SCAN Spring 2023

cONTENTs table OF

PrOtect the Magic

CrOss

Often misunderstood, “Americana” refers to the cultural artifacts and traditions of the United States, with deep roots across art, food, literature, and perspective. Our national identity as we know it was originated with the Americana aesthetic at its forefront, creating a nationwide idea of what “America” is, for better or for worse.

With this issue of SCAN, we wanted to celebrate, as well as critique, the diverse cultural heritage of our country, pulling from student artists with a myriad of backgrounds. Through their work, you’ll see how SCAD students engage with the themes of Americana, using their work to explore questions of identity, history, and belonging. With these pages, you’ll find beautiful, as well as thought-provoking, homages to Americana as a culture.

We hope that this issue will inspire and provoke, and that it will encourage our readers to engage with the rich cultural heritage of the United States in new and exciting ways.

— Eva Erhardt

TABLE OF CONTENTS BY BHAVYATA SHAH

ILLUSTRATED BY CAIT JAYME

In the Valley

Photo series and personal essay about growing up in Appalachia

Written by Megan Elizabeth Smith

I never knew how lucky I was until three summers ago. While everyone was locked away from the world, I found myself on top of a mountain, looking out across the valley below. My home away from home.

I’m not sure why my great-grandfather decided to come out to Maggie Valley in the first place. As the story goes, he repurposed wood from an abandoned cabin he discovered out in Cherokee, brought the pieces back to Maggie, and built his cabin on a 20-acre plot of land. Thank God he did. Otherwise, I wouldn’t be standing here today. My dad always spoke of him in such high regard. He spent every summer out here working alongside my great-grandad, building porches and reaping the fruits of his labor. That time spent in the Great Smokey Mountains must’ve impacted him quite a bit, so much that in September 2019, he and my mom decided to pick up their lives and move out there.

What perfect timing. See, out in Maggie, COVID-19 didn’t hit much, nor did the rest of the world’s problems. It felt like a whole different universe inside this snow globe scenery where the chaos of the living seemed to cease. It was simple. People ‘round there do about the same damn thing every damn day, and when they ask you how you’re doing, they mean it. Everyone walks at a slower pace, not just because they’re old, but because the world doesn’t need to move a million miles

a minute here.

If you’re moving that fast, how will you ever take the time to smell the pine trees? It’s those little moments of quiet that mean the most, yet in the outside world, we seem to be completely devoid of them. I know I was.

Photography by Ellie Briggs

Being immersed in the world of Appalachia was the trigger. Tradition is held in such high regard because, beyond the walls of the valley, it doesn’t seem to exist much. The folks here might not know about BeReal or James Charles’ latest cancellation, but they can tell you all about the history of the Appalachian mountain dulcimer. They probably even own one, and I’ll bet its origins are not that of a factory but from ole’ John up the road, who said he’d carve one out for ya if you’ll help him load up some lumber for the barn he’s building. The practices I see people engage in might seem ancient to the outside world, but here, it’s a way of life. Despite being a seamstress most of my life, I’ve seen more women here who practice needlecraft than ever before. That effect carries over. I watched my own mother pick up a cross stitch project she had started back in 1990 and finally finish it. It only took her 30 years, but that time is woven into each individual thread as a testament to her persistence. I even found myself picking up the crochet needle again and practicing what my grandmother had taught me when I was ten, but I had since put down. All these pieces of myself and

my family that had been lost to the modern world seemed to reawaken. Not only did we come back to these practices—we came back to ourselves. We came back home.

When I moved out there, I didn’t realize the impact it would have on me. In all honesty, it didn’t fully hit me until two years later when I flew across the pond to study abroad in Lacoste and found myself, once again, on top of a mountain, in very different circumstances. I would’ve wasted my time sitting on my phone (not like I had service anyway). I quickly realized that I was spending my days doing the same things the folks back in Maggie do: sitting on their porches, needlecraft in hand, and looking out on the prettiest view you’ve ever did seen. All at once, these experiences and processes I had observed for so long seemed to culminate. Suddenly, everything made sense. Even if it took me traveling halfway across the world to realize how special my home is, so be it. It’s in the quiet moments where we find ourselves, and finally, without distraction, I found so much more.

PrOtect the Magic

The secret life of a Disney World Princess

Written by Victoria Radnothy

Illustrated by Leah Grace Craig

Long ago in a faraway land, there’s a magic kingdom. In this kingdom, there’s a large blue and white castle that towers over the neighboring stores, restaurants and non-threatening indoor roller coaster rides. It’s the showstopper of Fantasyland. And yet, nobody lives in this castle. It’s a tourist destination, surrounded by perfectly manicured grass and shrubbery in the shapes of beloved characters, with flowers that never seem to fall out of bloom.

This kingdom is quite prosperous. Rich in fairy tales where the heroes always win, the villains fall to their deaths and there’s always a happily ever after. It’s where magic is packaged and sold to the masses on a daily basis to adoring children and their parents, desperate to appease. Dole-whipped pineapple treats are sold during the sweltering hot summer day at $7.49 and parking is $50 per car. But the visiting patrons don’t mind, at least not the little ones, wearing their sensible walking shoes and mouse ears. It’s their favorite storybook come to life.

Our story begins with Melody, a young woman who sells the little fib that the big blue and white castle is hers and her Prince Charming’s. Although, it’s not her preferred Prince Charming. She’s working with Clayton today, her least favorite of the princes, as she looks at the shift breakdown pinned to the dressing room wall. A Jasmine is standing beside her, giddy about working with the hot Aladdin today. Lucky.

Clayton is insufferable, and a constant know-it-all. Constantly quizzing her on the mouse-eared lore, as if he forgot she too went through the grueling audition process and six week Cinderella intensive to be prepared for absolutely anything the guests have to throw at her. Least favorite being the creepy dads who make comments about Cinderella’s dress disappearing after midnight. And what does the handsome Prince Charming Clayton do— nothing. Just smiles to the camera, anything but charming.

The dressing room is utter chaos, as it usually is. There’s no sense of organization, it’s a frenzy, a free-for-all. A collection of wigs, bobby pins, company approved lip liner, fake eyelashes, iced nonfat skinny lattes and glitter everywhere. No one can step foot in this place and escape without a thin layer of glitter stuck to their skin. It’s just a part of the magic.

