2016 SPRING STORM
The Department of Art proudly presents Spring Storm 2016, an exhibition showcasing the work of graduating 
seniors in the Department of Art, the Digital Arts Program, and the Product Design Program. The exhibition, 
now in its fourth year, celebrates the culmination of their studies and is a wonderful opportunity for fellow 
students, friends, family, and the community to recognize their creative achievements. Through senior capstone 
or advanced courses, students learn to synthesize concept, material, image, and form to create unique works of 
art and design.
 
As undergraduates studying art and design, our students learn to think responsively and responsibly, ask 
questions, explore creative ideas, and experiment with materials and processes. Their work represents a broad 
range of practices reflecting the scope of our curriculum, which includes photography, sculpture, ceramics, 
metalsmithing and jewelry, painting, drawing, fibers, and printmaking, as well as print media, animation, video, 
and interactivity in digital arts, and the use, design, and production of consumer products. The studio-based 
practice and cross-disciplinary philosophy of our program are rooted in a strong liberal arts education within the 
research university.
 
The energy is remarkable. Creative projects occupy studios, classrooms, gallery spaces, hallways, and outdoor 
spaces during Spring Storm 2016. As faculty members, we are honored to usher our graduating seniors into the 
world as emerging artists and designers with a strong sense of their own work and voice within the context of 
their field and the greater contemporary world.
 
Charlene Liu
Associate Department Head, Undergraduate Director, and Associate Professor, Department of Art
June 2016
Work by nearly 100 graduating senior art, digital arts, and product design students was exhibited in Spring Storm 
2016 on Friday, May 27, 2016, from 5:00–8:00 p.m. over two floors in Lawrence Hall, 1190 Franklin Boulevard, on 
the UO campus.
DEPARTMENT OF ART FACULTY MEMBERS
Jonathan Bagby Craig Hickman Christopher Michlig Rick Silva
Farhad Bahram Colin Ives Sarah Mikenis  Jessica Swanson
Carla Bengtson Ron Jude (GTF mentoring) Ying Tan
Mike Bray Courtney Kemp Donald Morgan Jessie Vala
Rebecca Childers Anya Kivarkis John Park Laura Vandenburgh
Isami Ching Alex Krajkowski Barbara Pickett Kate Wagle
Colleen Choquette-Raphael Jenny Lin Dan Powell Terri Warpinski
Jovencio de la Paz Sylvan Lionni Jan Reaves Ty Warren
Tannaz Farsi Charlene Liu Jack Ryan Amanda Wojick
Brian Gillis Euan Macdonald Michael Salter
Ron Graff Ian McDonald James Schauer
Charles Hall
CREDITS
Special thanks to the Spring Storm 2016 jury:  Student designer: Spring Storm 2016 logo design, Anthony Hou,  
Carla Bengtson BFA ’16 (digital arts)
Anya Dikareva Public Programming Director: Wendy Heldmann 
Summer Gray
Krista Heinitz Department of Art
Daniel P. Lopez School of Architecture and Allied Arts
Christopher Michlig University of Oregon
Sarah Mikenis 5232 University of Oregon, Eugene, Oregon 97403-5232
Stephen Nachtigall 541-346-3610
Daniel Rosenberg artuo@uoregon.edu  |  art.uoregon.edu
Chris White
Rachel Widomski 
CONTENTS
Annie Arcuri Michael Goettsch Jordan Levis Alexis Sanchez
Nathan Bergfelt Carly Hagen Lucy Lyon Randy Scarborough
Gwyneth Black Audrea Haller Lin Ma Marcella Schaufler*
Justin Boggs* Mitchell Halvorsen Holly Madrid* Arnold Sharp
Pheonix Booth** Emma Haskins Kameron D. McBride Delta Starchild
Nigel Britton Synclaire Horlings* Olivia Minshall Heather Ulibarri-Devaul
Daniela Cardenas-Riumallo* Natalie Justema Marissa Montalvo Justine Vanderpool
Rebecca Elroy Elora Kelsh* Kim Novak-Johnson Halla Walton
Jalan Ember Megan Kennedy Janell Ohm Jingjie Wang
Amy Ernst Brittany King Tiffany Ottem Alycia White
Susannah Feiler Nicole Kramer Minna Pang Tyler Wienckowski
Henry Feldman Ruby Lambie Cody Parks* Samantha Winfrey
Ali Garrett Andrea Landis Ahmad Rashada Jeyraan Treati Yazdani
* Indicates Spring Storm 2016 jury award selection
** Indicates A&AA Dean's Award
01 oREaOSNchoo l of Architecture and Allied Arts 
An equal-opportunity, affirmative-action institution committed to cultural diversity and compliance with the Americans with Disabilities Act. This publication will be made available in accessible formats upon 
request. ©2016 University of Oregon MC0916-001afm-B50326
ANNIE ARCURI  PRODUCT DESIGN
The Invisibility of 
Containment
2016
copper, sterling 
silver
12 x 12 x 3.5 inches
My vessels, through the use of deconstruction, examine ideas about containment. By confining the vessels to 
a certain area on top of the stark pedestal, the space around them becomes defined through its absence. The 
vessels are defined by both their context and their content.
