2021 BU CFA School of Visual Arts MFA Thesis Show Catalogue

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Boston University College of Fine Arts School of Visual Arts MFA 2021

Graphic Design Painting Sculpture



Boston University Schoo� of Visu�� Arts



Boston University College of Fine Arts Schoo� of Visu�� Arts MFA C�t��o�ue 202�


T�b�e of Contents


Director’s St�tement

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Scu�pture

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F�cu�ty St�tement

Exhibition

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Student Work

Gr�phic Desi�n

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F�cu�ty St�tement

Exhibition

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Student Work

P�intin�

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F�cu�ty St�tement

Exhibition

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Student Work


Director’s St�tement

� introduce the 202� M�ster of Fine Arts thesis c�t��o�ue with deep �r�titude to the 37 �r�du�tin� MFA students in P�intin�, Scu�pture, �nd Gr�phic Desi�n who cre�ted compe��in� individu�� �nd �roup thesis projects under ch���en�in� co��ective circumst�nces. � �m proud th�t in 2020–2�, durin� � ��ob�� p�ndemic, the Co��e�e of Fine Arts Schoo� of Visu�� Arts w�s open, offerin� �ccess to studios, c��ssrooms, presses, �nd printers, �nd the opportunity to work with f�cu�ty mentors in the studios. We ��� worked to�ether in v�rious w�ys. Our discip�ine �nd discip�ines provided � sense of st�bi�ity, �s Josephine H��vorson, Professor �nd Ch�ir of Gr�du�te Studies in P�intin�, references in her st�tement for this c�t��o�ue: “Throu�h the v�nt��e of their studios �nd the commitment to their work, these students h�ve witnessed �nd m�de sense of � time of �re�t turbu�ence �nd tr�nsform�tion.” This p�st f���, SVA opened our usu�� sp�ces �s we�� �s � renewed 855 Commonwe��th Avenue bui�din� �nd renov�ted F�ye G., Jo, �nd J�mes Stone G���ery. However, our community did not enter this �c�demic ye�r in h�bitu�� w�ys. Our eyes were opened to �on�st�ndin� �nd new�y formin� soci�� prob�ems. Our fu�� senses were opened to new w�ys of n�vi��tin� sp�ce, re�� �nd virtu��, perh�ps m�rked by new red w�yfindin� si�ns. Students �e�rned th�t they did not need to be physic���y to�ether to experience �enuine co���bor�tion. For the text to �ccomp�ny the MFA Gr�phic Desi�n thesis show, The Printer �s Broken, Christopher S�ebod�, Associ�te Professor of Art, Gr�phic

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Boston University


Desi�n, pointed to “the possibi�ities of disruption ��on� with the be�uty of unexpected errors, serendipitous discoveries, �nd innov�tive thinkin� when circumst�nces sudden�y ch�n�e.” The work on these p��es en���es with tr�nsform�tion �nd with the ed�es of form, medi�, �nd techno�o�y. �t exp�ores the bound�ries of rooms, se�ves, �nd n�ture, c���in� �ttention to tr�nsformin� wh�t h�s been broken, �nd processes of mendin� or he��in�. D�vid Snyder, Assist�nt Professor of Art, Scu�pture, notes th�t the work of the MFA scu�ptors offers the viewer “encounters with the f�mi�i�r throu�h the prism of tr�nsform�tion, �n invoc�tion of the hope th�t our connection to the wor�d �nd to e�ch other wi�� stren�then �nd endure.” � �e�ve this ye�r fee�in� hopefu� �nd stren�thened by the work of the students, f�cu�ty, �nd st�ff of the Schoo� of Visu�� Arts. � �m �r�tefu� for the privi�e�e to �e�d �n �rts institution �t � time th�t tru�y needs the power of the �rts to connect. Hum�ne responses �nd hum�n truths �re here in this c�t��o�ue. �t took �n incredib�e te�m of desi�ners to brin� this wonderfu� book, � website, �nd m�ny forms of thesis communic�tion �nd br�ndin� to�ether so be�utifu��y. Th�nk you to Reem A�s�ne�, C��ire Bu��, Christine C�s�v�nt, Arie��e Epstein, K�ri Everson, K�teri Gemper�ein-Schirm, Mich�e� Rosenber�, �nd S�o�ne Schuchm�n for workin� with Christopher S�ebod� on the MFA thesis br�ndin�, �nd for ��� of your profession�� work on beh��f of the MFA c��ss of 202�. The work in this c�t��o�ue is � test�ment to the te�chin� �nd �rtistic

