Marbles

Title: Out of Reach

Lighting: Natural Lighting/indoor lighting

Camera details: Canon EOS 2000D/ Rebel T7

Artist Statement:

I am visual artist dedicated to fostering connections through art, with a particular focus on community outreach and engagement with underserved communities. As an artist my work centers on the enduring power of community and the profound narratives that arise from cultural intersections.

My artistic journey is intricately woven with the inspirational threads of local non-profits and the rich cultural heritage of my surroundings. Through my work, I strive to create a dialogue that bridges the past and the present, capturing the essence of shared experiences and collective memory. My photography, illustrations and curatorial work are explorations of identity and resilience, aiming to illuminate the often-overlooked stories that reside within our communities. In my practice, I employ a diverse range of media to reflect the multifaceted nature of community dynamics. Whether through community events that enliven public spaces or intimate installations that invite personal reflection, my work seeks to evoke a sense of belonging and empowerment.

Ultimately, my artistic vision is driven by a commitment to social impact and a belief in the transformative potential of art. My hope is that through my work, I can contribute to a more connected and compassionate world, where art serves as a catalyst for positive change and a testament to the enduring spirit of community.

Artist Statement for Final Work:

Out of Reach is a social response triptych piece that addresses more of a demand for inclusivity and diversity specifically in the arts and education domains. The title of the piece is called 'Out of Reach’, however, in the design the word "of" is in a slanted format above the words "Out" and "Reach". The purpose is for the viewer to first read the word as 'Outreach' and then as 'Out of reach. This design decision was to highlight the ‘outreach’ aspect of this industry and what I hope to provide more of in the future as an artist. At the same time, the purpose of highlighting the ‘out of reach’ aspect is just as important. There are many communities and institutions that still do not have the necessary resources and support when it comes to education and the arts. Even through existing "outreach" organizations where the helping hand is presented as being one with the community, but in reality, the sole purpose is to benefit the institution and their members more than it is to benefit the community or the youth.

The sculptures I designed and photographed embody both the outreach and out-of-reach concepts. The sculptures also represent those who work in outreach positions, that are causing more harm and creating more barriers for people in vulnerable communities by providing insufficient resources. The sculptures also reflect individuals who are seeking guidance and have dreams of success and making a difference in the world. The photograph I took of my younger cousin staring out at generations of her family exemplifies the importance of youth having positive impacts in their families, schools, and communities. Each generation, regardless of ethnicity or socioeconomic class, should have the same opportunities, resources, and access to mental health resources, education and the arts.

I intended to use high contrast photographs to create a demanding mood and maintain the emphasis on the subjects rather than the surrounding factors. To continue with this theme, I wanted the lighting to draw attention to the subjects, as these are B&W images. The goal of making my sculptures faceless and more abstract was to make every viewer feel connected without focusing based on gender, race, ethnicity, age, etc. In composing the image, I deliberately placed my cousin in sharp focus while allowing the background — the older generations — to blur, creating a sense of distance. This stylistic choice highlights the dual ideas of connection and separation: the youth are intimately tied to their heritage and those who came before them, yet they also stand at a threshold, reaching toward a future that they themselves must build.

By leaving my cousin’s face unseen, I removed individual identity from the subject, transforming her into a universal symbol of youth everywhere. This invites viewers to project their own experiences, hopes, and challenges onto the figure, thus making the photograph more emotionally resonant and inclusive. It suggests that this is not just about one child or one family, but about the collective potential of all young people across different ethnicities and socioeconomic backgrounds. The themes of access, opportunity, and equity are central to the project. Every child, regardless of where they come from, should be afforded the same fundamental supports: high-quality education, access to the arts, mental health resources, and a nurturing community. The blurred background further reinforces the concept of these essential resources often feeling out of reach for many, symbolizing the barriers that must be overcome for true equity to be realized.

Lighting: Natural Lighting

Camera Details: Canon EOS 2000D

The photograph I captured of my younger cousin gazing out at generations of her family serves as a visual metaphor for the vital role that youth play in shaping the future of their families, schools, and broader communities. In composing the image, I deliberately placed my cousin in sharp focus while allowing the background — the older generations — to blur, creating a sense of distance. This stylistic choice highlights the dual ideas of connection and separation: the youth are intimately tied to their heritage and those who came before them, yet they also stand at a threshold, reaching toward a future that they themselves must build.

