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&#13;
Pharis Learning Center board&#13;
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An architectural board featuring circular‑form concept sketches, a rendering of a round banded building, five diagrams showing the form‑development process, exploded axonometric layers, two floor plans, and a sectional cut of the interior.&#13;
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If you want them even more minimal—like one‑sentence accessibility‑only versions—I can pare them down further.</text>
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                <text>My architectural work focuses on creating spaces that foster gathering, learning, health, and meaningful interaction. Thoughtful design can shape positive experiences, especially when it considers people of all ages and cognitive abilities.  &#13;
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                <text>The Ionic Columbia Theater &amp; Cinema building aims to create a vibrant venue that supports and offers a multicultural entertainment experience. It will host events and support local artists and cultural organizations. The design draws inspiration from the iconic Francis Quadrangle columns, using an abstracted spiral form embodying innovation and progress. The project will also implement a sustainable water collection system. The design's dynamic curves and organic flow ensure it blends seamlessly with its surroundings, creating a space that encourages creativity, collaboration, and cultural connections. The ICTC building will become a vibrant hub of creativity, fostering a deep appreciation for sustainable design principles and creating a seamless fusion of architecture and performance; it simultaneously enhances community involvement and cultural expression, positioning the ICTC design as a cultural landmark that bridges the past and future. </text>
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                <text>My project, entitled Clutter exemplifies the theme of memory, expressing feelings of anxiety, frustration, and displacement derived from my experiences. My life and surroundings have often felt messy and cluttered, and this is reflected in the three thrown functional vessels that comprise the project. Each form is carved with holes and filled with thrown “fingers” that emerge from the interior, challenging the traditional expectations of a functional object. The tallest piece boasts a sharp, divoted surface texture that evokes a visceral feeling with bright red showing through each slice cut into the surface. These pieces play on light and negative space. With a bright background, the viewer can more easily see another element inside of the piece and invites the viewer to look at the sculpture in the round. These elements convey a sense of wrongness, clutter, or anxiety through the idea that a functional vessel is made to hold things; its value is determined by its use. However, by carving holes and filling the interior with another element, the vase can no longer perform its function. This project represents both my personal journey and artistic growth. Carving the holes and textures provided a release of frustration and helped me to process some of the same emotions that they represent. Clutter invites viewers to feel that same sense of unease.</text>
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                <text>Horse With No Name started from the desire to explore the use of incongruent materials. I wanted to marry ceramics and fibers in an unconventional, yet traditional way. Tradition is represented through the cross-stitched horse. My mother, who learned from her mother, taught me to sew, passing down a generational gift. It used to frustrate me immensely when I made a mistake. I felt the same feeling of exasperation sewing into a material that was not meant to be manipulated. The horse symbolizes resilience and strength, similar to the resilience and strength of my mother and grandmother, who are women that have made sacrifices to raise families despite difficult circumstances. Through the creation and ornamentation of this vessel, I triumphed over the limiting beliefs I had for myself, just like my mother and grandmother have had to do in their lives before me. While cross-stitching into my pottery, I was forced to consider the nature of the earthenware clay, cotton thread, and the ways in which they could damage each other. This work represents the careful balancing act that is all meaningful relationships. The sharp burrs inside each hole threaten to snap the thread, while the motion of the needle in and out of the fragile bisqued openings pose the danger of the entire piece crumbling. </text>
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                    <text>A large abstract painting featuring a central rectangle of burnt orange surrounded by a darker reddish‑brown border. The edges between the two colors are softly blended, creating a hazy, atmospheric transition.</text>
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                <text>Mark Rothko, one of the most preeminent artists of the twentieth century, innovated a new style of abstract painting known as Color Field Painting. Study after Rothko was conceived as an exploration of this technique. Within the painting, a field of vermilion jockeys with surrounding maroon to advance from the picture plane. Framing this encounter is a hazy band that recedes into space. As like in most of Rothko’s work, one of the main subjects of Study after Rothko is the boundary between the colored zones. The push and pull of colors amongst themselves create ambiguity as to whether a particular colored area is behind or in front of its surroundings, thus creating an opening or a window. Although this comparison would not have been made during Rothko’s day, a contemporary viewer of a color field painting could also think of a digital screen or monitor, which are all too prevalent in our time. Overall, despite eschewing literal interpretation, Study after Rothko may remind an onlooker of a particular feeling, an event within their lives, or something they cannot quite recall. </text>
