flourish catalogue

flourishALUMNI WORKS ON PAPER

MASSACHUSETTS COLLEGE OF ART AND DESIGN

CONTENTS

SCOTT ALARIO 2

ELIZABETH ALEXANDER 6

LIZBETH ANDERSON 10

JOHNNY ARGUEDAS 14

KRISTY ASARO 18

BRENTON BARNES 20

CLAIRE BECKETT 24

SUSAN BLATT 28

JEN BRADLEY 32

KELLEY BRANNON 36

CHUCK BROUILLETTE 40

EMILY C. BROZYNA 44

KYLE BRYANT 46

BRUCE CAMPBELL 50

LANA Z CAPLAN 52

CALEB CHARLAND 56

CHRISTINE COLLINS 60

COREY CORCORAN 64

LEAH DE PRIZIO 68

AMY DiPLACIDO 72

JESS T. DUGAN 76

PAT FALCO 78

ALEXANDER FARRELL 80

JEFFREY FICHERA 82

CHRISTIAN FLYNN 84

JESSICA GATH 88

ANIA GILMORE 92

EMILY B. GOODALE 96

HANNAH GOODWIN 100

LUCY H. GROVER 104

KAREN HENDRICKSON-SANTOSPAGO 108

MARY HUGHES 112

LAUREN KALMAN 116

HEIDI KAYSER 120

JOSHUA KEAY 124

ISAIAH KING 126

BARA KIRKPATRICK JICHOVA 130

ROBERT KNIGHT 132

REGINA KOKOSZKA 136

KAY KOPPER 140

ADAM LAMPTON 142

SURENDRA LAWOTI 146

SEBASTIEN LECLERCQ 150

COURTNEY A. LOCKEMER 152

JOHN MAGNIFICO 156

BRYAN MARTELLO 158

JULIE MARTINI 160

LAUREL McMECHAN 164

KEVIN MOROSINI 166

DANA MUELLER 168

BRUCE MYREN 172

ASHLEY NORMAN 174

ZOE PERRY-WOOD 178

GABRIEL PHIPPS 182

ERIC SALINE 184

DANA SALVO 188

STACY A. SCIBELLI 192

JI-EUN SHIM 196

CANDICE SMITH CORBY 200

DAWN SOUTHWORTH 204

TEREZA SWANDA 206

JOHN THOMPSON 208

DYLAN VITONE 210

EILEEN WAGNER 212

1

JUNE 6 – JULY 9, 2011

FLOURISH: ALUMNI WORKS ON PAPER

MASSACHUSETTS COLLEGE OF ART AND DESIGN

BAKALAR GALLERY

Flourish: Alumni Works on Paper, the first juried alumni exhibition to be held at

MassArt, showcases the breadth of talent and excellence embodied by MassArt’s

artists and designers. This exhibition highlights the wide range of work by the

college’s diverse alumni and includes painting, collage, interactive sculpture,

photography, performance, fashion, and graphic design.

The 64 alumni represented in this exhibition are part of the distinguished 138-year

history of MassArt, whose notable alumni include Shelby Lee Adams (’89), Brian

Collins (’82), Robert Cumming (’65), Sam Durant (’86), Christian Marclay (’80),

Richard Phillips (’84), Jack Pierson (’84), Ellen Rothenberg (’78), Glen Seator (’84),

May Stevens (’46), William Wegman (’65) and Jackie Winsor (’65).

With more than 15,000 living across the globe, MassArt alumni can be found in almost

every corner of the art and design world. They are Fulbright scholars, Oscar-winners,

and Guggenheim fellows. MassArt alumni exhibit work in world-renowned museums

and galleries, but they are also the quiet genius behind things we see every day, like

blenders and Windex. They train the artists of tomorrow in elementary and secondary

schools, as well as at colleges and universities across the country. Their contributions

are significant and broad, and we are proud to have the opportunity to exhibit this

small but exciting segment of their work at the college.

MassArt was honored to have Tammy Dayton, Creative Director, Moth Design;

Michelle Lamunière, John R. and Barbara Robinson Family Assistant Curator of

Photography, Harvard Art Museum; and Edward Saywell, Chair of Contemporary Art

and MFA Programs, Museum of Fine Arts to serve as our selection committee.

2

SCOTT ALARIO BFA PHOTOGRAPHY, 2006

“I’m in the midst of building a folk tale for my daughter.

It seems like a paternal inevitability to make up stories

for one’s children, and doing so has become the pas-

sion in my creative practice.

There are two photographs I remember from my child-

hood, that play directly into this recent work. The first

is a studio portrait of my father’s mother, taken when

she was just a little girl, with family by her side. The

picture was made immediately before leaving Italy to

immigrate to the United States. We would call the pho-

tograph the gypsy picture while I was growing up, and

in doing so the image has taken on an epic and magical

role. In the picture, my grandmother stands stoic as an

eight-year-old. Her timeless eyes represent so much

to me. In her face is the face of the ninety-nine-year-

old woman I know now and it’s the face of my daughter.

It’s one of bravery and will, and it fills me with awe.

The second picture that I carry in my mind is a por-

trait of a Sami family, reindeer herders of northern

Scandinavia. It comes from my mother’s mom, whose

Norwegian bloodline is only fictitiously connected to

the Sami. Although I had just imagined being related

to these people, the image hangs in the house like an

offering to our ancestry. I see the face of my late uncle

in the proud, piped and weathered hero of the portrait.

Magic flows out of this image too, and it’s hard for me

to tell if the picture is five hundred years old, or one

that has come to us from the future. Having a child

has got me thinking about the importance of cultural

myths and ideas of ancestral wisdom. In my baby’s

face I can see our connection to the past, as well as

the potential to leave bits of ourselves to posterity.

My partner Marguerite and I have been working to-

gether both as new parents, and on this work inspired

by Elska, and ultimately for her. Ideas for pictures

come through play; dressing in costumes we make, be-

coming characters, going back into nature, erecting

forts, and telling stories. Inspired by those two relic-

like-portraits, and driven by a deep love, the images I

make are a collaboration with all of my family through

time.“

3

Scott Alario Tea Party In Father Fort, archival inkjet print, 20” x 24”, 2010

Courtesy of the artist

4

Scott Alario Oof And Stars, archival inkjet print, 20” x 24”, 2010


5

Scott Alario Brave Elska, archival inkjet print, 20” x 24”, 2010


6

ELIZABETH ALEXANDER BFA SCULPTURE, 2004

“I am motivated by discovery, both in my studio as well

as a means to captivate a viewer. As a child I searched

for magic everywhere, believing that soon I too would

be living the life of a fairy princess, finding enchant-

ment at every turn. I have since realized that I am not

destined for royalty but I still feel the need to create

enchanted interventions with the everyday. The famil-

iar standards of objects and space are represented but

manipulated in a way that changes one’s perception

from normalcy to fancy.

I use embellishment as a transformative tool, in the

same way that adornment and artificiality is issued for

all tales of rags to riches. Beauty acts as a veil of sta-

bility and calm over the distress I allude to; pattern,

color, materiality, and texture are used to seduce the

viewer to appreciate something as unappealing as a

flood or destroyed car. I employ decorative arts and

formal aesthetics as vehicles to evoke desire, pros-

perity, and escapism in places typically lacking those

characteristics. The final result is a reinterpretation of

space and material, a blurring of reality, memory, and

imagination.”

www.elizabethalexanderstudio.com

7

Elizabeth Alexander Tool Studies No.1, paper, ink, and graphite, 41” x 41” (total), 2010


8

Elizabeth Alexander Wing Nut (detail), paper, ink, and graphite, 13” x 13” (frame), 2010

RIGHT: Elizabeth Alexander Hammer (detail), paper, ink, and graphite, 25” x 18” (frame), 2010


10

LIZBETH ANDERSON

“The form and content of my work lie in an interest in

allegorical representations of the body, particularly

the palpable intersection of its internal and external

worlds.

When I pursued a dual major at MassArt in 1991, I was

told by both the Painting and the Art History depart-

ments that I would ultimately have to choose one dis-

cipline (advice I that I readily understood, but respect-

fully ignored). When I graduated in 1996, I also began

a fifteen year career as a professional tattoo artist. I

went on to earn my MFA in both Painting and Art His-

tory from RISD in 2003- tattooing and teaching my

way through grad school.

I still love all that I do and have found the three dis-

ciplines- painting, teaching art history, and tattooing-

coming together in my studio work in satisfying new

ways year after year. While the balance can indeed

be challenging, I couldn’t imagine living my gloriously

manic life any other way.

I emphasize with my students how the specific ma-

terials of an artwork affect its form and content. Our

bodies and tattoos are just as much a part of modern

American visual culture as anything we see hanging in

museums, in film, via advertising, surfing the internet,

or on television.

I relate in my own work the characteristics and layer-

ing of living skin through the mixed-media collage of

natural beeswax, paint and organic handmade papers.

I reference the complex structure of the human body

through my visual synthesis of alchemy, integumental

anatomy and archetypal tattoo motifs.

www.lizbethanderson.net

I simulate the actual process of tattooing through

incised mark-marking, subtractive printmaking tech-

niques, stitching; and further reference the destruc-

tion and regeneration of tissue which echo the appli-

cation and healing of the daily work I do on my tattoo

clients.

As a metaphor for the body, the rabbit represents pro-

liferation, fertility and luck; yet in moments of moral

cleansing the rabbit symbolizes trickery, lascivious-

ness and vice. These contradictions are particularly

fascinating to me, as we all have our own ways of deal-

ing with the burdens of the body/spirit dichotomy. I

wish to draw from art history and represent in a new

context my own struggle with spirit, materiality and

instinct; ‘high brow vs flow brow art;’ and make visu-

ally provocative work that will speak to the universal

experience of being confined to a big lump of flesh...”

Lizbeth Anderson, New Haven, 2011

BFA ART HISTORY AND PAINTING, 1996

11

Lizabeth Anderson Venus Hunt No. 6, mixed-media on paper (ink, Revlon #730 Valentine), 30” x 18”, 2011

Collection of Martha Sue Anderson

12

Lizabeth Anderson Venus Hunt No. 1 (2nd Edition), silkscreen print, edition of four, 12” x 9”, 2011


13

Lizabeth Anderson Transubstantiate (2nd Edition), silkscreen print, edition of four, 12” x 9”, 2011


14

JOHNNY ARGUEDAS

“My desire to produce meaningful images has resulted

in a crooked and branched path following different

subjects. Towards the end of my time at MassArt I hit

upon a life-long project- to capture urban landscapes

at night with a large format camera. These images are

solitary and engulfed in darkness, owing much of their

moody unease to film noir. By shooting in color I am

creating a modern noir which is both more connected

in the present but with the melancholy of the past. In

addition, I am fascinated by abstracted studies of form,

ranging from cold, impersonal architecture to the or-

ganic shape of wet hair on a shower wall. Most recently

I have begun a portrait project of people that are both

known and unknown. I am a member of an online forum

comprised of local music fans that discuss their daily

lives. I challenged myself to meet these people in per-

son and to attempt to capture a part of them in a short

amount of time, usually where they live or close to

their home. I am fascinated by the connections made

through online interaction, and how the relationship

changes when people finally meet in person.”

BFA PHOTOGRAPHY, 2001

15

Johnny Arguedas Olympic Stadium, Montreal, C-print, 20” x 24”, 2009


16

Johnny Arguedas Tattoo, gelatin silver print, 16”x 20”, 2010


17

Johnny Arguedas Ice Box, C-print, 20” x 24”, 2009


18

KRISTY ASARO

“I love creating vibrant and elegant artwork with my fa-

vorite medium pastels. I often find inspiration in nature

like beautiful flowers or the sunlight making things ra-

diate with life. I recently have been making pastels of

cupcakes! I find swirl of the frosting especially fun to

www.imaginekristy.com

BFA ILLUSTRATION, 2004

draw and they look as absolutely delicious. I was also a

finalist in the recent Blossom II Art of Flowers Compe-

tition. My piece Sunflowers is currently on a two year

traveling exhibit around the country. ”

RIGHT: Kristy Asaro Sunset, pastel, 20”x 26”, 2005


Kristy Asaro Cherry Cupcakes, pastel, 20” x 26”, 2011

Kristy Asaro Drops, pastel, 14”x 41”, 2010

20

BRENTON BARNES

“Brenton Barnes is an up and coming illustrator cur-

rently living along the border of New Hampshire and

Maine in the city of Portsmouth, New Hampshire. His

work as an illustrator has been lauded for its graphic

novel style and narrative approach.

