PRING TORM 2020 Spring Storm is an annual exhibition celebrating the creative work in art and design by senior students completing degrees in Art, Art & Technology and Product Design. The work and practices of our students exemplify the diversity of 21st century approaches, using traditional and new media to address compelling questions in contemporary culture. This year our senior students completed their studies in the midst of the Covid-19 global pandemic; yet with purpose and resolve, they continued to evolve their creative ideas, make new work, and connect with their community and audience. Spring Storm 2020 is presented as a print catalog and website - a record and celebration of their remarkable creative journeys, ambitions, and readiness to take on new challenges. Charlene Liu Acting Director, School of Art + Design Associate Professor, Department of Art SPRING STORM PARTICIPANTS Sawyer C. Alcazar-Hagen Danielle Allsup Rachelle Beach Siggi Bengston Henry Brown John Cannell Yilin Chen Mya Clover Matty Coppola Xander Cuizon Tice Garrett Dare Eva Emter Melanie Hamilton Geordi Helmick Camille M. Hench Koa Hencke Evan Kaufman Ian Kersey Brendan Lenz Kate Liu Phoebe Mallory Alisha Martin Hope A Martines Kaitlyn McCafferty Daniel McNamara Kittara McSwiney Pressley Myer Kyle Nelson Naily Nevarez Thomas Newlands Maddy Olson Madeline Peveto Jordan Pickrel Kaity Pratt Noel Rapley Hyacinth Schukis Megan Shull Samantha Smith Sydney Stark Raymon J. Stelma-Terrall Noel Strohm Aaron Taylor Baily Thompson Athena Trames Paige Van Doren Peter Van Liefde Alex Vode Billy von Raven Qi Wang Yujie Wang Clara Wolff 4 Sawyer C. Alcazar-Hagen Product Design - BFA The PPR Cleat and GLM Adaptive Climbing Apparatuses, 2020 aluminum, nylon webbing, fasteners, torsion spring, photopolymer resin and glass infused nylon dimensions variable I was born in Loveland, Colorado and raised in Bend, Oregon. My greatest enjoyments are derived from collaboration and making people smile through the work I create. It has become my mission to create a better future. Working with a trans-humeral amputee, I developed a set of devices making rock climbing belay easier and safer for amputee climbers. The PPR allows for single-handed belay with constant contact with the dead rope, while never having to step on the rope. The GLM allows the belayer to keep his hand below the device giving him better speed control while lowering his partner. @sawyeralcazarhagen A “Day to Day in Quarantine” recounts instances from my daily routine that I once considered dull and forgettable, but now cherish for their reliability. I have embellished with magical realism to find some humor in the mundane. A task as small as frying eggs is now a pool outing; eggs swim through bacon grease wearing flippers and floaties. I employed a limited palette for both color and sound to match my feeling of melancholy backlit by the looming uncertainty of the future. Day to Day in Quarantine, 2020 digital animation dimensions variable 5 Danielle Allsup Art & Technology - BA 6 Rachelle Beach Art - BA Campus stop during COVID-19, 2020 digital dimensions variable 7 Oregon Ash, 2018 photograph 16 x 24 inches Have you ever been called a pansy? Do bears only live in the wilderness? Why are all the queers living in the forest? Discomfort manifests in many different ways; through the body, through disrupted ecologies, through dissonance, through dysphoria. In my work, I look to the environment to provide visual metaphors of discomfort to recontextualize instances of environmental degradation into gender or queer dysphoria. I prefer to work with color analog photography, gravitating towards 35 and 120mm. Language informs the subject matter I chose to photograph and discover intersections between queer and ecological jargon often acts as a catalyst. siggibengston.com, @siggib.art Siggi Bengston Art - BFA 8 Henry Brown Art & Technology - BFA No Green Leaves There, 2020 digital animation 3840 x 2160 pixels This work explores how a failed artificial memory of sorts could look. I imagine this piece as a futuristic simulation in which an AI tries to reconstruct a visualization of a forest, but ultimately fails. This is a future where, presumably, no nature remains and the memory of such things are fading. The distortion in the audio is a heavily edited recording of a quote from Dante Alighieri’s Inferno, the first part of his Divine Comedy. “No green leaves there, but leaves of gloomy hue; no smooth and straight, but gnarled and twisted...” @bort_irl Patterns are everywhere and often gone unnoticed in both the natural and artificial world. My work tries to find a balance between the two. Though I do not hold myself to my textile design as the subject matter that makes up my design, I find making patterns digitally to be one of the most fun and satisfying