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                <text>This short film came from an interest in what we choose not to confront. Rather than telling a conventional story, A Film About the Spaces We Leave Behind focuses on environments, pauses, and the feeling that something's recently been there. Centered on quiet traces of life like an empty classroom, a silent hallway, footprints pressed into fresh snow, and a bike left at a rack. The spaces in the film are treated as a record of lived experiences, places that continue to hold meaning even after they’ve been left. Visually, every frame is composed with subjects placed on the right side of the rule of thirds, leaving negative space to dominate the left side of the image. This imbalance reinforces absence and creates a lingering tension within still environments. The color palette remains consistently blue throughout the film, cooling the spaces emotionally and visually. All shots are static and held longer than expected, allowing viewers time to sit with the image and feel its emptiness. I was interested in how meaning can exist without any dialogue or explanation, and how absence itself can become a form of storytelling.</text>
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                <text>A Sacred Space is a stop-motion created for my Animation Production I class last spring. &#13;
The project centered around replicating a memory through stop-motion. At the time, I was &#13;
missing home, particularly my room, which prompted me to consider how the space had evolved &#13;
up until I left for college. I wanted the film to reflect the childhood association I have with my &#13;
room, so I aimed at using materials that reflect childhood nostalgia for me: dollhouse furniture, &#13;
paper dolls, stickers, colorful and patterned craft supplies. I wanted to portray my room as more &#13;
than just the space that sheltered me growing up and more like a being on its own that reflected &#13;
different chapters of my childhood and a place for creative expression. For a lot of us our &#13;
bedrooms were the only places that were truly ours. In a lot of ways, it mimics the ebbs and &#13;
flows of life. The colors change, furniture shifts around, some things leave, and some things stay &#13;
the whole time, leading up to the point we eventually leave that vessel behind. Though this was &#13;
originally just created for a class, it quickly meant much more to me. My hope for the audience is &#13;
that they can reflect on their own sacred spaces as children, think about how it changed with &#13;
them, and how it helped shape them into the people they are today.</text>
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                <text>Wants &amp; Needs is an experimental short film exploring queerness through the transformative metaphor of zombification. With my own experiences of being queer, I wanted to explore how self realization can feel both terrifying and liberating.&#13;
The narrative follows Chloe as she confronts her desires within a romantic situationship with Anna. Faced with her attraction and fear of intimacy, Chloe must navigate the tension between repression and longing. Her “zombie” operates as an impulsive embodiment of desire; this symbol is built on the preexisting image of the undead in horror media as impulsive. Here, that horror is internalized. The “monster” symbolizes suppressed queerness, visualized through Chloe’s “zombie arm”. First, it's an experience to fear, however as the zombification progresses Chloe gradually understands and accepts this inevitable part of herself. &#13;
With this film I wanted to emphasize movement, rhythm and sensory disruption. The Dance sequences externalize Chloe’s desires, translating emotional and sexual tension into physical expression. However, through manipulating the frame rate and strobe lighting, I hope to create fiction between the static and accelerated images, reflecting her instability. Sound design further shapes the transformation with distorted, slowed ambience blended along fluctuating breathing to evoke intimacy and bodily change. </text>
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                <text>Translates meaning “rind” or “outer layer.” Hair serves as our rind. Throughout this project I explore the dual role hair plays within young Latina women’s lives. Hair acts as both protection and vulnerability, resistance and assimilation. La Corteza, examines the cultural and emotional weight that we carry in each strand.&#13;
For many Latinas, hair is an identifier, its texture, color, and length are often points of personal tension. In the United States, Latinas often are pressured to favor Eurocentric beauty standards as means to assimilate. Hair becomes more than appearance but a political act. Where braiding emerges as a meaningful performance of powerful assertion of cultural continuity, resisting erasure and reclaiming visibility. &#13;
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“My hair is typically the only physical mark.”&#13;
“When I started embracing my hair is when I felt the most comfortable in my identity.”&#13;
“My earliest memory with my hair was asking my mom to style it for me. This was the beginning of an obsession with neatness, which could never be synonymous with natural”&#13;
“Being Latin American means balancing both identities... I know I’m both, and I know I’ll never fully be one—and that’s okay.”&#13;
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                <text>Ricordi d’Italia —“Memories of Italy”— is a meditation on memory, movement, and the human desire to preserve a moment that is already slipping away.&#13;
Italy is often imagined as timeless: a country with a rich history, preserved in marble and stone. I expected the country to be frozen in history, but what I found was something alive and in motion. Streets pulsed with life, laughter echoed down narrow corridors of light, and strangers crossed paths without ever fully meeting. &#13;
In these images, bodies stretch into streaks and faces soften into suggestion. Details slip away. What remains are gestures, silhouettes, and light. This mirrors the way memories are carried: not as sharp, factual records, but as impressions charged with feeling. By slowing the shutter, I allowed the camera to record time rather than freeze it. The blur reflects how memories don’t stay sharp; they change and fade over time. We remember the warmth of the air, the glow of streetlamps on stone, the sensation of walking beside someone—but not every face, not every word. </text>
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                <text>To what extent will we allow AI to dictate our visions, our questions, and our answers before we have lost what makes us human? This is the question I am posing with Imitation Flesh, a series of analog film photographs utilizing the motifs of body horror and splatter-gore to evoke anxiety and fear over AI. My work is influenced by the films of Cronenberg, Kubrick, and Shinya Tsukamoto- using flesh, blood, and computer parts to illustrate an uneasy melding of human and machine. Imitation Flesh imagines this material convergence to be messier and with more drastic consequences than generative AI efficiency can promise. </text>