In all of his pieces he makes telling a story a priority,

whether its about an individual, scene or an event to

inspire a response from viewers. He is always trying

to find new ways to present ideas and meanings in his

work either as stand alone images or as a series.

His recent achievements since graduation have in-

cluded creating the packaging for Rob Potylos latest

album release Something Happened at Horse Lake and

being featured in group shows by both the Exeter Arts

Committee and the Soo Rye Art Gallery in Exeter and

Rye, New Hampshire.”

BFA ILLUSTRATION, 2010

21

Brenton Barnes Something Happened At Horse Lake, ink, digital, 11” x 17”, 2010


22

Brenton Barnes Robert Potylo’s All Asia Revisited, ink, digital, 11” x 17”, 2010


23

Brenton Barnes A Girl & Her Honeysuckle, ink, digital, 17” x 11”, 2010


24

CLAIRE BECKETT MFA PHOTOGRAPHY, 2006

“My studio practice focuses on conceptually driven

large-format photography. I am particularly interested

in photographic representation across the themes of

difference, cultural mimesis and gender. These ideas

are reflected in my current project, Simulating Iraq,

which deals with American military training for the

wars in Iraq and Afghanistan. Although the concepts

I explore in this series are specific to the present po-

litical and cultural climate, the project springs from a

decade-long interest in using photography to engage

critically with the world in which I live. A beautiful or

carefully considered image is never enough. I seek to

create images that are visually compelling but also ex-

plore themes that have personal resonance. Often my

ideas stem from politics and news stories, not so much

for an ideological reason, but because they move me

deeply.

The images in Simulating Iraq are made on military

bases within the U.S., in fabricated environments that

replicate the places where American troops are de-

ployed. These pictures are about how we as Americans

interact with and understand our place in the world.

To me, the places that I photograph take on a kind of

amalgamated identity, not American, not Iraqi, not

Afghani, not Somali, but something entirely different.

While the planners of these facilities may understand

them as replications of specific places say Fallujah,

Iraq or Helmond Provence, AfghanistanI understand

them as spaces of their own. The setting depicted here

is that of the Other, of the non-White, non-Western,

non-Christian, non-Democratic. It is the place of ter-

rorists and bad guys of all stripes, a place in need of

order, of discipline, of salvation.

Among the photographs are images of pseudo-Islamic

architecture, sweeping desert vistas evoking unknown

adventure, and portraits of those pretending to be vil-

lagers in an occupied land or terrorists at war against

the Americans. There are American soldiers and Ma-

rines, combat veterans who now play the roles of the

very jihadis that they previously battled in real life. In

RIGHT: Claire Beckett Army Specialist Gary Louis Sims, archival inkjet print, 40” x 30”, 2009

Courtesy of Carroll & Sons Gallery

other pictures, immigrants from Afghanistan, some

who have fled to the U.S. as refugees, now role-play

as themselves, or rather as surreal versions of their

former selves. I am interested in understanding the

experience of the people who spend time here. What

does it feel like for a young soldier to have their first

encounter with profound cultural difference in this en-

vironment? What is the experience of a refugee, or of

a veteran suffering from PTSD, when reenacting the

context of their real life trauma? Although these spac-

es are meant as imitations of reality, what exists here

is significant in its own right.

My interest in themes of military training and warfare

began in 2004. I was originally drawn to this subject

shortly after returning from Benin, West Africa, where

I worked as a Peace Corps Volunteer. My series In

Training (2004-2007), dealing with young soldiers

from the time of enlistment to deployment, was mo-

tivated in part by a need to understand my homeland.

Having lived in Benin for 18 months I felt strange and

unfamiliar returning to my own culture, and the war

contributed significantly to my sense of unease. I was

troubled by the war and felt compelled to create a

body of work about it. Focusing on young soldiers go-

ing through Basic Training, the photographs from In

Training deal with the youth and vulnerability of the

individuals involved and the anticipation of the war

ahead.”

www.clairebeckett.com

26

Claire Beckett Marine Lance Corporal Nicole Camala Veen Playing The Role Of An Iraqi Nurse, archival inkjet print, 40” x 30”, 2008


27

Claire Beckett Jabal Village Mosque, National Training Center, Fort Irwin, CA 2008


28

SUSAN BLATT BFA PAINTING, 2006

“Drawing is an important part of my practice. I enforce

a rule of making a mark and keeping it, unlike in my

painting which is in constant play. In this way, each

decision forces the next until a pattern emerges or the

suggestion of a place as I make seemingly random but

purposeful connections.

My work represents an observed but reimagined

landscape where the underlying structure of nature

has been rearranged to create a place in motion. The

shapes and forms, some built mark by mark, are an-

chors to an expansive or compressed spatial plane

that extends space beyond the surface. The color, in

addition to the line and gesture that reference Chinese

ink painting, act as the picture’s activating force.”

29

Susan Blatt Untitled, graphite and watercolor on paper, 22” x 30”, 2009


30

Susan Blatt Seemingly Random But Purposeful Connections 1, 41” x 30”, 2011


31

Susan Blatt Seemingly Random But Purposeful Connections 2, acrylic and ink on paper, 41” x 30”, 2011


32

JEN BRADLEY BFA PAINTING, 1995

“My work is driven by my interest in animal behavior

and evolution. In particular I am fascinated with the in-

ner lives of higher primates, primarily gorillas, and how

they relate to our own species. In order to observe go-

rilla behavior, in 1995 I began a drawing project at the

Franklin Park Zoo in Dorchester, Massachusetts. On

average, I spend two days a month drawing the troop

of Western Lowland Gorillas at the zoo. I call this ongo-

ing study The Ape Drawing Project.

Through my repeated visits to the zoo I have become

sensitive to specific themes that are now embedded in

my work. These include primates in captivity, their spe-

cial habitats and the design of exhibit spaces, the pub-

lics role in the zoo system beyond species preserva-

tion, and the concept of observation as entertainment.

Portraits, Prophets, Friends

In 1999, I stared to make paintings and monotypes

about the gorillas by using the drawings I created at

the zoo. In order to create different surfaces I often

layer different combinations of oil paint, powdered pig-

ment, charcoal, plaster, encaustic, transparent glazes

and screen-printing. The work in this series range in

size from 5”x 5” to 56”x 72”.

Gorillas in the Toile

In 2006, this body of work emerged on the theme of

Civilization vs. Savagery when I introduced the ele-

ment of traditional toile fabric wallpaper patterns into

the gorilla paintings. Toile is a repeating motif that

often tells the story of refined rural life, images of

historical events and pastoral scenes that came into

vogue in France and England in the mid 1700s.

RIGHT: Jen Bradley Gorilla In The Toile, charcoal pencil on paper, 22” x 18”, 2007


www.jenbradleyportfolio.com

By inserting the gorillas into these scenes, my inten-

tion is to create an original toile that examines the

ideas of civilization with its self-conscious attention

to class, society and aesthetics; and the animal world

with its presumed freedom from such constrictions. I

have created my toile as drawings on paper, onsite in-

stallations in conjunction with exhibitions, and as indi-

vidual works on panel.

Gorilla My Dreams

In 2007, I began a series of oil paintings using the cov-

ers and pages of adult entertainment magazines. This

recent work presents the allegorical significance of my

ongoing obsession with primates. Paintings are 11”x 8”.

At present there are 60 paintings in this series.

Ape Drawing Project view blog at:

http://jenbradleygorillas.blogspot.com/

View Documentary about Jen drawing at the zoo, by

Justin Freed on YouTube at:

http://www.youtube.com/watch?v=Ev1HwlsL7TA ”

34

Jen Bradley The Bacchante, mixed media on paper, 8” x 16”, 2010


35

Jen Bradley At The Opera, mixed media on paper, 8” x 12”, 2010


36

KELLEY BRANNON BFA STUDIO FOR INTERRELATED MEDIA, 2010

“My work is influenced by my dedication to use a variety

of art forms to increase individual and social aware-

ness. Currently, I am working on a video documentary

about the social and cultural consequences of growing

technologies with an emphasis on social media. The

images I am submitting here are part of a new series

called The Carbon Footprint which interprets this con-

versation in abstract form.

The prints are made by absorbing burned wax and

smoke, usually from a candle, onto paper. I create

the images to resemble organic forms in order to of-

fer my perspective on the juxtaposition of natural and

artificial; a conversation that is becoming increasingly

more relevant as we enter the new technological world.

The social and environmental side affects of technolo-

gy are enormous. A personal computer puts out 1,000

pounds of carbon dioxide each year, which makes the

computer far less environmentally friendly than adver-

tised. New technologies, specifically social media, are

re-appropriating a natural reality, my Carbon Footprint

series responds to this re-appropriation by engaging

the audience with interesting and confusing imagery.

At first glance one of the images may look beautiful

and poetic while a second glance may make the im-

age appear dark and foreboding. It is my intention that

this confusion will urge the viewer to second guess the

immediate.”

www.vimeo.com/kelleybrannon

37

Kelley Brannon Carbon Footprint: Image 3, wax, smoke, paper, 4.5” x 8.5”, 2011


38

Kelley Brannon Carbon Footprint: Image 1, wax, smoke, paper, 16” x 20”, 2011


39

Kelley Brannon Carbon Footprint: Image 2, wax, smoke, paper, 16” x 20”, 2011


40

CHUCK BROUILLETTE BFA ILLUSTRATION, 1988

“This series of digital illustrations envisions the con-

cept of the traditional, super-powered comic book

character as a film celebrity. As comics and film are

two of the most similar art forms in the sense that a

viewer takes in the art by viewing panels/film frames.

These pieces suppose that comic action is all ‘cast and

performed.’ And the players, have their own promo-

tional photos. The glamour aspect is a nod to classic

Hollywood films, which are a great inspiration to my

art. And the alternate reality of 2D fictional charac-

ters stepping into the 3rd dimension as living/breath-

ing, fame-seeking beings, lends itself perfectly to to a

typical, fantastical comic book story!”

Chuck Brouillette Speedster in Profile, digital illustration/collage on paper, 17’’ x 11’’, 2005


42

Chuck Brouillette Lightning Noir, digital illustration/collage on paper, 17’’ x 11’’, 2008


43

Chuck Brouillette Comet Smoulders, digital illustration/collage on paper, 17’’ x 11’’, 2005


44

EMILY C. BROZYNA

“Upon considering ones familial relations, it is essential

to examine the genetic gifts one has been bestowed

with. Bones are the main manufacturers of blood with-

in the human body, and within ones blood lies the map-

ping of familial traits. In Vertebral Familial Inheritance,

each vertebral machine has been labeled with the

Emily C. Brozyna Thoracic Genetic Products, graphite, 26” x 40”, 2010


distinct characteristic that each of my own relatives

has passed into my being. Thoracic Genetic Products

examines the traits that I have an understanding my

personality harbors, whether deriving from a verte-

bral product or procuring solely from within myself.”

www.emilybrozyna.com

BFA ART EDUCATION, 2009

45

Emily C. Brozyna Vertebral Familial Inheritance, graphite, 26” x 40”, 2010


46

KYLE BRYANT BFA PRINTMAKING, 2008

“My work depicts a city that is growing at a rapid and

uncontrollable rate. This city is a metaphor for my psy-

chological space. It is full of potential yet intimidating

enough to make one hesitate before crossing its harsh

borders. Through my real world border crossings I

have compiled stories and memories that I carry with

me into my understanding of the world. This world has

come together through struggles to grasp the lessons

of the past, while working toward clarity and order in

the future. In continuously traveling through my psy-

chological space, I hope to find answers in the present

through the creation of a new and exciting world.”

