flourishALUMNI WORKS ON PAPER
MASSACHUSETTS COLLEGE OF ART AND DESIGN
CONTENTS
SCOTT ALARIO 2
ELIZABETH ALEXANDER 6
LIZBETH ANDERSON 10
JOHNNY ARGUEDAS 14
KRISTY ASARO 18
BRENTON BARNES 20
CLAIRE BECKETT 24
SUSAN BLATT 28
JEN BRADLEY 32
KELLEY BRANNON 36
CHUCK BROUILLETTE 40
EMILY C. BROZYNA 44
KYLE BRYANT 46
BRUCE CAMPBELL 50
LANA Z CAPLAN 52
CALEB CHARLAND 56
CHRISTINE COLLINS 60
COREY CORCORAN 64
LEAH DE PRIZIO 68
AMY DiPLACIDO 72
JESS T. DUGAN 76
PAT FALCO 78
ALEXANDER FARRELL 80
JEFFREY FICHERA 82
CHRISTIAN FLYNN 84
JESSICA GATH 88
ANIA GILMORE 92
EMILY B. GOODALE 96
HANNAH GOODWIN 100
LUCY H. GROVER 104
KAREN HENDRICKSON-SANTOSPAGO 108
MARY HUGHES 112
LAUREN KALMAN 116
HEIDI KAYSER 120
JOSHUA KEAY 124
ISAIAH KING 126
BARA KIRKPATRICK JICHOVA 130
ROBERT KNIGHT 132
REGINA KOKOSZKA 136
KAY KOPPER 140
ADAM LAMPTON 142
SURENDRA LAWOTI 146
SEBASTIEN LECLERCQ 150
COURTNEY A. LOCKEMER 152
JOHN MAGNIFICO 156
BRYAN MARTELLO 158
JULIE MARTINI 160
LAUREL McMECHAN 164
KEVIN MOROSINI 166
DANA MUELLER 168
BRUCE MYREN 172
ASHLEY NORMAN 174
ZOE PERRY-WOOD 178
GABRIEL PHIPPS 182
ERIC SALINE 184
DANA SALVO 188
STACY A. SCIBELLI 192
JI-EUN SHIM 196
CANDICE SMITH CORBY 200
DAWN SOUTHWORTH 204
TEREZA SWANDA 206
JOHN THOMPSON 208
DYLAN VITONE 210
EILEEN WAGNER 212
1
JUNE 6 – JULY 9, 2011
FLOURISH: ALUMNI WORKS ON PAPER
MASSACHUSETTS COLLEGE OF ART AND DESIGN
BAKALAR GALLERY
Flourish: Alumni Works on Paper, the first juried alumni exhibition to be held at
MassArt, showcases the breadth of talent and excellence embodied by MassArt’s
artists and designers. This exhibition highlights the wide range of work by the
college’s diverse alumni and includes painting, collage, interactive sculpture,
photography, performance, fashion, and graphic design.
The 64 alumni represented in this exhibition are part of the distinguished 138-year
history of MassArt, whose notable alumni include Shelby Lee Adams (’89), Brian
Collins (’82), Robert Cumming (’65), Sam Durant (’86), Christian Marclay (’80),
Richard Phillips (’84), Jack Pierson (’84), Ellen Rothenberg (’78), Glen Seator (’84),
May Stevens (’46), William Wegman (’65) and Jackie Winsor (’65).
With more than 15,000 living across the globe, MassArt alumni can be found in almost
every corner of the art and design world. They are Fulbright scholars, Oscar-winners,
and Guggenheim fellows. MassArt alumni exhibit work in world-renowned museums
and galleries, but they are also the quiet genius behind things we see every day, like
blenders and Windex. They train the artists of tomorrow in elementary and secondary
schools, as well as at colleges and universities across the country. Their contributions
are significant and broad, and we are proud to have the opportunity to exhibit this
small but exciting segment of their work at the college.
MassArt was honored to have Tammy Dayton, Creative Director, Moth Design;
Michelle Lamunière, John R. and Barbara Robinson Family Assistant Curator of
Photography, Harvard Art Museum; and Edward Saywell, Chair of Contemporary Art
and MFA Programs, Museum of Fine Arts to serve as our selection committee.
2
SCOTT ALARIO BFA PHOTOGRAPHY, 2006
“I’m in the midst of building a folk tale for my daughter.
It seems like a paternal inevitability to make up stories
for one’s children, and doing so has become the pas-
sion in my creative practice.
There are two photographs I remember from my child-
hood, that play directly into this recent work. The first
is a studio portrait of my father’s mother, taken when
she was just a little girl, with family by her side. The
picture was made immediately before leaving Italy to
immigrate to the United States. We would call the pho-
tograph the gypsy picture while I was growing up, and
in doing so the image has taken on an epic and magical
role. In the picture, my grandmother stands stoic as an
eight-year-old. Her timeless eyes represent so much
to me. In her face is the face of the ninety-nine-year-
old woman I know now and it’s the face of my daughter.
It’s one of bravery and will, and it fills me with awe.
The second picture that I carry in my mind is a por-
trait of a Sami family, reindeer herders of northern
Scandinavia. It comes from my mother’s mom, whose
Norwegian bloodline is only fictitiously connected to
the Sami. Although I had just imagined being related
to these people, the image hangs in the house like an
offering to our ancestry. I see the face of my late uncle
in the proud, piped and weathered hero of the portrait.
Magic flows out of this image too, and it’s hard for me
to tell if the picture is five hundred years old, or one
that has come to us from the future. Having a child
has got me thinking about the importance of cultural
myths and ideas of ancestral wisdom. In my baby’s
face I can see our connection to the past, as well as
the potential to leave bits of ourselves to posterity.
My partner Marguerite and I have been working to-
gether both as new parents, and on this work inspired
by Elska, and ultimately for her. Ideas for pictures
come through play; dressing in costumes we make, be-
coming characters, going back into nature, erecting
forts, and telling stories. Inspired by those two relic-
like-portraits, and driven by a deep love, the images I
make are a collaboration with all of my family through
time.“
3
Scott Alario Tea Party In Father Fort, archival inkjet print, 20” x 24”, 2010
Courtesy of the artist
4
Scott Alario Oof And Stars, archival inkjet print, 20” x 24”, 2010
Courtesy of the artist
5
Scott Alario Brave Elska, archival inkjet print, 20” x 24”, 2010
Courtesy of the artist
6
ELIZABETH ALEXANDER BFA SCULPTURE, 2004
“I am motivated by discovery, both in my studio as well
as a means to captivate a viewer. As a child I searched
for magic everywhere, believing that soon I too would
be living the life of a fairy princess, finding enchant-
ment at every turn. I have since realized that I am not
destined for royalty but I still feel the need to create
enchanted interventions with the everyday. The famil-
iar standards of objects and space are represented but
manipulated in a way that changes one’s perception
from normalcy to fancy.
I use embellishment as a transformative tool, in the
same way that adornment and artificiality is issued for
all tales of rags to riches. Beauty acts as a veil of sta-
bility and calm over the distress I allude to; pattern,
color, materiality, and texture are used to seduce the
viewer to appreciate something as unappealing as a
flood or destroyed car. I employ decorative arts and
formal aesthetics as vehicles to evoke desire, pros-
perity, and escapism in places typically lacking those
characteristics. The final result is a reinterpretation of
space and material, a blurring of reality, memory, and
imagination.”
www.elizabethalexanderstudio.com
7
Elizabeth Alexander Tool Studies No.1, paper, ink, and graphite, 41” x 41” (total), 2010
Courtesy of the artist
8
Elizabeth Alexander Wing Nut (detail), paper, ink, and graphite, 13” x 13” (frame), 2010
RIGHT: Elizabeth Alexander Hammer (detail), paper, ink, and graphite, 25” x 18” (frame), 2010
Courtesy of the artist
10
LIZBETH ANDERSON
“The form and content of my work lie in an interest in
allegorical representations of the body, particularly
the palpable intersection of its internal and external
worlds.
When I pursued a dual major at MassArt in 1991, I was
told by both the Painting and the Art History depart-
ments that I would ultimately have to choose one dis-
cipline (advice I that I readily understood, but respect-
fully ignored). When I graduated in 1996, I also began
a fifteen year career as a professional tattoo artist. I
went on to earn my MFA in both Painting and Art His-
tory from RISD in 2003- tattooing and teaching my
way through grad school.
I still love all that I do and have found the three dis-
ciplines- painting, teaching art history, and tattooing-
coming together in my studio work in satisfying new
ways year after year. While the balance can indeed
be challenging, I couldn’t imagine living my gloriously
manic life any other way.
I emphasize with my students how the specific ma-
terials of an artwork affect its form and content. Our
bodies and tattoos are just as much a part of modern
American visual culture as anything we see hanging in
museums, in film, via advertising, surfing the internet,
or on television.
I relate in my own work the characteristics and layer-
ing of living skin through the mixed-media collage of
natural beeswax, paint and organic handmade papers.
I reference the complex structure of the human body
through my visual synthesis of alchemy, integumental
anatomy and archetypal tattoo motifs.
www.lizbethanderson.net
I simulate the actual process of tattooing through
incised mark-marking, subtractive printmaking tech-
niques, stitching; and further reference the destruc-
tion and regeneration of tissue which echo the appli-
cation and healing of the daily work I do on my tattoo
clients.
As a metaphor for the body, the rabbit represents pro-
liferation, fertility and luck; yet in moments of moral
cleansing the rabbit symbolizes trickery, lascivious-
ness and vice. These contradictions are particularly
fascinating to me, as we all have our own ways of deal-
ing with the burdens of the body/spirit dichotomy. I
wish to draw from art history and represent in a new
context my own struggle with spirit, materiality and
instinct; ‘high brow vs flow brow art;’ and make visu-
ally provocative work that will speak to the universal
experience of being confined to a big lump of flesh...”
Lizbeth Anderson, New Haven, 2011
BFA ART HISTORY AND PAINTING, 1996
11
Lizabeth Anderson Venus Hunt No. 6, mixed-media on paper (ink, Revlon #730 Valentine), 30” x 18”, 2011
Collection of Martha Sue Anderson
12
Lizabeth Anderson Venus Hunt No. 1 (2nd Edition), silkscreen print, edition of four, 12” x 9”, 2011
Collection of Martha Sue Anderson
13
Lizabeth Anderson Transubstantiate (2nd Edition), silkscreen print, edition of four, 12” x 9”, 2011
Collection of Martha Sue Anderson
14
JOHNNY ARGUEDAS
“My desire to produce meaningful images has resulted
in a crooked and branched path following different
subjects. Towards the end of my time at MassArt I hit
upon a life-long project- to capture urban landscapes
at night with a large format camera. These images are
solitary and engulfed in darkness, owing much of their
moody unease to film noir. By shooting in color I am
creating a modern noir which is both more connected
in the present but with the melancholy of the past. In
addition, I am fascinated by abstracted studies of form,
ranging from cold, impersonal architecture to the or-
ganic shape of wet hair on a shower wall. Most recently
I have begun a portrait project of people that are both
known and unknown. I am a member of an online forum
comprised of local music fans that discuss their daily
lives. I challenged myself to meet these people in per-
son and to attempt to capture a part of them in a short
amount of time, usually where they live or close to
their home. I am fascinated by the connections made
through online interaction, and how the relationship
changes when people finally meet in person.”
BFA PHOTOGRAPHY, 2001
15
Johnny Arguedas Olympic Stadium, Montreal, C-print, 20” x 24”, 2009
Courtesy of the artist
16
Johnny Arguedas Tattoo, gelatin silver print, 16”x 20”, 2010
Courtesy of the artist
17
Johnny Arguedas Ice Box, C-print, 20” x 24”, 2009
Courtesy of the artist
18
KRISTY ASARO
“I love creating vibrant and elegant artwork with my fa-
vorite medium pastels. I often find inspiration in nature
like beautiful flowers or the sunlight making things ra-
diate with life. I recently have been making pastels of
cupcakes! I find swirl of the frosting especially fun to
www.imaginekristy.com
BFA ILLUSTRATION, 2004
draw and they look as absolutely delicious. I was also a
finalist in the recent Blossom II Art of Flowers Compe-
tition. My piece Sunflowers is currently on a two year
traveling exhibit around the country. ”
RIGHT: Kristy Asaro Sunset, pastel, 20”x 26”, 2005
Courtesy of the artist
Kristy Asaro Cherry Cupcakes, pastel, 20” x 26”, 2011
Kristy Asaro Drops, pastel, 14”x 41”, 2010
20
BRENTON BARNES
“Brenton Barnes is an up and coming illustrator cur-
rently living along the border of New Hampshire and
Maine in the city of Portsmouth, New Hampshire. His
work as an illustrator has been lauded for its graphic
novel style and narrative approach.
