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Expo 2014

Point of Departure — Capstone is a word often used to define a moment of finishing, a crowning of sorts. The BFA exhibition is that moment, and yet resists the definition. This is a time to stop and reflect… to consider the journey… to acknowledge what has been learned… to accept that nothing is resolved… to establish a position.

On behalf of the Art Department faculty and staff, I congratulate these forty-seven unique artists on their achievements and wholeheartedly celebrate this collaborative effort.

Christy Johnson, Art Department Chair

Meet our students

  1. Alicia Hatfield   Art
  2. Andrew Tertocha   Art
  3. Arthur Pennock   Art
  4. Bobbie Brandon   Art
  5. Caitlin Elizabeth Brookins   Art
  6. Claire Bella Green   Art
  7. Danie Allinice   Art
  8. Destiny Delaine Reidel   Art
  9. Dire Wolf Omega   Art
  10. Jasmine Gervais   Art
  11. Juan Franco   Art
  12. Katrina Handler   Art
  13. Matt Matsuda   Art
  14. Miles Fortune   Art
  15. Morgane McGuire   Art
  16. Natalie Kubu   Art
  17. Niki Goldberg   Art
  18. Nollan J Schildroth   Art
  19. Olga Salazar   Art
  20. Reilly Sinanan   Art
  21. Rhonda M Pence   Art
  22. Sierra Kohler   Art

  • Close Gallery

In this photo "Video Relic I", 2013, spools, moss, pins and buttons, 8 x 4 x 13 inches

Reva Keller Email · Website

When does something protective become prohibitive? I am interested in the mental tug-of-war between facing an issue or hiding from it. Rather than offering a solution, I focus on the rising tension that precedes a breaking point. This struggle is visualized through the lens of my personal experience, drawing on autobiographical content and personal symbolism to create a surreal and dreamlike cinematic space to retreat into.

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In this photo "Waves", 2013, mixed media, 22 x 26 inches

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In this photo "Good Kate, Bad Kate", 2013, mixed media, 19 x 26 inches

Kathryn Lagorio Email · Website

My art is influenced by personal experiences, popular culture, street art, and the idea of the mundane. Through the material and visual choices, my work reflects an urban feel as evidenced in the common materials in my sculptures, and the re-signification of everyday objects. I let the materials inspire the direction of my work. Utilizing strong lines, shapes, and color, I rely on my design background to create these installations. The intentional subtlety of my work is addressing the absurdity of societal expectations.

In this photo "Corner Of My Eye", 2013, Digital Print, 11 x 17 inches

Rachel Lermusik Email · Website

He was still too young to know that the heart's memory eliminates the bad and magnifies the good, and that thanks to this artifice we manage to endure the burden of the past.

Gabriel Garcí­a Márquez

The ideas of love, loss, and memory are fascinating topics to me. Through photographs I have documented my grandmother’s journey through grief after losing my grandfather and the life she leads after such a loss. These photos represent not only the tremendous emotional effects of losing a spouse but also the growth and hope that can become restored after facing such an ordeal. I hope to show how memories, although painful at first, can also aid in the healing and grieving process; how letting go and holding on can sometimes go hand in hand.

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In this photo "Blue Smush", 2013, acrylic on canvas, 24 x 24 inches

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In this photo "Pink Smush", 2013, acrylic on canvas, 36x36 inches

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In this photo "NW Smush", 2013, acrylic on canvas, 48 x 48 inches

Taylor Mabbott Email · Website

I am inspired by everyday flowers and the tension between their soft delicacy and surprising resilience. During my time at Cornish, I refined my skills by working with expansive color mixing and large-scale pieces. The extreme physical energy it takes to create each item is important, as well as the strong emphasis on material-based artwork. I experimented with preserving forms via permanent or semi-permanent media, which led to the work I am presenting in this exhibition.

