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In Her Words
Full text linkDon\u27t bite your nails - it\u27s not ladylike. You\u27re too big to be in ballet class. Hey, Thunder Thighs. The whispers I heard in classrooms at a convent girls\u27 school, not only from students but also from my teachers, would eventually crush anybody. This was the same school all the women in my family attended for generations, and the judgment instilled came down through the family. It only got worse as the years went on. Trust should be an inherent part of family and friendship, but time and again, the trust I believed to have built up with my women friends was betrayed. I bought into the system. Even having moved schools and having gone to college, the same games were played, and the betrayal of trust continued. Instead of standing together, we pit ourselves against each other. We allow ourselves to put other women down in order to make ourselves feel better. I am not immune to this impulse, but I hope to examine its sources and effects on myself and others in this work.
This body of work considers the inherent sexism women hold, shown by how we treat the women around us. These are words many of us hear throughout our lives, and not from the men we expect to hear them from, but rather from the women who are meant to love, guide, and walk with us. Our friends, mothers, grandmothers, and, in my case, great-grandmothers. I have combined my great-grandmother, Eileen’s, handwriting, taken from high-resolution scans of her phone book, fine metal hollow-form construction, glass enamel, and digital fabrication to bring her words to life. Each work examines the path I have taken and how my choices have come to shape my life. It helps me better understand my place in this world and what I have come to know as my truth.
The work of Cynthia Myron uses constructed spaces to open a dialogue between viewers, revealing shared memories. While Myron’s work contemplates physically constructed spaces, mine talks about those we have created as a society - walls built that we need to work to bring down together. Lauren Selden’s metalwork, often an object set atop a hollow-form base, juxtaposes geometric shapes with organic castings and fabricated parts, creating balance. Like my own work, hers incorporates geometric patterns on surfaces and integrates shadow, adding a visual and conceptual layer. Her practice encompasses both the hand and technology to explore her memories, as does my own.
My artwork aims to push the limits of materiality with the help of technology, creating works that actively engage my audience. Soft floral motifs, rigid structure, and strong lines underpin much of my process, contrasting each other, almost mirroring the battle between my own internalized sexism and the feminist I hope to be. It is not fair that this system of inherent sexism failed me and many other women. I hope that we can find some sense of justice by unveiling some of the words that impacted me most, but made me the woman that I am today, and not a woman in her words.https://digitalcommons.murraystate.edu/art498/1153/thumbnail.jp
Beyond Remission
Full text linkIn my artistic practice, I delve into the intricate layers of childhood and medical trauma, navigating its impact on my present experiences and highlighting how the lasting effects, both physical and emotional, can be just as painful, isolating, and life-altering as the illness itself. My work merges design, branding, and personal experience by creating service posters, therapeutic products, a website, etc. for a counseling brand that supports people who have suffered from Leukemia or Lymphoma. I use colors that symbolize the illness suffered, balanced with calming tones, and bold shapes that serve as both accents and metaphors.
Graphic design has been my way of expressing emotions by offering a creative outlet. It provides a sense of organization that feels both curing and intentional, allowing me to channel emotions in a meaningful and functional way. Beyond personal expression, graphic design also serves as a powerful tool for conveying anger, sadness, and happiness while also functioning as a means of education. Through this body of work, I aim to raise awareness of the long-term effects of cancer, using design to translate these complex experiences into visuals that inform, engage, and resonate with others. By combining thoughtful composition, color, and typography, I hope to create a dialogue that highlights the lasting impact of the illness in a visually compelling way.
While I explore various mediums in my practice, digital art remains at the core of my work, whether through graphic design, illustration, or typography. The ability to build visual identities and communicate ideas through design is what drives my creative process. I’ve created a visual identity that includes large-format posters designed to promote key services in a clear and engaging way. Each poster features illustrations that visually communicate what the service offers, making the information both accessible and inviting. To further connect the design to the organization’s mission, I’ve incorporated droplet imagery, subtly referencing blood and, in turn, Leukemia, to add depth and symbolism to the work. I envision these posters displayed in patient waiting rooms or hallways, serving as both informative and reassuring visuals. Their goal is not just to advertise the organization’s services but to create a sense of support and accessibility for those who need it most.