4
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NATHAN BERGFELT  DIGITAL ARTS
Slap(Tag) the Old
2016
digital drawing, 
printable vinyl on 
found paintings
6 x 11 inches,  
12 x 16 inches,  
10 x 13 inches
The slap-tag or sticker, an interestingly modern approach to urban art, inspired me to pursue creating my own. 
Used in a previous student collaborative show under the title NTRP, these slap-tags were created to evoke 
the aesthetics of mass-produced objects and directly reference the USPS Label 228 most commonly used in 
the streets. The design plays off ’90s themes from pop culture, as well as the almost juvenile “Mac heads,” to 
further push the youthful, ne’er-do-well vibe that surrounds this form of street-art culture as I applied them to 
these stereotypically classic recycled paintings. 5
GWYNETH BLACK  DIGITAL ARTS
Old Gods 
2016
Photoshop painting 
24 x 36 inches
Old Gods is a recreation of a pair of paintings I did 
about three years ago for a digital imaging class. When 
I expressed concerns to my professor that it would 
be too much, he encouraged me to push it further. 
The advice to push things further has been a constant 
throughout my time at the UO. The title comes 
from the first comment he made when he saw the 
paintings, that it made him think of a time when gods 
were more primal. More brutal.
6
JUSTIN BOGGS  ART
Untitled
2016
intaglio prints on 
stained wood
1 x 2 feet
For the past six months I have been investigating the possibilities of creating abstracted interior spaces via 
painting and printmaking. Referencing architectural blueprints for developing a formulaic approach that 
produces transparent-based compositions, the goal is for the work to expand one’s previous visual interpretation 
of the interior spaces that we frequent on a daily basis.
7
PHEONIX BOOTH  ART
Fred
2016
cast bronze,  
copper sheet, 
powder coating
3 x 5 x 4 inches
My metalwork blurs the line between jewelry and object; it exists in the liminal space, neither here nor there, 
refusing to be categorized. During my process, the nonlinear nature of time is evident and my mind and body 
operate in a place of hyperfocus, where the cares of the everyday dissolve into sensation, and that sensation is 
channeled into process.
8
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NIGEL BRITTON  DIGITAL ARTS
Antikythera 
Mechanism
2016
digital animation
1920 x 1200 pixels
In this animation I demonstrate through an abstract mechanism, the creation of a star, where life begins and 
ends in the larger picture of things.
9
. ,  
DANIELA CARDENAS-RIUMALLO  ART
Dive Part 3
2016
acrylic,  
masking tape,  
gesso on  
watercolor paper
..~ ~ 
_,,,... -· 
~-~~­... 
This painting comes from the series Dive—juxtaposing two realms of reality, the past and the present. The past 
is represented in the objects in the background, and the present is a reaction to the human aspect.
10
REBECCA ELROY  ART
Abuse of Perception 
Comes as No 
Surprise
2016 
intaglio, watercolor, 
goldleaf foil, 
newsprint  
variable dimensions
Being a woman in the 21st century is a complicated affair. In a postfeminist world how can we remain liberated 
sexually without becoming a product? Without becoming a victim? With the media a significant instrument 
in how we view others, and ourselves the veil of perception is often used as a control tool. Is the media so 
powerful that it blinds our perception of ourselves? Can we still be liberated if we’re objectified? This work is a 
study of the blurred lines between liberation, objectification, and victimization. 11
JALAN EMBER  DIGITAL ARTS
Paper Head
2016
paper sculpture  
2 x 2 x 3 feet
Three-D models of the human body can be distorted dramatically and easily. Often, these distortions are 
expressive of specific, powerful emotions that can’t be easily put into words, but are understood nonetheless. 
