Quick Challenge Reflection.

        Through the Quick Challenges, I learned how much I enjoyed having a prompt to draw inspiration and ideas from. Even though the prompts were simple, they gave me so much freedom to explore. For each prompt I would search for the definition of the word and could draw inspiration from the synonyms and even the antonyms. The Quick Challenges that I enjoyed the most in outcome would be the Water, Fabric, and Conversation prompts. Through the Water prompt, I tested with bleach, inks, and found out how to use water with charcoal in a successful manner. The Fabric prompt encouraged me to work with different fabrics to be able to create an image. The Conversation prompt pushed me to go beyond just creating artwork with physical mediums. I created an audio of overlapping birdsong which included over twenty Florida Native birds that I have personally seen and heard. After all of the prompts exposed me to new subject matter and materials, it has left me wanting to explore more of the possibilities available with audio files and clips. I enjoyed the end product of the birdsong audio from the Conversation prompt and would like to explore more into creating "songs" with birdsong. 

Multiple Panel - The Observer

The Observer

Charcoal on Charcoal and Bristol paper. Fishing hooks. Fishing line. 

6 ft. Wide x 5.3 ft. Height.

\/  Details Photos \/

\/ Artist Statement \/

        The Observer is an example of the natural world that I see and interact with daily. My love and appreciation towards animals are from my personal experience of living on a farm, where I have many interactions with wildlife. The Observer in question is a Great Blue Heron, my personal favorite of birds that I see at home. These large, magnificent birds are found near marshes and other shallow waters hunting patiently for fish, amphibians, snakes, and sometimes small rodents. I chose the Great Blue Heron because of its unwavering patience and watchful eyes that observe the surroundings.  

There are times when we get a call informing us that cattle have gotten out during the night, and we must retrieve them as soon as possible, often right after the call. During these nighttime drives, we will see other animals such as White Tail Deer, Raccoons, Opossums, and our own horses and cows. The multiple charcoal drawings hanging beneath the wings of the heron depict these mentioned animals that I have observed through trail cameras and going outside during the night. Their eyes reflect to us, a sign that they know we are there, and they are comfortable yet apprehensive with our presence. These images of animals hanging by fishing lines and fishing hooks act as a commemoration of family ties and memories of fishing with my grandfather. My grandfather, who I call Papa, is the reason for my love of animals, and my love of working on the land. 

The Observer is meant to show the oppressive quiet the night can emanate and how even in the dark you can feel a sense of calm while being watched by the animals. However, it is notable that not everyone that goes outside at night feels the same calmness that I have discussed. Since I live in the woods, I am constantly surrounded by trees, ponds, animals of all species, and the ever-present state of natural quiet. Even though the “quiet” of the night is often filled with sounds of Cicadas, Crickets, Frogs, and other creatures active at night, it is a quiet found in nature. In this quiet, I find myself in the utmost peace surrounded by the sounds and watchers of the night.  

\/ In process \/

Reflection/Notes:

        The heron is taped together panels of charcoal paper. The smaller images of animals are Bristol paper that has the edges ripped to create an organic border. 

        I chose to use charcoal due to its ability to be more forgiving as a medium as well as its ability to create darker images, making it easier to achieve a nighttime scene.

        I used water to spread the charcoal and to make it adhere to the paper more in order to create a darker layer with a lower chance of smudging. I used both compressed and vine charcoal. For the details I used different erasers (Pink Pearl, Staedtler, and an electric eraser) to get the different quality of highlights I was trying to achieve. 

Fabric Prompt. Fall 2025.

Ghost Riders in the Sky

Assortment of different cloth/fabrics sewn together. Marker on fabric.

 27 in. height. x 18 in. width.

Inspired by the song "Ghost Riders in the Sky" sang by Johnny Cash.

\/ Details \/

Cardboard Prompt. Fall 2025.

 

Cardbird

Cardboard, String, Acrylic Paint.

5 in. width

A flying bird mobile.

