Sixth Annual Juried Summer Exhibition June 4–August 2, 2009 Summer hours: Wednesday - Sunday, 12-5 (closed July 3 and 4)
A year after celebrating its fifth annual exhibition by featuring five site-specific installations, the Tufts University Art Gallery went "back to basics" in 2009 with an open call to all professional artists living and/or with a studio in three of Tufts' host communities (Grafton, Medford, and Somerville). The 2009 call yielded 90 submissions, a response emblematic of the area’s vital arts scene. The 36 selected artists represent a variety of media, styles and themes. Among these artists are familiar names pursuing new directions and newcomers who submitted for the first time this year.
Click here for the exhibition's press release, and here for a link to a slideshow in the "Tufts Journal".
The triptych cut-edge paintings include bats, rats, fruit, and ejaculating flora. This work is inspired by themes of fertility and an over-the-top beauty.
As I sought a format for fusing video frames into single images, my paintings have become very small. Through them, I look back into places with which I have an outsider's connection.
My abstract paintings document the interplay between intent and chance, structure and chaos. The work intends to convey a portrayal of the ineffable.
Photographs and triptychs from Brooks Estate in Medford using shallow depth of field to selectively focus and create aesthetic blurs also known as bokeh.
I draw in black and white on paper, without sketching, to record my emotional responses to real-life events and outflow of subconsciousness.
Language has been seeping into my work for the past ten years. I am interested in the evolution of image as an analogy, a shadow of the text. Having developed from the use of actual language, the forms become a personal hieroglyph.
FRANCISCO DE LA BARRA
Our eyes act as windows to the world, and as doors that lead towards our deepest feelings. I paint with spices, seeds, and herbs. Representing life with things that are part of the life cycle."
This work of an overlooked and under appreciated space explores the social and
psychological aspects of representation. I am interested in the ability painting has to create the uncanny sensation of something familiar suddenly becoming unfamiliar.
This series was inspired by my visit to Les Grottes des Combarelles, a pre-historic cave in southwestern France, which is incised with layers and layers of animal images.
The bodies I paint form their shape, color and personas in the space between the reality of sexuality and the artifice of beauty and violence.
The drawings in the Pelt series showcase scalped heads, confused Buffalo and Buffalo Pelts in the Outer Limits of Knowledge.
What would show when a shutter was left to capture sleep and can I render lost time? I aimed to create imagery about the unconscious mind and what it can reveal during slumber.
ELIZA BURKE GREENE
Figures traverse pigmented spaces of the ominous and ecstatic, the visceral zones of recollection and dream.
ALICE GROSSMANPhotographing this strange landscape with plastic and homemade pinhole cameras allows mystery and metaphor to surface for me.
In my photos I suggest an urge to create order in a chaotic environment, a wariness of external threats, and moments of transcendence.
JOANNA KAOWhen an illustrated text on perspective by John Ruskin came my way, I decided to use its geometric diagrams to express something powerful, but rarely acknowledged in my family: the struggles for power among us.
This work derives from the premise that human relationships with the earth are dynamic, mutable, interactive, and move in ever-evolving cycles of repetition and variation.
My work attempts to bring to light the beauty in subjects and materials often cast off as worthless or even disgusting. I revel in minutia.
Scott Listfield’s paintings all feature a lone exploratory astronaut lost in a landscape cluttered with pop-culture icons, corporate logos, and tongue-in-cheek science fiction references.
KRISTie LONCICHI explore the beauty of how time wears away and alters forms in nature, while trying to capture a figurative element in each sculpture.
I deconstruct the imagery on familiar, domestic materials and develop them into new paintings of simplified organic patterns reminiscent of cells and elements in nature.
In the summer of 2003, I moved with my family to Massachusetts. In an effort to understand the character of this place, I did what I have always done and turned toward the landscape.
In this series, swimmers are partially submerged in dark fluid. They seem to be uneasy in the deep water. Are they sensing danger?
My inspirations come from the natural world – the body and systems within the body. I am exploring the possibilities of line: the flow, the energy, the movement.
My painting uses intimate landscape to explore the ephemeral nature of life. The beauty of shifting light, the passage of time and the elusiveness of memory come into play in these highly textural paintings.
TED OLLIERMy concerns are with shapes and forms covered up by overfamiliarity with convention. I pull these shapes forward and present them in stark contrast.
I am interested in using actual space as part of the overall composition of the work. I want to make tangible both the space behind and the space immediately in front of the surface of the painting.
MARK PETERSONPhotos taken in Somerville and East Cambridge -- If the site is sufficiently banal and the composition sufficiently elegant, then the photograph may be very ironic.
My work originates from an interest in math and science. While not literal, these works look like a Hubble view of space, complete with interstellar dust clouds, black holes, nebulae, and comets. I create a parallel universe of my own.
The surfaces and ideas for my work take inspiration from the natural and man-made environments that I found along the coastal waterways of Cape Ann.
The style is influenced by my past as a painter, flat glass designer for commercial studios, and printing press operator. It is also defined by my limitations as a photographer, artist, and working mother of a disabled child.
Much in the way shadow puppets engage us in a non linear view of time and space by removing our focus on surface detail, these works express the overlay of observation memory and sensory experience that occurs when the mind is at rest or unfocused.
Grafton seems lost in time: the idyllic Common, the rolling farmlands, deteriorating industrial remnants. Nearby, though, you’ll see progress – construction, development – a new cycle of decay.
CATALINA VIEJO lopez de rodaMy abstract letter collages aim to describe and portray specific individuals. I translate my feelings about the person, being or thing and the emotions that they express into a combination of shape and color.
I'm attracted to the sublime in the classic sense of the word. In my work, I use images that are unnerving and unnatural, yet beautiful at the same time.
HOWARD WOOLFEven since I first picked up a camera and looked through the viewfinder at a scene, I would see the makings of an image in which color and light are transformed, altered, heightened.