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                <text>A large abstract painting featuring a central rectangle of burnt orange surrounded by a darker reddish‑brown border. The edges between the two colors are softly blended, creating a hazy, atmospheric transition.</text>
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                    <text>A soft fabric sculpture twisted into a circular knot, dyed in layered blues with touches of red and white. Photographic imagery is faintly visible on the surface, overlaid with handwritten red text that reads: “being home my insides in knots. there’s so much i’ve been keeping inside,” followed by a date and location.</text>
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                <text>Grief is an experience that ties us in knots–an emotional weight that sits heavy in the body, twisting and constricting in ways that feel impossible to untangle. Chloee Rudolph’s fiber sculpture titled ‘covered in questions’  is a physical manifestation of this feeling.  Capturing the anxiety, sadness, and unanswered questions that accompany loss. Constructed from printed cyanotypes, found fabric, and embroidery thread, the piece takes the form of a soft sculpture bound into a knot, symbolizing the internal tension of mourning. Embroidery and quilting, traditionally associated with comfort and care, are used here to stitch together fragments of memory and emotion. The cyanotypes, imprinted with imagery and text, serve as physical proof of heavy, once invisible thoughts. While the found fabrics have a goal to trigger nostalgia from the viewer. Together, these materials create a tactile expression of grief. Both tender and constricting. This work is rooted in personal experience. It was inspired by Chloee’s solitary car rides taken back home to visit a sick family member. Moments filled with silent reflection, uncertainty, and the slow realization of impending loss. The knot form speaks to the sensation of grief felt in the stomach—the physical ache of sadness and the weight of love that lingers even after someone is gone. Through this piece, ‘covered in questions’ , Chloee aims to give shape to the complex, often unspoken emotions of mourning, allowing viewers to recognize their own experiences of loss and learn that grief is only love that wants to be felt.</text>
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                <text>A soft fabric sculpture twisted into a circular knot, dyed in layered blues with touches of red and white. Photographic imagery is faintly visible on the surface, overlaid with handwritten red text that reads: “being home my insides in knots. there’s so much i’ve been keeping inside,” followed by a date and location.</text>
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                    <text>Series of textile artwork combining quilting, applique, and fabric painting. One piece is a folded patchwork quilt made of brightly colored squares with a pink ribbon and wooden button closure. </text>
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                    <text>Shows four children standing in front of a house, their clothing detailed but their faces left blank, stitched onto a quilted pink background.</text>
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                    <text>A third depicts two scenes: children playing on a swing set outside a garage, and an adult reading a book labeled “A B C” to a child indoors, all framed by pink fabric. </text>
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                    <text>The final piece shows a child and an adult sitting close together in a domestic setting, surrounded by household objects and children’s drawings, rendered in layered fabrics without facial features.</text>
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                <text>Fragmented Recollection</text>
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                <text>Poindexter, Amani</text>
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                <text>“Fragmented Recollections” is an assemblage of images from my childhood that represent the parts of my personal adolescent memories that I feel the most connected to. I have a significant amount of trouble recalling the majority of my childhood memories, they often pull into my brain as hazy or incomplete. This work combines layers of hand-dyed fabrics, paint and embroidery thread to emphasize the softness of faded memory and enhance the sensory experience. My goal for this book is for it to have the ability to resonate with a diverse range of audiences, and therefore the figures are anonymous to the viewer. There are however, a variety of symbols that connect directly to who I am as a person both in my younger years and currently. This includes the books, the series of drawings, and the color palette. I wanted to depict my battle with being biracial and trying to figure out what that meant in my familiar relationships, my struggle with finding girl friendships with people that I felt understood who I was, and the dichotomy of being part of the Black Diaspora, but not having close relations with my family members from that side of me. </text>
