An Unbearable Illumination of Truth is a series of sculptures created to explore the connection between trauma and healing. The sculptural exhibition addresses economic, occupational, childhood, sexual, and gender-based trauma. These sculptures incorporate familiar motifs and visual metaphors to express narratives of varying types of traumas. A broad range of sculptural materials (such as wood, fabric, and found objects) and methods are used to create these symbolic, objective forms. The juxtaposition of shelters with other forms and materials visually enacts the themes of vulnerability and intrigue that characterizes traumatic incidents. Shelters are referenced throughout this entire body of work as an allegory for identity. Ultimately, this work is intended to induce empathy and raise awareness of important, underlying social issues that revolve around trauma. This message is especially important today due to a dramatic increase of trauma related issues as a result of the COVID-19 pandemic.

This thesis project will focus on the symbolism and artistic interpretation of how I perceive reality. This thesis project uses all artistic skills that I have acquired throughout my lifetime and combines them into one mixed digital media video. This is a mix between the two digital media formats 2D and 3D. Each animation and segment syncs with the music selected manually or technically. The process of creation for each segment and explaining which software I choose to use for each task. It also dives a little further, noting the artistic decisions and why. The symbolism used within the art piece is addressed and explained. Anything not discussed is open to personal interpretation and encourages the viewers to think individually further into the topics. The usage of this art style / art form is discussed and researched on where it can be found in usage outside of the music industry. Also, stating the popularity and accreditation this style receives from casually mass viewing. In summary, the art style of surrealism and abstract shapes in addition to the art form of mixed digital media, consumers indulge this art archetype worldwide. It can be useable within music visuals, ambient relaxation, modern art galleries, video games, and progressive advertising. Thus, making this art viable in multiple parts of the economy and creating consistent trends of revenue increasing. With the consistent growth of technology use, complimentary style to electronic music, and viable formatting for social media this art style is predicted to drastically grow in demand within the next coming years.

The artist discusses his Master of Fine Arts exhibition, entitled Family, Work, Land. The exhibit was mounted in Tipton Gallery in downtown Johnson City, TN, from February 22nd to March 11th, 2022. A public reception was held on the evening of March 4th . The exhibition consisted principally of four multimedia installations. Smith’s body of work is an interpretation of how stories that he often heard growing up are related to the Western North Carolina community in which his grandparents were living in the first quarter of the twentieth century. These works explore the interactions between people, how they support themselves, and the impact that working for the logging industry had on the family and the land around them.

It is my purpose in this thesis to explore supergraphics ln the Portland area. I intend this thesis to be used as a source book for teachers wishing to implement supergraphics programs in their schools. I plan to divide my thesis into _ two areas: First, a survey of supergraphics in the Portland environment, and second, ' a survey of Portland area schools that have implemented supergraphlc projects or programs. A substantial portion of the information compiled for this thesis comes from conversations with Portland area graphic designers, architects and teachers. I have included photographs of what I consider to be good examples of Portland area supergraphics. It is my hope that this thesis will be a valuable source of information for teachers who are interested in beginning a supergraphics program in their schools.

This thesis is in support of the exhibition entitled Getting Warmer, on display in Slocumb Galleries at East Tennessee State University from March 19 to March 23, 2007. The exhibition represents an exploration in the medium of fibers, incorporating digitally printed photographs on fabric and quilted structures. The collage of photographic textures and the stitched lines of machine embroidery reflect the artist's interest in the formal qualities of mapmaking and topography. Conceptually, the work is concerned with the idea of material as landscape and artwork as personal geography. This thesis addresses the artistic and cultural influences, the artistic process and previous works, and the conceptual development of the work.

For my thesis project, I displayed fifteen printed photographs of self-portraits that I have made outside of class. In these self-portraits, I have applied special effects makeup to my face to create different portrayals of myself. These range from more abstracted makeup to characters. The majority of these makeups are from the chest up and created with face paint and self-made prosthetics. In this imagery, I have also chosen accessories and the background to coincide with the makeup and the mood that I am conveying. Minor adjustments have been made digitally in order to enhance how the image comes across. For example, I have upped the contrast and dimmed the exposure, etc. I have taken most of my own photographs on my phone or Canon Rebel Xi camera while there are a few that a family member has taken for me. I printed these portraits at a larger than life scale and I chose to display them at a place that has become close to home, O’mainnin’s Pub and Grill. This pub is where I held my show. My art was displayed in the casual environment with loud music and dim colorful lights. The exhibit stayed up for three days and was available to the public. Alongside my photographs, I also chose a handful of traditional hand-drawn classwork to display as well. This work is very similar in theme and compliments the self-portraits. Below are images of the show!

The photographer discusses work in “Hearing Through Walls”, a Masters of Fine Arts thesis exhibit held at downtown Tipton Gallery from February 19th through March 2nd, 2018. The exhibition consists of 15 archival inkjet prints and one two-channel video piece, representing the artists three-year exploration into narrative forms in image making. Using non-traditional approaches to photographic portraiture and experimental exhibition layout, the artist forms questions around themes of domesticity, lost youth, and American masculinity. Among these themes is an investigation into photographic issues, including the cultural role that photographs play in perpetuating, miming, and disrupting the facades of everyday life. Non-photographic influences are listed, including the paintings of Edward Hopper and the filmmaking of Paul Thomas Anderson. Historic and contemporary photographic influences included are Garry Winogrand, William Eggleston, Philip-Lorca Dicorcia, and Katy Grannan.

Through the use of mixed media, I explore imagery that reveals the trauma of returning combat veterans, of which I am one, as we try to reintegrate into a society that does not understand the war that still lingers within us. In my work, I depict emotional disturbances that are related to my personal encounters with war. My working process starts by referencing mainstream media imagery, which I juxtapose against harsh images inspired by veterans' drug and alcohol use, trauma and death. My black-and-white pixelated paintings feature the fragmented memories of a hostile combat environment, and although "Out of My Mind" depicts the chaotic emotions associated with PTSD, my whimsical style of illustration suggests a detachment from reality. Whether we call it shell shock, battle fatigue or PTSD, the war-related disorder is real. I want society to be aware of the hidden scars that our veterans carry with them. I do not anticipate my subject matter changing any time soon.

A Space In-Between, is a series of works that explores a balance between two radically different cultures that the artist identifies with through visual language. The experience of immigration as an Iranian body in a Western context is investigated through works in sculpture, photography and video. By using the language of materials, the artist explores the diasporic space regarding class, gender, and ethnicity. The practice of creating Iranian designs with American products such as a muqarnas from cigarette cartons from her family’s convenient store in Bessemer, Alabama, or creating a chadorfrom Mossy Oak camouflage, acts as an effort to visualize and harmonize her experience living between Iranian and American culture.

A written thesis to accompany the M.F.A. Exhibition I Speak as One in Doubt. Blending epistolary format and visionary narrative, the artist addresses her complex relationship to her Catholic upbringing.