mediums. A pattern makes an impression on your eyes, a good pattern makes an impression on your memory. @cannell_designs Untitled, 2019 textile / Adobe Illustrator dimensions variable 9 John Cannell Art & Technology - BA 10 Yilin Chen Product Design - BS Overlap Lunch Box, 2020 resin 210 x 102 x 182.5 mm My design is a lunch box with three levels inside. My inspiration comes from the ancient lunch boxes in China and Japan which are composed of several grid drawers and are convenient to hold different foods. The first layer has three separate small spaces that can separate food or fruit. The second and third layers have the same design, but the volume is diverse. Two options for the strap include a strap that can be carried like a plastic bag, but it can be recycled to protect the environment and the other is an elastic band that it can be used to fix the utensils or tied to one or two layers of the box. @yiliin_1089 “the flowers are dead” @myaclover the sun is rising, 2020 digital animation dimensions variable 11 Mya Clover Art & Technology - BFA 12 Matty Coppola Art - BS Thor, 2020 photograph 27.5 x 18 inches Thor’s Well near Yachats, Oregon 13 Leather Tote, 2019 leather 13 x 11 x 5 inches I am a designer, maker, and creator. xandercuizontice.com @xandercuizontice Xander Cuizon Tice Product Design - BS 14 Garrett Dare Art & Technology - BS Brothers, 2020 3D animation dimensions variable This piece is an exploration of my childhood memories told through short, humorous vignettes. It mainly follows some day in the life moments between two young boys around their family home. The world feels odd and slightly wrong, much like a memory. Memories are incomplete, corrupted, altered, or implanted by a family member’s exaggerated retelling. I wanted this piece to tell a story of two young brothers, but to also encapsulate the surreal, and often dreamlike nature of memories. garrettdare.com, @garrettdare I am at a stage where I am still getting to know what my art is about, and what it aims to facilitate encounters that offer levels of complexity. When caught off guard I feel deep fragmentation. Voids open that I cannot fill. Strongly yearning to make sense, to create a logic or methodology, I find solace through making by means of repetition, gathering, rapidity, and gesture. I tie, bind, wrap, push together, tear, puncture to articulate an obsessive expression that mimics nature: that of constant movement, renewal, and change. evaharaemter.com, @eeeva_eeemter 群青, 2019 wax, liquid foam, plastic wrap, recycled plastic bags, recycled cardboard, recycled foam, recycled fabric, recycled Styrofoam beads, chicken wire, spray paint, lamp bases, silk kimono undergarments, oil pastel 3 x 4.5 x 2 feet 15 Eva Emter Art - BFA 16 Melanie Hamilton Art - BFA Rituals, 2019 amaranth, celery, chard, chickpeas, cilantro, collards, fibers, garlic, glue, kale, lavender, parsley, plaster, rosemary, sandpaper, strawberry leaves, thread, wire, wood 84 x 120 x 18 inches I am interested in materials, their reclamation, transformation, and embedded histories. I use plaster, steel, wood, fibers, cardboard, paper, dye, paint, plants, earth, and food to create objects, images, sculptures, and installations. My work originates from the female experience, motherhood, familial relationship dynamics, labor, maintenance, care, and the everyday. Highlighting different perspectives embedded in the female experience, I introduce embedded actions accumulated through years of domestic labor—such as chopping, mending, organizing, in order to transform materials in meaningful and aesthetic ways. I am currently examining work by second wave feminists and how their art practices influenced contemporary art histories. https://melaniechamilton.wixsite.com/website @cindysusan 17 Toxic, 2019 oil paint 24 x 36 inches This is my first self-portrait oil painting. During the process of making this painting, I had in mind the complex, emotional tactics exhibited in many toxic relationships. I wanted to represent the point of view of the person who is being manipulated in such a relationship. After months, sometimes years, of being mentally broken down, the victim is left feeling lost, lonely and empty of self-love. Camille M. Hench Art - BFA 18 Koa Hencke Art - BFA Untitled (Grasp), 2020 plaster, graphite, acrylic, concrete, polypropylene 6 x 5 x 20 inches I make work that activates tensions between materials, shapes, soft and solid volumes. These tensions can be grotesque as they take shape and occupy the space of abstracted bodily forms. I am particularly drawn to organic shapes in the way that they bend, curve, curl and encapsulate the body with unpredictability or discomfort. My work aims to reflect the unconscious interior of the human form through the physical language of body impressions, tracing how these imprints