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mentorship by the profession�� �rtists �nd desi�ners on the SVA f�cu�ty. This ye�r w�s one th�t required �n especi���y hi�h de�ree of dedic�tion �nd f�exibi�ity. On beh��f of SVA, � sincere�y th�nk professors H��vorson, S�ebod�, �nd Snyder, �s we�� �s MFA f�cu�ty Lucy Kim, J�y� Howey, Rich�rd Ry�n, Hu�h O’Donne��, M�rc Schepens, Won Ju Lim, Kristen Coo��n, J�mes Gr�dy, Nick Rock, Y�e� Ort-Dinoor, �nd M�ry Y�n�. Th�nk you to Liss� Cr�mer, M�n��in� Director, Boston University Art G���eries, who he�ped prep�re our students profession���y, �nd to the SVA st�ff who worked so h�rd to m�ke the thesis process run smooth�y— p�rticu��r�y technic�� �ssoci�tes Josh Brenn�n, Br�ndon Cohen, �nd Gus Whee�er workin� with Oper�tions M�n��er Lo�en Zimmerm�n, �nd the entire SVA st�ff, inc�udin� Ju�i�nn� Au�ustine, Jessic� C�cc�mo, �nd Beth Zere��. On beh��f of the Schoo� of Visu�� Arts, � sincere�y con�r�tu��te the MFA c��ss of 202�! You h�ve e�ch tr�nsformed our community by your work �nd presence. D�n� C��ncy Director, Schoo� of Visu�� Arts

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Boston University



Scu�pture


Aris Hu H�nn�h Minifie Jennifer Ki�burn* Ani� G�rci� L�orente* Ch�n� Wu*

*MFA 2020 students fe�tured in exhibition


F�cu�ty St�tement

H�nn�h Minifie �nd Aris Hu (both MFA ’2�) consider scu�pture �s � me�ns of cu�tur�� production th�t sh�res m�teri��, process, ��n�u��e, �nd history with our physic�� �nd soci�� environment. Their cre�tive work extends beyond its form�� ch�r�cteristics, pointin� to the v�ried �nd comp�ex �re�s of speci��ized ��bor th�t �re embedded within every �spect of our d�i�y �ife—from �rchitecture �nd physic�� infr�structure to the production of consumer �oods �nd myri�d co��oc�tions of text �nd im��e th�t f�ood forth from our i��umin�ted screens. Both Minifie �nd Hu m�ke work th�t is ent�n��ed with the conditions of re��ity whi�e simu�t�neous�y seekin� to fund�ment���y reconsider much of wh�t we over�ook, t�ke for �r�nted, or i�nore. Hannah Minifie uses constructed objects, videos, �nd �udio e�ements to cre�te er�onomic���y ch�r�ed inst����tions in which the body is evoked by proxy. Doors �re unmoored from their j�mbs �nd �eft freest�ndin�, �e�ned in prec�rious tension, or punctured �nd ��id out f��t. Activ�ted by text, video projection, �nd the sound of their “voice” (in the form of persistent, re�ent�ess knockin�), these objects su��est both the set �nd the p��yers within � dr�m� th�t re�ies on the viewer to write its m�jor p�ss��es.

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Sculpture


Aris Hu combines f�mi�i�r objects with e�ectronic e�ements to cre�te dior�m�-�ike inst����tions of frenetic �ctivity �nd visu�� de�ic�cy. The movement, �i�ht, �nd sound resu�tin� from sm��� motors �nd �ctu�tors— embedded in de�iber�te networks of co�or-coded wires, constructionre��ted too�s, �nd PVC pipes—imbue the work with �n ur�ent sense of “workin�.” This enticin� �nd i��o�ic�� “��bor” t�kes p��ce within � c�osedcircuit �oop th�t privi�e�es perform�nce over production. Over the course of their ye�rs in this pro�r�m, these two �rtists h�ve worked to tr�nsform �nd �mp�ify their individu�� cre�tive voices. They found ��ency within their own �rtistic pr�ctices durin� �n unpredict�b�e time of crisis, in the context of both � ��ob�� p�ndemic �nd our exi�ent �nd on�oin� n�tion�� reckonin� with history. Their work offers encounters with the f�mi�i�r throu�h the prism of tr�nsform�tion, �n invoc�tion of the hope th�t our connection to the wor�d �nd to e�ch other wi�� stren�then �nd endure.

