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                <text>Behind the Curtian</text>
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                <text>Acton, Hunter </text>
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                <text>I have always thought drag was a beautiful art form, but I didn’t know much about the process that went into its creation. In our current political climate where gender expression and performance are being criminalized, I wanted to bring the viewer behind the curtain into a drag performer’s personal space where they could see the creative aspects and artistry of crafting the persona. &#13;
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                <text>The building will be envisioned as a dynamic learning environment where education and nature intertwine. That is based on creating an organic fusion of the interior and the exterior spaces in Varied, flexible spaces that accommodate diverse learning styles. This will encourage a dynamic and interactive learning experience that adapts to the needs of each student. Also, the building will be envisioned as a living, breathing entity that coexists harmoniously with nature while actively nurturing the intellectual growth of its students. This project will aim to create a sustainable relationship between the earth and our built environment through the water collection system. The design is an abstract of the hawthorn flower. This native symbol is common in Missouri and is recognized in Columbia. It will enhance the aesthetic appeal and forge a profound biophilic connection rooted in cultural significance. The building's three distinct forms are an abstract of the flower's delicate petals and ingeniously house classrooms, service areas, and offices. Through the Hawthorn Architectural University, the school becomes a hub for knowledge and a nurturing space for students to flourish, innovate, and grow into the architects of the future, fostering a deep appreciation for sustainable design principles and creating a transformative learning experience.</text>
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                <text>The Ionic Columbia Theater &amp; Cinema building aims to create a vibrant venue that supports and offers a multicultural entertainment experience. It will host events and support local artists and cultural organizations. The design draws inspiration from the iconic Francis Quadrangle columns, using an abstracted spiral form embodying innovation and progress. The project will also implement a sustainable water collection system. The design's dynamic curves and organic flow ensure it blends seamlessly with its surroundings, creating a space that encourages creativity, collaboration, and cultural connections. The ICTC building will become a vibrant hub of creativity, fostering a deep appreciation for sustainable design principles and creating a seamless fusion of architecture and performance; it simultaneously enhances community involvement and cultural expression, positioning the ICTC design as a cultural landmark that bridges the past and future. </text>
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                <text>I’ve always been interested in mixing real life footage with visual effects. For a long time fiction was something that people could only ever write, draw, and imagine, but video and visual effects finally allow us to experience fiction in action as if it was right in front of us. I am a big fan of films that utilize believable and extensive visual effects such as Star Wars or Marvel films. In my own work I try and mirror this sentiment as seen in my submission, “An Unexpected Find”. I’ve always wanted to know how they made lightsaber effects in Star Wars films so when I had the opportunity to submit a video with a flexible prompt to one of my classes, I decided to take it. Learning how the effect works, tracking the shot frame by frame, and editing everything together certainly took a while. But once I finished I couldn’t be happier with what I had. Thank you and I hope you enjoy watching it just as much as I enjoyed making it!</text>
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                <text>Stoneware, Gas Kiln, Cone 10 &#13;
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The idea for My Dear Jane came into being during a deep reflection of self-identity. In recent years, I have used the image of a young girl - my third-grade self, donning tighty-whities and choppy bangs - to personify this exploration. I grew up in a family of anxiety ridden women, where nights of tear stained cheeks and trembling breaths were a familiar companion. I find solace in the way fawns respond to danger: instinctively dropping into a fetal position, vanishing into the embrace of the tall grass. At the ripe age of eight, I yearned to do the same. To disappear into my surroundings as the weight of anxiety swelled in my chest. At times, the world is simply too much for a small creature to bear. The postures of the figures deliberately mirror each other: if this instinctive response offers protection to one, perhaps it can for the other as well. This emotional vulnerability is reflected in the material &#13;
itself. The stoneware demands careful handling and attentive viewing, evoking a sense of fragility. Their muted, pale colors allude to their delicacy and youth, while their intimate scale invites them to nuzzle into the palm of your hand.</text>
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                <text>I grew up influenced by conservative ideology. These ideas brought me peace of mind and sparked intellectual curiosity at a time where I questioned my self worth and mental capabilities. I found solace in the lack of change. Given time, I began to understand how harmful these ideas are – especially to people who don’t look like me. For the past ten years, hate has been given a megaphone - and has become normalized. As an artist, I try to understand other’s experiences and channel them in my work to trigger critical thinking processes regarding sociopolitical issues in my audience. I was led to further investigate the world around me - specifically through the lens of the body as a canvas for expression - by John Galliano’s 2024 Maison Margiela Artisanal Collection, which transitions between artistic mediums to express the psychology of experiencing a world that restricts and codifies yet is the breeding grounds for the realization of inner beauty. This led to “In Wake”, a video investigating the inner turmoil accompanying dehumanization in the experience of oppressed groups in the United States. Models are utilized in a dramatic rendering of America that portrays its consistent efforts to cast out minorities as part of a group rather than being recognized for their unique selves. “To persist in stride while forced to bear darkness, as each step is cast by the long shadow of death.”</text>
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&#13;
Outside of florals, this piece is made up of reusable materials, depicting the ephemerality of our planet. The florals encapsulate the globe in a fiery, saturated color scheme with reds, oranges, and yellows. The bright roses, golden sunflowers, and abstract birds of paradise elicit a passionate scene against the greenery. The flowers, usually representing life, become a visual representation of wildfire, climate crisis, and ecological instability. &#13;
&#13;
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&#13;
As artists and plant scientists, we use floriculture as a medium to speak about environmental responsibility. Burning World asks viewers to confront uncomfortable truths: human progress often comes at nature’s expense, and our planet is showing signs of irreversible damage. This piece serves as a call to action, urging reflection on how individual choices shape global outcomes and challenging us to reconsider our roles as stewards of Earth. </text>
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                <text>Domestic objects accumulate meaning over time. They hold the weight of memory, cultural tradition, and personal history. My work draws from Midwestern fixtures and regional iconography, pulling the familiar into contemporary spaces. Through mixed media and repurposed materials, I explore the tension between craft and fine art, tradition and reinterpretation. Grounded in my upbringing in Missouri, my practice reflects the aesthetics of home—ornamental details, small additive gestures, and inherited techniques. Influenced by the women who taught me to create, I embrace processes rooted in domestic craft, allowing these histories to shape my work. My background in ceramics informs my approach, referencing the balance of function and form, the push and pull between utility and expression. By reclaiming these materials and methods, I investigate the ways we subconsciously identify with culture and place. My work exists in conversation with the contemporary, asking the viewer to reconsider where these objects belong, and to recognize the depth and credibility within &#13;
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                <text>The Turn School is a 48,000-sq-ft mass structure that will be home to Missouri’s aerospace engineering school. Its unique figure integrates functionality and innovation to foster a dynamic &#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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              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
