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                <text>PredvPrey was my reaction to fears surrounding the unknowns of COVID-19 with the simultaneous Fall 2020 decision by many states to send public schools back full-time with little precaution. Through my parents and close friends being public school teachers, I felt a need to communicate the dangers and fears of our younger generations becoming a combination of predator and prey towards each other in this setting, especially considering the uncertainties surrounding the science of the pandemic at the time. Distrust in our authority institutions was and is still of huge concern; how is all of this discourse being interpreted through the multitude of adolescent lenses? There was not much to do but let imagination and nightmares run wild.</text>
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                <text>Quinn Pagona</text>
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                <text>Intaglio monoprint on kitakata paper</text>
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                <text>Clotho, Heavy</text>
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                <text>Here I’ve taken Clotho, the Greek mythological “spinner” sister of the three Fates, and have transformed her into a selfish metaphor expressing my personal qualms with identity surrounding femininity and place in my surrounding world as a life-growing being. The duality within me both rejects and fights to assimilate the state of being pregnant that I may one day find myself in. This piece is also a visual representation of my inner contemplation of attempting to know who I am genuinely versus what I let myself be to be accepted in society.</text>
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                <text>Quinn Pagona</text>
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                <text>Intaglio monoprint on kitakata paper</text>
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                <text>Atropos</text>
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                <text>Atropos, the Greek mythological sister of Fate also referred to as the “unturnable”, cuts the thread which Clotho spins and Lachesis allots. This cut signifies the fate of our death (which, funnily enough, I feel is the only certainty that kind of makes Lachesis obsolete!) In this piece I attempted to portray the concept of death in a constructive light. This interpretation of our fate as one-day decomposing almost non-beings and our discussions around this idea as reality I feel has been all but forgotten in modern, north-western society. I concern myself with the damages that our avoidance of the topic brings to our psyches come time when we are forced to face it. Rituals with which we were emotionally connected have been overshadowed by corporate greed to take advantage of our lack of pre-planning and knowledge of our true desires for ourselves and our loved ones in moments of loss. What we are suppressing can be a powerful emotional tool that deepens connection. Atropos’ existence represents this to me.</text>
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                <text>Quinn Pagona</text>
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                <text>Intaglio monoprint on kitakata paper</text>
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                <text>Uncertain Progression</text>
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                <text>My work discusses themes around disabled identity/bodies, philosophy, and the fluidity of time and space. Through exploratory efforts as a visual arts student, I have recently branched out into fiber based work, challenging myself to find ways to discuss my chosen themes in a new medium as well as what fiber is able to do that other mediums aren't. Uncertain Progression consists of three circular hand-dyed quilts which degrade progressively from one to the other and are made to resemble MRI scans of my brain. By making a series of quilts, I am able to visually communicate the uncertainty and chaos of each new test, doctor's appointment, and treatment I receive as a disabled person as well as reference the softness and comfort quilts have historically brought during times of hardship. I used free sewing techniques to create tumor-like appliques and scrawled on “doctor’s notes.” While the quilts depict my own brain, my recognizable body is not present which allows me to safely distance myself as well as create a more universal work that other disabled people are able to find personal meaning in.</text>
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                <text>Griffin Mathews</text>
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                <text>Cotton Fabrix, studding, thread</text>
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                <text>The drawing is of a portrait study to further understand and practice the use of colored pencils and color-mixing. While doing that, I aim to use mainly cold hues to accentuate value changes to determine what pushes forward and backward. I intend to create a quiet appearance with vibrant, somewhat loud colors.</text>
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                <text>Cindy Tran</text>
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                <text>The drawing was created while reminiscing about being with her. She poses relaxedly, gazing, and I intend to showcase her rambunctious energy using non-topical bright and dark colors within a cool color palette. I aim to capture her very being through various line qualities and mark-making while incorporating the paper's texture and hue.</text>
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                <text>Cindy Tran</text>
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            <description>A name given to the resource</description>
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                <text>This painting is a mixed master study of Sung Wen-chih's "Yellow Mountains" and Yang Bao Long's "Waterfall." I intend to collage pieces from both artworks and combine them with my ideas, creating a waterfall appearing from the mountains above, falling through the sky. Then, following the appearance of both painters' work, I aim to mimic their mark-making and line qualities with watercolor and ink techniques through oil paint.</text>
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                <text>Cindy Tran</text>
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                <text>Oil on canvas</text>
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            <description>A name given to the resource</description>
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                <text>The Janky Revenge</text>
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            <description>The topic of the resource</description>
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                <text>My intention is to create a sense of calm crashing waves with a dual complementary color palette that initially provides a sense of forebode. The subject matter is of a large, whimsical still-life which I warped into a poorly structured pirate ship, leading to the ship's given name, "The Janky Revenge." The writing on the stern blends into the blue-green hues, making it nearly illegible. The purpose is to have the viewer come closer and view the painting in closer proximity.</text>
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            <description>A name given to the resource</description>
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                <text>Max is Blending Peanut Butter</text>
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                <text>Self portrait of my cats and I, staring in horror as my brother loudly blends peanut butter.</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Zoe Burkholder</text>
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            <description>A name given to the resource</description>
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                <text>This project was an exploration of poster design using an imaginary band name. It was also an opportunity to work with a risograph printer, and explore the uses and limitations it creates.</text>
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                <text>Macey Clark</text>
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