Melody pushes her way through the flurry of girls. All in various stages of their transformation from employee, to princess. It’s what the fairy godmother herself would be proud of. Watching these 20-something actresses barely make rent with their four roommates and on calorie deficient diets purely because they can’t afford groceries, become a real life Princess Ariel. Or Princess Tiana. Snow White or Mulan, savior of China. Pocahontas or Merida. Or Elsa, Queen of fictional Arendelle. All with their grand castles in faraway places, talking animal companions and handsome princes. Once they’re fitted with their perfectly blown out and primped wigs, blushing pink cheeks, and expertly masked facial blemishes and free of discoloration—they might actually be the real thing.

Sleeping Beauty sits down next to Melody, announcing to the room that after taking some time off, she finally got that nose

job she’s convinced kept her from getting Cinderella. And Belle reveals her recent boob job. They all can’t believe how real they look. It’s a world where this Belle isn’t dating the beast, she’s actually in a rocky, on-again-offagain relationship with Buzz Lightyear from Tomorrowland. Just don’t tell management, intercompany romance is highly frowned upon.

The wig expert, Penny, finds Melody amidst the rainbow of puffy sleaved costumes and tulle puffed skirts. Holding the Styrofoam head with the sleek, no single hair out of line, wig. She yanks and tugs it over Melody’s head. Masking the mousy brown hair with the perfect blonde bun and blue headband. Both of them jamming in bobby pins and securing it with half a can of hairspray to combat the Florida humidity, and she’s no longer Melody. Not the high school graduate who planned on going straight to Broadway, only to build a resumé of rejections. Forced to move back home with her parents to central Florida when she ran out of money. Attending countless casting calls and dance workshops, selling mouse shaped soft pretzels at a wheeling cart in Epcot, to finally get the call to play a real life princess. She’s Cinderella, with a messy past but the brightest future. A time capsule to entertain the masses. All it took was just a little faith, trust and pixie dust.

“Don’t forget to hydrate, ladies,” Rapunzel announces to the room, holding up bottles of Zephyrhills. “It’s gonna be a hot one.” But none of them can actually drink them out in the open.

Because princesses from a small town in 1400s Europe could never drink out of plastic water bottles, it breaks the magic.

But no matter, they’re professionals. They’re selling the magic. Their guests will never see the bucket of sweat under their underarms. Or smell the odor of their thick gowns with layers upon layers of tulle to puff out their cartoon come to life skirts.

Holding the hem of her dress up, Melody’s heels click along the concrete floor of the maze of tunnels running underneath Magic Kingdom. It’s the literal underground of the park, how they protect the magic. A series of underground tunnels that weave throughout the entire park. It’s how Cinderella can get to her castle without having to walk through rugged Frontierland, a place she would never be. And where they transport shipments to the restaurants and stores. Also how they conceal the garbage. The smell used to be unbearable, but Melody’s been here long enough, she only smells the sugary perfume they pump through the air vents to mask it.

She passes by Mickey, who’s scrolling on his phone. And Chip n’ Dale without their heads on, puffing smoke into their air while discussing last night’s scandalous endeavors. And Mary Poppins is yelling at her manager about cutting her hours.

Melody steps outside, accompanied by Clayton

wearing his wig and unimpressed look. He’s not happy to be working with her, either. But they link arms and plaster on their Disney smiles as if they have a love that lasts the ages, and walk to their designated spot for meet-and-greets.

They’re selling the magic, the optimism. This perfect lifestyle where the glass slippers are comfortable and magically fit one sole in the entire kingdom. Salespeople for the perfect life, because everyone is a princesses playing dress up and dreaming of true love’s kiss with fairies who design their dresses and debate over whether it should be pink or blue. And if they follow second star on the right and straight on to morning, they’ll find Neverland.

There’s a line of about fifty people, snaking along the faux cobblestone, leading to the prince and princess. It’s a rainbow of little girls in their favorite glittery princess dresses, some dressed just like Melody. But they aren’t wearing wigs and caked on layers of stage makeup. The girl first in line is wearing a shiny Cinderella blue dress. Her hair is a dark brown and hangs around her with messy tangles and knots from running around the parks, cheeks freckled and pinked from the sun, holding a Winnie the Pooh bear.

“I want to be just like you when I grow up,” the girl says, grinning with a missing front tooth. “Well, if you keep on believing, the dream that you wish will come true,” Melody says with her voice trained a few levels higher than her actual voice. And they smile for the picture.

WRITTEN BY Joseph Sandefur

ILLUSTRATED BY Aarohi Devasthale

Dover / Miles the Monster

A 46-foot fiberglass monster with deep red eyes towers over the Dover International Speedway, crushing a race car in his hand. The monster launched a failed run for President in 2012, using the campaign slogan “Concrete Change in 2012.”

Cherry Log / Expedition Bigfoot

Delaware Georgia Idaho

Started by Bigfoot researcher David and his wife Melinda in 2016, Expedition Bigfoot is a museum rich with artifacts and displays commemorating the elusive Bigfoot. See several different casts of Bigfoot’s feet and models of heads.

Illinois

Metropolis / Hometown of Superman

In the “Hometown of Superman,” a 12-foot-tall, two-ton, bronze Superman stands proud, but with quite an unfortunate past.

Iowa

Sac City / World’s Largest Popcorn Ball

You can look, but you can’t eat! A 9,370-pound, 8-foot wide ball of popcorn sits in Sac City, Iowa. Created from 900 pounds of popcorn, over 2,500 pounds of sugar, and 1,400 pounds of syrup, the giant snack was made in February 2009 in 12 hours and 40 minutes, by over 250 volunteers.

Florida

Kissimmee / Gatorland

‘Gators galore! You’ll be busy all day at this 110-acre attraction, featuring thousands of alligators and crocodiles, as well as a breeding marsh, petting zoo, reptilian show, and plenty more! Be sure to visit the White Gator Swamp and get a glimpse of the giant, rare white alligators!

Cottonwood / Dog Bark Park Inn

The world’s biggest beagle is named Sweet Willy, and he’s 30 feet tall. Built by Dennis J. Sullivan and his wife Frances Conklin, he’s also a bed and breakfast!

Indiana

Lake Village, Indiana / Giant Lady’s Leg Sundial

Located about an hour Southeast of Chicago, an 18.5-foot-tall, 32-foot-long woman’s leg pokes out of the ground. This would be none other than the Giant Lady’s Leg Sundial, home to the clothing-optional/nudist Sun Aura Resort since the 1930s.

Kansas

Garden City / World’s Largest Hairball

In Garden City, Kansas, the world’s largest hairball proudly stands, a testament to the cow’s stomach from which it was removed. Measuring nearly 40 inches in circumference, the massive trichobezoar reportedly weighed 55 pounds wet when first removed.

