Work of art of oil on canvas by artist Hannah Aaron as part of a 2020 MFA Exhibition, entitled "A Narrative Rewritten"

Work of art of exhibition: monotype, screenprint by artist Aunna Escobedo, as part of a 2020 MFA Exhibition, entitled "Navigating the Waters". L to R: A Swiftness, Accumulating: slow and steady, Shifting: between states.

Work of art of Glass, paper, fibers, crochet, resin, ink, paint by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections".

Work of art of Glass, paper, fibers, ink, paint by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections".

Work of art of Glass, paper, fibers, crochet, bronze, ink, paint by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections".

Work of art of Mixed Media Immersive Installation by artist Heather Hoskins, as part of a 2020 MFA Exhibition, entitled "Visceral Reflections".

Work of art of tea bags, bed sheet, book remnants, string, steel by artist Traci O’Dwyer as part of a 2020 MFA Exhibition, entitled "Of My Own Making".

Work of art in laser cut cardboard, CNC routed wood, vinyl by artist Morgan Grasham as part of her 2020 exhibition, entitled "Memory Beast".Image of installation view of 2020 MFA exhibition by artist , entitled "Memory Beast".

Diana Rojas explores the hidden and invisible through interdisciplinary collaboration and conversation across fields such as Philosophy, Music Composition, Physics, Material Science and Visual Art. The tools and environments she creates - by utilizing the archaic and contemporary, the digital and sculptural, known and unknown, and the minute and immersive -culminate in experiential works that prompt viewers to slow down and inspire introspection. The slowing down that these works provoke raises questions about existence, reality and being. By combining materials and elements of theories and devices of exploration, she references their antecedents, but creates new opportunities for viewer investigation. This includes utilizing creative coding, video, 3D modeling, welding steel, kiln forming and soldering glass, and cutilizing sand as projection screens. Additionally, she utilizes sound and light to create captivating installations, inspired by interest in the influence that immaterial forces have on human minds and decisions.

Titled after a poem by Edgar Allan Poe, From Every Depth of Good and Ill, is an exhibition composed of vignettes created with ceramic sculpture, ephemeral installation works, and printmaking. The work primarily references domesticity and antiquated subjects to illustrate the process of coping with past trauma and the resultant feelings of shame, inadequacy, and incompleteness. Marked by a palette of warm rust and sepia, aged patterning, and worn textures, the tableau of objects presented within the space mimic old familial photographs. Each resulting work serves as a dirty looking-glass for the viewer to peer through.

My work explores my identity as a Latino, veteran, and father, and counteracts the lack of positive representation of men of color in society. While they are similar to traditional piñatas in their design and construction, my sculptures are based on abstract representations of my internalized identity. These anthropomorphic forms stand rather than being hung, enacting ownership over their space. This allows them to take on a newly assigned identity and presence. These forms allow me to display, articulate, and communicate. the struggles I have experienced throughout my life because of systemic oppression.

Rainbows, Stones and Ghosts is a two-part exhibition of multi-dimensional drawings about the almost and the not-yet-made. My Project-in-Lieu-of Thesis exists physically as a series of oil paintings, works on paper, and a site-specific sculptural installation. With recurring imagery of rainbows, stones, and construction debris, the works reimagine their subjects as icons and objects of potential. Highlighting time, labor, and material, my project questions the creation of value, status, and the concept of the ‘ideal’. My drawings dissolve the boundary between the absence and presence by continuously breaking down, expanding, and reimagining their surfaces, subjects, and sites. Rainbows, Stones and Ghosts is an invitation to navigate the ‘almost’ as an immersive space of possibility.

My ceramics are composed of two bodies of work poised against one another, one rendered in porcelain and colored inclusion stains combined in processes rooted within the practices of laminating clay, and the other made of brutal metallic black stoneware. The first are made of landscapes and abstractly depict them, while the latter represent ways in which we consume oil literally and metaphorically. Within myself are conflicting desires for convenient access to my environment and the loss of biodiversity caused by my unsustainable use of it. This is the core of the conflict between my pieces and my intention in making work is to embody my relationship with nature as influenced by my familial context in the US. All of the vessels are designed to be functional, but to serve used motor oil instead of food or drink. If the purpose of the objects is to represent my relationship with nature and the iteration of days, then the performance of them is meant to invoke the recognition of multiform oil consumption and the effect it has on my life.

