24 Works on Paper Catalog 2020-2022

Exhibition Tour Schedule August 31­­­—September 18, 2020 SWOSU Art Gallery in Weatherford, OK October 5—November 13, 2020 The Wigwam Gallery in Altus, OK December 7—January 15, 2021 Forest Heritage Center Museum in Broken Bow, OK January 25—March 5, 2021 Artesian Gallery in Sulphur, OK March 15—April 23, 2021 McArts Gallery of Fine Art in McAlester, OK May 3—June 11, 2021 Cherokee Strip Regional Heritage Center in Enid, OK July 1—July 31, 2021 TAC Gallery in Tulsa, OK August 9—October 1, 2021 Spider Gallery in Tahlequah, OK October 11—November 12 , 2021 SEOSU Centre Arts Gallery in Durant, OK December 2—January 22, 2022 Tulsa World | Lorton Family Gallery, Gaylord Pickens Museum, home of the Oklahoma Hall of Fame in Oklahoma City, OK

Curator’s Statement

heather ahtone, Senior Curator, First Americans Museum

Working on paper is magic. Taking beaten pulp that has been pressed flat and using its naturally textured surface to one’s advantage requires a certain mastery of the hand and the materials. Selecting from all the works submitted required close looking and reading of the surfaces. Watercolors, lithography, relief prints, graphite, and all the other materials that were used—each one has a distinct relationship to the surface. It was a thoroughly enjoyable process and I am grateful to all the artists who submitted and to OVAC for asking me to participate.

There were some strong themes that showed through. Many of the images were direct references to nature’s glory, the light found being outdoors, and the absolute beauty of the natural form. Each one was created with such care. It occurred to me that these were love letters to the world of the outside, perhaps created during this recent period of forced confinement. There was also a broad interest in abstraction, the sheer delight in the movement of line and color. These often felt like dances, as the artist’s hand must have moved the color and the pen or brush across the surface of the paper. While I openly confess a love for printmaking, it was wonderful to see the photography, mostly black and white, where an absolute love for light and shadow were explored to their fullest depths.

My process for jurying included looking for where the artist’s hand was evident. Where the artist used graphite—were the lines clean? Did the printmakers keep their prints clean and respect the processes selected? When an exhibition like 24 Works on Paper imposes a restricted selection, I compared works done with the same medium­—eager to make sure that the best of what was offered would have the opportunity to travel and shine for our state. This iteration of 24 Works on Paper is a beautiful visual happy dance: for the act of creating, for the sinuous power of a line, and for the emotive content of color.

It has been my profound honor to jury these works into the exhibition and work with OVAC to support our fantastic Oklahoma arts community. I hope that as you peruse the exhibition, you will find joy in your own way. Chokma’shki!

For more information, call 405-879-2400 or visit www.24works.org.

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Exhibition Tour Schedule August 31­­­—September 18, 2020 SWOSU Art Gallery in Weatherford, OK October 5—November 13, 2020 The Wigwam Gallery in Altus, OK December 7—January 15, 2021 Forest Heritage Center Museum in Broken Bow, OK January 25—March 5, 2021 Artesian Gallery in Sulphur, OK March 15—April 23, 2021 McArts Gallery of Fine Art in McAlester, OK May 3—June 11, 2021 Cherokee Strip Regional Heritage Center in Enid, OK July 1—July 31, 2021 TAC Gallery in Tulsa, OK August 9—October 1, 2021 Spider Gallery in Tahlequah, OK October 11—November 12 , 2021 SEOSU Centre Arts Gallery in Durant, OK December 2—January 22, 2022 Tulsa World | Lorton Family Gallery, Gaylord Pickens Museum, home of the Oklahoma Hall of Fame in Oklahoma City, OK

Curator’s Statement

heather ahtone, Senior Curator, First Americans Museum

Working on paper is magic. Taking beaten pulp that has been pressed flat and using its naturally textured surface to one’s advantage requires a certain mastery of the hand and the materials. Selecting from all the works submitted required close looking and reading of the surfaces. Watercolors, lithography, relief prints, graphite, and all the other materials that were used—each one has a distinct relationship to the surface. It was a thoroughly enjoyable process and I am grateful to all the artists who submitted and to OVAC for asking me to participate.