Arlee / Garden of One Thousand Buddhas

Perhaps one of the largest Buddhist shrines in the States is in the Flathead Valley of western Montana. This peaceful chakra is home to 1,000 Buddhas, surrounding the 24-foot statue of Yum Chenmo, the Great Mother.

Montana Nebraska Nevada

Churchill / Shoe Tree of Middlegate

On the “loneliest road in America” in the Middlegate, Nevada desert, a lonesome tree bears rather interesting fruit–shoes. It was cut down by vandals in 2010, but the citizens of Middlegate elected a new tree to take its place, already with an impressive number of hanging footwear.

New Jersey

Clifton / Clifton Gates of Hell

The Gates of Hell are in Clifton, New Jersey. Once inside, you’ll find satanic graffiti and murals galore. Completely dry, these drains reportedly go on for hundreds of feet, layered nine times like the circles of hell. Don’t believe it? Guess you’ll have to see for yourself.

New Mexico

Ruidoso Downs / Fox Cave

In Ruidoso Downs, New Mexico, a giant pair of zombie’s hands jut out of the ground. Behind these colossal hands is a banner that reads “CAVE OPEN.” Not really, though, seeing as Fox Cave hasn’t been open for over 70 years. Stop by the gift shop for some neat knick-knacks, though!

Grand Island / Fred’s Flying Circus

An assortment of various cars floats above an automotive shop in Grand Island, Nebraska. Started by Fred Schritt, the collection is now run by his family, all of whom are happy to offer tours of the whimsical floating parade.

New Hampshire

Mason / Uncle Sam’s House

America’s favorite piece of propaganda was inspired by a man named Samuel “Uncle Sam” Williams. He lived in a small house in Mason, New Hampshire, before moving to Troy, where he made his fame as a meat inspector for the U.S. army.

New York

Sodus / Abandoned Girl Scout Camp

In the lush forest off Lake Ontario sits a relic of the past: an abandoned Girl Scouts camp. The camp closed somewhere in the 1990s, after which it was turned into a state park until it was seemingly forgotten about.

North Carolina North Dakota

Winston-Salem / The Last Clamshell Shell Station

The last standing Shell Oil clamshell station in the United States is in the small town of WinstonSalem, North Carolina. Unfortunately, it isn’t operational, just a moment frozen in time.

Grand Forks Air Force Base / Grand Forks Drone Park

A park dedicated entirely to flying drones? Yeah, it’s real, and it’s in North Dakota. Grand Sky is 217 acres and situated in a 1.2 million square foot facility. That’s a lot of drone airspace!

Vernall / First Lady Dolls

Almost every American First Lady is immortalized in the form of handmade Dolls at the Uintah County Western Heritage Museum in Vernal, Utah. Salt Lake City sculptor Phyllis Juhlin Park created porcelain dolls of every U.S. First Lady up until after Nancy Reagan when she retired. They’re even wearing outfits based on real outfits they wore!

St. Johnsbury / Dog Chapel

Dog lovers unite! In St. Johnsbury, Vermont there lies a small, humble chapel dedicated to the spiritual bond between man and man’s best friend. It was built on “Dog Mountain” in 1998 by folk artist Stephen Huneck after he died and came back to life five minutes later.

Port Royal / Assassin’s End

Arguably the most infamous assassin in America, John Wilkes Booth shot and killed Abraham Lincoln in 1865 and proceeded to run from authorities for 12 days before being stopped at a tobacco barn on a rural farm in Virginia. The farm that watched the assassin meet his end still stands, and is now largely forgotten.

Pullman / The Junk Castle

Exactly as it sounds, the Junk Castle is a home made of junk created in the 60s by newly-wed couple Victor and Bobby Moore. Windows from washing machines and car doors, an exterior made from automobile parts and sheet metal, and a random conglomeration of…well, junk, make up this strange home.

Morgantown / Morgantown PRT

SCAD may have campus transportation, but is it an automated railway transit system? Morgantown’s West Virginia University (WVU) is! The Morgantown

PRT (personal rapid transit) was the first of its kind in the 1970s, designed by Boeing and costing $120 million, and currently accommodates around 15,000

Phillips / Concrete Park

An Americana paradise, this concrete jungle isn’t what you think it is. In Phillips, Wisconsin, a retired lumberjack created a testament to American folklore through concrete sculpture. From Native Americans to miners, soldiers to woodland creatures, each concrete structure is adorned with beer bottle glass. The collection grew until 1964, all from one dedicated, self- taught artist by the name of Fred Smith.

Cody / Smith Mansion (Postcard)

Rumored to be built over an abandoned mineshaft, Wyoming’s Smith Mansion was built by a man who just couldn’t stop building. Lee Smith’s former home is a frantic assortment of wooden architecture with extra floors and tacked-on balconies, a seemingly neverending log labyrinth.

starlet

AN EXPLOITATION OF AMERICA’S MOST NOTABLE CELEBRITIES

PHOTOGRAPHED BY HAILEE WILLIAMS

Writer: Hailee Williams

Photography Assistant: Stella Temporal

StylistS: Megan Smith

Caroline Scott

ModelS: Layla San Miguel

Elizabeth Efferson

Juliet Soto

Mae Honark

WRITTEN BY Jackson Williams

ILLUSTRATED BY Hanna Bischof

BLUE RIDGE HAIKUS

She slips through my hands Effortlessly — to the earth You can’t carry ash

Cicada carcass

Abandoned home, long ago Can I shed my skin?

In summer’s shadow A blue ridge divides orange light South of paradise

THE DOWNHILL SLOPES OF BLOWING ROCK

Standing earthside while the flowers crumble. Heads tilted toward goodbye. It’s too early to call, so we stumble. It’s too early to cry — It’s not even July.

In the dead of spring, there’s no guarantee we’ll make it out alive. We take the blow, don’t we?

When things get too hard, we drift. Appalachia’s got us on lock. Grief’s a sky Atlas can’t lift. Two hawks spiral from the rift. Mayday, Dad, we’re shot from the flock. Two birds, sharp stones, same tree — bleeding together at Blowing Rock. We take the blow, don’t we?

Struck by fear, and the grave’s not far. If there’s a choice to stay or flee, you’ll grab the skis — I’ll start the car. We take the blow, don’t we?

NIGHTS OF THE ROUND TABLE

Your seat at the table is empty now. It’s up in flames, up in fire, crisping on my desire to blame you for leaving the dirt road not taken — a mistaken vow.

