The tradition is 3 years old, and Samia Ahmad says she gets emotional every time.
"Thinking about everyone who's deployed," said Ahmad. "Their family and friends who are also probably going through the same thing i had gone through a couple years back."
She spent the afternoon coloring her college campus yellow. In the U.S., a yellow ribbon is a symbol of support for military forces. Samia's boyfriend is in the army, and was deployed three years ago. That same year, this tradition was born.
"My classmate and I had the idea of why not tie ribbons on trees on campus just for more of an awareness that UIS is a friendly military campus and that we're here to support anyone," Ahmad.
Dozens of students from the University of Illinois at Springfield volunteered their time lining the main roads of campus with the ribbons.
"The veterans give us so much on a daily basis," said senior, Shelby Bedford. "Whether they're deployed or home, running back and forth to drill. And it's really nice to just be able to get out and bring a large amount of people with me and see them all supporting them."
And even though Samia has graduated, she says she'll always come back for this.
The story was reported by WAND-TV on November 9, 2014.
Watch the story online
Monday, November 10, 2014
Thursday, November 6, 2014
'Copy Shop' at UIS gives artistic visitors chance to create
Visitors to the reception for the University of Illinois Springfield’s Visual Arts Gallery’s installation “Copy Shop” can interact with the exhibition on more than one level.
Chicago-based artists Tom Burtonwood and Holly Holmes have created 3D-printed and digitally fabricated objects for the exhibit. But visitors also can bring their own objects to be 3D scanned and 3D printed during the reception to be held from 6:30 to 8 p.m. Thursday at the gallery located in Room 201 of the Health and Sciences Building on campus.
The exhibition runs through Nov. 27.
Visitors are welcome to bring objects the size of a softball to be 3D scanned and 3D printed. Original and printed objects will become part of the exhibition. “The plan is to display their originals on the left-side shelves (of the exhibit) and the copies on the right.
Visitors can collect their creations on or after the 27th,” Burtonwood said in an email. “The printing process is fairly slow; it would take much longer than the time of the reception to print a single object. Average time is probably 5-6 hours.”
What’s called 3D printing or additive manufacturing is a process of making three-dimensional solid objects from a digital file, according to 3dprinting.com. The creation of a 3D-printed object is achieved using additive processes in which an object is created by laying down successive layers of material until the entire object is created.
Giving visitors the opportunity to have their objects 3D scanned, 3D printed and added to the exhibition at UIS is a reprise of what Burtonwood and Holmes did in January at Firecat Projects gallery in Chicago. People had objects such as stuffed toys, cameras, flowers and keepsakes 3D scanned, 3D printed and added to that exhibition.
“Participants in ‘Copy Shop’ received a limited-edition, 3D-printed sculpture in recognition of their help in this project,” Burtonwood said on his website tomburtonwood.com.
Working from a variety of sources, Burtonwood and Holmes create 3D-printed, modular works that borrow from natural systems of organization.
Among creations in “Copy Shop” are “AIC Candy Dispensers, 2014.” There’s also the “Dana Thomas House Frieze Interactive Project.” “These molds, depicting the frieze design created by Frank Lloyd Wright for the Dana Thomas House in Springfield, have been created through the process of scanning and 3D printing,” said an accompanying statement.
“You are welcome to use the available air-drying clay to press into the molds to create your own frieze design. Take the product with you; the clay will harden and serve as a permanent artifact from ‘Copy Shop.’”
Burtonwood said the 3D printer/scanner is to sculpture what the sampler was to music.
“The world is open. It can be copied and pasted at the touch of a button. This is a paradigm shift in terms of how we make objects, and the economies that support their production,” Burtonwood said.
“Artists have always tinkered with the newest technology and have taken the tech places its creators never intended. With 3D printing, I imagine you’ll see the same.”
The article appeared in The State Journal-Register online, November 5, 2014.
Read the article online.
Chicago-based artists Tom Burtonwood and Holly Holmes have created 3D-printed and digitally fabricated objects for the exhibit. But visitors also can bring their own objects to be 3D scanned and 3D printed during the reception to be held from 6:30 to 8 p.m. Thursday at the gallery located in Room 201 of the Health and Sciences Building on campus.
The exhibition runs through Nov. 27.
Visitors are welcome to bring objects the size of a softball to be 3D scanned and 3D printed. Original and printed objects will become part of the exhibition. “The plan is to display their originals on the left-side shelves (of the exhibit) and the copies on the right.
Visitors can collect their creations on or after the 27th,” Burtonwood said in an email. “The printing process is fairly slow; it would take much longer than the time of the reception to print a single object. Average time is probably 5-6 hours.”
What’s called 3D printing or additive manufacturing is a process of making three-dimensional solid objects from a digital file, according to 3dprinting.com. The creation of a 3D-printed object is achieved using additive processes in which an object is created by laying down successive layers of material until the entire object is created.
Giving visitors the opportunity to have their objects 3D scanned, 3D printed and added to the exhibition at UIS is a reprise of what Burtonwood and Holmes did in January at Firecat Projects gallery in Chicago. People had objects such as stuffed toys, cameras, flowers and keepsakes 3D scanned, 3D printed and added to that exhibition.
“Participants in ‘Copy Shop’ received a limited-edition, 3D-printed sculpture in recognition of their help in this project,” Burtonwood said on his website tomburtonwood.com.
Working from a variety of sources, Burtonwood and Holmes create 3D-printed, modular works that borrow from natural systems of organization.
Among creations in “Copy Shop” are “AIC Candy Dispensers, 2014.” There’s also the “Dana Thomas House Frieze Interactive Project.” “These molds, depicting the frieze design created by Frank Lloyd Wright for the Dana Thomas House in Springfield, have been created through the process of scanning and 3D printing,” said an accompanying statement.