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In this photo "Labor of Love: Passage of Time", 2013, graphite, ink, conte, acrylic and found material on wood and Mylar, 36 x 30 x 40 inches

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In this photo "My Word", 2013, print work and found material on cardstock, 2 x 2 x 2 inches

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In this photo "Collaborator One: Growth", 2013, acrylic, leaves, ink, and conte on canvas, 4.5 x 8 feet

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In this photo "Collaborator Two: Passage of Time" (underside), 2013, crayon, charcoal, and conte on wood, 35 x 25 inches

Athena Mace Email · Website

Labor of Love

A labor of love is an endeavor that takes incredible energy, dedication, turmoil, and purpose. The whole process is chaotic, intuitive and my intention is based on non-negotiable principles I have within me. The methods and combination of materials for these pieces represent my attempt to seek harmony among all the different facets of my identity: a mother, a wife, a pagan, a worker, an artist, a student, and a business owner. The trick to finding harmony is negotiating which elements are truly important and finding creative solutions to meet the needs of the rest. The most important of these are my family, my faith, and my study of art. These are evident in my work by use of object reference, symbolism, and the process of combining my five-year-old daughter’s hand in my work.

In this photo "Entering Inner Peace", 2013, intaglio and water color, 28 x 20 inches

Alexandra Manea Email · Website

This is a body of work that illustrates the struggle between juggling the negative aspects of modern life and society and achieving peace of mind. If we can identify what peace of mind is for each of us, we can take control of our own lives and not let our habits rule our personal and social interactions.
I find that peace of mind involves embracing nature and the slow pace of natural moments. I created this body of work to bring peace to and to slow down the pace of my life. I want to be thoughtful of my mind, body and time spent. I want peace of mind.

In this photo "Trophaeum I", 2013, mixed media on panel, 18 x 18 inches

Hanna Myers Email · Website

Latin for ghost, echo or phantom--my exhibition Imago explores the visual junction between the refined and calculated traditions of Classical era aesthetics and my own approach to contemporary material-based processes. This body of work represents a personally experimental study of themes including mortality and corporeity. Images torn from antiquity emerge out of dark surroundings, some bulging from the surface like tumorous growths, while others are scratched deep into the plane. My paintings are imbued with a tangible grit and history achieved through intense layering of an array of media, then excavating the previous stratum through sanding and gouging.

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In this photo "Aftermath: Art School Therapy", 2013, sculpture and projection, 8 x 8 x 8 feet, duration 05:51

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In this photo "Conversation Piece: The Secret to a Successful Dinner Conversation", sculpture, 2013, 36 x 36 x 36 inches

Karina Nyquist Email · Website

Truth is…

I am interested in different worldviews and how our personal histories impact the ways in which we communicate and relate to one another. In order to foster the processing and sorting of thoughts, I have made work that is interactive. Through this hands-on approach, participants will be able to challenge the views they have been developing since childhood. The heavy nature of the subject matter of my work may be difficult to deal with. Therefore, I put a humorous spin on the work, which provides space for viewers to play with these deeper issues.

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In this photo "The Gathering", 2013, oil on canvas, 6 x 8 feet

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In this photo "The Gathering" (detail), 2013, oil on canvas, 6 x 8 feet

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In this photo "Welcome", 2013, oil on canvas, 18 x 24 inches

Valerie Schurman Email · Website

The Gathering

None of us exists in a vacuum. We have relationships with our surroundings, with other people, with ourselves. I am fascinated by scenes of people in ordinary situations that often mask underlying complexity and which hint at the mystery and intriguing aspects of our environment and relationships. I find that the surface rarely reveals the whole.

My images are populated with figures that relate to one another, seen or unseen, like characters in a novel. While these people appear to be part of everyday life, they also exist in their own circumscribed worlds. Through visual relationships and juxtapositions, they depict the quiet, fraught, and yet familiar, situations we encounter routinely. Intimacy and alienation are two sides of the same coin. These people are part of the veiled subtext of life’s often hidden psychodramas.