Flowers wilt and artists roll like thunder. As I pawn your camera, maybe I’ll learn to love decaying suburbia while its white-picket graves pull me under.

You’re the dark side of the moon and the light flaring this forest into shallow tombs. The one we used to play inside before we grew up. Before we knew what was right.

My favorite photographer remains in albums over abandoned antiques we used to burn below mid-August skies. As you flicker away, I pray for rain.

I pray for rain.

THE GREAT AMERICAN POET

I’m the Great American Poet of the star-spangled pen. I carry this ballpoint, knowing it won’t work the same again.

A winter life’s ice age, my shotgun soul tells — words flying to the page in blue-inked bombshells.

In battlefield fatigues, poem attacks occur — a blissful blitzkrieg to mild the massacre.

It’s the poet’s story: you’re born to cry. Our tears are savory for the bone dry.

If an artist should go mad, by Jesus, I’ll be sure to show it. If an artist should be sad — I’m the Great American Poet.

CALL ME COWBOY

THE WILD HISTORY OF GAYS IN WESTERNS

WRITTEN BY DJ SHAW

ILLUSTRATED BY ANNA RHODE

The Wild West has always been an understated “DL” destination for Hollywood. For many directors and writers, the dots just connect themselves. I mean how do you argue that groups of men spending years alone with nothing to do but count the tumbleweeds and shove their guns in each other’s faces isn’t at least a 7 on the homoerotic scale? The allure to combine a genre built on exploring the masculine psyche, that regularly features themes of conquest and loneliness, is just too tempting not to inject with a certain queer masculine fervor.

However, the most fascinating aspect of the queer cowboys of cinema is how they chronicle the story of the queer everyman in cinema. Most of these films can be used as windows into how audiences and filmmakers thought gay men should be depicted. And following this timeline will take you down a dusty trail of highs, lows, but most importantly fully through Western filmography.

''The Gay Buckaroo''

(1932)

Our starting point is The Gay Buckaroo (1932), which is of interest note due to it popping out of the closet about 2-3 years right before the Hays Code. The Hays Code was essentially a set of rules of things you could and could not have on screen, and guy-on-guy action was a definite no. And you can feel that tension in the film. Though it wasn’t illegal yet to have a character be gay, the trend at the time was sort of a proto-GBF. They like makeup, hair, and dancing, and though they are romantically paired with women, they feel and act more like male best friends. Showing little to no sexual attraction to their female partners. And that’s true for this film here. He’s gay not because he wants men, but because he acts queer. He acts differently than how men traditionally act in social circumstances. Which at this point, is peek comedy.

''Red River'' (1948)

So now we’re at a point where the hays code is very much so in effect. However, filmmakers were determined to override these rules. Introducing Red River (1948) to the stage, which almost seems to be gleeful about its homoerotic subtext. And we’re using subtext very generously here. This is the film most remembered for a scene where the two “trade guns” and comment on how “firm” they feel. Here we can see a real ironic portrayal of the gay cowboy—still showing the resemblance of the past with a comedic

edge but now allowed to express attraction. Almost taking delight in the idea that yeah, cowboys are people too, even when they’re gay.

''Lonesome Cowboys'' (1968)

We’ve now made it to where the hays code is in the process of breaking. As such, this year was huge for “Gays Doing Crimes” films. Lonesome Cowboys revels in its depictions of queer men. The entire point of the movie is that they are sad queer men. Warhol refused to allow censored viewings, even when authorities got involved. Finally showing a push away from the subtext.

It’s also transitional in that from this point onward we really lean into the loneliness of the queer cowboy. There’s a serious Oliver Twist quality to the way their relationship forms. The film strives away from presenting their lives as heroic and instead posits their lives as hazy trips. The film takes on a documentary-esque style, but you never get a sense of where they know where they’re going. Showcasing the void of being on the outskirts of society. The camera exists as the eye of patriarchal men. And its subjects both yearn to be seen and unseen by its gaze.

Zachariah: the self-titled “First Electric Western.” Electric how though? Well, the life of the cowboy is paralleled with the archetype of the 70s rockstar. Our cowboys here are very brazen about their lifestyle. Toting by the seam of their pants, getting caught in scraps, and having lots of adventures with banjos.

''Zachariah'' (1971)

Their world however doesn’t treat them like rockstars. The local cowboys view them as the lesser runs of society, not being able to fit into the ranks. Zachariah is even called the “F” slur by a bar local. Showing the queerness in these cowboys is less erotic and more about status. Don’t get me wrong, it’s still erotic. Zachariah and his friend Matthew literally ride off into the sunset. But that in itself is performative, only now in a direction they feel comfortable in.

''Zorro: The Gay Blade'' (1981)

It’s truly remarkable that it’s taken us this long to reach a film that so emphatically puts the camp in campsite. Everything was heightened in the 80s. The people wanted theatrics, and the gays were ready to give

it to them. We see much grander sets that walk the line between being convincing and feeling like you’re watching a recorded play. The actors also give their absolute all which makes the film very quotable. Applying that here, this film is a parody of a popular fictional character in the western canon: Zorro. But by giving him a gay twin brother the film does two things. For one it asks the question why not? If Zorro himself is fictional why can’t anyone add to Zorro lore? Why must certain characters be pigeon held to the heteronormative lens? Leading to, why can’t you view the world as gay? Because although there is one “gay” brother, the film pokes fun at the fact everyone here feels very queer. But the world itself has been flipped to be homonormative, its eye assumes naturally that we would read the world as queer. And there’s true power in the reclaiming taking place here.

''Brokeback Mountain'' (2005)

No conversation of the queer cowboy can be complete without acknowledging the elephant in the room: Brokeback Mountain (2005). This film is by far not only the biggest queer cowboy picture on this list but also arguably the biggest male-onmale love story put to screen. For many, if you ask them to name a gay movie, this is their answer. Which highlights the power the queer cowboy has in discussing gay identities on film.

We’ve returned to a focus on the loneliness of our cowboys, but now full circle, where instead of it being them against the world, it’s the world against them. Our two men, Ennis and Jack, have undeniable chemistry. It’s something the people around them can see, and we all do as well. However, the world would never allow their love. Communicated so beautifully by the relationship between wide and close-ups, there is a defying echo between the two. Leading to a lifelong push and pull, where neither or only one is willing to admit their yearning for the other. Especially Ennis, who when finally willing to fall in love, is greeted with the news of Jack’s death.

