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The Little Things
No full textThe Little Things, black-and-white photograpy, measures 13 by 19 inches.
Artist Bio and Statement My Name is Dustin Lau. I am a Senior Electronic Arts Major at Linfield College. My medium has been mainly photography, with one performance piece that was documented for class with photography. My work began with a focus on portraiture; however, during the start of this year I wanted to shift my focus from people to that of street photography. I believed that the photographs that I could take of the streets and the life within the streets could help to tell a story as well as document its life, and moreover allow others to see a glimpse into how I see the world through photography. As such, my series Timelessness was created. A lot of the inspiration for this series came from street photographer Melissa Breyer and her inspiration for finding the hidden stories behind the images that she took. I see my work within the art world as being an exploration and, in some way, documentation of life around where I am currently living, using my camera to give that feeling of something that can stand through the test of time and look like it can be from any time period.
As such, my intention for my images is that I aim to capture those timeless feelings with a focus on the quiet moments using my photography with people who are just going about their day. I want to use my photos to document the town and its people as well as get a glimpse into how I see the world through photography. We go throughout our lives so fast that we don’t take the time to stop and enjoy what is happening now, such as the things we do for our jobs or for ourselves.https://digitalcommons.linfield.edu/arts_reconnecting/1045/thumbnail.jp
Millworkers?
No full textMillworkers?, acrylic on canvas, measures 12 by 16 inches.
Artist’s Statement I am a junior at Linfield College, getting a Bachelor of Arts in Studio Art and a Bachelor of Science in Elementary Education. During my time at Linfield, I have played soccer, joined a sorority, and began pursuing a second licensure. Two of my class requirements to fulfill my major were Art 310 and Art 311. In these classes we focused on studying art history and learning about a myriad of artists from 1874 until now. During this class I began loving history of different artists and their work, so it was clear to me I wanted to incorporate what I had learned into my final body of work. In my collection, I aim for people to take a step back and look at historical art in the eyes of the 21st century versus the time period in which they were originally painted.
My first piece being a recreation of Starry Night by Van Gogh turned into Smoky Night, which addressed the issues our world is facing against oil refineries. I wanted to turn Van Gogh’s masterpiece into a piece that forced the audience to see what refineries are doing to our atmospheres.
As I continued working with social issues, I moved to another widely known piece by Edvard Munch, The Scream. In this piece I wanted to address drugs as emotional pain relievers. In the 21st century, more people are using unprescribed medication in hopes to relieve pain, stay up to do assignments, or for fun. In this piece I placed a prescription bottle in The Scream’s hand, as he is sighing in relief of whatever he was facing.
Continuing, I moved to another well-known artist, Frida Kahlo. In this piece I tried a new medium, Photoshop, to create my intended piece. I started with Kahlo’s piece Self Portrait, Dedicated to Dr Eloesser, and from there I utilized Photoshop in order to clear Frida’s skin, make her face thinner, add makeup, get rid of excess facial hair, and remove her unibrow. This piece was created in hopes of showing the audience how the 21st century is more focused on looking perfect and meeting unrealistic standards through social media outlets.
My next piece was a personal piece to what I am studying within my education major. This piece is based off of Jana Sterbak’s piece Sisyphus Sport. This piece was a large rock with backpack straps attached to it. As I made this piece it reflected the heavy coursework teachers assign in order to get through all of the required Common Core standards per year. I wanted the audience to reflect on what is required of students through this piece.
As our world made a rapid change during the COVID-19 crisis, I decided to rework a Pablo Picasso piece titled Woman Sitting Near a Window. This piece was also a personal piece because it felt so relevant to my life currently. To this piece all I added was a simple white face mask, because the whole world currently is stuck behind these masks to protect us from a virus. While stuck at home after being sent home, I began to become fixated on the coronavirus as all other world issues began to take a back seat to this pandemic. This inspired my final piece recreated after Millworkers, by LS Lowry. This piece originally was a factory full of people and life that I changed into a factory that was empty due to the pandemic, and the eeriness felt so similar to that of the world right now.
This body of work has been a very exciting opportunity for me to put together my love of art history and test out my own art skills while using mediums and styles I may not be comfortable with. I took this work on as a time where I could try new things while succeeding and failing in order to find the pieces that mean most to me. Now that I have completed this body of work, I hope to begin to teach students about art in history and about how what they do can have an impact on people everywhere.https://digitalcommons.linfield.edu/arts_reconnecting/1039/thumbnail.jp
Self-Exploration 02
No full textSelf-Exploration 02, Gelli print, measures 5 by 7 inches.
