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                    <text>Kijah Woods: "You don't see me"</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>"You don't see me"</text>
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                <text>Woods, Kijah</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>Scott Smale-Murillo: Tumult</text>
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                    <text>Color image of a large abstract painting.</text>
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                <text>Tumult</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>Color photograph of a blue-skinned boy with a boxing glove on one hand exiting the jungle from left to the right where he is met with an open field, mountain in the distance, and clouds in a yellow sky.</text>
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                    <text>Close-up color photograph of middle back to beginning of waist of blue-skinned boy, depicting more of the leaves and details of boxing glove.</text>
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                    <text>Close-up color photograph of nature scenery on the right side of canvas; a field with a red mountain in the distance.</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>2026</text>
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                    <text>Amani Zaire Poindexter: Collect Call</text>
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                    <text>Oil painting of man sitting on couch; wearing blue jacket with 'PHILA' hat.</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>"2-Step Closer" </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>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>My painting process is rooted in a keen interest in emotion and observing moments of relation to build narrative. My oil paintings begin with a prompt or idea—which can be detailed or simply a feeling I want to capture—that helps me explore composition, subject matter and technique. Whether it’s through creating a collage or transforming an ordinary moment into something compelling through the painting process, my work highlights connection and ordinary life. My recent paintings feature people having a personal experience, sometimes mediated by external media such as a book or a film. My paintings depict private moments experienced in public settings. I’m especially drawn to the complexity and emotion that interacting figures bring to a composition. Capturing a likeness is a careful and intimate process, which transforms the relationship between myself and the subject. Above all, my purpose as a painter is for my work to touch on intimate interpersonal experiences—whether through color, imagery or simply an elicited feeling.</text>
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                <text>Barn scene draws on the visual language of tattoo flash sheets along with memories from my childhood in rural Missouri. In the center stands a red barn that once sat beside my grandmother’s house. It’s crowned by two swallows in flight. At its core, this work is an ode, and in its creation, a preservation of fading memories. I decided to use the medium of tapestry, drawing on its historical role as a storytelling device, while incorporating modern methods of immortalization. While constructing this tapestry, I revisited the site of the barn through Google Street View to draft my reference. This process allowed me to examine my recollection with objectivity, cementing a present image of my youth as I reconstruct memory. I modeled the swallows based off of a necklace I received at my first communion in addition to traditional tattoo imagery. The combination of these sources illustrates the tension between the religious ideals I was raised to believe and the culture they denounce. I sought to appropriate these symbols and ideals to honor an unlikely recipient: an abandoned barn. Ultimately, Barn Scene serves as both a personal monument and a meditation on how we hold onto memories. </text>
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&#13;
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.</text>
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                <text>I am a conceptual and installation artist, combining both painting and sculpture. I make interdisciplinary work including installation, sculpture, painting, and collage. My artistic practice includes image-layered with text, monochromatic realism, and mixed media pieces that explore texture and form. My focus is oil on canvas, in combination with other material explorations, including plaster, paper clay, and other mixed materials. The combination of materials invites my viewers into a narrative. Creating and making art is how I process the world: exploring the crossover of culture, identity, and personal/spiritual growth. Through my art, I explore themes of spirit, identity, and cultural memory. My works have been influenced by my African-American, Mexican, and Armenian heritage. Identity is a multifaceted concept, as well as the way we navigate cultural perspectives every day of our lives. I am interested in how experiences and memories overlap with one another. In my work, I combine text, symbolism, and narratives to express this overlap of memory and experience. Currently, I have dived into combining aspects of my identity with my religious beliefs, for example, connecting the Armenian culture of the Christian Orthodox church with the cultural tradition of Dias De Los Muertos. I am also completing a work focusing on the book of John and the fruit of the Spirit, as well as a sculpture depicting the power of African-American men and how they’re viewed within American society and American culture. My work is continuously searching connection between form and idea, to express different layers of memory and experience. </text>
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                <text>My work is inspired by the murals of the Mogao Caves and reflects on their destruction during Langdon Warner's early-20th-century expedition. After visiting the Harvard Art Museums and seeing the fragments, I felt compelled to confront the irreversibility of cultural loss and the ways the Western perspective shapes the representation of Asian bodies. Fragmentation serves as both a strategy and a scar, featuring jagged contours and floating motifs that disrupt the reading and create tension. I explore how colonial history has shaped East Asian beauty standards, resonating with Malcolm X's provocative speech of Who taught you to hate yourself? I create a self-portrait using mural-like pigments, intricate line work, and iconography as a form of resistance and self-reclamation.</text>