In all of his pieces he makes telling a story a priority,
whether its about an individual, scene or an event to
inspire a response from viewers. He is always trying
to find new ways to present ideas and meanings in his
work either as stand alone images or as a series.
His recent achievements since graduation have in-
cluded creating the packaging for Rob Potylos latest
album release Something Happened at Horse Lake and
being featured in group shows by both the Exeter Arts
Committee and the Soo Rye Art Gallery in Exeter and
Rye, New Hampshire.”
BFA ILLUSTRATION, 2010
21
Brenton Barnes Something Happened At Horse Lake, ink, digital, 11” x 17”, 2010
Courtesy of the artist
22
Brenton Barnes Robert Potylo’s All Asia Revisited, ink, digital, 11” x 17”, 2010
Courtesy of the artist
23
Brenton Barnes A Girl & Her Honeysuckle, ink, digital, 17” x 11”, 2010
Courtesy of the artist
24
CLAIRE BECKETT MFA PHOTOGRAPHY, 2006
“My studio practice focuses on conceptually driven
large-format photography. I am particularly interested
in photographic representation across the themes of
difference, cultural mimesis and gender. These ideas
are reflected in my current project, Simulating Iraq,
which deals with American military training for the
wars in Iraq and Afghanistan. Although the concepts
I explore in this series are specific to the present po-
litical and cultural climate, the project springs from a
decade-long interest in using photography to engage
critically with the world in which I live. A beautiful or
carefully considered image is never enough. I seek to
create images that are visually compelling but also ex-
plore themes that have personal resonance. Often my
ideas stem from politics and news stories, not so much
for an ideological reason, but because they move me
deeply.
The images in Simulating Iraq are made on military
bases within the U.S., in fabricated environments that
replicate the places where American troops are de-
ployed. These pictures are about how we as Americans
interact with and understand our place in the world.
To me, the places that I photograph take on a kind of
amalgamated identity, not American, not Iraqi, not
Afghani, not Somali, but something entirely different.
While the planners of these facilities may understand
them as replications of specific places say Fallujah,
Iraq or Helmond Provence, AfghanistanI understand
them as spaces of their own. The setting depicted here
is that of the Other, of the non-White, non-Western,
non-Christian, non-Democratic. It is the place of ter-
rorists and bad guys of all stripes, a place in need of
order, of discipline, of salvation.
Among the photographs are images of pseudo-Islamic
architecture, sweeping desert vistas evoking unknown
adventure, and portraits of those pretending to be vil-
lagers in an occupied land or terrorists at war against
the Americans. There are American soldiers and Ma-
rines, combat veterans who now play the roles of the
very jihadis that they previously battled in real life. In
RIGHT: Claire Beckett Army Specialist Gary Louis Sims, archival inkjet print, 40” x 30”, 2009
Courtesy of Carroll & Sons Gallery
other pictures, immigrants from Afghanistan, some
who have fled to the U.S. as refugees, now role-play
as themselves, or rather as surreal versions of their
former selves. I am interested in understanding the
experience of the people who spend time here. What
does it feel like for a young soldier to have their first
encounter with profound cultural difference in this en-
vironment? What is the experience of a refugee, or of
a veteran suffering from PTSD, when reenacting the
context of their real life trauma? Although these spac-
es are meant as imitations of reality, what exists here
is significant in its own right.
My interest in themes of military training and warfare
began in 2004. I was originally drawn to this subject
shortly after returning from Benin, West Africa, where
I worked as a Peace Corps Volunteer. My series In
Training (2004-2007), dealing with young soldiers
from the time of enlistment to deployment, was mo-
tivated in part by a need to understand my homeland.
Having lived in Benin for 18 months I felt strange and
unfamiliar returning to my own culture, and the war
contributed significantly to my sense of unease. I was
troubled by the war and felt compelled to create a
body of work about it. Focusing on young soldiers go-
ing through Basic Training, the photographs from In
Training deal with the youth and vulnerability of the
individuals involved and the anticipation of the war
ahead.”
www.clairebeckett.com
26
Claire Beckett Marine Lance Corporal Nicole Camala Veen Playing The Role Of An Iraqi Nurse, archival inkjet print, 40” x 30”, 2008
Courtesy of Carroll & Sons Gallery
27
Claire Beckett Jabal Village Mosque, National Training Center, Fort Irwin, CA 2008
Courtesy of Carroll & Sons Gallery
28
SUSAN BLATT BFA PAINTING, 2006
“Drawing is an important part of my practice. I enforce
a rule of making a mark and keeping it, unlike in my
painting which is in constant play. In this way, each
decision forces the next until a pattern emerges or the
suggestion of a place as I make seemingly random but
purposeful connections.
My work represents an observed but reimagined
landscape where the underlying structure of nature
has been rearranged to create a place in motion. The
shapes and forms, some built mark by mark, are an-
chors to an expansive or compressed spatial plane
that extends space beyond the surface. The color, in
addition to the line and gesture that reference Chinese
ink painting, act as the picture’s activating force.”
29
Susan Blatt Untitled, graphite and watercolor on paper, 22” x 30”, 2009
Courtesy of the artist
30
Susan Blatt Seemingly Random But Purposeful Connections 1, 41” x 30”, 2011
Courtesy of the artist
31
Susan Blatt Seemingly Random But Purposeful Connections 2, acrylic and ink on paper, 41” x 30”, 2011
Courtesy of the artist
32
JEN BRADLEY BFA PAINTING, 1995
“My work is driven by my interest in animal behavior
and evolution. In particular I am fascinated with the in-
ner lives of higher primates, primarily gorillas, and how
they relate to our own species. In order to observe go-
rilla behavior, in 1995 I began a drawing project at the
Franklin Park Zoo in Dorchester, Massachusetts. On
average, I spend two days a month drawing the troop
of Western Lowland Gorillas at the zoo. I call this ongo-
ing study The Ape Drawing Project.
Through my repeated visits to the zoo I have become
sensitive to specific themes that are now embedded in
my work. These include primates in captivity, their spe-
cial habitats and the design of exhibit spaces, the pub-
lics role in the zoo system beyond species preserva-
tion, and the concept of observation as entertainment.
Portraits, Prophets, Friends
In 1999, I stared to make paintings and monotypes
about the gorillas by using the drawings I created at
the zoo. In order to create different surfaces I often
layer different combinations of oil paint, powdered pig-
ment, charcoal, plaster, encaustic, transparent glazes
and screen-printing. The work in this series range in
size from 5”x 5” to 56”x 72”.
Gorillas in the Toile
In 2006, this body of work emerged on the theme of
Civilization vs. Savagery when I introduced the ele-
ment of traditional toile fabric wallpaper patterns into
the gorilla paintings. Toile is a repeating motif that
often tells the story of refined rural life, images of
historical events and pastoral scenes that came into
vogue in France and England in the mid 1700s.
RIGHT: Jen Bradley Gorilla In The Toile, charcoal pencil on paper, 22” x 18”, 2007
Courtesy of the artist
www.jenbradleyportfolio.com
By inserting the gorillas into these scenes, my inten-
tion is to create an original toile that examines the
ideas of civilization with its self-conscious attention
to class, society and aesthetics; and the animal world
with its presumed freedom from such constrictions. I
have created my toile as drawings on paper, onsite in-
stallations in conjunction with exhibitions, and as indi-
vidual works on panel.
Gorilla My Dreams
In 2007, I began a series of oil paintings using the cov-
ers and pages of adult entertainment magazines. This
recent work presents the allegorical significance of my
ongoing obsession with primates. Paintings are 11”x 8”.
At present there are 60 paintings in this series.
Ape Drawing Project view blog at:
http://jenbradleygorillas.blogspot.com/
View Documentary about Jen drawing at the zoo, by
Justin Freed on YouTube at:
http://www.youtube.com/watch?v=Ev1HwlsL7TA ”
34
Jen Bradley The Bacchante, mixed media on paper, 8” x 16”, 2010
Courtesy of the artist
35
Jen Bradley At The Opera, mixed media on paper, 8” x 12”, 2010
Courtesy of the artist
36
KELLEY BRANNON BFA STUDIO FOR INTERRELATED MEDIA, 2010
“My work is influenced by my dedication to use a variety
of art forms to increase individual and social aware-
ness. Currently, I am working on a video documentary
about the social and cultural consequences of growing
technologies with an emphasis on social media. The
images I am submitting here are part of a new series
called The Carbon Footprint which interprets this con-
versation in abstract form.
The prints are made by absorbing burned wax and
smoke, usually from a candle, onto paper. I create
the images to resemble organic forms in order to of-
fer my perspective on the juxtaposition of natural and
artificial; a conversation that is becoming increasingly
more relevant as we enter the new technological world.
The social and environmental side affects of technolo-
gy are enormous. A personal computer puts out 1,000
pounds of carbon dioxide each year, which makes the
computer far less environmentally friendly than adver-
tised. New technologies, specifically social media, are
re-appropriating a natural reality, my Carbon Footprint
series responds to this re-appropriation by engaging
the audience with interesting and confusing imagery.
At first glance one of the images may look beautiful
and poetic while a second glance may make the im-
age appear dark and foreboding. It is my intention that
this confusion will urge the viewer to second guess the
immediate.”
www.vimeo.com/kelleybrannon
37
Kelley Brannon Carbon Footprint: Image 3, wax, smoke, paper, 4.5” x 8.5”, 2011
Courtesy of the artist
38
Kelley Brannon Carbon Footprint: Image 1, wax, smoke, paper, 16” x 20”, 2011
Courtesy of the artist
39
Kelley Brannon Carbon Footprint: Image 2, wax, smoke, paper, 16” x 20”, 2011
Courtesy of the artist
40
CHUCK BROUILLETTE BFA ILLUSTRATION, 1988
“This series of digital illustrations envisions the con-
cept of the traditional, super-powered comic book
character as a film celebrity. As comics and film are
two of the most similar art forms in the sense that a
viewer takes in the art by viewing panels/film frames.
These pieces suppose that comic action is all ‘cast and
performed.’ And the players, have their own promo-
tional photos. The glamour aspect is a nod to classic
Hollywood films, which are a great inspiration to my
art. And the alternate reality of 2D fictional charac-
ters stepping into the 3rd dimension as living/breath-
ing, fame-seeking beings, lends itself perfectly to to a
typical, fantastical comic book story!”
Chuck Brouillette Speedster in Profile, digital illustration/collage on paper, 17’’ x 11’’, 2005
Courtesy of the artist
42
Chuck Brouillette Lightning Noir, digital illustration/collage on paper, 17’’ x 11’’, 2008
Courtesy of the artist
43
Chuck Brouillette Comet Smoulders, digital illustration/collage on paper, 17’’ x 11’’, 2005
Courtesy of the artist
44
EMILY C. BROZYNA
“Upon considering ones familial relations, it is essential
to examine the genetic gifts one has been bestowed
with. Bones are the main manufacturers of blood with-
in the human body, and within ones blood lies the map-
ping of familial traits. In Vertebral Familial Inheritance,
each vertebral machine has been labeled with the
Emily C. Brozyna Thoracic Genetic Products, graphite, 26” x 40”, 2010
Courtesy of the artist
distinct characteristic that each of my own relatives
has passed into my being. Thoracic Genetic Products
examines the traits that I have an understanding my
personality harbors, whether deriving from a verte-
bral product or procuring solely from within myself.”
www.emilybrozyna.com
BFA ART EDUCATION, 2009
45
Emily C. Brozyna Vertebral Familial Inheritance, graphite, 26” x 40”, 2010
Courtesy of the artist
46
KYLE BRYANT BFA PRINTMAKING, 2008
“My work depicts a city that is growing at a rapid and
uncontrollable rate. This city is a metaphor for my psy-
chological space. It is full of potential yet intimidating
enough to make one hesitate before crossing its harsh
borders. Through my real world border crossings I
have compiled stories and memories that I carry with
me into my understanding of the world. This world has
come together through struggles to grasp the lessons
of the past, while working toward clarity and order in
the future. In continuously traveling through my psy-
chological space, I hope to find answers in the present
through the creation of a new and exciting world.”