react to differing combinations of malleable and rigid materials. koahencke.com, @koakhart I want to seek means to allow one to encounter, at first gently but with time expanding into awareness a resonance with perception. This resonance should be at once present but at the same time a flickering of non-self, not unlike that of the Necker cube and its indeterminate perspective. All phenomena are essentially equal, underlying multiplicity is a central organizing principle. This transcendental perception pulls us, reclaiming the projection of the self. evankaufman.photo Medicine, 2020 oil and wax on canvas 36 x 36 inches 19 Evan Kaufman Art - BS 20 Ian Kersey Art & Technology - BS essential unreality of the moment, 2020 digital, creative coiding, generative art 5 x 7 inches My work explores the relationship between Jungian archetypes and emotional memories. With influences as diverse as Caravaggio and Andy Warhol, new tensions are created from both simple and complex textures. Ever since I was a teenager I have been fascinated by the unrelenting di- vergence of meaning. What starts out as yearning soon becomes finessed into a tragedy of lust, leaving only a sense of dread and the inevitability of a new understanding. I am a digital artist who works with Artificial Intelligence and Interactive Media. I hate writing artist statements so I had a computer write that one for me. Iankersey.art, @ia_nkersey 21 Expression Tag, 2019 spray paint on canvas 90 x 60 inches My work is in conversation with both street art and abstract expressionism. Every day I seek out mark making, or tagging, on walls, benches, and other public spaces as a means of inspiration. Similarly, I am inspired by artists working in the realm of abstract expressionism. Their methods, gestures, and palettes are something that I have become obsessed with in order to formulate my own ideology and system in the arena of painting. By incorporating the sensibilities of street art and abstract expressionist painting, I create pieces that articulate the duality of my experience in both daily life and painting. Brendan Lenz Art - BFA 22 Kate Liu Art - BFA / Journalism - BA Sweetened, Condensed, 2020 oil on canvas, Carnation milk cans, oranges Approx. 4 x 5 feet I would like to tell a story, built on Carnation canned milk and dumb luck. I would like to know how my family is like other families. I would like to blur the borders between who we were then and how we became here. I would like to protect myself. I would like to condemn how they have condensed us. I would like for you and me to feel seen. I would like to hold the fruit of my fortune out to you like a talisman. I would also like to have bigger boobs, as long as I’m listing things. kateryn-liu.squarespace.com @kateliiu 23 The Journey Forward, 2020 digital comic 6 x 9 inches The concepts I pursue are often not concrete, they are fleeting moments, feelings, and atmospheres. What it is like to witness something that has no record of its existence, how to grapple with an ever changing sense of identity and purpose, how it feels to see an old friend after so long and so much has changed between you, and more. I am a comic artist, an illustrator, and a storyteller, but more than the exact definitions of those words my work is about the depiction of the intangible. @mazitdynasty Phoebe Mallory Art & Technology - BFA 24 Alisha Martin Art & Technology - BA Icarus, 2019 digital 11 x 17 inches The definition of epoch is described in the urban dictionary as, “A period of time in history or a person’s life, typically one marked by notable events or particular characteristics.” There are many moments in legends or history people can draw inspiration from. When I heard the definition for the noun, the first legend that came to mind was Icarus. I became invested in the myth after I heard how it can be used as a metaphor for characters that try too hard to reach their goals, but fall in the end. Icarus serves as an important lesson to remember. @coffeecravingcanine The main topics of my work are my life, my process, and humor. Bon Appetit, the collaborative project between myself and Mikal Dewar, is a deck of cards with different comedic food items on each card. This project was a very exciting challenge to see if I could participate in a collaborative project successfully, and to work on my letterpress abilities. When it comes to color choices, we wanted it to still be recognizable as a traditional set of playing cards. Personally, I was hugely focused on the process and the gratification of making a functional deck of cards. @antoinette__art Bon Appetit, 2020 ink on cardstock 2.5 x 3.5 inches 25 Hope A. Martines Art - BA 26 Kaitlyn McCafferty Art & Technology - BA STAG Poster, 2020 digital 10 x 14 inches STAG is a short-animated film exploring themes of anxiety