There were some strong themes that showed through. Many of the images were direct references to nature’s glory, the light found being outdoors, and the absolute beauty of the natural form. Each one was created with such care. It occurred to me that these were love letters to the world of the outside, perhaps created during this recent period of forced confinement. There was also a broad interest in abstraction, the sheer delight in the movement of line and color. These often felt like dances, as the artist’s hand must have moved the color and the pen or brush across the surface of the paper. While I openly confess a love for printmaking, it was wonderful to see the photography, mostly black and white, where an absolute love for light and shadow were explored to their fullest depths.

My process for jurying included looking for where the artist’s hand was evident. Where the artist used graphite—were the lines clean? Did the printmakers keep their prints clean and respect the processes selected? When an exhibition like 24 Works on Paper imposes a restricted selection, I compared works done with the same medium­—eager to make sure that the best of what was offered would have the opportunity to travel and shine for our state. This iteration of 24 Works on Paper is a beautiful visual happy dance: for the act of creating, for the sinuous power of a line, and for the emotive content of color.

It has been my profound honor to jury these works into the exhibition and work with OVAC to support our fantastic Oklahoma arts community. I hope that as you peruse the exhibition, you will find joy in your own way. Chokma’shki!

For more information, call 405-879-2400 or visit www.24works.org.

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Sarah Ahmad // Tulsa Heart to Heart Mixed media collage, painting, and drawing 22”x 28”

Ginnie Baer // Edmond Spring Prarie North Acrylic and watercolor on synthetic paper 20”x 26”

This series combines geometric patterns with aerial views of earth.

Aerial views of cities at night form patterns of lights much like constellations. City lights form glittering maps and starry radial webs similar to the geometric patterns in my work. Whether created with perfect geometry or mapping methods, our creations reflect the patterns in the sky and space, echoing a cosmic unity.

My paintings explore landscape as a language of healing and comfort. This painting was created in the early stages of the COVID-19 pandemic as it was spreading in the US. The color choices are optimistic and hopeful, though there is certainly a wild sort of energy present that stems from the unease and uncertainty in the air.

My piece comes from a series of works I’ve developed through experimentation with fire, smoke, and composition. This smoke alchemy approach to realizing visual ideas is a reflection of my interest in process and experimentation.

This body of work is also an overall meditation on the interactions of materials, form, and the creation process at-large: both in the natural world, and within the artist’s studio.

Matin Alavi // Edmond You Can Take Care of Your Heart and Emotions Without Being Considered Difficult or Dramatic Mixed smoke alchemy on mixed media paper with acrylic ink embellishments 9”x 12”

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Crystal Z Campbell // Tulsa Notes From Black Wall Street #59 Mixed media on archival paper 11”x 8.5”

I live in and research the Greenwood District of Tulsa, Oklahoma, deemed “Black Wall Street” in the early twentieth century. As a counter-narrative to the legacy of violence and erasure that has defined Greenwood since the 1921 Tulsa Race Massacre, I reinterpret archival photographs of Black people in moments of leisure.

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Sarah Ahmad // Tulsa Heart to Heart Mixed media collage, painting, and drawing 22”x 28”

Ginnie Baer // Edmond Spring Prarie North Acrylic and watercolor on synthetic paper 20”x 26”

This series combines geometric patterns with aerial views of earth.

Aerial views of cities at night form patterns of lights much like constellations. City lights form glittering maps and starry radial webs similar to the geometric patterns in my work. Whether created with perfect geometry or mapping methods, our creations reflect the patterns in the sky and space, echoing a cosmic unity.

My paintings explore landscape as a language of healing and comfort. This painting was created in the early stages of the COVID-19 pandemic as it was spreading in the US. The color choices are optimistic and hopeful, though there is certainly a wild sort of energy present that stems from the unease and uncertainty in the air.

My piece comes from a series of works I’ve developed through experimentation with fire, smoke, and composition. This smoke alchemy approach to realizing visual ideas is a reflection of my interest in process and experimentation.

This body of work is also an overall meditation on the interactions of materials, form, and the creation process at-large: both in the natural world, and within the artist’s studio.