47
Kyle Bryant You Can’t Say That In This City, woodblock print with dry point and chine colle, 30” x 40”, 2011
Courtesy of A Fine Thing: Edward T. Pollack Fine Arts
48
Kyle Bryant Escapist, woodblock print, 24” x 18”, 2011
Courtesy of A Fine Thing: Edward T. Pollack Fine Arts
49
Kyle Bryant Faith In Crossing, woodblock print, 24” x 18”, 2011
Courtesy of A Fine Thing: Edward T. Pollack Fine Arts
50
BRUCE CAMPBELL MFA SCULPTURE, 2005
“Much like my recent sculptural work, the Directional
Drawing series of compositions couples brief, absurd
phrases with harmonizing forms. The enlarged texts
that are slightly disturbed by the papers cut pattern,
direct the viewer to perform some in-actionable proce-
dure. Blackened or whitened out patterns are derived
Bruce Campbell Directional Drawing (After C.T.), graphite on cut paper on panel, 36” x 35.5”, 2010
Courtesy of the artist
from well-known contemporary masters compositions.
Each art historical reference is carefully considered
in relation to the content of the language that inter-
mingles with the altered and simplified compositions.
Both text and pattern point a viewers body and mind
in new directions.”
51
Bruce Campbell Directional Drawing (After J.B After F.S.), graphite on cut paper on panel, 43.125” x 65”, 2008
Courtesy of the artist
Bruce Campbell Directional Drawing (AFter J.J.), graphite on cut paper on panel, 21” x 18.75” each, 2009
52
LANA Z CAPLAN MFA PHOTOGRAPHY, 2006
www.lanazcaplan.com
“Sites of Public Exectution is an ongoing series for
which I have been researching, photographing and
making short films of sites that had been used for pub-
lic executions at different times in history. When I be-
gan this project in 2001, there was a group of people
petitioning for Timothy McVeigh’s execution to be tele-
vised, the modern form of a public arena. It occurred
to me that this desire to watch people being killed, as
perceived justice, is still alive in America and the Mid-
dle East, where the death penalty still exists. I wanted
to compare what I was finding here with countries that
have changed their laws, to see what happened as pol-
icy and the function of a public place changed, and to
discover what it held of its history. Some of the places
used for executions became sites with veneration to
the executed, such at Campo de’Fiori in Rome with the
statue of Giordano Bruno or the town of Salem, MA
where the accused witches were hung. Some sites are
now well known for other reasons, such as the Louvre,
in front of which the guillotine was installed during the
French Revolution. It appears that the way in which the
history of the place has been remembered by those
who create the public image of a city (either capital-
izing on the executions or covering them up with other
events that occured in these places) seemed to say
more to me about present day morality and values in
each country than the abolishment or continuation of
capital punishment.
The photographs in this series are sepia-toned silver
prints presented in french mats. This presentation is
a reference to historical photographs and cataloguing
of images made for documentation purposes. Each of
the mats have calligraphic titles describing the dates
and types of executions that occurred on that site,
rather than the name and place pictured, as is custom-
ary. By subverting the viewers expectations of what
they will find written, I hope to make them question
what they thought they knew of these places.
In the future, I would like to visit some of countries
that are still performing public executions and shed
light on some of these current atrocities, such as the
13-year old rape victim was publicly stoned to death
for adultery after the rape in Somalia in October of
2008 or the ongoing beheadings of foreign journal-
ists and contractors in Iraq, or the public executions
of women in Iran and Saudi Arabia for trying to gain
human rights for women.
With these images, I hope that viewers will consider
the role we play in creating our society’s legacy and
future.”
53
Lana Caplan Site of Public Execution By Burning at the Stake..., sepia-tonedsilver gelatin print infrench mat, 20” x 21”, 2008
Courtesy of Gallery Naga
54
Lana Caplan Site of Public Executions by Guillotine, 1792-1793, sepia-tonedsilver gelatin print in French mat, 20” x 21”, 2007
Courtesy of Gallery Naga
55
Lana Caplan Site of Sentencing and Public Executions By..., sepia-tonedsilver gelatin print in French mat, 20” x 21”, 2007
Courtesy of Gallery Naga
56
CALEB CHARLAND BFA PHOTOGRAPHY, 2004
“The artwork I create combines my scientific curios-
ity with a constructive approach to making pictures.
I utilize everyday objects and fundamental forces to
illustrate experiences of wonder. Each photograph be-
gins with a simple question: How would this look? Is
that possible? What would happen if...? and develops
through a sculptural process of experimentation. As I
explore the domestic space, from the basement to the
backyard, I find ways to exploit the mysterious quali-
ties of these everyday objects and familiar materials.
Wonder is a state of mind somewhere between knowl-
edge and uncertainty. It is the basis of my practice and
results in images that are simultaneously familiar and
strange. Much of this work pursues temporal phenom-
ena through traces of gestures and actions. The hu-
man presence provides a clue to the creation of the
photograph while adding to the mysterious nature of
the image. Photography serves my practice well as a
means to experience this activity in a single moment,
or to combine several different moments into a single
experience.“
All images are created in camera, no content is added
digitally.
57
Caleb Charland Attempting To Paddle Straight At The Moon, archival pigment print, 24” x 30”, 2010
Courtesy of the artist
58
Caleb Charland Lightsphere With My Right Arm And Cigarette Lighter, archival pigment print, 30” x 24”, 2009
Courtesy of the artist
59
Caleb Charland Reflection In A Snow Storm, archival pigment print, 30” x 24”, 2011
Courtesy of the artist
60
CHRISTINE COLLINS MFA PHOTOGRAPHY, 2005
www.christinemcollins.com
“My pictures have always swirled around my own story
from varying distances. I am interested in the weaving
together of personal experience and fictional possibili-
ties. It has been a means of reckoning with my own his-
tory, while imagining others.
Recently, my interests and my photographs have ex-
tended beyond the boundaries of my immediate sur-
roundings. I have been thinking about how the sus-
tainable food movement has helped to change our
relationship to the landscape. Local farms have be-
come temples to this movement. These romanticized
patches of land become backdrops for fantasies about
our participation in the landscape. Vegetables pro-
cured from Community Supported Agriculture groups
enjoy a privileged status and suggest a better life
through food. By photographing the farms and the
crops, I am referencing the art historical impulse to
use food as allegory, and a more contemporary rela-
tionship to the natural world.
My new, in-progress series The Keepers looks at people
who are keeping bee hives in suburban areas. This re-
cent phenomenon speaks to our desire to hold nature
in the face of an increasingly disconnected culture. I
see these people as facilitators, and I think about how
the small action of placing a hive in a backyard has
broad implications about our interconnectedness with
nature. There is a kind of magic in the process of bee-
keeping. I am making pictures that suggest ceremony,
ritual, and mystery of survival.”
61
Christine Collins Turnips (after Cotan), digital c-print, 20” x 24”, 2008
Courtesy of Jen Bekman Gallery, New York, NY
62
Christine Collins Untitled (from “The Keepers”), digital c-print, 24” x 20”, 2010
Courtesy of Jen Bekman Gallery, New York, NY
63
Christine Collins Untitled (from “The Keepers”), digital c-print, 20” x 24”, 2010
Courtesy of Jen Bekman Gallery, New York, NY
64
COREY CORCORAN BFA PAINTING, 2007
“Drawing upon everything from science fiction to
houseplants to Honey, I Shrunk the Kids, I consider my
recent body of work as visual ecosystems on the verge
of collapse. Half-dead bodies fill transitory spaces that
ooze with decay. The figures are both gods of destruc-
tion and biological fodder for new growth. Texture, col-
or and pattern become the primordial soup from which
notions of progress or devolution are born.“
65
Corey Corcoran Food For Thought, gouache, acrylic, clay, ink, pencil, 11” x 17”, 2010
Courtesy of the artist
66
Corey Corcoran Wound Lick, gouache, acrylic, clay, ink, pencil, 17” x 11”, 2010
Courtesy of the artist
67
Corey Corcoran Flotsam, gouache, acrylic, clay, ink, pencil, 17” x 11”, 2010
Courtesy of the artist
68
LEAH DE PRIZIO BFA PAINTING, 1963
“Inspired by a majestic beech tree that shaded the
backyard of my childhood home, my woodblock prints
and papier-mache sculptures take their themes from
an arboreal world. The paradox of wood excites me.
Seen from the exterior, its dense, heavy qualities be-
lie its interior, where a watery, evanescent realm lies
hidden. I am mesmerized by the grain of wood and be-
come absorbed in this fluid landscape.
Using my intuition on basic materials such as news-
papers, wheat paste, plywood, printer’s ink, and ges-
so, I enjoy the messy physicality of printmaking and
the building up of sculptural shapes of paper. Like life,
newspaper is earthy, fragile, and temporal. The mate-
rials encourage play, and the process takes me to an
unknown place. Work becomes ritual. It is repetitious,
gestural and rhythmic.
As a first generation American of Lithuanian-Italian
origin, I feel more global than local. Travel to Mos-
cow, Uzbekistan, Tashkent, Samarkand, Bukhara, and
China has given me valuable insights into other cul-
tures. Molded from the texts of world newspapers, a
variety of human faces blossom on the branches of my
sculptures.
With the 1999 spheric environment entitled Global
Dance, and the 2002 installation, Global Grove, I cel-
ebrated the interconnectedness of individuals, diverse
cultures, and the natural world. The 2006 St. Botolph
Club exhibit ‘Lignum Vitae’ exemplified this idea as
well.
Over time, using various media and. more recently,
wood, paper, and words, I have continued to explore
the related ways in which human and natural physiog-
nomies express themselves.”
RIGHT: Leah De Prizio Arbor Vitae, papier mache woodblock print, acrylic, 58” x 24” x 15”, 2005
Courtesy of the artist
69
70
Leah De Prizio Lignum Vitae III, papier mache woodblock print, acrylic, 54” x 13” x 11”, 2011
Courtesy of the artist
71
Leah De Prizio Lignum Vitae I, papier mache woodblock print, acrylic, 68” x 12” x 12”, 2006
Courtesy of the artist
72
AMY DiPLACIDO BFA FIBERS, 2007
“I am inspired by coincidental juxtapositions, and the
breakdown of language and colloquialisms.
My work offers a visual rebuttal to our landscape by
compartmentalizing natural and man made arrange-
ments. The text in my drawing, which differs from the
title of the work, is hyper diaristic, yet my personal
musings note a universal tone. My drawings reference
warp threads in weaving through a repeated, verti-
cal line. In addition, I use a resist method to create
text, similar to batik dye methods; both pay homage
to my artistic training in fiber art. It is my hope to of-
fer a ‘platform’ for language while providing humorous
commentary.”
73
Amy DiPlacido On The Horizon, ink on paper, 11” x 17”, 2009
Courtesy of the artist
74
Amy DiPlacido Advertise, ink on paper, 11” x 17”, 2009
Courtesy of the artist
75
Amy DiPlacido The Words, ink on paper, 11” x 17”, 2009
Courtesy of the artist
76
JESS T. DUGAN BFA PHOTOGRAPHY, 2007
“A place so as to stay is about people and the ways in
which they relate to, and are defined by, their environ-
ment. At its core, this work is an exploration of iden-
tity and how we come to realize, define, and eventually
share who we are with others. By examining the ways
that people construct, inhabit, and enjoy spaces, ob-
jects, and relationships, I am exploring a larger theme
of how we each carefully define our existence in the
world.”
Jess T. Dugan Amiee In Her Piercing Shop, Provincetown, MA, silver gelatin print, 20” x 48”, 2010
Courtesy of Gallery Kayafas
www.jessdugan.com
77
Jess T. Dugan Dad With His Shotgun, Little Rock, AR, silver gelatin print, 20” x 48”, 2009
Jess T. Dugan Judy, Collections Manager, Mammals, Cambridge, MA, silver gelatin print, 20” x 48”, 2010
(Triptych made from three 20” x 16” silver gelatin prints)
Courtesy of Gallery Kayafas
78
PAT FALCO BFA ILLUSTRATION AND ART HISTORY, 2010
“My art is primarily based around portraiture, typogra-
phy, and humor. I like to make work that is accessible
and will make people laugh or cry or think a little bit. I
am influenced by interactions between people I know,
see, or read about. I have been named Best Artist in
the World by Mother 7 of the past 10 years.”
Pat Falco Clark Gable, pen, paper, 9” x 9”, 2011
Courtesy of the artist
79
Pat Falco The Matador, pen, paper, 8” x 8”, 2011
Courtesy of the artist
80
ALEXANDER FARRELL BFA ARCHITECTURE, 2008
“As an abstract artist, I rely greatly on a material’s
ability to resonate and connect. To make something
abstract accessible or more human, then a path must
be formed to link the viewer and the art; materials and
objects are that link. When asked to describe my work,
materiality is a word I often use. It is the process/phi-
losophy I apply to my paintings and sculptures in which
the material itself is the starting point for artistic ex-
ploration. I rarely have a final product in my head be-
fore I begin working but allow room for expansion and
contraction, letting forms and ideas evolve.