By leaving my cousin’s face unseen, I removed individual identity from the subject, transforming her into a universal symbol of youth everywhere. This invites viewers to project their own experiences, hopes, and challenges onto the figure, thus making the photograph more emotionally resonant and inclusive. It suggests that this is not just about one child or one family, but about the collective potential of all young people across different ethnicities and socioeconomic backgrounds.

Family Photos: Queer Representation in the Comer CollectionCurated by Diane Durant

The exhibit Family Photos: Queer Representation in the Comer Collection, curated by Diane Durant and currently on view at the SP/N Gallery, offers a deeply reflective and expansive look at identity, memory, and belonging through the lens of over 1,300 photographs dating back to the 1930s. Rooted in the visual language of family photography, the collection challenges viewers to consider how queerness has been both seen and unseen in everyday images. The exhibition acknowledges the complex history of the term "queer"—a word that has carried both derogatory weight and reclaimed power—and recognizes that it does not represent the chosen identity of every individual within the LGBTQIA+ community. Through its thoughtful curation, Family Photos invites visitors to engage with these photographs not only as historical artifacts but also as nuanced expressions of identity, affection, and resistance, offering a space where personal and collective narratives intersect.

One of the most compelling works in the Family Photos: Queer Representation in the Comer Collection exhibit is by artist J. Darwin Harrison, titled Wood Shed – 25 June 2004. This piece, part of an ongoing series, consists of Ilfochrome prints mounted on aluminum, and it captures a modest woodshed located outside of Big Spring, Texas. At first glance, the subject matter might seem simple—even mundane—but Harrison’s work reveals profound emotional and visual depth through repetition, composition, and subtle narrative. Each photograph in the series is taken from the exact same vantage point, a decision that emphasizes consistency in the face of change. While the environment transforms with the seasons—the colors shift, the skies alter in mood, and the land breathes with weather—the shed remains unmoved. This unwavering presence in a world of flux suggests themes of endurance, resilience, and quiet strength. The shed, while static, becomes a vessel for time, memory, and observation. It invites viewers to consider not just what is changing, but what stays the same, and why that consistency matters.

The composition of the image is particularly striking. A nearly barren field stretches out before the viewer, its surface animated by faint tracks—perhaps from trucks or tractors—that lead the eye directly toward the shed. These tracks act like visual threads, pulling the observer into the frame, guiding attention to the very heart of the photograph. Above, the sky churns with storm clouds, heavy with motion, yet somehow also parted, almost theatrically, to frame the shed below. The relationship between sky and land, divided by the placement of the shed, creates a powerful visual equilibrium. The contrast between the deep, moody blues of the sky and the sun-bleached hue of the land adds to the photograph’s emotional weight. One of the most compelling decisions Harrison makes is in the use of distance. By choosing to keep the shed at a distance, allowing it to sit small and centered in the frame, the artist creates a sense of isolation that is both intimate and vast. A closer shot might have highlighted the structure’s textures or the weathering of its wood, but it would have lost the poetic symbolism of the shed as a lone sentinel against time and nature. Here, distance does not equal detachment—it invites contemplation. This work also resonates with the exhibition's broader themes of presence and absence, particularly in the context of queer visibility. Though there are no human figures in the photograph, it is rich with presence. The shed stands almost as a metaphorical body: enduring, exposed, weathered, and yet unapologetically there. It speaks to experiences of being seen, overlooked, and enduring regardless. The emptiness of the field and sky does not feel vacant, but rather charged with meaning, history, and perhaps the quiet echoes of untold stories. It is a reminder that even the most unassuming subject can carry emotional and cultural significance, especially when framed through the eyes of a thoughtful and intentional artist.

Lighting: Natural Lighting

Camera Details: Canon EOS 2000D

Artist: Thomas Ruff

Thomas Ruff phg.05_III, 2013 Chromogenic print, 94 ½ X 72 7/8 inches (240 x 185 cm), edition of 4

I am inspired by Thomas Ruff's phg.05_III because of the unique approach to photography, its exploration of the digital realm, and its ability to capture a sense of both the natural and artificial worlds. The piece, a chromogenic print from 2013, delves into the possibilities of virtual darkrooms and computer-generated objects, pushing the boundaries of the photogram technique. This work often prompts contemplation on the nature of images, the role of technology, and the inherent ambiguity of the human experience. I appreciate that Ruff's work is not characterized by genre, method, or theme, but rather by its aesthetic and processual approach, resulting in a ranged works that resists classification. I also appreciate how the art allows for a variety of interpretations and engagements with it.