“Thrashed”, 2013, copper plate etching,  7 x 10 inches

In this photo “Thrashed”, 2013, copper plate etching, 7 x 10 inches

Davin Spridgen Email · Website

When people think of skateboarding it is usually kinesthetic. I am showing an alternative view of that preconceived idea. The individuality of a skate park for example is put into a new context and appreciated when observed in stillness. A skateboard or a pair of shoes can take on a different life. A new personality is given through the user’s marks on these objects. Motion at rest summarizes my idea. I made this body of work because of my respect for the sport and culture. I see inherent beauty every day in skateboarding and the objects used to create it.

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In this photo "Radiance," 2013, grid of 4 archival inkjet prints on painted cradled fiberboard, 70.5 x 70.5 x 2 inches

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In this photo "Instinct," 2013, archival inkjet print mounted on painted cradled fiberboard, 24 x 24 x 2 inches

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In this photo "Night Moth," 2013, archival inkjet print mounted on painted cradled fiberboard, 24 x 24 x 2 inches

Teri Thomas Email · Website

Beyond Dualities

Cerebral...visceral. Dark...light. Microcosm...macrocosm. Ancient...modern. Individual...collective. These dualities could define my new body of work, but I'm striving to capture something that goes beyond such artifices. Something mystical, primordial, unspoken.

In a series of interrelated sculptural elements and large-scale photos, I incorporate domes, ellipses, and ellipsoidal forms as a metaphor for the human face, both individually and collectively. Masks, sacred geometry, and radial symmetry lift the veil of illusion and communicate directly with the subconscious.

The spark of the divine is in all of us.

In this photo "Meta", 2013, oil, acrylic & aerosol on panel, video projection, sound, 72 x 27.5 inches

Miles “Telos” Toland Email · Website


Meta.Morph.Oasis is a three-part installation moving through self-reflection, self-activation, and self- actualization. The overarching narrative begins with a harsh reality weighted with symbols of psychological distraction and oppression. Surrealistic imagery and a cathartic energy recontextualize the symbols into a perspective that celebrates the flow and cycles of life. The mood advances into a peaceful state of being with a meditative focus celebrating the infinite potential. This transfiguration shifts from passivity to activity, fear to courage, and ego to spirit. The installation creates a synesthetic relationship between painting, video, sound, and even touch.

In this photo "Coulliette and the Boat", 2013, video, 2 minutes

Jenisa Ubben Email · Website

I am a video artist. My images juxtapose outdoor nature with futurism and fantasy, creating an imaginative place to escape. I also use sculptures as props to further a story or atmosphere.
I am interested in shedding light on problems with mental health and stress by inviting people to see human interaction with a beautiful landscape as a source of joy, connection, and revitalization. I show expansive views, so that one’s mind can expand into that space.
I am most influenced by Andy Goldsworthy and Bill Viola, the mountains and parks in Seattle and Snoqualmie National Forest, and symbols and metaphors having to do with breath, water, trees, clouds, and journeys.

In this photo "Waiting Line", 2012, woodblock print. 30 x 22 inches

Miranda Uhrig Website

“It’s been said that fear of the unknown is an irrational response to the excesses of the imagination. But our fear of the everyday, of the lurking stranger and the sound of footfalls on the stairs, the fear of violent death and the primitive impulse to survive, are as frightening as any X-File, as real as the acceptance that it could happen to you.”
-Fox Mulder, "Irresistible." The X-Files: Season 2, Episode 13. Writer: Chris Carter. Fox, 13 January 1995.

My work is a compilation of the extraterrestrial, what is feared is not fearful.