produced by being queer in a Catholic environment. When protagonist Eve begins to explore her relationship with her classmate, Betty, a suppressed ability comes to light. I use devices from sci-fi, horror, and coming-of-age genres to express how an alienating upbringing can affect the relationship to one’s own identity/sense of self. This project will be completed and released June 12, 2020. You can view it then on my YouTube channel: https://www.youtube.com/channel/ UCUk0qgSS9TBchlzR-kEQubg. lynliane.com, @lynliane 27 Point of Focus, 2020 ceramic, steel, nylon rope, white gold dimensions variable When I look back at the most impactful moments in my life, there tends to be a specific point in which something becomes incredibly clear in a way that it hadn’t prior. Images associated with those moments take on a certain life of their own as they linger in my memory, becoming disembodied from the larger context of their origin. Those moments are what I draw from in my work. I strive to have these pieces evoke strong emotion and thought; to communicate these moments through abstract forms and compositions, reflecting differently yet distinctly in the eyes of the viewer. danielmcnamara.org, @tunasaur Daniel McNamara Art - BFA 28 Kittara McSwiney Art, Anthropology - BS Lepus, 2020 ceramic 12 x 7 x 6 inches Woven in history and the figurative act of brushing aside loose soil, my work exposes artifacts of symbolic truth, memory, and wonder. These reproduced excavations reveal carefully carved ceramic and sculptural resemblances of the natural world. The process of digging through the past is as arduous, meticulous, and delicate as the process I take in whittling clay, interlacing metal, and orchestrating installations. Once, I gladly accepted rough textures and mirrored reflections yet now they prod and restrict, weaving into my work as if rooting me in their world, coaxing me to tease out the unknown truths within my own history. kittaramarina.wixsite.com/portfolio @kittara_marina Horses are bonded to humans. They were tamed, then used to alleviate our physical limitations. Instead of rewarding these creatures with freedom, we glorify them with stone monuments and figurative symbolism. These pictures of altered horse figurines are my response to this relationship. Historical tributes to horses glorify the animal’s form and power. However, I find their form both bizarre and terrifying. I am promoting their uniqueness through these surreal photographs. Additionally, I am deconstructing and reconstructing these ready-made plastic horses into both human and monstrous forms. This act is my way of reflecting how humans have inserted themselves in the horse’s narrative. @artofpressleycolemyer Horse Town, 2020 horses, glue, digital photograph 8 x 8 inches 29 Pressley Myer Art, Cinema Studies - BA 30 Kyle Nelson Art & Technology - BFA Wickmore’s Afraid of the Dark, 2020 3D animation 15 minutes Wickmore’s Afraid of the Dark is a 3D-animated, independently produced short film which follows a young, sentient candle boy attempting to make his escape from a haunted house. Wickmore finds himself thrust into an unknown environment, in which the only outlet for making sense of his surroundings is the light emanating from the top of his head. In this way, darkness takes on the role of a silent presence, both following and retreating as our waxy protagonist makes his way through the decrepit building and a variety of undead personalities plot to keep him there. knillustrations.com @knillustrations My work explores storytelling as a tool to help others build empathy for the lived experience of marginalized communities. Focusing on digital mediums such as video, animation, and web apps, I search for ways to incorporate interactivity, connection, and emotion - effective tools to immerse viewers and facilitate empathy. Passionate about positive social change, I create art to tell stories that culturally resonate. Those who tell stories shape culture, and those who shape culture, shape politics. As Maya Angelou once said,“[people] may forget what you said, but they will never forget how you made them feel.” nailynevarez.com, @nailynevarez Un Nuevo Normal, 2020 animation 1480 x 1080 pixels 31 Naily Nevarez Art & Technology - BFA 32 Thomas Newlands Art & Technology - BFA You Just Keep Falling, 2020 mobile game dimensions variable You Just Keep Falling is my first-person physics driven mobile game, drawing on the tactile relationship between the player and their phone. The game offers a way to explore psychosomatic sensations through a phone interface and interactive physics. Using touch gestures: pinching, dragging, swiping, and twisting, players pull their avatar’s ethereal body through fog-enveloped structures. Within a surreal landscape of narrow rock bridges and spiraling mountain precipices