General Fine Arts

Permanent Link: https://hdl.handle.net/10177/40384

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Now showing 1 - 11 of 11

Elijah "Bean" Knoles 2026
(2026-04-17) Knoles, Bean Elijah
Honk Honk! Who's there? Is an interactive clown installation and performance exploring absurdity. In art (and likely in general), absurdity is essential in resisting propriety, developing a sense of self, and gaining perspective on the world. Absurdity is playful, gross, paradoxical, and ridiculous. What can we express with absurdity? What can it hide? What can it reveal? Why might someone laugh at a horror movie, or cry when being tickled? When does laughing at something that's not funny translate into insanity? Where do absurdity and abjection intersect? Where does humor collide with fear? The Riddley Diddler will be there to ask you these questions. This work is an externalization of the ways that absurdity serves to help cope with, and better understand, complex human experiences such as pain, fear, desire, and transgression. Each of these pieces is a personification (or rather, a clownification) of the tension between humour and sadness, fear and sexual desire, private masked inner turmoil and public performance. An expression of absurdity in art can turn scary things into something new and tangible. More tolerable, or maybe even funny. Laughter is a vessel for this, and inherently part of absurdity. Laughter in relation to fear also directly relates to people's varying perceptions of clowns. Within this, I discuss play as a coping mechanism as well as the way in which overusing comedy can be connected to psychology. Absurdity is found within paradox, laughter and fear are oximoronic. Through the process of making these sculptures I’ve been shown the vast amount that absurdity and working with play can release the subconscious mind into the conscious mind. I have found an unexpected freedom in the manic unpreparedness of my work. Creative destruction pushes against the restrictions of apathy. Absurdity is inherently in-ordinary, and there is minimal order found within my work or my process. I’ve found the performance aspect essential in achieving this chaos, as well as showing a relationship between all of this and vulnerability. These clown creatures are parts of me, they give my mind a voice and me a mask to reveal myself behind.
Carter Gubbins 2026
(2026-04-16) Gubbins, Carter
Motion Sickness began in my mind as an excuse to hang out with my friends more. I wanted to live large, do things I was afraid of, and I thought that I could use my camera as an excuse if I made my thesis a documentary project. Over the semester, it transformed into something less sensational, but richer than I could have hoped it to be. I documented the small, quiet, and solitary moments – the way the afternoon sun hit the siding of a house, a child’s painted handprint on a fence, green spring leaves against a gray sky – alongside the exciting club scenes and house parties that I had set out to capture. I leaned into the life I already had rather than continuing to grasp at something out of my reach. This quest for fulfillment culminated in one hundred forty-five photographs, one painting, and three hours of video footage. Using outdated cameras and analog processes, I archived my life, documenting as I lived. The end result is a body of work that is crowded, non sequitur, and filled to the brim with love. Motion Sickness is alive and all-encompassing. I believe this work is the beginning of the rest of my life.
Alina Quinones 2026
(2026-04) Alina Quinones
Wanting Back my Memories is a monstrous quilt in collaboration of printmaking to visually show how my brain works with developing and remembering memories. I have both ADHD and Dyslexia which makes me have a harder time to remember my memories and absorb information. Along with other things that I have trouble with my learning disabilities, my memories have been a long time struggles mine and making this quilt is how I could physically describe how my brain works through layers of fabric and notions.
Chloe Kramer 2026
(2026-04-17) Chloe Kramer
The following text and images work to understand the relationship between boundaries and limitlessness within the practice of making art. With a focus on materiality and abstraction, Chloe Kramer uses process as a way to develop paintings simultaneously rooted in the material world yet aware of the more cerebral nature of human experience. The use of a conceptually dialectic framework allows meaning to arise from the making, as the process of painting is a constant interaction and negotiation between the artist, the painting, and the viewer in order to synthesize the truth of a thing. The paintings made adjacent to this research mirror our reality, however they also ask us to practice autonomy and agency through the ability to imagine something more.
Paulina Zamarripa 2026
(2026-04-14) Zamarripa, Paulina
Rockararium is a project about rocks/minerals tied to places that my dad lived. A blend between a field guide, comic, and graphic novel, Rockararium explores the idea of collecting as connection, a story of a dad, and serving as an informational guide to certain minerals. Following my dad chronologically through time, each time he moved to a different physical location, there is a page on a mineral from that general location, as well as some bits and pieces about his life, and talks of why collecting matters. Collecting is a way to connect without having to use words or outwardly express things about ourselves in a blunt fashion. It is something I have used to strengthen and keep alive a relationship with someone I can no longer speak to. The book was created traditionally, using copic markers, colored pencils, pen, and printed on paper and made into a saddle stitch booklet to see in its intended book form.
Mikko Dizack 2025
(2025-05-16) Dizack, Mikko