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In this photo "Britney: One For Each Album" (series), 2013, Duct Tape, 3 x 3 x 3 feet (each)

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In this photo "Gimme More", 2013, Duct Tape, 3 x 3 x 3 feet

Deanna Wade Email · Website

My art expresses the relationship I possess with my childhood idol, the phenomenal Britney Spears. When I was in second grade, Britney released her first album and I was instantly hooked. Throughout the years, I have observed her with fascination and awe. The sculptures are a combination of Britney’s past and my body. My eight-year-old dream of growing up to be Britney Spears faded, but the memory of my childhood dream never did. The seven reflective replicas radiate a mixture of innocence, fantasy, and childish aspirations.

In this photo "Water Droplet Interference", 2012, photo-emulsive paper, 10 x 10 inches

Christopher Walsh Email · Website

Orbital Light Forms: a system for space-time composition

Aesthetic experiences are foundational in my journey to learn creatively: coaxing the circuits of logic and observation, with a poetic arc between forms and meanings. Such experience expands the domain of thought patterns with curious and roaming associations. Thus begins a journey to discover forms that enable the mind's relational potential.

Information transmits in a multitude of physical mediums; when perceived, the brain abstracts information as networks of electrical synapses. Meaningful relations occur between analogous networks. Bridging these networks expands modes of thinking.

In this method, I present the shadows of an inner-space: wild streaming photons, which inspired me to invent instruments to explore these frontiers of pattern. All in a manner which serves mental integration: meditation upon the absurd and meaningful.

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In this photo "exorcisms 1-3: WASHING", acrylic on GAC 800, 26 x 30 inches

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In this photo "exorcisms 1-3: WASHING" (backside), acrylic on GAC 800, 26 x 30 inches

Sam Whalen Email · Website

Exorcisms 1-3: WASHING

I can link my hypochondria to my fear of becoming my mother. I am convinced that as the years pass that I will merge with her ghost and become a hybrid reincarnation, the continuation of a tragic cycle of female suffering and martyrdom that is engrained in my family’s bones. Themes of the domestic are strong with the use of materials like bed sheets, washed letters, food, and common household items. I am fearful of her possessing me, of a transformation into a sickening mixture of genetics and learned behaviors. I already can trace the impression of her on the surface of my skin.

“Dad, Between Question and Answer”, 2013, acrylic on canvas, 42 x 30 inches

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In this photo “Dad, Between Question and Answer”, 2013, acrylic on canvas, 42 x 30 inches

“Bloom, Moving Forward”, 2013, oil on canvas, 66 x 42 inches

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In this photo “Bloom, Moving Forward”, 2013, oil on canvas, 66 x 42 inches

“Storm on 3rd Avenue”, 2013, oil on canvas, 50 x 36 inches

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In this photo “Storm on 3rd Avenue”, 2013, oil on canvas, 50 x 36 inches

  • “Dad, Between Question and Answer”, 2013, acrylic on canvas, 42 x 30 inches
  • “Bloom, Moving Forward”, 2013, oil on canvas, 66 x 42 inches
  • “Storm on 3rd Avenue”, 2013, oil on canvas, 50 x 36 inches

Chloe Allred Email · Website

Origin Story, Loss, Pain, Transcendence

I am interested in how the self is created. I look to confront and examine my own image and body, and to move deeper--to examine family, places, and memories. Art has served as a means to puzzle through problems in life, often through the direct representation of myself; in this work, it has been essential to address my body directly. This has served as a meditation on beauty ideals and body shame, and a transcendence from that shame. I am addressing these ideas, as well as time, loss and recovery, and the complex emotional layering that is part of the human experience.

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In this photo "Refections/Cul Du Sac" (video still), 2013, video, 3:25

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In this photo "Bully" (video still), 2013, video, 3:15

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In this photo "Bully" (video still), 2013, video, 2:19

Lauren Armstrong Email · Website

I like mark-making, linear formations, repetition and pizza. With these interests in mind, I navigate the art process with adventure and spirit. My painting process involves layering, carving, and reduction, while my video process involves writing, memory mapping, and creative commons footage. I explore concepts linking nostalgia and aesthetics. Through this, I find balances between rigidity, calmness, terror, misfortune, and fun.

