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                <text>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</text>
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                <text>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.  </text>
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                <text>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. </text>
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                <text>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. </text>
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                <text>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'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. </text>
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                <text>Artist statement: Whether it be losing a loved one, being isolated from family and friends, or witnessing the horrors of COVID-19 firsthand as a frontline worker, it is impossible to come out of this pandemic without being personally affected by the illness. Our floral artwork conveys the lonely scene of a COVID-19 patient nearing death. Blooms of carnations, roses, gerbera daisies, and delphinium in tones of fuschia, marigold, sky blue, and peony pink were placed closer to the window to convey vitality before transitioning into more neutral earthy tones, symbolizing that they are about to be laid to rest. Using manipulated chicken wire, a human body was constructed on a resting surface. The constructed body was covered in severed fresh roses, baby’s breath and mums as well as dried artichokes and hydrangeas in tints, tones, and shades of brown, gold, and burnt orange to represent someone passing alone. One last thought of human connection to our patient was the lone arrangement on the bedside table. We were inspired to create this installation after our own family members were hospitalized due to COVID-19. We wanted to use this platform to showcase the feelings of hopelessness, anxiety, and loneliness that our family members felt in and outside of the hospital. In true COVID-19 fashion, we were the only two people to see the exhibit and had to deconstruct it as quickly as we constructed it.</text>
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                <text>Artist’s Statement: These new paintings are about a break in reality. This is an exploration of my own experience and struggles with bipolar disorder, focusing dissociation and psychosis during extreme phases in mood. Each painting starts with a writing, hidden directly under the paint. This work is about a place on the edge of my consciousness where real isn’t quite real and fiction isn’t quite fiction. I visit there from time to time, but it’s not somewhere I choose to go--- a completely believable dream, one that I reference later as fact. I see things out of the corners of my eyes, until they are the center of my vision. Did I take my medicine today? There is someone walking parallel to me, but everytime I turn to look at them they’re gone. The sky lights up at night like a spotlight. The birds are targeting me, diving at me. Did you hear those people talking, their whispers? The lines between real and fake get blurry. This is a place where I can almost see the air, and the pharmacist asks me if I’m doing okay when I pick up my prescription. I count my edges over and over. When did I get so sharp? These paintings focus on a constant gamble on reality.</text>
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