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                <text>“A Reflection of the Self” is an introspective project exploring the intricacies of human emotion and its manifestation in the body. Through repetition and line, I strive to express the movements of thought that are invisible to the naked eye. As we cannot help our internals turning external, our bodies morph into all that we have seen and felt. The shaping and twisting of the human experience — love, loss, trauma, resilience, peace — make us who we are. We are reflections of our deepest wounds and greatest triumphs. Searching for solace in the unknown, for something greater than ourselves, only to return to the truth within our bodies.</text>
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                <text>Tentacle Vessels is a contemporary take on zoomorphic vessels, a tradition of combining functional vessels with animal characteristics. I use the zoomorphic vessel as a way to examine the ways that we think about pottery as a static object. I explore the ways that viewers interact with functional pottery, and how that can be changed through form, texture, and color.  I use negative space to activate the vessels, inviting viewers to look at my creations as living objects. The work creates a sense of fragility by using thin, delicate porcelain to balance heavier vessels in the air. Each piece has been made it’s own unique, live creature through the use of differing forms, textures, and colored glazes while still being united as part of a group. The use of texture on the surface invokes a sense of curiosity in the viewer, asking them to think about what it would be like to hold and feel these delicate objects. I invite the viewer to consider how the work is meant to be interacted with – should it be held and used, treated as though it’s living creature? Or should it be put on display, left alone, like a vase in a museum? How would they use one of these vessels?</text>
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                <text>My current work explores my past and present self through moments and objects from my childhood home. These artifacts of my life are recreated, and their meaning is re-represented from my biased point of view. The imagery included in my work looks through multiple versions of myself as well as elements of my childhood home, such as patterned wallpaper or an old &#13;
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 &#13;
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.</text>
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                <text>This piece, “Wilt and Wisdom,” expresses the complex, essential nature of selfless generosity. It is a tribute to the capacity for giving oneself to others. It honors the exhausting, beautiful cycle of offering your whole heart to others, while ultimately celebrating the profound moment of choosing oneself. The central ceramic heart wrapped in two hands intentionally represents infinite offering. A soul who continuously pours itself out for the benefit of others and putting oneself last. The form represents emotional weight and depletion that comes with this kind of love for others. The dried flowers are the crucial element defining the wisdom gained from this journey. They embody the scares and accumulated lessons learned from past sacrifices, and they express a shift. The quiet, profound moment realising that choosing oneself and chasing the dreams at hand.  Ultimately, wilt and wisdom celebrates the strength found in generosity, alongside the truth that self-love is the ultimate act of sustainment. It is a tribute to the wisdom gained in knowing when to give and when to choose oneself first and replenish the heart. </text>
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                <text>I create multimedia artwork, typically depicting women, organic forms, or micro-organisms. My work is heavily influenced by my family, bringing in aspects of my ancestor’s hand embroidered tablecloths and doodles on the margins of their old cookbooks. I like to take a closer look at things that are typically looked down upon because they are considered a feminine craft, and bring them forward to be seriously considered as works of art. I also focus on micro-organisms to show all of the infinitesimal building blocks that allow us all to see, speak, and move.  By showing intricate, time consuming depictions of simple shapes and organisms, I hope that my artwork causes people to stop and look closer at where they are and how they got there.   &#13;
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.  </text>
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                    <text>A tapestry of a woman illustrated in blues and greens looking toward the silhouette of a bird.</text>
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                <text>This tapestry- in all its sparkling, beaded glory- rebirths feminine qualities that I rejected through my adolescence and early adulthood for fear that I would not be taken seriously. The small size is intimate; it desires to be seen up close. A feminine face gazes wistfully toward the silhouette of a bird. The gradient of the dusky sky blends with her. She is the ethereal landscape. Contemplation is expressed with wind-blown hair and the bird which morphs from the crescent moon above. Stars and diamonds glitter in the lagoon-blue of the hair; hopes, dreams, and mementos of the past. Beads of white and crystalline blue embellish the textile in a fanciful frame and beaded tassels tipped with pearls droop heavily with the weight of beautiful resignation. I present this object of a whimsical world that a viewer may rest their eyes upon for a moment amidst their own tumultuous journey.&#13;
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.</text>
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                <text>Medieval theology understood Catholic Mass as a re-presentation of the Crucifixion. Historically a screen or rood screen was a specific kind of barrier in the church, accentuating the tension between concealment and revelation. It functioned to divide the building where the consecration of the Eucharist would take place from the congregation. Parishioners were able to see the movement of the bread being elevated through the holes of the screen, allowing them to witness the most holy part of the mass while being distinctly partitioned. Drawing from formative experiences in Catholic school, doctrine teaches that this moment witnesses Christ’s body offered again, bread and wine changing into the Body and Blood of Christ. “I’ll Leave The Light On,” is a durational installation that restages this logic visually. A lit candle in the window signaled safety and welcome during penal repression against Catholics. Here it serves to resurrect Christ and loop the animation, emphasizing the cyclical nature of indoctrination reminiscent of the stations of the cross, a catholic devotional ritual commemorating Christ's passion and death. The sculptural element is made of found objects, specifically the screen door from my childhood home, where years of wear scratched into the surface breaches the partition in the bottom corner. As the film projects on and through the grid of the screen it creates a varied image based on the viewer's position around the object, emphasizing sacred reality as present, but not perceptible, reinforcing obscurity as truth making authority necessary.</text>
