North Georgia College & State University: Digital Commons
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[5] Coalescence
No full textGrowing up in Georgia, I was completely surrounded by the Appalachian wilderness and submerged myself in it with every minute of free time I had. It was always a place for me to escape the troubles I had and reconnect to a more peaceful mindset. To this day, I still turn to the forest and trees for comfort. This connection I have to nature was forever solidified when my childhood farm, Versanoia Equestrian Farm, was sold for commercial development. I had to watch as the place I called home for so many years was replaced by cookie cutter suburban houses. This event irrevocably changed my perspectives on the impermanence of nature and sparked an intense desire to protect the wilderness left on Earth and to inspire others to want the same. I am driven by this experience to create art that reflects these sentiments as a means of spreading them to a wider audience.
I create work that is about nature, but not with the typical narrative that focuses on humanity’s negative impact on Earth’s environments. Instead, my work exhibits the profundity of imperfection and chance by exploring the visual and conceptual vocabulary of the natural world. I display my work to viewers as a means of visually explaining the parts of nature that bring me feelings of solace and connection. I believe that if I can spark the idea of these feelings in people’s minds, that they would feel inspired to go into nature and experience it for themselves. It is my hopes that if enough people experience the emotional and spiritual value of the forest, then they will also be driven to protect them.
I create these works using my medium of choice, Ceramics. One of my favorite parts about the creative process is working with my hands and getting dirty. I prefer to work with clay because I can get elbow deep in Earthen material and create beautiful things from it. Another reason clay is the way is because, more often than not, my clay makes artistic decisions for me. The clay, colorants and kilns can all have a mind of their own at times, so going with the flow and incorporating happenstance events into my final pieces is all a part of the process. I choose to leave the flaws because I feel that this best reflects the imperfections in nature that I find so comforting. Most importantly, ceramics allows me to build sculptures that are large-scale, and asymmetric. The plasticity of the clay allows my work to take on a lot of weight and height, while still maintaining organic, Wabi-Sabi forms. In addition to this the raw, earthy quality of the clay allows me to emulate textures from the natural world, such as bark, moss, mushrooms, and rocks, onto the surface of my work.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1017/thumbnail.jp
[4.0] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1061/thumbnail.jp
[4.5] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1066/thumbnail.jp
[1.3] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1025/thumbnail.jp
[3.0] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1051/thumbnail.jp
[4.3] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1064/thumbnail.jp
[3.6] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1057/thumbnail.jp
[1.4] Finding Your Why
No full textWhen viewing a new piece of artwork, many people attempt to draw their own conclusions, make assumptions, and create a meaning for a piece that they had no hand in making. Yes, individual interpretation is an essential aspect of visual art, but how often do you stop and ask the artist “why?”
Why did you make this piece? What inspired you? Why do you make art? Why are you like this? Who hurt you? Who loved you? What was your favorite color in third grade and why did you name your fish after a Disney princess? Why? Why? Why? Why? Why?
This research project, this documentation, this body of work, this zine is an exploration of the artist’s mind. It is meant to both inform the viewer of the deeper aspects of why an artist makes a piece, series, body, or exhibit and to raise new questions. I want you to question everything. I want you to ask why I did this. I want you to question every single decision you have ever made and then hate me for it because you can’t stop.
My interest in the “why” stems from my constant and insufferable overthinking about my interactions and other people’s interactions. I hyper-analyze, I question everything, and I try to understand people. So, this topic really gives me the opportunity to do that.
Through my research and documentation, I hope to have inspired those presented in my work to question their work and Find the Why in their practice.
All rights associated with the works displayed in this zine remain with their respective creators.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1030/thumbnail.jp
Book Review: Blood and Diamonds: Germany’s Imperial Ambitions in Africa by Steven Press
Full text linkCommunicating Environmental Research: Harnessing the Power of Curation
Full text linkNever before has public communication of critical research, science, and knowledge on climate change and biodiversity loss been more important. The 2018 Intergovernmental Panel on Climate Change (IPCC) special report, Global Warming of 1.5 ºC, stated that we only have 12 years to limit the catastrophic effects of climate change, including extreme weather, flood, drought, and poverty. The 2019 Intergovernmental Science-Policy Platform on Biodiversity and Ecosystem Services (IPBES) Global Assessment Report on Biodiversity and Ecosystem Services revealed that roughly 1 million species of plants and animals are threatened with extinction. Given these dire warnings, the threat of climate change and biodiversity loss have never been more relevant, considering the impact these unprecedented issues will have on human survival, health, and well-being. This paper describes the results of our study, which explores findings used to develop the practice of research curation, which found that adapting and applying museum engagement strategies, using art to communicate science, and applying social media content curation and marketing strategies in combination with social learning practices are key to successful knowledge mobilization. This article focuses primarily on the methodologies and results of three projects: an art and literary exhibit, a biodiversity conversation series, and a sustainability-themed Instagram account. Based on our experience and findings, we share the lessons learned that we believe are actional for other researchers with similar goals, in particular those who are communicating research on climate change and biodiversity loss