In this photo "Prasarita", 2012, wood block print, 4 x7 feet

Gabriela Ayala-Canizares Email · Website

My work actualizes into form the sensation of yoga and the progress of spirituality through a long-term yogic practice. In my life its purpose and effects have always shifted and rippled into what I needed at that moment. I am gathering all these experiences into one visual practice. In this visual practice, I am reflecting the body, the mind, and the effects of dissipating identification with these parts of our selves.

In this photo "Yeah", 2012, acrylic on wood, 20 x 23 inches

JD Banke Email · Website

The beauty of it all is that you create your own beauty out of it all.

In this photo "The Great Boofaloo", 2013, oil on canvas, 36 x 36 inches

Syd Brown Website

Syd's interest in folklore, fairytales, and dreams guide her visual storytelling. She focuses on emotional and physical development, femininity, youth, and discourse- often using creatures and fantastical realms to convey the strange- and sometimes amusing- travels which chronicle her search for what it means to be transformative.

In this photo "Scale Weight", 2013, mixed material, 61 x 22.4 x 11 inches

John Radtke Email · Website

Raised with a strong work ethic, I use what is available to me. My challenge is to figure out solutions to formative problems using obsessive ingenuity and my interest in low-technology.

In this photo "untitled (black sludge)", 2012, archival inkjet print, 24 x 24 inches

Tyler Coray Email · Website

What Gets Left Behind

This series is an exploration of found objects and isolated incidents throughout Seattle and it's surrounding areas. As all things head toward complete deterioration, what I’m documenting are the phases in between. Textures and materials become amalgamated with the environment, objects get re-contextualized, and through their displacement they continually metamorphosize into something new. Formally, I'm looking at how these occurrences influence the environment in which they are found, based on color relationships and physical qualities.

My work is influenced by entropy and its irreversibility. I find myself most interested in how these encounters exist beyond my moments with them. While these photographs depict ephemerality, what gets left behind continues on in new forms.

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In this photo "Dislocated" (video still), 2011, video, dimensions variable

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In this photo "Galea" (video still), 2012, video, dimensions variable

Mat Daniluk Email · Website

What factors determine a life lived homeless?

I equate the human body and mind to a container or structure. Damage to the body and mind through injury, coupled with subtle to blatant neglect degrades the framework. This results in a transformation into lessened physical and mental capabilities. A lack of support may also contribute to an event leading to homelessness. The homeless generally only warrant attention through society’s action of deliberate ignorance, yet I focus on homelessness as an article of character and merit. These ideas inform my thought on displacement, confrontation, a loss of former identity and isolation.

In this photo "A Moment of Meditation At The Altar of Vagina", 2012, ink and gouache on illustration board, 32 x 40 inches

Kassandra Davis Email · Website

If there is one human trait that is most endearing, it is empathy: blurring the line between the self and others. Human beings are complicated creatures that experience many emotions which can cause one to feel a sense of vulnerability. This burden of openness is quite humbling and honest, and dare I say, beautiful, allowing us each to realize how wonderfully alike we all are.

I am driven to draw and illustrate to capture instances in which empathy and honesty can truly overwhelm the senses. Sometimes these instances are personal, even intimate to the point of vulgar. My steady love of the (auto)biography plays a crucial part in what inspires my craft and what is my main frame of reference.

The crude execution of my narratives illustrates my openness to being vulnerable and exposed in hopes the viewer’s empathy will be present, regardless of whether one feels these images off-putting, serious, or amusing.

In this photo "waiting to assimilate", 2012, digital inkjet print, 22 x 17 inches

Natalie Friedman Email · Website

Often times, we find ourselves living in a mindless pattern. We begin, we end, we repeat, and rarely question the space in between. The world is in a constant flux and our ideas and measurements are rapidly shifting. Our state of being repeatedly transforms until it takes shape as something abstracted. I am exploring the oppositions that occur in time, shame, and guilt in these works. Using video and photography, I have put the traditional notions of moving and stillness on the back burner to show the fluidity of these concepts.

