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                    <text>Sydney Lee: Introspection</text>
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                    <text>Graphite illustration of a scrunched eye, paired with a verse from a poem.</text>
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                    <text>Graphite illustration of a screaming mouth, paired with a verse from a poem.</text>
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                <text>How can you interpret a narrative when each of a book’s pages are laid out in front of you? I lay myself down, body and mind, so you can see. Introspection, a book comprising a hand-quilted folder and individual cards, is pieced together to form a few of my experiences of dealing with anxiety. My self-doubt and racing mind cause me to shut down without it being noticeable to the naked eye. &#13;
To finally lay out my thoughts on paper and show others what I feel, provides relief.  &#13;
Using my hands to see myself through my eyes and notice the beauty in everything. &#13;
Even with the flaws of my impressions.  &#13;
It contrasts the words that are looped against them.  &#13;
Each individual piece of fabric is hand sewn together,  &#13;
with needle and thread,  &#13;
imperfectly tying fibers together,  &#13;
and holding a variety of textures and hues.  &#13;
Representing a scattered mindset, they are the safekeeping of anatomical renderings of graphite sketched and smeared on coarse paper, causing each bump and dip to shine uniquely in every environment. This portable project shows that wherever the mind goes, the body will too. And you will never know what a person is going through unless they open up to you. </text>
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                <text>This piece – a mixed media assemblage painting – is one of my most playful ones. In it, I represent a memory of me carrying my half-brother, Layne, who is 16 years younger than me. Going through my photos I found a picture of him wearing a onesie – my favorite one he had – featuring the words “heavy metal” and a cute little robot. The combination of that innocence and the implied danger of the scene is key to this image.  As graduation approaches, I am beginning to fear for my safety again because I don’t want to return to an abusive environment. Education has always been a safe home for me. Although I am afraid for myself, I am even more worried for my little brother’s safety because he is in my father’s care. In the work I combine these deep concerns with my carefree nightlife – music, make-up, friends. When I am dancing all my fears disappear and I just focus on listening and feeling. Allowing these realms to merge in my work is cathartic and a way to let others in to witness the complexities of my experience.</text>
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                <text>Poindexter, Amani Zaire</text>
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                <text>My relationship with my father has routinely been defined by absence. He was in and out of prison throughout my childhood and remained largely abstracted even when he was free. As a result, he missed my consequential milestones, including the beginning of my artistic journey. His abandonment has deeply shaped the ways that I remember my childhood, how I communicate with others, and how I understand myself. I still feel the weight of our connection in unexpected ways, including the lingering aversion to our shared last name. Creating art became a way for me to process emotions I didn’t yet have language for. As a child, color, line, and shape offered a release for feelings I was being forced to bear too early. Collect Call is a 48”x 36” oil painting deepicting a portrait of my father as a young man, based on a photograph that was taken shortly before I was born. The title references the collect calls from jail that stained my childhood, calls that required someone on the outside to pay. For me, that cost was emotional. Even in his absence, I carried the consequences of his actions, learning early what it meant to undertake grief, confusion, and longing without resolution. Placed in the top right of the painting is a childhood drawing I made in 2007-2008, titled This is My Momy and My Dady. I used cold wax to recreate the crayon texture, carefully matching colors to preserve the original sentiment. </text>
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                <text>The mind is a jungle, a thought-biome which has consumed my soul and binds my existence to its green memories. For years, my fists have led my fight forward, pushing through nostalgia and scars alike. My back, grown tired, yet sculpted for flight beyond all I am and all that I can be. I can’t help but wonder what journey will lead me out of the jungle. What comes next in my internal world? Abstraction becomes reality through blended tones and bold lines. Colors, saturated proof of existence, demand for your attention, if only for a moment. Words fall flat so paint markers and canvas become the only tools possible for describing a place, a time, a memory–everything you can’t find on a map. </text>
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                <text>The title of this painting, Tumult, refers to the jostling of the forms against one another. The various, competing shapes create a cascade in which every part vies for attention. Despite the volume of visual information within the work, there exist relationships and groupings amongst the forms. These relationships often originate in the drawing that the painting was based on. A purpose of this piece, perhaps, is to be a vessel for these varied forms and their interactions.&#13;