Thomas Ruff r.phg.06, 2014 Chromogenic print, 94 ½ x 72 7/8 inches (240 x 185 cm), edition of 4

Camera details: Canon EOS 2000D/ Rebel T7/ iPhone

Lighting: Natural Lighting/indoor lighting

Camera details: iPhone

Lighting: Natural Lighting

Video art uses video and audio data to generate moving visuals and frequently explores topics and concepts through time-based media, installations, and performances. In contrast to traditional static art forms, video art emphasizes the dynamic quality of moving visuals and music. Video art can take many forms, including gallery and museum installations, video-based performances, and online streaming. Video art can be mixed with other art forms, such as performance art, to produce immersive and interactive experiences. This art frequently pushes the envelope and challenges traditional creative rules, experimenting with new ways to express oneself through video.

Shirin Neshat, an Iranian American artist, uses photography, video, and cinema to explore themes of femininity, Islam, and exile, frequently incorporating Farsi calligraphy and veiled women to express complex tales about Iranian culture and the feminine experience. Neshat's art is heavily influenced by social and political commentary, tackling subjects such as female injustice, religious oppression, and the impact of political events on Iranian culture. Shirin Neshat's video art and photography are intended to give voice to the voiceless, challenge prejudices, and create a deeper awareness of the complexity of Iranian culture and the female experience.

Bill Viola's video art installation "Emergence" explores themes of birth, death, and resurrection. A man emerges from a well and is grieved by two ladies, all in slow motion. The film shows a young guy rising from a well, water spilling from it, and two women mourning him, combining themes of birth and death. The man rising from the water can be taken as a sign of birth or resurrection, whilst the body being laid to rest represents death. The slow speed and silent aspect of the video, combined with the rear-projection installation, creates an ethereal and introspective mood. The play also investigates the force and complexities of human emotion, as well as the connection between the visible and invisible worlds.

Title of GIFS: How Does It End Tho?

Camera details: Canon EOS 2000D/ Rebel T7

Lighting: Natural Lighting

Artist Statement:

The photographs are intended to depict experiences of anxiety or nostalgia during nightmares/dreams. The emotions will be both happy and sad. Happy because it will remind us of an ideal period in life, and sad because it is now only a memory. We don't get to go back to our carefree days. It appears to be a simple concept: we were children playing with toys in our own world, and then one day we never picked up that toy again; we stopped pretending, and the reality of adulthood and obligations came in. It's difficult to pinpoint the exact moment this transaction took place, but we do know that what once was has gone. The older we get we not only lose our youth but we lose loved ones, and just like our time as kids becomes a memory so does the existence of our family/friends. I have used familiar nostalgic colors, objects, and places from my early years to evoke this sense of inner child in a dreamlike environment and nostalgia. Expressing meaning, mood, and time through the use of presence and absence. producing images of items and space that create feelings of loss. Experimenting with textures, light, and shadows as well as a color scheme that combines visual accents with black and white. Are our formative years so important that some memories follow us into adulthood? It could be a scent, specific sounds, or a dream/memory of our lives that has lingered with us because it was significant, traumatic, or profound.

Series: What Once Was; Never Again

Title: Memory Lane

Camera details: Canon EOS 2000D/ Rebel T7

Images used: 6

Title: Mind Capsule

Camera details: Canon EOS 2000D/ Rebel T7

Images used: 4

Title: Lucid Dreams

Camera details: Canon EOS 2000D/ Rebel T7

Images used: 3

Title: Remember When

Camera details: Canon EOS 2000D/ Rebel T7

The objective is for the photographs to convey experiences like anxiousness or things we see or feel during nightmares or dreams, such sleep paralysis.

(Cinematic style: Inner Child dream-like state)

The mood will be a mix of happy and sad. Happy because it will be a remembrance of a positive time in life and sad because the time has passed. We don’t get to go back to what once was in this carefree moment in life. It seems like a simple concept, we were kids playing with toys in our own world and then one day we never picked up that toy again, we stopped pretending and the reality of adulthood and responsibilities set in. It’s difficult to remember the exact moment this exchange occurred but we just know what once was has ended.

The Sony World Photography Awards revealed in March that PSEUDOMNESIA: The Electrician, a black-and-white photograph of an elderly woman holding a younger one, had won in their creative photo category. However, Boris Eldagsen, an artist from Berlin, declined the honor. He declared that his image was not a photograph at all, but rather that he had created it by imaginatively prompting the artificial intelligence image generator.