Starting with a material, in this case paper, I begin
to play: adding, subtracting, crunching, tearing etc;
learning its properties. This specific sculptural instal-
lation consists of two opposing materials: tracing pa-
per and large steel bolts. Each bolt is threaded though
a pillow of tracing paper creating a module, each with a
unique surface. I was surprised at the tenderness and
the resilience that these paper pillows evoked. These
components became more like individuals to me and
were strengthened when I grouped them together and
soon reached critical mass. Like a brick or a living cell,
they are versatile building blocks that can create mul-
titudes of forms. They can be huddled in a corner, di-
vided into groups or demand everybody’s attention in
the center of a room.”
RIGHT: Alexander Farrell Soft Gathering, tracing paper and steel bolts, 4’ x 5’, 2011
Courtesy of the artist
81
Jess T. Dugan Dad with his shotgun, Little Rock, AR, silver gelatin print, 20” x 48”, 2009
Jess T. Dugan Judy, Collections Manager, Mammals, Cambridge, MA, silver gelatin print, 20” x 48”, 2010
Triptych made from three 20” x 16” silver gelatin prints
82
JEFFREY FICHERA BFA PAINTING, 2000
“My paintings are all done on-site, from direct, pro-
tracted observation of the subject. I don’t paint from
photographs or from memory; the truths I want to
record can only be found in the actual experience of
light existing in space and reflecting off forms. And by
truth, I don’t mean any sort of objective truth about
the way things are, because such a thing is impossible.
All observations are subjective. When confronted by
a human consciousness, reality is utterly transformed
into personal terms – objects become metaphors, col-
ors suggest moods, spaces contain memories, tex-
tures imply movement. And so the painting is not the
record of the place, but the record of the artist seeing.”
RIGHT: Jeffrey Fichera Foil, pencil on bristol, 12” x 16”, 2009
Courtesy of the artist
83
84
CHRISTIAN FLYNN BFA PAINTING, 2005
“The central interest of my work of the last two years
has been the intersection between the simulated
space of the computer screen and the illusionistic
space of the painted picture plane. Just a few years
ago I was primarily interested in the visual environ-
ment that the studio provided as a site for production,
as I wanted my work to reflect the material environ-
ment in which it was made. When I began graduate
studies in painting, it was noted that my investigation
of perspectival space corresponded to the rendering
language of CAD programs, and it was suggested that
I learn some applications that would help me elaborate
my engagement with interior space. As I began model-
ling the space around me, I found the virtualization of
space and image to be a more seductive mode for cre-
ative production than an observational mode, and my
interest in the quotidian subjectivity of my own stu-
dio space/work waned. I became more interested in
the conditions of picturing and representation – of the
thing representing itself to itself, a subject elaborated
in Victor Stoichita’s remarkable book The Self-Aware
Image.
The pseudo-tactility of the graphic user interface – its
drop shadows, sliding bars, gradient sweeps, etc. – has
been an ongoing source of visual inspiration for me. It
would be easy enough for us as consumers to reject
the simulated space of the screen; I believe we don’t
because there is something “essentially” pleasurable
and perplexing about simulation. It is common nowa-
days when visiting a gallery or attending a critique to
observe that the audience is as engaged- if not more
engaged- with their mobile devices as they are with
the work on view. Ultimately, I see my work as neither
a critique nor a celebration of the dematerialization
and alienation effectuated by the spread of virtual
space, but rather as a reflection.”
RIGHT: Christian Flynn Monitor (B), silkscreen ink on archival inkjet print, 23” x 18”, 2011
Courtesy of the artist
www.christianflynn.com
85
86
Christian Flynn Macbook Pro, etching on somerset white paper, 10” x 11”, 2011
Courtesy of the artist
87
Christian Flynn Mise-En-Abyme, etching with chine colle on somerset gray paper, 14” x 16”, 2011
Courtesy of the artist
88
JESSICA GATH MFA STUDIO FOR INTERRELATED MEDIA, 2006
www.jessicagath.org
“This artwork is for everyone.”
89
Jessica Gath [For You, Beautiful], typing on paper, 4.5” x 6.5”, 2010
Courtesy of the artist
90
Jessica Gath [The World Famous Secretary, instructions], mono color poster, 20” x 24”, 2010
Courtesy of the artist
91
Jessica Gath [The World Famous Secretary trifold forms], typing on paper, 8.5” x 11” (front and back views), 2010
Courtesy of the artist
92
ANIA GILMORE BFA GRAPHIC DESIGN, 2008
“Some time ago I found Agnes Martin’s book and there
I read, ‘An Artist is the one who can fail and fail and
still go on.’ It was a great inspiration for me and I real-
ized that art is a process that once started can never
be finished, all these words encourage and reaffirm my
creative journey. While studying design and printmak-
ing I discovered a great passion for book arts.
In my work I explore the book itself, the boundaries
between the form and the content. As an immigrant
I am infused with inspiration resident in my roots and
history. I am interested in the continuous growing dia-
logue of identity and multiculturalism that is a main
element and issue in our society. I arrive at some im-
ages by chance and I am motivated by those that come
through experimentation; especially enjoying the con-
nection between chaos and order.”
www.aniaartstudio.com
Ania Gilmore Ci Cz, waxed pages, foreign text, gold paint, pen, string, 7.5” x 10” x 1” (15.75” x 10” open), 2010
Courtesy of the artist
93
94
Ania Gilmore Cause To Collide, flag book letterpress, canvas, paste paper, ink , 3.5” x 3.5” (45” long open), 2009
Courtesy of the artist
95
Ania Gilmore Library Of Alexandria, altered book, rolled, burned pages, wax, shellac, 5” x 7.5” x 2”, 2009
Courtesy of the artist
96
EMILY B. GOODALE BFA ILLUSTRATION, 2005
“What truly inspires my work is the printmaking pro-
cess. Every image is conceived with a process in mind,
a process that leaves much room for mistakes, play
and unpredictable results. I feel that my illustrations
are at their best through the method of dry point etch-
ing. It allows me to focus on detail where necessary
and at the same time be loose, and to simply allow
things happen without correction.
I recently moved back to the city after spending a year
in the country. I’ve noticed a shift in my subject matter
toward landscapes and animals since that time, where
as I had previously thrived on human portraiture. Yet
with any subject matter, the foundation of my imag-
ery is based in a detail. Whether it be the pattern on a
shirt, a glint in the eye of an untamed animal, or the
minute pattern on a leaf. For me, an image starts with
a detail, a single point for which everything around it
exists.
My passion for printmaking extends into the world of
bookmaking as well. For the past two years I have
been running a small press, where I design, print and
illustrate all the books for cooperating authors. The
book as an object is an idea that I feel very strong-
ly about. It is something to be held, opened, turned
around, and admired. I find the same concept of detail
to be just as relevant for my books. The details be-
come the way an image lays on a page, or the spacing
of type, or the craft in which the book is constructed.
The desire to touch is what I strive for in all my book-
making endeavors.”
www.ebgoodale.com
97
Emily B. Goodale The Brave Men Press Coin Library, letterpress, drypoint etching, bookmaking, 3.5” x 5” x 1”, 2011
Courtesy of the artist
98
Emily B. Goodale The Gift, drypoint etching, goauche, 9.75” x 10”, 2011
Courtesy of the artist
99
Emily B. Goodale Talking Horse, drypoint etching, 9” x 12”, 2010
Courtesy of the artist
100
HANNAH GOODWIN MFA 2D, 1989
“I have been creating works on paper for years. I love
drawing with a wide range of materials. For the last
several years I have been drawing primarily with ink on
rice paper. I use bamboo pens, which I dip in permanent
ink. It is a process of no return, no erasures and no
cover-ups. I have found this process of having to move
forward with the work, no matter what happens, both
challenging and calming. I love the range of marks and
lines that the bamboo pens and ink combined with the
texture and thinness of the paper create.
Nests and nest-like structures are central in these
pieces, which I see as commentaries on aspects of day
to day life and concerns. I have long been intrigued
by the importance of what seem to be small moments
or ideas, but have the possibility of a bigger presence
and influence than one might initially think.”
101
Hannah Goodwin Built On A Wish, ink on rice paper, 28” x 28”, 2011
Courtesy of the artist
102
Hannah Goodwin Mi Casa Es Tu Casa, ink on rice paper, 28” x 28”, 2011
Courtesy of the artist
103
Hannah Goodwin Between A Rock And A Hard Place, ink on rice paper, 28” x 28”, 2011
Courtesy of the artist
104
LUCY H. GROVER MS ART EDUCATION, 2007
www.lucygrover.com
“I’ve arranged paper boxes into groupings that I bind
with tape and paint. A lot of the repetitive purchases I
make come in cardboard boxes and over a short time
add up to a lot of stuff. If I let the packages accumu-
late, I naturally want to start to organize them. So the
cardboard boxes do not leave the house as recycling,
but instead they are delayed and reconfigured. I com-
bine these packages - the fact that they are already in
existence is good - and then they seem almost chemi-
cally altered. The new form is made up of many differ-
ent parts and, as in a chemical reaction, releases new
energy. They have a nice duality of solid-looking rect-
angular forms that are almost weightless. The solid
volumes both displace and are filled with air and this
sharp contradiction interests me as an artist.
Since graduation I have painted quite a lot and received
an artist fellowship at Skidmore College where I was
able to completely immerse myself in my practice. A
stint at Teachers Institute in Contemporary Art at the
Art Institute of Chicago was a major influence since
graduation that led me to a more wonderful connec-
tion between artmaking and teaching high school art
students. Over the most recent few years I have been
building with these boxes between paintings, as a way
to keep working, almost like a cooldown phase after an
intense working period. It started to seem like a really
interesting idea and evolved into a more primary role
in my work. It was a big decision which type of work to
enter for this alumni show. I chose the box sculptures
because I enjoy the way they combine my painting and
drawing practices with a new form. I also enjoy them
because I am not acquiring additional new products to
make work, but rather reconfiguring basic stuff that is
already here.”
105
Lucy H. Grover Triangular Green Tape Stack, cardboard boxes, acrylic paint, tape, 10” x 8” x 9”, 2009
Courtesy of the artist
106
Lucy H. Grover Blue And White Stack, cardboard boxes, acrylic paint, tape, 26” x 14” x 9”, 2011
Courtesy of the artist
107
Lucy H. Grover Pale Turbine, cardboard boxes, acrylic paint, tape, 20” x 8” x 5”, 2010
Courtesy of the artist
108
KAREN HENDRICKSON-SANTOSPAGO BFA FIBERS, 1999
“I am drawn to the expressiveness of the dashed line
that stitching creates - - - a dashed line is tentative,
permeable, ephemeral. The minimal color pallet and
layout of the works emphasizes the character of the
lines as they interact with the circular forms on the
paper. I imagine these forms moving along in space
along the trajectory of the line...
I enjoy juxtaposing old and new materials: the new
crisp cotton fiber paper and reclaimed ephemera (old
maps, books, money, etc...). Blending antique and new
in this way imparts a modern aesthetic to the pieces...
My works about planets and solar systems are greatly
inspired by the news headlines concerning findings of
new planets and solar systems, reclassified planets in
our own solar system, and the exploration of space in
general. I find it staggering that we (humans) manage
to balance the micro world and macro world. This work
attempts to visualize the macro world and put it on a
human scale.”
109
Karen Hendrickson-Santospago (Solar System Series) Jupiter And 63 Moons, collage: paper, cotton thread, stock certificates, 11” x 15”, 2010
Courtesy of the artist
110
Karen Hendrickson-Santospago (Solar System Series) Neptune and 13 Moons, collage: paper, cotton thread, vintage maps, 11” x 15”, 2010
Courtesy of the artist
111
Karen Hendrickson-Santospago (Keplar Series) 1235 Planets/6 Possibilities, collage: paper, cotton thread, vintage maps, 22” x 30”, 2011
Courtesy of the artist
112
MARY HUGHES MFA PAINTING, 1995
“In this body of work, Hughes explores the concepts of
mapping, mark making and the passage of time. Her
drawings and paintings are built upon meandering
lines formed in reaction to previous layers, recalling
contour maps, topographical lines and nautical charts.
The organic forms reference the landscape while also
referencing abstract patterning mark-making as an
act of confirmation. Some environments appear self-
contained while others seem part of a larger universe.
Simultaneously, the maps represent the passage of
time and the wanderings of the mind.
