Portfolio

Book Projects

Image ID: Title page of the book. Title reads "Who was Natalia Gontcharova?". There is a collage of Gontcharova's paintings with a colored photo of her. Text below says "Natalia Gontcharova was a Russian painter whose work shaped the direction of modern art and style in Russia. But what was going on in Natalia’s mind and life that influenced her adventurous art?"
Image ID: Page one of zine. Title reads "Dadaistic Systems of Artmaking, Data, and System Failure: a Manifesto on play" the text below reads "Lal Soong was Data’s daughter by design if not in fact. Her positronic network was modelled off his; he raised her; he stayed with her until her last "breath". But Lal entered an irreparable state of system failure; Data did not. Why did one gynoid die, and her android father live? Was it the emotions that emerged in her computational matrix by accident? Did her programming collapse because it had surpassed any algorithm before it?" Black and white images of Lal and Data Soong in profile are placed in the left and right corners, respectively, facing each other with the text between them.
Image ID: Cover page and end cover. There is a black and white spiral-esque graphic with the title "БГ" and monochromatic photographs of buildings throughout. Text on the right reads "i. using the past to tell truth about the present. ii. using the faults of one past to explain the faults of another present. iii. knowing our future is made from our past." Upside-down text on the left says "Beyond" with an arrow.
Image ID: A page from the comic with an atmospheric blue and purple forest. People's forms are intertwined with trees and blend together as the character looks about.
Image ID: Page one of "Sex Machine" zine. Pink text reads "This Technical Manual is Pornographic" with "Sex Machine" in the large, titular , black-colored font. "Reclaiming the Mechanical-Erotic in the Artworks of Duchamp and Picabia" is written below a picture of Francis Picabia and Marcel Duchamp's faces collaged with their (respective) artworks "Fille née sans mére" and "The Bride Stripped Bare by Her Bachelors, Even (The Large Glass)". At the very bottom is small pink text which says "Permission to rip, flip, save, share, credit. I did! Marley Trimble circa 2025"

Two-dimensional Artwork

Image ID: Semi-realistic impressionistic still life painting of a metal vase, high heel shoes, a horn, and tulips.
Image ID: A vertical spread composed of multiple detailed linework drawings of a fleshy hand wearing a ring at different angles and sizes.
Image ID: An abstract painting of blue geometric shapes emanating from the white-colored center of the composition. There are also red lines and a yellow rectangle at the edges of the composition.
Image ID: Semi-realistic painting of a pale man with a cat in a dim room.
Image ID: Drawing with detailed ink marker linework depicts objects such as a deck of cards, lock, handkerchief, posy of roses, vial, circular container, dog-shaped statuette, apple, CD and case.
Image ID: A painting of the profile of an older white woman's face and neck. She has short ginger and blue hair. The background is a blank pale purple.
Image ID: A still life painting of a high heel, fluorescent bowling pill, candle, blue glass, and miniature toy basketball against a gray background.
Image ID: A charcoal drawing with intense shadows of a seated nude man holding a scepter.
Image ID: A still life in monochromatic gray graphite. The objects, a perfume bottle, mirror, fan, rectangular case, apple, and flower, are portrayed against a blank background.
Image ID: A grayscale still life painting of a pitcher, kettle, and cubes
Image ID: A graphite drawing in grayscale depicting a still life of stationary objects such as pencil sharpeners, erasers, pencil lead, and more draped with white fabric and tape.
Image ID: A gestural painting of a nude, fair-skinned woman with brown hair and eyes on a somewhat plush yellow chair. The model is leaning on a table with a draped blanket over it and tall plant behind it.
Image ID: Lines on the paper are, at different places, thick, geometric, organic, curvaceous, and form patterns, transitioning between the qualities from left to right. The composition is stratified and vertical.
Image ID: The painting is monochromatic, in grayscale. Around the corners of the vertical composition, letters which are cut off spell "Seen". The center of the painting has an Escher-esque isometric perspective structure which at the edges blurs.
Image ID: A graphite drawing of a flower, mug, wire, and six eggs against a dark cloth backdrop.
Image ID: A stark black and white image of an ink painting that has spiral or web-esque shapes. The painting is mostly black with white wire lines in the center.
Image ID: A still life painting of a lemon and orange against a gray background
Image ID: A dark charcoal drawing focused on a pale person's face wearing glasses and holding a guitar with a forlorn expression.
Image ID: A grainy charcoal drawing of two women embracing, one of whom is taller and has her back to the viewer. They are situated in an interior besides a door.

Three-dimensional Artwork

Image ID: A photo of green chair made of wood with a circular open back, with a stand below supporting the seat.
Image ID: A close-up picture of a boxy sculpture, with wooden pallets on either size and a plastic screen further away and on top. The bottom, which has a plush blanket is in shadow.
Image ID: A picture at a distance of the sculpture. It is in the shape of a bra and it sits on a pedestal in a corner illuminated by a spotlight on the floor which casts a shadow.
alttext

Graphic design, Digital, & Multimedia Art

Image ID: A photograph of an ice sculpture of upright clasped hands on a ledge of brick overlooking a cathedral. On the ice sculpture is a gold necklace with a cross. Beside it are sculptures of plaster fingers. There is a camera focused on the ledge.
Image ID: Two people are walking forward through a blue-tinged forest path. The photograph is of their fronts.
Image ID: A pictograph of a nude Mesoamerican zodiac man is in the center of a blank canvas. The man has lines extending from his body to pulsating icons of computer icons. Binary code of zeroes and ones are rising vertically from bottom to top over the zodiac man.
There are color blocks, the first top one is pink indicating a sky at sunset, the bottom blue one indicating a sea. There is a sun in the top right corner.
Image ID: Collage of various stock images and text on technology in the classroom.
Image ID: The simple drawing of a man morphs from happy to upset and then angry before changing back to smiling.
Image ID: A geometric pink drawing of a pipe on top of a neon green background. Pink text above it reads "this is pixels."
Image ID: A three-by-three grid of old photographs. In order, the first is of a group or children on the grass, the second is of two wooden mannequin dolls of a large and small size, the third is of three people playing cards, the fourth is of people demonstrating something, the fifth is of a teacher surrounded by children, the sixth is a cartoon of a puppy bothering a cat, the seventh is an illustration of swordfighting stances, the seventh is of two people at tea, and the ninth is a close up shot of a man painting.
Image ID: Simple drawings on a blank background of kids. One has a laptop, one has a tablet, and one has nothing. The latter is holding a cloud labelled "poof" showing that the child is holding something that has vanished.
Image ID: A simple drawing of a kid holding a tablet out, with stars and light extending out from it in one direction. There is a thought bubble coming from the child which also pictures stars.
Image ID: A pictograph of a nude Mesoamerican zodiac man is in the center of a blank canvas. The man has lines extending from his body to icons of computer icons.
Image ID: An animated GIF with shaky lines. There is a drawing of a bat-man hybrid sitting on a cratered moon surface, with a flag in the background and Earth in the scale. Text reads, "In actuality, the moon is quite banal, not batty."
Image ID: Moving pink flowers, lace, and images of a cross, and teacup surround a pastoral image of a garden and two kittens. Text appears that reads, "Good morning sweetheart… please stop sending me conspiracy theory videos about the JFK assassination. I love you."
Image ID: Purple flowers frame icons of angels and a table with a crystal ball atop it. Text reads, "a game is an experience created by rules". Icons of dice and a video game controller surround the table. In the background there are green pieces of binary code falling down and purple hearts.
Image ID: In the animated GIF, word "READ" is approached by green geometric designs which change the word to "remake".
Image ID: There is a pixillated drawing of the singer Björk which when approached by a falcon, transforms into a drawing of the singer Arca and another bird.
Image ID: A collage of nine text-heavy images in a grid, with an illustration of a panopticon in the center.