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                <text>Series of textile artwork combining quilting, applique, and fabric painting. One piece is a folded patchwork quilt made of brightly colored squares with a pink ribbon and wooden button closure. Another shows four children standing in front of a house, their clothing detailed but their faces left blank, stitched onto a quilted pink background. A third depicts two scenes: children playing on a swing set outside a garage, and an adult reading a book labeled “A B C” to a child indoors, all framed by pink fabric. The final piece shows a child and an adult sitting close together in a domestic setting, surrounded by household objects and children’s drawings, rendered in layered fabrics without facial features.</text>
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                    <text>Sculptural lamps featuring realistic white hands holding a glowing bulb. Each lamp is mounted on a natural wooden base with a bark edge, and the hands are shaped in a cupping or supportive gesture around an Edison-style bulb that emits a warm light. A thick cord extends from the base.</text>
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                    <text>Sculptural lamps featuring realistic white hands holding a glowing bulb. Each lamp is mounted on a natural wooden base with a bark edge, and the hands are shaped in a cupping or supportive gesture around an Edison-style bulb that emits a warm light. A thick cord extends from the base.</text>
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                    <text>Sculptural lamps featuring realistic white hands holding a glowing bulb. Each lamp is mounted on a natural wooden base with a bark edge, and the hands are shaped in a cupping or supportive gesture around an Edison-style bulb that emits a warm light. A thick cord extends from the base.</text>
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                    <text>Sculptural lamps featuring realistic white hands holding a glowing bulb. Each lamp is mounted on a natural wooden base with a bark edge, and the hands are shaped in a cupping or supportive gesture around an Edison-style bulb that emits a warm light. A thick cord extends from the base.</text>
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                <text>Nielson, Chloe</text>
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                <text>My sister is sixteen years older than me. Despite being in a vastly different stage of life from me and often in a different state, she has rarely missed a birthday or other major life event. There was no expectation that she would go out of her way to show up for me as often as she has or to continue to relate to me as I have grown by meeting where I am. She set the expectation for herself and has been a consistent guiding light. When my lamp design for an advanced building tech lab and her visit to Columbia coincided I knew I wanted to reflect this in my work. I cast her hands and affixed the product to live edge wood to visually reflect Jessica's role in my life.</text>
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                <text>Sculptural lamps featuring realistic white hands holding a glowing bulb. Each lamp is mounted on a natural wooden base with a bark edge, and the hands are shaped in a cupping or supportive gesture around an Edison-style bulb that emits a warm light. A thick cord extends from the base.</text>
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                    <text>Mixed-media artwork featuring a portrait formed entirely from dense alphanumeric text printed on perforated computer paper. The figure's face and upper body emerge from repeated codes and names arranged to create shading and contours. Behind the portrait is a vibrant abstract background of swirling pink, orange, yellow, blue, and white paint, with spiral motifs scattered throughout.</text>
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                    <text>Mixed-media artwork featuring a portrait formed entirely from dense alphanumeric text printed on perforated computer paper. The figure's face and upper body emerge from repeated codes and names arranged to create shading and contours. Behind the portrait is a vibrant abstract background of swirling pink, orange, yellow, blue, and white paint, with spiral motifs scattered throughout.</text>
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                    <text>Mixed-media artwork featuring a portrait formed entirely from dense alphanumeric text printed on perforated computer paper. The figure's face and upper body emerge from repeated codes and names arranged to create shading and contours. Behind the portrait is a vibrant abstract background of swirling pink, orange, yellow, blue, and white paint, with spiral motifs scattered throughout.</text>
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                <text>Journal Entry #1014</text>