''Power of the Dog'' (2021)

The most recent explosion into the cowboy canon was The Power of the Dog (2021), released during the pandemic. And this is a Covid movie with a capital C. Again, hitting

on the loneliness, we see the immediate impact Brokeback Mountain had. Wide shots show figures in landscapes, a family with a closeted patriarch, and a romance slowly blossoming in the shadows of society.

The difference here is that there isn’t the same shock element as Brokeback Mountain. It’s been almost 20 years, and the film is aware of this. So in contrast, this is our first movie where the gay characters are “closeted” but not struggling with their sexuality or hiding their sexuality. More in the Zachariah sense.

They are the outsiders, the grifters. These characters spend hours alone performing tasks that help them understand their thoughts better. They don’t have an identity crisis as much as they have a location crisis. They know who they are, and they know what they want, but feel trapped and like they can’t have that.

No longer is his queerness in the shadows, but rather a vessel to explore other aspects of himself. The fact that he’s gay is no longer the story, but now an aspect of his story. Which is crazy when you look back at how far we’ve truly come.

Recipes frOm Our Republic:

How to really make your favorite classic “American” dishes

Written by Stephanie Dejak

Illustrated by Angela Enaiho

All-American Corn Dogs

What you’ll need:

12 German frankfurters

12 wooden sticks

1 ½ cups fine yellow Iroquois cornmeal

1 ¼ cups all-purpose flour

¼ cup granulated sugar

1 tbsp baking powder

¼ tsp salt

1 ¾ cups buttermilk

1 large egg

1 tbsp olive oil or vegetable oil

1 tbsp honey

Extra peanut or vegetable oil for frying

Instructions:

1)

Pour 2 to 3 inches of oil in a large pot and heat to 350°F over medium heat. While your oil’s heating, it’s worth contemplating if an “All-American Corn Dog” should even be considered an American classic at all.

2)

For a true American corn dog, borrowing the concept of a frankfurter from Europe is essential. You could

substitute prepackaged hot dogs from your local Publix or Kroger for this recipe, but note that the taste will vary greatly from the real American way — which isn’t an American way at all, but a German one.

3)

After all, the first hot dogs were eaten in Frankfurt in 1484, 8 years before Christopher Columbus set sail for the “New World” and nearly 300 years before America became an independent nation.

4)

Regardless of if your frankfurters are truly American or not, the next step is piercing them with the wooden sticks. You’ll also want to make sure that your frankfurters are patted dry with a paper towel before covering them in the cornbread batter. This will ensure that the batter will stick better to the frankfurter.

5)

For the cornbread batter, using the Native American method of grinding dried corn into corn flour and adding water will provide the most traditional flavor for this dish. Thousands of

years ago, this method was originally used by the Iroquois tribe in modern-day Ontario and upstate New York. But cornbread was, of course, eventually adopted by European settlers.

6)

Whisk together your dry ingredients (cornmeal, flour, sugar, baking powder, and salt). In a separate bowl, add your buttermilk, egg, oil, and honey. Whisk together the wet ingredients, then combine them with the dry ingredients and whisk again.

7)

Pour as much cornbread batter as you can into a drinking glass and start dipping your frankfurters. The best technique is dipping them straight down, giving them a twirl at the bottom to fully coat them, and swirling the stick as you lift back up. Let the excess batter drip off.

8)

Hold the corn dog at an angle in the hot oil for 5 to 7 seconds. This will allow the batter to seal so that it doesn’t stick to the bottom of your pot.

9)

After a few seconds, drop the corn dog into the oil. Fry for 3 minutes or until golden brown. To avoid dropping the oil’s temperature, it’s best to fry up to 2 or 3 corn dogs at a time, turning them as needed to brown evenly. Transfer to a wire rack to cool.

10)

Serve with condiments of your choice, but ketchup, mustard, and an epiphany of good old fashioned American miseducation are recommended.

BBQ Bacon Cheeseburgers

What you’ll need:

6 strips of Cantonese lap yuk

2 pounds ground beef

½ tbsp garlic powder

½ tbsp salt

½ tbsp black pepper

½ tbsp paprika

1 tbsp Caribbean barbecue sauce

6 slices pepper jack cheese

6 German hamburger buns, split and toasted

Instructions:

1)

If you’re hosting a Fourth of July cookout this summer, these BBQ Bacon Cheeseburgers are a fan favorite that your guests won’t stop talking about. You can practically taste the land of the free and the home of the brave in just one bite of this classic American cheeseburger.

2)

To begin, heat a large skillet over medium heat and line a large plate with paper towels. Once your skillet is hot, begin adding your Cantonese lap yuk.

3)

Believe it or not, lap yuk is known to most of the globe as an essential component of a traditional American breakfast. Your local Waffle House might have it listed as “bacon” instead, but this American staple is hardly American in actuality. In 1500 B.C., the Chinese became the first to serve cured pork bellies with salt.

4)

Cook your lap yuk for 4 to 5 minutes on each side. If you prefer a crispier cut, you can leave it cooking for an extra minute or so. Let the lap yuk rest on the paper towels until ready to serve.

5)

In a large bowl, combine ground beef, garlic powder, salt, pepper, and paprika. Shape into patties that are about ¾ of an inch thick.

6)

In the same skillet (or a grill if you have one), cook the patties over medium heat for 5 to 7 minutes on each side, adding a slice of pepper jack cheese during the last minute of cooking.

7)

Once the cheese is melted, it’s time to start assembling your burgers — which, unfortunately, can’t take credit for being American either. Although the hamburger was introduced to America as a brand-new food at the St. Louis World’s Fair in 1904, this popular fast-food sandwich dates all the way back to the 12th century and has origins in Hamburg, Germany.

8)

Split and toast your German hamburger buns, then add your cheeseburger to the bottom bun, placing a strip of lap yuk on top. The top bun is reserved for the star ingredient of this burger: the barbecue sauce.

9)

The most authentic American barbecue sauce is not tomatobased or from Texas; it’s not made from vinegar in North Carolina, and it’s certainly not the bottle of Sweet Baby Ray’s in your fridge. In fact, barbecue sauce existed nearly a hundred

years before the United States ever did.

10)

Although its flavors have African influences, the sauce itself originated in the West Indies in the late 17th century. Yearning for a taste of home, African slaves in the Caribbean at that time added a mixture of lime juice and hot peppers to their slow-roasted pork. Eventually, the scarcity of limes in America forced substitutions of vinegar and tomato, which is when Southerners began claiming barbecue sauce as their own.