This giant paper head aims to take the expressive qualities of digital distortion and make them tangible and 
wearable.
12
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AMY ERNST  ART
Remnants 
(silver lace 
headpiece)
2016 
fabricated, 
hammered sterling 
silver sheet and 
wire, soldered 
links, combined 
and woven sterling 
silver chain
6 x 6 inches
With a passion for design and silverwork, I create pieces of wearable art, paying close attention to the relation 
to the natural flow of the body and how the two relate. Through fabrication, casting, and weaving chain, I feed 
my passion for creating modern pieces reminiscent of delicate fabric.
13
SUSANNAH FEILER  ART
voicemail09/07/14 
2016
digital art
18 x 40 inches
I’ve always been fascinated with the visualization of 
sound. Synesthesia runs in my family. For this piece, 
I was curious to see what the computer interprets 
sound to be. I took something deeply personal 
and meaningful—a sentimental voicemail from my 
grandfather—and put it into Audacity. I deconstructed 
it into its most basic forms: frequency, pitch, silence 
and noise, and saved the correlating spectrograms. I 
layered them in various orders in Adobe Photoshop 
and pressed “Auto-Blend.” The outcome and colors 
formed here is exactly what the software produced, 
I didn’t edit anything. Using the computer as the 
mechanical process, I surrendered my hand in the 
final outcome. By turning something with auditory 
value into a concrete visual image, its original meaning 
has now transcended from sound to digital, and now 
resides on paper as an objective piece of art. 
14
HENRY FELDMAN  ART
Uncomfort
2016 
woodblock 
15
. ,  
ALI GARRETT  DIGITAL ARTS
Occhiolism
2016
digital print
20 x 20 inches
screen prints 
11 x 14 inches each
Occhiolism: n. the awareness of the smallness of your perspective.
Inspired by social anxiety, this self-portrait represents the overwhelming feelings of existential confusion.
16
MICHAEL GOETTSCH  ART
Cosmic Key
2016
sterling silver, meteorite
3.25 x 1.25 x .25 inches 
In this work, I aim to make “artifacts of time” . . . 
objects and relics of an advanced, forgotten past, 
and an as-yet-unrealized future that are a means 
to open doors to the unseen world around us. By 
implementing objects like meteorites from outer space 
and ideas from inner space, I endeavor to imbue one 
with the other.
17
CARLY HAGEN  DIGITAL ARTS
Fugue
2016
multimedia
1 x 4 x 3 feet
Fugue is an exploration of how objects can be given the illusion of life. The goal was to take a highly inorganic 
form, a white cube, and use simple mechanisms and programming to make it feel organic. Each cube is shifting 
through a pattern of colors at different speeds, creating occasional moments of synchronization. The cubes are 
constructed out of medium-density fiberboard and fabric, with a motor and LEDs controlled via Arduino.
18
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AUDREA HALLER  ART
Offered and Taken
2016 
bronze and chain 
2.75 x 3.625 x 1.25 
inches (Offered) 
and 3.5 inches x 
2.875 inches x  
1.25 inches (Taken)
My work is mainly concerned with the hand and its relationship to the gesture. I try to articulate the invisible 
space present in the gestures we make with our hands by casting the negative space of a gesture in wax and 
then translating it into bronze. The resulting object has the texture and imprint of the palm embedded in the 
metal. The imprint of the hand reveals how the gesture was formed and suggests how the objects could be held 
or interacted with.
19
. ,  
MITCHELL HALVORSEN  ART
Samurai
2016
intaglio  
(sugar lift etching 
printed on silk 
gampi tissue) 
variable dimensions
/, 
( ' . 
The narrative of the samurai in Japanese culture inspires my work. The samurai, members of the ruling military 
class, once played a dominant role in Japanese culture. I begin by drawing my image, then transferring my 
image to copperplate etching, and finally, printing multiples on gampi paper. The translucency of the paper and 
repetition of the imagery emphasizes the mythic and historical lore of the warrior.
