Art

��Ƶ research brought to life through Harned Hall student murals

cem123 — Thu, 05 Jun 2025 15:25:52 +0000

��Ƶ research brought to life through Harned Hall student murals cem123 Thursday, June 5, 2025 - 10:25 am

Graduating ��Ƶ fine arts seniors present ‘Transience’ exhibit

cem123 — Wed, 07 May 2025 15:06:37 +0000

Graduating ��Ƶ fine arts seniors present ‘Transience’ exhibit cem123 Wednesday, May 7, 2025 - 10:06 am

Department of Art’s Gootee has photography recognized in international competition

cem123 — Wed, 07 May 2025 13:43:08 +0000

Department of Art’s Gootee has photography recognized in international competition cem123 Wednesday, May 7, 2025 - 8:43 am

Elizabeth Nowell

rgb197 — Fri, 02 May 2025 16:54:51 +0000

Elizabeth Nowell rgb197 Friday, May 2, 2025 - 11:54 am

Past Lives

“Past Lives” is a story of love and loss between two characters representing human connection and everything from myself, archetypes, aesthetics, and history. Each painting connects the characters’ antebellum and cowboy archetypes, evoking past, present, love, and loss. My mixed media installation meshes to draw the observer into the dialogue and connect the soul and the senses. My art evokes a spectrum of emotions. “Past Lives,” ventures beyond traditional storytelling with each painting weaving layers of meaning while inviting viewers to traverse the landscape of human emotions. All of this takes place within landscapes shaped by our historical and pop cultural knowledge of the Southern Belle and the Cowboy.

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Art

Annabelle Carraway

rgb197 — Fri, 02 May 2025 16:48:28 +0000

Annabelle Carraway rgb197 Friday, May 2, 2025 - 11:48 am

Just Passing Through

My body of work examines animals labeled as pests in the southeastern United States, challenging the negative perceptions that surround them. Using collagraph—a method of printing from cut and collaged matboard plates—I create striking compositions that highlight these creatures with minimal distraction. Each plate allows for a limited number of prints before wearing down, emphasizing the fleeting nature of both the process and the overlooked lives of these animals.

My collagraphs focus on bold outlines, delicate embossments, and selective ink application to define each subject. I work with a variety of papers, each adding a unique character to the final piece. By stripping away backgrounds and focusing solely on the animals, I encourage viewers to engage with them directly, free from preconceived notions tied to their environments.This work stems from a fascination with the way society perceives and categorizes animals—how we decide which ones are worthy of admiration and which are deemed nuisances.

Often, these so-called pests are merely adapting to the changes we impose on their habitats. By portraying them with detail and care, I hope to challenge viewers to reconsider their biases, fostering empathy for creatures that are simply trying to survive. At its core, my work seeks to foster empathy and curiosity. These animals are not intruders—they are survivors, adapting to a world that has rapidly changed around them. Through my prints, I aim to give them a quiet but powerful presence, prompting the audience to reconsider their place in the ecosystem we share.

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Art

Samantha Martell

rgb197 — Fri, 02 May 2025 16:44:44 +0000

Samantha Martell rgb197 Friday, May 2, 2025 - 11:44 am

Of Light and Shadows

Making use of mannequins, models, and photographic references, my work explores the beauty and complexity of the human body and its historical representation, drawing inspiration from various art historical periods such as the Hellenistic and Greek Classical period, the Renaissance, and the Baroque period. Utilizing traditional labor-intensive metal engraving techniques, specifically the 17th century printmaking process of mezzotint engraving, these prints call upon similar painstaking methods of making as the artists and art movements I admire. Visually captivating intricacies of draped fabric both conceal and reveal the figures, referencing emotionally expressive marble sculptures and oil paintings of the old masters. My goal for the work is to create an air of mystery through dramatic light and shadow while setting a scene which positions the viewer as an observer outside the setting and looking in: ample clues provided to suggest the mood and atmosphere, though vague as to the narrative and allowing room for personal interpretation.

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Art

David Roman

rgb197 — Fri, 02 May 2025 16:44:44 +0000

David Roman rgb197 Friday, May 2, 2025 - 11:44 am

Dyscrasia

In ancient medicine, “dyscrasia” was a term used to describe an imbalance of the four humours of the body: blood, yellow bile, black bile, and phlegm. Nowadays, while four humours theory has been thoroughly debunked by modern science, its legacy remains as new systems of human categorization reappropriate its characteristics under new, modernity-sanctioned frameworks. By reappropriating this archaic theory, combining it with other taxonomies (like the four classical elements and the phases of the moon), and amplifying their symbolic characteristics, this work hopes to lampoon the obsession that humanity has with such methods of categorization while also capturing the fundamentally cyclical, violent, and ridiculous nature of human class society.

