The School of the Museum of Fine Arts at Tufts University celebrates the work of graduating Master of Fine Arts students with an exhibition in the Cyclorama at the Boston Center for the Arts. 39 SMFA Master of Fine Arts students will showcase their thesis projects in film, video, painting, performance, sculpture, photography, installation, drawing, and more.
Exhibition on View:
539 Tremont St., Boston, MA 02116
May 18 | 11:00 am–7:00 pm
May 19 | 11:00 am–5:00 pm | 7:30 pm–10:00 pm
May 20 | 11:00 am–7:00 pm
May 21 | 11:00 am–5:00 pm
May 19 | 7:30 – 10:00 pm
Special thanks to Horizon Beverages.
The Cyclorama Show features the work of the following MFA students:
Riley Allen, ACityIsACityIsACity, 2016, Digital Video, N/A
Originally from Tulsa, Oklahoma, Riley Allen currently lives and works in Boston, Massachusetts. In 2015, he received his BFA from the University of Oklahoma. Allen is currently a Master of Fine Art candidate at the School of Museum of Fine Art at Tufts University. His work has exhibited nationally and internationally with recent exhibitions in Wesham, Lancashire, Oklahoma City and Seattle
ACityIsACityIsACity is a series of videos that examine what urban places would look like if certain variables are removed and others are left; in the case of this work, there is more of an emphasis on the infrastructure of places like New York and Chicago, rather than the people and culture that make them distinct. With this series, I have specifically chosen to remain at a removed distance from the locations to allow the idea of said city and the actual observation of it to collide.
Hannah Bates's thesis examines the fetishization of damage in popular culture and seeks to understand the desire for meaning behind applications of these aesthetics. She creates photographic car wraps of totaled cars and applies them to cars in good condition. She assembles an artists book which documents the project in the form of a catalogue, where the car wraps can be customized and ordered. Her work constructs a new outlet for the fetishization of damage in the car industry, with false narratives of implied impacts and illusions of damage to confront hierarchies in class, mass production, quality, labor, national histories, and accessibility in the auto industry.
Hannah Bates is a visual artist who works with experimental installations of large scale photographs. Her background as an editorial retoucher informs her inquiries in advertising, illusion, and deconstructing matters of representation. She has a BFA from CalArts, and is an MFA candidate at the Scholl of the Museum of Fine Arts Boston at Tufts University.
Image: "Arctic Lab"
My professional experiences performing ecological data collection inform my current engagement with interdisciplinary artistic research. I create installations that utilize a range of media including video, animation, painting, drawing, sculpture and sound. I am interested in the philosophy of science, the intersecting histories of art and science, and how both are implicated in conceptions of nature and current cultural responses to climate change. I hold a B.S. from the University of Vermont (UVM) in Natural Resource Management. My work has been exhibited at the MFA Boston's WMH Memorial Library, Emerson Media Arts Center, and The Boston Convention and Exhibition Center and I am the recipient of the Montague Travel Grant.
Illuminations visualizes changes happening in the Arctic marine ecosystem as a result of melting sea ice and warming water temperatures. As sea ice thins and melts earlier in the year, the lightscape of the marine environment changes drastically, altering the fabric of the Arctic marine ecosystem. Through digital animation, projection, drawing, painting, installation of objects, photography and sound I investigate the shifting Arctic. This space slips between a laboratory and the Arctic landscape, placing the viewer at once in the Arctic, in the brain space of the researcher, or somewhere in their own imagination.
Image: "Flowers Don't Ask to Be Picked," 36x80", digital print, 2017
Douglas Breault presents a series of mixed media sculptures that draw parallels to the infinite qualities of the internet with the endless imagination of what heaven could look like. Through scouring the internet for images connected to his late father, he fills in the missing pieces of memories lost with metaphoric found images and self portraiture. The digital paintings and videos incorporated into the sculptures embrace glitches and pixilation to expose the limitations of the media.
Breault is an American artist and designer who splits his time between Boston, MA and Providence, RI. His interdisciplinary practice encompasses painting, sculpture, photography, video, and performance. His recent solo exhibition "Two Weeks of Sunday" at AS220 Main Gallery presents new work developed from the Montague Travel Grant awarded by SMFA.
