<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/90">
    <dcterms:title><![CDATA[2021VADSAwardsCeremony]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/89">
    <dcterms:title><![CDATA[2021VadsJuryPanelDiscussion]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/88">
    <dcterms:title><![CDATA[VADS-Banners-Winners]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/86">
    <dcterms:title><![CDATA[I Think of You Often]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: There’s a very poignant loneliness that comes with growing up queer in a town dictated by conservative Christianity. It’s the loneliness of realizing coming out means being expelled from school. It’s the loneliness of laughing along with your friends at the slightly-effeminate guy with dyed hair walking down the street. This feeling doesn’t last forever, however – I would know. I’ve spent my entire life grappling with this.   Homophobia is no new concept to cinema. I find popular contemporary depictions of conversion camp films extreme examples of modern queer life. And while these films most definitely have their place, I find I’m more interested in the mundane, which is, sadly, often a tale of internalized homophobia. Internalized homophobia manifests from the contradiction of identifying as queer while also being taught that queer is a sin. It makes you feel disgusting and evil, like any time you flirt with someone of the same sex you’re actually being predatory and a corrupting force. I know people whose inner conflict has eaten them from the inside out. Some spend their entire lives denying their true self and damaging those around them as a result, some only act as their true selves when they are intoxicated, and others, like myself, spend every day attempting to rewrite their past education.   I Think Of You Often encapsulates the theme of internalized homophobia in the relationship between Aiden and Nora, but pushes past this to give this queer relationship the happy ending its audience deserves.  ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Voss, Sofia ]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 027]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/85">
    <dcterms:title><![CDATA[Flowing White]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: Fashion is creative. It&#039;s an art form. I use fashion to express myself, and my personal style expresses my own personality and beliefs. The creativity courses I took last semester gave me new inspirations in a variety of different fields and helped me develop and improve my artistic skills. Fashion is not just about the clothes themselves, it&#039;s more about expressing stories and emotions. My inspiration for this project mainly comes from the architectural design called Heydar Aliyev Center of architect Zaha Hadid. Its unique use of curves establishes a continuous and flowing style. At the same time through this project, I also learned about the innovative and unique tailoring skills from a famous Japanese designer Shingo Sato. He has a high level of expertise in the transformation and reconstruction of the pattern design system. This gave me a new challenge in the field of pattern design and a whole new creative process to learn. In my design, my goal is to use various different white fabrics to give a richer sense of layering and depth. This project is both a challenge and a progress for me, and I benefit a lot from constantly trying new ideas.  ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Yuan, Ruiyao ]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 032]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/84">
    <dcterms:title><![CDATA[NEUTROIS]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: This collection titled “Neutrois” was inspired by Generation Z and their growing interest in clothing that does not adhere to binary lines. The collection’s style holds origin from Thierry Mugler’s overall aesthetic in the 1990s. Mugler continually celebrates and understands hyper-femininity and androgyny to the core, and I intend to carry this sentiment of a celebration of both gender and unconventionality into this collection. In addition, elements of inspiration came from the 1990’s club kid scene, which was a subculture that celebrated a multitude of sexual identities, gender identities, and the expression of both types identity. This collection intends to bring back elements of unconventional gender expression, celebrate differences, and provoke collective societal thought on the subject of gender expression.  Lastly, this collection was a project for the Fashion Scholarship Fund in Fall 2020, and an Honors project. In terms of method of design, it focused on experimenting with the advanced computer-aided design program CLO3D, learning to drape, make patterns, render, and animate designs in a 3D digital space.   ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Reeder, Tyler ]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[Art Project ID: 21VADS - 020]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/83">
    <dcterms:title><![CDATA[The Alfresco Abode]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: Alfresco abode means “in the fresh air living” which is the quintessential idea The Alfresco Abode design presents to potential homeowners in the Columbia area. This is an architectural design project for a mixed-used multi-family housing building typology, focusing on creating a comfortable living space for the building residents. By encouraging sustainable living behaviors through the buildings design and creating an energy efficient building, the design and layout of the building embrace nature by allowing lots of natural daylighting and providing each resident the opportunity to direct personal outdoor spaces. The site around the building is used to teach the public about sustainability through a park, rain collection pool, urban garden, a playground for children while also creating an inclusive space for the other neighborhoods in the surrounding areas. The overall building form and material is used to help the residents feel more individual and prideful about their living space, which will improve their overall living experience. Artistic intervention and design problem solving allows for this particular design project, The Alfresco Abode, to be an example of aesthetically interesting and creative solutions, which dually considers its impact on the environment and people’s perception to create a home beneficial to both humans and the environment.]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Schneider, Claire ]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author. ]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 021]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/82">
