1 10 3 https://www.decorativeartsofsouthms.usmcdh.org/files/original/c5b1648e31f05125c91d1f1f14e2c147.jpg 1a2d3e6967ed6171291e607153b5a42f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A small painting depicts a baseball player running across a baseball field, wearing a light-colored uniform and blue cap. The background features green and blue stadium seating and a blurred advertisement, with yellow and green tones dominating the scene. https://www.decorativeartsofsouthms.usmcdh.org/files/original/d7bf325509d872be9f8b51fbe507f7d8.glb b8429a7ea61792074ca7bf2ee30d2f17 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource A textured 3D model of a small rectangular painting showing a baseball player running across a field. The player wears a light-colored uniform with blue accents and a blue cap, while the background features green, blue, and yellow sections resembling a baseball stadium. The model captures the raised, uneven surface of the artwork and visible edges, giving the painting a three-dimensional appearance. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decorative Art 3D Model A digital three-dimensional representation of a cultural heritage object or site, created through photogrammetry, scanning, or drone-based capture. Use this item type for Omeka records whose primary media is a web-ready 3D model, with accompanying descriptive, technical, rights, source, and processing metadata. Creator Center for Digital Humanities, University of Southern Mississippi Contributor Original artwork: Nathan Mullins 3D capture: Ethan Ruff Processing and documentation: Ethan Ruff, Ramsey Ruff Project supervisor: Dr. Courtney Luckhardt Metadata lead: Ethan Ruff Narrative: Ethan Ruff Data Management Data available upon request. Date Digitized September 21, 2026 Description A simple photograph of this artwork does not do it justice. The 3D scan and overhead lighting provide for immense detail down to the brushstroke. The shape and depth of the scan make it seem as if you are experiencing the painting rather than simply looking at it. A single photograph would miss the shading at different lights, the small amounts of paint that spills over to the sides of the canvas, or the ability to zoom in and see the incredible attention to detail in the shading of the artwork. Surface details like the light reflecting off of the brushstrokes and the subtle-but-human spillover of paint contributes to the ability to relate to and experience this artwork. While the model is amazing in experiencing more of the artwork, the painting is truly unique in person. The model is unable to fully capture the compounded layering of the oil paint or the shine of the colors at different angles that only continue to add to the experience. Format GLB file Rights This item and its digital surrogates are provided for educational and public humanities use; reuse or redistribution requires permission from the holding institution and the Center for Digital Humanities at the University of Southern Mississippi. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bo Knows III Subject The topic of the resource Public Art Description An account of the resource Nathan Mullins’ “Play Ball” exhibit preserves a form of cultural heritage centered on baseball, sports fandom, and personal memory. Mullins, a painting professor at the University of Southern Mississippi, created the series using oil paint on panels, drawing inspiration from baseball cards, televised games, and highlight reels that he remembered from childhood. This specific painting depicts the baseball star Bo Jackson. Mullins first created small oil paintings based on these memories and broadcast images and then used those works to create larger paintings, allowing the images to become more and more abstract. His emphasis on the colors and lighting of baseball uniforms, along with the isolated figures taken from television broadcasts, gives the work meaning while also highlighting the interesting contrast between the individual athlete and baseball as a team sport. Creator An entity primarily responsible for making the resource Nathan Mullins Source A related resource from which the described resource is derived SVPA Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource circa 2026 Relation A related resource 2000 – present Format The file format, physical medium, or dimensions of the resource Oil on panel depicting a baseball player running the bases. Type The nature or genre of the resource Decorative Artwork Identifier An unambiguous reference to the resource within a given context Decorative Arts Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hattiesburg Art Gallery Bo Jackson MLB Toronto Blue Jays https://www.decorativeartsofsouthms.usmcdh.org/files/original/79fff76358fc020fafc6d17d688f076a.jpg 0792e10053df0cb935bec67ef54f2ead https://www.decorativeartsofsouthms.usmcdh.org/files/original/9e8d2723393cb0a9e72929266269c26d.glb 5a1e98a8471fb0243dce14c34cd9d168 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decorative Art 3D Model A digital three-dimensional representation of a cultural heritage object or site, created through photogrammetry, scanning, or drone-based capture. Use this item type for Omeka records whose primary media is a web-ready 3D model, with accompanying descriptive, technical, rights, source, and processing metadata. Creator Center for Digital Humanities, University of Southern Mississippi Contributor Lead Capture: Bianca Ingraham Assistant Capture: Anjan Poudel Data Management Data available upon request. Date Digitized Sept. 2026 Description This 3D model enables viewers to zoom in on careful details that demonstrated the item being fired to become a successful ceramic. Within the gallery, visitors are unable to physically handle most items, so providing a model also those to inspect all sides as well as the inside. Aspects such as weight and material feel are left to prioritize visual detail and depth created by the artist. Functional items such as cups are manmade for everyday use; however, ceramics such as these are meant to demonstrate careful preparation and tradition. This model assists in the preservation of the ceramic while promoting viewers to handle it virtually. Format GLB file Rights This item and its digital surrogates are provided for educational and public humanities use; reuse or redistribution requires permission from the holding institution and the Center for Digital Humanities at the University of Southern Mississippi. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Two's Company Subject The topic of the resource Decorative Arts Description An account of the resource Mark Rigsby’s Two’s Company (2026) consists of two fired ceramic cups displayed on white pillars within USM’s Gallery (only one has been captured in this collection). Initiated in prehistoric years, clay-ceramic making requires patience, attention to detail, and careful handwork because of the following steps: shaping, drying, wood-firing, and glazing. This two-to-four-week process allows visitors to appreciate the effort put into this creation. Rigsby demonstrates major appreciation for functional pots because “it’s an ongoing journey of exploration and discovery”, referring to the progressive tradition ceramic making has taken over civilization as well as his personal experience with creating functional pots. This ceramic cup serves as an item that represents ancientmethods of craftwork. Creator An entity primarily responsible for making the resource Mark Rigsby Source A related resource from which the described resource is derived USM Gallery Date A point or period of time associated with an event in the lifecycle of the resource 2026 Contributor An entity responsible for making contributions to the resource Lead Capture: Bianca Ingraham Assistant Capture: Anjan Poudel Relation A related resource 2000 – present Type The nature or genre of the resource Decorative Artwork Identifier An unambiguous reference to the resource within a given context Public Art Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant USM Campus 2026 Art Ceramic Ceramics Cup Mark Rigsby Modern Stone Stoneware USM USM Gallery https://www.decorativeartsofsouthms.usmcdh.org/files/original/1288a211272017357025f42bb0c1b412.glb 63cf0f8e5f18d88a20bdab2973024208 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Decorative Art 3D Model A digital three-dimensional representation of a cultural heritage object or site, created through photogrammetry, scanning, or drone-based capture. Use this item type for Omeka records whose primary media is a web-ready 3D model, with accompanying descriptive, technical, rights, source, and processing metadata. Creator Center for Digital Humanities, University of Southern Mississippi Contributor Original Artwork: Jen Torres 3D Capture: Emma Fannin Processing and Documentation: Emma Fannin, Braden Starr Project Supervisor: Dr. Courtney Luckhardt Metadata Lead: Emma Fannin Narrative: Emma Fannin Data Management Data available upon request. Date Digitized September 21, 2026 Description Unfortunately, the 3D scan of The Station certainly did not live up to Mrs. Torres’ image for her artwork, as this scan was an absolute failure. Chunks of metal beams, and even the primary podium the statue was displayed on, were completely missing from the scan. The few metal beams PolyCam was able to process are warped beyond recognition, with the vast majority of the sculpture missing in their entirety. The most likely reason for the catastrophic failure of the 3D scan of The Station can most likely be boiled down to two major elements: the small diameter of the metal bars and the lighting in the art gallery. While the statue itself is quite sizable, the interconnecting metal beams creating the sculpture are thin and complex in their shape language. PolyCam simply could not process the small, interwoven bars, leading to many of the bars being rendered by the program as background images, which were subsequently removed from the item scan. Furthermore, the overhead lighting, while beautiful in its ability to cast precise shadows onto the statue and the surrounding area, made the metal beams too shiny for PolyCam to properly process. Historically, PolyCam struggles with processing shiny surfaces, leading to said surfaces being left out in the program’s image stitching process. Format GLB file Rights This item and its digital surrogates are provided for educational and public humanities use; reuse or redistribution requires permission from the holding institution and the Center for Digital Humanities at the University of Southern Mississippi. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Station Subject The topic of the resource Decorative Arts Description An account of the resource Jen Torres created The Station, one of many metal sculptures she has crafted to embody her ideology behind art - to never remain stagnant and leave the audience stumbling rather than simply move on from an artist's work. Torres uses her art to capture “movement”, or the flow of space and the passage of time, illustrated in stagnant artwork. Torres comments that she cannot make her art speak for others, only use her art as an expression of her world view and her own creative imagination. Based on her work on The Station, statements found on her website (jentorres.com), and many other works, Torres has a particular fascination with the movement and action happening in the world. Torres has created several metal sculptures similar to The Station which depict blimp-like objects elevated in the space in which the art piece resides. Additionally, Torres claims her art can “transport others into her work”, which could be a subtle nod to the fact she crafts lots of sculptures depicting said blimp-like objects, which are modes of transportation. The Station in the USM Faculty Art Gallery was put on display using three overhead ceiling lights. The lights, as explained by the museum's curator, were not Torres’ original intention when she envisioned how her work would be displayed, saying she typically displayed her artwork with a single point of illumination. The museum curator insisted the three points of illumination be used, as the lighting still satisfied Torres’ need for her art piece to convey movement while also providing accessibility to onlookers of The Station. As illustrated, Torres had a highly specific way she wished for her art to be experienced, and that passion for artistic image alone is enough to give one pause. For an artist so focused on the flow of movement, her visions for her artwork remained largely stagnant and stable. The paradox between the visions of the artist and the artist herself conveys a sense of curiosity which represents the beating heart of the institution of Southern Mississippi - the ideas of exploration, imagination, and innovation to create something truly wonderful. Creator An entity primarily responsible for making the resource Jen Torres Source A related resource from which the described resource is derived USM Faculty Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource circa 2023 - 2026 Relation A related resource 2000 – present Format The file format, physical medium, or dimensions of the resource A stainless steel sculpture displayed on a white pedestal within an indoor art gallery Type The nature or genre of the resource Decorative Artwork Identifier An unambiguous reference to the resource within a given context Decorative Arts Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant USM Campus Jen Torres Sculpture Stainless Steel USM Gallery