Image: "Buoyancy", 2016. Acrylic on canvas, plaster, colored modeling clay
Born in Qingdao, China, Shaohua Chi is an artist who creates multi-media works that explore the idea of home, a sense of belonging, and expressing joy. Shaohua primarily works in painting, sculpture, printmaking, and, more recently, in installation. She grew up in China and came to the United States at the age of eighteen. She received her Bachelor of Science with Honors in Art from Pennsylvania State University in 2012. Shaohua is currently a candidate in the Master of Fine Arts program at the School of Museum of Fine Arts at Tufts University.
Seeking a sense of belonging, Shaohua creates her own home space as a life-size architectural structure based on the uniqueness of her grandparents' house, which has gradually become extinct in contemporary Chinese culture. Then, she uses this architectural structure as an installation site for her other multi-media works in painting, sculpture, or fabric. Shaohua uses software called SketchUp to digitally build the structure with precise measurements that will physically fit into the actual space of Cyclorama. By using foam board and tape, she is able to build a detachable architectural structure. She arranges the structure in an orientation that allows the viewer to have a comprehensive view and appreciate the structure from multiple directions.
Image: "Intruder," wallpaper, ceramic tile, metal. 10'x10'
Bailey Danahy focuses on creating total environments in which domestic issues are addressed. She constructs spaces that highlight the disturbing and hidden aspects of domesticity that often go unnoticed or ignored. Through using materials found in the home, such as wallpaper and tile, and warping them, Danahy presents a surreal and uncanny representation of a living space.
Danahy is an installation/sculpture artist who was born and raised in Buffalo,NY. She received her BFA in Sculpture from the University at Buffalo in 2015, graduating magna cum laude. She currently is a second-year MFA candidate at School of the Museum of Fine Arts, located in Boston, MA.
"Ea (Hyper-Fluctuation of Form)", 2017. Oil on Canvas. 8 x7 feet.
Ea's work explores the social construct of gender; questioning the individual components that comprise and determine the binary division of male and female. The work blends gender signifiers; examining long standing cultural norms of accepted modes of gender expression, gender identity, and sexual orientation. The work presents and is a proponent of a more pluralistic model of what it is to be human; with the hope of having a visual dialogue that contributes to a more inclusive and equitable future for everyone.
Ea is a Boston transplant by way of Iowa; they received their BFA with an emphasis in painting and a minor in art history from the University of South Dakota. Their current practice is interdisciplinary; incorporating painting and sculpture into hybrids works, and creating installations that are often site-specific and experiential. They are a 2017 nominee for the Dedalus MFA Fellowship in Painting and Sculpture, recipient of the Dean's Scholarship Award, CURCS Grant, Gunderson Art Scholarship, and their latest solo show, Pedagogy of the Self: The Phenomenological Truths, was on display at Tufts University this past February.
Image: Maasvlakte - FutureLand (study II), 2017, Digital Photo, 11x11"
Mea Duke reconfigures the viewer's familiarity with objects used for industry and survival within the marine environment. By remaining faithful to existing design elements and materiality, the viewer's familiarity with the object is removed by altering the physical form and intended functional operations. By combining traditional forms of painting and sculpture as well as formats of printed media, her thesis is an evaluation of our unspoken dependance on the shipping container. The work seeks to implicate our economic relationship to the widely used industrial vessels and the environmental impact by calling on romanticism and the sublime.
Duke was born in Rhode Island and studied at The Art Institute of Chicago and the The University of Rhode Island. She is currently an MFA candidate at the School of the Museum of Fine Arts at Tufts University and is the recipient of awards such as SMFA's Montague Travel Grant, the Dana Pond Award, and the Dean's Scholarship Award. Duke lives and works in Marblehead, Massachusetts.
Image: "The Problems and Possibilities of Seeing and Knowing," Oil on canvas on panel, 11 x 14 inches
Allison Gray holds a Bachelor of Science in Business Administration with a minor in Chinese from The University of Vermont, a Master of Business Administration from Babson College, and a Post-Baccalaureate Certificate from The School of Museum of Fine Arts. She was born and raised on the coast of Massachusetts.
Gray is an oil painter who experiments with sculpture. Inspired by the physical phenomena of natural forms of preservation, she creates her own acts of preservation by encasing organic matter in resin. Using only observational painting techniques, she then creates paintings of these objects to point to moments of truth. Her work examines and explores ideas of perception versus reality, and the impact of human activity on the climate and environment.
