MFA Thesis Exhibition January 18–30, 2005
Tisch and Koppelman Galleries
This exhibition is the second of four in an ongoing series of MFA thesis exhibitions shown annually at the Tufts University Art Gallery as part of the joint graduate degree program of Tufts University and the School of the Museum of Fine Arts, Boston. The artists explore ideas of identity, absence, power, aesthetics, and the role of public versus private through photography, video, painting, and mixed media installations.
About the artists:
Freud indicated that the two principle human endeavors are to love and to work. In five photo-based Iris prints and three looping videos, I investigate these two vital activities within a constructed narrative context. Using my image as the central character, I intend these works to function as an unstable whole in which the various components support and context each other. Video still from Dough Boy, 2004
Samantha Fields The Game of Life: Atopia
atopia: n. a non-place, a space that involves the displacement and destruction of place.
place: n. a field that is symbolically marked and bounded, constituted in relation to otherness and recognized through memory and tradition.
In the game of life the walls of the house have traditionally functioned as boundaries that separate the interior from the exterior, and insulate intimate relationships from the "outside world." In my work the walls become transparent. I use indoor/outdoor furniture and household fabrics that have been dislocated from their former lives. What appears as dysfunction can also serve a new function. This body of work can be viewed as both public and private and erodes the binaries which define our sense of place.
Photographs, like memory, are not unyielding. The reality photographs hope to capture more often replace than capture it. As a photographer, my work is inherently caught up in the ongoing conversation about photography's indexical nature and mutability. I exploit the relationship between what is revealed and what is concealed in my images. Max Back (of a photograph) 2, C-print, 2004
Vanessa Platacis The Hymen Family
The Hymen Family, an installation of forty oil paintings on wood, is an investigation into the mythology of the American Family and a representation of my own family album. My work stems from the idea that it takes three generations to make a person. Themes of identity, displacement, absence, power, and desire are all reinforced and performed through the family portrait. Hyperbolic color and excessive pattern act as metaphors for memory and history as highly rendered objects evoke a trace of authentic experience.
My interest in film lies in the "event" of cinema, including the actual films and the physical experience of watching them. I wonder about the magic of cinema and the use of a technology to transform ways of seeing. In these dioramas, I focus on a near reconstruction of the location where stories unfold. Many of these scenes are public spaces where intimate encounters take place and where dreams are made.
Luanne Stovall wet dreams: new pulse~patterns
wet dreams is a three-pronged exhibition project that involves transforming the gallery into a showroom installation designed to debut the new pulse~pattern aesthetic. pulse~patternsacknowledges the natural rhythms of the interconnected dynamic forces coursing through all matter. The patterns are a synthesis of color chords and color spaces. They grow out of a conviction that there is no negative space and that sensual pleasure is an essential component in a full embrace of earthly life. Hand-in-hand with the pulse~pattern aesthetic is the message that a painted image has the capacity to be unmoored from its historic partnership with the wall plane. It may be invited to become an active participant in our daily lives. wet dreams, oil on linen, 60 x 48 inches, 2004