the player continually climbs and falls. Along the way the player might encounter strange conversational characters dwelling there. www.thnewlands.com/youjustkeepfalling In my work I explore how social and digital media reinforces the gender binary while influencing and dividing our masculine and feminine identities. I articulate these ideas through merging material and color to forms that relate to the body. In The Divide, the body is merged into a mountainous landscape, heavy in its apathetic rest. Through a soft interior that is splitting its own harder exterior to expose a vulnerability, I use color for its emotional and symbolic effect. I directly represent femininity with a pink softness that becomes contaminated by a sort of sickness. @maddyoart The Divide, 2020 foam, fabric, plaster, acrylic, puffy paint, printing ink 42 x 24 x 46 inches 33 Maddy Olson Art - BFA 34 Madeline Peveto Art - BFA 24 frames, 2020 photographic digital archival print 16 x 25 inches It’s 5am and I’m sitting on the porch, wind pushing grains of sand against my body. I hear birds singing (as they always do this early in the morning). Perhaps they’re just talking, or maybe they’re simply making noise. May- be they so desperately need to be heard. I wonder if that’s why the owl near my bedroom window hoos all night. Does she need to be validated as badly as I do that she is alive? The air feels so good against my skin. I don’t know why I don’t sit on this porch more often. @madelinepace 35 Disentangling the Guilt, 2020 ceramic and tin foil 5.25 x 10 x 17 inches In my work I seek to capture the interconnected nature of the world. The human society we live in hinges on connection – between individuals, social structures, government regulations, academic disciplines, and beyond – through which many things are inherently linked. I seek to tease out the sometimes invisible, other times conspicuous, web of ties that hold up the world where we live. Through identifying the connections that harm – those between policies and institutions that perpetuate oppression – and highlighting the human links that bolster and support, I seek to engage the material properties of clay to understand the world around us. jordanpickrel.com Jordan Pickrel Art - BFA 36 Kaity Pratt Art - BA Around the World, 2020 screen printing 20 x 20 inches As an artist, I strive to create functional objects that are both custom and unique. I also try to put a contemporary spin on traditional items. I have come to love working with fibers materials, I love the different techniques available, as having the ability to create your own new techniques. One of the things that inspire me the most about textiles and fibers is the endless possibilities that are available. I like making usable items such as pillowcases, tote bags, Dopp kits, and quilts. Another passion of mine is painting. I have the ability to create my own designs and patterns and showcase them on textiles with ink and weaving. @kpkreates 37 Overshot Weaving, 2019 wool and cotton 19 x 70 inches I find plain weave to have a simple elegance, something that I enjoy seeing and creating. Only the last year have I begun to work with weaving, but I’ve come to enjoy something that’s so accessible but has hidden depths. I enjoy how fundamental its weaving structure is and how so much knowledge can be built off it. I look forward to continuing the exploration of weaving and its various structures. @noelrapley Noel Rapley Art - BS 38 Josh Rollo Art & Technology - BFA Rendezvous, 2020 animation 1920 x 1080 pixels My animated work tends to be layered with bits and pieces of looping objects and characters. I’m interested in exploring the appearance and transformation of these fragments, as well as the spontaneous relationships that form between them when they occupy the same space. In Rendezvous, I was thinking about an evolving landscape and the figures that inhabit it. Through a series of vignettes from different perspectives and different points in time, these forces interact to create an image of their world. joshrollo.com 39 Vigil, 2020 photograph dimensions variable This self-portrait is developed from a study of American queer respectability politics and queer public memorialization in the last fifty years. My image stands to do public mourning in the space opened by these historical practices. It is influenced by the urgent work of ACT UP, Gran Fury, Felix Gonzalez-Torres, and their interactions with Catholic motifs. allisonschukis.com hycanithschukis.com @discoursamoreux Hycanith (f.k.a. Allison Grace) Schukis Art - BFA 40 Megan Shull Art - BFA Ladder no. 2, 2020 found ladder, tennis balls, wire, plaster, taping mud, spray paint 54 x 32 x 27 inches Both systems of building and systems of the body rely on order to maintain the functions we expect of them. Through large