20
EMMA HASKINS  ART
Why Can’t We Just 
Touch Stuff
2016 
plaster, foam, 
cellophane, curry 
powder, underwear, 
bed sheet
variable dimensions
The world is one complicated place. My work explores the complexities of intimacy and how it plays into social 
constructs. Most recently, I have been attempting to encapsulate the way certain individuals have impacted 
my life, and also their subsequent absence. My work is process-based and I use materials and forms for their 
contrasting qualities such as very hard and very soft, organic and geometric. Through color, form, and material 
I am conversing with postminimalist works in their value of labor, process, and forms that can exhibit an 
emotional or surreal abstract.
21
SYNCLAIRE HORLINGS  ART
Late Bloomer 
2016
oil on canvas
48 x 48 inches
Exploring ideas of whimsy and the object hood of 
shape. Attempting to capture the qualities of everyday 
objects. An expansion of my process that investigates 
paint and its physical properties in space and time. 
Incorporating different techniques such as pouring 
paint and using a squeegee for under paint and being 
uninhibited in decision-making to create a chaotic and 
activated surface. 
22
NATALIE JUSTEMA  ART
Disseminate
2016 
porcelain, plywood, metal, thread
4 feet x 40 inches x 8 feet
I ask You
To question the Now.
—that suspended moment
you can
never
quite
hold—
23
ELORA KELSH  DIGITAL ARTS
Portraits
2016
animated gifs 
variable dimensions
I wanted to challenge the way in which we see portraits. The identity of each subject is stripped away and 
replaced with content that could be associated with them based on their surroundings (i.e., people as organic 
matter, stereotypical addictions based on gender, and so on). I am fascinated with collage and with the aesthetic 
of a moving photo, because it is neither a still image nor a video. It results in putting the viewer into a sort of 
trance, waiting for something to change even if they’re perfectly aware that it’s just going to keep repeating 
itself.
24
MEGAN KENNEDY  ART
Fish
2016
letterpress
variable dimensions 
Please take a print; these prints were made to be 
taken to force the viewer to act as a part of a fisher, 
taking from a smaller and smaller pool of fish. 
25
BRITTANY KING  ART
Broken Memories
2016
ethyl alcohol digital 
transfers
 10 x 8 inches
We slowly break our memories into fragments of what was once whole. These images express the memory of 
someone slowly being forgotten and who will never be whole again. These are taken from personal experiences 
and memories of loved ones.
26
NICOLE KRAMER  ART
Monstrous Red
2016 
embroidery on 
hand-woven 
wool and cotton 
dimensions variable
With this piece, I meld my interest in morbid creatures with feminism. In an effort to control them, women 
have been portrayed as monsters in mythology, religion, and superstition throughout history. Sirens, 
succubi, vampires, witches, Eve, and Pandora are examples of women whose bodies, sexuality, power, and/
or independence have been perceived as posing threats to humanity. This continues today, with women often 
being regarded as monsters for the choices they make about their own bodies and lives. My use of weaving, 
dyeing, and embroidery relates these ideas to the history of fibers practices as “women’s work.”
27
. ,  
RUBY LAMBIE  DIGITAL ARTS
Borrowed Time (9:37)  
2016
projection 
'~--· 
performance . ~- .. ,.., ,.' iJ '. ~--.~•;,··. 
',' 00' ,', , • ~ Ir~' I 1 / ~ 
' ... / 
..'i.:.?..  . : • ":y',,,. 
- . • ......... ,,. ~ 
~:_e·. ·.. ··: ·.·\ .. 
" ✓,-s;._ ' .• p!): ,,•. •, ~.:.-·<•,.· 
~ / - . • • ' 
,, i'•··~y·~b 
Borrowed Time (9:37) is a looping performance piece that uses tension and the idea of attaining time to evoke 
feelings of anxiety, doubt, and subsequent relief. Blurring the lines between past and present, physical and 
digital, screen and scene, this piece draws inspiration from video and performance artist Bas Jan Ader, composer 
John Cage, and sculptor Félix González-Torres. Borrowed Time (9:37) is an exercise in futility for those foolish 
28 enough to ask Sisyphus if he has the time. “It’s 9:37.”
ANDREA LANDIS  DIGITAL ARTS
Europe Travel series 
and Flower series
2016 
oil on canvas,  
two 11 x 14 inches, 
two 9 x 12 inches, 
and one 6 x 12 
inches
The Europe Travel series was inspired by a trip I took in December 2015. The three paintings represent 
Amsterdam, the Schönbrunn Palace in Vienna, Austria, and Heidelberg, Germany. The Flower series was inspired 
by my love of painting nature and landscapes. For these two paintings, I chose to focus on color and shading.