I have not personally utilized artificial intelligence in my photographs. However, after viewing Photoshop videos, I discovered that AI can be useful in photography and can speed up the editing process. If I ever utilize AI, it will be to enhance an existing image, not to create one. I believe that AI can be valuable, but it should not be the primary tool. Photographers must still take their own images and employ their expertise in lighting, set design, and balance. I believe it also depends on intent; if the photographer is photographing people, recording real-life circumstances, and real-world locations, AI should not be used or utilized sparingly. If the photographer's intent is to produce a supernatural, cinematic, surrealist piece, I believe AI will aid in this process. Although I still believe that even in this type of photography, AI should be utilized sparingly and not heavily relied on.

Lighting: Natural lighting

Camera details: Canon EOS 2000D/ Rebel T7

Image: estimate about 11 different images

My image is a representation of taking your work home or working from home. The structure of the images are meant to represent a bullentin board. The days of creating, studying, writing, and producing work seem to never end when you are a full-time employee and a full-time student. My goal was to create an image that was inspired by David Hockney. I captured a few pictures of my dog and me working from home while seated at my at home workstation. Pajamas beneath the desk and business clothes above. My thought process was to remain in the student and working adult mindset, continuously jotting notes on sticky pads as reminders for the next day.

I intentionally dissected the photographs using the cropping tool, while also scaling and mirroring them with the transform tool. Then, one by one, added each one to form one complete image without actually assembling them. Each image is independent, but they all contribute to the overall scene. Towards the bottom, I duplicated numerous photos to create an exaggerated extension of the desk's legs, representing the long hours that seem to never stop, as well as the appearance of sticky notes collecting as they do. I also added shape outlines and fill colors to these photographs using sticky note colors and reduced the opacity so that the image could still be seen. I also added an image to simulate a sticky note covering a "boss award" on the desk, so you can see it but not entirely. I then added photos of the award split in half at the bottom to illustrate how, no matter how hard you work, it can often go unnoticed or underappreciated.

Heitor Magno is an artist that uses double exposure with elements of the body and landscape. The artists’ work is both chaotic and simple in the best way. The way the artist combines lighting and blending multiple images creates paint-like features and movement. One of Magno’s double exposure images looks as if the very breath a human takes can be seen traveling throughout the body. The work is captivating, and the contrasting colors combined with the blending of multiple images creates layers of meaning and depth to the pieces. Several of the pieces even look as if it were painted right onto a canvas with the double exposures leading the viewers eyes to take a double look.

Lighting: Natural lighting

Camera details: Canon EOS 2000D/ Rebel T7

Image: New Image

Lighting: Natural lighting

Camera details: Canon EOS 2000D/ Rebel T7

Image: New Image

1st image: I photographed my nephew, who is constantly grinning and gazing about. As soon as the television was turned on, he lost track of everyone and everything around him. He couldn't take his gaze away from the screen and he wouldn't answer when someone called out to him. The image is intended to communicate the idea that most young children are losing their ability to be inventive and instead relying on technology for entertainment and connectivity. I chose to compose the majority of the photo with my nephew in black and white, with the exception of a small area in color that shows his untouched toys on the ground. I did this to show how tablets and television have replaced the things I used to enjoy as a child. The glitch between my nephew and the toys on the ground represents the modern world's erasure of innocence. I utilized a variety of tools, including the quick selection tool, the wave filter, and the masking layers. I used filters to make the hue or glitch more noticeable, as well as the spot healing tool to blend in specific areas. As we get older in a digital environment, the important aspects of being a child are gradually diminishing. Although I see educational value in some shows, I also see the negative aspects of constant screen usage and the developmental changes it can cause in a growing child.

Lighting: Natural lighting with accent candle lighting

Camera details: Canon EOS 2000D/ Rebel T7

Images: 6 images

Present Past

The Dada movement actively challenged traditional art values by creating unexpected, bizarre, and often unthinkable works of art to protest the logic and aesthetics of modern society, particularly the war and bourgeois norms; they used various mediums like collage, performance art, and "readymades" to express their anti-establishment views and provoke a reaction from the public. The Dada movement's influence may still be observed today in different sectors of modern art, including performance art, conceptual art, graphic design, and even social media culture.

In my photomontage piece, I wanted the photomontage and the original piece to remain connected in some way. The original piece depicts the aftermath of a missing person, a loss, the erasure of a culture, losing one's identity, and the sense of mourning and emptiness represented in the image (present). The photomontage represents the past and what previously existed. I wanted to highlight the life, history, beauty, and spirit of a person who exists but is typically overlooked by society at large, and may perceive such a person in a negative light. I wanted the image to feel vintage and have the look of older photography. (past)