In this photo "Lack", 2013, photo & wheat paste, dimensions variable

Karla Fuller-Palmer Email · Website

I explore dualities in life.

Meditation and penance.
Hope and despair.
Self and group.

Conceptually, my work is about appreciating human gesture & processing emotional experiences.
Formally, I look to line, composition, scale & time.
Anxiety and depression are catalysts for creation. My current work deals with a lack of community, failed communication, and the creation & worship of false idols. The emotional content can be cloying, thus materials are raw & display is minimal.
I am working through failed life processes & turning harsh endings into new beginnings.

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In this photo "Not Alice", 2013, Giclee print and arylic ink, 18 x 24 inches

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In this photo "Cotton Candy Sea", 2013, Giclee print, 11 x 17 inches

Jane Heath Email · Website

Nostalgic Expressions

My inspiration comes from bits, pieces, and fragmented memories from my childhood. I have stitched together collages to express sentiments about my past. I then fabricated a model to bring my childhood fantasies into our 3-dimensional world. I also created composite portraits with the ghosts of the unexpressed imbedded within. My work primarily serves as an avenue to release some of these feelings I have had within for too long.

In this photo "Reflection", 2013, chromed copper etching plate, 6 x 9 inches

Ross Jimmicum Email

My work is reflective and a part of my reflection. When someone looks into a mirror, what do they expect to see? What they choose to see is up to the individual. When I stand in front of a reflective object, I don’t just see my reflection; I see the history of myself and what I have endured to get to the point where I am today. I see the culture that laid the foundation of who I am, who I want to become, and who I want to be. I see the people who I encounter throughout my journey and how we reflect our stories onto one another. This is what I see.

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In this photo "After The Wedding", 2012, acrylic on panel, 36 x 48 inches

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In this photo "Almost Two- In The Blue Dress", 2013, acrylic on panel, 36 x 48 inches

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In this photo "She Read By The Pool", 2013, acrylic on panel, 14 x 14 inches

Emily Joseph Email · Website


Through the methodical deconstruction of images, I have developed a system of fragmented portraiture. Figures and their environments are pared down and woven into a lattice of tonal pigment in order to examine specific recollections in a network of simple line and color. Each piece stems from the brains ability to store and rebuild ephemeral images of childhood using grids as a system of structural and schematic support. The work begins to inhabit a space of collective memory, touching on themes of domesticity, utilizing color as the cue. This practice forms an abstracted visual system for displaying the remembrances that have been fractured and re/remembered over time.

In this photo "Homo Neurotrichus", 2013, plaster and watercolor, 4 x 3 x 2.5 inches

Miriam Keith Email · Website

When humans encounter fantastical beasts and animals, legends are born. The Celts and ancient peoples of Greece and Egypt depicted monsters and heroes in stone. The tales told by older stone, fossils, could have been discovered by our ancestors. Examining these fossils with modern sciences we can unlock how these creatures functioned from a biological standpoint.

Recently unearthed creatures teach us more of where we come from and what evolved alongside us. Only a very small percentage of organisms become fossilized. For a moment, posit that in these gaps waits the evidence of such creatures as dragons, unicorns, mermaids, basilisks, and other things, for which we have no names.

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In this photo "@juhlizabeth" (detail), 2013, 3-channel video, run-time 04:05

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In this photo "@juhlizabeth", 2013, 3-channel video, run-time 04:05

Anna Markle Email · Website

By appropriating text that has more than likely never been spoken and giving it a voice, I hope to shed light on the ridiculous content found on Twitter. I have taken found tweets- ones that particularly vex me- and uncovered a layer of anonymity by creating an identity for them in my videos. Through the personas that I have created and embodied, the tweets have been re-contextualized in a humorous manner to unveil the absurdity of what people are willing to type out into 140 characters in an isolated setting.