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                <text>“Advice to Self at 20” is a portrait and interview series shaped by conversations with women in their 50s through 80s. Each woman was asked what she has learned over their lifetime, what beauty means to her now, and what advice she would offer her younger self. &#13;
The photographs emphasize presence over polish. Wrinkles, posture, poses, and expressions carry the evidence of time; of work, love, loss, endurance, and joy. The images visually explore what each participant discussed in her interview, whether through people, props, framing, or light. In this project, age is not softened or disguised; it is allowed to exist fully within the frame. The images are paired with words that reveal how aging reshapes one’s relationship to the self.&#13;
One woman described the moment she first felt old: “The first time I knew I was old was after I fell by simply just walking up my driveway and nearly broke my foot. I thought, ‘Oh God, the time has come. I’m old!’ That moment stuck with me; knowing my body wouldn’t bounce back like it used to. The journey to acceptance isn’t easy, it’s almost like a prolonged denial that I’m getting older. But adapting and taking my time and paying closer attention to my body has made me feel closer to it in a way. I double knot my shoes now, wear a brace by choice, and take life a little bit slower. But slow is not bad. Slow is intentional, slow is careful, and can be beautiful if you let it.”&#13;
In a culture that often stigmatizes older women as invisible, incapable, or burdensome, these portraits tell a different story. The women photographed here are thoughtful, humorous, reflective, and generous with their insight. Beauty emerges not from youth, but from wisdom.</text>
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                <text>“The Dressing Room” considers a place of transition where one can be undone, stripped down, and reborn as someone else. It suggests performance, where one’s identity can be modified to fit a character. Beauty has never been more accessible through surgical procedures, GLP-1s, shapewear, extensions, -- so my work is informed by the wider cultural phenomenon of personal optimization. These actions assume that the person underneath the alterations is dull. Rather than approaching that conversation directly, this work offers quiet meditation on the practice through obscuring subjects with less obvious tools. These works explore beauty in unfinished states and what lies between the natural and superficial. Through partially masking the subjects, the focus becomes the individual hidden by artifice. The obscura feels both feminine and fleeting, either elevating the subject or disguising them. Their presence may be central, but the intrigue lies within the background forms. These photos capture a state of in-between, abstract moments of beauty, making them altogether less ‘pretty’. My photographs describe a journey to perfection, updated for the age of technology, but a journey as old as narrative itself.</text>
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                <text>When I photograph, I am in control. I direct, frame, and construct the image, authority that feels otherwise unavailable to me. The women I photograph are not destabilized subjects or objects of envy. They are mirrors, points of tension where I am trying to understand my own relationship to identity, visibility, and gendered expectation.&#13;
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                <text>Binah, Hebrew for “understanding,” showcases the complexity of Jewish female identity. &#13;
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What I hold especially close to my heart are the Jewish women in my life. &#13;
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It was impossible to pick a single aspect of Jewish female identity to focus on. Instead, I peeled apart the layers that make up Jewish girlhood and womanhood. The physical characteristics. The comforting recipes. The sacred traditions. And at the center of it all, the Jewish women before me who passed down Binah.&#13;
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                <text>This series was inspired by the film: Burlesque (2010). As a historical performance style, burlesque dancing exhibits exaggerated archetypes of feminine identity that rely heavily on gendered objects. The film features elaborate costumes made of pearls, lace and red velvet, pin stripes and fur, feathers and roses. Using these symbols as a reference point, I wanted to confront their position within a greater conversation of femininity and performance, suggesting that societal structures create and promote narrow gender identities. &#13;
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&#13;
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                    <text>A digital mockup of print ads promoting Public Domain.</text>
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                <text>Public Domain</text>
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                <text>Maxwell, Kylyn</text>
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            <name>Abstract</name>
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                <text>Public Domain is an imagined Brooklyn-based nonprofit that offers a solution to the recent government funding cuts in the arts. Developed from a project prompt that challenged us as designers to identify a problem and propose a creative solution, Public Domain envisions a new model of artistic support rooted in community and collective impact.&#13;
The name Public Domain signals a rejection of exclusivity, emphasizing accessibility over financial barriers. Public Domain uses social media, physical advertisements, and experiential events such as A Gala for the Arts, to generate donations that are redistributed to galleries, studios, and independent artists across Brooklyn. &#13;
The organization’s visual identity is intentionally loud. The logo showcases multiple bold, layered silhouettes of human figures, symbolizing the convergence of creatives into a single, unified community. A vibrant color palette of pink, purple, yellow, orange, green, and blue cuts through the everyday static while paying homage to the color wheel, a foundational tool studied by artists across all disciplines. The merging of these colors within the logo reinforces the idea of unity within the Public Domain community, regardless of medium, background, or skill level.&#13;
Contrasting this vibrancy, the use of halftone patterns and black-and-white imagery introduces a gritty, urban edge inspired by the graffiti-covered streets of Brooklyn itself. By juxtaposing high-energy color with photos of intimate studio spaces and galleries, Public Domain positions the viewer not merely as an observer, but as a stakeholder in its creative community who can make a difference for the art world as a whole. </text>
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                <text>2026</text>
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