Book Projects

Image ID: Title page of the book. Title reads "Who was Natalia Gontcharova?". There is a collage of Gontcharova's paintings with a colored photo of her. Text below says "Natalia Gontcharova was a Russian painter whose work shaped the direction of modern art and style in Russia. But what was going on in Natalia’s mind and life that influenced her adventurous art?"
Image ID: Page two of the book. There is a colored photo of Natalia Gontcharova with other women in traditional wear. Text reads "Natalia Gontcharova’s life began in 1881 as a member of the nobility in rural Russia. Natalia’s friend, the poet Marina Tsvetaeva, said that she was "clearly a nomad, clearly a peasant" and a lifelong "country girl". But when Natalia was a girl, she moved to Moscow. However, Natalia never stopped appreciating Russian peasants and heritage."
Image ID: Page three of the book. Text reads "Natalia Gontcharova attended the Moscow Institute of Art in her early twenties. That’s where she met Mikhail Larionov in the year 1900. Mikhaila and Natalia were partners in life and in art ever since then. "Larionov is my artistic conscience, my tuning fork…We are very different, and he sees me from my perspective, not from his. And I do the same for him." is what Natalia said about Mikhail." There are photos of Gontcharova and Larionov in colorful hearts from different ages.
Image ID: Page four of the book. Text is overlaid atop a colored photo of Natalia Gontcharova and Mikhail Larionov interacting which reads, "Natalia and Mikhail would do everything together: exhibit, paint, and write about art. Natalia’s advice to women was that they should believe in themselves and find a partner capable of matching these heights. Indeed, Natalia and Mikhail would create the new idea of Rayonism in art…"
Image ID: Page five of the book. There are paintings in an impressionistic style across the page. Text reads, "But Natalia’s early paintings weren’t always so new. Her early art was inspired by Cézanne. Natalia used her paintings to show a lot of Western art movements, like cubism, to Russian audiences."
Image ID: Page six of the book. There are impressionistic paintings and a photo of Natalia Gontcharova with her hands raised. Text above reads: "Natalia knew she was very influential:" and from within a speech bubble, a quote from Gontcharova says, "Over the last decade, Picasso has been the most important, most talented artist working in the Cubist manner, whereas in Russia it has been yours truly."
Image ID: Page seven of the book. Text above a photograph of Natalia Gontcharova reads "Later, Natalia decided to blaze her own path." From a speech bubble, Gontcharova is quoted as saying "We have learned much from Western artists, but from where do they draw their inspiration, if not from the East?" and "It seems to me that we are living through the most critical moment in the life of Russian art." Other text on the page says "Natalia looked inwards, at her heritage, and to the East, for inspiration. Gontcharova wanted her art to reflect her emerging nation, Russia."
Image ID: Page eight of the book. Text in the middle of the page says "When Natalia and Mikhail pioneered Rayonism, they looked not just at Russia’s tradition, but also the "brilliant style of modern times" to make something futuristic and exciting." Beside it there is a colored photograph of Natalia Gontcharova and Mikhail Larionov and their paintings.
Image ID: Page nine of the book. Text around says "However, Natalia’s radical ideas did not always earn her praise. While she was popular, her iconography-inspired work was controversial. This is because in Russian Christian tradition, women are not allowed to paint this style of religious images. She was called the "anti-artist". In addition, Natalia and Mikhail’s group, the futurists, were known for their eccentric public displays. The press dubbed Natalia the leader of these oddballs." There is a colored photo of Natalia Gontcharova in face paint as well as pictures of her icon paintings, which have the word "CENSORED" in English and Russian across it.
Image ID: Page ten of the book. There is a colored photograph of Natalia Gontcharova writing. Text around says, "While not everyone saw her vision, because of her work as an avant-garde artist and a designer who brought the fine arts to popular art, she was a sensation. She never let go of why she was making art. She prized life and her surroundings over being pretentious and theoretical." A speech bubble from Gontcharova reads, ""Art for life and even more – life for art!" she exclaimed."
Image ID: Page eleven of the book. There is a colored photo of Natalia Gontcharova and Mikhail Larionov in old age. Text on the side says, "In 1914, Natalia and Mikhail would leave Russia and go to France. While they never went back, Natalia would always miss Russia. Her "spirit", though in a "foreign land" was with her mother country. "I did not build a home for myself in foreign lands. A nomad, I come to my tent. A nomad, I fold my narrow bed.""
Image ID: Page twelve of the book. There is a colored photo of Natalia Gontcharova at the bottom of the page. Text at the top says: "Natalia and Mikhail would spend the last decades of their lives traveling Europe and designing fantastic theatre productions in Paris. Natalia would pass away in 1962, with Mikhail joining her two years later. Natalia wanted to be remembered for her life, which informed her art deeply. "My friends, do not visit my grave. You will often encounter my spirit in life, And my grave is far. A long way to go, and with sad thoughts.""

"The Biography of Natalia Gontcharova"

November 2025

Digital medium

12 pages; 696x903 px each

I am minoring in art history and find that this knowledge has really enriched my creative and teaching practice. In my modern art history course, we have studied art movements from impressionism, to cubism, to surrealism, and beyond. This book, designed for younger readers, aged around ten, tells the life story of Russian futurist painter, Natalia Gontcharova. I also gave a presentation about Gontcharova prior to creating this book.