As I continue my artistic path, I find inspiration in artists like Hannah Wilke, whose personal work reflects both her own experience with breast cancer and her mother’s battle with the same disease. Her ability to use art as a means of processing trauma has influenced my own approach, though I express it through a different medium. Like Wilke, I see art as both an emotional release and a way to spark conversation. I’m also drawn to the bold, directional typography of Saul Bass and the bold, san-serif work of Michael Bierut, both of which support how I integrate text and design to create work that is both expressive and communicative. Their approaches inspire me to consider how typography can shape meaning, guide the viewer, and reinforce the emotional impact of a piece. Looking ahead, I am especially drawn to brand design, where I can shape the visual identity of a project from the ground up. The challenge of crafting a cohesive brand and seeing it come to life is both exciting and deeply fulfilling, reinforcing my passion for design as a tool for storytelling and connection.https://digitalcommons.murraystate.edu/art498/1156/thumbnail.jp
Earthen Tea Company
Full text linkTo many, tea is more than just a drink; it is a meditative ritual. Earthen Tea Company honors this tradition while blending graphic design with the rhythm of ceramics. Through design and ceramics, the fictional company combines rhythm, form, and tradition through earthy tones and natural materials. The company balances digital and tactile art with traditional and modern aesthetics, inviting viewers to pause and find balance in the everyday.
When creating ceramic forms, consideration is given to how the object will be held and used. Traditionally, chawans embrace Wabi-sabi aesthetics, while everyday tea bowls prioritize comfort and function. Carving organic forms onto thrown vessels allows for an exploration of elements that utilize texture and repetition. The tactile patterns were designed to be explored easily through touch. This process inspired a search for a connection between ceramics and digital design, and a rhythm formed between digital and analog workflows. The carved shapes were replicated digitally and incorporated into the company\u27s logo and product design. The patterns and shapes utilize contrast, variations in line, and textures to create natural and organic designs. Through graphic design, organic motifs are combined with modern typography and Yixing clay color to form a natural yet modern aesthetic. The modern sans serif typography complements the treatment of line in the logos and patterns. Where tea bowls allow for physical interaction with the ritual of tea drinking, the design of Earthen Tea Company creates a calming atmosphere that connects the audience to nature through color and pattern.
I draw inspiration from Farm Design’s typography and structured lines. I aim to replicate the same sense of familiarity through typography and design elements. Much like Butterfly Cannon, a London design firm, I infuse bursts of pattern into my designs while considering the environmental impact. Chinese Yixing potter Qu Yingshao influenced the designs through his carvings derived from his own paintings. I often use the object’s shape to guide the pattern, similar to Qu Yingshao’s decision to connect the teapot lid to the body through the carved pattern.https://digitalcommons.murraystate.edu/art498/1157/thumbnail.jp
Can Chaperones Promote Protein Splicing?
No full textInteins are a mobile genetic element hypothesized to function as regulatory molecules in microbes. They bear a homing endonuclease domain for genome traversal, as well as specific residues allowing for protein splicing. In the protein splicing reaction, the intein is removed and the flanking residues, termed exteins, are ligated together with a peptide bond to form a functional host protein. Due to their interruption prior to splicing, inteins prevent a host protein from functioning until the intein ligates the two exteins. To measure factors that regulate protein splicing in vivo, an intein-based biosensor based on kanamycin resistance (Kanamycin Intein Splicing Reporter) was previously developed. In this work, we use our KISR reporter to examine whether chaperones - proteins that assist in the folding of other proteins – can promote the protein splicing reaction. Specifically, we test whether expression of the chaperone GroEL can promote protein splicing within the cellular environment. Indeed, our results demonstrate increased protein splicing increased in the presence of both the KISR and GroEL, but not in the presence of the kanamycin resistance protein lacking the intein and GroEL. Our findings have implications for the potential regulation of protein splicing in nature, as well as on the use of inteins in protein engineering
Carroll, Base Photographic Laboratory
No full texthttps://digitalcommons.murraystate.edu/julian-carroll-coll/1001/thumbnail.jp
Julian Carroll and Associate
No full texthttps://digitalcommons.murraystate.edu/julian-carroll-coll/1003/thumbnail.jp
Julian Carroll Inauguration
No full texthttps://digitalcommons.murraystate.edu/julian-carroll-coll/1005/thumbnail.jp
Julian Carroll House of Representatives Acceptance Letter 9
No full texthttps://digitalcommons.murraystate.edu/julian-carroll-coll/1012/thumbnail.jp
Julian Carroll Swearing in Ceremony 2
No full texthttps://digitalcommons.murraystate.edu/julian-carroll-coll/1029/thumbnail.jp
Julian Carroll and Associates
No full texthttps://digitalcommons.murraystate.edu/julian-carroll-coll/1044/thumbnail.jp