    <dcterms:title><![CDATA[Ellis Library Addition ]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: My Project is a proposal for our very own Ellis Library here at Mizzou. The work presented encompasses an overview of the project and the months of time and hard work put into the design process. The intent behind the project is to improve the current condition of the library and add supplemental functionality within the building. The designed space suggests a significant increase to Ellis’s square footage and would allow for additional study areas, employee offices, a café, and added seating. Using advanced design software including Revit, AutoCad and Enscape, detailed renderings display my vision for a modern interpretation of what Ellis Library could become. ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Frisella, Amy]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author. ]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 010<br />
]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/81">
    <dcterms:title><![CDATA[HYGEE]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: When tasked with an adaptive reuse project, it was important to include original elements of the building throughout the design. The International Shoe Factory was built in 1905, zoned for industrial use in Jefferson City, Missouri. The design I am proposing transforms this space into a food hall, with lofted apartments above. The concept of hygge, which is a danish/Norwegian word or mood of coziness and comfort with feelings of content, is meant to flow through the entire space of the building and provide users this sense of comfort. Everyone’s idea of hygge is subjective, so designing a space that can accommodate all of this, was my biggest design challenge. I brought this concept throughout the food hall and apartments by the lighting, colors, sustainable elements, the idea of minimalism, as well as natural elements. These different elements can influence how a user experiences a space, so it was important for me to focus on these when making design choices. Utilizing Revit, Autocad, and Adobe software, I was able to bring the design to life and present to all. The design is meant to encourage users to stay awhile and ignite a revitalization to the Jefferson City Area. ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Derucki, Olivia ]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author. ]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 005]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/80">
    <dcterms:title><![CDATA[Urban Table and Home]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: Urban Table and Home is a restaurant and bed and breakfast located in the historic Berry Building in downtown Columbia, Missouri. This is a proposal for an adaptive reuse of the heavy timber structure to implement different spaces that encourage travelers and users to interact with each other and create community. The inspiration for this project was hot pot, a traditional Chinese meal where individuals come together around a shared pot of boiling broth with loose vegetables, fish, and thinly sliced meat. Individuals take out and add in things as they please and usually have an array of their own spices and herbs to personalize their own bowl. The meal is considered more of an experience rather than just eating. Hot pot is something that I am very passionate about and I wanted to use this concept to inspire the overall space, vibrant material palette, and various abstract aspects of my design. ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[West, Melanie]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 029<br />
]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/79">
    <dcterms:title><![CDATA[Mariposa]]></dcterms:title>
    <dcterms:abstract><![CDATA[Mariposa is about the disappearance of my family’s wealth and the unspoken impact it had on the generational women of my family, prompting questions of whether or not they’d be able to survive after migrating to the US. It is narrated by my aunt who experienced this first hand.  To create a sense of immersion, I’ve incorporated real footage dating from the 2000s all the way back to the 70’s, during the period she describes. While searching for the footage, I found it therapeutic to step back in time and watch my family grow up. The narration is recorded from a phone call with my aunt. I wasn’t sure it would work out, while editing, but I found it surprisingly cohesive once finished. I also incorporated two classical piano pieces that I grew up listening to while cooking in the kitchen with my abuelita.  My goal for this film is to tell the story of the struggle Mexican women can face when they’ve been abandoned in a foreign country. I know it can be scary having to start a new life in a country you’re unfamiliar with, so I hope this film brings comfort to people in similar situations, knowing the women in my family made a successful life for themselves here in America.    ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Gomez, Maddy]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 014]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/78">