Currently the Curator of Visual Resources for the De-
partment of Art + Design at Northeastern University,
Hughes has exhibited in solo and group shows at the
Copley Society of Art, South Shore Art Center, the St.
Botolph Club, and various exhibition spaces throughout
New England. She has been awarded several awards
and fellowships, including the Fulbright Scholarship
and the Anderson Ranch Residency. Hughes’ studio is
located in the historic Fenway Studios in Boston, MA.”
113
Mary Hughes Contour Map, color pencil on paper, 40” x 52”, 2010
Courtesy of Copley Society of Art
114
115
LEFT: Mary Hughes Untitled (Topograpy Series No.2), color pencil on black paper, 30” x 22”, 2010
Courtesy of Copley Society of Art
Mary Hughes Topography Series No. 11, color pencil on black paper, 30” x 44”, 2010
116
LAUREN KALMAN BFA METALS, 2002
“My work pulls from discourses dealing with the imaged
body, consumer culture, body aesthetics, and illness.
Through the production of jewelry objects, photogra-
phy, video, sculpture and performance, my projects vi-
sually link these divergent discourses.
My current work replicates and transforms illness
and trauma through performance, video, objects and
photography. Diseases like acne, cancer, herpes, and
elephantiasis or physical trauma like amputation and
facial reconstruction surgery are presented as jeweled
infections, fabric growths, or wearable instruments.
They are hybridizations of the grotesque or undesir-
able aspects of the body and objects we associate with
beauty, status, health or wealth.
One of the core subjects of my work is the imaged
body in contrast to realities of the physical body. As a
model for the physical body, the visualization is decep-
tive. The imaged body is stylized, static, manipulated,
and often an amalgam of bodily ideals and contempo-
rary design aesthetics. What I find interesting about
imaged bodies are the similarities between images
that intend to project ideals, and those that display
subversive or even abject bodies.
Objects and their relationship to the body play an in-
tegral role in negotiating the disconnect between ide-
alized images of the body and the physical body. By
surrounding our bodies with objects that are seen in
images alongside the ideal body, we hope to amend
the imperfect reality of our own form.”
117
Lauren Kalman Spectacular, 2 inkjet prints, fabric, mixed media, each 16“ x 24”, 2011
Courtesy of the artist
118
Lauren Kalman Blooms, Efflorescence, And... (Nevus Comedonicus), inkjet print, mixed media, 26” x 26”, 2009
Courtesy of the artist
119
Lauren Kalman Blooms, Efflorescence, And... (Cystic Acne, Back), inkjet print, mixed media, 26” x 26”, 2009
Courtesy of the artist
120
HEIDI KAYSER BFA STUDIO FOR INTERRELATED MEDIA, 2005
“My work is often about the collective experience of
moving through life as a human. Using oral histories,
collaborative processes and a scientific method of in-
vestigation, I make sense of the world around me, and
my place within the natural and social environment. I
find fascination in simple acts and simple forms that
when seen together as a whole, form a much more
complex system. Recently, I’ve been playing with the
themes of duality, what separates one from another,
and how everything in the fabric of the cosmos is
interwoven.
I have exhibited at Arnheim Gallery, Schiltkamp Gallery,
Melle Finelli Gallery, FPAC Gallery, the Artists Founda-
tion, Art Interactive, Godine Gallery and many others.
I received an Urban Arts Public Art Grant in 2005, and
I just received a 2011 New England Foundation for the
Arts grant to create a series of public paticipatory per-
formances using sculptural objects, which will occur in
Boston and New york City this coming summer. Dur-
ing my last semester of MassArt, I founded the Axiom
Center for New and Experimental Media, which has
been located in the Green Street MBTA Station in Ja-
maica Plain since 2007 and continues to thrive, show-
ing the work of hundreds of innovative and experimen-
tal artists. In 2009 I founded the arts advocacy and
workforce development organization Art Technology
New England.
I have lectured at Northeastern University, RISD,
SMFA, Wentworth, MassArt and the Transcultural
Exchange conference, among other special projects
including arts advocacy, curating, and leading educa-
tional initiatives in the arts. Currently, I am Artist in
Residence at Urbano Project through the Culture for
Change program at Harvard and the Barr Foundation,
adjunct faculty in the Studio for Interrelated Media at
Massart, and Associate Director of Boston Cyberarts,
continuing my interest in being a practicing artist as
well as an educator and curator.”
RIGHT: Heidi Kayser 10. Map Me, Crayola crayon, bittersweet & strawberry colors, 18” x 24”, 2010
Courtesy of the artist
www.heidikayser.com
122
Heidi Kayser The Sameness Of Duality, digital print, variable, 2011
Courtesy of the artist
123
Heidi Kayser Picture 1, digital print, variable, 2009
Courtesy of the artist
124
JOSHUA KEAY BFA GRAPHIC DESIGN, 2004
“Joshua Keay is a product designer based in NYC with
a focus on developing independent projects and bring-
ing them to market. Past works have ranged from t-
shirts to iPhone applications and picture books. The
works submitted are from a book which was published
in 2010 by Cider Mill Press, and is currently available
in Borders, Barnes and Noble, Urban Outfitters, the
MoMA Store in New York and Amazon.com.”
Joshua Keay Declaration Of Romantic Feelings, book, 10” x 7”, 2010
Courtesy of the artist
125
Joshua Keay Marriage Proposal, book, 10” x 7”, 2010
Courtesy of the artist
126
ISAIAH KING BFA GRAPHIC DESIGN, 2008
“My work pursues an ongoing study of the human form
in all its complex emotive facets. By employing inta-
glio, lithography, screen-printing, relief-printing and
painting I apply diverse and aggressive mark making
to my figure studies. My fascination with the human
form is both external and internal, references to bone
and muscle structure are integrated with the more
sensual and emotional appeal of the external human
form. Combining an emotional and practical approach
to the human body lends itself to common themes in
my work: longing, sensuality and mortality. Having
been most inspired by artists whose work elicits con-
flicting responses, my prints are concerned with the
contrast and tension between seduction and repulsion.
They portray the beauty of the human form but also
explore states of discomfort, eroticism and intense
emotion.
Whether in design, printmaking, painting or drawing,
my greatest concern is with communication, rather
than hiding behind conceptual mysteries I strive to
create works that engage the viewer in dialogue.
The works submitted here are part of a series of 7 large
woodcut prints of Haitian earthquake survivors, cre-
ated with the intention of using art to offer aid to the
people of Haiti. The works are based on the photos of
award-winning photojournalist Q. Sakamaki who shot
a series in Pont-Rouge refugee camp, near Port-au-
Prince, shortly after the earthquake in January 2010.
This series was created with the deepest conviction
that art can address current events and social issues
while also engaging a larger public to take interest,
participate and discuss these issues. By collaborat-
ing with a photojournalist who has the eye and skills
to capture important stories in our global community,
I’ve attempted to blur the lines of art, documentary
journalism and storytelling.
Proceeds from the sale of these works go to grass-
roots community-based organizations in Haiti. I be-
lieve that an engaged art world can become a powerful
force for sustainable community, and economic devel-
opment while also reclaiming arts status as a practice
that meaningfully relates to people, their lives and
their communities.”
127
Isaiah King Roseline & Wadline Etienne, woodcut print, 55” x 37.5”, 2010
Courtesy of the artist
128
Isaiah King Apollon Ralpho, woodcut print, 70.75” x 35”, 2010
Courtesy of the artist
129
Isaiah King Claudel Louimas, woodcut print, 70.75” x 35”, 2010
Courtesy of the artist
130
BARA KIRKPATRICK JICHOVA BFA STUDIO FOR INTERRELATED MEDIA, 2007
“My new work is a mix of drawing, painting and col-
lage. The collage element involves clippings from the
Czechoslovakian newspapers RUDE PRAVO and MLA-
DA FRONTA, pages dating from October 1989, when
peaceful protests swept through Czechoslovakia, re-
sulting in the Velvet Revolution that dissolved the grip
of the Czech communist party.
The work is inspired by my childhood memories of
those revolutionary days, and by my recollection of a
‘cheerful’ communist era, combined with my apprecia-
tion of the energy and audacity of Russian Construc-
tivism... with a nod to the spirit of hope that has trig-
gered recent revolutionary movements in the Middle
East.”
Bara Kirkpatrick Jichova ELD_0030, painting / collage on Czechoslovakian newspapers , 24” x 24”, 2011
Courtesy of the artist
131
LEFT: Bara Kirkpatrick Jichova ELD_0025, painting / collage on Czechoslovakian newspapers , 11” x 14” 2011
RIGHT: Bara Kirkpatrick Jichova ELD_0049, painting / collage on Czechoslovakian newspapers , 11” x 14” 2011
Courtesy of the artist
132
ROBERT KNIGHT MFA PHOTOGRAPHY, 2006
“Through a series of photographs, layered audio re-
cordings and video, Sleepless examines the contra-
diction between our expectations about sleep and its
nocturnal actuality. Sleep connotes rest, peacefulness
and stillness. It is expected to recharge us in prepara-
tion for our next days activities. The reality is starkly
different. A majority of Americans get less sleep than
their bodies need (9-10 hours for children and 8-8.5
hours for adults), and approximately 50-70 million
Americans suffer from sleep disorders. Our sleep is re-
duced and interrupted by the myriad nocturnal noises
and activities of urban life, from the drone of our roads,
highways and transportation systems to the barrage
of light noise emitted from our street lamps, skyscrap-
ers and neighbors. Other factors negatively affecting
our sleep include the frequent waking of young chil-
dren, job-related stress and the side-effects of medi-
cal issues as we age.
My photographs, layered audio and videos reveal a
state of restlessness through the ethereal and translu-
cent bodies which are captured during long-exposure
nighttime shots. The resultant images are nighttime
narratives stories of our night’s sleep which suggest a
contemporary sleep crisis in our society...”
www.robertknight.com
133
Robert Knight Untitled (7 hours, 23 minutes, January 1, 2008), archival inkjet photography, 30” x 40”, 2008
Courtesy of Gallery Kayafas
134
Robert Knight Untitled (3 hours, 30 minutes, December 2, 2009), archival inkjet photography, 30” x 40”, 2008
Courtesy of Gallery Kayafas
135
Robert Knight Untitled (5 hours, March 16, 2010), archival inkjet photography, 30” x 40”, 2008
Courtesy of Gallery Kayafas
136
REGINA KOKOSZKA BFA PHOTOGRAPHY, 2008
“The landscape images were taken in the area of Sval-
bard, an archipelago located in the Arctic Circle. Sval-
bard translates to “cold coast” and massive glaciers
make up roughly 60 percent of this unique environ-
ment. The sun does not fully rise between the months
of October and February, and does not set between
April and August.
The project focuses on documenting the nearly inhab-
itable yet vulnerable landscapes. As most of Svalbard
is largely free of influence by human activity, the archi-
pelago is often used as a reference area for research
on the effects of climate change, transboundary pollu-
tion and large-scale environmental impacts. A seem-
ingly eternal landscape, Svalbard’s glaciers have been
in a gradual and steady retreat, at roughly 115 feet per
year, and the temperatures in the Arctic are increasing
twice as fast as the global average.
Taken with a medium format camera on slide film, the
images were cross-processed with chemicals of a high-
er temperature. The digital scans of the images were
then inverted to show the landscape’s “natural” col-
ors. The unforeseen results emphasize and reference
a sense of carelessness and danger that has begun to
compete with the idealistic and sublime.”
137
Regina Kokoszka Cold Coast 01, archival inkjet on frosted mylar, 12” x 12”, 2010
Courtesy of the artist
138
Regina Kokoszka Cold Coast 02, archival inkjet on frosted mylar, 12” x 12”, 2010
Courtesy of the artist
139
Regina Kokoszka Cold Coast 03, archival inkjet on frosted mylar, 12” x 12”, 2010
Courtesy of the artist
140
KAY KOPPER BFA PAINTING, 1978
“Creativity has always been a part of my life. I enjoy the
entire creative process of producing art: from choos-
ing the subject, whether from a walk in the woods or
off a greenhouse shelf; to deciding on the composition;
to the study of the subject and finally to drawing and
painting the final piece. All the tools that are part of
this process are also very important. It is like telling
a story with each line and brush stroke contributing
to the whole. When it all flows smoothly and I am fully
absorbed all is well. Each project is a challenge and an
adventure. Working with botanical specimens only en-
hances the experience through the close observation
of our natural world and then portraying that moment
of stillness and life.
I find pleasure in the process of observation of look-
ing, seeing, and putting on paper each line and brush
stroke, building from the beauty of nature. And finally,
of sharing with others what I have seen.