Image: "Box," 2016-2017, Animation, 1920 x 1080
Penghuan's work in Cyclorama start from her experiences and researches of China's edu-cation system. She is trying to restates an individual life with changeless regulations around all the time. Boxes in her works is a metaphor of physical and mental limitations for indi-viduals. It could unconsciously shape a person by letting them stay inside and feel familiar and safe, even the feelings are irrational. She aim to spark a wider consideration on how societal structures and its mechanisms set up rules and boundaries that limit individuals within a society.
Penghuan is a Chinese artist, currently living and studying in Boston, MA, United States. Penghuan graduated from Beijing Institute of Fashion Technology with an undergraduate degree of oil Painting. She is interested in social psychology and culture diversity.
Image: "The Monuments of Valinor: VI ", 2017, Acrylic and Graphite on Paper, 22" x 30"
Utilizing minimalism and abstraction of structure and landscape, Laura Hansen is creating a utopian civilization through paintings of imagined monuments within ambiguous landscapes. As the paintings accumulate, the monuments form the foundation of an unknown language and syntax that pieces together this undiscovered future population. Consequently, the work's content is not to be read from each individual piece, but as an enveloping narrative formed between the fragments of invented space that each painting depicts. As the artist defines a potential future, she is exploring what happens when ruins are created to inhabit and construct a pre-determined history for the future.
Originally from the Midwest, Hansen works primarily in the disciplines of painting and drawing. She has previously earned a Bachelor of Fine Arts in Graphic Design at Drake University in Des Moines, Iowa and completed a Post-Baccalaureate Certificate at the School of the Museum of Fine Arts, Boston. She is currently a Master of Fine Arts candidate at the School of the Museum of Fine Arts at Tufts University in Boston, Massachusetts.
Sarah E. Jenkins
Image: "Untitled," 2016, Stop motion animation.
Sarah E. Jenkins is a multidisciplinary artist working in stop motion animation, drawing, and sewing. She creates animation devices with the materials of her practice: charcoal, coal slag, t-pins, wood, and thread. The objects in her animations rotate, cut, draw, and repeat as they carry out repetitive tasks. Her work is inspired by blue collar labor and its dualisms: women's/men's, clean/dirty, indoor/outdoor, unpaid/paid, white/black. Jenkins comes from a long line of coal miners/laborers and grew up in an Appalachian coal town. She recently returned from a grant-funded trip to the valleys of South Wales, where she interviewed ex coal miners centered around the Blaenavon Industrial Landscape.
Jenkins earned her BA in Visual Art Studies and minor in Women's Studies from Penn State Altoona. She is a first generation college student who grew up in the mountains of central Pennsylvania. Aside from making animations, Jenkins has an ongoing social practice called Sewing Conversations, where she gathers people to sit, sew, and talk. Work from this project is currently on view at the Museum of Fine Arts, Boston.
Image: "Your Best Interest In Mind," 2017, collage on canvas, 3' x 5'
My name is Thomas Jennings, I am one of six kids, from a working class family in Georgia. I have been married for nine years and am expecting my fifth child. I grew up near Augusta Georgia, earned my undergrad from Augusta State University, and moved to Massachusetts two years ago, with my whole family, to pursue my masters degree.
My current work focuses on the topic of identity structured around money and Southern, patriotic heritage. Coming up in the south, a very patriotic and racist place, with no money is a complicated relationship to unfold. I began to question the systems we are given to structure our own perceptions of self-identity: race, class, nation, history, etc. The very core of our identity. Through works of collage and works in video, my thesis project challenges these systems that have told me who I am for so long.
Image: "Re;," 2017, Ceramic pieces on the Wood floor, 15ft diameter 1ft high
Jeeyoon Jun was born in Korea, where she gained insight into the cultural pressure of ascribing to traditional roles that she explores in her work and art-making process. She received her BFA in jewelry and design from Won Kwang University in Korea and her MFA from School of the Museum of Fine Arts at Tufts University.
Her ceramic spirals and semi-permeable boundaries installation work uses visual language to reference an unspeakability around the gendered body, specifically a failure of translation into meaning
This thesis project is configured as a space within a space, as an examination of interiority and autobiography "a reference to my memories of me then, a child being parented as a 'girl' should be rather than as 'me'. This work attempts to position viewers to un/mark inside and outside and to consider spaces as barriers against our own unspeakability, against what often is untranslatable, is a failure of translation into meaning.
