Every day, the earth’s oceans are being destroyed. Pollution, fishing, sonar, and many other man-made factors have caused detrimental effects to the most crucial of the ocean’s ecosystems. While more individuals are becoming aware of these problems, additional support is needed to help protect the ocean’s many unique creatures. The purpose of this honors thesis exhibition is to continue to shine light on human negligence towards threatened ocean creatures. The three artworks in this thesis show the descent of diversity and life of these marine creatures over time. By showcasing the different ways in which whales, rays, and corals have been affected by human impact, this thesis and subsequent art pieces will help to continue to enhance one’s understanding of the importance of marine conservation.

Video link: "The Last Fire Sprite." For my Thesis Project, I wrote, directed and produced a 25-minute long animatic for my series “The Last Fire Sprite.” This animatic is to be used as a pilot for the show to pitch it to studios. It includes an all-star crew of 14 voice actors, 2 artists, a vocalist, and a composer. While most of the work was completed by myself, the project as a whole would not be as quality without the hard work of this amazing crew. The pitch: A young Fire Sprite named Blaise awakens in the future to find her world completely changed. Magic is scarce and sold to the highest bidder. A twisted oligarchy holds the last living witch hostage in order to remain in power. Blaise bands together with Axel, a young street rat, in order to evade countless bounty hunters after the price on her head. Only together can they free the last witch and bring magic back into their world. Please enjoy “The Last Fire Sprite: Welcome to the Future Part 1”! 

This creative project examines identity, autonomy, and social hierarchy by manipulating the traditions and iconography of female figural painting. Female identity and autonomy is often marked by a tense relationship between the self and the body. Socially acceptable self-expression of one's behavior, body, and desires is strictly regulated within a set of often paradoxical parameters that repress abject, 'animal' behaviors. This series of three paintings reacts to this culture of restraint and repression by exposing the body to nature once more, finding catharsis in annihilation and the destruction of boundaries between the Self and the Other. The human body is depicted as a host for animal life cycles, exploring the duality of creating and supporting life while simultaneously being destroyed. Animals that embody socially unacceptable behaviors are brought crashing back into the human form, reuniting the idealized, contrived female figure with an expressive, imperfect nature and sense of self. Hybridized animal-human relationships in the paintings break down the falsely hierarchical distinction between 'humans' and 'animals' that distances and privileges humanity from that which is considered primitive. By releasing the human body to the uncomplicated consumptive and reproductive forces of ‘trash’ animals in these paintings, the work challenges how the worth of existence is socially defined, instead affirming that all life has some inherent value distinct from its transactional worth to society at large. This celebration of the grotesque shakes off repressive social constructs, offering a unique form of catharsis and agency.

This creative project examines identity, autonomy, and social hierarchy by manipulating the traditions and iconography of female figural painting. Female identity and autonomy is often marked by a tense relationship between the self and the body. Socially acceptable self-expression of one's behavior, body, and desires is strictly regulated within a set of often paradoxical parameters that repress abject, 'animal' behaviors. This series of three paintings reacts to this culture of restraint and repression by exposing the body to nature once more, finding catharsis in annihilation and the destruction of boundaries between the Self and the Other. The human body is depicted as a host for animal life cycles, exploring the duality of creating and supporting life while simultaneously being destroyed. Animals that embody socially unacceptable behaviors are brought crashing back into the human form, reuniting the idealized, contrived female figure with an expressive, imperfect nature and sense of self. Hybridized animal-human relationships in the paintings break down the falsely hierarchical distinction between 'humans' and 'animals' that distances and privileges humanity from that which is considered primitive. By releasing the human body to the uncomplicated consumptive and reproductive forces of ‘trash’ animals in these paintings, the work challenges how the worth of existence is socially defined, instead affirming that all life has some inherent value distinct from its transactional worth to society at large. This celebration of the grotesque shakes off repressive social constructs, offering a unique form of catharsis and agency.

This creative project examines identity, autonomy, and social hierarchy by manipulating the traditions and iconography of female figural painting. Female identity and autonomy is often marked by a tense relationship between the self and the body. Socially acceptable self-expression of one's behavior, body, and desires is strictly regulated within a set of often paradoxical parameters that repress abject, 'animal' behaviors. This series of three paintings reacts to this culture of restraint and repression by exposing the body to nature once more, finding catharsis in annihilation and the destruction of boundaries between the Self and the Other. The human body is depicted as a host for animal life cycles, exploring the duality of creating and supporting life while simultaneously being destroyed. Animals that embody socially unacceptable behaviors are brought crashing back into the human form, reuniting the idealized, contrived female figure with an expressive, imperfect nature and sense of self. Hybridized animal-human relationships in the paintings break down the falsely hierarchical distinction between 'humans' and 'animals' that distances and privileges humanity from that which is considered primitive. By releasing the human body to the uncomplicated consumptive and reproductive forces of ‘trash’ animals in these paintings, the work challenges how the worth of existence is socially defined, instead affirming that all life has some inherent value distinct from its transactional worth to society at large. This celebration of the grotesque shakes off repressive social constructs, offering a unique form of catharsis and agency.

