thinking, seeing, and feeling. ]]> an accident occurs, leaving one employee injured, the go-kart track manager rallies to seek justice for his coworker and friend. The story is told through interviews, archival footage, and newly shot footage. The film invites the viewer to consider the lengths that society allows for seeking revenge while also pushing the viewer to decide what is or isn’t too far.]]> BEING TAKEN OR MURDERED AT AN UNRELENTING RATE.” In 2016, there were 5,712 reports of missing American Indian and Alaska Native women and girls. The U.S. Department of Justice only logged 116 (The National Crime Information Center NamUs and Institute). The
youngest victim was a baby less than one month old, and the oldest victim was an 83-year-old (The National Crime Information Center NamUs and Institute). The MMIWR stated, “On some reservations, Native women face murder rates more than ten times the national average (Missing and murdered indigenous women and relatives (MMIWR).” No research has been done on rates
of violence against this group living in urban areas, which is an issue because about 71 percent of these people live in urban areas (Missing and murdered Indigenous People Crisis). In Native American culture, it is believed that the dead can see red. So, with this being said, a red hand symbolizes the connection between the spiritual and physical worlds. Wearing red invokes the help of our ancestors and spiritual guides. With this knowledge, putting these elements into clothing can be beneficial to further bring awareness and tell a story to the world
around us. To achieve this, focusing on designing factors like red handprints to represent blood, suede to mimic deer skin, Native American symbols that symbolize messages, and fringe traditionally used in Native wear can bring awareness to the movement and the need for more focused data. In conclusion, the purpose of this design is to deeply move and motivate the reader
of this statement to think about the people who were here first, realize how unjust this situation is, and want to learn more about this movement to bring justice to my people.]]> Through these layered and intimate compositions, Biby creates work that evokes grief, tenderness, and emotional fragmentation, inviting viewers into deeply personal yet universally resonant narratives about love, absence, and the quiet ache of remembering.]]> Seek Change explores how society treats beauty as a modern-day religion. Physical appearance is elevated to something sacred, pursued, measured, and equated with worth. The piece reflects on the pressure to attain this ideal and how it shapes self-image, relationships, and the quiet rituals performed to feel enough. Charcoal’s raw, smudging nature mirrors the fragility of self-perception and how it can shift from soft gradients to harsh contrasts, echoing the seductive promise of perfection and the sharp judgment that follows.
Consumed focuses on the transition into college life and the tension between growth and self-loss. What appears celebratory can become overwhelming, as reinvention slowly fractures into performance and expectation. The pursuit of belonging and happiness can blur into quiet self-destruction. This work questions how much of identity is truly self-defined and how much is shaped by the pressures we absorb.]]> Among my artistic influences are illustrators, painters, and tapestry weavers alike. Illustrator Jean Giraud; his subconscious flow drawing, mystical, psychedelic imagery, and his striking color palettes. Illustrator and film maker Hayao Miyazaki, whose wholesome stories and soft, rounded illustrative style inspire me to continue finding wonder in the world. Impressionist Monet who was quoted as wanting his paintings to present the tranquil peace of nature in contrast to war, and the folk motifs and narrative of Anu Raud’s exquisite tapestries.]]> Being historically feminine work, in the past, weaving has not always been seen as a legitimate form of art. A pictural weaving is the culmination of hours of labor to amass layers of fine thread to create one whole image. In Spring Longing, a blue flower woven from hand-dyed cotton thread is arranged in a triangular composition. By taking a typically feminine object such as a flower and using a method of art propagated by women, I hope to shed some light on some of the overlooked women dominated forms of art both past and present. ]]> fridge. My pieces help answer questions I yearn to understand, for example, are we a reflection of our childhood home or visa versa? In this piece entitled “Constant”, I’ve combined ceramics, fibres and acrylic paint to convey the comfort and solidity my childhood home brought to my life. The frame references the molding around the doors that I have moved through as I grew into whom I am today. The material of the
pillow was chosen as a visual representation of the home’s wallpaper; the floral and gingham patterns provide a sense of comfort and cushioning from the external world. I placed my own face from multiple photos through the years passing in the centre of the fabric. All versions of myself sit together celebrating one of many birthdays around the kitchen table. The softness of the pillow juxtaposes the solidity of the frame, yet both join at the seams to hold the piece together. While working through this piece, I’ve come to realize the significance that smaller elements inside a house, such as the moulding, wallpaper, and table, can illuminate.]]>
And yet its historical overshot patterning has been reinterpreted to look more like a digital screen. The title of the work, signal lost, refers to what happens when a cable is misplaced or disconnected from a monitor. The interchanging black and white rectangles bring to mind the pixels that make digital displays possible. The color of the work references TV color bars, but shows more like a static effect within the weaving. Even the tassels at the bottom have been made to look like cords hanging from a digital screen.

signal lost shows how a work can unite two worlds—the physical and digital—that seem entirely separate. It highlights both in a weaving that cannot be fully tied to one or the other: it is an inbetween, a gray space in a world where things seem to be presented only as black or white.]]>