Image ID: Page one of zine. Title reads "Dadaistic Systems of Artmaking, Data, and System Failure: a Manifesto on play" the text below reads "Lal Soong was Data’s daughter by design if not in fact. Her positronic network was modelled off his; he raised her; he stayed with her until her last "breath". But Lal entered an irreparable state of system failure; Data did not. Why did one gynoid die, and her android father live? Was it the emotions that emerged in her computational matrix by accident? Did her programming collapse because it had surpassed any algorithm before it?" Black and white images of Lal and Data Soong in profile are placed in the left and right corners, respectively, facing each other with the text between them.
Image ID: Page two of zine. Vintage illustrations depicting the embryonic development of a sheep break up the text and borders of the page. The upper-right piece of text reads "Piaget believed that children’s pretend play helped children solidify new schemes they were developing cognitively. This play, then, reflected changes in their conceptions or thoughts. However, children also learn as they pretend and experiment." with "(Berk, 2007 ctd. CourseHero Lifespan Development)" in smaller text below the quote. The text on the lower left reads "Play is a behavioral phenotype and cognitive style that certainly fuels our production and appreciation of beauty and other forms of aesthetic experiences, but it lies at the very core of our biological identity and inspires far more varied cultural expressions." In smaller text below the quote is the attribution "(Phillip Prager, 2013)".
Image ID: Page three of zine. The text at the top of the page reads "Maybe here is where the problem arises: she was incapable of play, she could not process her newfound emotions." Images of children playing and Lal at a great distance apear appear below. Cut-out images of text read "A group of toddlers are playing together with some sort of geometric building blocks." and "Lal is standing by herself in a corner." The attribution in smaller font reads "("The Offspring" script)". Two vintage, undecorated, photos of marionette puppets, one smaller and on the left and one larger and to the right, are placed on the bottom half of the page. The text inbetween them reads "… but what about her father?"
Image ID: Page four of zine. Text at the top of the page reads "Data experiences humanity through play." A grid with black and white photos of Data in various costumes and a quote takes up the center of the page. From left to right and top to bottom, Data appears as Friar Tuck, a cowboy, Scrooge, with the cap of a poker dealer, and as Sherlock Holmes. The quote in the grid reads "intellectual playfulness—finding pleasure in playing with ideas. . . . there is a great deal of whimsy and play, for example, in much of the thinking that scientists do—a considerable amount of toying with ideas and fantasizing—imagining oneself, for example, riding on a photon at the head of a beam of light." and its attribution "(Raymond Nickerson, 1999 qtd. Philip Prager, 2013)" appears to the bottom right.
Image ID: Page five of zine. In large font, the word "Dada." is written. Below it is a black and white image of a woman laying on the floor, t-posing while balancing on oranges. The text below that image reads "(Erwin Wurm, One Minute Sculpture)". To the right of the title ("Dada"), text reads "A childish, playful word. The movement itself was intertwined with chance." The text in the bottom right corner says "But also, with rules." A black and white photo of a hand throwing balls in the air appears on the diagonal of the page with the text "(John Baldessari, Throwing Three Balls in the Air to Get a Straight Line; Best of Thirty-Six Attempts)" appearing within the displaced balls. A quote on the left side of the page reads "In the case of Dada, an understanding of play seems even more fundamentally important than in the interpretation of other artistic movements or cultural expressions. Dada expressed play in its raw state." Smaller text below it reads "(Phillip Prager, 2013)".
Image ID: Page six of zine. Text on the upper half of the page reads "Instruction-and rule-based practice, as one of the historical lineages of digital art, featured prominently in art movements such as Dada…which incorporated a focus on concept, event, and audience participation, as well as variations of formal instruction. The idea of rules being a process for creating art also has a clear connection with the algorithms that form the basis of all software and every computer operation: a procedure of formal instructions that accomplish a result in a finite number of steps." The small text below the quote is "(Christiane Paul, 2019)". In the lower right of the page is a black and white image of Data's hand lifting open Lal's cranium to reveal circuitry underneath. Text to the left of that reads "In his pursuit of humanity, is it any wonder Data—fundementally an algorithm at heart— moves through the world as an artist, a playful one?"
Image ID: Page seven of zine. A black and white image of Data pointing at a Piet Mondrian painting and Lal beside him takes up the upper half of the page. Cut out text from the script reads "DATA: A painting." and "LAL: Painting. Colors produced on a surface by applying a pigment." and "DATA: I will teach you how to recognize the artistry of paintings." Text in the center of the page reads "If only this experience could be shared with his fellow lifeform. If she could reciprocate, if she had persisted." On the bottom left of the page is a black and white image of Data and Lal smelling a flower. The intermittent text boxes cut out from a script read "Data leads her to a flower in a vase." and "DATA (cont'd): There are many fascinating experiences I wish to share with you." and "LAL: Painting." and "DATA: No, Lal, this is a flower." and "He lifts it, holds it to Lal's nose." and "DATA: Inhale." and "LAL: (reacts) Smell." and "DATA: Yes." and "LAL: Show me more, Father."
Image ID: Page eight of zine. Text at the top of the page reads "If novelty, curiosity, wonder, and exploration are play’s driving force, then there was perhaps no period more exciting than the early twentieth century, a veritable playground brimming with the unusual and the unknown." with a smaller text box "(Phillip Prager, 2013)". A black and white image of Wesley Crusher and Geordi La Forge looking at a painting in the center makes up the lower half of the page. Small text at the bottom says "made in 2025 expected in the 23rd century © Marley Trimble".

"Dadaistic Systems of Artmaking, Data, and System Failure: A Manifesto on Play"

September 2025

Digital medium

8 pages; 2550x3300 px each

This zine is a series of static images and text I created to be meaningful. I used Photoshop to arrange and create the pages of this project. I call this my "mini-digi-zine" and it is a collage of my own writings, other text, screenshots, and images on a subject I find meaningful: Star Trek and childhood. "Histories of the Digital Now" by Christiane Paul, served as an inspiration for me.

You can access a parallel lesson plan for this image project here.

