Lab for its contribution in facilitating the integration and expansion of digital scholarship, open access, and open education for the University of Oregon. I was particularly drawn to the DREAM Lab's interest in aiding faculty and graduate students in their technologyintensive digital research through the UO Libraries' Digital Scholarship Services Department's education initiatives with a focus on new modes of open scholarly communications and open digital pedagogy praxis.



PROJECT STATEMENT College can be a stressful experience for students due to high costs of education, food insecurity, time management, and individual health conditions. And with the recent global pandemic, cries for social justice, and heightened political environments, it’s no surprise that students are feeling emotional strain, fear and anxiety. The University of Oregon has pivoted many of its in-person mental health services to remote operations that include tele-therapy, remote workshops, and other online resources such as mobile apps to provide students access to health services. Keeping with the goal to improve student mental health, encourage interaction with peers within the UO community, and build resilience through developing healthier coping mechanisms and stress management skills, it is important to bring awareness to students about digital mindfulness apps and how to determine which ones are the best to use for individual care. The UO Libraries has partnered with campus health services to raise awareness about available digital mindfulness apps and the mental health services that exist for students at the university. The UO Libraries is poised centrally on campus and in student life. One of the goals of our instruction program is to teach students to critically evaluate information they find in various locations and formats. Specific to this effort, the UO Libraries’ goal is to highlight campus-supported apps and offer a digital mindfulness app evaluation rubric to aid students in

decision making about their data privacy and care. Under the leadership of a student employee of the Digital Research, Education, and Media (DREAM) Lab , the UO Libraries created a resource guide. This resource guide was made in collaboration with institutional partners including University Counseling Services, providing information about trusted campus resources and awareness of digital mindfulness apps that are backed by the University of Oregon. As part of this project, the student employee developed an app evaluation rubric that teaches students how to evaluate mobile health (mHealth) apps for personal data privacy and security when analyzing health and wellness apps. Their process included talking to institutional partners and medical professionals, researching the associated risks of data privacy and security within mHealth apps, researching mHealth app evaluation methods, and carefully reading the data privacy standards of suggested apps. The UO Libraries developed the online Digital Health and Wellness Resources guide to improve awareness of trusted campus resources and to provide an app evaluation rubric on personal data privacy and security for the UO student community. The UO Libraries created a series of QR codes to share this information directly to students.

CAPAL22 Kayla Lockwood’s proposal for the Digital Health & Wellness Resources guide was recently accepted by the Canadian Association of Professional Academic Librarians (CAPAL) Conference Committee for this year’s annual conference. This year’s conference will be held online June 6-7, 2022, and will be free to attend for both members and non-members. This conference offers librarians and allied professionals across all disciplines an alternative space to share research and scholarship, challenge current thinking about professional issues, and forge new relationships. This year’s CAPAL22: Libraries and Wellness Conference will contemplate if and how wellness might be integrated into academic

librarianship and academic library service. The Digital Health & Wellness Resources guide will be presented in a lightning talk, discussing how it’s related to the following topics: - Awareness of how library resource guides can be used to promote digital mindfulness within a university or college. - Awareness of app evaluation strategies that could be used to bring awareness to students and teach them how to evaluate apps on their own. - Awareness of digital mindfulness apps with strong data privacy standards and clinical credibility. - Identification of institutional partners that academic libraries can partner with to promote digital mindfulness and resources to students.