scale forms and installation practices, I explore the organization of these systems within the push and pull of order and chaos—I’m interested in the precariousness and instability of this relationship and use scale and materials to highlight the slippage between the two. In the work, Ladder no. 2, the functionality of the ready-made ladder begins to decrease, as the bulbous form, seemingly in its beginning stages of growth— obstructs the linear order of the aluminum steps. @megan_shull 41 Lull of the Ocean, 2020 digital 16 x 20 inches Digital communications are ballooning in importance now more than ever, given the state of our world. This is why I choose to keep my art digital; technology and art are a combination to be embraced. Dabbling in mixed media and experimental animations, I am always trying new methods of creating and combining. @scribblesninker Samantha Smith Art & Technology - BS 42 Sydney Stark Art & Technology - BS Untitled, 2020 Cinema4D dimensions variable I’m interested in stripping back the complex nature of 3D modeling. For this piece I worked with voxels and an orthographic camera juxtaposing soft colors and sharp geometric shapes. I like this idea of creating a 3D model that makes the piece feel drawn or painted. sydneystark.myportfolio.com @squidstark 43 Avaci Chair, 2020 pine 27 x 21 x 26 inches Wood is my favorite working medium, it is strong yet malleable, thus an appropriate construction material for furniture. The Avaci Chair is a reflection of this duality. Firm lines and sharp angles comprise the chair’s profiles while curved seating slats provide necessary comfort. The geometry (a nod to classic styling) along with clean lines (referencing modern aesthetics) together make it suitable for multiple settings whether at the dining room table, a workstation, or as an accent piece in a living room or lounge area. @mosixdesign Raymon J. Stelma-Terrall Product Design - BS 44 Noel Strohm Art - BFA Daydreams - Brooch 2, 2020 wood, wax, brass, twine, hat pin 5.5 x 3 inches My jewelry-making practice is heavily influenced by my own identity and experiences as a queer transgender person. In my work, I want to explore the discourses surrounding the physical presentation of queer identity. I draw inspiration from nature and botanical forms, always in a constant cycle of growth and change. I use materials such as wax, wood, and honeycomb to reflect delicateness and impermanence of form. Through these natural materials, delicate forms, and the transformative processes of craft, I look to embody the softness of daydreams, and the passage of time in relation to the queer body. @noelstrohm In working with metal, I explore material and its expression. In learning how metal as a material expresses itself and the metalsmith, I fell in love with form and the curiosity of metal forming. This process of metal forming allows me to have a deep relationship with my work, and therefore the material, as it transforms from 2-dimensional sheet to smooth and streamlined, yet complex shape. That is why I make vessels. Vessels and teapots specifically invite the viewer into relationship, whether that is through the shared experience of the object with another or an isolated interaction with it. Onyx Teapot, 2020 copper and brass 4.5 x 9 x 5 inches 45 Aaron Taylor Product Design - BS 46 Baily Thompson Art - BFA Subsumption, 2019 inkjet print 11 x 14 inches My work is all about the trope of women and flowers and how I place myself within the trope. I am interested in framing this project through the lens of the female gaze, opposed to the male gaze. Subsumption, includes 35mm photographs that were intended to be 11x14 inkjet prints with custom frames. bailythompson.com @bailythompson My work is influenced by powerful women and the obstacles we face in the modern world. This projection highlights the expectations of female performance. www.athenatrames.com, @athenatramesdesign Slut, Saint, Savage, 2020 projection 8.6 x 4.3 feet 47 Athena Trames Art & Technology - BA 48 Paige Van Doren and Geordi Helmick Art - BFA Over and Over and, 2020 aluminum foil, polymer clay, automotive paint, video 30 x 10.5 x 3 inches Through embedding time-based media focusing on repetitive action within a necklace constructed via a repetitive methodology, we explore ideas around recurrence, the body, and protection in relation to trauma. The necklace’s knotted chain and fleshy clay planes are evocative of armor that protects sites of the body which are vulnerable. On the clay planes, actions of the body and between bodies repeat through video. Just as the necklace physically protects, the act of repeating locates psychic stability or protection in the wake of trauma. paigevandoren.com @paigevandoren geordihelmick.com @geordi_art Art & Technology - BFA 49 TaskShade, 2020 steel and resin 29 x 