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                <text>Sigo Rezando</text>
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                <text>Ortega, Sofia </text>
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                <text>I use mixed mediums in my work to convey my experience of my cultural identity and familial history, using fibers and printing techniques to stitch together pieces of history like a puzzle. The mixed imagery of my family in Venezuela serves to highlight the themes of motherhood, religion, and family within Latinidad. This is largely inspired by the idea of believing your mother to be a Godlike all-knowing figure from which you sprouted, aiming to visually express my perspective of my childhood. Making sense of religion in the context of my life and investigating the root of my family’s devotion to Catholicism is something that I aim to convey. I feel that unfounded religious worship can lead to blind devotion in other aspects of your life, and the religious rituals learned at an early age can be mirrored by the repetition in the rituals performed while creating art (i.e. weaving, screenprinting, etc.), and learning devotion at a young age can complement and influence expression of devotion as an adult.</text>
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                <text>Garden</text>
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                <text>Smale-Murillo, Scott </text>
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                <text>Garden strives to reconcile the physicality of garden plants with the expressive nature of paint.&#13;
In this oil painting I borrowed colors from Van Gogh’s Irises in order to create my own version of a bed of flowers. The paint has been applied, pushed, pulled, smeared, removed, and applied again to destroy any visual resemblance to the work’s namesake, and yet a notion of the natural world still pervades it. Through a combination of happenstance and deliberate action, passages appear on the surface of the work that seem to flow into each other or float, but by contrast there are also places in which the paint appears to have been cut up or gouged into the piece. The dance of movements required to create this work are as much a part of Garden as the paint itself. Additionally, an overarching factor in the making of the piece was an attempt to capture the creative spirit which I believe underlies all works of art, and in this case is captured through the lens of an appreciation of the natural world.</text>
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                <text>Vessels of the Opus</text>
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                <text>Ibdah, Malik </text>
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                <text>The alchemical concept of a "Union of Opposites" is the belief that all things in the universe are connected as one whole, and therefore, two polar opposites are actually one in the same. I apply this concept to the ceramic process, viewing it as its own union of opposites between the natural and artificial. Clay is a natural, organic material taken from the earth, and is intentionally manipulated to build a man-made artificial object, in the form of a vessel intended for functional use. Within my own work, I represent artificial and natural dual aspects of the ceramic process by creating functional, structured vessels, which are then altered from the inside to incorporate organic, textured shapes in the form. In these three ceramic vessels, I link my work back to alchemy by referencing the Magnum Opus through the use of color and texture. The first stage of the Magnum Opus is the blackening, and represents putrefaction. I chose this stage to represent the organic aspect within the first vessel. The second stage of the Magnum Opus is the whitening, and represents purification. I chose this stage to represent the inorganic aspect within the second vessel. The final stage of the Magnum Opus is the reddening, and represents the union of opposites. I chose this stage to represent the union of both organic and inorganic aspects within the third vessel. Together, these three vessels represent the nature of the ceramic process seen through the lens of alchemy.  </text>
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                <text>I’ve Discovered That it’s Mostly About Me</text>
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                <text>Jewell, Madolyn</text>
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                <text>My artwork navigates the complex terrain of human connection and our capacity for both compassion and resentment towards those who cause us pain. I explore the nuances of these complex relationships through my depictions of archival familial photographs. My painting joins this conversation about family, exploring the absurdity and beauty of human behavior in close relationships. I extend empathy towards those close to me, as well as those who have hurt me. In a portrait, I study a person’s face, enter their mind, and embody their suffering. In this way, my art becomes a mirror for myself as I process my own emotions through understanding other’s pain. “I’ve Discovered That it’s Mostly About Me” demonstrates what a person’s modern day camera roll may look like, showing a variety of intimate moments with the self and others in each square. The painting invites the viewer to gaze at someone else’s life, despite a camera roll being a personal and guarded possession. The squares within the painting consist of varying emotional states and landscapes. This way of thinking reveals how multifaceted a person can be-blurring the lines of what makes a person ‘good’ or ‘bad’. These ambiguous expressions and diverse color palette encapsulate the intricate nature of a person shaped by their experiences, while showing the vulnerability encapsulated within one’s personal photographs.</text>
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                <text>“Honeymoon” </text>
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                <text>Richey, Jacob</text>
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                <text>I translate stories from my music to a physical form with this artist’s book, which uses traditional bookbinding techniques and structure to draw a narrative from materials that may otherwise not seem storied. I explore the permanence of impermanence with the use of natural materials moderately preserved through papermaking and paired with a poetry-guided narrative. &#13;
This book’s concept arose from my album “Honeymoon,” which is about the death of a former partner after a short but strong relationship — planting the concept of death within the idea of impermanence. I use found plant materials, including flower petals and roots, to analogize the quick bloom and death of springtime flowers with the loss of the relationship. I include lyrics from the album on the pages of the book — both handwritten and transferred — to blend these stories. &#13;
The flowers that fill the pages are plucked from the ground, swept from the dirt, ridded of impurities, soaked in soda ash, swirled in pulp, and pressed into permanence — all in the effort to preserve a fraction of their life amid their death. Everything in this book is made of things that have died, from the plants in the pages to the content on top of them, drawing attention to life through the lens of impermanence. There will always be things that disappear, that die, that move on from us, that we are supposed to move on from. But this work finds power in preservation in an admission of what must be laid to rest. &#13;
You can listen to the album "Honeymoon" at this link: https://ffm.to/honeymoon-jacobrichey</text>
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                <text>Ancestry Revived</text>
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                <text>Gundlach, Hannah</text>
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                <text>The focal point of Ancestry Revived is a Czechoslovakian folk vase with embroidered edelweiss, a flower which symbolized German resistance against Nazism during the Second World War and the ability to grow in the toughest conditions. The background is composed of vibrant renditions of Italian, French, and Czechoslovakian folk art. The flowers were embroidered with thread from my great grandmother’s sewing kit, physically tying the piece to my family and bringing me closer to them through the act of making.&#13;
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                <text>The Opacity of Grief </text>
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