By utilizing simple mechanics through my designs, such as levers, wedges, and hinges, I simplify connection and adjustability in my lamps to their most fundamental elements. This timeless design draws from the enduring beauty of natural elements. Functionality is found within the form. These lamps offer a kind of joy, a moment of stillness and comfort that creates a space where people can unwind and feel at ease. This series of prototype light fixtures utilizes organic shapes and found forms to reintegrate natural patterns into everyday life. By blending utility and sculpture together, the light fixtures act as 3D sketches for experimental design. By puzzling together raw material, fitting form to function, and choosing the right mix of mediums, these designs arise from a change in perspective. Once the design emerges from this rearranging of material, the pieces are adhered in a way that isolates the earthly nature while disguising industrial hardware and emphasizing originality. Ultimately, this collection of pieces will represent a spontaneous design process based on intuition and seeking a cohesive language between materials and form.
Raylee Heiden 2025
(2025) Heiden, Raylee
Beyond Appearances is an exploration of two subjects, Alie and Stan and the realm of personalities and stories beyond their appearances. This project takes on the appearance of two life size portrait paintings.
Rio Quezada 2025
(2025) Quezada, Rio
The Church is a Dog Park is a mixed media installation project that explores grief, memory, and the processing of loss through tactile art making. The work honors Ellen, an influential figure in the artist's life who took her own life in October 2023 due to health issues. Ellen, affectionately known as "the crazy dog lady" in their community, fostered numerous dogs and served as a third parental figure to the artist. The project's title stems from the poignant discovery that Ellen spent her final moments at what others called a church but she experienced as a dog park—a green space where she frequently walked her dogs. The installation comprises four primary components: ceramic figurines representing dogs significant to their shared history, embroidered and mended denim overalls symbolizing Ellen's practical nature, a weighted puppy-shaped soft sculpture referencing memories of carrying sleepy puppies during walks, and a variable edition of woodblock prints depicting The Dark Corner, a meaningful landscape from their walks together. Each medium serves as a different avenue for processing grief—the repetitive motions of embroidery, the grounding quality of clay work, and the layered transformations of printmaking mirror the complexities of mourning. Influenced by artists like Zoe Leonard, Felix Gonzalez-Torres, and Alison Bechdel, the work examines how objects and natural environments become vessels for memory. The project is informed by research on trauma, emotional connection in mammals, tactile art as therapy, and the concept of "a good death." Through visible mending, variable editions, and interactive elements, the project explores how grief, like art making, is a transformative process—not obscuring damage but acknowledging it while creating something newly meaningful.
Morgan Berry 2025
(2025-04-23) Berry, Morgan
Food, community, and religion are key parts of Black culture. All of our family gatherings are always paired with food. It’s a tradition that has been passed down from generation to generation alongside some of the recipes that will be discussed. The dinner table is a symbol of connection, and through research from primary sources- such as family members, secondary sources from Black American-centered cookbooks, and Black artists who explore their culture through photography. Shown in the form of collectible cards, recipe book, and dinner table setup this project explores how photography can portray the subtleties of Southern Black American experience from my eyes.
Steele Alden 2024
(2024-11-18) Alden, Steele
Ecstatic Utterances is a series of paintings exploring altered states of being through depictions of queer intimacy, religious folklore, and dreams. Vivid, large-scale paintings act as portals transporting the viewer to transcendent worlds where anything is possible and everything is beautiful. Populated with birds, horses, queer bodies, and saintly impressions— these works begin to create their own theology. This series of paintings includes four, large-scale pieces depicting intimate, queer happenings and dreamy landscapes through a mix of graphic shapes and loose, gestural mark-making. The work utilizes complex color pallets, figure interaction, and thoughtfully activated compositions to create an engaging and dynamic body of work.
Grace Angeline Feucht 2024
(2024-11-22) Feucht, Grace
An immersive exhibition that captured God’s presence in the landscapes of the Pacific Northwest. A gallery space filled with work in a variety of mediums that engaged people with the content through all of their senses. Visitors immersed themselves in the nature of the Pacific Northwest as they walked into the exhibition, leaving their preconceived notions of fine art and the gallery space behind. A hiking backpack sat upon a beach blanket with a pile cassettes, books, and a bible just outside the door. A quiet recording of ocean waves crashing on the beach on cassette played from a tape recorder by a display of custom view-masters. The audio recording drew people in to the nook of the gallery space where 3 view-masters sat upon a cedar shelf with 6 unique custom reels compiled from collections of film photos the artist took around the Pacific Northwest. Each reel contained 7 photos and was sorted into 2 reels of the beach, 2 reels of the forests, 1 reel of the mountains and 1 reel of the Puget Sound. Just around the coroner were a set of 3 colorful stained fused glass pieces that caught the sunlight as it streamed in through the window like stained glass in a church. On the largest wall were 3 large oil paintings. Inspired by the impressionists, the artist emphasized each individual brushstroke that comprised the larger landscape. As viewers left, there were 3 hand printed and illustrated prayer cards inspired by different parts of the Pacific Northwest including Mount Hood, Multnomah Falls and Indian Beach.

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