47

Kyle Bryant You Can’t Say That In This City, woodblock print with dry point and chine colle, 30” x 40”, 2011

Courtesy of A Fine Thing: Edward T. Pollack Fine Arts

48

Kyle Bryant Escapist, woodblock print, 24” x 18”, 2011


49

Kyle Bryant Faith In Crossing, woodblock print, 24” x 18”, 2011


50

BRUCE CAMPBELL MFA SCULPTURE, 2005

“Much like my recent sculptural work, the Directional

Drawing series of compositions couples brief, absurd

phrases with harmonizing forms. The enlarged texts

that are slightly disturbed by the papers cut pattern,

direct the viewer to perform some in-actionable proce-

dure. Blackened or whitened out patterns are derived

Bruce Campbell Directional Drawing (After C.T.), graphite on cut paper on panel, 36” x 35.5”, 2010


from well-known contemporary masters compositions.

Each art historical reference is carefully considered

in relation to the content of the language that inter-

mingles with the altered and simplified compositions.

Both text and pattern point a viewers body and mind

in new directions.”

51

Bruce Campbell Directional Drawing (After J.B After F.S.), graphite on cut paper on panel, 43.125” x 65”, 2008


Bruce Campbell Directional Drawing (AFter J.J.), graphite on cut paper on panel, 21” x 18.75” each, 2009

52

LANA Z CAPLAN MFA PHOTOGRAPHY, 2006

www.lanazcaplan.com

“Sites of Public Exectution is an ongoing series for

which I have been researching, photographing and

making short films of sites that had been used for pub-

lic executions at different times in history. When I be-

gan this project in 2001, there was a group of people

petitioning for Timothy McVeigh’s execution to be tele-

vised, the modern form of a public arena. It occurred

to me that this desire to watch people being killed, as

perceived justice, is still alive in America and the Mid-

dle East, where the death penalty still exists. I wanted

to compare what I was finding here with countries that

have changed their laws, to see what happened as pol-

icy and the function of a public place changed, and to

discover what it held of its history. Some of the places

used for executions became sites with veneration to

the executed, such at Campo de’Fiori in Rome with the

statue of Giordano Bruno or the town of Salem, MA

where the accused witches were hung. Some sites are

now well known for other reasons, such as the Louvre,

in front of which the guillotine was installed during the

French Revolution. It appears that the way in which the

history of the place has been remembered by those

who create the public image of a city (either capital-

izing on the executions or covering them up with other

events that occured in these places) seemed to say

more to me about present day morality and values in

each country than the abolishment or continuation of

capital punishment.

The photographs in this series are sepia-toned silver

prints presented in french mats. This presentation is

a reference to historical photographs and cataloguing

of images made for documentation purposes. Each of

the mats have calligraphic titles describing the dates

and types of executions that occurred on that site,

rather than the name and place pictured, as is custom-

ary. By subverting the viewers expectations of what

they will find written, I hope to make them question

what they thought they knew of these places.

In the future, I would like to visit some of countries

that are still performing public executions and shed

light on some of these current atrocities, such as the

13-year old rape victim was publicly stoned to death

for adultery after the rape in Somalia in October of

2008 or the ongoing beheadings of foreign journal-

ists and contractors in Iraq, or the public executions

of women in Iran and Saudi Arabia for trying to gain

human rights for women.

With these images, I hope that viewers will consider

the role we play in creating our society’s legacy and

future.”

53

Lana Caplan Site of Public Execution By Burning at the Stake..., sepia-tonedsilver gelatin print infrench mat, 20” x 21”, 2008

Courtesy of Gallery Naga

54

Lana Caplan Site of Public Executions by Guillotine, 1792-1793, sepia-tonedsilver gelatin print in French mat, 20” x 21”, 2007


55

Lana Caplan Site of Sentencing and Public Executions By..., sepia-tonedsilver gelatin print in French mat, 20” x 21”, 2007


56

CALEB CHARLAND BFA PHOTOGRAPHY, 2004

“The artwork I create combines my scientific curios-

ity with a constructive approach to making pictures.

I utilize everyday objects and fundamental forces to

illustrate experiences of wonder. Each photograph be-

gins with a simple question: How would this look? Is

that possible? What would happen if...? and develops

through a sculptural process of experimentation. As I

explore the domestic space, from the basement to the

backyard, I find ways to exploit the mysterious quali-

ties of these everyday objects and familiar materials.

Wonder is a state of mind somewhere between knowl-

edge and uncertainty. It is the basis of my practice and

results in images that are simultaneously familiar and

strange. Much of this work pursues temporal phenom-

ena through traces of gestures and actions. The hu-

man presence provides a clue to the creation of the

photograph while adding to the mysterious nature of

the image. Photography serves my practice well as a

means to experience this activity in a single moment,

or to combine several different moments into a single

experience.“

All images are created in camera, no content is added

digitally.

57

Caleb Charland Attempting To Paddle Straight At The Moon, archival pigment print, 24” x 30”, 2010


58

Caleb Charland Lightsphere With My Right Arm And Cigarette Lighter, archival pigment print, 30” x 24”, 2009


59

Caleb Charland Reflection In A Snow Storm, archival pigment print, 30” x 24”, 2011


60

CHRISTINE COLLINS MFA PHOTOGRAPHY, 2005

www.christinemcollins.com

“My pictures have always swirled around my own story

from varying distances. I am interested in the weaving

together of personal experience and fictional possibili-

ties. It has been a means of reckoning with my own his-

tory, while imagining others.

Recently, my interests and my photographs have ex-

tended beyond the boundaries of my immediate sur-

roundings. I have been thinking about how the sus-

tainable food movement has helped to change our

relationship to the landscape. Local farms have be-

come temples to this movement. These romanticized

patches of land become backdrops for fantasies about

our participation in the landscape. Vegetables pro-

cured from Community Supported Agriculture groups

enjoy a privileged status and suggest a better life

through food. By photographing the farms and the

crops, I am referencing the art historical impulse to

use food as allegory, and a more contemporary rela-

tionship to the natural world.

My new, in-progress series The Keepers looks at people

who are keeping bee hives in suburban areas. This re-

cent phenomenon speaks to our desire to hold nature

in the face of an increasingly disconnected culture. I

see these people as facilitators, and I think about how

the small action of placing a hive in a backyard has

broad implications about our interconnectedness with

nature. There is a kind of magic in the process of bee-

keeping. I am making pictures that suggest ceremony,

ritual, and mystery of survival.”

61

Christine Collins Turnips (after Cotan), digital c-print, 20” x 24”, 2008

Courtesy of Jen Bekman Gallery, New York, NY

62

Christine Collins Untitled (from “The Keepers”), digital c-print, 24” x 20”, 2010


63

Christine Collins Untitled (from “The Keepers”), digital c-print, 20” x 24”, 2010


64

COREY CORCORAN BFA PAINTING, 2007

“Drawing upon everything from science fiction to

houseplants to Honey, I Shrunk the Kids, I consider my

recent body of work as visual ecosystems on the verge

of collapse. Half-dead bodies fill transitory spaces that

ooze with decay. The figures are both gods of destruc-

tion and biological fodder for new growth. Texture, col-

or and pattern become the primordial soup from which

notions of progress or devolution are born.“

65

Corey Corcoran Food For Thought, gouache, acrylic, clay, ink, pencil, 11” x 17”, 2010


66

Corey Corcoran Wound Lick, gouache, acrylic, clay, ink, pencil, 17” x 11”, 2010


67

Corey Corcoran Flotsam, gouache, acrylic, clay, ink, pencil, 17” x 11”, 2010


68

LEAH DE PRIZIO BFA PAINTING, 1963

“Inspired by a majestic beech tree that shaded the

backyard of my childhood home, my woodblock prints

and papier-mache sculptures take their themes from

an arboreal world. The paradox of wood excites me.

Seen from the exterior, its dense, heavy qualities be-

lie its interior, where a watery, evanescent realm lies

hidden. I am mesmerized by the grain of wood and be-

come absorbed in this fluid landscape.

Using my intuition on basic materials such as news-

papers, wheat paste, plywood, printer’s ink, and ges-

so, I enjoy the messy physicality of printmaking and

the building up of sculptural shapes of paper. Like life,

newspaper is earthy, fragile, and temporal. The mate-

rials encourage play, and the process takes me to an

unknown place. Work becomes ritual. It is repetitious,

gestural and rhythmic.

As a first generation American of Lithuanian-Italian

origin, I feel more global than local. Travel to Mos-

cow, Uzbekistan, Tashkent, Samarkand, Bukhara, and

China has given me valuable insights into other cul-

tures. Molded from the texts of world newspapers, a

variety of human faces blossom on the branches of my

sculptures.

With the 1999 spheric environment entitled Global

Dance, and the 2002 installation, Global Grove, I cel-

ebrated the interconnectedness of individuals, diverse

cultures, and the natural world. The 2006 St. Botolph

Club exhibit ‘Lignum Vitae’ exemplified this idea as

well.

Over time, using various media and. more recently,

wood, paper, and words, I have continued to explore

the related ways in which human and natural physiog-

nomies express themselves.”

RIGHT: Leah De Prizio Arbor Vitae, papier mache woodblock print, acrylic, 58” x 24” x 15”, 2005


70

Leah De Prizio Lignum Vitae III, papier mache woodblock print, acrylic, 54” x 13” x 11”, 2011


71

Leah De Prizio Lignum Vitae I, papier mache woodblock print, acrylic, 68” x 12” x 12”, 2006


72

AMY DiPLACIDO BFA FIBERS, 2007

“I am inspired by coincidental juxtapositions, and the

breakdown of language and colloquialisms.

My work offers a visual rebuttal to our landscape by

compartmentalizing natural and man made arrange-

ments. The text in my drawing, which differs from the

title of the work, is hyper diaristic, yet my personal

musings note a universal tone. My drawings reference

warp threads in weaving through a repeated, verti-

cal line. In addition, I use a resist method to create

text, similar to batik dye methods; both pay homage

to my artistic training in fiber art. It is my hope to of-

fer a ‘platform’ for language while providing humorous

commentary.”

73

Amy DiPlacido On The Horizon, ink on paper, 11” x 17”, 2009


74

Amy DiPlacido Advertise, ink on paper, 11” x 17”, 2009


75

Amy DiPlacido The Words, ink on paper, 11” x 17”, 2009


76

JESS T. DUGAN BFA PHOTOGRAPHY, 2007

“A place so as to stay is about people and the ways in

which they relate to, and are defined by, their environ-

ment. At its core, this work is an exploration of iden-

tity and how we come to realize, define, and eventually

share who we are with others. By examining the ways

that people construct, inhabit, and enjoy spaces, ob-

jects, and relationships, I am exploring a larger theme

of how we each carefully define our existence in the

world.”

Jess T. Dugan Amiee In Her Piercing Shop, Provincetown, MA, silver gelatin print, 20” x 48”, 2010

Courtesy of Gallery Kayafas

www.jessdugan.com

77

Jess T. Dugan Dad With His Shotgun, Little Rock, AR, silver gelatin print, 20” x 48”, 2009

Jess T. Dugan Judy, Collections Manager, Mammals, Cambridge, MA, silver gelatin print, 20” x 48”, 2010

(Triptych made from three 20” x 16” silver gelatin prints)


78

PAT FALCO BFA ILLUSTRATION AND ART HISTORY, 2010

“My art is primarily based around portraiture, typogra-

phy, and humor. I like to make work that is accessible

and will make people laugh or cry or think a little bit. I

am influenced by interactions between people I know,

see, or read about. I have been named Best Artist in

the World by Mother 7 of the past 10 years.”