This painting, as with many of my paintings, began as a drawing. Though the drawing was a simple set of black outlines, I could see within it the various jostling forms that would ultimately comprise the finished piece. Transferring the drawing to the painting surface, I began to notice specific shapes that stood out to me from amongst the lines, which I would then build up using paint. As I continued to work on the painting, my next step was often decided by the visual relationships that began to emerge between the different forms. It was my duty to augment, alter, or lessen these relationships. This task entailed outlining, delineating, coloring, darkening, lightening, markmaking, or any other such painterly action available to me with my brush and my paint. It was towards the end of my painting process that I began to add the varied lines and hatches that define the surface of the finished work.</text>
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                    <text>Painting of a self portrait of the artist with her hands covering her face. one eye is revealed. has a blue background with white eyes drawn in the background.</text>
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                <text>This piece responds to the idea of the oppositional gaze, the act of looking back at systems that have historically objectified, erased, or distorted Black people. Rather than presenting this self-portrait as fully available to the viewer, I interrupt the gaze. The covered face denies easy access, resisting the expectation that my body must be legible, expressive, or emotionally transparent. My single visible eye becomes both witness and warning: I am aware of being watched, and I am watching back. There are stereotypes, expectations, and biases that are placed on black people, for this piece I am, in a way, protecting myself from this to be able to be who I am.  Surrounding me are white eyes, floating and disembodied. They symbolize surveillance and the persistent pressure to perform under observation. This work is about reclaiming authorship over my image and resisting reduction </text>
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                    <text>Kylyn Maxwell: Public Domain</text>
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                    <text>Digital mockup of print ads for "A Gala for the Arts," an event hosted by Public Domain.</text>
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                    <text>An informational poster explaining the purpose of Public Domain, a Brooklyn-based non-profit for the arts.</text>
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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>After the Boone County Materials Recovery Facility was destroyed by a tornado, residents were left without a centralized recycling system. Recycling shifted to fragmented drop-off routes in nearby towns such as Ashland, increasing transportation distance, energy use, and emissions. This project responds to that breakdown by proposing a new, resilient Materials Recovery Facility along the Missouri River that restores regional recycling capacity through architectural and infrastructural intervention.&#13;
The site is located at a bend in the river where barges naturally slow and idle, adjacent to Interstate 70. This positioning allows the facility to leverage existing transportation networks by redirecting recyclables onto empty return barges and underutilized freight trucks. By using infrastructure that already exists, the project reduces inefficiencies while reframing architecture as an active participant in material flow and environmental accountability.&#13;
The facility is constructed from mass timber to reduce embodied carbon and allow for prefabrication and efficient transport. The building is elevated to address floodplain conditions, with structural cores anchored into exposed bedrock to provide long-term stability. These strategies respond directly to the site’s environmental constraints while prioritizing durability and adaptability.&#13;
A contoured roof canopy is shaped through solar radiation mapping to maximize photovoltaic performance. Its form also diffuses daylight across the sorting floor, reduces industrial noise, and directs rainwater into bioswales for erosion control and flood mitigation. An elevated public path allows visitors to observe the recycling process, making material systems visible and accessible.&#13;
Together, these design decisions position infrastructure as both functional and civic, demonstrating how architecture can support environmental responsibility while engaging the public.</text>
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                <text>Amai Hiko is an online candy company based in Tokyo, introducing people to the traditional sweets and flavors of Japan. It offers an assortment of treats to choose from, as well as monthly subscription boxes with hand-picked sweets that are mailed straight to the customer’s doorstep. Customers can join a monthly subscription that delivers packages filled to the brim with handpicked treats. Amai Hiko prioritizes three main values to appeal to the right customers that match the interest and personality of its delectable products: nostalgia, curiosity, and passion. “Amai Hiko” directly translates to “Sweet Flight,” highlighting the brand’s main goal of sharing goods to overseas countries where “the sky’s the limit.” This slogan is accompanied by the brand’s bird mascot Toki-san, named after the Japanese crested ibis (which translates to “toki”). Toki-san is the main mascot and “deliveryman” of Amai Hiko, representing the brand’s playfulness and wide-ranging delivery through flight.  Inspired by the vibrant pop culture and iconic characters of Japan, Amai Hiko is designed to celebrate and share the mainstream styles of Japanese products and aesthetics. Through research and observation of competing candy brands, Amai Hiko is created with the goal of sharing culture and food across the globe through a vibrant, engaging platform that appeals to all ages.</text>
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                <text>Kinroot, an app to assist families, emerged from personal experience. After a family member’s diagnosis I witnessed how quickly medical information became overwhelming and confusing for not only him, but everyone around him too. Appointments referenced unfamiliar terminology, quick explanations, and critical details that were difficult to process in the moment and even more difficult to recall later. Updates were shared through phone calls, texts, brief conversations, often fragmented and repeated to the point people couldn’t remember who knew what information. I began to realize the challenge was now not only medical, but communicative.&#13;