11)

Spread about a tbsp of barbecue sauce — whether it’s Caribbean or American or somewhere in between — over the bottom of the top bun. Close your burgers and serve.

12)

When you take a bite, ask yourself, does this taste like the land of the free? Does this taste like the home of the brave? Or does erasing its true origins leave a bad taste in your mouth?

Grandma’s Apple Pie

What you’ll need: (for the Dutch pie crust):

2 ½ cups all-purpose flour

½ tbsp granulated sugar

½ tsp sea salt

2 sticks cold unsalted butter, diced into ¼ inch pieces

7 tbsp ice water

What you’ll need: (for the filling):

6 or 7 Australian Granny Smith apples, peeled and cored

1 ½ tsp cinnamon

8 tbsp unsalted butter

3 tbsp all-purpose flour7 tbsp ice water

¼ cup water

1 cup granulated sugar

1 egg and 1 tbsp water, for egg wash

Instructions:

1)

Like Grandma always said, don’t forget to save room for dessert! There isn’t a dessert out there that’s more American than apple pie. After all, it wouldn’t really be considered a true American classic if it wasn’t stolen from another culture, right?

2)

In the 15th century, Dutch bakers elevated an old English recipe by adding a sugary crust to a bland apple dish, creating the modern apple pie as we know it.

3)

To make a Dutch pie crust, begin by placing flour, sugar, and salt into the bowl of a food processor and pulse a few times to combine.

4)

Add cold diced butter and pulse the mixture until coarse crumbs form into pea-size pieces, then stop mixing. At this stage, your mixture should have a dry, powdery texture.

5)

Next, add ice water and pulse just until small clumps form. Press a piece of dough between your fingertips, and if the dough sticks together, you’ll know that you’ve added enough water. If not, add more water a teaspoon at a time. Be careful not to add too much water, or the dough will become too sticky to roll out.

6)

Transfer your dough to a clean work surface and roll it into a smooth ball.

7)

Divide dough in half and flatten to form 2 disks. Cover with plastic wrap and refrigerate for one hour. After an hour, preheat your oven to 425°F.

8)

While the dough rests, consider why Americans decided to coin the phrase “as American as apple pie” as an expression of patriotism in the 1940s — approximately 500 years after the Dutch pioneered the modern apple pie recipe — despite the recipe and its main ingredient originating from elsewhere. Your guess is probably about as good as mine.

9)

For the apple filling, melt remaining butter in a medium saucepan over medium heat. Add in flour and whisk constantly for 1 minute.

10)

Then, whisk in remaining sugar and water and bring to a boil. Reduce heat and continue simmering for 3 minutes, whisking frequently. Remove from heat.

11)

Peel and core 6 or 7 Granny Smith apples, which were deemed the “Best Cooking Apple” in their native environment of Australia in the 1890s. But Granny

Smiths didn’t exist in our “American” apple pies (or in American supermarkets, for that matter) until the 1970s.

12)

Thinly slice your Australian Granny Smith apples and place them in a large bowl. Sprinkle with cinnamon and toss to combine. Pour in the sauce and stir to coat the apple slices.

13)

Sprinkle your work surface with flour and roll out the bottom pie crust into a circle with a 12-inch diameter. Wrap it around your rolling pin and transfer to a 9-inch pie dish.

14)

Add the apple mixture, creating a slight mound in the center. Try to avoid getting the filling on the edges because it might make your pie difficult to seal.

15)

Roll a second crust into an 11-inch circle and cut into 10 evenly thick strips using a pizza cutter. Using the Dutch method, arrange the strips in a woven lattice pattern over the top of the pie.

16)

Quickly beat together 1 egg and 1 tbsp water to create an egg wash. Brush the egg wash over the lattice pattern before baking.

17)

Bake at 425°F in the center of the oven for 15 minutes. Then, reduce heat to 350°F and continue baking for another 45 minutes, or until the apples are soft. Rest at room temperature for 1 hour before serving.

18)

Relish in the sweet realization that although America is a thief, we do reap delicious benefits.

LONG LIVE THE KING

THE SECRET WORLD OF ELVIS TRIBUTE ARTISTS

WRITTEN BY EVA ERHARDT | ILLUSTRATED BY KORY GRIGGS

When you think of Elvis Presley, what comes to mind? Usually, when people are asked this question, they bring up his iconic pompadour hairdo or dozens of classic songs and movies. But also found alongside the King’s image is the infamous “Elvis impersonator”—usually wandering the Vegas strip, dressed head to toe in caricaturistic costume. However, this isn’t the modern image of an Elvis impersonator, who these days would much rather be called “ETAs” or “Elvis Tribute Artists.”

Contrary to popular belief, the art form has been around for as long as Elvis hit the radio waves. In 1954, when Presley released his rendition of “That’s Alright Mama,” Carl “Cheesie” Nelson from Texarkana, Arkansas, became a local celebrity after bringing his impression to WLAC radio. The two even met that same year, performing alongside each other in an act of appreciation for both entertainers’ craft.

Although several Elvis tribute artists have existed across the US for many years, it wasn’t until after Presley’s death in 1977 that impersonating The King became popular in the mainstream. Soon enough, American culture’s figure for Elvis outweighed the musician who once lived. When you thought of Elvis, you were now thinking of the icon, rather than a person.

However, there still remains a large group of dedicated tribute artists who vow to keep the true spirit of Elvis alive. It all starts with the refusal to call their craft an “impression.” “There’s a big difference between a tribute act and an impersonator. They’re similar but never the same,” explains Luis Enrique, an Elvis tribute artist from Puerto Rico. “An impersonator is someone who imitates the behavior of another. On the other hand, a ‘Tribute’ act is a musician who specifically plays the music of a well-known music act, often one which has disbanded or died. Tribute artists pride themselves on actually sounding just like the icon.”

Enrique, a professional tribute artist since 2000, has loved Elvis since he was young, like many others in the world of Presley. His grandparents introduced him to classic mid-century films, then songs. “I became an Elvis fan, collecting all the memorabilia that I could find,” says Enrique. “At 13, I did my first talent show as Elvis in junior high, and I won. The rest is history.”

Louis Brown, a UK-based tribute artist, also fell into the art form through a passionate family member. However, his dad’s love for the artist was a little more than just watching movies. “My dad was an Elvis Tribute Artist maybe 20 years ago, so I have been brought up with him,” says Brown. “I thought to myself, ‘Why not give it a go?’”

Despite his upbringing, it wasn’t until the worldwide pandemic that Brown decided to revisit what his father introduced him to. [In 2021], I decided to just sing some Elvis songs, and I took a liking to learning them and studying his performances. I then decided to take a leap and book an Elvis show at a local pub, and it went down a storm.”