Pat Falco Clark Gable, pen, paper, 9” x 9”, 2011


79

Pat Falco The Matador, pen, paper, 8” x 8”, 2011


80

ALEXANDER FARRELL BFA ARCHITECTURE, 2008

“As an abstract artist, I rely greatly on a material’s

ability to resonate and connect. To make something

abstract accessible or more human, then a path must

be formed to link the viewer and the art; materials and

objects are that link. When asked to describe my work,

materiality is a word I often use. It is the process/phi-

losophy I apply to my paintings and sculptures in which

the material itself is the starting point for artistic ex-

ploration. I rarely have a final product in my head be-

fore I begin working but allow room for expansion and

contraction, letting forms and ideas evolve.

Starting with a material, in this case paper, I begin

to play: adding, subtracting, crunching, tearing etc;

learning its properties. This specific sculptural instal-

lation consists of two opposing materials: tracing pa-

per and large steel bolts. Each bolt is threaded though

a pillow of tracing paper creating a module, each with a

unique surface. I was surprised at the tenderness and

the resilience that these paper pillows evoked. These

components became more like individuals to me and

were strengthened when I grouped them together and

soon reached critical mass. Like a brick or a living cell,

they are versatile building blocks that can create mul-

titudes of forms. They can be huddled in a corner, di-

vided into groups or demand everybody’s attention in

the center of a room.”

RIGHT: Alexander Farrell Soft Gathering, tracing paper and steel bolts, 4’ x 5’, 2011


81

Jess T. Dugan Dad with his shotgun, Little Rock, AR, silver gelatin print, 20” x 48”, 2009

Jess T. Dugan Judy, Collections Manager, Mammals, Cambridge, MA, silver gelatin print, 20” x 48”, 2010

Triptych made from three 20” x 16” silver gelatin prints

82

JEFFREY FICHERA BFA PAINTING, 2000

“My paintings are all done on-site, from direct, pro-

tracted observation of the subject. I don’t paint from

photographs or from memory; the truths I want to

record can only be found in the actual experience of

light existing in space and reflecting off forms. And by

truth, I don’t mean any sort of objective truth about

the way things are, because such a thing is impossible.

All observations are subjective. When confronted by

a human consciousness, reality is utterly transformed

into personal terms – objects become metaphors, col-

ors suggest moods, spaces contain memories, tex-

tures imply movement. And so the painting is not the

record of the place, but the record of the artist seeing.”

RIGHT: Jeffrey Fichera Foil, pencil on bristol, 12” x 16”, 2009


84

CHRISTIAN FLYNN BFA PAINTING, 2005

“The central interest of my work of the last two years

has been the intersection between the simulated

space of the computer screen and the illusionistic

space of the painted picture plane. Just a few years

ago I was primarily interested in the visual environ-

ment that the studio provided as a site for production,

as I wanted my work to reflect the material environ-

ment in which it was made. When I began graduate

studies in painting, it was noted that my investigation

of perspectival space corresponded to the rendering

language of CAD programs, and it was suggested that

I learn some applications that would help me elaborate

my engagement with interior space. As I began model-

ling the space around me, I found the virtualization of

space and image to be a more seductive mode for cre-

ative production than an observational mode, and my

interest in the quotidian subjectivity of my own stu-

dio space/work waned. I became more interested in

the conditions of picturing and representation – of the

thing representing itself to itself, a subject elaborated

in Victor Stoichita’s remarkable book The Self-Aware

Image.

The pseudo-tactility of the graphic user interface – its

drop shadows, sliding bars, gradient sweeps, etc. – has

been an ongoing source of visual inspiration for me. It

would be easy enough for us as consumers to reject

the simulated space of the screen; I believe we don’t

because there is something “essentially” pleasurable

and perplexing about simulation. It is common nowa-

days when visiting a gallery or attending a critique to

observe that the audience is as engaged- if not more

engaged- with their mobile devices as they are with

the work on view. Ultimately, I see my work as neither

a critique nor a celebration of the dematerialization

and alienation effectuated by the spread of virtual

space, but rather as a reflection.”

RIGHT: Christian Flynn Monitor (B), silkscreen ink on archival inkjet print, 23” x 18”, 2011


www.christianflynn.com

86

Christian Flynn Macbook Pro, etching on somerset white paper, 10” x 11”, 2011


87

Christian Flynn Mise-En-Abyme, etching with chine colle on somerset gray paper, 14” x 16”, 2011


88

JESSICA GATH MFA STUDIO FOR INTERRELATED MEDIA, 2006

www.jessicagath.org

“This artwork is for everyone.”

89

Jessica Gath [For You, Beautiful], typing on paper, 4.5” x 6.5”, 2010


90

Jessica Gath [The World Famous Secretary, instructions], mono color poster, 20” x 24”, 2010


91

Jessica Gath [The World Famous Secretary trifold forms], typing on paper, 8.5” x 11” (front and back views), 2010


92

ANIA GILMORE BFA GRAPHIC DESIGN, 2008

“Some time ago I found Agnes Martin’s book and there

I read, ‘An Artist is the one who can fail and fail and

still go on.’ It was a great inspiration for me and I real-

ized that art is a process that once started can never

be finished, all these words encourage and reaffirm my

creative journey. While studying design and printmak-

ing I discovered a great passion for book arts.

In my work I explore the book itself, the boundaries

between the form and the content. As an immigrant

I am infused with inspiration resident in my roots and

history. I am interested in the continuous growing dia-

logue of identity and multiculturalism that is a main

element and issue in our society. I arrive at some im-

ages by chance and I am motivated by those that come

through experimentation; especially enjoying the con-

nection between chaos and order.”

www.aniaartstudio.com

Ania Gilmore Ci Cz, waxed pages, foreign text, gold paint, pen, string, 7.5” x 10” x 1” (15.75” x 10” open), 2010


94

Ania Gilmore Cause To Collide, flag book letterpress, canvas, paste paper, ink , 3.5” x 3.5” (45” long open), 2009


95

Ania Gilmore Library Of Alexandria, altered book, rolled, burned pages, wax, shellac, 5” x 7.5” x 2”, 2009


96

EMILY B. GOODALE BFA ILLUSTRATION, 2005

“What truly inspires my work is the printmaking pro-

cess. Every image is conceived with a process in mind,

a process that leaves much room for mistakes, play

and unpredictable results. I feel that my illustrations

are at their best through the method of dry point etch-

ing. It allows me to focus on detail where necessary

and at the same time be loose, and to simply allow

things happen without correction.

I recently moved back to the city after spending a year

in the country. I’ve noticed a shift in my subject matter

toward landscapes and animals since that time, where

as I had previously thrived on human portraiture. Yet

with any subject matter, the foundation of my imag-

ery is based in a detail. Whether it be the pattern on a

shirt, a glint in the eye of an untamed animal, or the

minute pattern on a leaf. For me, an image starts with

a detail, a single point for which everything around it

exists.

My passion for printmaking extends into the world of

bookmaking as well. For the past two years I have

been running a small press, where I design, print and

illustrate all the books for cooperating authors. The

book as an object is an idea that I feel very strong-

ly about. It is something to be held, opened, turned

around, and admired. I find the same concept of detail

to be just as relevant for my books. The details be-

come the way an image lays on a page, or the spacing

of type, or the craft in which the book is constructed.

The desire to touch is what I strive for in all my book-

making endeavors.”

www.ebgoodale.com

97

Emily B. Goodale The Brave Men Press Coin Library, letterpress, drypoint etching, bookmaking, 3.5” x 5” x 1”, 2011


98

Emily B. Goodale The Gift, drypoint etching, goauche, 9.75” x 10”, 2011


99

Emily B. Goodale Talking Horse, drypoint etching, 9” x 12”, 2010


100

HANNAH GOODWIN MFA 2D, 1989

“I have been creating works on paper for years. I love

drawing with a wide range of materials. For the last

several years I have been drawing primarily with ink on

rice paper. I use bamboo pens, which I dip in permanent

ink. It is a process of no return, no erasures and no

cover-ups. I have found this process of having to move

forward with the work, no matter what happens, both

challenging and calming. I love the range of marks and

lines that the bamboo pens and ink combined with the

texture and thinness of the paper create.

Nests and nest-like structures are central in these

pieces, which I see as commentaries on aspects of day

to day life and concerns. I have long been intrigued

by the importance of what seem to be small moments

or ideas, but have the possibility of a bigger presence

and influence than one might initially think.”

101

Hannah Goodwin Built On A Wish, ink on rice paper, 28” x 28”, 2011


102

Hannah Goodwin Mi Casa Es Tu Casa, ink on rice paper, 28” x 28”, 2011


103

Hannah Goodwin Between A Rock And A Hard Place, ink on rice paper, 28” x 28”, 2011


104

LUCY H. GROVER MS ART EDUCATION, 2007

www.lucygrover.com

“I’ve arranged paper boxes into groupings that I bind

with tape and paint. A lot of the repetitive purchases I

make come in cardboard boxes and over a short time

add up to a lot of stuff. If I let the packages accumu-

late, I naturally want to start to organize them. So the

cardboard boxes do not leave the house as recycling,

but instead they are delayed and reconfigured. I com-

bine these packages - the fact that they are already in

existence is good - and then they seem almost chemi-

cally altered. The new form is made up of many differ-

ent parts and, as in a chemical reaction, releases new

energy. They have a nice duality of solid-looking rect-

angular forms that are almost weightless. The solid

volumes both displace and are filled with air and this

sharp contradiction interests me as an artist.

Since graduation I have painted quite a lot and received

an artist fellowship at Skidmore College where I was

able to completely immerse myself in my practice. A

stint at Teachers Institute in Contemporary Art at the

Art Institute of Chicago was a major influence since

graduation that led me to a more wonderful connec-

tion between artmaking and teaching high school art

students. Over the most recent few years I have been

building with these boxes between paintings, as a way

to keep working, almost like a cooldown phase after an

intense working period. It started to seem like a really

interesting idea and evolved into a more primary role

in my work. It was a big decision which type of work to

enter for this alumni show. I chose the box sculptures

because I enjoy the way they combine my painting and

drawing practices with a new form. I also enjoy them

because I am not acquiring additional new products to

make work, but rather reconfiguring basic stuff that is

already here.”

105

Lucy H. Grover Triangular Green Tape Stack, cardboard boxes, acrylic paint, tape, 10” x 8” x 9”, 2009


106

Lucy H. Grover Blue And White Stack, cardboard boxes, acrylic paint, tape, 26” x 14” x 9”, 2011


107

Lucy H. Grover Pale Turbine, cardboard boxes, acrylic paint, tape, 20” x 8” x 5”, 2010


108

KAREN HENDRICKSON-SANTOSPAGO BFA FIBERS, 1999

“I am drawn to the expressiveness of the dashed line

that stitching creates - - - a dashed line is tentative,

permeable, ephemeral. The minimal color pallet and

layout of the works emphasizes the character of the

lines as they interact with the circular forms on the

paper. I imagine these forms moving along in space

along the trajectory of the line...

I enjoy juxtaposing old and new materials: the new

crisp cotton fiber paper and reclaimed ephemera (old

maps, books, money, etc...). Blending antique and new

in this way imparts a modern aesthetic to the pieces...

My works about planets and solar systems are greatly

inspired by the news headlines concerning findings of

new planets and solar systems, reclassified planets in

our own solar system, and the exploration of space in

general. I find it staggering that we (humans) manage

to balance the micro world and macro world. This work

attempts to visualize the macro world and put it on a

human scale.”

109

Karen Hendrickson-Santospago (Solar System Series) Jupiter And 63 Moons, collage: paper, cotton thread, stock certificates, 11” x 15”, 2010


110

Karen Hendrickson-Santospago (Solar System Series) Neptune and 13 Moons, collage: paper, cotton thread, vintage maps, 11” x 15”, 2010


111

Karen Hendrickson-Santospago (Keplar Series) 1235 Planets/6 Possibilities, collage: paper, cotton thread, vintage maps, 22” x 30”, 2011


112

MARY HUGHES MFA PAINTING, 1995

“In this body of work, Hughes explores the concepts of

mapping, mark making and the passage of time. Her

drawings and paintings are built upon meandering

lines formed in reaction to previous layers, recalling

contour maps, topographical lines and nautical charts.