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                <text>My identity isn't defined by my appearance, although it’s the way the world typically recognizes me, as it’s the most visible part of who I am. Journal Entry #1014 is a personal journey into uncovering what I hide in my most sacred space: my tattered journal, where I write without restriction. Each entry reveals who I am at different moments in time, far beyond the limitations of a government-issued ID. I've always been intrigued by the detail in a U.S. passport, where alphanumeric characters and patterned ink are used to create your photo, reducing my identity to something even more confined. In this context, my personal passport photo was desaturated and carefully painted onto a hand-stretched canvas. Beyond this simplified identity, fragments of my journal are inscribed on the canvas with ballpoint pens. Looking over my old journal entries felt unsettling, forcing me to face parts of myself I had forgotten and reconnect with pieces of me scattered across time and places. I became anxious that I had revealed too much from my journal on the canvas, so I concealed it with paint swatches and abstract brushstrokes. The chaotic background mirrors the constant motion of my mind, hinted at by the spiral motifs throughout the piece. This painting became a process of reconciling with my identity, mind, and soul, and now it exists within the boundaries of a square canvas.</text>
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                <text>Mixed-media artwork featuring a portrait formed entirely from dense alphanumeric text printed on perforated computer paper. The figure's face and upper body emerge from repeated codes and names arranged to create shading and contours. Behind the portrait is a vibrant abstract background of swirling pink, orange, yellow, blue, and white paint, with spiral motifs scattered throughout. </text>
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                    <text>Freestanding blue metal door mounted on a rectangular frame inside a plain white room. The door has a small wire-mesh window, a latch lock, and a white handle, with a ring of keys handing from a hook on the side. Surface shows visible wear and streaks of lighter paint, and the frame supports the door so it can stand independently for demonstration or display.</text>
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                <text>The over seventy-five-year occupation of Palestine affects people both in its land and in the diaspora. Facing the harshest consequences of the occupation would likely be those detained and their families—there are thousands of Palestinians held under a military court without trial. Detention is an interactive 3D assemblage of found objects and cut plywood finished to mimic the prison door one would see in an Israeli prison. Under administrative detention, Palestinians struggle to get support from beyond the walls—whether that be emotional, physical, or legal support. Aside the door hangs a hook containing a ring of different keys. Viewers are invited to try any of the seventy-five keys to unlock the cell door for small a glimpse at Palestinian resilience.</text>
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                    <text>Abstract painting centered on a circular gradient that shifts from deep blue at the top to warm peach and orange at the bottom, surrounded by thick, swirling brushstrokes in blue, white, and peach. Textured strokes create a sense of motion around the glowing central form, set against an off-white background that highlights the vivid color contrast.</text>
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                    <text>Abstract painting centered on a circular gradient that shifts from deep blue at the top to warm peach and orange at the bottom, surrounded by thick, swirling brushstrokes in blue, white, and peach. Textured strokes create a sense of motion around the glowing central form, set against an off-white background that highlights the vivid color contrast.</text>
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                    <text>Abstract painting centered on a circular gradient that shifts from deep blue at the top to warm peach and orange at the bottom, surrounded by thick, swirling brushstrokes in blue, white, and peach. Textured strokes create a sense of motion around the glowing central form, set against an off-white background that highlights the vivid color contrast.</text>
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                <text>Untitled (New Horizons) is an abstract painting I created during a period of many transitions in my life, grappling with a way to work through and express some of what I was experiencing. Changing my major, ending a four-year relationship, and moving away from my roommates and into an apartment by myself, this painting helped me work through finding the balance between endings and beginnings and all the delicate emotions that live in the transitions. Through the lens of an abstract airplane window, I invite the viewer to reflect on the horizon line and determine whether it is representative of a rising sun and all the promise it brings with it or the quiet beauty of a sunset, each representing both an ending and a new beginning. The swirling blues and purples suggest the bittersweet emotions tied to departure and endings, while the peachy pinks and vibrant oranges intertwined within signal the optimism and exhilaration of stepping into the unknown. The interplay of these colors symbolizes the complexity of personal growth and flourishing as we leave behind what no longer serves us and embrace new opportunities. This painting explores the delicate balance between tranquility and energy, capturing the excitement of moving forward and new beginnings while embracing the almost calm melancholy that accompanies shutting doors and saying goodbye to one’s past self. The abstract nature of the piece allows space for individual interpretation, where the viewer can find meaning in the fluid connection between past and future, sadness and joy.</text>