D�vid Snyder Assist�nt Professor of Art, Scu�pture

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Scu�pture Exhibition M�rch 3–�2, 202�

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Sculpture


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Boston University


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Sculpture


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Sculpture


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Sculpture


Aris Hu Over the p�st two ye�rs, � h�ve been �sked to consider the use of f�mi�i�r, everyd�y objects in my cre�tive work. My interest in incorpor�tin� �nd/or representin� these kinds of objects stems from the str�n�e simu�t�neity of their ubiquity �nd their “invisibi�ity.” Most of us �e�rn to underst�nd the wor�d throu�h � ce�se�ess stre�m of medi�ted visu�� stimu�i, from sti�� im��es in m���zines �nd bi��bo�rds to movin� im��es such �s fi�ms �nd �dvertisements. Our contempor�ry st�te is one of ne�r-perpetu�� visu�� stimu��tion, �nd we �re incre�sin��y invested in �nd responsive to ��� forms of medi�tion. But �t the s�me time, we h�ve become �ess �nd �ess �w�re of the m�teri�� n�ture of our surroundin�s, of the everyd�y thin�s, the domestic, mund�ne, “borin�” objects th�t constitute this end�ess�y runnin� wor�d �nd support every �spect of our d�i�y �ives. They �re desi�ned to fu�fi�� our every specific need �nd exist �s bri��i�nt fe�ts of en�ineerin�, but they �re so often t�ken for �r�nted th�t it is �s if they’ve become invisib�e. My work h�s ��w�ys been re��ted to domestic objects. From objecthum�n re��tionships to object-object re��tionships, my intention is to exp�ore the w�ys in which these mund�ne objects h�ve embedded me�nin� (either person�� si�nific�nce or bro�der cu�tur�� �ssoci�tions), �nd to determine how these me�nin�s c�n ch�n�e �nd inf�uence both perspective �nd projection.

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Sculpture


H�nn�h Minifie �n my recent work, � use doors for their physic�� ch�r�cteristics �nd for their rich met�phoric�� si�nific�nce. Doors sep�r�te our pub�ic �ives �nd our priv�te ones. We use doors to desi�n�te power, hi�h�i�ht bure�ucr�tic structures, �nd emph�size tr�nsitions from one p��ce to �nother. The power th�t doors wie�d hi�h�i�hts the e�ements of the physic�� �nd psycho�o�ic�� structures th�t underpin the p�rtitionin� of sp�ce �nd the desi�n�tion of purpose within �rchitecture. Doors symbo�ize opportunity, priv�cy, security, or the ��ck of ��� three. When one door opens �nd �nother c�oses, ch�n�e is h�ppenin�. A thresho�d is bein� crossed. Art—�nd scu�pture in p�rticu��r—is me�nt to be viewed in person. As more �nd more of our �ives �re consumed by our screens, it is incre�sin��y import�nt th�t �rtists resist the impu�se to exc�usive�y m�ke work th�t c�n be f��ttened into �n im��e. The �ct of experiencin� �rt in �n unmedi�ted w�y is inte�r�� to my work. � w�nt every scu�pture to show the �ct of its m�kin�, �nd the experience of the viewer to on�y be comp�ete throu�h circumn�vi��tion �nd �ctiv�tion of the senses.

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Gr�phic Desi�n


Reem A�s�ne� Jenn� Benoit Yiwei Bo C��ire Bu�� M�hnoor Butt Chrissy C�s�v�nt Yike Chen K�ri Everson Arie��e Epstein K�teri Gemper�ein-Schirm T�iyo H�se��w� Byori Hw�n� F�ith Huishi Li Sohini Mukherjee Mich�e� Rosenber� S�o�ne Schuchm�n Yu�nwei Xu


