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MFA Thesis Exhibition
May 3–May 20, 2007
Tisch Gallery

This exhibition is the final of 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:

michele brodie 

“I photograph individuals in the environment of their childhood forts or special places because a landscape recalls pieces of childhood past. I explore the connection between a place and the complex social relationships associated with it.  These portraits, as narratives, reflect the passage of time and the fragmented space between perception and reality.  The photographs explore themes of history, memory, fantasy, and escape; they reveal how landscape is a critical agent in the formation of culture and the development of social and personal identity."

Hunter, Gold Hill, Oregon (detail), 2007
archival inkjet print, 122 x 30" 


erin carey 

"This minimalist landscape drawing explores the emotional impact of how and why events are measured and recorded and how these recordings develop their own histories and bodies, which are ultimately subject to time and decay."

How Much does the Ground Shake? - panoramic view, no. 2, 2007 ink on paper


jeanne evans 

The “Able” series of photographs began when I took my father, who requires a wheelchair, on vacation. I thought about how people end up in a wheelchair and how they do the things that people without limitations take for granted. I imagined how inconvenient life becomes when, one day, you stand upright and the next you’re in a wheelchair. Some will find themselves spending their days and nights looking for a miracle to put life back the way it was.

(Untitled), 2007, digital photograph, 16 x 24" 


maya freelon

"I explore notions of separation, permanence, and continuity through sculptures made from ripped tissue paper bound in a spiraling vortex, questioning both death and the desire to save and protect. I emphasize the appreciation and importance of the present moment."

Reconstruction (detail), 2007, tissue and tape, dimensions variable


elizabeth passela 

"This series of paintings describes the complex nature of the artist’s relationship to art and art history.  I look at a painting to see how it is constructed (brushstroke) and what that construction conveys.  I take a photograph of the painting in the gallery space and look at how that is constructed (pixels) and what has been added or deleted from the original.  I digitally alter the photograph and construct a new painting from the result.  This process of creation and destruction mimics the emotions an artist experiences looking at art."

Visitor (Ghost), 2006, oil on linen, 54 x 72"


lisa sawlit

Drawing the Cast: A Return to Wisdom, Knowledge and Skill
A Pedagogical Installation on Contemporary Realism

“Under the independent mentorship of renowned French Academy expert and internationally recognized contemporary realist Graydon Parrish, my installation will demonstrate, if not test, the relevance of the antique replica to post modernity.  Taken from original Caproni brothers’ casts of the Apollo Belvedere, the installation features five cast drawings done for the first time in the round and contextualized within a site specific, 21st century academic art exhibition. This pedagogical installation will also help viewers understand expert studio practices and the tradition of cast drawing within the Museum School’s forgotten legacy as an École des Beaux-Arts and its lost historical lineage to Leonardo.”

Drawing the Cast: A Return to Wisdom, Knowledge and Skill
A Pedagogical Installation on Contemporary Realism


laura torres 

"Efficient manipulation of electricity gives us the technology we enjoy today. My installation looks into the mechanics and culture that surround electricity in contemporary Ecuador and the subsequent methods of do-it-yourself resistance in the form of hacked popular culture and technology."

Paute, 2007, installation detail (graphite on white painted boxes, sound circuitry, and found objects)


andrea wenglowskyj 

“My cultural identity is a social and political construct as well as something composed of my daily choices.  Honor, pride, and dedication to my family's Ukranian heritage battle the effects of time, distance, and inevitable cultural transformations.  The heritage “industry” promotes diasporic culture through the recycling and repetition of activities, language, and crafts.  Using advertising, photography, and traditional Ukranian embroidery design, my project is digitally-constructed, industrially-fabricated, and autobiographical.”

Embroidery Study for Anxiety of Amnesia, 2007, vinyl laser print


eileen yaghoobian

"The dancing girls, Dance two, The dark dark dance, Cha cha dance, Maxine honey dance and Shannon dance are sound and video vignettes taken from my “Dance Pieces” series. I am interested in the tension created between soundtrack and image. This series of video shorts is my homage to the dance scenes from three films I love: Akira Kurosawa’s Stray Dog, Terrence Malick’s Badlands, and John Huston’s The Night of the Iguana."

Maxine honey honey dance from the "Dance Pieces" series, video still