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Editors’ NoteArt and writing comes from hundreds of mediums, textures, colors, feelings, and inspirations. This zine is a more casual way to present these ideas while staying true to their nature. As cliche as it sounds, we hope you as the reader enjoy this zine as much as we did making it. Sometimes we want to analyze art, and sometimes we want to simply experience it. Enjoy!

Two of a Kind | Savy Seward ‘25 | Digital Art

Sunny SpotAndie Hilliard ‘26When my body starts to wither and my memory starts to wane Before I die I’ll go outside, pick a sunny spot to lay I’ll lay down as still as I can, like an old book on a shelf And simply watch the world forget me Until I forget myself I’d like to feel the grass and weeds tether me to the earth They’ll stretch and grow over every limb pulling me toward the dirtAnd then come spring the bees will buzz to watch the flowers bloom The buds that lie beneath my skin will sprout up from my tomb I’d like to hear the birds sing their sonnets from their colorful chestsAnd the animals moving about my body, burrowing in bone marrow to restI’ll water the plants with my tears and feed the creatures all my thoughts My skeleton is a shelter for all wandering and lost When my hair is all gray and my skin is all papery thin When I know it’s not over, but life here is at its endI’ll lay down as still as I can, faded picture beneath the shelf The world has already forgotten me But I hope to remember myself

Paparrazi | film photography | Joshua Byrom ‘25 | Artist Statement:This piece signifies the relationship between the camera and the subject. The photo conveys a perspective that transcends the flame by putting layers between the subject and the film.

Pain feels like piercing walls,surrounding someone with no way out.

The colors of the piece express the long awaited need to be saved, that doesn't seem too complete, leading to a brown-ish copper color. The green patina comes to represent tears cried, leading to oxidation on every tip of the triangles piercing out-wards. Piercing Walls | Greta Sletteland '25 | Liquid Iron on Carboard

Going on grown; I’m growing up I guess (yay). 16 should be sweet but at 17 I believe you’re ocially too old to think tomorrow is too far away. You realize: tomorrow is the next day. You’re future is picking up speed and soon you’ll leave, nally on you’re own, going on grown; you’re growing up you guess (yay). Make home a vacation and the beach where you stay. I’ll trade mountains for sea, maples with palm trees, and the naivety to think tomorrow is too far away. I hate to think that we might not be so close one day. Strangers I know everything about but never see. I’ll text you happy 21 going on grown; we’re growing up I guess (hooray). I miss the days I would go outside to run and play, inside dreaming of a life wild and mine and free. Back then, too young, and thinking: ‘tomorrow is too far away’. I know you’ve gotta go, I’m so sad that you can’t stay, but when you leave ATL for Cali, don’t you dare leave me. You’re growing faster; all grown up I guess (cray). You’re ocially too old to think tomorrow is too far away.Grown-ish: a VillanelleAndie Hilliard ‘26

Untitled | Bailee Bell ‘25 | Jewelry

Metal WorksAShattered Glass | Aleena Khawaja ‘26 | Brassis piece was very interesting to work on. Although the process of creating the piece included some challenges and failure, they helped shape the piece to how it is now. is piece includes patina, the oxidation of metal to create a color, in order to produce black in the middle of the necklace.AAvv

AAA Untitled | Christy Nguyen ‘25 | Jewlery Untitled| Sam Reid 25 | SilverA

Square Earrings| Leighton Stump ‘27 | Jewerly Untitled | Madi Coleman ‘26 | Jewerly

Untitled | Leighton Stump ‘27 | JewerlyUntitled | Bree Stores ‘27 | Jewerly

JASMINE CRIGLER 25’ Bleached matcha tea cyanotype print

TheMirageofDystopiaI glanced at myself in the mirror as I walked past it to get to my door. Some-thing tugged me backward to meet my re-ection, something that told me that I should look. The sudden jar of curiosi-ty stung me, it made me feel as though I shouldn’t have turned back around. Even so, my disobedience engulfed me. I paused as I sat and watched myself for a second, backing slowly into the mir-ror. I caught myself intensely staring into my own eyes, deeper than I ever once stared before. Something was dif-ferent about me, something tinged and twisted in my chest, yet no emotion was painted across my face. Something told me to turn away once again, but I just couldn’t.Avye Garcia ‘28

I felt a sharp pain cra-dle my side. I reached down to grab it but not a single muscle moved. Another tear seeped down my navel, then once again along my thighs. I struggled to focus my at-tention on my body in the reection, but nothing was witnessed except for a blur of deformity, my tired eyes still locked, still innite, still focused on the wrong thing. Stinging and burn-ing accumulated into my eyes, the water reaching a break-ing point yet never shatter-ing. For a millisecond I saw a different person through the bittersweet blur in my pupil. Someone I told myself I would never be, someone that I pretended was never there. The gnawing of somatic pain resided, the tear in my eye nally dropping. I felt the comforting water dissolve into my skin as it dropped onto my collarbone. My re-ection was now amalgamated with the person I was scared to be. I knew it wasn’t me, but I continued to trick myself it was, because that’s the only thing I ever knew. ‘Unseen’-Lorelei Edminson‘28DigitalArt