Image ID: Cover page and end cover. There is a black and white spiral-esque graphic with the title "БГ" and monochromatic photographs of buildings throughout. Text on the right reads "i. using the past to tell truth about the present. ii. using the faults of one past to explain the faults of another present. iii. knowing our future is made from our past." Upside-down text on the left says "Beyond" with an arrow. Image ID: Second page and seventh pages. On the right there are colorful watercolor illustrations; a stick figure family using an umbrella to block a rainbow, and a set of comic panels increasing in proximity to a face and showing the growth of a child. Text says, "Future. Not everything is possible in this lifetime. Case in point: "MARLEY DON'T TELL THEM… THEY WOULDN'T GET IT… BUT I'LL TELL THEM ABOUT THE NAME." The left page is upside down, with a watercolor of a girl in traditional Bulgarian wear. Text reads, "So it seems there are always losers in this cycle." Collaged text says, "As maidenhood was the best time in the lives of young Bulgarian women, many of them composed or wrote love songs to glorify it." Image ID: Third and sixth pages. Panels on the right side of the page show watercolor drawings of a mother and child, someone kneeling beside a coffin, and a rose. Text beside the drawings says "another lifetime. my lifetime is another person's other lifetime. Laying roses on the coffin symbolizes the wedding ceremony to which a young person was entitled before being laid to rest. Freedom." The left page is upside-down and black and white. There are photos of a couple and Bulgarian sites. Text reads, "Fortune. but for a castle to be built strong, there must be a strong foundation. късмет. fortune. «chance». where are the eyes of god, if not looking at us?" Image ID: Fourth and fifth pages. On the right, there is a black and white photograph of a natural landmark as well as a watercolor painting of the same place and text which reads, "Space. Other national heroes where the <em>haiduks</em> (<em>haǐduti</em> in Bulgarian)—brave Bulgarians who formed bands of freedom fighters against the Turkish oppressors and their collaborators. In these mountains the Bulgarian freedom fighters would hide out. This photo is of my mom when she was a small girl. In 2023, my family returned to the Belogradchik rocks. you can feel the history in here. I don't know if my ancestors expected to go so far… and I don't know how I feel about going so far. "YOU WILL MARRY A FOREIGNER."" The left page is upside down, with a modern black and white photograph of young people in cultural wear and a blue watercolor of an icon. Text reads, "Convergence. must happen for the following to transpire. mom (BG) and dad (US) meet and marry. dad gets a job in Senegal and therefore this photo is taken. and there are globalization related events for all of us. to continue is that the right thing to do? convergence is not always fortunate." There is small collaged text beneath this with folksongs verses.

"БГ (BG)"

November 2024

Zine; watercolor and printer ink on cardstock

8 pages; 7x9.75"

Our assignment was to create a zine utilizing any mediums but while including a past sculpture and on the subject of memories. A zine is a self-published booklet that is not proliferated on a large scale. In this project, I play with the medium of the zine as a cyclical artwork. This informed my choices to compose the images in both directions to create a new reading order, as well as to spiral bind it. Cyclicality ties in to the theme of my zine. Family and history is a determiner of the present and means to understand injustice. My identity as Bulgarian American informed the subject matter and color palette. White, red, and blue are a part of the national costume of Bulgaria and typical American patriotism. The process of creation involved digital collage, including: a publication on Bulgarian folklore by Assen Nicoloff, my prose, artwork, photographs of Bulgaria, and family portraits. My study of typography continued to be relevant when it came to my collage and writing. Typography and writing provided structure that would be expanded upon and come into conflict with my visual artwork. When printed, I used watercolor to add texture and emphasis because of the physicality attached to this medium. Additionally, this object is unique, as only one edition exists. Note that this zine incorporates my painting "Inside". The psyche and trauma of one's ancestors and culture remaining relevant to oneself was a concept I represented using this motif lifted from a self-portrait of my skull.

Image ID: A page from the comic with monochromatic blue watercolors.
Image ID: A page from the comic with a "Dramatis personae" with different character's heads and names.
Access a video desciption here.

A person flips through a spiral-bound comic from a birds-eye view. The pages have printed ink and text with watercolor, marker, and colored pencil additions.

"Planet Halo (Star Trek: Gemini System)"

December 2024

Zine; Watercolor, alcohol markers, and printer ink on cardstock

24 pages; 6.5x9"

This comic zine was created for my final project. The story utilizes the world of Star Trek but is my own creation. Within one week I had completed my outline, script, and thumbnails. It took another week to draw my comic onto the full-size paper, and in the days following that I inked my comic, scanned it, and added text via photoshop. From there, I printed it out, painted select areas using watercolor and alcohol markers and bound the zine. My multimedia process and intense planning produced a high standard of work that developed my ideas completely, especially considering the time frame. Relevant artistic choices include an atmospheric and emotional use of color, impressionist brushstrokes, and a visual connection to DIY media culture. Below are some assorted pages from this comic that I feel best represent this work.

Image ID: Page one of "Sex Machine" zine. Pink text reads "This Technical Manual is Pornographic" with "Sex Machine" in the large, titular , black-colored font. "Reclaiming the Mechanical-Erotic in the Artworks of Duchamp and Picabia" is written below a picture of Francis Picabia and Marcel Duchamp's faces collaged with their (respective) artworks "Fille née sans mére" and "The Bride Stripped Bare by Her Bachelors, Even (The Large Glass)". At the very bottom is small pink text which says "Permission to rip, flip, save, share, credit. I did! Marley Trimble circa 2025"
Image ID: Page two of "Sex Machine" zine. A pink and white distorted image of Marcel Duchamp's "Nude Descending a Staircase" takes up the background. In the foreground is a black-and-white cutout of a nude woman whose back faces the viewer. Text around the woman reads "I am ready for my body to become a machine. But I'm afraid it wouldn't be a very useful one. Beautiful? Probably not."
Image ID: Page three of "Sex Machine" zine. Across the pink background is a collage of white lineart from Marcel Duchamp's "The Large Glass" and "Voilà Elle" by Francis Picabia. Black text in the foreground reads "Looking at gears and desirable dynamos, soon-to-be wires and smoldering computer chips, is becoming a mental act I take great pleasure in. The process of stimulation is one that occurs outside the realm of my corporal form, not that it will matter eventually. My hand grows tired, but I will delete it soon. Everything pleasing visually will be disconnected when I sever my optic nerve."
Image ID: Page four of "Sex Machine" zine. Text that reads "I turn over faster and faster until I roar triumphantly." surrounds the perimeter of a pink triangle with a black image of "Universal Prostitution" by Francis Picabia inside it. Below the triangle is an image of a vintage dominatrix with a whip overlaid upon the Vitruvian man. Text encircling the figure reads "In this moment on the precipice, I am everything. I transgress every point on the graph simultaneously."
Image ID: Page five of "Sex Machine" zine. In the background is a pink-and-white version of Marcel Duchamp's "The Passage from Virgin to Bride". Text at the top reads "This too, is viscera. Everything hidden reveals itself to me. Intimately, but voyeuristically. Was I meant to be here?" A rectangular image, half of it an x-ray of a ribcage and half of it a nude woman's chest takes up the center of the page. Bottom text reads "The wasp, beneath the glass, is still, though nude."
Image ID: Page six of "Sex Machine" zine. The background is a pink and white close-up of Marcel Duchamp's "The Large Glass", which is shattered and grainy. A black and white illustration of a woman's legs in high heels is in the foreground. Text reads "I am worshiped, but degraded. I am deemed superior, but servile. I am the machine from which springs forth everything, but not its key. What am I?". Below this in smaller, upside-down font is the text "Woman."
Image ID: Page seven of "Sex Machine" zine. A pink and white version of "Very Rare Picture on the Earth" by Francis Picabia frames black and white images of Data and Lal from Star Trek as well as "Fille née sans mére" by Francis Picabia collaged with Michelangelo's hand of God from "The Creation of Adam". Black text across the page reads "Where the inventor begins and his machine ends is easy to ascertain. Where the man begins and his image ends is hard to ascertain. Where your projection of desire begins and what I manufactured ends is harder to ascertain. Where the mother does not begin and the daughter ends is clear."
Image ID: Page eight of "Sex Machine" zine. In the center of a white page is a pink version of Francis Picabia's "Parade Amoreuse". Black text on the top reads "Is the gear broken? Is the machine which bears it broken? Is the system it was borne into broken?" and text on the bottom reads "And where is the hand that wields the machine?"