F�cu�ty St�tement

The ��te 20th �nd e�r�y 2�st centuries m�rked � revo�ution in �r�phic desi�n, �s r�pid �dv�nces in techno�o�y tr�nsformed the fie�d’s pr�ctice. This di�it�� evo�ution offered new too�s to �r�phic desi�ners, ��on� with �ccess to on�ine �nd virtu�� sp�ces, new �ren�s th�t t�ke desi�n f�r beyond its print-b�sed roots. The 202� MFA Gr�phic Desi�n Thesis Exhibition, he�d M�rch 26 throu�h Apri� 6 �t Boston University’s F�ye G., Jo, �nd J�mes Stone G���ery, brou�ht to�ether the work of �7 desi�ners from seven countries. The dyn�mic �nd rich body of work they presented—in print �nd motion—showc�sed their sin�u��r voices �nd perspectives whi�e ��so demonstr�tin� � co��ective response to techno�o�y’s effects �nd inf�uence on the discip�ine. The exhibition, �pt�y tit�ed The Printer �s Broken, focuses � �ens on the vers�ti�ity of the too�s, methods, �nd p��tforms of �r�phic desi�n, centerin� the err�tic n�ture of equipment �s � potenti���y cruci�� f�ctor to consider in the desi�n process. With this unre�i�b�e too� �s � fr�min� met�phor, the exhibition’s works �r�pp�ed with the uncert�inty, �nxiety, �nd opportunity of the current moment whi�e ��so showc�sin� formb�sed �nd conceptu�� inquiries into how �r�phic desi�n c�n �rticu��te, ch���en�e, motiv�te, provoke, i��umin�te, comfort, �nd question. Re��tionships with techno�o�y �nd too�s underpin contempor�ry �r�phic desi�n. By exp�orin� when these re��tionships become prob�em�tic, the exhibition hi�h�i�hts the possibi�ities of disruption ��on� with the be�uty of unexpected errors, serendipitous discoveries, �nd innov�tive thinkin� when circumst�nces sudden�y ch�n�e. The s�me too�s th�t en�b�e �nd empower the desi�ner h�ve inherent �imit�tions. Resi�ient �nd cre�tive responses to these �imit�tions c�n be rooted in person�� experience �nd deep�y he�d be�iefs whi�e ��so dr�win� on �ccumu��ted ski��s �nd know�ed�e.

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Graphic Design


There m�y be no sin�u��r correct response in the f�ce of � mech�nic�� bre�kdown or m��function. �nste�d, v�rious str�te�ies �nd in-themoment �ssessment c�n �e�d to critic�� inquiry �nd further investi��tion. The misprints �nd projections of The Printer �s Broken �re symbo�ic of the intrinsic unpredict�bi�ity of dyn�mic desi�n processes. And the works shown in the exhibition expose how the eccentricity of too�s used to produce �r�phic desi�n u�tim�te�y sh�pes form �nd imp�cts me�nin�. The MFA exhibition showed how the work of 202�’s cohort of �r�du�tin� �r�phic desi�ners cou�d be situ�ted within � unified n�rr�tive. By h�rnessin� the potenti�� of ��tern�tive methods of disp��y, the desi�ners cre�ted �n imp�ctfu� site-specific experience. �n this c�t��o�ue, e�ch MFA c�ndid�te’s thesis emph�sizes the specificity of their inte��ectu�� �nd scho��r�y pursuits. With projects th�t r�n�e from �ivin� t�n�ib�e form to i�nored stories to ex�minin� the effects of ��n�u��e tr�ns��tion on existin� structures, from the study of p��ce-m�kin� to form�� exp�or�tions fusin� bio�o�y �nd desi�n, the critic�� rese�rch undert�ken in the Gr�phic Desi�n MFA pro�r�m i��umin�tes different p�thw�ys for desi�n pr�ctice �nd scho��rship. These �r�phic desi�ners �nd their peers wi�� sh�pe the future of the discip�ine. Their work, presented here, �mp�ifies the evo�vin� ro�e of �r�phic desi�n �nd the discip�ine’s continued imp�ct on society in the 2�st century.

Christopher S�ebod� Associ�te Professor of Art, Gr�phic Desi�n

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Gr�phic Desi�n Exhibition M�rch 26–Apri� 6, 202�

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Graphic Design


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Boston University


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Graphic Design


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Graphic Design


Reem A�s�ne� Riffin� on Desi�n: Chronic�es of Ch�os exp�ores �nd bre�ks down e�ements th�t ch�r�cterize he�vy met�� music �nd tr�nsforms these e�ements into methodo�o�ies th�t c�n be �pp�ied to �r�phic desi�n. Music is composed of different ��yers of sound cre�ted usin� v�rious instruments; �r�phic desi�n fo��ows � simi��r �ppro�ch, which is why there’s so much intersection between music �nd desi�n. �f he�vy met��’s music�� ��n�u��e w�s broken down into princip�es th�t c�n be �pp�ied to desi�n, wh�t wou�d desi�n �ook �ike? How wou�d these music�� e�ements push � visu�� composition? And how c�n they tr�nsform the w�y we see �nd interpret desi�n? � �rew up �istenin� to he�vy met��, which h�s inf�uenced m�ny �spects of my �ife, inc�udin� how � �ook �t �nd think �bout desi�n. � �m no musici�n—�’m � �r�phic desi�ner, so � tr�ns��te the components cont�ined in music into visu��s, borrowin� m�ny of the e�ements th�t m�ke he�vy met�� sound �ike he�vy met��. My thesis tr�nsforms �uditory fe�tures of he�vy met�� throu�h rese�rch th�t interprets those fe�tures �s �r�phic desi�n methodo�o�ies. My quest to rese�rch those sound components perh�ps introduces existent fund�ment��s of desi�n, but it offers new w�ys to �ook �t those fund�ment��s in � series of prompts th�t ��ters the me�odies of he�vy met�� �nd bends them to become princip�es th�t prope� desi�n.

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Graphic Design


Jenn� Benoit My work for the exhibition The Printer �s Broken pert�ins he�vi�y to my thesis methodo�o�y �nd rese�rch, �ookin� into the ide� of preservin� the hum�nness of our desi�n in the f�ce of ever-�rowin� techno�o�y. This invo�ves embr�cin� the ��� too hum�n �spects of our desi�n—the unpredict�bi�ity, the mist�kes, the f��ws, the process of exp�oitin� these thin�s �nd e�ev�tin� them. We see this in our rec��imin� of printer mist�kes in this show, e�ev�tin� the mish�ps th�t ��� too often h�ppen �nd embr�cin� them �s their own pieces of �rtwork. � focused on ��yerin� �nd sc��e, de�iber�te�y re-cre�tin� my work �t the wron� sc��e or with ink st�ins on it, reworkin� the composition �nd embr�cin� the unexpected �dditions.

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Graphic Design


Yiwei Bo “He who fi�hts with monsters mi�ht t�ke c�re �est he thereby become � monster. And if you ��ze for �on� into �n �byss, the �byss ��zes ��so into you.” —Friedrich Nietzsche, Beyond Good �nd Evi�: Pre�ude to � Phi�osophy of the Future

Strict �overnment contro�, overdeve�oped techno�o�y, environment�� dis�sters, surviv��, �nd �oss of emotion �nd individu��ity—dystopi� is � specu��tive�y im��ined wor�d th�t is �s dehum�nizin� �nd fri�htenin� �s possib�e. The subject m�tter of dystopi� is not �bout bein� fiction�� or predictive; r�ther, it is descriptive �nd represent�tive of current society. �t shows us � bird’s-eye view of wh�t is current�y h�ppenin� �nd wh�t wi�� h�ppen next. The concept of dystopi� is ti�ht�y intertwined with the concept of time. When the present �ooks into the p�st, the p�st st�res b�ck �t the present �nd �sks, “�s this the future the p�st h�s envisioned?” And when the present �ooks forw�rd to the future, the future �ooks b�ck �nd questions, “Wh�t h�ve we done in the p�st?” The c�uses �nd effects keep �oopin�, �nd the consequences �re never wron�. Dystopi� is � common topic in m�ny different fie�ds, such �s �iter�ture, fi�m, te�evision, �nd fine �rts. Writers c�n use vivid expressions to provide re�ders with un�imited im��in�tion of � dystopi�n wor�d; fi�m directors c�n uti�ize exquisite storyte��in� �nd profound c�mer� ��n�u��e to present the �udience with � visu�� fe�st, �ettin� the viewers indu��e in � re��istic dystopi�. Artists, with their too�s �nd profession�� ski��s, �re �b�e to fu�fi�� their cre�tivity �nd brin� �rtworks to their �udience. So wh�t does the topic of dystopi� �ook �ike in the fie�d of �r�phic desi�n? From � bottom-up perspective, � wou�d �ike to showc�se the d�i�y �ives of civi�i�ns in � dystopi�n future—wh�t they e�t, wh�t they we�r, wh�t they do, �nd who they inter�ct with—throu�h the �ens of �r�phic desi�n, �nd then to exp�ore the ��r�er context, such �s soci�� structure �nd ��ob�� scen�rios. And perh�ps � c�n m�ke my �udience ref�ect independent�y on who they �re �s individu�� hum�n bein�s in tod�y’s wor�d, �nd who they w�nt to become in the future.