“You are welcome to use the available air-drying clay to press into the molds to create your own frieze design. Take the product with you; the clay will harden and serve as a permanent artifact from ‘Copy Shop.’”
Burtonwood said the 3D printer/scanner is to sculpture what the sampler was to music.
“The world is open. It can be copied and pasted at the touch of a button. This is a paradigm shift in terms of how we make objects, and the economies that support their production,” Burtonwood said.
“Artists have always tinkered with the newest technology and have taken the tech places its creators never intended. With 3D printing, I imagine you’ll see the same.”
The article appeared in The State Journal-Register online, November 5, 2014.
Read the article online.
UIS students performing Neil Simon's 'Brighton Beach Memoirs'
The first of Neil Simon’s semi-autobiographical plays, “Brighton Beach Memoirs,” opens the University of Illinois Springfield theater season Friday.
While Simon is best known for comedies such as “The Odd Couple,” director Missy Thibodeaux-Thompson noted that “Brighton Beach,” which debuted on Broadway in 1983, marked one of the first times that critics recognized Simon’s ability to blend comedy and drama in a single work.
“This play has been on my list (of plays to direct) for years,” said Thibodeaux-Thompson, an associate professor of theater at UIS. “Simon’s work can be deceptive — it’s not simple but very, very challenging.”
“Brighton Beach Memoirs” takes place in 1937, with 15-year-old Eugene Jerome (Liam Schaver) — a shy Jewish youth preoccupied with baseball, writing and girls — living with his extended family in the Brighton Beach neighborhood of Brooklyn.
The play depicts the antagonism and affection between Eugene, his parents Jack and Kate (Wesley Skym and Liza Torrence), his brother Stanley (Christopher Romero), his aunt Blanche (Diamond Dixon), and his cousins Laurie and Nora (Emily Hartney and Courtney Kincaid), who all live under the same roof.
It is the first in Simon’s “Eugene trilogy” of plays loosely depicting his teenage years, his experiences as an Army recruit in World War II (“Biloxi Blues”) and his early career as a television comedy writer (“Broadway Bound”).
“He’s intelligent, but sort of naive at the same time,” Schaver said of Eugene. “His ambitions are to be either a sportswriter or a pitcher for the New York Yankees. He’s good hearted, but a little self-centered.”
Eugene’s mother, Kate, “is a busybody who worries about everything, takes on everyone else’s problems as her own, and needs to be in control,” Torrence said. In contrast, Blanche is quiet and reserved, and “has a hard time finding her voice,” said Dixon, because she is ashamed to be dependent upon her sister and her brother-in-law.
The play requires 1930s-era costumes and props and must be staged in a manner that allows the audience to see simultaneous actions in more than one room in the Jerome household. “All of these moving parts have been part of the challenge,” Thibodeaux-Thompson said. She and set designer Dathan Powell, UIS assistant professor of theater, began planning the set design over the summer, eventually creating a multi-level set combined with a non-standard seating arrangement for the audience.
“I’ve always loved this play,” which portrays the struggles of a working-class family in the years between the Depression and World War II, Thibodeaux-Thompson said. “I love the relationships it depicts, and that the characters are not one-dimensional. We see these people as flawed human beings, not caricatures.”
The article appeared in The State Journal-Register on November 5, 2014.
Read the article online.
While Simon is best known for comedies such as “The Odd Couple,” director Missy Thibodeaux-Thompson noted that “Brighton Beach,” which debuted on Broadway in 1983, marked one of the first times that critics recognized Simon’s ability to blend comedy and drama in a single work.
“This play has been on my list (of plays to direct) for years,” said Thibodeaux-Thompson, an associate professor of theater at UIS. “Simon’s work can be deceptive — it’s not simple but very, very challenging.”
“Brighton Beach Memoirs” takes place in 1937, with 15-year-old Eugene Jerome (Liam Schaver) — a shy Jewish youth preoccupied with baseball, writing and girls — living with his extended family in the Brighton Beach neighborhood of Brooklyn.
The play depicts the antagonism and affection between Eugene, his parents Jack and Kate (Wesley Skym and Liza Torrence), his brother Stanley (Christopher Romero), his aunt Blanche (Diamond Dixon), and his cousins Laurie and Nora (Emily Hartney and Courtney Kincaid), who all live under the same roof.
It is the first in Simon’s “Eugene trilogy” of plays loosely depicting his teenage years, his experiences as an Army recruit in World War II (“Biloxi Blues”) and his early career as a television comedy writer (“Broadway Bound”).
“He’s intelligent, but sort of naive at the same time,” Schaver said of Eugene. “His ambitions are to be either a sportswriter or a pitcher for the New York Yankees. He’s good hearted, but a little self-centered.”
Eugene’s mother, Kate, “is a busybody who worries about everything, takes on everyone else’s problems as her own, and needs to be in control,” Torrence said. In contrast, Blanche is quiet and reserved, and “has a hard time finding her voice,” said Dixon, because she is ashamed to be dependent upon her sister and her brother-in-law.
The play requires 1930s-era costumes and props and must be staged in a manner that allows the audience to see simultaneous actions in more than one room in the Jerome household. “All of these moving parts have been part of the challenge,” Thibodeaux-Thompson said. She and set designer Dathan Powell, UIS assistant professor of theater, began planning the set design over the summer, eventually creating a multi-level set combined with a non-standard seating arrangement for the audience.
“I’ve always loved this play,” which portrays the struggles of a working-class family in the years between the Depression and World War II, Thibodeaux-Thompson said. “I love the relationships it depicts, and that the characters are not one-dimensional. We see these people as flawed human beings, not caricatures.”
The article appeared in The State Journal-Register on November 5, 2014.
Read the article online.
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