    <dcterms:title><![CDATA[The Sticker Club]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: Drugs are taboo, stickers are innocent: why not combine the two? In this film, I wanted to explore how the challenging of power (i.e. Chris demanding a refund) of a rather powerless group of drug dealers would bring out the extremes in their personalities.  I also wanted to use the “bomb under the table” technique that I learned about from Alfred Hitchcock by showing the audience what Sam slips in Chris’s drink but not Chris himself. The suspense built from knowing that the bomb--or, in this case, a full-blown acid trip--may go off at any minute is what keeps the viewer engaged.     In terms of the sound design, I didn’t want to use any “suspenseful” sound effects because just like with the element of the stickers, I wanted to keep the movie somewhat playful to avoid the cliche. The music I chose was less about plot development and more about character building. Every song play was chosen by a character on screen for a selfish purpose (e.g. to dance, to blunt the sound of their voices, etc.) and I think it adds a bit of humanity to the group of devious drug dealers. They’re both friendly and villainous; compassionate and selfish.     But the overall goal of this film was to create something watchable and rewatchable. A movie where bits of dialogue and background knowledge would go unnoticed without a second viewing.    ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Greene, Sean ]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author. ]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 015]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/77">
    <dcterms:title><![CDATA[Stuck :c]]></dcterms:title>
    <dcterms:abstract><![CDATA[People are free to criticize all they want, but until they know what the day-in-day-out cycle is like  for the girl at home who won’t seem to leave, their words are empty. Stuck does its best to  highlight the bittersweet lifestyle of a friend with depression who is simply unable to leave her  hometown. Told (with a trigger warning) by a girl whose perception of her condition is  desensitized and comical at this point, Stuck wants to shed a healthy light on just what is so  hard about not being able to do anything, and the small blessings that come at the end of each  day.  ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Edgar, Jake ]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 006]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/76">
    <dcterms:title><![CDATA[Volcano]]></dcterms:title>
    <dcterms:abstract><![CDATA[Ever since I was a child, I have been drawn to the art world. I was always interested in animation, and I always preferred it to live-action films or shows. When I realized that I could create a career out of my passion for animation and art, I got to work honing my skills and decided to double major in both Digital Storytelling and Art here at the University of Missouri-Columbia. Making animations gives me the opportunity to tell the stories that I want to see and to share those stories with others.    Volcano is my very first animated piece that I created. It is a fun retelling about my irrational childhood fear of volcanos. The narrative is lighthearted and meant to make the viewer smile. I wanted my story to be fun and personal, even though bringing up old childhood fears can be embarrassing. The goal of my animations is to relate with the audience on a casual level through my storytelling, almost like we are sitting down at lunch and having a conversation.     Creating Volcano cemented my love for 2D animation and motivated me to continue to improve my narratives and animation skillset, so that I can be a valuable member to the future concept/creative design team I work for.    And, fortunately, I am no longer afraid of volcanos.  ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Conrad, Rachel ]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 004]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/75">
    <dcterms:title><![CDATA[THROUGH THE FIRE<br />
]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: Through the fire is an animated music video I created for Valentine’s Day to a higher pitched version of the track similar to the sample used by Kanye West. This video is the part two of an animation I made last year on Valentine’s Day. The animation I made last year was titled “A House is Not A Home” which was an animated music video I made to the song of the same title by Luther Vandross. In the previous video, Cappy is singing about how he feels like the woman that he is in love with doesn’t feel the same way about him. With this piece, Cali and her friends put together a show to reassure him that she loves him. I originally created the idea of this piece when I was in middle school and I have finally possessed the skills to bring my vision to the screen. I also wanted to show the relationship between Cali and Cappy and establish them for future reference as a cartoon power couple. In this piece I used mostly After Effects, but some features and effects I added through Adobe Premiere Pro. For the character designs sets and props, I created them all using Adobe illustrator.           ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Burress, Grant<br />
]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 002]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/74">
    <dcterms:title><![CDATA[English as My Second Language]]></dcterms:title>
    <dcterms:abstract><![CDATA[During these two years living in the United States, I never had the opportunity to express my  emotions about how difficult it was for me to adjust to my new home. As an international student, adapting my customs, ideas and my language was not easy.    English as My Second Language is a short stop motion video of almost three minutes inspired by  the emotions and difficulties that I had to go through to improve my English.    The video is an animation where the images and texts reflect my moments of sadness and  happiness. They convey every moment I had to show myself and my family that I could achieve  my goal and defy obstacles in this path.    The design of the video is simple but very meaningful to me because it is the proof of my effort,  time and creativity. The animation use paper cut out puppets, letters, and personal objects like my books to represent myself and my experiences in learning English.    For me, showing a challenge in my life through video is something that I never imagined doing,  especially when it comes to certain emotions that are difficult to express in a single drawing or in  words alone.    This process of learning a language led me to understand that there are many things left to discover and to know about English. I appreciate the opportunity to share my journey and experience with the public and to bring forth the results of my hard work.  ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Montano, Pamela]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 017]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/73">
