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My Final Digital Project Topic is on the continuous attack on women's reproductive rights/Bodily autonomy in America between the years 2022-2024. My first image includes protestors dressed in the "Handmaid's Tale" uniform to protest the overturning of Roe V. Wade. In addition, my second image is a cartoon of the Scales of Justice as an IUD to signify the power the supreme court and other lawmakers in states have to limit the access of contraceptives in America today.

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My final digital project will focus on how social, economical, and even political factors contribute to the effects on mental health. I will specfically be focusing on the mental health of men in current day from a variety of economical, social, and political background. Image two will provide an analysis of the effects factors have on males' mental health. Image one will provide an analysis of ways mental health can be globally recognized, especially among men.

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My final digital project will focus on the depiction of mental illness in film (Silver Linings Playbook), paintings (Richard Dadd's Agony-Raving Madness), and photographs. More specifically, I want to show that these images hold more power than words ever could when portraying mental illness. By expressing the struggle of mental illness in art, artists can create awareness around conditions and educate the masses on these issues.

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Eugenics, a pseudoscientific theory popular in the late 19th and early 20th centuries, sought to “improve” the human race through selective breeding once shaped the Rwandan society. Imagine a small, worn, green identity card, with tape holding the two pieces together and its edges frayed and text fading with time. The card, once a simple tool of identification, now serves as a symbol of division, marking its holder with a label that could mean life or death. On the front of this card, a Belgian date stamp over the face of a Rwandan depicting the superiority complex between the Belgian and Rwandans, and a simple designation reads “Hutu” or “Tutsi”-- labels that ultimately determined one’s fate during the Rwandan genocide of 1994. The identity card, while seemingly mundane, was an instrument of control embedded with colonial and eugenic ideologies. This analysis will focus on the card’s visual aspects, interpreting how its design and the information contained within it reflect the Belgian colonial agenda and the pseudoscientific eugenic theories that shaped Rwanda’s social fabric. In addition to the physical features of the card, I will explore the broader historical and ideological forces that gave it power as a tool for classification and for mass violence.