The organic forms reference the landscape while also

referencing abstract patterning mark-making as an

act of confirmation. Some environments appear self-

contained while others seem part of a larger universe.

Simultaneously, the maps represent the passage of

time and the wanderings of the mind.

Currently the Curator of Visual Resources for the De-

partment of Art + Design at Northeastern University,

Hughes has exhibited in solo and group shows at the

Copley Society of Art, South Shore Art Center, the St.

Botolph Club, and various exhibition spaces throughout

New England. She has been awarded several awards

and fellowships, including the Fulbright Scholarship

and the Anderson Ranch Residency. Hughes’ studio is

located in the historic Fenway Studios in Boston, MA.”

113

Mary Hughes Contour Map, color pencil on paper, 40” x 52”, 2010

Courtesy of Copley Society of Art

115

LEFT: Mary Hughes Untitled (Topograpy Series No.2), color pencil on black paper, 30” x 22”, 2010

Courtesy of Copley Society of Art

Mary Hughes Topography Series No. 11, color pencil on black paper, 30” x 44”, 2010

116

LAUREN KALMAN BFA METALS, 2002

“My work pulls from discourses dealing with the imaged

body, consumer culture, body aesthetics, and illness.

Through the production of jewelry objects, photogra-

phy, video, sculpture and performance, my projects vi-

sually link these divergent discourses.

My current work replicates and transforms illness

and trauma through performance, video, objects and

photography. Diseases like acne, cancer, herpes, and

elephantiasis or physical trauma like amputation and

facial reconstruction surgery are presented as jeweled

infections, fabric growths, or wearable instruments.

They are hybridizations of the grotesque or undesir-

able aspects of the body and objects we associate with

beauty, status, health or wealth.

One of the core subjects of my work is the imaged

body in contrast to realities of the physical body. As a

model for the physical body, the visualization is decep-

tive. The imaged body is stylized, static, manipulated,

and often an amalgam of bodily ideals and contempo-

rary design aesthetics. What I find interesting about

imaged bodies are the similarities between images

that intend to project ideals, and those that display

subversive or even abject bodies.

Objects and their relationship to the body play an in-

tegral role in negotiating the disconnect between ide-

alized images of the body and the physical body. By

surrounding our bodies with objects that are seen in

images alongside the ideal body, we hope to amend

the imperfect reality of our own form.”

117

Lauren Kalman Spectacular, 2 inkjet prints, fabric, mixed media, each 16“ x 24”, 2011


118

Lauren Kalman Blooms, Efflorescence, And... (Nevus Comedonicus), inkjet print, mixed media, 26” x 26”, 2009


119

Lauren Kalman Blooms, Efflorescence, And... (Cystic Acne, Back), inkjet print, mixed media, 26” x 26”, 2009


120

HEIDI KAYSER BFA STUDIO FOR INTERRELATED MEDIA, 2005

“My work is often about the collective experience of

moving through life as a human. Using oral histories,

collaborative processes and a scientific method of in-

vestigation, I make sense of the world around me, and

my place within the natural and social environment. I

find fascination in simple acts and simple forms that

when seen together as a whole, form a much more

complex system. Recently, I’ve been playing with the

themes of duality, what separates one from another,

and how everything in the fabric of the cosmos is

interwoven.

I have exhibited at Arnheim Gallery, Schiltkamp Gallery,

Melle Finelli Gallery, FPAC Gallery, the Artists Founda-

tion, Art Interactive, Godine Gallery and many others.

I received an Urban Arts Public Art Grant in 2005, and

I just received a 2011 New England Foundation for the

Arts grant to create a series of public paticipatory per-

formances using sculptural objects, which will occur in

Boston and New york City this coming summer. Dur-

ing my last semester of MassArt, I founded the Axiom

Center for New and Experimental Media, which has

been located in the Green Street MBTA Station in Ja-

maica Plain since 2007 and continues to thrive, show-

ing the work of hundreds of innovative and experimen-

tal artists. In 2009 I founded the arts advocacy and

workforce development organization Art Technology

New England.

I have lectured at Northeastern University, RISD,

SMFA, Wentworth, MassArt and the Transcultural

Exchange conference, among other special projects

including arts advocacy, curating, and leading educa-

tional initiatives in the arts. Currently, I am Artist in

Residence at Urbano Project through the Culture for

Change program at Harvard and the Barr Foundation,

adjunct faculty in the Studio for Interrelated Media at

Massart, and Associate Director of Boston Cyberarts,

continuing my interest in being a practicing artist as

well as an educator and curator.”

RIGHT: Heidi Kayser 10. Map Me, Crayola crayon, bittersweet & strawberry colors, 18” x 24”, 2010


www.heidikayser.com

122

Heidi Kayser The Sameness Of Duality, digital print, variable, 2011


123

Heidi Kayser Picture 1, digital print, variable, 2009


124

JOSHUA KEAY BFA GRAPHIC DESIGN, 2004

“Joshua Keay is a product designer based in NYC with

a focus on developing independent projects and bring-

ing them to market. Past works have ranged from t-

shirts to iPhone applications and picture books. The

works submitted are from a book which was published

in 2010 by Cider Mill Press, and is currently available

in Borders, Barnes and Noble, Urban Outfitters, the

MoMA Store in New York and Amazon.com.”

Joshua Keay Declaration Of Romantic Feelings, book, 10” x 7”, 2010


125

Joshua Keay Marriage Proposal, book, 10” x 7”, 2010


126

ISAIAH KING BFA GRAPHIC DESIGN, 2008

“My work pursues an ongoing study of the human form

in all its complex emotive facets. By employing inta-

glio, lithography, screen-printing, relief-printing and

painting I apply diverse and aggressive mark making

to my figure studies. My fascination with the human

form is both external and internal, references to bone

and muscle structure are integrated with the more

sensual and emotional appeal of the external human

form. Combining an emotional and practical approach

to the human body lends itself to common themes in

my work: longing, sensuality and mortality. Having

been most inspired by artists whose work elicits con-

flicting responses, my prints are concerned with the

contrast and tension between seduction and repulsion.

They portray the beauty of the human form but also

explore states of discomfort, eroticism and intense

emotion.

Whether in design, printmaking, painting or drawing,

my greatest concern is with communication, rather

than hiding behind conceptual mysteries I strive to

create works that engage the viewer in dialogue.

The works submitted here are part of a series of 7 large

woodcut prints of Haitian earthquake survivors, cre-

ated with the intention of using art to offer aid to the

people of Haiti. The works are based on the photos of

award-winning photojournalist Q. Sakamaki who shot

a series in Pont-Rouge refugee camp, near Port-au-

Prince, shortly after the earthquake in January 2010.

This series was created with the deepest conviction

that art can address current events and social issues

while also engaging a larger public to take interest,

participate and discuss these issues. By collaborat-

ing with a photojournalist who has the eye and skills

to capture important stories in our global community,

I’ve attempted to blur the lines of art, documentary

journalism and storytelling.

Proceeds from the sale of these works go to grass-

roots community-based organizations in Haiti. I be-

lieve that an engaged art world can become a powerful

force for sustainable community, and economic devel-

opment while also reclaiming arts status as a practice

that meaningfully relates to people, their lives and

their communities.”

127

Isaiah King Roseline & Wadline Etienne, woodcut print, 55” x 37.5”, 2010


128

Isaiah King Apollon Ralpho, woodcut print, 70.75” x 35”, 2010


129

Isaiah King Claudel Louimas, woodcut print, 70.75” x 35”, 2010


130

BARA KIRKPATRICK JICHOVA BFA STUDIO FOR INTERRELATED MEDIA, 2007

“My new work is a mix of drawing, painting and col-

lage. The collage element involves clippings from the

Czechoslovakian newspapers RUDE PRAVO and MLA-

DA FRONTA, pages dating from October 1989, when

peaceful protests swept through Czechoslovakia, re-

sulting in the Velvet Revolution that dissolved the grip

of the Czech communist party.

The work is inspired by my childhood memories of

those revolutionary days, and by my recollection of a

‘cheerful’ communist era, combined with my apprecia-

tion of the energy and audacity of Russian Construc-

tivism... with a nod to the spirit of hope that has trig-

gered recent revolutionary movements in the Middle

East.”

Bara Kirkpatrick Jichova ELD_0030, painting / collage on Czechoslovakian newspapers , 24” x 24”, 2011


131

LEFT: Bara Kirkpatrick Jichova ELD_0025, painting / collage on Czechoslovakian newspapers , 11” x 14” 2011

RIGHT: Bara Kirkpatrick Jichova ELD_0049, painting / collage on Czechoslovakian newspapers , 11” x 14” 2011


132

ROBERT KNIGHT MFA PHOTOGRAPHY, 2006

“Through a series of photographs, layered audio re-

cordings and video, Sleepless examines the contra-

diction between our expectations about sleep and its

nocturnal actuality. Sleep connotes rest, peacefulness

and stillness. It is expected to recharge us in prepara-

tion for our next days activities. The reality is starkly

different. A majority of Americans get less sleep than

their bodies need (9-10 hours for children and 8-8.5

hours for adults), and approximately 50-70 million

Americans suffer from sleep disorders. Our sleep is re-

duced and interrupted by the myriad nocturnal noises

and activities of urban life, from the drone of our roads,

highways and transportation systems to the barrage

of light noise emitted from our street lamps, skyscrap-

ers and neighbors. Other factors negatively affecting

our sleep include the frequent waking of young chil-

dren, job-related stress and the side-effects of medi-

cal issues as we age.

My photographs, layered audio and videos reveal a

state of restlessness through the ethereal and translu-

cent bodies which are captured during long-exposure

nighttime shots. The resultant images are nighttime

narratives stories of our night’s sleep which suggest a

contemporary sleep crisis in our society...”

www.robertknight.com

133

Robert Knight Untitled (7 hours, 23 minutes, January 1, 2008), archival inkjet photography, 30” x 40”, 2008


134

Robert Knight Untitled (3 hours, 30 minutes, December 2, 2009), archival inkjet photography, 30” x 40”, 2008


135

Robert Knight Untitled (5 hours, March 16, 2010), archival inkjet photography, 30” x 40”, 2008


136

REGINA KOKOSZKA BFA PHOTOGRAPHY, 2008

“The landscape images were taken in the area of Sval-

bard, an archipelago located in the Arctic Circle. Sval-

bard translates to “cold coast” and massive glaciers

make up roughly 60 percent of this unique environ-

ment. The sun does not fully rise between the months

of October and February, and does not set between

April and August.

The project focuses on documenting the nearly inhab-

itable yet vulnerable landscapes. As most of Svalbard

is largely free of influence by human activity, the archi-

pelago is often used as a reference area for research

on the effects of climate change, transboundary pollu-

tion and large-scale environmental impacts. A seem-

ingly eternal landscape, Svalbard’s glaciers have been

in a gradual and steady retreat, at roughly 115 feet per

year, and the temperatures in the Arctic are increasing

twice as fast as the global average.

Taken with a medium format camera on slide film, the

images were cross-processed with chemicals of a high-

er temperature. The digital scans of the images were

then inverted to show the landscape’s “natural” col-

ors. The unforeseen results emphasize and reference

a sense of carelessness and danger that has begun to

compete with the idealistic and sublime.”

137

Regina Kokoszka Cold Coast 01, archival inkjet on frosted mylar, 12” x 12”, 2010


138



139



140

KAY KOPPER BFA PAINTING, 1978

“Creativity has always been a part of my life. I enjoy the

entire creative process of producing art: from choos-

ing the subject, whether from a walk in the woods or

off a greenhouse shelf; to deciding on the composition;

to the study of the subject and finally to drawing and

painting the final piece. All the tools that are part of

this process are also very important. It is like telling

a story with each line and brush stroke contributing

to the whole. When it all flows smoothly and I am fully

absorbed all is well. Each project is a challenge and an

adventure. Working with botanical specimens only en-

hances the experience through the close observation

of our natural world and then portraying that moment

of stillness and life.