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                <text>Abstract painting centered on a circular gradient that shifts from deep blue at the top to warm peach and orange at the bottom, surrounded by thick, swirling brushstrokes in blue, white, and peach. Textured strokes create a sense of motion around the glowing central form, set against an off-white background that highlights the vivid color contrast.</text>
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                    <text>Mixed-media diptych featuring two portrait panels layered over collaged text. The left panel shows a person laughing with a hand pressed to their chest, the word "SPECS" written across the palm. The right panel shows another person's face partially covered by a large hand placed over their eyes. Surrounding both portraits are handwritten and printed statements about Black joy, identity, confidence, memory, and self-expression.</text>
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                <text>Hernandez, Cici</text>
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                <text>Creating with my hands has always been my passion. Painting is more than an outlet; it’s how I express my identity. I pour myself into each piece. Holding a paintbrush brings me peace and allows me to unravel my thoughts and express emotions. While others might journal or confide in friends, I find solace in my art. Each brushstroke connects me to myself.  The canvas mirrors my essence. Portraiture is the heart of my work. Allowing me to capture the subjects' likeness as well as their essence, I don’t adhere to traditional realism. I challenge conventional beauty standards by using color to express how I interpret a person’s spirit. Skin tone becomes a space for deeper exploration, allowing me to paint figures in colors that reflect how I feel about them rather than their phenotype. I aim to subvert societal beauty standards and celebrate the richness of human identity in all its forms. I embrace a diverse palette because color connects us, highlights our differences, and celebrates the depth of our souls. My work questions perceptions, pushing against stereotypes and reminding us of the power in owning one’s identity. Each painting reflects my truth, celebrating the multifaceted nature of humanity and the beauty in all its variations.</text>
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                <text>Mixed-media diptych featuring two portrait panels layered over collaged text. The left panel shows a person laughing with a hand pressed to their chest, the word "SPECS" written across the palm. The right panel shows another person's face partially covered by a large hand placed over their eyes. Surrounding both portraits are handwritten and printed statements about Black joy, identity, confidence, memory, and self-expression. </text>
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                    <text>Painting depicting a dense gathering of women and girls dressed in white ceremonial gowns surrounding a pale horse at the center. Soft whites and muted reds dominate the palette.</text>
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                <text>Angels Walk With Me, explores the concept of indoctrination through the metaphor of herding, &#13;
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socialization. The title and specific imagery alludes to David Lynch’s 1992 film, Fire Walk With Me, which explores the impact of the evil that men do, focusing on the darkness of abuse and corruption that feeds on innocence and ultimately shapes the female experience. The painting features a mass of women and girls, clad in sacramental dress, illustrating rites from baptism to communion to marriage. White, traditionally a symbol of purity, is used throughout to emphasize this conditioning. Central to the herd is a riderless white horse, Biblically associated with purity and victory, particularly in Revelation, where Jesus returns to triumph over evil. Here, however, the horse is riderless, evoking nihilist themes of emptiness, devoid of a guiding force. The herd, &#13;
aimlessly gathered, embodies a meaningless cycle of guilt, shame, and devotion in the absence of deliverance. This work aims to confront inherited ideologies by recontextualizing practices and imagery, challenging these elements as socially constructed forces that perpetuate power dynamics and subjugation within society.</text>
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                    <text>Small ceramic sculptures of curled, resting figures (some human, some animal, and some pairing the two together). Each piece features smooth, rounded forms and earthly glazes in reddish-brown and muted blue tones. Figures are shown lying on their sides in fetal-like or curled positions.</text>
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                <text>Stoneware, Gas Kiln, Cone 10 &#13;
Chun Blue, Phil’s White, Shino, Oil Spot &#13;
The idea for My Dear Jane came into being during a deep reflection of self-identity. In recent years, I have used the image of a young girl - my third-grade self, donning tighty-whities and choppy bangs - to personify this exploration. I grew up in a family of anxiety ridden women, where nights of tear stained cheeks and trembling breaths were a familiar companion. I find solace in the way fawns respond to danger: instinctively dropping into a fetal position, vanishing into the embrace of the tall grass. At the ripe age of eight, I yearned to do the same. To disappear into my surroundings as the weight of anxiety swelled in my chest. At times, the world is simply too much for a small creature to bear. The postures of the figures deliberately mirror each other: if this instinctive response offers protection to one, perhaps it can for the other as well. This emotional vulnerability is reflected in the material &#13;