"Sex Machine"

December 2025

Digital medium

8 pages; 2550x3300 px each

This digital zine is a production of research and thought surrounding modern artists Francis Picabia and Marcel Duchamp.

Two-dimensional Artwork

Image ID: Semi-realistic impressionistic still life painting of a metal vase, high heel shoes, a horn, and tulips.

"Still life á la Leyendecker"

October 2025

Acrylic paint on canvas

18x12"

Prompted to paint a still life in the style of a famous painter, I chose American illustrator J.C. Leyendecker. Prior to painting, I accumulated references to assist in my understanding of Leyendecker's style. I additionally chose subject matter for this still life in line with the content of Leyendecker's paintings.

Image ID: A vertical spread composed of multiple detailed linework drawings of a fleshy hand wearing a ring at different angles and sizes.

"Study of the Hand"

Janruary 2025

Inking markers on newsprint

18x24"

In this study, I drew my own hand from observation using contour lines. Using techniques related to line, I portrayed texture as well as the form of the hand. I additionally explored the technique of having a continuous line as a means of observing reality.

Image ID: An abstract painting of blue geometric shapes emanating from the white-colored center of the composition. There are also red lines and a yellow rectangle at the edges of the composition.
Image ID: A sketch of a spiral composition with numbers indicating the placement of elements.
Image ID: A sketch and pallette depicting different hues of blue.

"Rules"

October 2024

Acrylic on panel

30x22"

The creation of this painting involved a lot of plotting, as can be seen in my sketches. The fibonacci sequence and fractions were applied to the increments of the circular blue gradient in the center of the piece. Likewise, the red-green strips of paint are based upon the golden ratio and how the golden spiral would intersect with the aforementioned sections. Though color is very emotive, I integrate a rational focus based on math, as well as a visual allusion to space exploration.

Image ID: Semi-realistic painting of a pale man with a cat in a dim room.

"In Theory"

December 2025

Acrylic paint on canvas

24x18"

The painting above is based on this still from Star Trek: The Next Generation season four episode 25, "In Theory".

Image ID: Drawing with detailed ink marker linework depicts objects such as a deck of cards, lock, handkerchief, posy of roses, vial, circular container, dog-shaped statuette, apple, CD and case.

"Contour Drawing of Desk"

"View of Desk"

January 2025

Inking markers on paper

18x24"

Thinking about line as a principle of design, I used it to portray tight and detailed forms accurately as well as to suggest shapes by what bounds them or by lines broken up by negative space. The objects chosen have significance to my culture and life experiences.

Image ID: A painting of the profile of an older white woman's face and neck. She has short ginger and blue hair. The background is a blank pale purple.

"Profile"

November 2025

Acrylic paint on canvas

24x30"

The painting's likeness is a model who sat for multiple sessions and was painted from observation.

Image ID: A still life painting of a high heel, fluorescent bowling pill, candle, blue glass, and miniature toy basketball against a gray background.

"Still Life of Five Objects"

September 2025

Acrylic paint on canvas

18x24"

Image ID: A charcoal drawing with intense shadows of a seated nude man holding a scepter.
Image ID: A charcoal drawing of a nude man holding a staff in both hands.
Image ID: A charcoal drawing of a nude man posing in a crown and with a sword and shield.

"Full figures"

May 2025

Charcoal on paper

18x24"; each

These figures are based off a live model, who posed in sessions close to 30 minutes in length. Capturing both the anatomy and weight of the pose were goals of mine for these sessions.

Image ID: A still life in monochromatic gray graphite. The objects, a perfume bottle, mirror, fan, rectangular case, apple, and flower, are portrayed against a blank background.

"Still life with Apple"

January 2025

Graphite on paper

18x24"

When it came to the light and interactions between these objects, I decided to use some impressionist techniques. For example, visible marksmanship allowed me to communicate details such as texture. Additionally, I blurred some parts of the drawing to bring attention to other areas and elicit the viewer’s focus.

Image ID: A grayscale still life painting of a pitcher, kettle, and cubes.

"Monochromatic Still Life"

September 2025

Acrylic paint on canvas

12x18"

Image ID: A graphite drawing in grayscale depicting a still life of stationary objects such as pencil sharpeners, erasers, pencil lead, and more draped with white fabric and tape.

"The Summering"

February 2025

Graphite on paper

18x24"

My artwork is an interpretation of the similarly titled painting by Đoko Mazalić. Objectives in this piece included a realistic depiction of the foreground/background relationship as well as the portrayal of light falling across the diagonal composition. I accomplished this by meticulously studying from my reference and ideating multiple times to get my drawing as close as possible to reality. Technical skills I applied included the use of my eraser to create contrast within dark objects as well as to blend. I also used my chamois to create consistent value within shapes.

Image ID: A gestural painting of a nude, fair-skinned woman with brown hair and eyes on a somewhat plush yellow chair. The model is leaning on a table with a draped blanket over it and tall plant behind it.

"Figure on chair"

November 2025

Acrylic paint on canvas

18x24"

This was painted from observation of a model across multiple sessions.

Image ID: Lines on the paper are, at different places, thick, geometric, organic, curvaceous, and form patterns, transitioning between the qualities from left to right. The composition is stratified and vertical.

"The Plummet"

September 2024

Ink on paper

22x30"

My objective when investigating line was to portray precision and gravity. These two are portrayed through the contrast and placement of light and shadow. The concentration of lines within smaller areas as well as the use of patterns, both of which I explored in my sketchbook, aided in the creation of my dynamic composition.

Image ID: The painting is monochromatic, in grayscale. Around the corners of the vertical composition, letters which are cut off spell "Seen". The center of the painting has an Escher-esque isometric perspective structure which at the edges blurs.

"Seen (But Not)"

October 2024

Gouache and acrylic on paper

22x30"

On the basis of the title word (“Seen”) I use typography as a communication tool that still signifies meaning even when not shown completely. My abstract portrayal of architecture on the outside of the composition and creation of infinite, irrational, yet recognizable isometric perspective are choices I pursued to unsettle the viewer when they aren’t given the full picture.