Matin Alavi // Edmond You Can Take Care of Your Heart and Emotions Without Being Considered Difficult or Dramatic Mixed smoke alchemy on mixed media paper with acrylic ink embellishments 9”x 12”

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Crystal Z Campbell // Tulsa Notes From Black Wall Street #59 Mixed media on archival paper 11”x 8.5”

I live in and research the Greenwood District of Tulsa, Oklahoma, deemed “Black Wall Street” in the early twentieth century. As a counter-narrative to the legacy of violence and erasure that has defined Greenwood since the 1921 Tulsa Race Massacre, I reinterpret archival photographs of Black people in moments of leisure.

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Bryan Dahlvang // Oklahoma City Chickadee Watercolor on paper 11”x 8.5”

Aside from crows, the Chickadee is one of my favorite birds. They remind me of crisp winter mornings under the oak trees at my grandmother’s house.

I used to stand like a statue with seeds in my hand, excited at the possibility of one landing to feed.

I draw abstract cartographic symbols from the grown and constructed environments. These symbols and characters create landscapes and maps to find ways towards a future deeply rooted in connectivity and respect for people and planet. The layering reflects the overlapping, complex habitats and communities, human or otherwise, that inhabit the places I draw.

Emma Difani // Oklahoma City Navi Woodcut and screenprint on paper 8”x 10”

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Liz Dueck // Owasso Fleeting Blooms Oil paint 28”x 22”

Fleeting Blooms is part of my series Eutierria (“good earth”) referring to the positive feeling of oneness with the earth and its life forces. This feeling occurs when the human-nature relationship is spontaneous and mutually enriching.

As I take my time exploring outside, I am often drawn to the collaborative rhythm of sunlight, wind, and plant-life that make up how these places feel and mimic it by abstracting my paintings with a bit of whimsy.

Micheal Elizondo, Jr. // El Reno Freaky Tails Prismacolor pencil on bristol paper 9”x 12”

My recent works have been correlating the age-old coyote, also known to be a trickster, into contemporary life. In many ancient Cheyenne stories, the coyote has a distinctive characteristic that is often applied to someone acting as such, often in a humorous setting.

Many, including myself, know little of the ancient stories once spoken in our Indigenous tongues, but the coyote’s demeanor has proceeded itself abundantly in all walks of life.

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Bryan Dahlvang // Oklahoma City Chickadee Watercolor on paper 11”x 8.5”

Aside from crows, the Chickadee is one of my favorite birds. They remind me of crisp winter mornings under the oak trees at my grandmother’s house.

I used to stand like a statue with seeds in my hand, excited at the possibility of one landing to feed.

I draw abstract cartographic symbols from the grown and constructed environments. These symbols and characters create landscapes and maps to find ways towards a future deeply rooted in connectivity and respect for people and planet. The layering reflects the overlapping, complex habitats and communities, human or otherwise, that inhabit the places I draw.

Emma Difani // Oklahoma City Navi Woodcut and screenprint on paper 8”x 10”

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Liz Dueck // Owasso Fleeting Blooms Oil paint 28”x 22”

Fleeting Blooms is part of my series Eutierria (“good earth”) referring to the positive feeling of oneness with the earth and its life forces. This feeling occurs when the human-nature relationship is spontaneous and mutually enriching.

As I take my time exploring outside, I am often drawn to the collaborative rhythm of sunlight, wind, and plant-life that make up how these places feel and mimic it by abstracting my paintings with a bit of whimsy.

Micheal Elizondo, Jr. // El Reno Freaky Tails Prismacolor pencil on bristol paper 9”x 12”

My recent works have been correlating the age-old coyote, also known to be a trickster, into contemporary life. In many ancient Cheyenne stories, the coyote has a distinctive characteristic that is often applied to someone acting as such, often in a humorous setting.

Many, including myself, know little of the ancient stories once spoken in our Indigenous tongues, but the coyote’s demeanor has proceeded itself abundantly in all walks of life.

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Stepping into a forest has an overwhelming power over me. I can give my eyes rest by looking far into the woods and when I stand beneath the trees and look up, I am in awe of the amazing offerings of nature. The Forest I Remember is the forest out of my youth, where we had Sunday afternoon family walks, daily trail rides with our ponies, riding my bike to school and picnics with friends.

My work is usually inspired by nature, often by what I encounter in my own yard and garden. Most mornings I start the day by sitting outside with a cup of tea watching the birds fly about and listening to their songs. These early morning songs are called the dawn chorus, and are the inspiration for this piece.

