Hi there! You're currently on the mobile version of my site, to see some of my work I'd recommend checking out the site on a larger device.
I've been living in Portland, Oregon the past few years working for Nike after studying design at The University of Cincinnati, DAAP. I grew up in Cincinnati, Ohio and am lucky enough to be working remote spending time with family while distancing physically from the rest of the world. I hope you are healthy, safe, and happy. I'm still just a message away, so please get in touch, firstname.lastname@example.org.
Thanks for taking a look through my site and spending some of your time to get to know me. I hope this platform can give you a glimpse of a few things I think and care about.
I've been living in Portland, Oregon the past few years working for Nike after studying design at The University of Cincinnati, DAAP. Currently I'm spending time in my hometown of Cincinnati, Ohio working remote, being with family, and helping out at Our Harvest Cooperative Farms. I'm still just a message away, so please get in touch, email@example.com.
Nike running apparel designer | Portland, OR | Summer 2017 - present
Our Harvest Cooperative volunteer | Cincinnati, OH | Fall 2020 - present
CorePower Yoga teacher certified | Portland, OR | Winter 2019
University of Cincinnati: College of Design Architecture Art and Planning fashion design | Cincinnati, OH | Class of 2017
Portland Garment Factory internship | Portland, OR | Fall 2016
ByBorre internship | Amsterdam, NL | Spring 2016
University of the Arts London: Central Saint Martins fashion design womenswear | London, ENG | Fall 2015
J. Crew crewcuts design associate | New York, NY | Summer 2015
Apiece Apart internship | New York, NY | Fall 2014
Diane Von Furstenberg internship | New York, NY | Spring 2014
Alligator Purse retail associate | Cincinnati, OH | Fall 2014
National Junior Tennis & Learning, Cincinnati Recreation Commission tennis coach | Cincinnati, OH | Summer 2010 - 2012
This exercise was done as a form of active reflection to visual consumption. On media platforms like Instagram it's easy to like or save and continue the endless scroll, but how are these images that had significance to us in some way affecting us? I went through different platforms where I've saved content and found a theme. It could be anything and I think it would be helpful for many people to do this exercise or for even myself to do it again and focus on a completely different subject matter. I was mostly drawn to the original images for one particular item. I began cutting out these garments and putting them together creating outfits. While doing the simple photoshop acts it led me into thought on content ownership and originality. The original creators intent might be totally lost when assembled out of context, but is that actually the intent? If something is changed to a certain degree, when does it become original?
2018 was an interesting year for the development of my personal work and self. Being a designer at a corporate institution none of 'my' work will show for over a year and it doesn't have the same feelings of ownership to me in the way that my self prompted educational research does. Working a 'full-time' job is a balancing of adjusting and maintaining the personal fulfillment in the self, especially through means of creative growth. In some capacity. Less idealistic in reality. My growth professionally on manners of business and navigation through the corporate facility has reached new heights. Write me an email and I still may have an awkward internal conflict of 'we are multi-email-threads-deep and the problem is solved, does this rhetoric last comment from my coworker require a response at this point?' But regardless progress reviews with my boss tell me that I'm making the right decisions. It feels strange, but then again, I am learning to be respectful of time and that to learn anything takes time.
Something I've marginalized in my life has been homemaking. Or the domestic relationship with myself and the space I sleep and eat and spend the majority of my time when I am not at work or want to be alone. Basically, a physical space that I spend money to have. Throughout my education the homemaking tasks/chores/habits were on the bottom of my priority list. Since moving into a space with more permanence than I've felt in awhile it's sparked my interest in domestic experiences. The large majority of furnishings and accoutrements were sent out with me from family or collected through Craigslist with a small sprinkling of Ikea, but it's the arrangement and usage of these objects that has sparked and internal and external debate with myself. I probably use the term feng shui too liberally, but there is something about the arrangement of my space that makes me feel certain ways. I am constantly seeking a balance of how to set up and use my space to create a sense of contentment. Of course this is no where near the most fantastical dreams of what a space could be, it's more exciting to me at this point to utilize what I've got.
Blakeslee, Sandra. “Mind Games: Sometimes a White Coat Isn’t Just a White Coat.” The New York Times. 02 Apr 2012. Web.
Block, Melissa, and Elissa Nadworny. "Hamtramck, Michigan: An Evolving City Of Immigrants." Podcast. All Things Considered: our land. NPR, 28 Mar. 2017. Web.
Clifford, Eva. "An Intimate Glimpse Into Working Class Lives in Midwest America." Verene, Chris. Feature Shoot. 14 Mar 2016. Web.
Cover, Matthew J. “Us vs. Them: The Damaging Mentality.” Odyssey. 12 Jan 2016. Web.
Crawford, Matthew B. The world beyond your head: on becoming an individual in an age of distraction. New York: Farrar, Straus and Giroux, 2015. Print.
Francis, Lilah. “THE ROYAL 20: Helen Kirkum.” 1 Granary. 12 Jul 2016. Web.