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Art

Bella Brownlee

rgb197 — Fri, 02 May 2025 15:35:38 +0000

Bella Brownlee rgb197 Friday, May 2, 2025 - 10:35 am

Patterns of Consumption & Connection

In a world full of exploitation and overconsumption, states of despair and anxiety seem natural. The ideals fed to us do nothing to sustain but instead leave us with an emptiness and a hunger for more. The pursuit of success in our capitalist society overwhelms the beauty and life around us; discouraging and hindering our ability to act. Patterns of Consumption & Connection seeks to emphasize the complex interrelationships between beings, encouraging reflection on the roles we play in our environments and the lasting impact we leave on the world we share. 

Our essential and incredibly biodiverse wetland ecosystems are in decline (as much as 50% in the U.S), largely due to commercial and agricultural development. By meticulously recreating organisms found in Mississippi wetlands with natural and consumer waste materials, human presence and artificiality is emphasized. The diamond back water snake uses pinecones, nail caps, cans and cardboard to blend itself to its new environment. A Great Blue heron flies on wings of recycled maps of Mississippi and Starkville newspapers, not knowing if the landscape it carries will remain. How much longer will our thirst to consume drain the landscape of its wetlands and resources?

Patterned surfaces reminiscent of salamander spots, fish scales, or tire tracks are incorporated throughout the installation. Patterns are an accumulation of smaller parts to form a larger image like organisms and ecosystems are the accumulation of individuals and cells forming to create life. Furthermore, references to the patterns and marks left by living organisms show how each plant, animal, or human leaves a trace.  

There is such a wealth of love, beauty, and wonder to be found in the world. The community given to us throughout our shared existence, through both people and other living organisms, is something to be cherished and nurtured through reciprocity and respect.  

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Art

Abi Parish

rgb197 — Fri, 02 May 2025 15:35:38 +0000

Abi Parish rgb197 Friday, May 2, 2025 - 10:35 am

Fossil Futures: Epochs of Ecological Entropy

This body of work translates the expansive and incomprehensible phenomenon of climate change through the materials of Mother Earth herself. Using natural and processed elements, such as clay, soil, metal, rubber tar, electrical waste, and fiber optic cables, I engage with the very substances that have been extracted, manipulated, and consumed by humans. These materials are not merely mediums, they are collaborators, carrying the scars and memory of ecological disruption and adaptation through past, present, and future epochs.

Speculative sculptures of hybrid plant forms imagine a future where nature and industry are inseparably fused, echoing the idea that the Anthropocene will leave behind, not only chemical traces, but also mutated remains. Through these potential future fossils, I seek to visualize what life may not only survive, but also thrive, in a post-human epoch: unfamiliar, uncanny, and yet hauntingly beautiful.

This work sits at the intersection of grief and curiosity, confronting the irreversible damage inflicted upon our planet while also imagining new, symbiotic possibilities. It is both a warning and hopeful gesture, an attempt to listen to the regenerative rhythms of the Earth.

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Art

Rylee Brabham

rgb197 — Fri, 02 May 2025 15:26:46 +0000

Rylee Brabham rgb197 Friday, May 2, 2025 - 10:26 am

BAD FAITH

I cannot talk about my work without talking about the South, I cannot talk about the South without talking about religion, and I cannot talk about religion without talking about transness.

BAD FAITH employs the familiarities of heirloom and the ubiquity of southern detritus in order to deploy a narrative that runs counter to the dominant ideology and culture I was steeped in growing up in rural Mississippi. Overtures of queerness are ever present in my work, often running in tandem with the ironies of religious ideology and normative gender ideals that echo in my upbringing. The structures and suspensions of ideological systems can be harmful, hateful - haunting. This work explores and satirizes the connections between identity and ideology, utilizing the language of domestic spaces to subsequently disrupt them. The barest bones of a building are the empty words of a pastor. A mass of cicada molts is a full church on Sunday.

Trans- as a prefix implies the movement of a person, thing, idea− movement upwards, downwards, across; movement from one state to another. Language and material work together in BAD FAITH to invoke that which is TRANS-, the transcendent, the transformative, the transgressive:

The transitory implications of a platform on casters, or a bottle of testosterone.

The transparency of lace or pantyhose as a mechanism of consensual revelation.

The transgressive capacity of a plastic baby doll; narratives of normativity refuted through iteration.

These fabricated, decidedly theatrical sets are interwoven with my own personal possessions and family heirlooms, allowing for a dialogue between reflections of my raising and a reimagined home where my transness might be considered something more than superficial rebellion, more than something to fervently pray away.

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Art

������Ƶ research brought to life through Harned Hall student murals

Graduating ������Ƶ fine arts seniors present ‘Transience’ exhibit

Department of Art’s Gootee has photography recognized in international competition

Elizabeth Nowell

Past Lives

Annabelle Carraway

Just Passing Through

Samantha Martell

Of Light and Shadows

David Roman

Dyscrasia

Bella Brownlee

Patterns of Consumption & Connection

Abi Parish

Fossil Futures: Epochs of Ecological Entropy

Rylee Brabham

BAD FAITH

��Ƶ research brought to life through Harned Hall student murals

Graduating ��Ƶ fine arts seniors present ‘Transience’ exhibit