Image: "04-08," 2017, Oil on Wood panel, 12" x 12"
Yoojung Jung's painting series is a timeline of life, from birth to death. Each painting depicts baby diapers, girls' underwear, womens' underwear, and old people's diapers. However, she abstracts the underwear and diapers into minimalist, simple shapes and solid colors. All paintings are titled with numbers such as 00, 00-02, 02-04, and 04-08, and each number represents the age bracket for which the garment is intended.
Yoojung Jung (South Korea, b. 1988) is currently an MFA candidate in studio art at School of the Museum of Fine Arts at Tufts. She received a BFA in painting from the Savannah College of Art and Design, Savannah, GA, and a BFA in Asian Painting from Chungnam National University, South Korea. Her work strives to leave room for the viewer to draw their own conclusions. Currently, she is living and working in Boston.
Image: "Pozydowski: Formerly Jewish," 2017, video still, dimensions variable.
Robin Levine's installation Pozydowski: Formerly Jewish investigates the irreversible dislocation and reappropriation of stolen Jewish tombstones in modern Poland. Beginning in the 1940s and up to the present day, the Poles have "repurposed" tombstones into paving stones, walls, grindstones, and even Christian headstones. The work commemorates her ancestors through the creation of a memoryscape that evokes personal and collective history.
Levine is an interdisciplinary artist whose art examines the non-linear complexities of history and memory by tracing the invisible threads that connect her to her ancestors. She received her BFA from Massachusetts College of Art and Design in Boston, and obtained her MS in Art History from the Pratt Institute in New York City. She is a recipient of the SMFA's Montague Travel Grant.
Image: "Rakuware Peach," 2017, oil on canvas, 38 x 60 in."
Taikyu was born and grew up in Seoul, Korea. He is currently a MFA candidate at the School of the Museum of Fine Arts/Tufts University. His primary interests are people, their emotions and experience in various space. Taikyu is exploring the scope of imagination and spiritual meditation through abstract paintings with rich colors, delicate layers and symmetric symbols. He focuses on meditation by which people can relive their stress and seek a shelter from the turbulence of their daily lives. He hopes that his paintings will create the zone filled with peace.
Taikyu's project visualizes the "Middle Way" the spiritual state. He uses more layers to show ambient and spiritual effect. Before applying each layer, he takes plenty of time to practice his own meditation and imagine the spiritual state that he wishes to describe. This is calm, slow and silent stage. But, once he begins to apply paints, his painting becomes much more live and fluid process - he splashes, drips, and pours paints repeatedly for hours and days. The results are natural, organic forms and colors developed while pigments are still wet and slowly settle on canvas for days.
Image: "Marie & Franny (Post Eating 2 Cakes)," 2016
Ana Loor is an artist from upstate New York. She received her BFA in Painting/Drawing and Sculpture from the College of Saint Rose in 2015 and is now an MFA Candidate at the School of The Museum of Fine Arts at Tufts University.
Using immersive installation and set design, video, and performance, Loor examines and critiques the weight of gendered expectations, often by the use of task-based endurance performances such as literal balancing acts. Her directed performances uses others to show the importance of staying united in a time where our current political climate tries to seperate us.
Martina Lundstrom's disparate performances and video installations incorporate autobiography and crushed crackers to approach the existential absurd that reflects the force of family, inheritance, and kinship.
In a three-minute performance, Wacker Cracker, a focused examination of the insistent refulsal accessible to us in everyday gestures, Lundstrom greets viewers while kneeling and using her knees to crush crisp bread. Behind her, Now, a video installation of earlier performances, runs on a continuous loop.
She received a BA in English literature with an emphasis on narrative theory from Colby Sawyer College in New London, New Hampshire; was the recipient of a residency in painting at Vermont Studio Center; and most recently is a MFA candidate with a focus on performance at School of the Museum Fine Arts at Tufts University.
Lundstrom grew up in Sweden where the inevitability of 'outside' and a certain angle of light would come to inform her belief in art as a medium for making things.