CURATOR’S CHOICE AWARD Irmgard Geul // Pauls Valley The Forest I Remember Embroidery painting 12”x 12”

Otter Trails at Night was inspired by San Ildefonso Pueblo pottery. The method of black on black pottery has been translated into paint and includes my own tribal designs. The center motif is a common woodland design representing how otters glide and jump in the snow.

Janae Grass // Tulsa Otter Trails at Night Acrylic, brass sequins, glass beads, thread 12”x 15”

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Terri Higgs // Tulsa Dawn Chorus Dyed and painted silk fused dyed rice paper, hand stitching synthetic paper 17”x 14”

Get Around To It is an embellished relief print made with individual carved blocks that were hand-printed one at a time. The artwork is composed of things that can be found in or around my home by the lake. From books and collected objects to Canada geese that can be seen daily in the backyard, they all fit together like puzzle pieces forming an intricate portrait of my surrounding world.

Michelle Himes-McCrory // Stillwater Get Around To It Relief print with colored pencil 16”x 16”

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Stepping into a forest has an overwhelming power over me. I can give my eyes rest by looking far into the woods and when I stand beneath the trees and look up, I am in awe of the amazing offerings of nature. The Forest I Remember is the forest out of my youth, where we had Sunday afternoon family walks, daily trail rides with our ponies, riding my bike to school and picnics with friends.

My work is usually inspired by nature, often by what I encounter in my own yard and garden. Most mornings I start the day by sitting outside with a cup of tea watching the birds fly about and listening to their songs. These early morning songs are called the dawn chorus, and are the inspiration for this piece.

CURATOR’S CHOICE AWARD Irmgard Geul // Pauls Valley The Forest I Remember Embroidery painting 12”x 12”

Otter Trails at Night was inspired by San Ildefonso Pueblo pottery. The method of black on black pottery has been translated into paint and includes my own tribal designs. The center motif is a common woodland design representing how otters glide and jump in the snow.

Janae Grass // Tulsa Otter Trails at Night Acrylic, brass sequins, glass beads, thread 12”x 15”

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Terri Higgs // Tulsa Dawn Chorus Dyed and painted silk fused dyed rice paper, hand stitching synthetic paper 17”x 14”

Get Around To It is an embellished relief print made with individual carved blocks that were hand-printed one at a time. The artwork is composed of things that can be found in or around my home by the lake. From books and collected objects to Canada geese that can be seen daily in the backyard, they all fit together like puzzle pieces forming an intricate portrait of my surrounding world.

Michelle Himes-McCrory // Stillwater Get Around To It Relief print with colored pencil 16”x 16”

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This drawing was made using an abstract sculpture as a reference.

The sculpture is an assemblage I created with the intention of being completely abstract, but subconsciously playing on forms and textures indicative of living things. This drawing is sort of a translation of this abstract form in a realistic way, which lets them interact in communication with each other.

Nathan Kent // Oklahoma City Simulation of a Synthesis 10 Graphite on paper 20”x 24”

Forbidden Fruit Loops was created while in quarantine and inspired by late nights watching “The Midnight Gospel,” lava lamps, and giant bowls of cereal. My work uses color, movement, and mark making to share personal stories, daydreams, and narratives, often in the form of painting and installation-based art.

Katelynn Noel Knick // Oklahoma City Forbidden Fruit Loops Acrylic, colored pencil, and graphite on paper 15”x 11”

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Carrie Kouts // Oklahoma City Continued Existence Paycheck paper, graphite, white conte 11”x 8.5”

Continued Existence is an exploration of the parallels and commonalities that occur in the nexus of humankind and the natural world, such as survival. Just as birds build nests and struggle to feed their offspring, we create homes and struggle to earn wealth to care for our descendants. As the environment changes and society progresses, survival continues to be the ever evolving and encompassing feat that determines our existence.

Michael Litzau // Edmond Many Views of the Sapporo Dome #2 Graphite 12”x 9”

This image is about the size of a baseball card, and it is from a series of drawings I made during a residency in Sapporo, Japan. Baseball is incredibly popular in Japan and the environment is very energetic with fan sections waving flags, different chants for each player at bat, drums and trumpets. My goal was to document the games through small scale intimate drawings.

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This drawing was made using an abstract sculpture as a reference.

The sculpture is an assemblage I created with the intention of being completely abstract, but subconsciously playing on forms and textures indicative of living things. This drawing is sort of a translation of this abstract form in a realistic way, which lets them interact in communication with each other.