Image ID: A graphite drawing of a flower, mug, wire, and six eggs against a dark cloth backdrop.

"Still Life with Flower and Eggs"

February 2025

Graphite on paper

12x16"

The still life that served as the subject of this drawing contained dramatic shadows and lighting. When it came to portraying these tenebristic values through graphite, I used technical methods to cover large swaths of the canvas. For example, using tight circles to create smooth gradients and applying multiple layers of pencil. I additionally used soft and visible pencil lines as a technique to render texture and quality of light, as well as mood.

Image ID: A stark black and white image of an ink painting that has spiral or web-esque shapes. The painting is mostly black with white wire lines in the center.
Image ID: A photograph of black wire forms taken from an angle above the sculpture.

"Inside"

September 2024

Ink on paper

22x30”

Contrast and perspective were techniques I utilized to abstract the human form further. This painting is based off of a wire sculpture I created off my likeness. Specifically, this is a top-down view of the “skull” of the sculpture created from wire, masking tape, and painted over in black. Photographs of the aforementioned sculpture can be seen below. My desire to remove recognizable human features from this artwork stemmed from my exploration of the psyche as an eye into ourselves.

Image ID: A still life painting of a lemon and orange against a gray background.

"Still life of Fruit"

August 2025

Acrylic paint on canvas

12x18"

Image ID: A dark charcoal drawing focused on a pale person's face wearing glasses and holding a guitar with a forlorn expression.

"Self-portrait"

April 2025

Charcoal on paper

30x22"

I created this self-portrait based on a photo I staged. I incorporate details from my Bulgarian culture and pose with a guitar, representing my creative aspirations.

Image ID: A grainy charcoal drawing of two women embracing, one of whom is taller and has her back to the viewer. They are situated in an interior besides a door.

"3:39am, Akifa’s Lawn Was Still Smothered with Dew"

May 2025

Charcoal on paper

30x45"

In this drawing I convey a feeling of closure and longing by utilizing impressionistic and visible mark making. The scene itself is an unexpected and tender reunion on one figure’s doorstep at night, visible by the light of the rear figure’s (Akifa’s) home. My inspirations included the style of candid photography/videography as well as the elevation of mundane scenes to fine art; this influenced the content of my piece and its dramatic yet grounded aesthetics. The composition uses tenebrism and frames the embrace and points of contact between the two women. The gauzy quality of the illuminated face (Marjami’s face) indicates the bond between the figures. The two characters are close but have a tumultuous relationship. The title references how malleable the hours before dawn are, when the feelings of night have not yet evaporated. This metaphor and visual darkness serve as the backdrop and reflection of Marjami and Akifa’s relationship.

Three-dimensional Artwork

Image ID: A close up view of the green wooden chair's rounded open back.
Image ID: The chair has been folded up and put at a diagonal angle. The photo is in profile.
Image ID: A photo of the chair with the seat out in profile.
Image ID: The space behind the green wooden chair has been lifted up to form a table.

"Chair in Olive"

February 2025

Wood, metal, and acrylic paint

38x24x21"

From the inception of this idea to its progression and later finishing touches, several ideas stayed on my mind. These concepts included transformability as well as simplicity. These ideas harken back to militaristic furniture, which I reference by using color. I accomplished this design concept by beginning with a strong plan and keeping true to my concepts during the process. As I elaborate on in the ten book pages found here, I made several crucial decisions when creating this chair.

Image ID: A close-up picture of a boxy sculpture, with wooden pallets on either size and a plastic screen further away and on top. The bottom, which has a plush blanket is in shadow.
Image ID: A photo at a distance of the sculpture in dim lighting. A women is kneeling down to inspect the entrance.
Image ID: A picture further away of the sculpture. It is shadowy and in the corner of a blank room. The wooden slats, plastic screen on the top, and blanket on the bottom are visible.
Image ID: A picture at a medium distance from the sculpture and at a lower angle. It is shadowy and in the corner of a blank room with bright light on one side. The wooden slats and plastic screen on the top are visible.
Image ID: A picture at a medium distance and from behind the sculpture. It is in shadow. The plastic screens, wooden slats, and blankets are visible.
Image ID: A close-up picture of the sculpture in bright lighting. At the corner and from up above the wooden slats, plastic screen, and blanket are visible.

"Cave"

April 2026

Single-installation, Wood, fabric, agar composite, mold, plastic screen

4' x 2 ' x 39' ⅜"

My interactive sculpture occupies the locus between meditative spaces, cages, and the womb. As the site is breached by the viewer—either through their physical intervention or voyeurism—textural, visual, and olfactory play is initiated. Elements of the experience are darkness and wetness; both tie into the senses activated in a moment of staying up late to cry. Throughout the process of creation, Cave shifted in its ability as a tool, becoming a jig that guides the body.

A dichotomy of dis/comfort, are present in Cave in the form of both sweet cinnamon-sugar smells and soft duvets as well as brutalist, industrial slats of wood, moist cushions beneath a blanket, the stench of vinegar, and mold. Because of such elements, the sculpture could only exist for a limited, single moment to engage participants.

Cave is a tool that secures the person it envelops, blurring lines of dis/comfort. The implication of such a jig raises questions of danger, authority, and agency. What instruments facilitate submission, whether self-induced or coerced? My interest in the object follows my investigation into paraphilic relations between safe spaces and privacy. Cave is a site considering how childhood play explores the contradiction between shame and safety.

Image ID: A picture at a distance of the sculpture. It is in the shape of a bra and it sits on a pedestal in a corner illuminated by a spotlight on the floor which casts a shadow.
Image ID: A close-up picture showing the wire of the sculpture and the brown wax shape of the bra cups which sit upon it. The sculpture is on a pedestal.
Image ID: The sculpture of brown wax and thin wire of a bra sits on a pedestal.

"Codpiece"

March 2026

Stainless steel rod, wax

14 x 10 x 6 "

Image ID: On top of a stool four miniature sculptures sit. One is ramen noodles and chopsticks suspended in air with support from the ramen noodles themselves. The others are sewn scraps of jean and clementines.
Image ID: Sitting on a wooden ledge against a dark nighttime backdrop are ramen noodles hoisting chopsticks in air with support from trailing ramen noodles onto a plate.
Image ID: A close up of the small sculptures. One is a scrap of denim with potato eyes, metal decorative spikes, and ramen noodle scraps sewn into it. Another is a peel of clementine sewn together with denim and a button to make a pocket. The third and final sculpture shown in the photo is a clementine hollowed out with a sphere of wire supporting the shape.