Dustin Markel uses traditional processes to have a contemporary conversation about violence in the world. The plate format is a familiar frame in the technological world that he utilizes to present imagery which originates from cinemascope. Each plate represents a singular school shooting. The criterion for the project requires the use of any school shooting from Dustin's birth year 1984 through present day. He chooses events that mirror his high school shooting where the act was carried out by a minor. The installation will act as memorial to those impacted by such acts . . . "what is a victim?"
Dustin Markel received his BFA in Printmaking from Bloomsburg University of Pennsylvania in 2007. His works are primarily in printmaking but he has worked in many mediums. His work, influenced by his years spent in urban settings in PA addresses the social and political consequences of youth violence, and the ongoing dilemma and inability to understand the nature of school shootings. Having lived through a school shooting in 2003 he questions components of control, the media's power and what it means to be a victim. Dustin ultimately presents the question "what is a victim?"
Image: "somewhere. everywhere. nowhere." 2017. Found Window, Acetate Paper, Yupo Paper, Video Projection
somewhere. everywhere. nowhere. is a painting-video installation that explores the experience of the fusion of traditional and contemporary cultures. This new fused identity is a woven intersection of multiple parts to create new meaning that embodies the individual meaning of each part. It investigates the hybrid nature of shifting cultural identities as an additive process that is a layered accumulation of various occurrences co-existing in one plane. It is a site-specific installation that uses found windows in the form of screens, time-based media, the ancient Indian craft technique of paper cutting and miniature painting.
Born and raised in Mumbai, having pursued undergraduate art studies in London and now a Master in Fine Arts candidate at the School of the Museum of Fine Arts at Tufts, Boston has exposed me to different cultures and art of all these places. My interdisciplinary art practice oscillates between painting, video, animation and installation. I am a recipient of the Dana Pond Award for displaying exemplary work in painting. I have exhibited at the Museum of Fine Arts, Boston's William Morris Hunt Memorial Library, Barbara and Steven Grossman Gallery and Media Arts Gallery, Emerson College.
Image: "Vision," 2017, Metal installation
My installation includes two sections. First, four metal pieces that are 16 x 24 inches each. The thickness of the steel is 20 gauge and 24 gauge. I used nails to hang the pieces on the wall. I cut the steel with the plasma cutter to create the pattern. The second section is the floor; six metal pieces stand freely on the floor with the same pattern as on the wall pieces. I have developed the floor using sand to create space and as a static element too. I used vinyl wrap to keep the sand inside the installation. I am using painted pillow for the viewer to sit on and to enjoy. Also, on the floor two sculptures are standing free on the sand and have the same pattern as the wall pieces. These sculptures are standing to keep the sand on the vinyl.
I am a wife, mother, and an artist. I was born in Jeddah, Saudi Arabia. I received diploma in secretarial work at Umm Al-Qura University Community College in 2007, and earned my Bachelor's degree in Art Education at Umm Al-Qura University College of Education in 2012. In 2013, I received a government scholarship to study abroad in the United States of America. I participated in a first year MFA exhibition group at School of the Museum of Fine Arts at Tufts in 2015. Also, I participated in the exhibition "No One Will Tell Me Who I Am" at Emerson Urban Arts Media Art Gallery in 2016- 2017. I participated in graduate international student and allies curated show at the School of the Museum of Fine Arts at Tufts in 2017. My experiences in the art world involve sculpture, painting, ceramic, photo, and installation. My ambition and what interests me the most is helping my community. Through my art works I am encouraging the Saudi Arabian woman artist.
Image: "Handsome Devil," 2016, Archival Digital Print, 36x36 inches
Johana Ortiz is a photographer working within her own family to investigate terminal illness and its affects on the family dynamic. Ortiz's most recent body of work documents her father's battle with cancer and renal failure and how her family navigates the complexities of living and caring for him. Ortiz's photographs explore themes of aging, role reversals, caregiving, and death
Ortiz is an American photographer born in Sacramento, Ca and attended the University of San Diego where she received a BA and teaching credential in Elementary Education. She is currently a MFA Candidate at The School of the Museum of Fine Arts at Tufts University, and works primarily in photography.