In this photo "The Ram of Abraham: Defiant" (detail), 2013, oil on canvas, 48 x 48 inches

Alexis Nasya Prall Email · Website

The Animal Speaks Through Us, of Us

Humans have an incredibly complex inner life and so we must use a series of symbols in order to abstractly discuss our own powers and experiences. Animals, because of their availability since time immemorial, have become these totems and symbols for our allegorical discussions. I am creating a gallery of totemic icon animals from Western and Mediterranean myth, religion and fable to bring their presence into the space. The totems become a locus of power in and of themselves, confronting the viewer directly as icons do in Orthodox churches. The ancient symbols painted for days anew.

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In this photo "Validity/Conversion", 2013, oil on wood panel, 5 x 4 feet

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In this photo "Searing Tempest", 2013, oil on wood panel, 5 x 4 feet

Klint Flentge Email · Website

My art is inspired by nature and a dreamlike reality. It comes from daily life and how I experience it. The language of life creates narratives that I mold into the visual. Surrealism is the cornerstone of my work, as is exploring the abstraction of the figure. Creating an underlying commonality through ritualistic process, the content of my paintings feature a changing focus while creating individual vignettes for the viewer.

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In this photo "Where E. E. Cummings Meets Parliament Funkadelic, or Circumstance Rules Everything Around Me", 2012, color pencil and ink on paper, 22.5 x 30 inches

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In this photo "Wired for Sound", 2013, Giclee print mounted to wood, coated in epoxy resin, 31 x 34 inches

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In this photo "Key Change", 2012, color pencil and ink on paper, 20 x 25.5 inches

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In this photo "No Exit", 2013, Giclee print mounted to wood, coated in epoxy resin, 34 x 31 inches

Jake Galm Email · Website

Hey, Jake! Just wanted to tell you something. At first, I was confused by your art. Your images include so many small, seemingly unrelated items. I thought that you must have a whole story in your head that the rest of us don't know.
For me, that was a bit frustrating. However, I now have a different take on your work. I think that a "Galm" is not for the lazy or indifferent observer. I think it doesn't matter whether we know the "back story" or whether there even is one.
Your art allows us, even requires us, to fabricate an entire narrative incorporating all these seemingly random items. It's a game kind of like a rubics cube, only waaayyyy more fun. Can't wait to try it!! - Bex Ikeda.

In this photo "Samnang: Good Fortune" video still, 2012, 38 minutes

Lauren Iida Email · Website

Samnang: Good Fortune

An unexpected stopover in Cambodia in 2008 turned into the beginning of a close relationship with the country, its rich culture, devastating past, and its resilient people. Since my return to Seattle in 2010, I have had vignettes playing in my head of my experiences while living there. Having no words to sufficiently share these experiences, I created this film to convey these stories.
I shot this on a recent trip to Cambodia in December and January of 2012/2013. These observations and intimate moments with my Cambodian friends and family are the way I learned about the nuances of the culture, and formed strong bonds of mutual trust and respect.

In this photo "Untitled", 2013, acrylic on canvas, 64 x 58 inches

Liz Fellman Website

The feelings people get when they look up at the uniqueness of the sky and the ideas of color, abstraction and lines created in the universe particularly entice me, because they evoke emotion. The thought of showing people everything you can see if you look closely enough motivates me.

Music is a main inspiration for these works. The song below has a deep personal meaning for me. This song and my associations with it helped fuel the creation of these pieces.