I find pleasure in the process of observation of look-

ing, seeing, and putting on paper each line and brush

stroke, building from the beauty of nature. And finally,

of sharing with others what I have seen.

A graphic artist designer/illustrator since 1978, Kay

holds a Bachelor of Fine Arts from Massachusetts

College of Art. Kay began creating botanical works in

1998, working in watercolor and pencil; choosing sub-

jects that are mostly native species. She has exhibited

in solo and group shows, and in regional and national

juried exhibits. Kay is a member of the American So-

ciety of Botanical Artists, New England Society of Bo-

tanical Artists, The Friends of Horticulture of Welles-

ley College, and is a gallery artist and member at the

South Shore Arts Center in Cohasset. She lives, works,

and tends her gardens in Pembroke, Massachusetts.”

LEFT: Kay Kopper Staghornsumac, watercolor, 16” x 25”, 2010

RIGHT: Kay Kopper Seedheads, watercolor, 21” x 25”, 2007


141

LEFT: Kay Kopper Highbush Blueberry, watercolor, 25” x 23”, 2009


142

ADAM LAMPTON MFA PHOTOGRAPHY, 2004

“The images submitted here are from a body of work

that I made in Macao while on a William J. Fulbright

grant in 2006-7. I photographed the former Portu-

guese colony (now a Special Administrative Region of

China) and witnessed a key moment in its transforma-

tion from a small enclave into a gambling mecca.

Beyond presenting Macao as a site of physical, cultural

and political change, these pictures attempt to navi-

gate a territory of conflicting perceptions inherent in

the movement from historical city to phantasmagori-

cal dreamscape. In doing so, they present Macao as ex-

isting somewhere between a reflection of an internal

architecture and that of a physical reality.

Images from this series were recently shown in a solo

exhibition at Carroll and Sons in Boston. The resulting

show was reviewed in Art in America and the Boston

Globe.”

www.adamlampton.com

143

Adam Lampton Mahjong Parlor, c-print, 30” x 40”, 2007


144

Adam Lampton Ancient Tree, Dung Huan Village, archival inkjet photography, c-print, 30” x 40”, 2007


145

Adam Lampton Grand Lisboa Casino Under Construction, archival inkjet photography, c-print, 30” x 40”, 2007


146

SURENDRA LAWOTI MFA PHOTOGRAPHY, 2005

“Within the context of a larger social and political land-

scape, my work focuses on individuals, social groups

and their milieus. I am interested in the dynamics of

social class, race, gender, religion and sexuality, and

how they influence circumstances in a given historical

time frame.

For my current work, I have been photographing along

the Don River in Toronto, Ontario. My focus has been

on makeshift shelters that dot the river, its residents

and the people who use it for recreation, in an area of

roughly five miles long and one mile wide. One of the

most urbanized river watersheds in Canada, the Don

is a prime environment for byproduct, of urbanization.

I first came across the makeshift shelters during sum-

mer of 2008 after I had recently immigrated to Can-

ada and made Toronto my new home. The recognition

of ‘home’ in these shelters immediately drew me in. I

wanted to understand how people who do not have a

home make one.

Don River looks at the inglorious history of the Don,

homelessness, socioeconomic disparities, and effects

of urbanization on the river. The work brings forth the

complexities of urban land use where nature and ur-

banization are in precarious tussle, and there are oth-

ers who take refuge on these margins. Don River looks

at the idea of home and issue of homelessness during

a period of economic recession.”

www.surendralawoti.com

RIGHT: Surendra Lawoti Joe, archival inkjet photography, c-print, 40” x 33.2”, 2009


148

Surendra Lawoti List Of Needs (Inside Shelter 17), archival inkjet photography, c-print, 33.6” x 40”, 2009


149

Surendra Lawoti Shelter 18, archival inkjet photography, c-print, 42” x 50”, 2010


150

SEBASTIEN LECLERCQ MFA STUDIO FOR INTERRELATED MEDIA, 2010

“My drawing practice is central to several overlapping

bodies of work, which include site-specific installation,

photography, painting, and sculpture.

A recurring theme in my work is the investigation of

the boundaries that separate simple perception and

thorny knowledge. Banal, overlooked architectural el-

ements and spaces - tiled walls, decorative trim and

molding, bricks and mortar - even pictures in galleries

are the physical locations that act as placeholders for

simple perception. I subvert these spaces with subtle

interventions that often pass as the thing itself. Ad-

hesive tape passes for grout, photos replace subjects,

drawings pass for graph paper.

My drawing consists of the creation and augmenta-

tion of structural circumstances. Whether these condi-

tions are constructed of graph paper or architectural

structures, I subtly undermine the certainty and order

denoted by their object-hood. With pencil and ruler

I make graph paper drawings often with imbedded

semi-narratives. I also use sculptural devices to create

drawings with abberations in scale and in addition de-

vise obliquitous deviations of lines that then generate

multiple unique drawings.

The confrontation and reconciliation of the viewer’s

gaze within these booby-trapped situations invite an

active aesthetic reading, exploring the boundaries be-

tween perception and knowledge.

If our gaze defines how we relate to the world and how

we participate in shaping it then the shape of our par-

ticipation is contigent on what we perceive to be the

parameters of our engagement.

I endeavor to heighten the importance of perceiving

the fluidity of these parameters.”

www.sebastienleclercq.org

Sebastien Leclercq Bubble, pencil on paper, matboards and frames, 97.5” x 62”, 2009


151

MFA STUDIO FOR INTERRELATED MEDIA, 2010

Sebastien Leclercq Twelve Climate futures, pencil on paper and oblong frame, 38” x 48”, 2008


152

COURTNEY A. LOCKEMER MFA STUDIO FOR INTERRELATED MEDIA, 2010

“I am interested in exploring domestic space, particu-

larly the way imagination plays a role in both the ex-

perience and meaning of the places we inhabit. False

Objects is a series of photographs that is part of a ex-

ploration of imaginary landscapes – landscapes that

are both imagined and which is a place for ones imag-

ination to reside. The title of the series comes from

Gaston Bachelard’s The Poetics of Space. One might

say that these houses in miniature are false objects

that possess a true psychological objectivity.

When I take the word false from Bachelard I use it to

inspire consideration of what is real and not real, and

how this play of thinking creates a space for imagina-

tion. The object photographed might be false because

it is a replica of what it claims to represent. It is also

false because it is not a mere simulacrum: a photo-

graph of an imaginary landscape can be viewed and

considered just as a photograph of a real landscape

can.”

www.courtneylockemer.net

153

Courtney A. Lockemer #7 (False Objects), color ink jet print, 17” x 17”, 2010


154



155



156

JOHN MAGNIFICO BFA GRAPHIC DESIGN, 2007

“826 Boston is the newest chapter of a national non-

profit tutoring and writing organization. Each location

has its own unique character; Boston’s creative writ-

ing center is housed in the Greater Boston Bigfoot Re-

search Institute where volunteers are dressed as sci-

entists and sales associates sell peculiar merchandise

like unicorn tears.

We developed the 826 Boston brand to align with the

mission of the national umbrella organization but still

John Magnifico 826 Boston Promotional Poster Series, silkscreen printed on french speckletone paper, 13” x 19”, 2010


reflect the imaginative spirit of the local branch. In

addition to creating the visual identity, we designed

a series of branded promotional materials, including

brochures, postcards, t-shirts, and outreach posters.

Our work incorporated bold typography, vibrant colors,

and custom illustration (references to monsters Big-

foot and Loch Ness) to capture the experience of fun,

creativity, and a bit of strangeness.”

www. magnificodesign.com

157

John Magnifico 826 Boston Promotional Brochure, digitally printed on matte paper, 5” x 8”, 2009

John Magnifico 826 Boston Promotional Brochure, (Alt. View) digitally printed on matte paper, 5” x 8”, 2009


158

BRYAN MARTELLO BFA PHOTOGRAPHY, 2010

“My work exists between the physical world and the

one that is seen when we close our eyes: simple emo-

tions are magnified, the concrete becomes inexplica-

ble, and the mundane appears magical. Using a 4x5

view camera, I create photographic montages that il-

lustrate the anxiety and the mystery that occurs be-

tween sleep and awake. The photographs depict an

intangible world that will be forgotten come morning.”

Bryan Martello Untitled 3 From The Series “Come Morning”, archival inkjet prints, 52” x 40”, 2010


159




160

JULIE MARTINI BFA PAINTING, 2003

“Over the past few years, I have been working on a se-

ries of drawings entitled ‘God Is Science/Science Is

God’ that depict enlarged cells, revealing the intricate

patterns that are contained in the smallest structural

units of an organism. Each drawing is an altarpiece

to science and the natural world. As modern science

allows us to manipulate the natural world more and

more, our ideas about the nature of life evolve. By cre-

ating images that combine scientific illustrations with

my own imagined visual accounts of the natural world,

I present an invented ‘scientific’ view of the world, as

fantastical as the reality: teeming with cells, micro-

scopic life forms, and the millions of structures that

make up the inside of the body. Through my work, I

hope to pose the following questions: Is science the

new religion? Has science brought us closer to under-

standing the nature of life? As our world view becomes

more scientific, how do we define the ‘sacred’?

I am also working on a large-scale installation called

God Is Science/Science Is God? The centerpiece of

the installation will be a wall-mounted 7.5 ft. diameter

circle of hundreds of petri dishes arranged to recreate

the dramatic rose window at the Cathedral of the Holy

Cross in Boston. Each ‘pane’ of the window will con-

sist of dozens of glass petri dishes, containing unique

circles of paper, painted to suggest human brain cells.

Taken as a whole, the cells will add up to a human brain,

where each section of the the rose window represents

a different structure in the brain, the center of the win-

dow symbolizing the seat of the human soul.”

www.juliemartini.info

LEFT: Julie Martini Untitled I, acrylic paint on paper, 35” x 45.5”, 2011


162

Julie Martini Untitled II, acrylic paint and gouache on paper, 31” x 42”, 2010


163

Julie Martini Untitled III, acrylic paint and gouache on paper, 30” x 42”, 2010


164

LAUREL McMECHAN BFA PAINTING, 2010

“I am driven by my need to understand my brother’s

military experience in the Iraqi desert. Reaching be-

yond landscape as physical location, my work consid-

ers psychological states and imaginary worlds as a

way to investigate an expanded idea of place. Awash

in satellite imagery and cartographic strategies, I

perceive our contemporary, First World existence as

a confusion between virtual and visceral landscapes.

In this work I am considering the overlap of interior

and exterior worlds; mental places conjured for refuge

and retreat; and the world existing outside the physi-

cal body.

www.laurelmcmechan.com

Laurel McMechan Satellite Map, intaglio collage, 28” x 40”, 2010


My ‘Bivouac’ project is an artwork modeled after a

16’ x 16’ army tent, made of collaged and sewn prints,

drawings and paintings on paper. ‘Bivouac’ currently

exists (to scale) as a smaller maquette. The full scale

tent will function as a shelter akin to a fort, research

outpost, fox hole, and/or command center. Operating

within the idea that this shelter is a ‘home base’, with

this artwork I strive to evoke ideas of exploration and

navigation as well as concealment and improvised

safety.”

165

Laurel McMechan Bivouac Maquette B, side view, intaglio, acrylic, watercolor, thread, 4.75” x 8” x 8”, 2010

Laurel McMechan Dislocated Territory, Intaglio, 9” x 14”, 2010


166

KEVIN MOROSINI BFA PRINTMAKING, 2001

“This work is for love and fear.”

Kevin Morosini #1, marker, colored cencil, vinyl LP, LP bag, tacks, 12.5” x 12.5”, 2011


167




168

DANA MUELLER MFA PHOTOGRAPHY, 2007

“During and after graduating from MassArt I focused

on former German prisoner-of-war camps and sur-

rounding areas where prisoners were put to work by

the US military. At the end of WW II there were over

400,000 prisoners, who worked on local farms and in

small industries. The years after graduation my photo-

graphs have taken me to Pennsylvania, Maryland and

parts of the American South.