Image: "Thomas Cut-outs," 2015-2017, Wood and Acrylic Paint, Dimensions Variable
Thomas Cut-outs is a series of wood sculptures based off of Thomas Radovich's childhood drawings. The original drawings were cut out by his grandmother, mother, or him so that he and his relatives could use the drawings as toys. After the drawings' usefulness as toys expired, his grandmother preserved the drawings in a manila folder. As an adult, Radovich turns to these drawings for inspiration. Recreating these characters in three dimensions allows him to reflect on the drawings' importance, their role in him becoming an artist, children's responses to popular culture, and the importance of play.
Thomas Radovich was born and raised in southern Connecticut. He received his BFA with a painting concentration from the University of Connecticut in 2010. He is the recipient of the Shandel P. Witryol Memorial Award, the University of Connecticut Faculty Recognition Award, the Cynthia Reeves Snow Watercolor Scholarship, and the Hybrid Practice Drawing Award. His favorite color is green, and his favorite animal is the frog.
"Irregular Pearls," 2017, 3 channel video with sound, 15:00 minutes
Irregular Pearls is a three channel video piece that explores the relationships of rehearsal and performance through the lens of pants roles, or drag roles, in classical opera. Four women inhabit a series of endless backstages, green rooms, dressing rooms, and rehearsals rooms, continually preparing, rehearsing and enduring the stress of pre-performance. Through their unfolding relationships and desires, questions around what is performance, when is someone performing a role, and presentations of gender and sexuality begin to emerge. The video is installed with 3D printed and laser cut sculptural works who's play on traditional materials bring up similar questions of drag and performance.
Laine Rettmer is a video artist and opera director who's work explores gender, performance, methods of social control, and attempts to refocus male-oriented narratives onto female protagonists. Rettmer's work has been shown at FPAC (2017), Manifesta (2016), Yuan Art Museum (2016), Yve Yang Gallery (2016), Perkins and Ping (2016), Present Company (2015), NADA NY, NADA Presents, (2014). She has been the resident stage director for NYC based company LoftOpera, for the past four years, with whom her Macbeth last December received a Freddy Award for best new production. Other recent awards include an Art School Alliance Fellowship from the Hochschule fur bildende Kunste Hamburg and the Boit Award.
Shweta Maria Sengupta
"Anomalies of the Unhomed"
Having found home in seven cities, across two continents, Shweta Sengupta's work explores notions of belonging and speaks to the contemporization of culture. Her sculptural installation "Anomalies of the Unhomed" examines transnational identity through the lens of India's colonial textile trade. Viewing their textile patterns as subjects of diaspora who straddle an ambivalent relationship with their home and host country, Shweta highlights the creolized nature by which global identities operate. Intricately decorated translucent sculptures that are strikingly hollow, delicate and disconnected address the complexities that lie in cross cultural interactions as well as, culturally and puritanically structured nations.
Born and raised across the Indian subcontinent, Shweta migrated to the United States in 2010. By virtue of having mixed parentage with her Bengali Hindu father, Anglo -Indian Christian mother and American Muslim step father, her work deals with the role various cultural dispositions play in the verbal and physical manifestations of a person.
She currently resides in Boston, Massachusetts and works as an interdisciplinary artist in the field of textile, sculpture and painting. She received her Bachelors in Studio Art from the University of Nebraska, Omaha and is an MFA candidate at the School of the Museum of Fine Arts at Tufts University.
"Habitual Breakdown" Video still, 2017, One Year Exhibit
Tonya Shanholtz uses sculpture, performance, sound, and video to record anthropological traces relating to the overwhelming excess waste in our everyday environment and the ridiculous challenge of confronting it daily. This exhibition, One Year, is the end product of saving my own trash for an entire year, minus food waste. The United States EPA sites that the average American throws away 4.4 pounds of trash every day. EVERY DAY! That is 1606 pounds per year. How big is that? HOW BIG IS THAT? What is it to see, hear, feel, and imagine the power of the volume of that much physical matter? MATTER?
Shanholtz completed her BFA at The University of Texas at Tyler, in 2014. She is currently a MFA candidate at the School of The Museum of Fine Arts at Tufts University, in Boston, MA. While attending The Museum School she has been awarded the Ali Pratt International Travel Grant for her proposal "From Boston to Barcelona to Wiltshire and back: An Artistic Interpretation of Anthropological Physical Traces Mapping;" the Tufts University Graduate Student Research Competition Scholarship; and The Montague Travel Grant for travel to Hawaii to research traces of the Great Pacific Garbage Patch.