Artist Statement & Bio My name is Nissa Jensen, I am a visual artist that focuses on painting, drawing, digital, performance, printmaking, and clay, often combining them. I am from Portland, Oregon and am pursuing a B.A. in Psychology and Studio Art from Linfield College in McMinnville while working on my own freelance art and projects. I understand the healing qualities of creating and have future plans to become an art therapist. I have always been passionate about body positivity and intersectional feminism, and I strive to depict this in my work.
I am interested in illustrating the strength and beauty of parts of the body and the mind that may be considered ugly or unconventional to society. I am continuously striving to learn how I can find avenues for living a meaningful life through nurturing myself, others, and the land we live on.
Through this series of work, I am interested in exploring and understanding my body and its relation to the world. I believe fostering love and acceptance for my physical vessel will help me move through the world with more appreciation and attention towards everything and everyone around me. The physical is intimately tied to the mental experience, so through my work I also aim to explore my mental health and how it relates to the physical body.
I aim to bring beauty and power to things that I or others have told me are ugly and that should be hidden.
In my series of ‘tondo’ pieces, which are my paintings on wood canvases, I am exploring the aspects of my identity and how it relates to living with a mental health disorder. These pieces are more abstract and often focus on a featureless silhouette, surrounded by a vast landscape filled with color, texture, and intrigue. This is my attempt to create a scene that is a sort of escape to the small, featureless silhouette. Other pieces in this medium are detailed self-portraits that explore this part of my identity with memento moris, which, art-historically, are reminders put into paintings of humanity’s impending mortality. This is something I struggle with and explore through these works.
I am inspired by artists such as Ana Medieta – she was a Cuban-American performance artist, video-artist, and sculptor interested in the relationship between the female body and nature, and she also referenced the topic of rape, and identity. I am also inspired by African-American painter and printmaker Kara Walker’s work, which explores gender, sexuality and identity. As a feminist artist she has taken the conversation further with her art by also tackling subjects such as race and violence. Other artists that greatly inspire me that I see myself fitting in with are Valie Export and Judy Chicago, and Carolee Schneemann.
In my prints and other paintings, I focus on the physical realm of my body and, again, aim to bring beauty, power, and positivity to parts of myself that I have been told by society are ugly or that should be hidden or altered to be more palatable. I depict this through my paintings and prints of people with varying shapes, sizes, colors, and gender identities.
In the future, I see myself exploring these themes more through more visceral, figurative paintings on the body, as well as performance art that references my experience growing up Catholic and taboos about sex and sexuality. I hope my work inspires debate and conversation.https://digitalcommons.linfield.edu/arts_reconnecting/1034/thumbnail.jp
Autumn Stardust
No full textAutumn Stardust, acrylic on canvas, measures 14 by 11 inches.
Artist Statement To Grieve Means to Love
This body of work requires some context of my past endeavors. A very clear representation of such is the travel journal and short film I created following the handful of months I spent in New Zealand. The film, titled The Year without Summer, is an accumulation of journal pages of drawings and writing I worked on while I was there, music that was the soundtrack of my adventures, and videos and photos taken during that time. My own memories, ever shifting, are physically manifested and contrasted with how they are documented in the journal and the tone of the music and videos. This film and the journal itself provide context for the paintings that make up the rest of my portfolio.
My subject is myself. To understand my work, it is vital to gain some understanding of who I am. My name is Caroline, I am studying Studio Art, Visual Studies, and Marketing, and I come from a particularly large family. I’ve never been very far from home. However, life is short, the world is large, and nothing you can do can stop the constant stream of time. I decided to go abroad, specifically to New Zealand, because of my family. Four years ago, my brother passed away due to suicide. Since that day, death has been a voice whispering in the wind. My family took her advice: to take every opportunity and to always love one another. My brother, never far from my thoughts, was one of the main motivators in choosing to go to New Zealand. Associating him with the beauty I found there was a way to better understand myself and my grief. This collection of work is a way to look deeper inside myself in order to start processing my own identity and trauma through visual means.
Memories are important, especially during this time of unrest. I’m interested in how memories change through time and reflection, especially those born from my time abroad and what emotions come from that experience. There is no one way to interpret a memory, just as there is no one way to interpret a piece of art. Reality is not set in stone. How do pieces connect with each other and connect further to my identity? How does time change the understanding of something?
