Intermedia

Permanent Link: https://hdl.handle.net/10177/40387

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Now showing 1 - 5 of 5

Hali Autumn 2025
(2025-11-20) Wilmunnson, Autumn, Hali
This thesis sits at the intersection of feminist visual studies and phenomenological approaches to art, examining the conventions through which femininity is expressed and remembered within analog filmic media. Focusing on both still and moving, super 8, images, the project traces a lineage of spectral femininity: a mode of being articulated through visual languages of absence, ephemerality, and spectral presence. Drawing on Jacques Derrida’s theories of trace and hauntology, the research conceives femininity not as a stable visual entity but as an apparition that emerges through deferral, disappearance, and the material contingencies of experimental darkroom processes. Working through analog methodologies, the project explores presence as a condition constituted by residue and haunting. This archive is understood not as documentation of facts but as an index that is shaped and measured by erasure, affect, and embodied memory. The thesis follows a palpable lineage of women artists: singular figures such as Alix Cléo Roubaud, whose photographs stage a self between visibility and vanishing. Alongside these visual practices, Hélène Cixous’s writing provides a theoretical and poetic grounding for understanding the feminine as a force. Her call for a writing of the body resonates with image-making as a tactile inscription of vulnerability and desire. Through the tracing of this spectral lineage, artistic production is reconceived as a dialogic encounter across time. The project proposes new configurations of visibility within imagery. It argues that feminine presence, when approached as spectral and phenomenological , destabilizes normative visual paradigms and opens avant-garde modes of attunement to absence, vulnerability, and persistence. Through the interplay of material process, embodied knowledge, and affective resonance, the thesis offers a framework for understanding how femininity endures within and beyond the frame as an ongoing, relational, and haunting energy.
Emma Knapton 2025
(2025-11) Knapton, Emma
Displaced Embers is a 4 minute stop-motion animated film that depicts human and animal displacement through the legend of Bigfoot, revealing the need for cultural considerations when building climate resilience. Ember, a Bigfoot cryptid, is forced to leave home due to a natural disaster and travels in search of a new one. She struggles to find a preferable place to live that is not impacted by humans. This film is based off of the legend and conspiracy of Bigfoot because the character of Bigfoot is humanoid, creating separation between reality and fiction that can effectively touch upon the urgent subject of the climate crisis. This film seeks to bring awareness about the importance of climate resiliency and the devastating effects of displacement.
Lenny Beach 2025
(2025-04-12) Beach, Lenny
CRT and the Search for God (MK2) explores the intersection of spiritual experience, analog technology, and material presence. Originating from two profound moments of divine encounter - a vision during a performance by Reverend Kristen Michael Hayter and an unexpected blessing from a Capuchin friar—this project reflects a shift from artistic overcomplication toward radical simplicity and spiritual honesty. Through the use of CRT televisions, water, light, and video footage of prayer gestures, the installation creates a meditative space where technology and spirituality are not opposing forces, but intertwined mediums of encounter. CRT TVs, with their static electricity, scent of heated coils, and visible inner workings - act as relics of memory and ritual, embodying the tactile and imperfect nature of both human, technology and divine connection. Water serves as a site of reflection, transformation, and mystery, bending light and imagery to mirror the often indirect, elusive presence of the sacred in daily life. The process of building the installation - marked by unexpected technical challenges and material failures - became central to the piece, revealing that surrender, trust, and resilience are crucial to both spiritual and creative practice. Ultimately, CRT and the Search for God (MK2) invites viewers to witness and partake in a personal spiritual journey, grounded in vulnerability, community, and the unbreakable search for meaning. This work affirms that faith and creation are not destinations but ongoing processes: embodied, imperfect, and profoundly alive.
Oscar Dierker 2024
(2024) Dierker, Oscar
www.cityecology.forsale a series of meditations a blog of prose performance as research photographic documentation extraction of resources commerce in the name of understanding can I sell you some city ecology? can anybody? all in an effort to engage with the built environment
Megita Denton 2024.
(2024) Denton, Megita
The Gathering Project Megita Denton, Thesis Abstract At its core, The Gathering Project is an inclusive reimagining of the public art process through holistic, conceptual, and philosophical designs that are rooted in Indigenous philosophies, in pursuit of transformative change. Such philosophies honor that all beings “have a seat at the table,” which denies human exceptionalism, and provides sacred ways of recognizing the land as the connector of all beings. How we steward land, interact with her, and live alongside her directly sculpts the physical, spiritual, and metaphysical realities of our existence. This way of being with the land is the antithesis of capitalism. I am trying to “gather” all of these factors, elements and beings together to reconceptualize how we engage, finance, view, design, and allow public art in common spaces. The Gathering Project is shedding light on public land art processes for the artist, viewer, and gatekeepers of public art. My arrow is pointing to the resculpting of this process in pursuit of an evolution of public art accessibility for all stakeholders. All elements of my thesis, The Gathering Project, were created at Camp Colton and at my home studio, Able Farms PDX, due to unfortunate inadequacies of PNCA resources and facilities. This project presents a temporary installation as an artistic concept which suggests alternative ways of engaging with the public art process and design. The four tangible elements are: The Four 🗝Elements Wind/Air - Schematic Diagram Earth - Bio-Anchors (ecologically informed sculptures) Water - Living Thesis Document Fire - Manifesto, ⇺Outside of Art⍈ The Gathering Project explores how an independent artist navigates the public art process and encourages viewers to rethink the design and production of public art in this city’s current system.

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