MFA Thesis Exhibition Overlap
December 1 - 18 , 2005
Tisch and Koppelman Galleries
This exhibition is the first 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.
About the artists:
I am consumed by the concepts of home and family (social constructs built from ideologies and discourses, culturally and psychologically situated). I am specifically interested in their promise of security as well as their ability to position identity, status and class. In this work, by attempting to draw an intersection between these parallel structures and through questioning the construction and function of drawing, I hope to expose the arbitrariness of the mark-making process as well as critique the illusion, promise and failure of the American domestic structure. Plot Line, 2005, 30 x 30 inches, gouache, acrylic, pen, pencil
I suppose I am an explorer, of sorts, an observer and a documenter. I must say that I'm particularly interested in the physical characteristics and appearance of the animals or 'creatures' that I have discovered more so than their habitats.
Through my observation, I have been able to gather basic information about their behaviors, though many remain a mystery to me. For instance, I have observed that the tiny Submarine always accompanies the Whale. It seems to be a symbiotic relationship. What I have named the Clumps and the Sodmonsters, appear to be always at odds, in a constant state of war. While, the Birdmen, though never far from the flock, seem to be extremely intelligent. The sculptures and the drawings that I create are an attempt to represent these animals to the best of my ability in situations in which I have encountered or imagined them. The Whale and His Friend the Submarine Take a Journey, 2005
8 x 11 inches, acrylic and pencil on paper
As a system of language, fashion operates in a multifaceted way, forming a complex relationship between clothing and body. In my work, I combine, mix up, remix, and spit back out the signs and codes of my own life and of my own clothes. I search for strategies to successfully displace clothes and what they signify, to create something that is more personally relevant, to break through the categories to which certain pieces of clothing are so often associated, and thereby question the necessity of those categories. Sporty Spice, 2004, 6 x 6 inches, soccer shorts, underwear, fake fur, gold thread
KELLY ANONA KERRIGAN
The portraits in this work depict each of the artists showing in this thesis exhibition. For each, I have constructed and dressed them in fragments of clothing taken from the history of art and particularly portraiture. By assigning an item to each person, I am questioning identities and the power of outside objects to alter images and self-presentation. These particular objects refer to the efforts of my colleagues and myself to locate ourselves within the lineage of an art practice. Daniela the Third, 2005, 72 x 48 inches, oil and charcoal on canvas
BRAD NELSON Notes Towards A Spiral Binding
This is an inquiry into the elusive realm of ‘understanding’ and the thinly disguised veils that limit knowledge. The works for this show function as objects that have the potential to support and nourish ideologies based on surface appearance. These structures, made of foam insulation board, paper, and canvas are all painted with a thin layer of oil paint that is an identifiable skin. Faith is invested in these realities that delicately exist as empty promises. At first glance they are able to support the weight of their implied function, but upon investigating their properties these default notions crumble and fall flat. Wooden Chair, 2005, 35 1/2 x 15 1/2 x 15 1/2 foam insulation board and oil paint
This body of work is dominated by two themes: a devotion to and admiration of the medium of photography, and an obsession with documentation and chronicling. There is a wide range of subjects, all the products of my visual obsessions with form, light, color, and the photo-specific renderings of these things. These images function as representations of subjects, and of photographic “events”, documentations of that space between the real and the representation. It is in this gap that I find not only the tragedy of photography, but also its most fantastic beauty. Untitled (Pink Neon), 2004, 30 x 30 inches, c-print
I've been forever removed from myself, having no sense of location. I am lost in a world of well-defined cultural traditions, ethnic groups and races. Time is spatial within me and I realize that I am both; time and space. In this particular location I am a European, Latino, native South American woman, who ingested/ingests all. I am a space where all historic times exist at once. I am a product of cultural, political, discursive, ethnic and racial anthropophagi.
I recreate utilitarian uses of painting, which alter representational and perceptual planes, to make the painting perform as the space and ask the body, the viewer's and my own, to assume the role of the subject of the painting. Painting becomes a tool for staging generating a physical experience. An excess of pictoric simulation turns into a baroque collapse of the discipline of painting. Tilted Room, 2005, 8 x 8 x 8 feet, stretchers and oil on canvas