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Self-Exploration 01
No full textSelf-Exploration 01, Gelli print on wood and gold leaf, measures 6 by 6 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/1033/thumbnail.jp
Morose Angst
No full textMorose Angst, a mixed media piece, measures 20 by 22 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/1029/thumbnail.jp
Kintsukuroi
No full textKintsukuroi is made with cermaic and gold mica powder.
Artist\u27s Statement I’m Krysten Baryo, and I am a junior here at Linfield College, I am pursuing my undergraduate degree in Studio Art and Philosophy with a minor in Visual Studies. I enjoy making art in various mixed mediums as it relates to current events and personal happenings. I hope to be able to inspire questions and conversation with my art pieces, in a way that there may not be a correct answer but certainly different ones for different onlookers.
Before coming to Linfield, I studied art at Portland Community College where I explored the 2-dimensional and 3-dimensional worlds of art. This is where I realized that creating art and putting it out into the world is something that I should be doing as much as possible, and for as long as possible. I like to keep the mediums I work with varied, as it allows for new and extended possibilities in what can be created. This year, I have primarily worked with concepts relating to creating from destruction, and fixing projects from broken concepts in order to make something entirely new, leading to my ultimate statement for this spring show. The Art of Self-Repair
This semester I have been greatly inspired by the idea and process surrounding the Japanese technique kintsukuroi. Kintsukuroi is a process used often to repair broken pottery using a lacquer made of gold or another precious metal, effectively making the piece more beautiful after the repair than it was before having been broken.
The idea of an object being beautiful even after breaking is one I wanted to highlight in my recent works. Metaphorically I believe this is a beautiful concept, especially in a time when so many humans feel broken or undervalued, and in the kintsukuroi process instead of hiding the fractures they are actually highlighted. It was this thought process that inspired me to do this work consisting of a mix of mediums including a take on traditional kintsukuroi, and other pieces inspired by the process.
Leading up to the final project within this statement, I realized that the metaphor began to matter much more than the medium in my current art endeavors. I decided to teach myself how to do small scale tattooing, and used gold ink to fill in the self-harm scars on my own body. This, along with the other pieces in this portfolio, I did as a testament to self-repair, and the idea that being broken does not equate to a reason to be tossed out or given up on. This is an art piece that I will carry with me everywhere, giving others the opportunity to ask “why” something so simple and not easily understood would be tattooed on my skin. Because of this, I will be able to share my efforts in encouraging self-repair through conversation and example for years to come.
For the rest of this semester I focused on making art that has been inspired by the current events regarding the outbreak of the COVID-19 pandemic. This, in part is because it is so prevalent and unplanned that it felt like something that art must be made about, and also because in the art of self-healing it is important to address yourself in the contexts that you’re in. In this way, I’ve hoped to create a timeline of how the latter half of this semester has felt as a student continuing to study online during a time in which so many things are out of control.https://digitalcommons.linfield.edu/arts_reconnecting/1004/thumbnail.jp
Juxtaposed
No full textJuxtaposed, India ink drawing, measures 7 by 10 inches.
Artist\u27s Statement I’m Krysten Baryo, and I am a junior here at Linfield College, I am pursuing my undergraduate degree in Studio Art and Philosophy with a minor in Visual Studies. I enjoy making art in various mixed mediums as it relates to current events and personal happenings. I hope to be able to inspire questions and conversation with my art pieces, in a way that there may not be a correct answer but certainly different ones for different onlookers.
Before coming to Linfield, I studied art at Portland Community College where I explored the 2-dimensional and 3-dimensional worlds of art. This is where I realized that creating art and putting it out into the world is something that I should be doing as much as possible, and for as long as possible. I like to keep the mediums I work with varied, as it allows for new and extended possibilities in what can be created. This year, I have primarily worked with concepts relating to creating from destruction, and fixing projects from broken concepts in order to make something entirely new, leading to my ultimate statement for this spring show. The Art of Self-Repair
This semester I have been greatly inspired by the idea and process surrounding the Japanese technique kintsukuroi. Kintsukuroi is a process used often to repair broken pottery using a lacquer made of gold or another precious metal, effectively making the piece more beautiful after the repair than it was before having been broken.
The idea of an object being beautiful even after breaking is one I wanted to highlight in my recent works. Metaphorically I believe this is a beautiful concept, especially in a time when so many humans feel broken or undervalued, and in the kintsukuroi process instead of hiding the fractures they are actually highlighted. It was this thought process that inspired me to do this work consisting of a mix of mediums including a take on traditional kintsukuroi, and other pieces inspired by the process.
Leading up to the final project within this statement, I realized that the metaphor began to matter much more than the medium in my current art endeavors. I decided to teach myself how to do small scale tattooing, and used gold ink to fill in the self-harm scars on my own body. This, along with the other pieces in this portfolio, I did as a testament to self-repair, and the idea that being broken does not equate to a reason to be tossed out or given up on. This is an art piece that I will carry with me everywhere, giving others the opportunity to ask “why” something so simple and not easily understood would be tattooed on my skin. Because of this, I will be able to share my efforts in encouraging self-repair through conversation and example for years to come.
For the rest of this semester I focused on making art that has been inspired by the current events regarding the outbreak of the COVID-19 pandemic. This, in part is because it is so prevalent and unplanned that it felt like something that art must be made about, and also because in the art of self-healing it is important to address yourself in the contexts that you’re in. In this way, I’ve hoped to create a timeline of how the latter half of this semester has felt as a student continuing to study online during a time in which so many things are out of control.https://digitalcommons.linfield.edu/arts_reconnecting/1001/thumbnail.jp
I Am Going out of My Mind (View 2)
No full textI Am Going Out of My Mind (View 2), a mixed media piece, measures 13 by 19 inches.