This creative project examines identity, autonomy, and social hierarchy by manipulating the traditions and iconography of female figural painting. Female identity and autonomy is often marked by a tense relationship between the self and the body. Socially acceptable self-expression of one's behavior, body, and desires is strictly regulated within a set of often paradoxical parameters that repress abject, 'animal' behaviors. This series of three paintings reacts to this culture of restraint and repression by exposing the body to nature once more, finding catharsis in annihilation and the destruction of boundaries between the Self and the Other. The human body is depicted as a host for animal life cycles, exploring the duality of creating and supporting life while simultaneously being destroyed. Animals that embody socially unacceptable behaviors are brought crashing back into the human form, reuniting the idealized, contrived female figure with an expressive, imperfect nature and sense of self. Hybridized animal-human relationships in the paintings break down the falsely hierarchical distinction between 'humans' and 'animals' that distances and privileges humanity from that which is considered primitive. By releasing the human body to the uncomplicated consumptive and reproductive forces of ‘trash’ animals in these paintings, the work challenges how the worth of existence is socially defined, instead affirming that all life has some inherent value distinct from its transactional worth to society at large. This celebration of the grotesque shakes off repressive social constructs, offering a unique form of catharsis and agency.

This creative project examines identity, autonomy, and social hierarchy by manipulating the traditions and iconography of female figural painting. Female identity and autonomy is often marked by a tense relationship between the self and the body. Socially acceptable self-expression of one's behavior, body, and desires is strictly regulated within a set of often paradoxical parameters that repress abject, 'animal' behaviors. This series of three paintings reacts to this culture of restraint and repression by exposing the body to nature once more, finding catharsis in annihilation and the destruction of boundaries between the Self and the Other. The human body is depicted as a host for animal life cycles, exploring the duality of creating and supporting life while simultaneously being destroyed. Animals that embody socially unacceptable behaviors are brought crashing back into the human form, reuniting the idealized, contrived female figure with an expressive, imperfect nature and sense of self. Hybridized animal-human relationships in the paintings break down the falsely hierarchical distinction between 'humans' and 'animals' that distances and privileges humanity from that which is considered primitive. By releasing the human body to the uncomplicated consumptive and reproductive forces of ‘trash’ animals in these paintings, the work challenges how the worth of existence is socially defined, instead affirming that all life has some inherent value distinct from its transactional worth to society at large. This celebration of the grotesque shakes off repressive social constructs, offering a unique form of catharsis and agency.

"Calico" takes a look at the Japanese art form of "Manga" and what makes it stand out from similar art forms seen in the west such as comic books and graphic novels. After researching art techniques and the history leading up to modern manga practices, "Calico" summarizes it all together in the form of a manga itself. The story of "Calico" uses manga art techniques to tell the story of a young girl who finds solace in a street cat following the death of her mother.

As general awareness and concern for environmental issues has increased over time, so has the growth of environmental artwork. Artworks in this genre have been used with the intent to motivate conservation action and environmental justice action, as well as spread broader environmental awareness. Different approaches to environmental messages may have varying impacts on viewers’ beliefs and attitudes related to the environment. Yet this topic is still not widely studied. Using a combination of survey and interview techniques, this thesis examines the intersection of art, ethics, and the environment by eliciting the reactions and responses of Arizona State University students to various environmental artworks. The study design presented groups of students with differing imagery, one set categorized as environmentally hopeful or positive, the other as environmentally gloomy or negative. The New Ecological Paradigm scale (NEP) was used as a measure for ethical views. After exposure to the artworks, students showed shifts in their NEP scores in both directions, and some had no change. Between positive and negative artworks, there was no significant difference in change in score on the NEP scale. The results of the thesis inspired a suggestion for a new scale to describe an emerging environmental ethic that is evidenced by the artworks, artists statements, and student reactions in this project: the Social And Ecological Paradigm (SAEP). The paradigm abbreviation includes the letter A to emphasize the importance of considering both the social and ecological implications of human activity. This mindset addresses environmental justice concerns, positive human interactions with the environment, and sustainable human communities. At the core, it is a basic human right to live in a healthy and safe environment, and a positive societal relationship with the environment is necessary to guarantee this right for all. Art is a way for people to connect with the environment and can give insight into the way society’s environmental ethic is ever shifting.

This is a series of three paintings all composed with oil paint. This series offers a unique and thought-provoking perspective on gender roles and the male gaze and how they are used as forms of oppression. This series challenges traditional notions of gender and spark meaningful conversations about the ways in which society shapes and reinforces gender norms.