Nathan Kent // Oklahoma City Simulation of a Synthesis 10 Graphite on paper 20”x 24”

Forbidden Fruit Loops was created while in quarantine and inspired by late nights watching “The Midnight Gospel,” lava lamps, and giant bowls of cereal. My work uses color, movement, and mark making to share personal stories, daydreams, and narratives, often in the form of painting and installation-based art.

Katelynn Noel Knick // Oklahoma City Forbidden Fruit Loops Acrylic, colored pencil, and graphite on paper 15”x 11”

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Carrie Kouts // Oklahoma City Continued Existence Paycheck paper, graphite, white conte 11”x 8.5”

Continued Existence is an exploration of the parallels and commonalities that occur in the nexus of humankind and the natural world, such as survival. Just as birds build nests and struggle to feed their offspring, we create homes and struggle to earn wealth to care for our descendants. As the environment changes and society progresses, survival continues to be the ever evolving and encompassing feat that determines our existence.

Michael Litzau // Edmond Many Views of the Sapporo Dome #2 Graphite 12”x 9”

This image is about the size of a baseball card, and it is from a series of drawings I made during a residency in Sapporo, Japan. Baseball is incredibly popular in Japan and the environment is very energetic with fan sections waving flags, different chants for each player at bat, drums and trumpets. My goal was to document the games through small scale intimate drawings.

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Nicholas Malkemus // Tulsa Guatama Buddha, Dark Blue Reduction woodcut 14.75”x 11”

This is a reduction woodcut of a pastel drawing of a statue of the Gautama Buddha I have in my room. I find its patterns and form to be very beautiful and relaxing to look at. Being on my desk next to my computer, I find myself glancing at it often. I think what drove me to make the print was Hermann Hesse's novel, Siddhartha, which helped me out a lot during some tough times.

do leaves regret the loss of flowers or glorify in the fleeting beauty is a mix of control through defined lines combined with organic splatters of ink and watercolor. It reflects the longing in our society to desire the freedom of youth, while the inevitable act of aging is ignored and defied. In their own way, leaves without flowers are just as alluring, subtle in their splendor.

Laurel Payne // Oklahoma City do leaves regret the loss of flowers or glorify in the fleeting beauty Watercolor and ink 10.25”x 14.25”

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Eric Piper // Norman Universe Map / Dart Board Linocut 17” x 21”

Spending time in the backyard, since March, Watching honeysuckle weave itself through netting, Playing darts as the board’s triangles stretch into deep tunnels Some kind of universe map, The Sun hangs massive.

Possible, to visualize this perfect throw, From here, to there, Chain reaction of nerve signals, Jerking the body to swing, Flinging the little dart, over the clover, towards the cork-board and wire.

Marium Rana // Talehquah The Great Beyond Gouache on printmaking paper 15”x 22”

The Great Beyond reflects an optimism for a place that is tranquil and serene. A place for our loved ones to rest after the challenges of life on Earth. This work is part of a larger series, A Place to Call Home, which is about the complexity of belonging to two different cultures and trying to find a home between the two.

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Nicholas Malkemus // Tulsa Guatama Buddha, Dark Blue Reduction woodcut 14.75”x 11”

This is a reduction woodcut of a pastel drawing of a statue of the Gautama Buddha I have in my room. I find its patterns and form to be very beautiful and relaxing to look at. Being on my desk next to my computer, I find myself glancing at it often. I think what drove me to make the print was Hermann Hesse's novel, Siddhartha, which helped me out a lot during some tough times.

do leaves regret the loss of flowers or glorify in the fleeting beauty is a mix of control through defined lines combined with organic splatters of ink and watercolor. It reflects the longing in our society to desire the freedom of youth, while the inevitable act of aging is ignored and defied. In their own way, leaves without flowers are just as alluring, subtle in their splendor.

Laurel Payne // Oklahoma City do leaves regret the loss of flowers or glorify in the fleeting beauty Watercolor and ink 10.25”x 14.25”

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Eric Piper // Norman Universe Map / Dart Board Linocut 17” x 21”

Spending time in the backyard, since March, Watching honeysuckle weave itself through netting, Playing darts as the board’s triangles stretch into deep tunnels Some kind of universe map, The Sun hangs massive.