Artist Statement & Bio My name is Jordan Davis and I am a senior at Linfield College. I am currently studying Studio Art, specifically mixed media. I grew up on Bainbridge Island, Washington which is west of Seattle. In high school I took many ceramics classes and a photography class where I started to explore art. In 2016, I moved to McMinnville to start college and Linfield College. It wasn’t till I started taking art classes at Linfield that I realized I wanted to examine art at a deeper level.
I am a mixed media artist who is taking serious issues in the world and creating a comical image that is truthful. I want to bring awareness to these issues as people tend to ignore them.
In my newest art pieces, I have turned to the political side. In our society right now, we are all experiencing the effects of COVID-19. We have to stay in our houses to keep ourselves and others safe. We can’t hug our loved ones. Go on dates. Travel. We have had to give up so many plans. It has been so difficult for all of us, but we’re in this together. I think that more than ever we need each other and address how we are going to slowly come back out into our daily lives.https://digitalcommons.linfield.edu/arts_reconnecting/1011/thumbnail.jp
Humans Fail to Fix the Love of Parenting Nature (View 2)
No full textHumans Fail to Fix the Love of Parenting Nature (View 2), a mixed media piece, measures 19 ounces.
Artist Statement & Bio My name is Jordan Davis and I am a senior at Linfield College. I am currently studying Studio Art, specifically mixed media. I grew up on Bainbridge Island, Washington which is west of Seattle. In high school I took many ceramics classes and a photography class where I started to explore art. In 2016, I moved to McMinnville to start college and Linfield College. It wasn’t till I started taking art classes at Linfield that I realized I wanted to examine art at a deeper level.
I am a mixed media artist who is taking serious issues in the world and creating a comical image that is truthful. I want to bring awareness to these issues as people tend to ignore them.
In my newest art pieces, I have turned to the political side. In our society right now, we are all experiencing the effects of COVID-19. We have to stay in our houses to keep ourselves and others safe. We can’t hug our loved ones. Go on dates. Travel. We have had to give up so many plans. It has been so difficult for all of us, but we’re in this together. I think that more than ever we need each other and address how we are going to slowly come back out into our daily lives.https://digitalcommons.linfield.edu/arts_reconnecting/1008/thumbnail.jp
Soil Characteristics in Relation to Urban Tree Mortality
Get PDFResearch in 1993, 2003, and 2013 showed high rates of tree mortality and low rates of recruitment (new trees) in Portland, Oregon’s Forest Park. Three control sites in the Mount Hood National Forest were added in 2013; research from 2018 showed the control sites had significantly more live trees, and more seedlings and saplings, than the urban sites. For the last three summers, we have been studying the soil at our sites to elucidate possible causes for the observed low rates of recruitment. Data from 2017, 2018, and 2019 have shown the control sites have significantly deeper O horizons, higher rates of soil respiration, and lower levels of electroconductivity (EC) than the urban sites. We believe changes to the soil may be related to the lack of recruitment in urban forests
Senior Recital Recordings
No full textAs part of my senior capstone project, I was supposed to present a public recital. However, because of the outbreak, we have opted for a remote recording. Anne Britt, our staff accompanist, recorded many backing tracks while Dr. Anton Belov helped me with the technical aspects. For the symposium presentation, I offer three pieces that best represent the scope of my recital
Genome Annotation and Comparative Genomics: Building Gene Models to Understand the Evolution of Genes, Genetic Pathways, and Genomes
No full textThe Genomics Education Partnership is a nationwide crowdsourced research effort in which undergraduates use genomic data from multiple species to create gene models for comparative genomics investigations. A gene model is a representation of the coding and non-coding regions of a gene; an annotated genome is comprised of multiple gene models. Gene models are generated using bioinformatics tools to analyze computational and experimental data describing a DNA sequence. Genome annotations are used to determine how genes, genetic pathways, chromosomes, and genomes evolve.
In this project, we use the fully annotated Drosophila melanogaster genome as a reference genome; a large amount of experimental data supports the published gene models from this model organism, facilitating the generation of gene models in related species. Gene prediction algorithms (such as Genscan and Geneid) and BLAST (Basic Local Alignment Search Tool) were used to identify orthologs of D. melanogaster genes located within a contiguous region of genomic sequence from the species Drosophila ananassee. Protein sequences from D. melanogaster were compared to the D. ananassae genomic sequence, and the region of the D. ananassae genome under investigation was determined to encode an ortholog of the D. melanogaster gene MED26. Precise coordinates of each coding exon of the D. ananassee MED26 gene were determined. This work provides the first description of the MED26 transcriptional activator in D. ananassee. Additional genes are being annotated in this region of the D. ananassee genome using the genome annotation strategies described.
The practical relevance of genome annotation and comparative genomics is immediately apparent in the ongoing studies of the SARS-CoV2 viral genome; analyzing genomic changes and describing the evolution of genes and genomes has yielded insights into the spread of Covid-19 across the world. Our annotations are contributing to an analysis of the D. ananassee genome and, more specifically, an analysis of motifs necessary for gene expression
Pushing Boundaries: Hindemith, Clarke and the Sonata Form
No full textThis presentation explores the ways in which Rebecca Clarke and Paul Hindemith, two prominent composers of the 20th century, explore and break conventions on traditional musical structures with Clarke’s Viola Sonata (1919) and Hindemith’s Viola Sonata, Op.11 No.4 (1919) by taking ideas of the 19th century and expanding their limits with form, concepts of duality, and unifying musical ideas