Emily Cecil grew up in the one stoplight town of New Haven, Kentucky. From a very young age she was interested in art and famously drew on all the walls. Once given a piece of paper, she never stopped doodling. This love for art continued into her studies at Transylvania, where she became a Studio Art major. While at Transy she found a love for screen printing and ceramics. With these mediums she creates art using her childhood love of pop culture and sea creatures. When not making art she can be found playing her guitar or watching movies.
My work combines my childhood love of monster movies with my complicated feelings toward Christianity. As a child I found comfort in watching sci-fi and black-and-white horror films. It was there that I saw creatures who were cast off by society for simply being themselves. As a child in a small hometown, I had trouble finding where I fit in. The church community is the foundation in which my town relies on. My father is Catholic and my mother is Baptist, I was raised to be Baptist. Throughout my adolescence and teenage years I never felt as I belonged in either church community. I felt like an outsider to the community that was supposed to love and care for me. As an adult, I have now seen that I had a community all along. The film creatures of the past were proving to me that I was not weird or unlovable. They showed me what it is like to be human. Difficulty in finding love, freedom, and a home are very human traits. It just so happens to be that the creatures teaching these lessons look a little different.
I thought it would be a great honor to display my favorite creatures in a shrine dedicated to them. E.T., Creature from the Black Lagoon, and The Bride of Frankenstein were the creatures I ultimately selected. I combined my love of screen printing and my abundance of collectibles to create these shrines. I have honored them in a way that is usually only reserved for important Christian figures. This is a playful comparison I am making to Christian imagery and is no way trying to offend. I thought it would be a great honor to these creatures to present them in such a powerful way.
Zachary Hall is a Lexington native and has loved making art since he was a child. During the early years of his life, cartoons and video games spurred Hall’s creativity. Now, he draws inspiration from conversations about religion and popular culture, as well as his own study of theology. During the lockdown, he began gardening and mural painting—one of many disciplines he has incorporated into his practice since he began at Transylvania University. By taking a wide variety of art courses, as well courses in religion, Hall has built on a base established in drawing and painting. He often seeks to incorporate as many different materials, techniques, and methodologies into his work as possible. Usually Hall’s multi-disciplinary practice takes the form of sculpture, which allows him to create fantastic viewing environments that promote emotional and intellectual engagement.
While the subject of Hall’s work has shifted over time, tension has always been at the center of his practice, be it emotional, ideological, or technical. Although his practice was initially born out of a need to achieve catharsis, to resolve the conflict between himself and his environment, emotional release is now secondary to other concerns as he has moved into adulthood. Nonetheless, tension has remained a focal point as Hall reflects on his current place in the complex social landscape of America. He is now seeking to analyze the relationship between his own Catholic faith and the world around him, between objective truth and a culture that upholds “personal truth.”
By employing various disciplines, like woodworking, needle felting, ceramics, and videography, he is attempting to create a sculptural practice and a visual language that will allow him to address the complexities of religion, theology, and philosophy. In doing this, Hall hopes to communicate the tenets of a historical religion to a post-modernist world. Not only this, but he hopes to highlight the lasting impact of ancient theo-philosophical debates, as well as the influence of these debates on current political and social discourses. By engaging how discourses are constructed, Hall’s work often demonstrates how art pieces are constructed.
Jeffersonian - arches watercolor paper, graphite, sharpie, acrylic paint, video - 90" x 120" - 2021
“For this piece, I gathered sixteen of my peers to paint a re-creation of Caravaggio’s Incredulity of St. Thomas. Each individual painted only a section of the work, which I outlined across multiple panels. Participants painted in groups of four with their backs to each other, and they were only given an hour to complete their assigned portions. I withheld all information about the source image, save for a few descriptors. In order to ensure that participants remained unaware of the subject matter, I forbade them to discuss what they were painting and only told them the rules of the project once. If questioned about whether or not the participants had to finish their sections, I simply repeated the phrase, “Interpret as you may.” By limiting the amount of information my participants had, I sought to visually trace the postmodernist argument that all knowledge is partial and that objective reality cannot be perceived.”
Digital Arts & Media
Peyton Netherton is originally from Richmond, Kentucky and attended Madison Central High School. After attending Belmont University in Nashville, TN for two years Netherton transferred to Transy to focus on soccer and for career opportunities following graduation. As a Digital Arts & Media major Netherton has been able to work very closely with the Digital Arts & Media professors, to gain interest and insight in drone work. What interests Netherton most about drone capturing is how it allows for the capture of experiences and showing the world from creative perspectives. Following graduation, he plans to continue a career using drone photography and continuing to explore Virtual Reality content.
My work in the senior exhibition takes you into a virtual perspective of three different locations in Lexington, Kentucky: Downtown Lexington, The Arboretum, and a natural location. Each of the three Virtual Reality Headsets displays a series of 360 photos from each location. Also, there is a video displayed on a TV monitor of video footage I captured in all the three locations put together. I captured the 360 photos and most of the video footage from the video by using a drone camera; the DJI Mavic Pro series II as well as some captured in the video on a iPhone Series X. Working in the Adobe Premiere Pro I edited and finalized the video work. The biggest issue I had to face when completing this project was the weather when flying my drone. The drone cannot fly in rain, snow, or heavy winds and it must be at least 32 degrees Fahrenheit to fly. This limited a lot of the time I had to go capture photos, but it was important to me to get as much footage as possible so I could create a very realistic image of my hometown. In my mind, the more realistic the video seems to be, the easier it is to gain the viewer’s interest. It was also difficult trying to figure out how to edit some of the 360 photos that were over exposed. It took a lot of research, and trial and error to help limit the over exposure, but it was important to me to do so. I really wanted the viewer to see a true and clear image so that they could not only appreciate the “art” of the image but also feel as if they were experiencing it. Drone footage should create a pleasing aesthetic. A smooth and “cinematic” visual is the goal. That is probably one of the main reasons why I enjoy creating drone footage so much. You create an image that the audience can actually experience in a sense.
Footage of Lexington - Video footage from the DJI Mavic II Pro Drone, Computer Monitor - 2021