Possible, to visualize this perfect throw, From here, to there, Chain reaction of nerve signals, Jerking the body to swing, Flinging the little dart, over the clover, towards the cork-board and wire.

Marium Rana // Talehquah The Great Beyond Gouache on printmaking paper 15”x 22”

The Great Beyond reflects an optimism for a place that is tranquil and serene. A place for our loved ones to rest after the challenges of life on Earth. This work is part of a larger series, A Place to Call Home, which is about the complexity of belonging to two different cultures and trying to find a home between the two.

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Jarica Walsh // Oklahoma City We are One, Despite the Distance Cyanotype on paper 20.5”x 14”

Lauren Rosenfelt // Norman Green Darner Dragonfly Graphite 14”x 17”

This piece was made in late March 2020, as the world shut down for COVID-19.

The title speaks to the concept, that while separating for a time, our connection to each other, and the planet, runs deep.

The Earth and our plant sisters hold space for us, reminding that our togetherness surpasses the boundaries we create. We are always one, despite the distance.

As a natural science illustrator and conceptual artist, I strive to highlight the importance of native species to the health and preservation of ecosystems.

The Green Darner Dragonfly’s scientific name is Anax Junius. Dragonflies are beneficial insects and essential to healthy ecosystems, mainly feeding on mosquitos and other small insects as adults.

Mark Sisson // Stillwater Portrait of Pouya Jahanshahi: Yearning to Breathe Free Linocut, woodcut, lithograph 22”x 15”

Except for Native Americans, we are a country of immigrants. Yet our forefather’s ideals of inclusion enshrined in statements like “Give us your tired, your poor, your huddle masses…” has repeatedly run counter to the ugliness of institutionalized biases including racism, sexism, classism, religious differences and simple xenophobia. The result is a petrified schism that divides and polarizes the nation.

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Jordan Wong // Claremore Tiger Mixed media collage 14”x 17”

AWARD OF MERIT

Tiger is a cut paper collage originally designed as a book cover concept for Rudyard Kipling’s The Jungle Book.

Its simplistic shape-based arrangement contrasts starkly with its ornate subject matter. This collage features Hosho paper that has been hand-treated in the Turkish marbling method. Ink is dropped onto the surface of water, creating ringlets that are captured on paper. This technique replicates the hypnotic beauty of tiger stripes.

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Jarica Walsh // Oklahoma City We are One, Despite the Distance Cyanotype on paper 20.5”x 14”

Lauren Rosenfelt // Norman Green Darner Dragonfly Graphite 14”x 17”

This piece was made in late March 2020, as the world shut down for COVID-19.

The title speaks to the concept, that while separating for a time, our connection to each other, and the planet, runs deep.

The Earth and our plant sisters hold space for us, reminding that our togetherness surpasses the boundaries we create. We are always one, despite the distance.

As a natural science illustrator and conceptual artist, I strive to highlight the importance of native species to the health and preservation of ecosystems.

The Green Darner Dragonfly’s scientific name is Anax Junius. Dragonflies are beneficial insects and essential to healthy ecosystems, mainly feeding on mosquitos and other small insects as adults.

Mark Sisson // Stillwater Portrait of Pouya Jahanshahi: Yearning to Breathe Free Linocut, woodcut, lithograph 22”x 15”

Except for Native Americans, we are a country of immigrants. Yet our forefather’s ideals of inclusion enshrined in statements like “Give us your tired, your poor, your huddle masses…” has repeatedly run counter to the ugliness of institutionalized biases including racism, sexism, classism, religious differences and simple xenophobia. The result is a petrified schism that divides and polarizes the nation.

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Jordan Wong // Claremore Tiger Mixed media collage 14”x 17”

AWARD OF MERIT

Tiger is a cut paper collage originally designed as a book cover concept for Rudyard Kipling’s The Jungle Book.

Its simplistic shape-based arrangement contrasts starkly with its ornate subject matter. This collage features Hosho paper that has been hand-treated in the Turkish marbling method. Ink is dropped onto the surface of water, creating ringlets that are captured on paper. This technique replicates the hypnotic beauty of tiger stripes.

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Support From

The Andy Warhol Foundation for the Visual Arts

1720 N. Shartel Ave. Suite B, Oklahoma City, OK 73103 www.ovac-ok.org // (405) 879-2400 Design by Emma Palmer, Third Floor Design, The University of Tulsa.