aaThe Lamb | Olivia Spence ‘28 | Digital Art

Drizzle | Josh Ogbu ‘28 |Digital Art

In the Royal Opera House,love is lively.lively.Elsewhere?it is often not.I fear it is cordial,cordial,slightly forced,tame, almost mildReal love movesmoves!!Real love is moving!Right here it’s risky,uncontrolled,wildwild,, passionate even.He cannot breathe when she leaves,she is not his half but his wholewhole..He can’t look away, he needs her to stay, desperate like lungs for air.So they breathe as oneone..when she jumps he catches her and when she leaves he follows.she twists he shifts (blink and you’ll miss) she’s leaning so close you think they may kisskiss but-he swings her up high and drops her down low, he ebbs because he knows she will ow.she’s a boat on the water and his arms bring the tide she oatsoats as if she wishes to y.So he lifts her home towards the gates of heaven, but she has no wings.If she slips, she’ll shatter into shards of silk and silencesilence. Bedroom Pas de Deux: Bedroom Pas de Deux: Ballet of Romeo and Juliet Andie Hilliard ‘26Andie Hilliard ‘26ss

But he holds her so close that the heat of his heart meltsmelts her molten.She glowsglows against him golden, shining beneath lights.She clings to him tight, trustingtrusting his hands and her heart as he tosses her about.Each time retreatingretreating her cheek back to his chest, or her eyes to his.As the music swells my eyes well,my heart and head uneasyuneasy.Because here love is so lively.Here love is moving.Moments so intentional, so memorablememorable. But then I remember that he soon dies, and her thereafter.Eventually, the audience will applaud and exit,leaving the theater cold and emptyempty. Retreating towards Elsewhere. I fear love is fakefake there.Background Artwork: Flounce, 1860-1869. The Art Institute of Chicago®.ss

Felem qui Amat AstraUntitled | Drew Pannell ‘25 | JewelryPate Jones ‘26

I cannot sleep with the window open,for the light is bright and frozen,and my eyelids are terribly thin. She tells me of the stars,the shadows that dance with mars,of things only possible in ction. She’s looking at me, in thatopen expectancy:to show the moon to her.But I turn my back, andfall asleep,Ignoring her despondency.

Open Frames|Sadler Wilson ‘25|Portrait Salt Open Frames|Sadler Wilson ‘25|Portrait Salt Print Print

God Save the Children|G. Nicole ‘25|PoetryGod Save the Children|G. Nicole ‘25|PoetryBasket of cherries. Basket of cherries. Fresh and sweet. Fresh and sweet. Stumbling.Stumbling.His touch should feel like a treat.His touch should feel like a treat.I feel it in my head. I feel it in my head. The remense shows on the bed.The remense shows on the bed.Unripe cherries before me. Unripe cherries before me. Indulging. Indulging. I force the wind to snap my neck. I force the wind to snap my neck. Gravity,Gravity,I fall. I fall. Eyes velvet and leaking with youth. Eyes velvet and leaking with youth. Sharp like a needle to my skull.Sharp like a needle to my skull.Crack.Crack.Velvet stings. Velvet stings.

ARTISTS’ STATMENTS: JOSHUA BYROM: This piece signies the relationship between the camera and the subject. The photo conveys a perspec-tive that transcends the ame by putting layers between the subject and the lm. LORELEI EDMISON: Sometimes it feels like all people see is what’s on the outside, and judge you entirely based on that. They see you in a literal sense, yes, but no one can truly see you without getting to know you and your personality rst. I tried to portray this through this piece. ANDIE HILLIARD: I either started or further developed these poems over the summer at Emory’s PreCollege Program where I took a course in creative writing. One of our challenges in this course was to write under certain constraints which proved dicult but pushed me to be more cre-ative. A challenge we had at the start was to describe a piece of art without making direct references. “Bedroom Pas de Deux” is inspired by my favorite pas de deux in the ballet Romeo and Juliet, and it took several tries to show, not tell the dancing and give hints so the reader could guess the topic without directly giving it away. For “Grown-ish,” we spent a day working on a form of poetry called a villanelle so I decided to work under that form while fo-cusing on my theme of the strange transi-tion that is older teenage years moving to-wards adulthood. Lastly, “Sunny Spot” was a piece I had been working on previously, but presented to my peers and professor for feedback. I had written several versions of this poem, each with a dierent senti-ment, but ultimately decided to focus on the bittersweetness of death and all that it entails including themes like returning to nature and fear of being forgotten when gone. PATE JONES: My best, and favor-ite, poems are always done at night, usu-ally in the earliest hours of the morning. I don’t like restrictions and most of my work is in free verse, sometimes rhyming, sometimes not. This poem is like that, It rhymes sometimes, but there isn’t really an order. I wrote it at night, with my cat by my side. She had just asked me to open the window, and I had just turned around. Given that every night seemed to follow this pattern, her hitting the blinds, and me telling her no, I wrote a little something about it. It’s not about life, death, or any serious meaning (unless you want it to be), it’s about my cat who likes to look out the window. I like to write serious poems too, but I like my cat more so she takes prece-dence on this one. ALEENA KHAWAJA: This piece was very interesting to work on. Although the process of creating the piece included some challenges and failure, they helped shape the piece to how it is now. This piece includes patina, the oxidation of metal to create a color, in order to pro-duce black in the middle of the necklace. G. NICOLE: I found inspiration to write