    <dcterms:title><![CDATA[Wild Folk ]]></dcterms:title>
    <dcterms:abstract><![CDATA[Wild Folk, a nature based learning community in central Missouri, aimed to encourage the inherent joy of curiosity based learning. I stumbled upon this remarkable community of “unschooling” by an incredibly serendipitous and harmonious alignment of stars. Attending a climate action protest alone, I gravitated toward a familiar face and the group of spunky children surrounding her. She was Polina Malikin, the founder and coordinator of Wild Folk Farm and Forest School. As I joined them, we chatted while walking the streets with our hand-painted signs in the air. There was something so human and quirky, so courageous and genuine and colorful about these kids. I wanted to learn more and I’m so thankful I did. In the following months I visited the school numerous times, getting to know the people and documenting their untraditional education experience. Their mission, to cultivate compassionate, empowered, ecologically-minded citizens through a deep connection to the natural world, community and play, echoed a profound need I had felt in my experiences as a K- 12 substitute teacher and in my own childhood. Creating this short documentary allowed me to dream about the future of intentional and experiential learning in new and exciting ways. Unfortunately, by the summer of 2020, Wild Folk was no longer able to continue due to various challenges. Though seasons have changed for this vibrant community, I am confident the impact of Wild Folk’s rich soil will live on in the roots of all who were planted in it for lifetimes to come]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Twitchell, Evann]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by autor. ]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 026]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/72">
    <dcterms:title><![CDATA[A Case for Bocce]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: I come from a background of traditional artmaking. However, I have fallen for a medium far from what I thought I would be doing when I first came to Mizzou: landscape design. My work completes empty spaces, brightens corners, and brings people together. I seek to show my dissected thought process in these pieces—the same property, but with each amendment the landscape grows more realistic, so much so that you can “walk” through it by its final draft. I make changes, I add embellishments, and by the end an empty yard can become another art form. My tools are a pencil and computer mouse, and my media is plants. The challenge that comes with using a living media is the best part. I must consider a color palette that changes with each season, how certain plant textures will look layered over one another, and especially the care and longevity of the design for a client. There is a lot to know, and I have learned so much already since starting this journey, but I have most importantly found that what I do is not so different from my beginning with traditional artmaking, except by the end of the hard work I get to exist within my own piece —a living, breathing community of leaves, branches, and flowers. There is no greater payoff for creating than to express myself while also manifesting a vision for someone else to experience and enjoy for years to come. ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Elder, Baylie]]></dcterms:creator>
    <dcterms:source><![CDATA[21VADS - 008]]></dcterms:source>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/71">
    <dcterms:title><![CDATA[personal Protective]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: These acrylic paintings depict the dark intensity of falling in love through the lens of the COVID-19 pandemic. Before Coronavirus arrived in Missouri in 2020, gloves and masks were only used in health care &amp; food service, but not usually in everyday life. Before the pandemic, it was easy to take touch for granted, but now out of fear we shield ourselves from what we crave. The mask has become a controversial image—those who deny the pandemic feel as though they are being silenced, and those who accept the pandemic feel unseen. Because of the mask, communication i s much more difficult and the message is sometimes lost. When we are finally allowed to be near one another, we only half l et our guard down: behind plastic shields, cloth masks, and gloves.  ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Yerby, Kyle ]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[<a href="https://library.missouri.edu/exhibits/exhibits/show/vads-2021/about-the-exhibit">Part of the VADs 2021 Digital Exhibition</a>]]></dcterms:relation>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 031]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/70">
    <dcterms:title><![CDATA[Two Faces of America]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: I am currently a student at the University of Missouri-Columbia, majoring in journalism. I discovered a passion for journalistic photography in late 2019, and have been pursuing photo opportunities ever since. I feel particularly drawn to events in which people showcase genuine emotions, and I consider it an honor to be able to capture these beautiful moments. In these four photos, I attempted to capture two sides of the growing racial divide in Missouri. The photos titled “Hawk” and “Salute” were taken at a celebration of life for police captain David Dorn in Saint Louis, Missouri. The photos titled “Shout” and “Tunnel” were taken at a black lives matter rally at Faurot Field in Columbia, Missouri. These images showcase the humanity shared between these two groups of differing opinion. ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Wich, Noah]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 030]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/69">