A graphic artist designer/illustrator since 1978, Kay
holds a Bachelor of Fine Arts from Massachusetts
College of Art. Kay began creating botanical works in
1998, working in watercolor and pencil; choosing sub-
jects that are mostly native species. She has exhibited
in solo and group shows, and in regional and national
juried exhibits. Kay is a member of the American So-
ciety of Botanical Artists, New England Society of Bo-
tanical Artists, The Friends of Horticulture of Welles-
ley College, and is a gallery artist and member at the
South Shore Arts Center in Cohasset. She lives, works,
and tends her gardens in Pembroke, Massachusetts.”
LEFT: Kay Kopper Staghornsumac, watercolor, 16” x 25”, 2010
RIGHT: Kay Kopper Seedheads, watercolor, 21” x 25”, 2007
Courtesy of the artist
141
LEFT: Kay Kopper Highbush Blueberry, watercolor, 25” x 23”, 2009
Courtesy of the artist
142
ADAM LAMPTON MFA PHOTOGRAPHY, 2004
“The images submitted here are from a body of work
that I made in Macao while on a William J. Fulbright
grant in 2006-7. I photographed the former Portu-
guese colony (now a Special Administrative Region of
China) and witnessed a key moment in its transforma-
tion from a small enclave into a gambling mecca.
Beyond presenting Macao as a site of physical, cultural
and political change, these pictures attempt to navi-
gate a territory of conflicting perceptions inherent in
the movement from historical city to phantasmagori-
cal dreamscape. In doing so, they present Macao as ex-
isting somewhere between a reflection of an internal
architecture and that of a physical reality.
Images from this series were recently shown in a solo
exhibition at Carroll and Sons in Boston. The resulting
show was reviewed in Art in America and the Boston
Globe.”
www.adamlampton.com
143
Adam Lampton Mahjong Parlor, c-print, 30” x 40”, 2007
Courtesy of Carroll & Sons Gallery
144
Adam Lampton Ancient Tree, Dung Huan Village, archival inkjet photography, c-print, 30” x 40”, 2007
Courtesy of Carroll & Sons Gallery
145
Adam Lampton Grand Lisboa Casino Under Construction, archival inkjet photography, c-print, 30” x 40”, 2007
Courtesy of Carroll & Sons Gallery
146
SURENDRA LAWOTI MFA PHOTOGRAPHY, 2005
“Within the context of a larger social and political land-
scape, my work focuses on individuals, social groups
and their milieus. I am interested in the dynamics of
social class, race, gender, religion and sexuality, and
how they influence circumstances in a given historical
time frame.
For my current work, I have been photographing along
the Don River in Toronto, Ontario. My focus has been
on makeshift shelters that dot the river, its residents
and the people who use it for recreation, in an area of
roughly five miles long and one mile wide. One of the
most urbanized river watersheds in Canada, the Don
is a prime environment for byproduct, of urbanization.
I first came across the makeshift shelters during sum-
mer of 2008 after I had recently immigrated to Can-
ada and made Toronto my new home. The recognition
of ‘home’ in these shelters immediately drew me in. I
wanted to understand how people who do not have a
home make one.
Don River looks at the inglorious history of the Don,
homelessness, socioeconomic disparities, and effects
of urbanization on the river. The work brings forth the
complexities of urban land use where nature and ur-
banization are in precarious tussle, and there are oth-
ers who take refuge on these margins. Don River looks
at the idea of home and issue of homelessness during
a period of economic recession.”
www.surendralawoti.com
RIGHT: Surendra Lawoti Joe, archival inkjet photography, c-print, 40” x 33.2”, 2009
Courtesy of the artist
147
148
Surendra Lawoti List Of Needs (Inside Shelter 17), archival inkjet photography, c-print, 33.6” x 40”, 2009
Courtesy of the artist
149
Surendra Lawoti Shelter 18, archival inkjet photography, c-print, 42” x 50”, 2010
Courtesy of the artist
150
SEBASTIEN LECLERCQ MFA STUDIO FOR INTERRELATED MEDIA, 2010
“My drawing practice is central to several overlapping
bodies of work, which include site-specific installation,
photography, painting, and sculpture.
A recurring theme in my work is the investigation of
the boundaries that separate simple perception and
thorny knowledge. Banal, overlooked architectural el-
ements and spaces - tiled walls, decorative trim and
molding, bricks and mortar - even pictures in galleries
are the physical locations that act as placeholders for
simple perception. I subvert these spaces with subtle
interventions that often pass as the thing itself. Ad-
hesive tape passes for grout, photos replace subjects,
drawings pass for graph paper.
My drawing consists of the creation and augmenta-
tion of structural circumstances. Whether these condi-
tions are constructed of graph paper or architectural
structures, I subtly undermine the certainty and order
denoted by their object-hood. With pencil and ruler
I make graph paper drawings often with imbedded
semi-narratives. I also use sculptural devices to create
drawings with abberations in scale and in addition de-
vise obliquitous deviations of lines that then generate
multiple unique drawings.
The confrontation and reconciliation of the viewer’s
gaze within these booby-trapped situations invite an
active aesthetic reading, exploring the boundaries be-
tween perception and knowledge.
If our gaze defines how we relate to the world and how
we participate in shaping it then the shape of our par-
ticipation is contigent on what we perceive to be the
parameters of our engagement.
I endeavor to heighten the importance of perceiving
the fluidity of these parameters.”
www.sebastienleclercq.org
Sebastien Leclercq Bubble, pencil on paper, matboards and frames, 97.5” x 62”, 2009
Courtesy of the artist
151
MFA STUDIO FOR INTERRELATED MEDIA, 2010
Sebastien Leclercq Twelve Climate futures, pencil on paper and oblong frame, 38” x 48”, 2008
Courtesy of the artist
152
COURTNEY A. LOCKEMER MFA STUDIO FOR INTERRELATED MEDIA, 2010
“I am interested in exploring domestic space, particu-
larly the way imagination plays a role in both the ex-
perience and meaning of the places we inhabit. False
Objects is a series of photographs that is part of a ex-
ploration of imaginary landscapes – landscapes that
are both imagined and which is a place for ones imag-
ination to reside. The title of the series comes from
Gaston Bachelard’s The Poetics of Space. One might
say that these houses in miniature are false objects
that possess a true psychological objectivity.
When I take the word false from Bachelard I use it to
inspire consideration of what is real and not real, and
how this play of thinking creates a space for imagina-
tion. The object photographed might be false because
it is a replica of what it claims to represent. It is also
false because it is not a mere simulacrum: a photo-
graph of an imaginary landscape can be viewed and
considered just as a photograph of a real landscape
can.”
www.courtneylockemer.net
153
Courtney A. Lockemer #7 (False Objects), color ink jet print, 17” x 17”, 2010
Courtesy of the artist
154
Courtney A. Lockemer #4 (False Objects), color ink jet print, 17” x 17”, 2010
Courtesy of the artist
155
Courtney A. Lockemer #2 (False Objects), color ink jet print, 17” x 17”, 2010
Courtesy of the artist
156
JOHN MAGNIFICO BFA GRAPHIC DESIGN, 2007
“826 Boston is the newest chapter of a national non-
profit tutoring and writing organization. Each location
has its own unique character; Boston’s creative writ-
ing center is housed in the Greater Boston Bigfoot Re-
search Institute where volunteers are dressed as sci-
entists and sales associates sell peculiar merchandise
like unicorn tears.
We developed the 826 Boston brand to align with the
mission of the national umbrella organization but still
John Magnifico 826 Boston Promotional Poster Series, silkscreen printed on french speckletone paper, 13” x 19”, 2010
Courtesy of the artist
reflect the imaginative spirit of the local branch. In
addition to creating the visual identity, we designed
a series of branded promotional materials, including
brochures, postcards, t-shirts, and outreach posters.
Our work incorporated bold typography, vibrant colors,
and custom illustration (references to monsters Big-
foot and Loch Ness) to capture the experience of fun,
creativity, and a bit of strangeness.”
www. magnificodesign.com
157
John Magnifico 826 Boston Promotional Brochure, digitally printed on matte paper, 5” x 8”, 2009
John Magnifico 826 Boston Promotional Brochure, (Alt. View) digitally printed on matte paper, 5” x 8”, 2009
Courtesy of the artist
158
BRYAN MARTELLO BFA PHOTOGRAPHY, 2010
“My work exists between the physical world and the
one that is seen when we close our eyes: simple emo-
tions are magnified, the concrete becomes inexplica-
ble, and the mundane appears magical. Using a 4x5
view camera, I create photographic montages that il-
lustrate the anxiety and the mystery that occurs be-
tween sleep and awake. The photographs depict an
intangible world that will be forgotten come morning.”
Bryan Martello Untitled 3 From The Series “Come Morning”, archival inkjet prints, 52” x 40”, 2010
Courtesy of the artist
159
Bryan Martello Untitled 2 From The Series “Come Morning”, archival inkjet prints, 56” x 43”, 2010
Bryan Martello Untitled 1 From The Series “Come Morning”, archival inkjet prints, 54” x 29”, 2010
Courtesy of the artist
160
JULIE MARTINI BFA PAINTING, 2003
“Over the past few years, I have been working on a se-
ries of drawings entitled ‘God Is Science/Science Is
God’ that depict enlarged cells, revealing the intricate
patterns that are contained in the smallest structural
units of an organism. Each drawing is an altarpiece
to science and the natural world. As modern science
allows us to manipulate the natural world more and
more, our ideas about the nature of life evolve. By cre-
ating images that combine scientific illustrations with
my own imagined visual accounts of the natural world,
I present an invented ‘scientific’ view of the world, as
fantastical as the reality: teeming with cells, micro-
scopic life forms, and the millions of structures that
make up the inside of the body. Through my work, I
hope to pose the following questions: Is science the
new religion? Has science brought us closer to under-
standing the nature of life? As our world view becomes
more scientific, how do we define the ‘sacred’?
I am also working on a large-scale installation called
God Is Science/Science Is God? The centerpiece of
the installation will be a wall-mounted 7.5 ft. diameter
circle of hundreds of petri dishes arranged to recreate
the dramatic rose window at the Cathedral of the Holy
Cross in Boston. Each ‘pane’ of the window will con-
sist of dozens of glass petri dishes, containing unique
circles of paper, painted to suggest human brain cells.
Taken as a whole, the cells will add up to a human brain,
where each section of the the rose window represents
a different structure in the brain, the center of the win-
dow symbolizing the seat of the human soul.”
www.juliemartini.info
LEFT: Julie Martini Untitled I, acrylic paint on paper, 35” x 45.5”, 2011
Courtesy of the artist
162
Julie Martini Untitled II, acrylic paint and gouache on paper, 31” x 42”, 2010
Courtesy of the artist
163
Julie Martini Untitled III, acrylic paint and gouache on paper, 30” x 42”, 2010
Courtesy of the artist
164
LAUREL McMECHAN BFA PAINTING, 2010
“I am driven by my need to understand my brother’s
military experience in the Iraqi desert. Reaching be-
yond landscape as physical location, my work consid-
ers psychological states and imaginary worlds as a
way to investigate an expanded idea of place. Awash
in satellite imagery and cartographic strategies, I
perceive our contemporary, First World existence as
a confusion between virtual and visceral landscapes.
In this work I am considering the overlap of interior
and exterior worlds; mental places conjured for refuge
and retreat; and the world existing outside the physi-
cal body.
www.laurelmcmechan.com
Laurel McMechan Satellite Map, intaglio collage, 28” x 40”, 2010
Courtesy of the artist
My ‘Bivouac’ project is an artwork modeled after a
16’ x 16’ army tent, made of collaged and sewn prints,
drawings and paintings on paper. ‘Bivouac’ currently
exists (to scale) as a smaller maquette. The full scale
tent will function as a shelter akin to a fort, research
outpost, fox hole, and/or command center. Operating
within the idea that this shelter is a ‘home base’, with
this artwork I strive to evoke ideas of exploration and
navigation as well as concealment and improvised
safety.”
165
Laurel McMechan Bivouac Maquette B, side view, intaglio, acrylic, watercolor, thread, 4.75” x 8” x 8”, 2010
Laurel McMechan Dislocated Territory, Intaglio, 9” x 14”, 2010
Courtesy of the artist
166
KEVIN MOROSINI BFA PRINTMAKING, 2001
“This work is for love and fear.”