My ceramic works utilize a heightened sensory perception to encourage a prolonged engagement with the handcrafted objects. With an emphasis on repetition, I create individual rings from clay coils and interlink them in complex, radial configurations to produce a malleable, geometric network designed to respond to the user's movements. The work revolves around dichotomies: hard/soft, delicate/strong, inspired by clay's chemical alterations in the firing. Each malleable pattern preserves the fluid movement the pliable clay begins with. Overall, the abundance of ornament elevates the object, transforming an everyday object into something intended for special occasions or moments for the self.

My work as an American artist (Korean diaspora) reflects the interplay of diverse cultures and locations that have shaped my experiences. Through the exploration of photo and video archives from my travels, I uncover patterns and images that symbolize both place and transition. Utilizing digital technology, I fragment and reconstruct visual elements, evoking a sense of longing and disconnection. I also investigate the relationship between the body and space, using multi-modal responses. My work aims to capture dualities and stimulate contemplative meditation through the juxtaposition of tangible and intangible, clear and hazy, large and small, and intimate and distant elements.

Works of art on mixed media by artist Christine Drake-Thomas as part of a 2022 MFA exhibition, entitled "The Third-Party Pop-Up Shop" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from April 13th to 16th, 2022.

Works of art from artist's Google Chrome Search History from June-July 2021, digital print on cotton, resin-coated digital print on Masonite, resin hanger, printed tags, by artist Christine Drake-Thomas as part of a 2022 MFA exhibition, entitled "The Third-Party Pop-Up Shop" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from April 13th to 16th, 2022.

Works of art from artist's Edited Instagram Ad Interests on 8/31/21. Digital print on cotton, resin-coated digital print on Masonite, resin hanger, printed tag of a message back to Instagram's Ad algorithm by artist Christine Drake-Thomas as part of a 2022 MFA exhibition, entitled "The Third-Party Pop-Up Shop" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from April 13th to 16th, 2022.

Works of art on video, installation shot of "Surveillance Capitalism is a Savage" by artist Christine Drake-Thomas as part of a 2022 MFA exhibition, entitled "The Third-Party Pop-Up Shop" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from April 13th to 16th, 2022.

Works of art includes Google Crop Top, iPhone Geolocations Graphic T-Shirt, Instagram Crop Top, Spotify Crop Top, Facebook Third-Parties Crop Top. From artist's data, digital print on cotton, a resin-coated digital print on Masonite, resin hanger, printed tags, by artist Christine Drake-Thomas as part of a 2022 MFA exhibition, entitled "The Third-Party Pop-Up Shop" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from April 13th to 16th, 2022.

Works of art from artist's Apple iPhone Significant locations from 2019-2021, digital print on cotton, resin-coated digital print on Masonite, resin hanger, printed tags, by artist Christine Drake-Thomas as part of a 2022 MFA exhibition, entitled "The Third-Party Pop-Up Shop" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from April 13th to 16th, 2022.

Works of art from artist's Apple iPhone Significant locations from 2019-2021, digital print on cotton, mannequin, painted box. By artist Christine Drake-Thomas as part of a 2022 MFA exhibition, entitled "The Third-Party Pop-Up Shop" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from April 13th to 16th, 2022.

Works of art from artist's Apple iPhone Significant locations from 2019-2021, digital print on cotton, mannequin, painted box. By artist Christine Drake-Thomas as part of a 2022 MFA exhibition, entitled "The Third-Party Pop-Up Shop" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from April 13th to 16th, 2022.

Works of art from artist's Off-Facebook Third-Parties from 2019-2021. Digital print on cotton, a resin-coated digital print on Masonite, resin hanger, printed tags by artist Christine Drake-Thomas as part of a 2022 MFA exhibition, entitled "The Third-Party Pop-Up Shop" in the Cora Stafford Gallery South, 1201 W Mulberry St, Denton, TX 76201, from April 13th to 16th, 2022.