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                <text>Material Loop reimagines the recycling center as civil infrastructure, an architecture that makes environmental systems visible, experiential, and socially engaging. Instead of traditionally concealing waste processing behind industrial walls, the project breaks the marginalized history and presents recycling to the public as an exchange between city, ecology, and energy. Located adjacent to the University of Missouri's power plant, the facility operates as both a material recovery facility and a generator of biomass fuel to support the university's clean energy initiative, positioning waste not as an endpoint but as a resource within a continuous urban cycle. The architecture challenges conventional separations between natural, industrial and public life. Elevated walkways, viewing platforms, and outdoor terraces run parallel to an adjacent tree line and historic trail while inviting visitors to witness processes typically hidden from view, transforming recycling into education, experience, and advocacy. A perforated facade filters light, air, and sightlines, allowing glimpses of activity while adopting passive environmental strategies. Overhead canopy structures span large operational zones, creating sheltered civic space below while expressing the structural logic required for industrial scale. With strategic voids across the program, natural light wells bring light down into the industrial process as well as framing the public terraces, allowing for the continuation of the adjacent nature into the building through biophilic planters complementing the space. Formally and conceptually, the project is guided by the belief that sustainability should not feel restrictive or sacrificial. Instead, it proposes that environmental responsibility can be generous, spatial, and publicly celebrated. The architecture embraces infrastructure as a social and cultural asset, aligning performance with buildings that we want to be in. By merging utility, education, and public space, the project argues for a new typology where systems that sustain urban life are not hidden, but shared and transformative. </text>
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                <text>This piece confronts the consequences of humanity’s impact on the planet. At its center, the globe represents Earth: fragile, finite, and increasingly threatened. At the base, a vibrant array of florals, and surrounding it, rising rings and mixed media symbolize smoke, drifting upwards as the world burns. These circles represent both atmospheric pollution and the nature of environmental destruction, reminding us that the impact of human actions does not disappear, but circulates. &#13;
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&#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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                <text>Fighting for a Purpose is a photographic series created for Fight Night in Columbia, Missouri. This work focuses on the deeper purpose behind the event. Rather than highlighting individual athletes or moments of victory, the images intentionally obscure identity to emphasize that this event is not about personal glory, fame, or recognition. It is about collective action and the shared goal of raising money for pediatric cancer research. &#13;
The athletes who participate in Fight Night train for twelve weeks while also visiting families at MU Hospital whose children are undergoing treatment. Their preparation extends beyond the ring, grounding the event in its true purpose. The techniques used to shoot this piece like the harsh lighting and shadows solidifies these athletes as symbols of the organization's mission . The athlete’s preparation for their match aims to develop empathy with the children and families they support. These kids and families are facing battles far greater than any one night in the ring. This work exists to shine light on that reality. </text>
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                <text>My work explores the fragility of familial history as my grandmother ages and begins to lose her memory. To convey this, I use old family photographs, once rich in detail, as a metaphor of what is lost. The central technique of this project involves the intentional cropping and editing of these photos to replicate memory erosion. This redaction highlights how the loss of a narrative prevents these specific memories from being passed down, leaving a void for future generations, including myself. Ultimately, by dismantling these photographs, I am confronted with the painful reality that my grandmother’s identity and story are becoming as fractured and manipulated as the images I present. </text>
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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>“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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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;
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                <text>Imitation Flesh</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>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>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;
When invisibility can often feel safer than standing out, these decisions reflect the silent strategies of survival, self-preservation, and resistance. Throughout the making of La Corteza, I interviewed and photographed my participants:&#13;
“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;
These reflections speak to the layered and sometimes painful process of reclaiming culture on our own terms. La Corteza lives in that delicate space between concealment and connection.</text>
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