Kevin Morosini #1, marker, colored cencil, vinyl LP, LP bag, tacks, 12.5” x 12.5”, 2011
Courtesy of the artist
167
Kevin Morosini #2, marker, colored cencil, vinyl LP, LP bag, tacks, 12.5” x 12.5”, 2011
Kevin Morosini #3, marker, colored cencil, vinyl LP, LP bag, tacks, 12.5” x 12.5”, 2011
Courtesy of the artist
168
DANA MUELLER MFA PHOTOGRAPHY, 2007
“During and after graduating from MassArt I focused
on former German prisoner-of-war camps and sur-
rounding areas where prisoners were put to work by
the US military. At the end of WW II there were over
400,000 prisoners, who worked on local farms and in
small industries. The years after graduation my photo-
graphs have taken me to Pennsylvania, Maryland and
parts of the American South.
There is an irony where these German soldiers, both
high-ranking Nazi officers and foot soldiers, were till-
ing the fields, cutting the lumber, picking apples, tak-
ing care of the American soil. This caring, benign work
with the land stands in complete contrast to the hor-
rific actions by Nazis and German soldiers in Eastern
Europe of that time, such as Hitler’s scorched earth
policy. When photographing these landscapes I wanted
to visually evoke the dualities that have characterized
the German people over centuries, a people that are
capable of both tremendous progress and destruction.
Romanticism has played a role in understanding the
relationship of Germans to the landscape. In some
photographs the land is overgrown appearing in a kind
of primal state, suggesting the return to the original
forest. It also suggests a fascist aesthetic of purity
promoted by pre-war German culture. Innocence and
purity can be seen as a natural desire to regress after
one has become corrupted.
While the Devil’s Den still continues I have started a
new body of work in 2010. Keeping the theme of land-
scape and history, I have been photographing at the
edges of a German village where the forest was part
of the no-mans-land border zone between East + West
Germany. I am interested in capturing contemporary
aspects of the village life and ways in which people
now relate to that landscape.”
www.danamueller.net
169
Dana Mueller Gettysburg, Adams County, Pennsylvania, archival pigment print, 24” x 30”, 2009
Courtesy of the artist
170
Dana Mueller Untitled #2, Germany, archival pigment print, 30” x 40”, 2009
Courtesy of the artist
171
Dana Mueller Untitled #1, Germany, archival pigment print, 30” x 40”, 2009
Courtesy of the artist
172
BRUCE MYREN BFA PHOTOGRAPHY, 1991
“My work investigates issues of place and space and
boundaries and borders through the exploration and
employment of various locative systems. I am most in-
terested in how macro systems relate to micro experi-
ences of land and landscape. My recent series include
an investigation of the Fortieth Parallel of latitude; a
study of the poet Robert Francis’s one-person house
in the woods of Amherst, Massachusetts; and a piece
that documents the view from every place I have lived
to where I live now.
I am fascinated with location-based systems and my
work engages the nature of how humans measure the
world. I often use or create rules to govern the loca-
tion or approach in order to make a series of photo-
graphs. This method stems from my interest in maps
and mapping, historical photographic surveys, and
conceptually-based art practices. It is through these
influences that I started to see and make pictures: by
measuring, coordinating, and locating myself within
www.brucemyren.com
the world. Currently my work has been progressing
from more universally recognized ideas of place to-
wards more personal re-presentations.
Fort Juniper is the name of a small one-person house
in western Massachusetts. It was built by the poet
Robert Francis in 1940 and served as his home until
his death in 1987; it is presently used to host contem-
porary poets-in-residence through the Robert Francis
Trust. For Francis, Fort Juniper was more than just an
abode in which to reside, it was a fort to shelter him
and a lens through which he experienced the world.
Using Francis’s prose and poems, I am exploring my
hometown, with new eyes, photographing the intersec-
tion of his understanding of this place with my own ex-
perience. The area of Amherst in which Francis lived is
where I first forged my sense of intimacy with the land.
It is through this connection that I am making pictures
exploring where our lives interweave through time.”
Bruce Myren The Southern Terminus of a Short, Short Walk, archival inkjet, 30” x 24”, 2009
Courtesy of Gallery Kayafas
173
Bruce Myren Lord Wilburs Oak [view #1], archival inkjet, 30” x 24”, 2009
Bruce Myren 170 Market Hill Road, archival inkjet, 24” x 30”, 2009
Courtesy of Gallery Kayafas
174
ASHLEY NORMAN BFA ART EDUCATION, 2007
“My work aims to create a visual language through bio-
mimicry at the microscopic scale. In each piece that I
create, the individual elements react with one another;
patterns and relationships begin to develop and a mi-
croscopic landscape is formed.
I start all of these pieces with some type of meditative
line, and build off of that, creating relationships be-
tween the visual elements as the piece develops. The
materials that I tend to use are: illustration markers,
watercolor markers, watercolor, India ink, acrylic ink,
and archival waterproof pens.
These pieces have a large experimental element to
them, and have grown out of years of working and
playing with both line and shape, while creating differ-
ent textures and patterns. One of my aspirations with
this work is to play with the microscopic, macroscopic,
and telescopic scales. With the ambiguity of scale, the
hope is for the viewer not only to see the piece as a
whole, but to view the movement and growth in the
work as well.”
LEFT: Ashley Norman Pink Haze I, watercolor, marker, india Ink, gold ink, and Pen, 11” x 4”, 2011
Courtesy of the artist
176
Ashley Norman Microscopic Landscape, Green And Orange, I Of III, watercolor, marker and pen on bristol, 14”x 17”, 2011
Courtesy of the artist
177
Ashley Norman Microscopic Landscape, Green And Orange, II Of III, watercolor, marker and pen on bristol, 14”x 17”, 2011
Courtesy of the artist
178
ZOE PERRY-WOOD BFA PHOTOGRAPHY, 1981
“Whether in the public forum of a city street or in a
person’s private living quarters, my purpose is to pay
enough attention to really see whatever people will
reveal for me. I feel a passion and excitement when
I am with people as they unknowingly reveal so much
in their facial expressions, gestures and interactions
with each other. Making photographs has taught me
the importance of paying attention to both the detail
and the bigger picture. As I look around the world I am
drawn to small moments that convey larger meaning.
By creating images in the public forum, I have learned
that the decisive moment can speak volumes about a
person, a place or even a culture. I seek to capture
those moments in images that go beyond the individu-
al, and speak of the many forces they have no control
over; their age, their class, their race, their gender.
The body of work that these images come from was cre-
ated over the course of five years between 2006-2010
during Carnival Week in Provincetown, MA. People are
literally on parade, presenting an alternative persona
that defies the norm and, for the most part, could not
be possible in another place and time. For some, this
is a fun, annual event that allows for the freedom to
experiment. For others, it is a brief span of time where
the person they truly feel they are, finds company and
freedom to be themselves on these streets. My inter-
est is not only to document the vivid culture that re-
sults from this combination of place, time and events,
but to get a glimpse of the people beneath the cos-
tumes and make up.
Since graduating from MassArt I have continued to
make images, focusing on photographing people for
more than thirty years. I have worked on projects
ranging from a study of the Boston subways to cotton
farmers in Nicaragua to transvestites in Mexico. My
images have been exhibited nationally in juried exhi-
bitions at galleries such as Soho Photo in New York,
Photo Center NW in Seattle, Camera Obscura Gallery
in Colorado and Vermont Photo Workplace Gallery. I
worked for many years as a gelatin silver printer for
several Boston area photographers. I continue to
study with great photographers such as Magnum Pho-
tographer Constantine Manos, and world famous pho-
tographer Mary Ellen Mark. My work is represented by
Gallery Kayafas in Boston.”
179
Zoe Perry-Wood Lipstick Before Drag Bingo, archival inkjet print, 13” x 19”, 2008
Courtesy of Gallery Kayafas
180
Zoe Perry-Wood Triplets At The Boat Slip, archival inkjet print, 13” x 19”, 2009
Courtesy of Gallery Kayafas
181
LEFT: Zoe Perry-Wood Paul And Jim At Drag Bingo, archival inkjet print, 13” x 9”, 2010
Courtesy of Gallery Kayafas
182
GABRIEL PHIPPS BFA PAINTING, 1997
“A great teacher of mine once said paint can be any-
thing, a sentiment I very much agree with. I might add
that paint can be everything - at once.
Through the use of basic geometric shapes squares,
rectangles and trapezoidsv – I make paintings that
simultaneously reference a number of visual notions
and phenomena. Architectural forms derive from rect-
angularly shaped painting media and are a response
to the urban landscape in which I live. Color combina-
tions reference the elements - water, earth, sky, and
fire – while also referring to digital light, the vibrant
blue of a computer desktop, and childhood memories
of Boston’s brick cobbled streets and buildings. Figu-
rative content speaks to the experience of confront-
ing somebody within the confines of a rectangle, be it
a doorway or a mirror. Pressurized junctions of form,
and subsequent deformations of shape, are a nod to
Gabriel Phipps Near Miss, oil on paper, 4.5” x 6”, 2011
Courtesy of the artist
aerial photography and environmental forces acting
on one another.
Laden with contradictory source material, the geo-
metric units that reverberate throughout the work
are at once flat and volumetric, solid and ephemeral,
synthetic and organic, static and kinetic, fictitious and
real; they are structures seen from above and from the
ground; they are free-standing and verge on collapse;
they speak of pink flesh, metal shards and glowing
television screens; they are somebody who is nobody,
someplace that is no place.
The duality of the paintings, their refusal to fit into
a single reading, their very instability is what makes
them more than the sum of their parts it gives them
vitality and life. “
183
LEFT: Gabriel Phipps Kiss Me, oil on paper, 7” x 4.5”, 2011
RIGHT: Gabriel Phipps Signalman, oil on paper, 7.5” x 3”, 2011
Courtesy of the artist
184
ERIC SALINE MFA PRINTMAKING, 2005
“For inspiration in my artistic practice, I examine the
relationship between nature and the built environ-
ment. Paper is my chosen material, largely due to its
malleability, endless recycle-ability, and the appeal of
its relative organic ephemerality. Paper is extremely
versatile and durable, yet at the same time, it is weak
and vulnerable: herein lies a fundamental tension, res-
onant with the human experience, which I attempt to
highlight.
My work conveys kinetic visual movement through
surface activity, employing rhythm and color as ubiq-
uitous leitmotifs. I address a variety of formats includ-
ing drawings, books, print-collages, and also site-spe-
cific installations out of my own recycled handmade
papers. Smaller drawings, prints and books provide a
shift in size, but yield a similar feeling of intimacy and
discovery, possibly referencing an even larger scale
than the installations.
In my large-scale printed-paper installations, I at-
tempt to produce sculptures complimentary to a sites’
specific architecture by considering regional history,
the landscape of the natural environment surround-
ing the site, and also by incorporating my own eclectic
imagination. I use lighting to create both a sense of
drama and atmosphere, through shadow and its cor-
responding back-lit effect, much like that of light pass-
ing through stained glass. This dynamic experience
implores viewers to explore a piece, to see what dis-
covery a change in viewpoint may reveal.
After an installation, I recycle my work by continuing
to print, paint cut and glue the paper, treating it much
like a quilter would fabric. This perpetual process of
recycling and re-use is a way I can represent a more
conscientious natural resource management, while
also granting me time to develop the papers’ surface.”
www.ericsaline.com
185
Eric Saline Cloudplay, woodblock/silkscreen print on paper, 2 works: 14” x 14” x 2” each, 2010
Courtesy of the artist
186
Eric Saline Where Chocolate Was Born, relief print and collage, 44” x 23” x 1”, 2005
Courtesy of the artist
187
Eric Saline Red Chasing Green, W zoodblock, silkscreen print and collage, 6’ x 3’, 2008
Courtesy of the artist
188
DANA SALVO BFA PHOTOGRAPHY, 1977
“My work examines the universal necessity for people
to surround themselves with meaning, specifically
by the arrangment of objects within the home. My
most recent project with The Mother of Grace Club in
Gloucester, MA, has resulted in a portfolio of images
which examine how people evoke sacredness in their
everyday environments in the creation of devotional
altars and household arrangements which sanctify
and personalize the places in which they live.”
189
Dana Salvo Maria Grillo’s Parlor, Gloucester, MA, color photograph, 16” x 20” or 30” x 40”, 2010
Courtesy of the artist
190
Dana Salvo Lena’s Livinroom, Gloucester, MA, color photograph, 16” x 20” or 30” x 40”, 2007
Courtesy of the artist
191
Dana Salvo Family History, Gloucester, MA, color photograph, 16” x 20” or 30” x 40”, 2010
Courtesy of the artist
192
STACY A. SCIBELLI BFA FASHION DESIGN, 2004
“I am a designer and artist currently living and working
in New York City with a communal studio/gallery space
in Brooklyn. I utilize design and craft to make fine art.