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                <text>Both Seek Change and Consumed are charcoal works that examine the tension between autonomy and external control, particularly surrounding beauty standards and identity. The first is a carefully constructed still life, while the second draws from combined photographic imagery. In both, symbolic details represent authority and influence, forces that guide, reshape, and at times distort the body and mind. Together, the pieces blur the line between choice and pressure, questioning how identity can be reclaimed in a culture defined by invisible standards.&#13;
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.&#13;
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.</text>
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                <text>Domestic objects accumulate meaning over time and through use. They carry memory, cultural tradition, and personal history within their surfaces and gestures. This body of work draws from Midwestern features and function, positioning the familiar within contemporary space through recognizable ceramic forms. Grounded in my upbringing in Missouri, these pieces are made with local river clay, wood ash from a backyard bonfire pit, and regionally sourced materials. Granite and iron-rich clay determine surface and color, while atmospheric reduction firing process allows the environment to mark each form. The materials are specific to place; they locate the work within its geography rather than abstracting it. Influenced by the women who taught me to make, I work through traditional techniques and surface detail. Functional forms, additive gestures, and craft-based processes remain central. My background in ceramics sustains an ongoing negotiation between utility and expression, vessel and sculpture. By reclaiming these materials and methods, I examine how identity is shaped through culture and place. Most importantly it addresses where the distinction between function and fine art lies for the viewer. These works engage contemporary discourse while insisting on the conceptual weight of domestic craft. </text>
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                    <text>Layla Biby: Ontogeny</text>
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                <text>For this design, I wanted to draw inspiration from feminist protest movements in Mexico and combine them with traditional Mexican folkloric dress. I was especially inspired by the powerful visual language used in protests against femicide, including red handprints and bold text statements. I wanted to take those protest elements and merge them with garments that represent culture, tradition, and movement. In my design process, I focused on how motion could reveal meaning. I chose a black full circle skirt inspired by folklórico dance so that when the wearer moves, the painted phrase “No Nos Matén” becomes visible. The red satin waistband references traditional dance silhouettes while also symbolizing urgency and blood. For the bodice, I created a white corset with an embroidered anatomical heart, inspired by Frida Kahlo’s emotional imagery. I wanted the heart to feel exposed and vulnerable, but also strong. I finished the look with a lace headband featuring a red painted handprint, directly referencing protest imagery used by women across Mexico. Through this piece, I hope viewers see how culture and resistance can exist together. I want the garment to feel powerful in motion and to encourage people not just to look at it, but to think about the real women behind the message.</text>
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                <text>Each year, about 62 million tons of textiles are consumed worldwide, Traditional garment production often generates a large amount of fabric waste, with scraps and offcuts ending up in landfills. The Garment I designed and produced was Inspired by a look from Dior’s Spring/Summer 2025 collection, the design reinterprets couture elegance through a zero-waste inspired design. Where traditional luxury often relies on excess and over consumption, this piece seeks beauty in restraint. Horsehair braid structures the silhouette, creating volume that feels both architectural and organic. Pleats and gathers fold intentionally, allowing the textile to move and breathe around the body. The dress takes on the presence of a flower in bloom—each fold a petal, each curve a quiet gesture toward growth and renewal. Every element of the fabric is approached with care and intention. Through deliberate draping and considered pattern placement, the construction feels purposeful and refined. The piece becomes more than a garment; it stands as a conversation between craftsmanship and modern luxury, suggesting that thoughtful design can deepen and elevate the meaning of sustainability.  Every year, 92 million tons of textile waste are produced globally, Zero-waste design aims to eliminate this problem by using pattern-making strategies that utilize every part of the fabric. This not only reduces textile waste but also encourages more thoughtful and innovative design processes</text>
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                    <text>Hillary Daniels: Lost Innocence</text>
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                <text>The MMIW (Murdered and Missing Indigenous Women) is a movement that was created in 2015 to promote awareness and bring some sort of relief to the victims’ families. It is said that, “ACROSS THE UNITED STATES AND CANADA, NATIVE WOMEN AND GIRLS ARE &#13;
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 &#13;
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 &#13;
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 &#13;
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 &#13;
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.</text>
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                <text>2026</text>
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