Bird Tryptic 

Cardboard, Acrylic Paint, and Gel Medium.

10 1/2 in. width. x 9 1/2 in. height

A tryptic of (left to right) Wood Stork, Great Blue Heron, and Cattle Egret.

Conversation Prompt. Fall 2025.

/\ 

Language of Birds

Cardboard, Newsprint Paper, and Thread.

6 in. height. x 5 in. width

Erase Prompt. Fall 2025.

 

Start. Over. (Do I have to?)

Charcoal on Charcoal Paper.

17 in. height. x 22 in. width.

Mocking Bird

Charcoal on Charcoal Paper.

18 in. height. x 12 in. width.

Transformation Drawing

 

Transformation #1: A Still-life

Charcoal on Paper.

36 in. x 30 in.

Transformation #2: Florida Panther

Charcoal on Paper.

36 in. x 30 in. 

        For this transformation I changed to orientation to landscape to follow the angle of the first transformation. I made darker marks with charcoal on this transformation in order for the erased highlights to be more striking. I used water to adhere the charcoal to the paper better to create different mid-tones and to also "paint" with the charcoal. I used a reference of a Florida Panther staring at the person taking the photo, but in this state it is staring at the viewer. 

Transformation #3: Knight Guard

Charcoal and Gouache Paint on Paper. 

Panels of paper taped together on back with painters tape. 

Approx. 4 ft. height. x  Approx. 30 in. width

        In this transformation, I cut the paper to create a taller layout. I was inspired by Knight armor and wanted to experiment with a black, white, and grey pallet. I sprayed water onto the charcoal to spread it with my hands, creating a mid-tone background for the drawing/painting. I mixed a grey on a painting pallet but also mixed the grey directly on the paper, which caused the paper to pebble. The pebbling was not much of a problem since once it was dry, I brushed them away to keep the paper relatively smooth. The gouache paint created opaque layers that were easy to work with, as well as fixing minor mistakes and smudges that occurred during the creation process. I would paint in sections and spray the paint with a spray bottle in order to blend the paints easily. 

\/ Details of #3 \/

Transformation #4: Handled

Charcoal and Gouache Paint on Paper. 

Panels of Paper taped together on the back with painters tape. 

Approx. 5 ft. height. x  Approx. 30 in. width.

       To start transformation #4, I sprayed #3 with water and smeared the paint with my hands to create a mid-toned background.  I them rearranged and cut the paper into more panels and taped them back together again. I included red gouache paint to add a higher contrast to the black and dark grey paint. I added white paint for an reflective eye effect, with a small red streak going upwards from the pupil. For this transformation I wanted to create something more representational of feeling than just representations of things that already exist. I had different ideas sketched out but ended with the image of a six-armed figure hiding its face. With this transformation, I explored more into the style that was more prevalent in one of the quick challenges, Water.

 

Transformation #5: Barred Owl

Charcoal and Gouache Paint on Paper. Cardboard.

26 in. height. x 16 in. width.

/\ Pictured with the wing extended and folded in. /\

        For the final transformation, I decided to do a movable piece. After spraying #4 with water and blending out paint, I cut a piece of cardboard into a simplified outline of a Barred Owl's body and wings. I covered the cardboard in the paper and secured the wing to the base of the body. To make the wing uncurl, I put a hole into both parts of the wing, threaded a string between them, and tightly secured the string to a small piece of cardboard. I then covered the wings with the paper to hide the cardboard. With the excess pieces of paper, I cut feather-like strips and glued it to the body and wings, with the unpainted side up to create the harsh white highlights. At the end of the process I still had a large piece of paper left over. To make it go with the owl, I used watered down gesso and a toothbrush to create the white streaks and speckling. 

        While I am happy with the moveable function of the wing, I am not happy with this outcome especially after Transformations #2, #3, and #4 being so successful in what I had envisioned while working on this project. I did make a more drastic transformation with this piece, which I am proud of for pushing myself to do.