29
JORDAN LEVIS  ART
Spill
2016
recycled plastic bottles, rope, metal piping,  
metal bucket, roofing tar
21 x 4 feet
For this piece, I was thinking about oil consumption 
and the reliance that is placed on petroleum-based 
products to please the mass consumerism of cheap 
replaceable items for corporate profit. This is seen 
with the plastic bottle as its way to appeal to the 
fast pace of life, always looking for the easy and 
convenient through these oil-based products. The 
reintroduction of these products back into the 
environment is another problem that comes from the 
mass amounts of trash dumped and left to float down 
the sewer and into the waterways.
30
LUCY LYON  ART
Tableware with Indian Herbs and Spices
2016 
ceramic porcelain
dimensions variable
Traditional Indian cuisine is known for its large 
assortment of dishes and fabulous use of herbs 
and spices. Tableware can enhance your eating 
experience and provide you with its own version of 
“mental seasoning.” I based the forms off of copper 
and stainless steel Indian dinnerware and used the 
essential spices and herbs that give Indian food its 
unique flavors and aromas.
31
LIN MA  DIGITAL ARTS
Native
2016
laser cutting on natural wood plate
20 x 90 inches
Viewing natural history museums and the Umpqua 
National Forest in the state of Oregon inspired 
this installation. As an individual from outside of 
America, the state of Oregon owns stunning views 
and has reached a perfect balance between nature 
and artificial constructions. The lineal shapes in this 
installation are designed to bring the audience closer 
to the bond of themselves and natural animals, and 
it represents the modern cultural influence to the 
wild animal. 
32
HOLLY MADRID  ART
Phil
2016 
sculpture 
17 x 31 feet
My uncle passed away last year after a brief but painful battle with pulmonary fibrosis. Twice a year my family 
and I visit my grandma in the middle of nowhere, Colorado. Uncle Phil lived next door and we always spent 
plenty of time with him. He only let us go inside his house once through these yearly visits, but his waterbed 
remained a vivid memory that I always associated with him. The 58 ice pillows represent his 58 years of life. 
The ephemeral quality of these pillows—their slow, steady, eventual thawing and evaporation—symbolize his 
withering, decline, and eventual death. This work is in memory of his life. 33
KAMERON D. MCBRIDE  ART
Coping
2016 
porcelain, wax, 
rose petals, Advil, 
whiskey, cigarette 
butts, and condoms
13 wall-mounted 
5 x 8 inches each
[Feeling Incomplete]
Unless there is someone to share yourself with.
[Feeling Empty]
Until utilizing garbage to fill that void.
34
. ,  
OLIVIA MINSHALL  ART
Welcome Home
2016
mixed media
variable dimensions
This series of works is a rendition of a common 
den space commonly known as a “living room.” The 
found photographic imagery and seemingly odd 
implementation of text is intended to comment on 
the complete indifference and apathy one might 
encounter while having to listen to the spell behind 
another’s carefully displayed living room content.
35
MARISSA MONTALVO  ART
Couple
2016 
charcoal, graphite ink,  
watercolor on paper
I am interested in narrative and how color application 
and line quality can be used to convey emotion 
in drawings and paintings. I drew three different 
variations on the same scene to explore the different 
ways in which I could show the female character’s 
anxiety and isolation in the setting.
36
KIM NOVAK-JOHNSON  DIGITAL ARTS
Grazing Horse
2016
wood and found 
materials sculpture 
7 x 3 x 5.5 feet
I trained horses for 30 years. Here, I have produced a herd of three life-size horses, each in different states of 
being. I used wood and found materials to explore the form of the horse, to describe their connection to nature, 
and to depict their historical use as labor animals. As large animals, they are strong, but vulnerable to abuse. 
However, they are also well-loved as pets. Grazing Horse is a well-loved, shining, healthy horse. It is strong and 
yet shows the frailty of being a 1,000-pound animal that can gallop on legs the size of human ankles.