There is an irony where these German soldiers, both

high-ranking Nazi officers and foot soldiers, were till-

ing the fields, cutting the lumber, picking apples, tak-

ing care of the American soil. This caring, benign work

with the land stands in complete contrast to the hor-

rific actions by Nazis and German soldiers in Eastern

Europe of that time, such as Hitler’s scorched earth

policy. When photographing these landscapes I wanted

to visually evoke the dualities that have characterized

the German people over centuries, a people that are

capable of both tremendous progress and destruction.

Romanticism has played a role in understanding the

relationship of Germans to the landscape. In some

photographs the land is overgrown appearing in a kind

of primal state, suggesting the return to the original

forest. It also suggests a fascist aesthetic of purity

promoted by pre-war German culture. Innocence and

purity can be seen as a natural desire to regress after

one has become corrupted.

While the Devil’s Den still continues I have started a

new body of work in 2010. Keeping the theme of land-

scape and history, I have been photographing at the

edges of a German village where the forest was part

of the no-mans-land border zone between East + West

Germany. I am interested in capturing contemporary

aspects of the village life and ways in which people

now relate to that landscape.”

www.danamueller.net

169

Dana Mueller Gettysburg, Adams County, Pennsylvania, archival pigment print, 24” x 30”, 2009


170

Dana Mueller Untitled #2, Germany, archival pigment print, 30” x 40”, 2009


171

Dana Mueller Untitled #1, Germany, archival pigment print, 30” x 40”, 2009


172

BRUCE MYREN BFA PHOTOGRAPHY, 1991

“My work investigates issues of place and space and

boundaries and borders through the exploration and

employment of various locative systems. I am most in-

terested in how macro systems relate to micro experi-

ences of land and landscape. My recent series include

an investigation of the Fortieth Parallel of latitude; a

study of the poet Robert Francis’s one-person house

in the woods of Amherst, Massachusetts; and a piece

that documents the view from every place I have lived

to where I live now.

I am fascinated with location-based systems and my

work engages the nature of how humans measure the

world. I often use or create rules to govern the loca-

tion or approach in order to make a series of photo-

graphs. This method stems from my interest in maps

and mapping, historical photographic surveys, and

conceptually-based art practices. It is through these

influences that I started to see and make pictures: by

measuring, coordinating, and locating myself within

www.brucemyren.com

the world. Currently my work has been progressing

from more universally recognized ideas of place to-

wards more personal re-presentations.

Fort Juniper is the name of a small one-person house

in western Massachusetts. It was built by the poet

Robert Francis in 1940 and served as his home until

his death in 1987; it is presently used to host contem-

porary poets-in-residence through the Robert Francis

Trust. For Francis, Fort Juniper was more than just an

abode in which to reside, it was a fort to shelter him

and a lens through which he experienced the world.

Using Francis’s prose and poems, I am exploring my

hometown, with new eyes, photographing the intersec-

tion of his understanding of this place with my own ex-

perience. The area of Amherst in which Francis lived is

where I first forged my sense of intimacy with the land.

It is through this connection that I am making pictures

exploring where our lives interweave through time.”

Bruce Myren The Southern Terminus of a Short, Short Walk, archival inkjet, 30” x 24”, 2009


173

Bruce Myren Lord Wilburs Oak [view #1], archival inkjet, 30” x 24”, 2009

Bruce Myren 170 Market Hill Road, archival inkjet, 24” x 30”, 2009


174

ASHLEY NORMAN BFA ART EDUCATION, 2007

“My work aims to create a visual language through bio-

mimicry at the microscopic scale. In each piece that I

create, the individual elements react with one another;

patterns and relationships begin to develop and a mi-

croscopic landscape is formed.

I start all of these pieces with some type of meditative

line, and build off of that, creating relationships be-

tween the visual elements as the piece develops. The

materials that I tend to use are: illustration markers,

watercolor markers, watercolor, India ink, acrylic ink,

and archival waterproof pens.

These pieces have a large experimental element to

them, and have grown out of years of working and

playing with both line and shape, while creating differ-

ent textures and patterns. One of my aspirations with

this work is to play with the microscopic, macroscopic,

and telescopic scales. With the ambiguity of scale, the

hope is for the viewer not only to see the piece as a

whole, but to view the movement and growth in the

work as well.”

LEFT: Ashley Norman Pink Haze I, watercolor, marker, india Ink, gold ink, and Pen, 11” x 4”, 2011


176

Ashley Norman Microscopic Landscape, Green And Orange, I Of III, watercolor, marker and pen on bristol, 14”x 17”, 2011


177

Ashley Norman Microscopic Landscape, Green And Orange, II Of III, watercolor, marker and pen on bristol, 14”x 17”, 2011


178

ZOE PERRY-WOOD BFA PHOTOGRAPHY, 1981

“Whether in the public forum of a city street or in a

person’s private living quarters, my purpose is to pay

enough attention to really see whatever people will

reveal for me. I feel a passion and excitement when

I am with people as they unknowingly reveal so much

in their facial expressions, gestures and interactions

with each other. Making photographs has taught me

the importance of paying attention to both the detail

and the bigger picture. As I look around the world I am

drawn to small moments that convey larger meaning.

By creating images in the public forum, I have learned

that the decisive moment can speak volumes about a

person, a place or even a culture. I seek to capture

those moments in images that go beyond the individu-

al, and speak of the many forces they have no control

over; their age, their class, their race, their gender.

The body of work that these images come from was cre-

ated over the course of five years between 2006-2010

during Carnival Week in Provincetown, MA. People are

literally on parade, presenting an alternative persona

that defies the norm and, for the most part, could not

be possible in another place and time. For some, this

is a fun, annual event that allows for the freedom to

experiment. For others, it is a brief span of time where

the person they truly feel they are, finds company and

freedom to be themselves on these streets. My inter-

est is not only to document the vivid culture that re-

sults from this combination of place, time and events,

but to get a glimpse of the people beneath the cos-

tumes and make up.

Since graduating from MassArt I have continued to

make images, focusing on photographing people for

more than thirty years. I have worked on projects

ranging from a study of the Boston subways to cotton

farmers in Nicaragua to transvestites in Mexico. My

images have been exhibited nationally in juried exhi-

bitions at galleries such as Soho Photo in New York,

Photo Center NW in Seattle, Camera Obscura Gallery

in Colorado and Vermont Photo Workplace Gallery. I

worked for many years as a gelatin silver printer for

several Boston area photographers. I continue to

study with great photographers such as Magnum Pho-

tographer Constantine Manos, and world famous pho-

tographer Mary Ellen Mark. My work is represented by

Gallery Kayafas in Boston.”

179

Zoe Perry-Wood Lipstick Before Drag Bingo, archival inkjet print, 13” x 19”, 2008


180

Zoe Perry-Wood Triplets At The Boat Slip, archival inkjet print, 13” x 19”, 2009


181

LEFT: Zoe Perry-Wood Paul And Jim At Drag Bingo, archival inkjet print, 13” x 9”, 2010


182

GABRIEL PHIPPS BFA PAINTING, 1997

“A great teacher of mine once said paint can be any-

thing, a sentiment I very much agree with. I might add

that paint can be everything - at once.

Through the use of basic geometric shapes squares,

rectangles and trapezoidsv – I make paintings that

simultaneously reference a number of visual notions

and phenomena. Architectural forms derive from rect-

angularly shaped painting media and are a response

to the urban landscape in which I live. Color combina-

tions reference the elements - water, earth, sky, and

fire – while also referring to digital light, the vibrant

blue of a computer desktop, and childhood memories

of Boston’s brick cobbled streets and buildings. Figu-

rative content speaks to the experience of confront-

ing somebody within the confines of a rectangle, be it

a doorway or a mirror. Pressurized junctions of form,

and subsequent deformations of shape, are a nod to

Gabriel Phipps Near Miss, oil on paper, 4.5” x 6”, 2011


aerial photography and environmental forces acting

on one another.

Laden with contradictory source material, the geo-

metric units that reverberate throughout the work

are at once flat and volumetric, solid and ephemeral,

synthetic and organic, static and kinetic, fictitious and

real; they are structures seen from above and from the

ground; they are free-standing and verge on collapse;

they speak of pink flesh, metal shards and glowing

television screens; they are somebody who is nobody,

someplace that is no place.

The duality of the paintings, their refusal to fit into

a single reading, their very instability is what makes

them more than the sum of their parts it gives them

vitality and life. “

183

LEFT: Gabriel Phipps Kiss Me, oil on paper, 7” x 4.5”, 2011

RIGHT: Gabriel Phipps Signalman, oil on paper, 7.5” x 3”, 2011


184

ERIC SALINE MFA PRINTMAKING, 2005

“For inspiration in my artistic practice, I examine the

relationship between nature and the built environ-

ment. Paper is my chosen material, largely due to its

malleability, endless recycle-ability, and the appeal of

its relative organic ephemerality. Paper is extremely

versatile and durable, yet at the same time, it is weak

and vulnerable: herein lies a fundamental tension, res-

onant with the human experience, which I attempt to

highlight.

My work conveys kinetic visual movement through

surface activity, employing rhythm and color as ubiq-

uitous leitmotifs. I address a variety of formats includ-

ing drawings, books, print-collages, and also site-spe-

cific installations out of my own recycled handmade

papers. Smaller drawings, prints and books provide a

shift in size, but yield a similar feeling of intimacy and

discovery, possibly referencing an even larger scale

than the installations.

In my large-scale printed-paper installations, I at-

tempt to produce sculptures complimentary to a sites’

specific architecture by considering regional history,

the landscape of the natural environment surround-

ing the site, and also by incorporating my own eclectic

imagination. I use lighting to create both a sense of

drama and atmosphere, through shadow and its cor-

responding back-lit effect, much like that of light pass-

ing through stained glass. This dynamic experience

implores viewers to explore a piece, to see what dis-

covery a change in viewpoint may reveal.

After an installation, I recycle my work by continuing

to print, paint cut and glue the paper, treating it much

like a quilter would fabric. This perpetual process of

recycling and re-use is a way I can represent a more

conscientious natural resource management, while

also granting me time to develop the papers’ surface.”

www.ericsaline.com

185

Eric Saline Cloudplay, woodblock/silkscreen print on paper, 2 works: 14” x 14” x 2” each, 2010


186

Eric Saline Where Chocolate Was Born, relief print and collage, 44” x 23” x 1”, 2005


187

Eric Saline Red Chasing Green, W zoodblock, silkscreen print and collage, 6’ x 3’, 2008


188

DANA SALVO BFA PHOTOGRAPHY, 1977

“My work examines the universal necessity for people

to surround themselves with meaning, specifically

by the arrangment of objects within the home. My

most recent project with The Mother of Grace Club in

Gloucester, MA, has resulted in a portfolio of images

which examine how people evoke sacredness in their

everyday environments in the creation of devotional

altars and household arrangements which sanctify

and personalize the places in which they live.”

189

Dana Salvo Maria Grillo’s Parlor, Gloucester, MA, color photograph, 16” x 20” or 30” x 40”, 2010


190

Dana Salvo Lena’s Livinroom, Gloucester, MA, color photograph, 16” x 20” or 30” x 40”, 2007


191

Dana Salvo Family History, Gloucester, MA, color photograph, 16” x 20” or 30” x 40”, 2010


192

STACY A. SCIBELLI BFA FASHION DESIGN, 2004

“I am a designer and artist currently living and working

in New York City with a communal studio/gallery space

in Brooklyn. I utilize design and craft to make fine art.