My portfolio first and foremost is a way to begin to look at my own identity as it is influenced by trauma, situations and adventures I experience. It almost seems narcissistic, but I fully embrace this time in my life where everything may be uncertain. I am fortunate enough to have an outlet in art to explore my experiences, despite current events of a global pandemic. Art has always been an important tool in self-discovery and expression. My intentions are to use my own image to express larger themes that hold importance to myself.https://digitalcommons.linfield.edu/arts_reconnecting/1025/thumbnail.jp
Whisper
No full textWhisper, acrylic on canvas, measures 18 by 24 inches.
Artist Statement To Grieve Means to Love
This body of work requires some context of my past endeavors. A very clear representation of such is the travel journal and short film I created following the handful of months I spent in New Zealand. The film, titled The Year without Summer, is an accumulation of journal pages of drawings and writing I worked on while I was there, music that was the soundtrack of my adventures, and videos and photos taken during that time. My own memories, ever shifting, are physically manifested and contrasted with how they are documented in the journal and the tone of the music and videos. This film and the journal itself provide context for the paintings that make up the rest of my portfolio.
My subject is myself. To understand my work, it is vital to gain some understanding of who I am. My name is Caroline, I am studying Studio Art, Visual Studies, and Marketing, and I come from a particularly large family. I’ve never been very far from home. However, life is short, the world is large, and nothing you can do can stop the constant stream of time. I decided to go abroad, specifically to New Zealand, because of my family. Four years ago, my brother passed away due to suicide. Since that day, death has been a voice whispering in the wind. My family took her advice: to take every opportunity and to always love one another. My brother, never far from my thoughts, was one of the main motivators in choosing to go to New Zealand. Associating him with the beauty I found there was a way to better understand myself and my grief. This collection of work is a way to look deeper inside myself in order to start processing my own identity and trauma through visual means.
Memories are important, especially during this time of unrest. I’m interested in how memories change through time and reflection, especially those born from my time abroad and what emotions come from that experience. There is no one way to interpret a memory, just as there is no one way to interpret a piece of art. Reality is not set in stone. How do pieces connect with each other and connect further to my identity? How does time change the understanding of something?
My portfolio first and foremost is a way to begin to look at my own identity as it is influenced by trauma, situations and adventures I experience. It almost seems narcissistic, but I fully embrace this time in my life where everything may be uncertain. I am fortunate enough to have an outlet in art to explore my experiences, despite current events of a global pandemic. Art has always been an important tool in self-discovery and expression. My intentions are to use my own image to express larger themes that hold importance to myself.https://digitalcommons.linfield.edu/arts_reconnecting/1024/thumbnail.jp
Look to the Quiet Sky
No full textThis creative writing thesis contains a series of short stories by Jordan Keller. Oh Biscuits Madra Carolina Girl Under Rocks and Boulders Vineyard Farms and Undrinkable Win
Verifying 2D Device Potentials and Conduction with Kelvin Probe Force Microscopy
No full textIn a 2D field effect transistor (FET), the electrical properties of the channel are modulated using a gate voltage. The electrostatic doping of the channel and the contact resistance of the interacting layers both contribute to the overall device conductivity, which plateaus above a certain gate voltage. Other factors, such as surface cleanliness and microscopic details of the films, also influence the conductivity as can be deduced from variations between multiple devices. In this study, we explore the ability of Kelvin probe force microscopy (KPFM) to separate the different factors influencing overall device conductivity. By applying a potential bias to a simple device, we build confidence in the linear response and reproducibility of the KPFM technique. We then directly visualize the uniformity of the surfaces, the potential barriers between layers, and the characteristics of the WSe2 film as a function of the applied voltage. These data deepen our understanding of device potentials and conduction in 2D FETs
Deborah Olsen Public Service Essay
Get PDFIn this essay, Sierra Miller reflects on her summer spent interning with Awaken, a faith-based non-profit organization in Reno, Nevada whose mission is to increase awareness and education surrounding the issue of commercial sexual exploitation and to provide housing and restoration for its victims
Introducing Linfield University
Get PDFPresident Miles K. Davis addresses Linfield\u27s transition from college to university
Is Marijuana the Best Medicine?
Get PDFLong before pot became legal for recreational use, certain states legalized it for medical use. But is cannabis really effective as medicine? Kim Dupree Jones, Ph.D., RN, FNP, FAAN, professor and dean of the Linfield School of Nursing, focuses on just that question in her research