37
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JANELL OHM  DIGITAL ARTS
Float
2016 
digital drawing, 
series of 4  
20 x 28 inches each
I began this drawing with the intention of representing my fear of water and my inability to swim. The reclined 
position of the body, the wavy line character, the blue undertones, and the lack of compositional stability all 
represent the vulnerability of floating in water. However, as these drawings progressed, the piece started to 
convey death. The figure is exposed and raw, in the way that identity is suddenly drained from a body and 
it becomes anonymous. This piece has inspired me to further explore how nude forms can stir strong and 
differing connotations.
38
TIFFANY OTTEM  ART
Waves
2016
photograph 
14 x 21 inches
Light beam
2015 
photograph 
14 x 21 inches
Photography has always been about changing the view of things we see. When shooting both these subjects, 
I wanted to take everyday things and change the way we look at them, to create something that makes us 
question what it is, to make everyday things somehow more interesting than what they really are. Whenever I 
make photographs, I try to obscure and make people question what they’re actually looking at.
39
. ,  
- =.  . .  
- = •  
MINNA PANG  DIGITAL ARTS
To Be Free . . .
2016 
TVPPaint, After Effects, 
Premiere, Paint Tool Sai, and 
Audacity
Animation is the perfect tool to build a time and space to tell a story without the limitations of 
physical reality. This nonlinear narrative leaves the implications of moments, memories, and physical 
and mental passing of time in the control of the viewer.
40
CODY PARKS  ART
Cow
2016
acrylic on canvas
12 x 8 feet
I prefer to work large-scale to, I hope, envelop the viewers in the piece. With my painting, I try to break out of 
the two-dimensional way of painting and bring the art piece out into the space of the room it resided in and 
give the viewer something they can physically explore. I also enjoy the idea of it being modular—that is, that 
each time it is shown, it won’t be the same painting it was the previous time.
41
AHMAD RASHADA  DIGITAL ARTS
Untitled
2016
digital prints
.~. 
,~~ l 
"" "  
II ' '( f \ 
Fashion and patterns have been a great inspiration in my creative processes in art. Through these 
things, it has allowed me to freely express a prolific amount of designs that reflect style and 
character. In fashion, an endless amount of possibilities exist for artists and that’s what’s most 
exhilarating to me. I used Adobe Illustrator in this piece so that I could display the vibrant colors and 
patterns that are shown. Kanye West and Yohji Yamamoto have been a huge influence on my recent 
fashion ventures and I plan to pursue these creative ideas in the high fashion industry.
42
ALEXIS SANCHEZ  DIGITAL ARTS
Star Maps
2016
Photoshop 
illustration backlit 
with LEDs 
36 x 21 inches
Since I was little, I have been infatuated with the stars and their stories. Growing up, I would look up at the 
night sky and see all manner of heroes and creatures dancing about the heavens. I’ve always found it incredibly 
interesting how we, over time, illustrate the things we describe in the constellations, and so I wanted to create 
worlds that existed along within these illustrations. These maps were created to capture a modern approach to 
old stories as well as open the imagination to possible destinations of the future.
43
RANDY SCARBOROUGH  DIGITAL ARTS
Road to Victory
2016 
digital print
For some, seven years can bring a child, a master’s 
degree, a first home, or many fond memories. Seven 
years can also bring freedom to soar above the 
ground, leaving known roads and structures as mere 
images ingrained deep within the mind, left only to 
reflect upon as the wind of the future calls while 
pulling us into a new reality. 
44
MARCELLA SCHAUFLER  DIGITAL ARTS
Bedroom
2016
digital prints
2 x 2 inches each
Through this project, I wanted to depict the different spaces people live in, and what that might tell the viewer 
about the person or people living there. Each picture depicts a fictional “bedroom,” in which a character or two 
are interacting with the space. My second objective was the use of color, and how that changes the mood of a 
space. Every room was created using a unique color palette, which were all limited to three to six colors.
45
ARNOLD SHARP  ART
Untitled
2016 
color intaglio on 
paper
3 x 6 inches each
Incredible things happen when given the right tools.
46
4 
DELTA STARCHILD  ART
The Natural Man
2016
dark room 
photography
44.5 x 42.5 inches
This piece deals with concepts of the man as the bearer of culture, and thus separate from nature. The title of this 
piece, The Natural Man, references the Christian idea that the “natural man” is not connected to god and thus is 
immoral (1 Corinthians 2:14). This idea of nature being connected to the feminine and to a lack of spirituality and 
depravity has been pushed onto different groups of people by a Christian-colonial heteropatriarchy, causing a 
great deal of strife for people whose gender and sexuality do not directly correlate with these ideals. 47
HEATHER ULIBARRI-DEVAUL  ART
Untitled
mixed media
dimensions variable
Mirrors have long played a part in myths and stories. 
