Intermedia

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

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Now showing 1 - 12 of 12

Jacob Sirokman 2026
(2026-04-11) Sirokman, Jacob
In Reaching Through, motion, light, and travel converge, mapping out memory and connection in an EP and its accompanying visuals. Captured are city lights and roads, bright lights and long drives. Through electronic music production, photography, and video synthesis, this series reaches towards openness and possibility. Inspired by classical writings about ancient Greek eros and narrative constructions of travel, roads and cityscapes become contexts for exploration. Covered in light or blurred by the speed of the road passing, a figure is placed in the role of navigator – alone, focused, and open. Reaching Through uses Portland roads and viewpoints as contexts for exploration. Memory is something to be traversed. Closeness is something to be arrived at. Culminating in a 4 track EP, an off-site exhibition, and a concert event, Reaching Through explores what it means to reach out towards connection and sentimentality through dreamy electronic music, video, photography, and performance.
Xochitl Nuño 2026
(2026-02-13) Nuño, Xochitl
This Gothic-revival fashion collection seeks to answer the question “How can Gothic fashion engage with Mexican motifs, cosmology, myth, and folklore to expand upon the Gothic canons traditionally Eurocentric foundations?” This collection consists of four pieces. 1.) A beaded Mohair purse referencing the necklace of human remains worn by the Mexica deity Coatlicue. 2.) An embroidered pair of black velvet and rabbit fur gloves referential to the myth of Quetzalcoatl imposing a rabbit onto the moon. 3.) A corset-style beaded anatomical heart bodice speaking to the brutalistic mischaracterizations of the Indigenous Southwestern communities. 4.) A rosary-style necklace celebrating the fruits of the Chinampas as well as the critically endangered Axolotl. This fashion collection challenges ideas of aesthetic ownership by combining symbols and concepts that both predate and follow after European contact. Through these pieces I hope to bring attention to the innovation and resilience of Indigenous and Latino Americans. In making these pieces I seek to illustrate the importance of ornamentation as cultural resilience and as a rejection of mass production. In creating these pieces I aim to connect to Latino American audiences and share aspects of Mexican culture that I find to be underrepresented.
Davis Bashungwa 2026
(2026-05-08) Bashungwa, Davis
Esoteric Africana is an installation-based exhibition inspired by wizard tropes, high fantasy, and the blending of linages. This project was my way of bringing light to a genre named Afro-Fantasy. Afro-Fantasy blends Black and African aesthetics and traditions and incorporates the familiar motifs of High-Fantasy to create a new genre where Black people are the highlight of these Epics. Esoteric Africana challenges Euro-centric narratives within the genre and pop culture and creates a space where Black identity, culture, and history are celebrated.
Willow Ferdig 2026
(2026-04-14) Ferdig, Willow
A study of the reduced form through distortion and symbolization, in the goal of achieving essential forms which can provide a better somatic and spiritual understanding of the self, and its relationship to the world around it. This project uses painting, video, and performance as its mediums, each exhibiting its own qualities of reduction. The painting work uses redaction of figures to indicate the body as a vessel, and then incorporates simplified symbolization of elements, as to isolate interactions to composition so that the viewer is able to place their own somatic understandings into each piece. The video work acts as a means of long form and passive documentation of performance. Using analog, low quality, and obsolete technology for this process adds a layer of distortion to the images, thus reducing legibility, and leaving the viewer with compositional form and color from which meaning can be derived. This project went hand in hand with a process of exponential growth in my personal life, finding myself and my relationship with God. It was my means of making sense of these new experiences, and by looking at the work as a collection, the viewer is granted the opportunity to feel that progression and growth.
Otis Aiello 2026
(2026-04-14) Aiello, otis
Transness is intrinsically linked to noise. The act of transitioning between genders is something that is inherently messy, complex, and taboo; as is noise. Noise is a force beyond human comprehension, thus it is often defined by what it is not. Noise is not a pattern, it’s not pleasant, it’s not music, and it certainly doesn’t make a lot of sense. Noise is most often used to define an unwanted sound, something deemed as unpleasant by an outside actor. This is often how transness is represented in the media, shown through the lens of someone who is separate from a trans identity, this leads to the defining of transness to be thrust upon trans people based on stereotypes and preconceptions. This kind of representation often turns into propaganda showing trans people as gross, weird, or even violent. This politicking of an identity is exactly how noise is used when it comes to sound. Sounds are neutral but once they are defined as noise they lose their presumed neutrality and are painted as something unwanted and even dangerous. These outside definitions are exactly why building definitions and representation from within communities is so important.
Ruby Tidd 2026
(2026) Tidd, Ruby
Tethering is an iterative sculpture series exploring relationships, connectivity, and impermanence through materiality, process, and abstraction. This body of work, consisting of five sculptures in total, considers emotional connection as an ever-changing, constant evolution. Utilizing natural rubber latex as a primary material, emphasis on ephemerality, impermanence, and entropy offers an outlet to consider erosion as transformation. This body of work contemplates closeness as an ongoing negotiation that takes many forms, expressed through abstraction and material transformation. This thesis is an ode to process-based making as a means of discovery of meaning. Through the gesture of wrapping as an act of embrace, these sculptures utilize repetition, seriality, and iteration as a means of expressing many different forms of tethering- offering a perspective of many conclusions and ways of being amongst each other rather than a singular resolution
Julia Goetz 2026
(2026-04-17) Goetz, Julia
Julia Goetz // Third Space // April 16, 2026 Third Space explores the intersection of furniture design, sculpture, and performance, creating a third space that fosters intentional human connection. In an increasingly dematerialized world, the act of gathering face to face to converse and share presence has become vital to our collective humanity. Through its materiality and mixed-media construction, the table functions not only as an object but as a catalyst for intimate gatherings grounded in intention and participation. By embedding the maker’s hand within the hardwood structure, foregrounding the physical process of creation, the work emphasizes the value of tactile engagement, lived experience, and communal exchange. Third Space positions art as an active, shared event that is an embodied practice of living that unfolds in real time.
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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