Now, Brown has performed as Elvis around the world, with tour dates ranging from Belgium, Scotland, The Netherlands and more. He’s also considered one of the best Elvises in his continent, having multiple awards under his belt, including “People’s Choice” at the European Elvis Championships. “To win these competitions is the greatest achievement of my career,” said Brown when asked about his success in the European championships. “It was an honor sharing the stage with so many of the world’s greatest Elvis Tribute Artists (ETAs) and learning so much from everyone.”

His work as an ETA has become a big enough endeavor to be his full-time career, with bookings being more than sufficient to pay for his living expenses, along with all the bells and whistles needed to do an authentic Elvis tribute. Although Brown bases his performances around Elvis in the mid-fifties, he still has a plentiful collection of Presley gear, ranging from photo-accurate suits, intricate guitars, and naturally, the black pomador.

However, his biggest accessory of all may be Amy Larcombe, who serves as the Priscilla to his Elvis. No, really. Larcombe is also a tribute performer, just of a different variety, choosing to honor Elvis’ first wife, Priscilla Presley, through intricate outfit recreations.

She also got into Elvis through her family, as many modern fans do. Her grandparents were antique and record dealers with a strong love for music, always around performance art through the late sixties and seventies. “My grandad became Stage Light & Sound manager of a popular nightclub here in the UK and met lots of famous faces—all of this led to my mum growing up around lots of different genres of music, her favorite, of course, being Elvis,” says Larcombe. “Her love of The King rubbed off on me, and I have now been a huge Elvis fan since a young age—this is what took me to Elvis shows/festivals/events in the UK.”

It was at one of these many Elvis festivals that Larcombe first became interested in Priscilla tributes. As a fan of sixties fashion already, she attended the

event in full mid-century garb with big hair, vintage makeup, and a period outfit. “[While at the event], someone shouted ‘Hey Cilla!’ over to me. I was already a huge fan of Priscilla Presley, so this was flattering!” says Larcombe. “I hadn’t really considered paying tribute or dressing ‘as her’ before, but with a few people’s encouragement and comments over various weekend events, I decided to make an Instagram account and document my replica clothes-making, hair/makeup, etc.”

From there, @AmyasPriscilla was born, with Larcombe posting frequent updates about her newfound love of tribute art. Although she was already unique, being one of the few Priscilla tributes in the UK, it was her authentic, homemade costumes that set her apart. Her mother is a former seamstress with a real skill for crafting vintage pieces. All of the fabric they use is authentic, too, with actual vintage patterns, authentic fabrics, and cut silhouettes as close to what the original would have looked like. “I also match my replica outfits with real vintage accessories, including handbags and earrings, which adds that extra level of authenticity you just don’t see elsewhere,” says Larcombe. “I am pretty much a match in physical proportions to the real Priscilla. I wear a size 3 shoe, I am 5’2” in height, and often get told ‘you are like a little doll!’ when I make appearances.”

She’s made everything from Priscilla’s iconic wedding dress to more everyday pieces that were considered casual during the era. However, her most beloved piece was modeled after a relaxed outfit Priscilla wore to her 22nd birthday party. “The real Priscilla Presley herself

commented on one of my posts stating how much she loved one of my replica outfits of hers from 1967, a green party two-piece, which was just incredible!” says Larcombe. “I had to double-check my phone because I thought someone was pranking me!”

Over the last year, Larcombe, Brown, and Enrique, along with several other ETAs, have watched the sudden cultural resurgence of Elvis after the release of Baz Luhrman’s biopic starring Austin Butler. “(The film) has shown the younger generation, more than others, that Elvis was an icon,” says Brown. “He was a guy that could win over thousands of people with his little finger, and to see all the new generation of Elvis fans coming to my shows and wanting photos is an amazing feeling.” Now, they’ve seen their bookings increase, performing at weddings, private events, and even sweet sixteen parties.

Although the film didn’t take home any Oscars at the last Academy Awards, Elvis’ legacy is still felt all around the world, from Larcombe and Brown’s home in the UK to Enrique in Puerto Rico to Presley’s home country in the United States.

Despite his death almost 50 years ago, his impact is still seen in every aspect of pop culture. “Few understand what a legacy is really about. It is something that transcends generations—it is something that remains forever in the collective memory,” says Enrique. “Many artists are born talented. Others just got lucky, but not everyone can be a legend, and Elvis Presley is a legend.”

“Elvis, in my opinion, will never be matched,” adds Brown. “There has never been a performer since the King that has brought so much joy, energy, and love into the world.”

LitO: Gripping On tO a dream

A Comic about baseball, family and destiny

Written by Amara Holland

Illustration by Brenna Tracy

student shOwcase

PAPER QUILT

Gretchen Wagner, Claire Tincher

Interview by Amara Holland

What is the big idea behind the quilt?

G: Claire and I both knew we wanted to do a collaborative project, and both had a surplus of prints that we had collected over a few years of print sessions. To breathe new life into them, we decided to repurpose the prints into a scrap quilt. Similar to that of quilters making use of discarded fabric.

C: We are working together, everyone wants everyone else to succeed, which I sometimes think is unique in the fine arts. This brings me to Gee’s Bend, a historic collaborative group of women [mainly] who used quilting as a way to bring their female community together. It worked across generations, as the older generations taught the younger. Working together with Gretchen on this project was one way for us both to feel more connected both to our pasts and with each other, as makers.

What roles did each of you play in the project?

We started this project in the print shop. As a collaborative and community-based studio we were able to walk away from the project

and return during the initial work of laying out the pieces into an exciting and balanced composition. Much of this early collaborative work involved us silently pushing quilt pieces around a large table which then turned into topstitching the project together.

How did you guys decide to make a quilt of all things?

We both have a strong interest in textiles and printmaking which has led us to incorporate handsewing into both our creative practices. Quilting felt like a natural collaboration since historically quilting has been a community-based activity

Does quilting have any specific roots in your family or heritage?

C: My mom is a quilter. She learned through a quilting group with other women. In the beginning of her quilting, she worked with those women on community quilts, learning as she went. Now she

makes her own, and she is able to piece and sew the entire quilts herself. My great grandmother from my father’s side decided before she died to piece traditional American quilts for all of the female grandchildren. She was able to sew quite a few of them entirely, but passed before she was fully able to finish the project. I have my pieces stored for when I can take the time to work on them as she would.