    <dcterms:title><![CDATA[“Hey Siri, Remind Me to Clear My Browser History.”]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: My works seek to define and document surface through the lens of the screen. The work lives between a number of varied states: screen vs. surface, real vs. unreal, the constructed event vs. the happened upon, as well as the distinction between the two alongside the value structures it creates. It is also contextualizing itself generationally, to the way different age groups of people view our phones, laptops, etc. My work aims to be these moments on the internet and the representation of these fragmented ideas or imagery in a familiar way. I incorporate the use of the crop and textural elements as a way to reference the format of the screen and connect the ratios of images with the ratios of screens. The meta aspect of the work frames its position as a critique of the internet, by the internet; without taking itself too seriously. The frame variation, perspectival crop and the documentary nature are aspects of the pieces that result in a work that is informational without being overly complex. The work aims to be placed somewhere between high illusion and impressionism of postinternet ideals. The way that we reference the ratios and a text placement is second nature and can be represented in shorthand in a way that the brain is still able to make the connection. The surface references the printed text, while the painterly marks document the textures and surfaces from a varied perspective, rather than just documenting an image. ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Steinman, Seth]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 024]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/68">
    <dcterms:title><![CDATA[Birthday Toast(ed)]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: Birthday Toast(ed) is a special effects (SFX) makeup design, inspired by the song “Pity Party” by Melanie Martinez. Special effects makeup is a form of makeup in which non-beauty makeup products, such as latex, fake blood, prosthetics, and scar wax, are used to create an illusion. This may be of an injury, a mutant transformation, a supernatural creature, or just an animal. Many movies, shows, and other productions use some form of special effects makeup. When designing an SFX look, the artist gathers information on a character that has, in most cases, been provided to them. They use personality traits, original and altered appearances, as well as the background story to design the makeup. In the case of Birthday Toast(ed) , the character threw a birthday party that ended in flames. She was all dolled up in a floral dress and makeup, when disaster struck! While lighting the birthday candles, gas from a previously unknown gas leak caused a small explosion. Half of her face was devastatingly burnt, a candle got stuck in her forehead, and as if that wasn’t enough, sprinkles stuck to the freshly burnt skin. Completely distraught by the event, she cried until she pushed her sorrows aside, developing a more “whatever” attitude, allowing her anger and dismissiveness to fully affect her, as seen in the images. Birthday Toast(ed) is an SFX look, captured in 4 photographs, displaying the end result of this character’s story. ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Shirkey, Rose]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 023]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/67">
    <dcterms:title><![CDATA[Image.RGB]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: Humans are now more than ever obsessed with the digital image of self. We utilize algorithms to perfect how we are perceived by a vast network of others, all who use these images to in turn perceive who we are. Social networks like Instagram generate enormous amounts of value from the obsession and influence of these 1s and 0s. “Image.RBG” takes the idea of the digital image and breaks it down to its simplest form, a series of colored bits in the Red, Blue, and Green channels. A webcam processes the image data of the viewer and displays back a video mosaic onto a video sculpture made of CRT TVs. Presenting the video feed on what would be considered “Old Technology” shows us how far we&#039;ve truly evolved, but the rules of human perception have never changed. The TVs are stacked to be as tall as a person, with the webcam at eye level. Viewers are asked to play within the space and interact with the sculpture to see how they look in these monitors. This wonderment of seeing a distorted picture of self finds the viewer distracting themselves from the connectivity of modern-day life to experience these surreal images of self. No matter how vast our technology becomes, the images we see today are still the same we see in “Image.RBG”, a series of Red Blue and Green bits. The project contains no audio element. Audio is used only for documentation purposes. ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[O&#039;Neill, Ian]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 019]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="https://library.missouri.edu/exhibits/items/show/66">
    <dcterms:title><![CDATA[Two Lovers ]]></dcterms:title>
    <dcterms:abstract><![CDATA[Artist Statement: My work is parallel to Sven Nykvist’s film noir stage set quality that caricatures psychological settings. Through the utilization of the romance of printmaking, and the plate and the paper only touching once, “Two Lovers” achieves social commentary of the current state of the Coronavirus pandemic. Rene Magritte’s painting, “The Lovers II” is reproduced backwards in mezzotint in the top print. This painting represents a barrier preventing an embrace between two lovers, and very similar struggles are ubiquitous given our crisis. The masks worn by the two lovers in the bottom print signify the interruption of these connections and the distance and alienation many of us suffer due to the current pandemic.  ]]></dcterms:abstract>
    <dcterms:creator><![CDATA[Murphy, Morgan]]></dcterms:creator>
    <dcterms:date><![CDATA[2021]]></dcterms:date>
    <dcterms:rights><![CDATA[Rights held by author.]]></dcterms:rights>
    <dcterms:relation><![CDATA[Part of the VADs 2021 Digital Exhibition]]></dcterms:relation>
    <dcterms:identifier><![CDATA[21VADS - 018]]></dcterms:identifier>
</rdf:Description></rdf:RDF>