18 inches Simplifying our world creates a path for clarity. My work focuses on simple shapes and construction in an attempt to communicate this idea. I want to prove that we can create useful objects that positively impact our world without over complicating it. vanliefdesign.com Peter Van Liefde Product Design - BFA 50 Alex Vode Art, Psychology - BS Inbloom, 2020 Washburn Gallery, photography, Late Bloomer Community dimensions variable Making art is a privilege, to be part of the University of Oregon art community is of equal privilege. In my practice, I have explored sustainability, emotionality, and community. Through these, I have found that faith and respect can be given back to the artist as long as the artist is willing to give and their audience is open to receive. With my art, I think everyone should be involved and that my practice does not rely on one set idea but an ever-expanding set of logics and structures built by the community that wants to make a difference. alexmvode.myportfolio.com @alex.vodey I perceive each sound I hear as music, part of a score that is organized and curated by attention. The attempt to understand culturally learned organization of environmental experiences informs my art practice, which explores the power differentials of space, access, (dis)harmony, belonging, and being bodied. In the past, I worked solely in representation, whether employing the human figure, found objects, fairy tales, dreams, or poetry. Recently, my work has become more abstract, social, and experiential, exploring how sound, text, and image can navigate experiences of trauma, systemic inequality, vulnerability, and the construction of power. billyvonraven.wordpress.com still number 318 in a stop motion painting of a pandemic, 2020 acrylic 24 x 34 inches 51 Billy von Raven Art - BFA 52 Qi Wang Art - BFA All About Lotus1, 2020 silver 5 x 5 x 1.5 inches The mathematical forms that describe three-dimensional structures have the potential to inhabit a fourth dimension. I’m interested in the space between what can be made from metal as real material in space, and what can be imagined mathematically. I assemble simple, modular shapes of lines and planes into jewelry, and when people wear these objects in motion, the hidden space in them shifts and changes from different angles and perspectives. @qi_wang7 Design a bench to be used as a shoe rack for the entrance or as a shelf for the bedroom. When used as a shoe rack, people can place not only shoes but also umbrellas. The design of the two cushions allows more people to use them simultaneously without feeling embarrassed or crowded. The seat cushions made of Danish cord by hand-woven are strong and comfortable to sit. The seat cushions also can be customized in color. @aiyuzucream Bench with Woven Cushions, 2020 Danish cord, ash wood 46 x 17 x 18 inches 53 Yujie Wang Product Design - BA 54 Clara Wolff Art - BFA Two Butterflies, 2020 fabric, thread, stuffing 18 x 18 x 5 inches 14 x 16 x 5 inches My work explores femininity and adornment in ways that break down gender binaries while still celebrating feminine expression. Both humorous and disturbing, the forms I create are informed by touch and the physical expressions of emotions. These forms are inspired by an expanding butterfly with a rhythm of two by two: two wings, two sets of two wings, two objects with two sets of two wings. The fabrics are second hand and are chosen for their pastel colors and floral motifs that reference girlhood. In their material and rhythm, these objects exist between movement and stagnation. @cwolffie ART + DESIGN FACULTY AND STAFF John Arndt Wonhee Arndt Jonathan Bagby Marissa Benedict Carla Bengtson Alida Bevirt Tom Bonamici Mika Aono Boyd Michael Bray Rebecca Childers Isami Ching Colleen Choquette-Raphael Joe Coleman Sonja Dahl Jovencio de la Paz Tannaz Farsi Trygve Faste Derek Franklin Brian Gillis Eric Ramos Guerrero Damon Harris Wendy Heldmann Heidi Howes Maia Howes Colin Ives Steven Joshlin Ron Jude Anya Kivarkis Sylvan Lionni Charlene Liu Christopher Michlig Donald Morgan Kiersten Muenchinger John Park Dan Powell Jacob Riddle David Rueter Jack Ryan Risa Saavedra Michael Salter James Schauer Jeremy Schropp Reanna Schultz Stacy Jo Scott Erdem Selek Hale Selek Rick Silva Jeremy Smith Susan Sokolowski Jessica Swanson Ying Tan Jessie Rose Vala Laura Vandenburgh Kate Wagle Terri Warpinski Ty Warren Amanda Wojick Alex Xu Special thanks to 2020 Spring Storm faculty mentors. Designer: Kyle Nelson, BFA, Art & Technology University of Oregon College of Design School of Art + Design 5249 University of Oregon Eugene, OR 97403-5249 Office: Lawrence Hall, 254 541-346-3610 artdesign@uoregon.edu artdesign.uoregon.edu @uoartdesign #uospringstorm #uoartdesign The University of Oregon is 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.