this piece after listening to a news arti-cle about women and children being sold into sex tracking and the spiking num-bers of assaults taking place in the United States. Hearing about these devastating topics inspired me to write a piece from the perspective of a young girl who, like so many young girls, was made to believe that sex was a virtue. When she allows someone who she believes to be special to take her “purity” away, the harsh reality of sex without coddling is revealed, and the pain of maturity sets in, engulng her in a state of delirium. SAVVY SEWARD: After watching the lm BlackFish on Netix, I felt deeply sad for the killer whales captivated at SeaWorld. In gener-al, killer whales are viewed as bullies and are portrayed as scary creatures that kill everything and bully other ocean animals. After the killing of Dawn Brancheau, lots of people fear killer whales hence their name which represents their killer nature against other whales. However, I can’t help but see myself through their eyes. The title “BlackFish” struck me as a re-ection of racial oppression in today’s society. Killer Whales aren’t bullies, they are predators who defend their pods and develop relationships between each other to form stronger cultures between their species. They are not meant to be kept in cages, and deserve to swim freely in the ocean just as people have their own freewill. Left alone in the ocean, they are peaceful towards humans and live to build relationships between their families. I have always seen the black and white whale as something beautiful and graceful, and because of this I wanted to create a piece that bonded me and the whales togeth-er peacefully. I hope to observe them in their wild setting one day. Happy, free and wild. GRETA SLETTELAND: Pain feels like 4 piercing walls with no way out. This piece expresses this using repetition of cardboard triangles on a cardboard base. The color of the piece expresses the long awaited need to be saved, that doesn’t seem to come, leading to a brownish copper color. The green patina represents a cry, leading to an oxidation eect on every tip of the triangles piercing out-wards. SADLER WILSON: I took this photograph of my sister, Elsie Lynn Wilson, during the unit of cognitive dissonance in my photography class. This unit urged us to place our subjects in environments that contradict their appearances. By dress-ing her in a owy dress, I found the rust of train tracks and the concrete elements to contrast well. After plainly printing the photo, I made the decision to use the alternative process called salt print. The steps include making an ortholitho, then painting a mixture of salt water and silver nitrate onto a textured piece of paper, and developing it in the light box for 30 minutes. This process gives the photo the eect of being painted onto the surface.

Kyla Granville Nathan Terrio Aiden O’NeilAiden O’Neil Gabriella Harrison Camille Dotson Gabby Short Greta Sletteland Shreya Surapaneni Alara CyrAlara Cyr Andie Hilliard Chance Love Alex Piazza Ollie Spence Kira Taylor Emily HeilkerEmily Heilker Ronda Zents Kyla Granville Nathan Terrio Aiden O’Neil Gabriella Harrison Camille DotsonCamille Dotson Gabby Short Greta Sletteland Shreya Surapaneni Alara Cyr Andie Hilliard Chance Love Alex PiazzaAlex Piazza Ollie Spence Kira Taylor Emily Heilker Ronda Zents Kyla GranvilleKyla Granville Nathan Terrio Aiden O’Neil Gabriella Harrison Camille Dotson Gabby Short Greta Sletteland Shreya Surapaneni Alara Cyr Andie Hilliard Chance Love Alex Piazza Ollie SpenceOllie Spence Kira Taylor Emily Heilker Ronda ZentsRonda Zents Kyla Granville Nathan Terrio Aiden O’Neil Gabriella Harrison Camille Dotson Gabby Short Greta Sletteland Shreya SurapaneniShreya Surapaneni Alara Cyr Andie Hilliard Chance Love Alex Piazza Ollie Spence Kira Taylor Kira Taylor Emily Heilker Ronda Zents Kyla GranvilleKyla Granville Nathan Terrio Aiden O’Neil Gabriella HarrisonGabriella Harrison Camille Dotson Gabby Short Greta Sletteland Shreya Surapaneni Alara Cyr Andie Hilliard Chance Love Alex Piazza Ollie Spence Kira Taylor Emily Heilker Ronda Zents Kyla Granville Nathan Terrio Aiden O’Neil Gabriella Harrison Camille Dotson Gabby Short Greta SlettelandGreta Sletteland Shreya Surapaneni Alara Cyr Andie HilliardAndie Hilliard Chance Love Alex Piazza Ollie Spence Kira Taylor Emily Heilker Ronda Zents Kyla Granville Nathan Terrio Aiden O’Neil Gabriella Harrison Camille Dotson Gabby ShortGabby Short Greta Sletteland Shreya Surapaneni Alara Cyr Andie Hilliard Chance LoveChance Love Alex Piazza Ollie Spence Kira Taylor Emily Heilker Ronda Zents Kyla Granville Nathan TerrioNathan Terrio Aiden O’Neil Gabriella Harrison