G: My grandmother was a quilter; she pieced her quilts herself and then sent them to an Amish community to be quilted and bound. These have become treasured family heirlooms. I picked up quilting during the pandemic and made two queen size quilts using hand-dyed silk.

Could you give us a sneak peek INTO any upcoming projects?

Our first phase of this project was to separate our off-quality prints into piles by color, this was just the pink palette. We have stacks of yellow, green, blue and brown ready to be converted into future quilts. So stay tuned!

Made by a Cowgirl

Savannah French, B.F.A. Fashion Design

Interview by Eva Erhardt

Q: Your collection “Made by a Cowgirl” prides itself on being “made for cowgirls, by a cowgirl,” which seems fairly personal. What connection do you have to western wear and “cowgirl” culture?

A: My connection to the western cowgirl theme stems from my hometown of Loganville, Georgia. I have always loved our slow living lifestyle, but wanted to mix that feeling with being a young designer in my 20s.

Q: How do you walk the line of classic western wear and modern fashion when constructing your pieces?

A: I don’t really think of modern fashion when designing. I simply pull from things that inspire me and try to design pieces me and my friends would wear ourselves. This takes my garments from overly western to more of a 2023 cowgirl style.

Q: What were your major influences when putting together your pieces, whether that’s designers, media or personal experiences?

A: My main influence behind this collection was my family and friends. I design for the people who just want to have fun through fashion and see bold enough to choose pieces that stray away from traditional.

Q: What are your next steps after graduation? Do you plan to continue with this theme?

A: I am pursing my masters degree after graduation but plan on continuing to develop the brand “Made by a Cowgirl” during this time.

ELEGANCE IN THE MUNDANE

Lia Manfredi, B.F.A. PHOTOGRAPHY

Interview by Eva Erhardt

Q: The photos in this series “Elegance in the Mundane” has a wonderful dichotomy between the locations and subjects. What made you choose these locations and styling in particular?

A: For this series, I wanted to play off paparazzi culture specifically focusing on the objectifying nature of catching female celebrities in their daily activities. For styling, I wanted to incorporate the stereotype and pressure put on women to always look their best. I thifted all the dresses and dyed some to further the kitschy, over-the-top aesthetic. For locations, I used what the models genuinely do in their day-to-day while also referencing typical paparazzi locations and incorporating a playful color palette in the environments to complement the series.

Q: We explore celebrity a lot in this issue of SCAN. What celebrities in particular inspired you?

A: Britney Spears is a celebrity who I personally drew inspiration from for this series. At the height of her fame, she was tormented by paparazzi for years ultimately leading to her publicized downfall. Paparazzi culture advocates for

Modeled by Hannah Huffman and Sara Nall

the normalization and relatability of these celebrities but in doing so exploits them and their personal lives for fame and money.

Q: How did the medium format film lend itself to this series?

A: Film has always been something I have gravitated towards both visually and in how I approach my own work since my first exposure to it. For this series, I felt medium format would give it that relatable nostalgic timelessness to the imagery’s environmental presence, complementing the series as a whole.

Q: Do you plan on exploring this theme even more in the future?

A: I am definitely open to revisiting these themes in my work again. I am influenced and drawn to the social communities around me and the commentary made about them.

CORNER ARTs

Southern City

“A Women Like Me: The Ghetto Girl”

Amaiya Bloomfield B.F.A. PHOTOGRAPHY

“My whole series is about Black women stereotypes that have continuously tried to plague our community but also how GenZ is trying to change the narrative for them. As black women, we grow up not only trying to not be the ‘ghetto girl’ through our family’s eyes but people outside of the community as well. We are in the days now where the same cornrows, the same gold jewelry and revealing clothes can be artistically beautiful and shouldn’t have the word ‘ghetto’ associated with its meaning to us.”

Michael Riley B.F.A. ILLUSTRATION

“I am a visual artist, and my medium of choice is ballpoint pen. I use the crosshatching technique on watercolor paper to create hyper-realistic portraits.

The people I draw have blossomed through the mastery of their crafts, and Dolly Parton has blossomed many times over. The daisies in the portrait are carefully chosen to symbolize Dolly’s purity, joyful essence and the care she has for others. My goal was to capture the icon that she is through ballpoint pen.”

“Early Fall inAtlanta”

Leah Grace Craig

B.F.A. Painting

“Early Fall in Atlanta is the first of four plein air paintings capturing the view from the top of SCAD Fash. What started as a small project for my watercolor techniques and exploration class has become a series of scenic painting from all across Atlanta. Plein air painting has become my way to step back from my usual projects and relax as I take in this amazing city.”

“Turn of the Century”

Hannah Hufham B.F.A.

PHOTOGRAPHY

“For my final project, I wanted to explore the aftermath of an Olympic host city years after the games have left. More specifically, the lack of historical preservation surrounding the monuments from the 1996 Centennial Olympic Games hosted in my home city, Atlanta.”

Tam Le

B.F.A. Animation

“Coke” “DietCoke”

“I enjoy capturing the beautiful, peaceful moments of day to day objects in my works. This vintage Coke bottle was one of my paintings as a part of the ‘Coast Card Challenge’ hosted by an artist community called Warrior Painter! One of the prompts was Fun Still-life and I love glass objects so I had to painted one!”

Sasha Smardak

B.F.A. Sculpture

“For this work I wanted to focus in on the process of recreating dot pattern. My lithographic print is a drawing of mechanical process. Halftone dots are traditionally used in the printing process but here they are hand painted instead of printed. The image technique blends the mechanical process with the handmade aesthetic.”

ABOUT THE COVER

ELIZABETH EFFERSON

Elizabeth Efferson is a 21 year old visual artist based out of Atlanta. She is currently working towards a BFA in Painting with a minor in Concept Art for Games from the Savannah College of Art and Design.

She is heavily inspired by historical portraiture and fashion from the Victorian period through the 1950s and primarily depicts reinterpretations of vintage and antique imagery in her own work. She also works in a 3D space modeling character and environment assets for video games and film. She explores many mediums but mainly focuses on oil and digital portraiture.

MAGAZINE LAYOUT AND DESIGN PROVIDED BY KAVYA SRIDHAR

SCAN is the quarterly student print magazine of the Savannah College of Art and Design in Atlanta. All editorial content is determined by the student editors. Opinions expressed in SCAN are not necessarily those of the college. ©2023 SCAN Magazine. All rights reserved. No part of this magazine may be reproduced in any form without permission from the publisher. Visit us at scadscan.com for all previous issues and more.