"Miniature involvements series"

January 2026

Ramen egg noodles, wooden chopsticks, clementines, wire, fabric, thread, button, spikes, potato eyes

12 × 12 x 8"

Graphic design, Digital, & Multimedia Art

Image ID: A photograph of an ice sculpture of upright clasped hands on a ledge of brick overlooking a cathedral. On the ice sculpture is a gold necklace with a cross. Beside it are sculptures of plaster fingers. There is a camera focused on the ledge.
Image ID: A close up image of ice in the shape of prayerful hands and gold necklace in front of a cathedral.
Image ID: A close up image of melted ice in front of a cathedral. There is a gold necklace atop the ice.
Image ID: A spread of sketches showing hands in different positions with writing indicating ideas for artworks.
Image ID: A spread of sketches showing hands clasped in prayer and with accessories.
Image ID: A sketch with a composition for a video showing two hands. There is writing labeling the items.
Image ID: A sketch with writing and a drawing with ideas surrounding a pair of hands.
Access a video and audio desciption of the video here.

VIDEO & AUDIO DESCRIPTION: Chanting Orthodox choir music plays over a time lapse of ice melting in front of a cathedral. The ice is in the shape of hands clasped in prayer and there is a golden necklace with a cross over it. The video is labeled "Memento Mori" with the caption "performance/sculptural work of Marley Trimble."

"Memento Mori"

March 2025

Ice, henna, gold jewelry, plaster (Sculpture); time lapse (Video art); edited version of Early Chants of the Bulgarian Orthodox Church (Audio art)

26 seconds (Duration); central sculptural piece is 7x3x3" with accessory sculptures ~2" each (Dimensions)

The trope of "Memento Mori" (Latin for "remember you will die") has influenced both Western art and values. The phrase and its representations signify that life is impermanent. My exploration of this concept, prompted by mold-making work, relied on temporary artistic mediums such as henna and ice to communicate this idea in a contemporary manner. I used both enduring and transitory materials and symbols to connect my piece to another kind of genre painting, that being "vanitas". In this trope, faith is everlasting and the pursuit of pleasure and goods is futile. As this time lapse plays out, my hands in prayer turn from recognizable to a husk.

Image ID: Two people are walking together. The photograph is of their backs. They are walking on a gravel path beside a forest.
Image ID: One person, who is still walking, looks back at the other in coveralls, who is standing still in profile.
Image ID: A close up of one person pointing at the lapel of their own coveralls.
Image ID: The two people are walking forward. The photograph is of their fronts.
Image ID: The person in coveralls puts their hand on the other person's shoulders.
Image ID: There is a photo at a distance. The people have swapped clothes and the person originally wearing coveralls is kneeling by the forested riverbed.
Access a video desciption here. The audio accompanying this video is quite and sounds best when using headphones. Captions have been provided for clarity.

VIDEO DESCRIPTION: One person sits by a river with headphones on listening to a podcast before being approached by another wearing white coveralls with pins on them, who is a time traveler. The two of them have a conversation out loud and then mentally as they walk away from the river before returning to it. The pair swap clothes and the person originally wearing coveralls wears headphones by the river as the first person watches from a distance, now wearing the coveralls.

Warning: Mention of suicide.

"Don't Say Thank You"

September 2024

Video art

5 minutes 14 seconds

Image ID: A pictograph of a nude Mesoamerican zodiac man is in the center of a blank canvas. The man has lines extending from his body to pulsating icons of computer icons. Binary code of zeroes and ones are rising vertically from bottom to top over the zodiac man.

"General Purpose User"

October 2025

Digital GIF

482×500 pixels

This animation was created using the free website PicMix. It is a re-visitation of a previous doodle/blurb created for my class Computer Technology in Art Education. You can access the details of the lesson plan designed parallel to this moving project here.

"Sunset"

December 2025

Coded .j5 project

300×300 pixels

When following the demo from p5.js's website, I created this coded "sketch" that is transformative because of its ability to be changed by the input of the mouse. You can access the details of the lesson plan designed parallel to this coded project here.

Image ID: Collage of various stock images and text on technology in the classroom.

"Reading Doodle and Blurb #1"

August 2025

Digital

3508x2480 pixels

RE: "Rabbit Hole - Wonderland" and "Art Ed Radio Podcast #469"

Using photopea and stock images found on unsplash I sought to model my thoughts about the future social and individual possibilities of integrating tech. Something I found poignant (and connected to what we are discussing in ARTE 310) was students and teachers learning alongside each other: "newness as pedagogy". In addition, the social (isolation, polarization, consumption) implications of the internet and algorithms as seen on wonderland episode one also intrigued me.

Image ID: The simple drawing of a man morphs from happy to upset and then angry before changing back to smiling.

"Reading Doodle and Blurb #2"

August 2025

Digital GIF

500x500 pixels

RE: "Rabbit Hole - Looking Down" and "Mirror Image" (E 2 + 3)

After watching the second episode of Rabbit Hole I was thinking about how in instances where people on the internet propagandize people to their side, they appeal to the aesthetics and dialogue styles of the audience's previous belief systems.

Image ID: A geometric pink drawing of a pipe on top of a neon green background. Pink text above it reads "this is pixels."

"Reading Doodle and Blurb #3"

September 2025

Digital

1009x639 pixels

RE: "Histories of the Digital Now" by Christiane Paul + "Critically Reframing Post-Internet Art" by Timothy J. Smith + Net Art Anthology

I created this image using Kleki as a callback to the 1929 painting by René Magritte, The Treachery of Images known for it's witty caption "Ceci n'est pas une pipe" (this is not a pipe). The caption(s) of my drawing and Magritte's refer to the fact that this isn't a pipe, it is pixels on a screen or paint on a canvas. This is something both the modern art movement and net art movements touched on, an attention to the medium itself, with art as a vector to explore the characteristics of technology. I also was very moved by the mention that rule-based artmaking could be a form of play to benefit from. I found it fascinating.

Image ID: A three-by-three grid of old photographs. In order, the first is of a group or children on the grass, the second is of two wooden mannequin dolls of a large and small size, the third is of three people playing cards, the fourth is of people demonstrating something, the fifth is of a teacher surrounded by children, the sixth is a cartoon of a puppy bothering a cat, the seventh is an illustration of swordfighting stances, the seventh is of two people at tea, and the ninth is a close up shot of a man painting.

"Reading Doodle and Blurb #4"

September 2026

Digital collage of photography

1024x1024 pixels

RE: "9 ways online teaching should be different" by Cult of Pedagogy + "Rabbit Hole - Headquarters" (E 4)

Using Photopea and images found on pdimagearchive.org (and Wikimedia Commons), I created a graphic where each square on the grid represents one of the distinct pillars of online teaching according to Melanie Kitchen. Because no image is one-to-one, this allowed me to think about what Kitchen was discussing on a deeper level when I was searching for images.

Image ID: Simple drawings on a blank background of kids. One has a laptop, one has a tablet, and one has nothing. The latter is holding a cloud labelled "poof" showing that the child is holding something that has vanished.

