A MFA Thesis Exhibition of six artists in the joint graduate degree program of Tufts University and the School of the Museum of Fine Arts, Boston opens May 3rd at the Tufts University Art Gallery and runs through May 20. This is the third of three MFA thesis exhibitions presented by Tufts as part of an annual series. The artists will each be present and speak about their work starting at 5 pm on May 3.
About the artists:
Hye Sung An
Memories exist in unique space and time. Some fade, dissolve, overlap, and stand out. An visualizes these characteristics of memories through her own experiences, dreams, and emotions. Each individual panel becomes a frame that contains her memories while the congregation of the panels creates a larger scene of these fragments.
Hye Sung An, A Room of Memories, 2012, oil on wood panels, various sizes.
Throughout life, we shape our minds, our bodies, and ourselves. Is this excruciating act imposed upon us, self-imposed or freely and happily chosen? To what extent is our image enforced by culture, social groups, and fashion? What are we communicating by pursuing these alterations? Four paintings depict feet binding, a tucked drag, a breast implant and a giraffe woman. The viewers' image will also be included, reflected in black mirrors, as they approach the installation -- we are all bound by trends and socio-cultural influences. Beauty remains undefined.
Emilio Coyra, Giraffe Woman (from the series Rigorous Corporeal Morphing), 2011, oil on canvas, 24 x 24 in.
The piece is a fourteen feet square room. All four walls are painted with a forest scene of surprised deer and trees lit by the headlights of an unseen vehicle. The entire floor has been covered in green Astro-turf. Centered in the room is a six feet cube. There is no entrance. It has been painted with found paint. Centered on each wall of the clubhouse is a one foot square window. There is a different scene lit from within visible in each of the windows. As the viewer approaches the window the light inside dims to off, making it impossible to get a good look at the scene inside. The room itself is lit by a single bulb.clothing.
Eszter Sápi explores the intersections of national myths, personal memory, and gender and sexual identity, as refracted through the prism of immigrant and queer experiences. In this body of work, Sápi engages in multiple translations as she grapples with the contradictions of language: its power to forge connections between people, as well as to alienate, and to mark as other. Acknowledging the inadequacy and occasional impossibility of translation, the work embraces moments of silence, discomfort, and exclusion.
Eszter Sápi, Mézes köcsög/Honey jug, 2012, mixed media on found paper, 6 x 9 in.
Everything that once passed by will not come again, but neither will it pass away. The memories Woo believes were most important and valuable in her life are enshrinedhere in these paintings and sculptures. Each one of these one hundred paintingsrepresents a different name collected in her memory. Each sculpture emerges from apainting, a name, serving as a metaphor for a single person's life.
Jihye Woo, At the Moment, 2012, ink on rice paper, 10 x 10 in.
Chun-Ya Yang Heart of the Ocean is about Yang's transcontinental immigration and internal migration between Taiwan, US and Germany. Working with video installation, Yang questions if the geographical cyberspace erases the colonial power and geopolitics. The situational and psychogeographical moving process not only locates her viewers inside her personal diasporic experience but also dislocates them in diasporic fantasies in cyberspace. The artificial glitch in the video is destructive creativity that represents breaking through borders.
Chun-Ya Yang, Unpeaceful Ocean, 2011, still shot from single channel video installation