While they reflect our own world, they still have a way 
of making us wonder if there is another beyond the 
mirror. In this particular looking glass, there are two 
worlds reflected, both equally beautiful and strange. 
The mirror shows images captured in our own world 
that one may consider unusual. A creature surrounded 
by a magical forest looks back at you through your 
own reflection, as if you are as fascinating as it is. 
From the perspective of such a creature, you are.
48
JUSTINE VANDERPOOL  ART
Stuck
2016
spray paint on 
mounting board
Controversy is a key element to Vanderpool’s work. She’s always looking to push the boundaries and make 
her viewers uncomfortable in a way that encourages them to think. Most of Vanderpool’s art deals with and 
accentuates ideas that may be considered criminal or inadvisable. In some cases, the content is provocative; in 
others, the medium in which the content is portrayed is what is provocative. In Vanderpool’s most recent work 
Stuck, the three paintings are created with spray paint, which carries negative connotations, and the subject 
matter deals with insecurities and the negativity of body image. 
49
HALLA WALTON  ART
Restless Data
2016 
repurposed vinyls, spray paint, fishing line, 
musical component ' • 
3 x 7 feet •I ' • -·I ' 
My original idea was focused on my sleep patterns • 
and data. The breakdown of this piece starts with the •• •' ' 
colors, each color representing a different amount ,. ·~1 
of hours I slept. The large circles are times awake, '• 
the small circles were restless moments, and the • •• 
lines indicate how long these occurrences happened •• 
during the night. The music that accompanies the I ' 
piece represents the various stages of sleep, gradually ~, ·• • 
slowing down and then getting disrupted and • 
speeding up to represent the restlessness in sleep, 
Q,. I• •I  
and then slowing back down to represent a return to • • 
restful sleep including REM (rapid eye movement) and • , . 
NREM (non-rapid eye movement). Music created by - ', • •• 
Cameron Whitehead and Max Osborn. ,, 
•• •• 
, •
  
50
JINGJIE WANG  ART
Untitled
2016
linocut and 
monotype
107 x 57 inches
This pattern design is composed of the same shape printed in 48 variations. By looking at an individual shape 
from different angles or all shapes together as a whole pattern, you can imagine human faces, umbrellas, birds, 
and other objects from daily life. In this piece, I want to express the connection between human beings and 
nature.
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ALYCIA WHITE  DIGITAL ARTS
Untitled
2016 
animation, wood, 
fabric 
dimensions variable
For this piece, my goal was to create an animation that could function in both 2-D and 3-D spaces. My 
inspiration for building the wooden structure comes from the Japanese woodblock prints from the Edo period, 
specifically the prints in which the grain of the wood can still be seen on the paper.
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TYLER WIENCKOWSKI  DIGITAL ARTS
Grandma V 
2016
Photoshop CS6
8 X 10 inches
I am inspired by photographs of my grandma when she 
was young. This work was created with a “deduction” 
illustration technique I created in Photoshop. The 
unique combination of pattern, texture, and color help 
create an editorial style that could easily be translated 
into a fashion or lifestyle brand.
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SAMANTHA WINFREY   
DIGITAL ARTS
Saudade
2016
digital print
4x6 inches
Saudade /sou ' dädə/ “A deep emotional state of nostalgic or profound melancholic longing for an absent 
something or someone that one loves.”
Saudade highlights interpersonal relationships and how memories and feelings that emerge from these 
relationships fade over time and become skewed. These images, once filled with recognizable faces of beloved 
family and friends, now become about the colors, figures, spaces, and feelings that these memories have  
left behind.
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JEYRAAN TREATI YAZDANI   
PRODUCT DESIGN AND ART
An Investigation of 
Tea Mugs
2015
glazed stoneware 
2.5 x 5.5 inches
Treati Yazdani is a senior at the University of Oregon studying product design and art, with a focus on ceramics. 
Her Investigation of Tea Mugs primarily aims to elevate the experience of drinking bagged tea.
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