North Georgia College & State University: Digital Commons
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A pueblo home
No full textI spent 5 hours working on the model. Flattening clay so the texture would stay the same took the longest. A Pueblo Home is a piece of Spanish architectur
La Florería
No full textI spent 8 hours on Las Florería. It is supposed to be a Peruvian retablo of a flower shop. With the exception of the box itself, the small pots, and the flower carvings, everything is handcrafted. All of the components of the retablo have been altered in some way or another
Las Mini-ninas
No full textI spent 11 hours on this. The figures are small enough to fit in the palm in your hand, hence the name Las Mini-ninias. They were inspired by Diego Valaquezes\u27 Las Meninas, and are designed to be a colorful, 3D versions of the princess and her ladies in waiting. They are constructed from foam, colored paper, pipe cleaners, yarn and hot glue
Development of a Military Command System: Technological and Social Influences
Get PDFThe development of a military command system is a complex and lengthy process that involves the interplay of many different factors. With that being said, I argue that the single most important factor in the development of a modern military command structure in western democratic states is social political. The impact of technology is ever-present, however, social political factors limit, check, and control the use of technology in warfare. Take for instance the use of chemical weapons, society and international law has banned its use, even if militarily it is quite effective. In this paper, I use the American Civil War and the European Theater of World War Two as case studies to demonstrate the impacts that social political factors and technology has upon the development of a modern command structur
[2] Home Is Where The Art Is
No full textThe home is a sacred place, where we feel most comfortable. It’s where we perform our daily rituals, from the mundane tasks to the more complex routines. These moments are times when we pause and reflect. They are the quiet moments that have a surprising ability to ground us. My work compliments these instants. The pieces welcome relaxation and escape. They invite blissful memories of exploring nature with boundless imagination. My pieces bridge the gap of nostalgic memories to the present need for comfort in our own homes.
My decorative functional ware is inspired by nature and science. For most of our time on Earth, humans have been surrounded by wilderness, with shelters made from rocks and trees. The idea that humans are more comfortable with biological elements around us—rather than clean, geometric environments—is known as Biophilia. This concept is the basis for biophilic design. Instead of rejecting nature as if we have no place in it, we should embrace the natural world by modeling our everyday spaces after it.
Like the nature that informs it, my work embodies a balance of precision and fluidity. My process is a symbiosis of planning and coincidence, and I allow new features to come together throughout the process. I strive for my work to embody the simplicity of nature with precision and craftsmanship. I want my work to invoke comfort while being integrated as a regular part of each day. I make functional ware with the hope that my pieces will find homes and form connections with those who use them. When not in use, these items are also meant to decorate a space, because I believe home is where the art is.
Keneddi Horn
April 2021https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1088/thumbnail.jp
[3] 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/seniorexhibspring2021/1014/thumbnail.jp
[8] Being and Company
No full textA project exploring both screen-printing and graphic design. It is a tote bag company based on environmentally friendly practices and techniques. Being and Company was created to inform users of environmentally friendly practices.https://digitalcommons.northgeorgia.edu/seniorexhibspring2021/1008/thumbnail.jp
[3.8] 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/seniorexhibspring2021/1059/thumbnail.jp