Photography

Permanent Link: https://hdl.handle.net/10177/40389

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Now showing 1 - 8 of 8

Malique Pye 2026
(2026-04) Pye, Malique
I have found community in more ways than one photographing dance. Growing up, my influences came from many different elements and outlets. One of the most impactful influences has come from the Mexican and Mexican-American communities I have been privileged enough to be welcomed into. I began Baile to further explore, learn, and photograph the art and dance of Ballet Folklorico. As the project continued, my relationship with the dance community strengthened, and in doing so I was again welcomed into the Mexican and Mexican-American community around me. Through conversations, photographing, and being present with the community, I found myself at home again. Baile started with the intention of documenting ballet folklorico and focusing on the perspective of the dancers, and it gradually shifted to becoming more personal. It became a celebration of the community and culture that has embraced and welcomed me from my childhood years to now. Highlighting the moments that, together, create the final product performance and strengthening a representation that the community can feel seen. Baile is a photographic documentation of the traditional dance genre of Ballet Folklorico. Focusing on the perspective of the dancer to achieve a better representation of what it means to dance and be around ballet folklorico.
Alec Sellers 2026
(2026) Sellers, Alec
When scratching just beneath the surface, Las Vegas is a highly complex space. It means a lot of things to a lot of people. The Meadows is a series of photographs and writing centered around the Las Vegas Strip and my connection to it from my childhood. It consists of 10 photographs printed at 44” x 33.5” on Epson Exhibition Fiber as well as a few excerpts from its accompanying thesis paper. The photographs detail lesser-seen and lesser-noticed scenes of Las Vegas spanning late nights and long days. The Meadows seeks to explore Las Vegas and understand it from an ideological and societal perspective, but also from the perspective of a scared kid. Before, I simply didn’t like Las Vegas because it was a place where I was forced to be overstimulated, but I found the real answer to be much more involved. There was more to this place. In my investigation, Las Vegas began to make much more sense to me and none at all at the same time.
Alahnna Rousselo 2026
(2026-04) Rousselo, Alahnna
This body of work, longing for yesterday, is an explorative representation of my experience of grief and longing in day to day life. Each of the prints are made with a base archival gicleé, sheets of printed silk fabric are then delicately adhered to the surface. This is done minimally in order to allow for movement, resisting stagnation and fixed permanence. In addition to the prints, there are two videographic elements. One digital and one analog, being rear-projected on a large semi-transparent fabric screen, and played on a small CRT television screen. The layering of the semi-transparent images, and the video work, speaks to the moments of grief, big and small, that become intertwined into daily life. These interruptions to the planes are moments to reflect, to shift awareness, and to remember the preciousness and fragility of each moment.
Grayson Dunn 2026
(2026-04-10) Dunn, Grayson
The title of my thesis, “Speaking As Trans,” I attribute to Susan Stryker who came and spoke to our school two semesters ago. She used that phrase in her talk, indicating talking as a voice of authority as trans in academic and political contexts. I was so moved by her talk that I wanted to honor her this way. My project is about the intersections of identity, gender expression, self-determination, portraiture, and domesticity. My defense discussed transphobic violence, my manifestations of trans joy, my conceptual and aesthetic choices, and how my feelings towards gender have changed with time. I also meditated on the struggles that I had with my own artistic process during this project, and the importance of trans representation—now more than ever.
Gaby Langlois 2026
(2026-04-15) Langlois, Gaby
These works are photographs from my family archive- taken by my father, mother, or even myself as a child. They are handprinted in color darkroom on paper which I have pre-coated in my tears. Each photograph in this body of work I have touched, I have labored over, I have spent time with and gotten to know, and I have cried over. These family photographs are obstructed by my DNA. I have affected these images just as they have affected me. These photographs are proof to me of my own childhood and life with my parents. I, in fact, do not remember any one of these images. I cannot recall that specific day at the beach or that specific time with my dogs. But my parents exist to me as I see them here; with my dad sticking tongue out and my mom’s hair cut short. My grandmothers are as I have always known them to be- elderly and looking like grandmothers. And I -an only child playing by myself in my bedroom- am happy. I am surrounded by my family, even if they’re not in the frame. I am loved.
Fae Lehtonen 2026
(2026-04-17) Lehtonen, Ylva
These body landscapes are meant to meditate on making connections and forming trust in an isolationist society. My work is driven by the desire to create a space of comfort, understanding, connection and collaboration for both myself and the model. I want them to feel comfortable voicing their opinions on the work we are doing, their insight on how to improve or deepen the work, and their boundaries within the space. To create a space where models, as well as myself can freely communicate with each other. The open vulnerability of raw honesty and working within the comfort level of all involved is extremely important. My work exposes a lot of the model, and I do not want them to feel like they cannot share that part of themselves not just with me but with the viewers of the piece.
Callie Sour 2025
(2025-11-19) Sour, Callie
Raven’s Ridge, Chapter 1, is the opening installment of a full-length children’s novel that blends magical realism, regional folklore, and social history to reimagine the cultural narrative of Appalachia. Set along a river valley rich with memory and myth, the chapter follows young Frances Glum as she and her family journey to their new home aboard a whimsical bubble-powered sternwheeler. During the voyage, the enigmatic Captain Suds reveals the origins of the long-rumored haunting of the town’s Mingo Theater, an early hint at the deeper mysteries and community struggles Frances will soon encounter. The broader project responds directly to the reductive stereotypes that have long framed Appalachian people, particularly those perpetuated since the sensationalized media coverage of the Hatfield and McCoy feud. Through storytelling rooted in authentic lived experience, the novel aims to uplift the creativity, resilience, and complexity of Appalachian artists and communities. It also weaves in underrepresented episodes of American labor history, including the coal wars and their ties to contemporary workers’ rights, offering young readers an accessible entry point into themes of justice, solidarity, and environmental stewardship. Created from my point of view as an Appalachian multi-media artist raised in a theater rumored to be haunted and in a town still living with the effects of industrial pollution, this project is both personal and aspirational. It imagines a community that successfully defends itself against exploitation, and insists on the power of art and narrative to help envision a more equitable future. The chapter is just over 1,700 words and is accompanied by two miniature 3D sets crafted primarily from recycled and found materials, serving as tactile illustrations. Together, the written and sculptural components form a cohesive chapter.
Jacob Reppeto 2024
(2024-11-19) Reppeto, Jacob
I curated an exhibition, consisting of 18 newly made images, all utilizing 35mm film. I also created an installation piece, consisting of a bed, to further push the messaging with this body of work. I also created and performed a performance piece, referencing my depressions and growing up discovering my true identity. I investigated my identity, my traumas and how my hardships have contributed to my character in my 23 years of living. I created this work to be a continuation of my body of work I showed at PNCA in March, “love letters in las vegas,” a collection of work that was a love letter to the people, places and things that kept me alive, this body of work, “burning pages in las vegas,” is connecting the things that tried to kill me.

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