"Reading Doodle and Blurb #5"

September 2026

Digital

1009x639 pixels

RE: "What the coronavirus reveals about the digital divide between schools and communities" by Nicol Turner Lee + "Program or be Programmed" by Douglass Rushkoff + "Have Smartphones Destroyed a Generation?" by Jean M. Twenge

Drawing with the touchpad on a computer is not easy. But this was a doodle I was thinking about after reading Lee's article on tech being used to teach in the absence of in-person schooling during the coronavirus pandemic. While some students do have those devices that keep them connected, not all homes are equally connected.

Image ID: A simple drawing of a kid holding a tablet out, with stars and light extending out from it in one direction. There is a thought bubble coming from the child which also pictures stars.

"Reading Doodle and Blurb #6"

September 2026

Digital

1009x639 pixels

RE: "The Educational Implications of Godzilla, Ghosts, and Aliens" by Tricia Fuglestad

Reading this article made me think about how empowering it is for students to see their ideas manifested and transformed into reality because of their hard work. I think iPads or other accessible technology can be great vectors for that transformation.

Image ID: A pictograph of a nude Mesoamerican zodiac man is in the center of a blank canvas. The man has lines extending from his body to icons of computer icons.

"Reading Doodle and Blurb #7"

October 2026

Digital

772x800 pixels

RE: "AI Art, Explained" from Vox + "AI Images" from Last Week Tonight + "This Is What Your Worlds Are Lacking: Artists Are Using AI To Create Fat, Black Sci-Fi And Fantasy Characters" by Cheyenne M. Davis + "System Error" by Luke Meeken

I was inspired by the concept of the general purpose user. A general purpose user is someone who uses computer technology applications in a way that may not be their express or intended use, but in a manner that completes the user's intention. I used these pixel art icons of various apps and an image I found on the public domain image archive of a Mesoamerican zodiac man to create a drawing of someone ostensibly connected to all these basic applications and computer uses.

Image ID: An animated GIF with shaky lines. There is a drawing of a bat-man hybrid sitting on a cratered moon surface, with a flag in the background and Earth in the scale. Text reads, "In actuality, the moon is quite banal, not batty."

"Reading Doodle and Blurb #8"

October 2026

Animated GIF

640x480 pixels

RE: "How Should I Be Using A.I. Right Now?" by Ezra Klein + "Watch - AI in Chinese education" from Wall Street Journal + "A.I. For Education Resources" + "The End of Privacy as We Know It" from the Newy York Times + "The Teen Mental Health Crisis" by Ezra Klein

For my doodle, I did a tiny rendition of the "Great Moon Hoax" which was one of the first incidences of misinformation. The story gained traction and believers because of its scientific packaging, but also, I think people wanted to believe in this fantastical tale. Cool or cathartic stories, even when pretty obviously false, are things you want to believe in. In my opinion, a large part of educating about misinformation is recognizing when you WANT to not/believe something.

Image ID: Moving pink flowers, lace, and images of a cross, and teacup surround a pastoral image of a garden and two kittens. Text appears that reads, "Good morning sweetheart… please stop sending me conspiracy theory videos about the JFK assassination. I love you."

"Reading Doodle and Blurb #9"

November 2026

Digital GIF

480x480 pixels

RE: "Misinformation" from Last Week Tonight with John Oliver + "Deep Fakes" module from MIT

I made this GIF using PicMix, which I also used for my make a moving thing. I used this site to make my doodle because it lends itself to the style of Whatsapp grannies/aunties who are going to be trying to send you fake news. But I changed the words usually associated with this kind of GIF or message to align themselves with anti-misinformation.

Image ID: Purple flowers frame icons of angels and a table with a crystal ball atop it. Text reads, "a game is an experience created by rules". Icons of dice and a video game controller surround the table. In the background there are green pieces of binary code falling down and purple hearts.

"Reading Doodle and Blurb #10"

November 2026

Digital GIF

480x480 pixels

RE: "Rabbit Hole - Accidental Emperor" and "Impasse" (E 5 + 6) + "Making Sense of Cancel Culture" from On the Media + "Rise of the Videogame Zinesters" by Anna Anthropy

After reading "Rise of the Videogame Zinesters" I created this GIF because I was touched by this quote defining what a game is. It really tied into my make an image thing project from earlier this semester. I think that bringing the ideology of zines and indie/personal sharing of art projects into the digital scene is a great idea. I especially support this because I LOVE zines!

Image ID: In the animated GIF, word "READ" is approached by green geometric designs which change the word to "remake".

"Reading Doodle and Blurb #11"

November 2026

Animated GIF

32x32 pixels

RE: "The Street Arcade: Creating Social Justice Videogames as a Platform for Community Dialogue" by Steve Ciampaglia + Kerry Richardson On the Media + "AI Pedagogy Project" from Harvard

For my doodle/blurb, I used Piksel to connect to a quote that really inspired me from The Street Arcade. Authors Steve Ciampaglia and Kerry Richardson expand on Paulo Freire's ideology on literacy, connecting it to technological literacy and coding with the statement "You need to be able to read the world in order to remake the world." This reminds me of a previous text in which young people's illiteracy with computer coding and modification was related to low innovation, exploitation, and low efficacy. I think by comprehending using technology, we can manufacture a society that fits our needs more accurately. If we hand off the making of our world to the already literate technocrats, we are rife to be exploited.

Image ID: There is a pixillated drawing of the singer Björk which when approached by a falcon, transforms into a drawing of the singer Arca and another bird.

"Reading Doodle and Blurb #12"

November 2026

Animated GIF

320x320 pixels

RE: "Forms and Bodies - Using Digital Fabrication" by Luke Meeken + "Everything is a Remix" by Kirby Ferguson

The history of sampling and remixing is an area of interest for me. I took some time to scroll through whosampled.com and was reminded of an artistic collaboration and sampling I admire. In Björk and Arca's Utopia, the artists chose birdsongs from both their native countries, Iceland and Venezuela. I think this shows how the choice of sampling can represent deeper creative thought and connection. After all, we are an amalgamation of everything we have seen/heard/felt/experienced. I used Piksel to depict an Icelandic bird, the gyrfalcon, with Björk and a Venezuelan bird, the Venezuelan troupial, with Arca.

Image ID: A collage of nine text-heavy images in a grid, with an illustration of a panopticon in the center.

"Reading Doodle and Blurb #13"

December 2026

Animated GIF

1080x1080 pixels

RE: “Human Art Has So Much in Common With AI” Vivian Lam + "How I'm fighting bias in algorithms" by Joy Buolamwini

Inspired by webweaving (I had never heard it called that before!) I put together some of my thoughts on algorithms, surveillance, tech, and our current media landscape.