Image: "The Tower," 2017, charcoal on handmade paper, 41 x 83 in
Andrew Shirley's artistic practice highlights the importance of tradition and nostalgia in cultural progress with an attention to craft and the handmade. He observes that tradition acts as a controlling factor for the advancement of culture, giving humanity a link to the past while still adapting for the future.
Shirley was born in Boston, ma and received his BA in studio art from Allegheny College. He is currently an MFA candidate at the School of the Museum of Fine Arts at Tufts. Andrew works primarily in drawing, papermaking, and printmaking.
Image: "Palm Elephant," 2017, Marker, Colored Pencil, Pen on Bristol Paper, 14 x 17 in
Phoebe Barnes Stone graduated from Harvard College in 2010 with a major in Visual and Environmental Studies. She grew up in the suburbs of Boston and is one of three children. Always drawn to bright colors, her most recent work encompasses her love of vibrant imagery.
I draw and paint what I see. I like to create realistic images and challenge my hand-eye coordination for accuracy escaping conscious thought in concentration required in the copying of imagery. I play with composition and color rearranging what I see within the limits of the two-dimensional limits of paper. I have defined my work by manifesto—security within self-imposed limits. (The first condition = a drawing a day.) Each drawing is 14"x 17" on Bristol bright white paper. First drawn by pencil and then the pencil is gone over by pen and then colored in by marker. Some compositions are meant to resemble those of collage, images taken from printed sources and copied onto the paper as accurately as I am able.
(photo credit Jonathan Taylor) Image: "film still from Shedd's Spread," 2017, Video
This video and sculpture installation represents growth amidst stifling circumstances. The work includes materials and processes associated with Feminist art, such as furniture, needle crafts, and food. Deconstructed household chairs refer to broken bodies, but unlike the memorial focus of Doris Salcedo's furniture work, these sculptures reference both life beyond death and transformation through suffering. The theme of transformation is underscored by references to alchemy borrowed from Renaissance painting, such as the symbol of the egg. The second part of the title, Androgyne, refers to the Great Work of alchemy in which base metals are transformed into gold. Lost Object refers to the individual herself as well as her quest for life.
I began my professional life as an English literature instructor in Greenville, SC. From 2008-2012 my husband and I migrated throughout the Deep South to find work. This physical and psychological odyssey re-directed my career towards Fine Art. In 2012, we moved to Boston and I began full-time study at the SMFA. Currently, I am a second-year MFA candidate and work as a contract designer for The Horn Book, Inc.
Image: "From Scratch," 2017, graphite on paper, 9 x 12 inches
Miseon Um is a Korean visual artist. Her works include sculptural objects and monochromatic representational drawings of found objects like lottery tickets. Representing everyday life objects is crucial to her projects in which desire and hope in the contemporary world are common underlying themes. Um considers the found imagery of mass production and reproduces it using a fundamental material, pencil. Her drawings take a laborious approach to found objects people carelessly overlook and discard. Attending to the diverse, scattered objects around us that have emerged in the explosion of twentieth-century commodity culture, Um's practice explores human emotion.
Um earned her Bachelor of Arts in South Korea and is currently completing her Master of Fine Arts at the School of the Museum of Fine Arts at Tufts University. Her work addresses making the given state positive in the repeated time of everyday life. She interprets desire as an entity in which the human exists, and therefore the feeling of desire itself becomes affirmative.
William Van Beckum
Image: "Old Faithful via Instagram" 2017, LED Lights, Plexiglass, Archival Pigment Prints on Acetate, Artist Tape, 40" x 32"
The American landscape has been a source of inspiration for as long as artists have painted, drawn, and photographed the woods, rivers, and mountains of North American. My work examines the visual culture of landscape imagery as it relates to recreation, tourist photography, and the history of landscape art. By referencing and deconstructing the origins of the American landscape tradition, I create photographs, videos, and appropriated media works which are both critical and celebratory of the consumptive nature of humans relationship to images of nature in an age where the effects of climate change are beginning to be felt.
William Van Beckum received his B.A. from Emerson College in 2011 before moving to New Mexico to teach photography at the Santa Fe Photographic Workshops. His time in the desert shaped his interest in the cultural practice of landscape artwork and inspired his studies on tourism, environmentalism, and the anthropocene at SMFA.
