MFA Thesis Exhibition: Life Was Different Then... May 6-23, 2004
About the artists:
As both a member of the newly heralded “creative class” and a card-carrying member of the HUCTW/AFSCME, Kerstein Audette uses familiar objects to investigate the hidden economics of desire from the art world to agriculture. Her installation of photography, video, work on paper, and hydroponics poses questions about a range of subjects including international relations, social and cultural capital, biology, and end-user consumption.
Laura Johnston’s work is an exploration of landscape in terms of a variety of framing devices – optical, theoretical, and commercial. As a photographer from a young age, she interprets the world in terms of her viewfinders. There is a constant mediation between her ocular understanding and technology. At a time when knowledge is gained more through secondary measures than through primary experience, she is concerned with the representation of landscape in a digital age. What happens when the view is electric instead of human?
Thomas Macintyre’s images share a certain sensibility dealing with loss and the photographic representation of loss. What is not in the pictures becomes as important as what is seen. The objects in the images represent the trace left when a person leaves his/her body at the moment of death.
In an installation of computer-generated images and handmade drawings, Tami Marks explores various frames of imagery, text, and craft, and the role frames play in our lives. The wooden frames surrounding the papers serve primarily as an aesthetic elevation for the sheets of paper. They also create another aesthetic form, a sort of rectangular, non-permanent wallpaper within the gallery space – that is, the space framing art. Houses are the architectural frames where we live and where we assume we are protected and free. Text frames abstract thought, and pins are a temporary frame to be followed by a permanent fixture or stitch. The work raises questions about communication, meaning, context, truth, boundaries, and freedom of choice. Wallpapers
Angel Tucker's still life photographs are rich compositions that explore the concepts of renewal and decay. She achieves this through a multi-layered interpretation of paintings by 19th century American painter Raphael Peale and 17th century Dutch painter Johannes Vermeer. Her work becomes a new reading of an old idea by introducing familiar subject matter to a new audience in a different context. The relation of her striking images to the past and the present deepens the view of ourselves, our past, and the changing nature of our legacy. Still Life with Steak, photograph
In her multimedia works on paper, Kaetlyn Wilcox paints a fine line between the personal and the universal. She uses autobiographical imagery to explore interconnected themes of good and bad behavior, cultural ideals, identity, desire, and repression. In each work, Wilcox combines surreal self-portraiture, family photographic material, childhood artifacts, and children’s book illustrations in a way that confounds singular interpretation. The resulting images revel in their own ambiguity; they are at once critical and nostalgic, whimsical and unsettling. She’s a Fine Bird, Watercolor, gouache and ink on paper, 2003