Much of my practice is based around sewing, be it

garments, sculptures, or wearable art pieces. I have

several years experience working in the costume and

fashion industry and therefore my work has become

primarily wearable and interactive sculpture. I make

soft machines that facilitate basic, seemingly banal,

interactions that conjure overwhelming emotion in the

participant. The apparatus is an instigator to a higher

understanding of one another. I believe that fashion is

the manifestation of art and life colliding. Clothing is

a vehicle for individual expression that is understood

through its materiality. To adorn the body is a univer-

sal human condition that allows for versatility, utility,

culture, drama, and emotion all at once. This seems

an obvious and irresistible medium for me. A lot of my

work circulates around the act of eliciting communal

awareness through this channel.

I am interested in the threshold of comfort - recog-

nizing where it originates and what happens when it

is sacrificed and no longer exists. I aim to accentuate

awkwardness. I am bringing people together so that

they can realize that they are apart. Closeness reveals

separation by exemplifying our vulnerability and ex-

posing the prominence of what we refuse to expose.

Vulnerability can act as an impetus for unification. It

is important to me to showcase where our boundaries

really lie and force you to question the existence and

the source of those boundaries. I am staging physical

situations that are mediated by the use of a bizarre ap-

paratus, and in doing so I reveal satire in the suspen-

sion of disbelief. What is important to me in my work

is the acknowledgement and exploration of the space

between people, both literally and metaphorically.

I am committed to the practice and history of craft as

it relates to contemporary art given my background in

tailoring and design. This informs a majority of the vi-

sual nature of my work. Texture and form are important

components of my wearable sculptures. I utilize mate-

rials common to conventional habit such as wool, knits,

and leather. Composition and clarity of purpose are

necessary for the imagery that exemplifies the usage

of the pieces. My work exists as participatory objects,

installation, and sculpture. The conceptual relevancy

hinges on viewer interaction with each other through

a provided vehicle object. Through this mechanization

of the object, an unusual sensation is conjured forc-

ing a smile, kissing an imaginary other, being locked

into a tickle fight, gracing hidden fingertips. I am using

the existing structures of our everyday lives to show

you where they are and how they are destroyed. Don’t

smile. Touch each other. Don’t kiss me. Leave me

alone. Be alone. Pretend. Don’t let me tell you what to

do. It is both pleasant and uncomfortable and lingers

on the edge of the perverse due to the simultaneous

familiarity and theatricality or falseness of the entire

experience. These cooperative actions compromise

physical ability exposing vulnerability and power that

translates as a metaphor for everyday activities. I am

addressing an unspoken dialogue of power dynamics

that manifest themselves in the distance we keep or

don’t keep from each other and the choice to collabo-

rate or take advantage of these handicaps.

‘Behind the storm of daily conflict and crisis, the dra-

matic confrontations, the tumult of political struggle,

the poet, the artist, the musician, continues the quiet

work of centuries, building bridges of experience be-

tween peoples, reminding man of the universality of his

feelings and desires and despairs, and reminding him

that the forces that unite are deeper than those that

divide.’”

-John F. Kennendy”

www.stacyascibelli.com

193

Stacy A. Scibelli Dumbstruck I and II, c-prints, 20” x 24” each - diptych, 2009


194

Stacy A. Scibelli Made With Love Diptych, fabric between 2 panes of glass/ graphite on mat, 24” x 36” each - diptych, 2011


195

Stacy A. Scibelli I Don’t Want To Get Over You, c-print with interactive sculpture, installation - photo 20” x 24”, 2009


196

JI-EUN SHIM BFA PAINTING, 2009

“These drawings started from the same curiosity to

plant seeds and watch them grow out of the ground

from something small and familiar into something un-

known, of beauty and with life of their own.”

197

Ji-eun Shim Creation, graphite on paper, 15’’ x 22’’, 2011


198

Ji-eun Shim Blindness, graphite on vellum, 14’’ x 11’’, 2011


199

Ji-eun Shim Penitence, graphite on paper, 13’’ x 13.5’’, 2011


200

CANDICE SMITH CORBY MFA PAINTING, 2001

“I paint combined images of furniture, the human body,

and household objects that deal with conflicted feel-

ings of domestic celebration and potential entrapment

and disillusionment. I think of women I know and how

women deal with different roles that aren’t always

necessarily wanted, but acquired. I consider female

stereotypes as a mother (no longer a sexual being),

loss of self, and dependency. Collective feelings of

abandonment, isolation, and inadequacy can get bur-

ied within a well-decorated house.

I have 3 children under 5 and their imaginary games

have influenced my compositional decisions which in-

clude non-linear gameplay and coincidental desires of

escape.”

RIGHT: Candice Smith Corby You Be A... I’ll Be A Bear, gouache on wallpaper, 36” x 28”, 2010

Courtesy of Ellen Miller Gallery

202

Candice Smith Corby Suspended In Daydreaming, gouache on wallpaper, 34” x 28”, 2010


203

Candice Smith Corby Repossessed, gouache and watercolor on paper and wallpaper, 34” x 28”, 2010


204

DAWN SOUTHWORTH BFA FIBERS, 1976

“My work, characterized as mixed media drawing, paint-

ing or assemblage, crosses disciplines, while utilizing

various processes and materials. I stitch, cobble, burn,

draw and fasten an assortment of disparate images to-

gether. The works are typically layered, wrapped, ban-

daged, stained and scarred, and may bear assembled

objects of sticks and vines which are also wrapped and

bound.

My studio, a large box, is an accumulation of objects:

battered fabrics, found and rusted metals, assorted

sticks and tree fragments, books, damaged canvases

Dawn Southworth Facade, mixed media, 60” x 40”, 2010


and paintings, and photographs. These fleeting scraps

of cloth, paper, wood and metal when fused together

become indicators of both a natural world and human

presence. The age, shape, fragility and dusty texture

of the artifacts I collect and construct evoke thoughts

of the past, childhood recollections, hand labor, and

our shared history. They provide a condensed vocabu-

lary from which to address the many mysteries of our

personal psyche and common experience.”

205

Dawn Southworth Species, mixed media, 60” x 40”, 2010


Dawn Southworth Germinate, germinate, 60” x 40”, 2011

206

TEREZA SWANDA

“I engage in facilitating a space for creative exchange,

developing a creative rather than a capitalist struc-

ture. In my choice of material I use everyday matter

combined with people who to me matter most, to find

a language that represents what I/We embody. I recog-

nize the power within each moment of a both an indi-

vidual and collective form.

I play with overlapping bodies to recognize how we af-

fect one another? How boundaries between one and

another blend. I explore interconnectedness; I look

at the seeming boundary, the skin, that layer that we

BFA PAINTING, 2003

perceive as our end and look at how that edge can be

expanded. How there is possibility for overlap. How ‘I‘

exist always in relation to ‘we’?

I develop a gestural language between us- to find a

new way of interacting. Visually, glass, a transparent

layer, serves as a plane where this can occur, a blend-

ing of inside/outside and public/private, (a flattening

of space). Most recently, I am investigating the struc-

ture upholding glass, to reveal and question the power

structures within each moment of an individual/collec-

tive form.“

Tereza Swanda Romping Cluster, cut paper (b&w inkjet) and tape on glass , 16” x 27”, 2010


207

Tereza Swanda Romping Cluster, cut paper (b&w inkjet) and tape on office window, 7” x 6”, 2010


208

JOHN THOMPSON MFA PAINTING, 2005

“My work is a textural exploration of materials reacting

to observations of intimate moments in the New Eng-

land landscape. My focus is on the accidental and the

fleeting - water flowing, plant material blooming and

decaying, light reflecting. Increasingly the work has

been altered by the ever faster pace of visual stimuli.

It as if the work might be glimpses fof landscape rom

the window of a speeding train or car. I return to the

studio to recreate the glimpses of the momentary.”

www.johnthompsonart.com

John Thompson, Cordova, screenprint and gouache 39” x 51”, 2011

Courtesy of Sunne Savage Gallery

209

John Thompson, Hinsdale #43, Woodcut, 24” x 24”, 2010

Courtesy of Sunne Savage Gallery

John Thompson, Hinsdale #35, woodcut, 24” x 24”, 2010

210

DYLAN VITONE MFA PHOTOGRAPHY, 2003

“My photographic process has always been about doc-

umenting people and place to create records of the

ordinary and, through that process, finding poetry

within the mundane. Creating large-scale panoramic

photographs allows me to show simultaneously de-

tails and relationships at multiple spacial and percep-

tual levels. For example, both the self-conscious way a

young woman holds her hand by her side as she allows

someone to photograph her, as well as her place in the

sea of people around her engaged in a similar task. It

allows me to show a sweeping view of the cityscape

from a distance, while simultaneously revealing the

fine details of the scales of a fish that a boy proudly

displays for the camera.”

211

Dylan Vitone Car Crash, archival inkjet, 6” x 16”, 2011

Courtesy of DNJ Gallery

Dylan Vitone Sprinkler, archival inkjet, 6” x 16”, 2007

Dylan Vitone Demo On How To Make Home Porn, archival inkjet, 6” x 16”, 2011

212

EILEEN WAGNER MS ART EDUCATION, 2010

Eileen Wagner explores abstraction and the landscape

is the source of her imagery. Inspiration originates

from the natural world, but the life on canvas becomes

its own - independent and self-sufficient. Through a

process of recalling emotional and visual impressions

of her surroundings, she makes a composition from

memory and imagination with results that are sugges-

tive of experiencing the changeable atmosphere of the

essential elements - air, water, earth and fire.

She aims to capture a quality of light with successive

transparent layers, creating a sense of infinite space

and mutability. Her paintings and prints allow the

viewer to experience something that is timeless and

primal, yet intensely personal in the same moment.

www.eileenwagner.com

www.ricepolakgallery.com

213

Eileen Wagner Untitled 2, Monotype, 6” x 6”, 2002

Courtesy of Rice/Polak Gallery

214

Eileen Wagner Storm, Intaglio, 6” x 6”, 2001


215

Eileen Wagner Untitled 1, Monotype, 6” x 6”, 2002


216

MASSACHUSETTS COLLEGE OF ART AND DESIGN621 Huntington Avenue, Boston MA USA, T 617 879 7020 [email protected], Alumni.MassArt.edu

As an innovative university for artists, designers, and educators we prepare our students

to contribute to contemporary culture and to fuel the creative economy. We are proud of

our unique status as the only independent public college of art and design in the country,

and our heritage as the nation’s first degree-granting art school, founded in 1873.

Our programs are consistently ranked among the top in the country. US News & World

Report ranked our MFA program #1 in Massachusetts. Our 1700 undergraduate and

200 graduate students come from more than 35 countries, reflecting the international

reputation of our programs, and Boston’s place as one of the great learning and research

centers in the world. Our more than 18,000 alumni consistently rank high among leaders

in the fields of fine arts, design, architecture, education, and innovation. Our urban

campus offers more than 1,000,000 square feet of studios, workshops, classrooms, and

galleries. We are located at the center of a world-class fine arts triangle, sited between

the Isabella Stewart Gardner Museum and the Museum of Fine Arts, Boston.

Our Bakalar & Paine Galleries are one of Boston’s premier venues for contemporary

art, showcasing emerging and established artists from around the world. Our 260

graduate and undergraduate faculty are teachers and artist/practitioners at the top of

their fields, with a 9:1 student-to-faculty ratio. Our alumni and faculty exhibit nationally

and internationally at institutions including: MoMA; the Whitney Museum of American

Art; the Metropolitan Museum of Art; the Brooklyn Museum of Art, the J. Paul Getty

Center Museum; the San Francisco Museum of Art; the Museum of Fine Arts Houston;

the International Center of Photography; the Cleveland Museum of Art; the Art Institute

of Chicago; the Museum of Fine Arts, Boston; the Victoria and Albert Museum (London);

the Musee de la Ville de Paris; the Cleveland Institute of Art; and the Institute of

Contemporary Art/Boston, among others.

217

CREDITS:

Title Designer: Helen Zhai (MFA ‘04)

Catalog Designer: Maria Anna Stangel (MFA ’12)

©Copyright 2011 Massachusetts College of Art and Design

All rights reserved; no part of this book may be reproduced without the express written

permission of the publisher.

flourish catalogue

Documents