See Delilah is a girl, she wanna gain the world
Understand yuhrself, back up on shell
She seh gi yuh love to nobody else
I woulda keep yuh for myself
Cyan keep yuh pull a next man belt
I love u, yuh love wealth
Nobody knows the pain I felt(the pain I felt, the pain I felt)
So burn in hell and melt(and melt)
~ Mavado, Delilah

In this photo "Blades", 2013, photograph, 48 x 36 inches

Mab Metzger Email · Website

I have a body that has often been revered and criticized. Since I was a child, I have been incredibly long, slender, and limber, allowing this body, practically designed for modeling high fashion, to contort into hideous and unnatural-looking positions. This project is about exploiting my body in ways that will make the viewer and me feel very uncomfortable about what body aesthetics we hold in high esteem.

In this photo "Hypogeum", 2013, oil on wood, 16 x 16 inches

Matt Huff Email · Website

My compositions are arranged to stimulate the viewer through the repetition of basic shapes as well as organic forms, tactile textures, and symmetry. Within my paintings, I have created an environment with a personality, a space that reverberates with a visual echo. These are pieces that provide a buzzing or a sense of the beyond through a collapsing of scale and the privilege of access through immersion.

In this photo "I am a virgin", 2013, video projection, 72 x 72 inches

MNDY KIM Email · Website

My identity as a virgin became more real to me as I started to invest myself in a society that does not see “keeping your virginity” as normal. The American Media culture promotes to lose your virginity as fast as you can, but the community I’ve grown up in has taught me to “keep my virginity sacred ‘til marriage.”

What is this balance between the culture that exists around me and the person that I am? I struggle with allowing myself, as a sexually inexperienced woman to be empowered by this identity in a culture that celebrates being sexually alive.

self destruction - oil painting and mixed media on wooden panel nightmare - photoshopped digital print 4 x 6 inches glitterbomb - digital print 4 x 6 inches

In this photo self destruction - oil painting and mixed media on wooden panel nightmare - photoshopped digital print 4 x 6 inches glitterbomb - digital print 4 x 6 inches

Rylee Stearnes Website

Illuminating significant values, memories and entities through conflicting concepts, colors, mediums, and techniques - Juxtaposing all aspects of art through a visual mayhem of contradictions – yet made simply because, “I like it”. I've been taught that art needs thought, specific reason, and a purpose beyond being something to look at, but I’ve learned that is my biggest obstacle. I need to create what I want to create, and eradicate the notion that art has certain rules or guidelines.

Count: 1/3 images

In this photo "Psychlone", 2009, collage on painted panel, 15 x 15 inches

Count: 2/3 images

In this photo "Self Portrait", 2012, eraser tool on digital photo 51 x 50 inches

Count: 3/3 images

In this photo "Guucci Snow", 2013, collage and whiteout on painted panel, 18 x 24 inches

Gregory Q. Young Email · Website

My work is spontaneous and stream of consciousness. I don’t like to spend too much time on one idea; I do one take and I’m done. As an artist this is both my power and my weakness. There is just something so powerful and genuine when an idea comes to me and I immediately sit down and execute it in one take. On the other hand, I also have a tendency to quickly cast aside ideas that could potentially become strong bodies of work.

I feel that when my pieces are worked and reworked, it is forced and not true to myself. Keep it raw, based freestyle.

In this photo "Untitled," 2013, mixed media on framed Ppanel, 25 ¼ x 49 ½ inches

Tracy Lee Email · Website

My work is an active decision making process as I intuitively and spontaneously am countering, complementing, and opposing each new application of material. This is a series of material collages I describe as sculptural paintings.

In this photo "An Environmental Study: Bucket", 2012, Cyanotype, 18 x 21 inches

Brandon Jones Email · Website

"No Silver Lining" exhibits a selection of non-silver based printing methods depicting still life, portraits, and photographs somewhere in between. I believe art bares evidence of our mistakes and our successes. Alternative process printing is my response to the abundance of digital media where the artist's hand is less apparent in the final print. Where outdated equipment and techniques have little or no place in commercial or even social uses of photography, art offers me the luxury of choice. I take from this the inspiration to choose the process and camera that best captures and expresses each subject.