Grant, Nick. "What People in the Midwest Think About Today's Style Trends.” Complex. 22 Jan 2014. Web.
Hajo, Adam. and Adam D. Galinsky. "Enclothed cognition." Journal of Experimental Social Psychology 48.4 (2012): 918-25. Web.
Hancock, Joseph. "These aren't the same pants your grandfather wore!: the evolution of branding cargo pants in 21st century mass fashion." Diss. The Ohio State U, 2007. Abstract.
Hess, Amanda. “Is ‘Empathy’ Really What the Nation Needs?” The New York Times. 29 Nov 2016. Web.
Hong, Nicole. "Nice Cargo Shorts! You're Sleeping on the Sofa." The Wall Street Journal. Dow Jones & Company, 01 Aug 2016. Web.
Hofstadter, Richard. Anti-intellectualism in American life. New York: Knopf, 1963. Print.
Hope, Katie. "Could reinvention solve our shopping addiction?" BBC News. 10 Nov 2016. Web.
Huber, Jeanne. "Warming Up The Room." This Old House. 01 Aug 2016. Web.
Jaeger, Krista. Manager of Sustainability, Cintas Corporation. 29 Aug 2016. Interview.
Kraus, Chris. Where art belongs. Los Angeles, CA: Semiotext(e), 2011. Print.
Laita, Mark, and Ingrid Sischy. Created Equal. Göttingen: Steidl, 2008. Print.
McLuhan, Marshall, Quentin Fiore, and Jerome Agel. The Medium is The Massage. New York: Bantam, 1967. Print.
Phelan, Hayley. "Champion's Head Designer on the Vetements Effect." Racked. 06 Jul 2016. Web.
Pressfield, Steven. The war of art: break through the blocks and win your inner creative battles. New York: Black Irish Entertainment, 2012. Print.
Riemenschneider, Chris. "Lissie returns to her Midwest roots after 'Wild West'" Star Tribune. 21 Apr 2016. Web.
Roazen, Ben. "One Man's Trash: Heron Preston Teams up With DSNY to Elevate Workwear & Minimize Waste." Hypebeast. 6 Sep 2016. Web.
Senger, Marie. General Manager, Cintas Corporation – Loc. 001. 10 Dec 2016. Interview.
Sparow, Kristy. "Vetements Redefines the Whole Idea of Designer Collaborations in One Show." The Cut. 23 Jun 2016. Web.
Stuhlreyer, Vicki. Technical Design Manager, Cintas Corporation. 18 Jan 2017. Interview.
Tharp, Stephanie and Bruce. "What is Discursive Design?" Core77. 9 Dec 2015. Web.
Turner, Kim. Standard Textile. 26 Aug 2016. Interview.
Tuttle, Brad. "Study: When You Feel Loved, You Love Stuff Less.” Time. 4 Mar 2011. Web.
Tuttle, Brad. "The Reason You’re in Love With Material Possessions? Loneliness." Time. 7 Jul 2011. Web.
Williams, Ray. "The cult of ignorance in the United States: Anti intellectualism and the ‘dumbing down’ of America." SOTT.net. 14 Jun 2014. Web.
Wilson, Robert A., and Lucia Foglia. “Embodied Cognition.” Stanford Encyclopedia of Philosophy. Stanford University, 08 Dec 2015. Web.
Wright, Joshua. "America's Skilled Trades Dilemma: Shortages Loom As Most-In Demand Group Of Workers Ages." Forbes. Forbes Magazine, 23 May 2014. Web.
Hand made Norris Lake, Tennessee red clay.
Digging red mud out from the shore of Norris Lake, a reservoir in Tennessee and working it into a cone 04 firing body. Step by step transforming the clay by soaking, mixing, sifting, drying, and kneading. Developing a concept for the final collection of pots to compliment the natural beauty of the clay paired with the hand built uniqueness.
Designed by myself and Danny Chambers. Developed by Natasha Dalal. Between skype conversations, email threads, and trello, Natasha worked with us to create a beautiful and comprehensive platform to share our work. The framework of this site is built to give the viewer an enjoyable experience while not being distracted by the site itself.
Prologue: Experiments in Amended Gyotaku
The PRESENT PERFECT TENSE is formed with a present tense form of "to have" plus the past participle of the verb (which can be either regular or irregular in form). This tense indicates either that an action was completed (finished or "perfected") at some point in the past or that the action extends to the present. The Present Perfect is used to indicate a link between the present and the past. The time of the action is before now but not specified, and we are often more interested in the result than in the action itself.
“old wisdom” Taking and appreciating elements of the past to gather an appreciation and enrich a genuine learning experience. Looking deeper into the heritage and authenticity of something in it’s entirety. A world we know so small in it’s totality can expand immensely with the breadth of knowledge that lies beneath every experience, tradition, being, and moment in time.
Gyotaku is a traditional method of Japanese fish printing, dating from the mid-1800s. Originally used by fisherman to document their catch has since become a traditional art form. Painting the fish with Sumi Ink and placing Rice Paper over the fish to imprint the textures and shape of the fish.