itself. The stoneware demands careful handling and attentive viewing, evoking a sense of fragility. Their muted, pale colors allude to their delicacy and youth, while their intimate scale invites them to nuzzle into the palm of your hand.</text>
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                <text>This garment aims to raise awareness about the opioid crisis, specifically focusing on &#13;
heroin addiction and the effectiveness of harm reduction strategies. It visually represents the physical and emotional toll of addiction, designed to evoke the sensation of entrapment. Features such as tightly wrapped belts, a corset, and the use of red beads on the arms simulate the physical effects of heroin use, including collapsed veins and the discomfort experienced by users. The garment’s intentionally tight fit reflects the suffocating nature of addiction, while the materials, including dense denim and red fabric with black lines, emphasize the heaviness and discomfort associated with the drug. The design is uncomfortable, simulating the relentless grip of addiction and the struggle to break free. &#13;
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efforts, such as syringe access and naloxone distribution, which are vital in saving lives and supporting recovery. Through intricate craftsmanship, including pleated fabric, steel beads, and hand-stitched embellishments, the garment portrays the devastating impacts of heroin use while engaging with the complexity of addiction. The color palette of black and red intensifies the emotional weight of the design, symbolizing violence, anger, and the mysterious nature of addiction. This piece offers an immersive, thought-provoking experience, encouraging empathy and understanding for those battling addiction while advocating for continued harm reduction strategies.</text>
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                    <text>Avant-garde outfit composed of a patchwork short-sleeved top and sculptural black pants. The tops combine contrasting fabrics - beige, black, denim trim, printed panels, and textured patches shaped like letters or numbers. Pants feature dramatic gathered and ruched detailing along the sides.</text>
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                    <text>Avant-garde outfit composed of a patchwork short-sleeved top and sculptural black pants. The tops combine contrasting fabrics - beige, black, denim trim, printed panels, and textured patches shaped like letters or numbers. Pants feature dramatic gathered and ruched detailing along the sides.</text>
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                <text>"Cowls and Cowboys" is a garment designed to critique the inequities in the American &#13;
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piece highlights the potential for transformation through proper investment. &#13;
Constructed primarily from denim, a fabric synonymous with hard work and resilience, &#13;
the garment blends new and recycled materials to symbolize how existing resources, when thoughtfully repurposed, can lead to improvement. Canvas elements depict the overlooked rural schools suffering from years of neglect. The jersey-inspired top features the number fifteen, representing the states with active voucher programs that exacerbate educational disparities by diverting funds from public schools. The design incorporates an inventive use of the cowl drape, traditionally found in women's evening wear. The cowl is incorporated into the side panels of denim jeans, adding both volume and functionality through hidden pockets. This juxtaposition of rugged denim with elegant draping illustrates how education, like fashion, can exceed its limitations when given adequate support. "Cowls and Cowboys" is a testament to creativity and innovation, blending classic American styles with unexpected elements to advocate for equitable education. This piece serves &#13;
as a reminder that, much like fashion, education can be transformed to provide opportunities for all, regardless of background.</text>
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                <text>The dress I designed was inspired by 1960s fashion trends, with a focus on blending &#13;
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waistline mini skirt serve as the foundation of the design. The lotus flower neckline adds a central, symbolic theme. The lotus flower, inspired by the Chinese saying “出淤泥而不染,” meaning "growing out of the mud yet remaining untainted," symbolizes purity, resilience, and grace. This connection ties the garment to the feminist movements of the 1960s, a time of individuality and liberation for women. I refined the traditional qipao silhouette by &#13;
incorporating a softer empire waistline and applying a lotus flower applique to the collar. The hemline was lengthened into cascading layers inspired by lotus petals. The pattern was altered to have a long train to add a sense of movement and elegance. My goal was to create a garment that honors cultural heritage while embodying the progressive spirit of the 1960s. I am proud of the outcome, as it reflects both innovation and tradition. </text>
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