Much of my practice is based around sewing, be it
garments, sculptures, or wearable art pieces. I have
several years experience working in the costume and
fashion industry and therefore my work has become
primarily wearable and interactive sculpture. I make
soft machines that facilitate basic, seemingly banal,
interactions that conjure overwhelming emotion in the
participant. The apparatus is an instigator to a higher
understanding of one another. I believe that fashion is
the manifestation of art and life colliding. Clothing is
a vehicle for individual expression that is understood
through its materiality. To adorn the body is a univer-
sal human condition that allows for versatility, utility,
culture, drama, and emotion all at once. This seems
an obvious and irresistible medium for me. A lot of my
work circulates around the act of eliciting communal
awareness through this channel.
I am interested in the threshold of comfort - recog-
nizing where it originates and what happens when it
is sacrificed and no longer exists. I aim to accentuate
awkwardness. I am bringing people together so that
they can realize that they are apart. Closeness reveals
separation by exemplifying our vulnerability and ex-
posing the prominence of what we refuse to expose.
Vulnerability can act as an impetus for unification. It
is important to me to showcase where our boundaries
really lie and force you to question the existence and
the source of those boundaries. I am staging physical
situations that are mediated by the use of a bizarre ap-
paratus, and in doing so I reveal satire in the suspen-
sion of disbelief. What is important to me in my work
is the acknowledgement and exploration of the space
between people, both literally and metaphorically.
I am committed to the practice and history of craft as
it relates to contemporary art given my background in
tailoring and design. This informs a majority of the vi-
sual nature of my work. Texture and form are important
components of my wearable sculptures. I utilize mate-
rials common to conventional habit such as wool, knits,
and leather. Composition and clarity of purpose are
necessary for the imagery that exemplifies the usage
of the pieces. My work exists as participatory objects,
installation, and sculpture. The conceptual relevancy
hinges on viewer interaction with each other through
a provided vehicle object. Through this mechanization
of the object, an unusual sensation is conjured forc-
ing a smile, kissing an imaginary other, being locked
into a tickle fight, gracing hidden fingertips. I am using
the existing structures of our everyday lives to show
you where they are and how they are destroyed. Don’t
smile. Touch each other. Don’t kiss me. Leave me
alone. Be alone. Pretend. Don’t let me tell you what to
do. It is both pleasant and uncomfortable and lingers
on the edge of the perverse due to the simultaneous
familiarity and theatricality or falseness of the entire
experience. These cooperative actions compromise
physical ability exposing vulnerability and power that
translates as a metaphor for everyday activities. I am
addressing an unspoken dialogue of power dynamics
that manifest themselves in the distance we keep or
don’t keep from each other and the choice to collabo-
rate or take advantage of these handicaps.
‘Behind the storm of daily conflict and crisis, the dra-
matic confrontations, the tumult of political struggle,
the poet, the artist, the musician, continues the quiet
work of centuries, building bridges of experience be-
tween peoples, reminding man of the universality of his
feelings and desires and despairs, and reminding him
that the forces that unite are deeper than those that
divide.’”
-John F. Kennendy”
www.stacyascibelli.com
193
Stacy A. Scibelli Dumbstruck I and II, c-prints, 20” x 24” each - diptych, 2009
Courtesy of the artist
194
Stacy A. Scibelli Made With Love Diptych, fabric between 2 panes of glass/ graphite on mat, 24” x 36” each - diptych, 2011
Courtesy of the artist
195
Stacy A. Scibelli I Don’t Want To Get Over You, c-print with interactive sculpture, installation - photo 20” x 24”, 2009
Courtesy of the artist
196
JI-EUN SHIM BFA PAINTING, 2009
“These drawings started from the same curiosity to
plant seeds and watch them grow out of the ground
from something small and familiar into something un-
known, of beauty and with life of their own.”
197
Ji-eun Shim Creation, graphite on paper, 15’’ x 22’’, 2011
Courtesy of the artist
198
Ji-eun Shim Blindness, graphite on vellum, 14’’ x 11’’, 2011
Courtesy of the artist
199
Ji-eun Shim Penitence, graphite on paper, 13’’ x 13.5’’, 2011
Courtesy of the artist
200
CANDICE SMITH CORBY MFA PAINTING, 2001
“I paint combined images of furniture, the human body,
and household objects that deal with conflicted feel-
ings of domestic celebration and potential entrapment
and disillusionment. I think of women I know and how
women deal with different roles that aren’t always
necessarily wanted, but acquired. I consider female
stereotypes as a mother (no longer a sexual being),
loss of self, and dependency. Collective feelings of
abandonment, isolation, and inadequacy can get bur-
ied within a well-decorated house.
I have 3 children under 5 and their imaginary games
have influenced my compositional decisions which in-
clude non-linear gameplay and coincidental desires of
escape.”
RIGHT: Candice Smith Corby You Be A... I’ll Be A Bear, gouache on wallpaper, 36” x 28”, 2010
Courtesy of Ellen Miller Gallery
201
202
Candice Smith Corby Suspended In Daydreaming, gouache on wallpaper, 34” x 28”, 2010
Courtesy of Ellen Miller Gallery
203
Candice Smith Corby Repossessed, gouache and watercolor on paper and wallpaper, 34” x 28”, 2010
Courtesy of Ellen Miller Gallery
204
DAWN SOUTHWORTH BFA FIBERS, 1976
“My work, characterized as mixed media drawing, paint-
ing or assemblage, crosses disciplines, while utilizing
various processes and materials. I stitch, cobble, burn,
draw and fasten an assortment of disparate images to-
gether. The works are typically layered, wrapped, ban-
daged, stained and scarred, and may bear assembled
objects of sticks and vines which are also wrapped and
bound.
My studio, a large box, is an accumulation of objects:
battered fabrics, found and rusted metals, assorted
sticks and tree fragments, books, damaged canvases
Dawn Southworth Facade, mixed media, 60” x 40”, 2010
Courtesy of the artist
and paintings, and photographs. These fleeting scraps
of cloth, paper, wood and metal when fused together
become indicators of both a natural world and human
presence. The age, shape, fragility and dusty texture
of the artifacts I collect and construct evoke thoughts
of the past, childhood recollections, hand labor, and
our shared history. They provide a condensed vocabu-
lary from which to address the many mysteries of our
personal psyche and common experience.”
205
Dawn Southworth Species, mixed media, 60” x 40”, 2010
Courtesy of the artist
Dawn Southworth Germinate, germinate, 60” x 40”, 2011
206
TEREZA SWANDA
“I engage in facilitating a space for creative exchange,
developing a creative rather than a capitalist struc-
ture. In my choice of material I use everyday matter
combined with people who to me matter most, to find
a language that represents what I/We embody. I recog-
nize the power within each moment of a both an indi-
vidual and collective form.
I play with overlapping bodies to recognize how we af-
fect one another? How boundaries between one and
another blend. I explore interconnectedness; I look
at the seeming boundary, the skin, that layer that we
BFA PAINTING, 2003
perceive as our end and look at how that edge can be
expanded. How there is possibility for overlap. How ‘I‘
exist always in relation to ‘we’?
I develop a gestural language between us- to find a
new way of interacting. Visually, glass, a transparent
layer, serves as a plane where this can occur, a blend-
ing of inside/outside and public/private, (a flattening
of space). Most recently, I am investigating the struc-
ture upholding glass, to reveal and question the power
structures within each moment of an individual/collec-
tive form.“
Tereza Swanda Romping Cluster, cut paper (b&w inkjet) and tape on glass , 16” x 27”, 2010
Courtesy of the artist
207
Tereza Swanda Romping Cluster, cut paper (b&w inkjet) and tape on office window, 7” x 6”, 2010
Courtesy of the artist
208
JOHN THOMPSON MFA PAINTING, 2005
“My work is a textural exploration of materials reacting
to observations of intimate moments in the New Eng-
land landscape. My focus is on the accidental and the
fleeting - water flowing, plant material blooming and
decaying, light reflecting. Increasingly the work has
been altered by the ever faster pace of visual stimuli.
It as if the work might be glimpses fof landscape rom
the window of a speeding train or car. I return to the
studio to recreate the glimpses of the momentary.”
www.johnthompsonart.com
John Thompson, Cordova, screenprint and gouache 39” x 51”, 2011
Courtesy of Sunne Savage Gallery
209
John Thompson, Hinsdale #43, Woodcut, 24” x 24”, 2010
Courtesy of Sunne Savage Gallery
John Thompson, Hinsdale #35, woodcut, 24” x 24”, 2010
210
DYLAN VITONE MFA PHOTOGRAPHY, 2003
“My photographic process has always been about doc-
umenting people and place to create records of the
ordinary and, through that process, finding poetry
within the mundane. Creating large-scale panoramic
photographs allows me to show simultaneously de-
tails and relationships at multiple spacial and percep-
tual levels. For example, both the self-conscious way a
young woman holds her hand by her side as she allows
someone to photograph her, as well as her place in the
sea of people around her engaged in a similar task. It
allows me to show a sweeping view of the cityscape
from a distance, while simultaneously revealing the
fine details of the scales of a fish that a boy proudly
displays for the camera.”
211
Dylan Vitone Car Crash, archival inkjet, 6” x 16”, 2011
Courtesy of DNJ Gallery
Dylan Vitone Sprinkler, archival inkjet, 6” x 16”, 2007
Dylan Vitone Demo On How To Make Home Porn, archival inkjet, 6” x 16”, 2011
212
EILEEN WAGNER MS ART EDUCATION, 2010
Eileen Wagner explores abstraction and the landscape
is the source of her imagery. Inspiration originates
from the natural world, but the life on canvas becomes
its own - independent and self-sufficient. Through a
process of recalling emotional and visual impressions
of her surroundings, she makes a composition from
memory and imagination with results that are sugges-
tive of experiencing the changeable atmosphere of the
essential elements - air, water, earth and fire.
She aims to capture a quality of light with successive
transparent layers, creating a sense of infinite space
and mutability. Her paintings and prints allow the
viewer to experience something that is timeless and
primal, yet intensely personal in the same moment.
www.eileenwagner.com
www.ricepolakgallery.com
213
Eileen Wagner Untitled 2, Monotype, 6” x 6”, 2002
Courtesy of Rice/Polak Gallery
214
Eileen Wagner Storm, Intaglio, 6” x 6”, 2001
Courtesy of Rice/Polak Gallery
215
Eileen Wagner Untitled 1, Monotype, 6” x 6”, 2002
Courtesy of Rice/Polak Gallery
216
MASSACHUSETTS COLLEGE OF ART AND DESIGN621 Huntington Avenue, Boston MA USA, T 617 879 7020 [email protected], Alumni.MassArt.edu
As an innovative university for artists, designers, and educators we prepare our students
to contribute to contemporary culture and to fuel the creative economy. We are proud of
our unique status as the only independent public college of art and design in the country,
and our heritage as the nation’s first degree-granting art school, founded in 1873.
Our programs are consistently ranked among the top in the country. US News & World
Report ranked our MFA program #1 in Massachusetts. Our 1700 undergraduate and
200 graduate students come from more than 35 countries, reflecting the international
reputation of our programs, and Boston’s place as one of the great learning and research
centers in the world. Our more than 18,000 alumni consistently rank high among leaders
in the fields of fine arts, design, architecture, education, and innovation. Our urban
campus offers more than 1,000,000 square feet of studios, workshops, classrooms, and
galleries. We are located at the center of a world-class fine arts triangle, sited between
the Isabella Stewart Gardner Museum and the Museum of Fine Arts, Boston.
Our Bakalar & Paine Galleries are one of Boston’s premier venues for contemporary
art, showcasing emerging and established artists from around the world. Our 260
graduate and undergraduate faculty are teachers and artist/practitioners at the top of
their fields, with a 9:1 student-to-faculty ratio. Our alumni and faculty exhibit nationally
and internationally at institutions including: MoMA; the Whitney Museum of American
Art; the Metropolitan Museum of Art; the Brooklyn Museum of Art, the J. Paul Getty
Center Museum; the San Francisco Museum of Art; the Museum of Fine Arts Houston;
the International Center of Photography; the Cleveland Museum of Art; the Art Institute
of Chicago; the Museum of Fine Arts, Boston; the Victoria and Albert Museum (London);
the Musee de la Ville de Paris; the Cleveland Institute of Art; and the Institute of
Contemporary Art/Boston, among others.
217
CREDITS:
Title Designer: Helen Zhai (MFA ‘04)
Catalog Designer: Maria Anna Stangel (MFA ’12)
©Copyright 2011 Massachusetts College of Art and Design
All rights reserved; no part of this book may be reproduced without the express written
permission of the publisher.