Shannon Van Gyzen
Image: "A Strong Friend" 2016, Found antique chair, pillows, lace, table legs, afghan, house paint. 6FT x 3.5FT x 3FT
Shannon VanGyzen uses the language of an expanded painting practice to examine the conditions of social class as they exist within aesthetics of the home space. Within her assemblages and installations she uses indicators of socioeconomic status to signify a narrative associated with the impossible conditions of achieving the American Dream. Anthropomorphized household objects are used as markers for status and taste and become portraits of the unstable figure impacted by loss and decline within a decrepit domestic sphere. The assemblages simultaneously mimic and destabilize the veneer of public persona whose forms oscillate between states of grandeur and monstrous wretchedness.
VanGyzen is a Boston-based visual artist and educator who is a first generation college graduate. She is an MFA candidate at the School of the Museum of Fine Arts at Tufts University and is a recipient of the Deans Scholarship and the Tufts Graduate Research Award. Shannon has been nominated for the Dedalus MFA Fellowship in Painting and Sculpture as well as the St. Botolph Emerging Artist Award. She received her BFA-AE from MassArt in Boston, MA where she graduated with Departmental Honors in 2013. Shannon has shown her work in Massachusetts, Vermont, New Hampshire and Oieras, Portugal.
Image: "Epitaph" 2016-2017, paper, ink, plastic, metal. Various dimensions.
In Wang’s work, animal figures are the representatives for both animals themselves and human beings. She usually mixes drawing, painting, sculpture, and poem together to be an installation. In this way, she creates stages where animals are personified or human beings are animalized or robotized. On these stages, an ending never exists in the life of transformation.
Mengran Wang was born in China. Her work addresses the transforming process of an individual when experiencing an external impact, such as physical or mental erosion or subversion. The presentation of this process is both visible and invisible, depending on whether it is advantageous or whether the individual is willing or not to show his or her transformation to others. At the same time, active and passive transformations coexist in each individual and make the presentation of this figure both rational and absurd.
Lennon Michelle Wolcott
Image: "Dried flower ikebana broken pinata number 1" 2016, paper, glue, newspaper, mirrors, dried flowers. 18"w x 25"h x 13"d
Lennon Wolcott's work speaks about time, loss, tradition, history, and cultural skill. Demonstration of the beauty found within craft, the intersections of culture, and feminine gender are represented through craft pieces, in a traditional fine art setting. Wolcott's pieces attempt to reconnect a larger sense of intercultural identities through collective stories, personal histories, color, and form. Lennon seeks to create narrative alluding to loss and rebuilding of tradition. Cultural associations and reconfigurations are presented through ritual and traditional craft, handmade paper, sculptural figures, reframing of iconic American documents, performance and text.
Lennon Michelle Wolcott is a Michigan native who received her B.F.A. from Michigan State University in 2010. Wolcott realized her passion for cultural representation, agency, and civic engagement in art while working at the Boys and Girls Club of Lansing. Lennon completed the Post Baccalaureate program at SMFA at Tufts in 2015. As an MFA candidate she has focused on printmaking, sculpture, performance, and the intersections of culture, ritual, heritage, and tradition. In 2016, Wolcott received SMFA's Presidential research grant.
Image: "All Possible Results of Rolling Four Four-Sided Dice" 2016, Pen and pencil sketch. 4x4 inches
Graham Yeager's current project How do you know you are winning? uses play to investigate the complexities of human interaction. Individuals interact with themselves, other people, groups, and their surroundings on a daily basis. Each interaction has systems of rules developed to ensure fairness and/or advantages, safety and/or entertainment. These activities can all be considered to exist on a spectrum of competition and the challenges and advantages for each of us in any one particular activity can be dramatically different. This work interprets some of these various situations and presents them through the framework of an interactive game. Are you winning? How to you know?
Yeager is a Boston based artist whose practice includes sculpture, performance, drawing, printmaking and curating. He received his BFA in Ceramic Sculpture from the School for American Crafts at the Rochester Institute of Technology and is an MFA candidate at the School of the Museum of Fine Arts at Tufts University. He work has received many awards including a Graduate Student Research Award and the Timothy F. Nichols Drawing Breath Award. Recent projects have been exhibited at the Museum of Fine Arts, Boston and the Emerson Urban Arts Gallery.