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Graphic Design


C��ire Bu�� � Exp��in Better With Writin�. � Evoke Better Throu�h Desi�n. Desi�n is the physic�� m�nifest�tion of the �imit�essness potenti�� of the hum�n im��in�tion. �t’s � me�ns to question, probe, �nd contemp��te. Desi�n drives � cyc�e of investi��tion �nd discovery, reve��in� insi�hts into �n ever-exp�ndin� wor�d of possibi�ities th�t �ie on the horizon. �deo�o�ic���y, my two �uidin� tenets (not on�y in desi�n, but in �ife) �re the concept of mu�tipotenti��ity—the �bi�ity �nd preference of � person, p�rticu��r�y one of stron� inte��ectu�� or �rtistic curiosity, to pursue �nd exce� in different fie�ds—�nd m�ke�bi�ity, or the Dutch concept of M��kb��rheid—the ide� th�t the wor�d �round us is inherent�y sh�ped by hum�ns, physic���y �nd psycho�o�ic���y, �nd desi�n is the essenti�� f�ctor in th�t sh�pin�. Phi�osophic���y, � �dhere to the m���e�bi�ity of �ife, the ide� th�t everythin� c�n, �nd wi��, ch�n�e—it’s simp�y � m�tter of how you choose to ch�n�e it. On � bro�der �eve�, desi�n is e���it�ri�n �nd �ccessib�e. �t provides � me�ns of empowerment on � person�� �eve�, to reinvent yourse�f whenever �nd however you �ike, �nd �t � societ�� �eve�, to rem�ke the wor�d we �ive in to fit the needs of the community. Phi�osophy �nd theory reim��ine wh�t cou�d be. Desi�n cre�tes concrete forms, structures, �nd ��n�u��e th�t brin� ide�s �nd conjecture into re��ity, for �n �udience of one or the who�e wor�d. � �m n�tur���y �verse to �mbi�uity in �ife, but in desi�n � prefer it. �f somethin� is n�scent or nebu�ous, it’s w�itin� to be sh�ped. Desi�n invites exp�or�tion, �nd it imbues peop�e th�t pr�ctice it with � const�nt motion to improve �nd �e�rn. � find th�t wh�t �’m most�y �e�rnin� is how much more pro�ress there is to m�ke �nd how much more � w�nt to try. Desi�n doesn’t become e�sier �s you improve; it’s simp�y �n exp�ndin� horizon �s you �row.

MFA 2021 Exhibition

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Graphic Design


M�hnoor Butt �n my work, di��o�ue is ��w�ys invo�ved, so � use �r�phic desi�n to �ive invisib�e convers�tions � more t�n�ib�e (visu��) form. �nterested in cu�tiv�tin� � di��o�ue �bout �ost �rts, p��ces, peop�e, �nd me�nin�fu� norms in the present time, � exp�ore my themes of interest with the �im to ce�ebr�te stories �nd convers�tions th�t h�ve been i�nored. The work � do ref�ects p��yfu� ch�r�cteristics, inf�uenced by my interest in p��y �nd fun. �’m interested in usin� the univers�� ��n�u��e of co�or. �t’s � visu�� ��n�u��e th�t brin�s p��yfu� simp�icity to �n �udience both youn� �nd o�d, whi�e m�int�inin� � me�nin�fu� comp�exity. Further, � choose to use �r�phic desi�n �s � w�y to exp�ore specu��tive desi�n, deconstructin� comp�ex content into simp�istic, p��yfu� forms whi�e �nswerin� the question of wh�t it me�ns to individu���y desi�n for soci�� �ood.

MFA 2021 Exhibition

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Graphic Design


Chrissy C�s�v�nt At the core of desi�n is communic�tion, �nd communic�tin� c�e�r�y, conscious�y, �nd thou�htfu��y is import�nt to my desi�n-m�kin� process. P�rt of bein� � soci���y conscious desi�ner is bein� thou�htfu� �nd de�iber�te when m�kin� desi�n choices. One of the prob�ems f�cin� the desi�n wor�d tod�y is in�ccessib�e �nd exc�usive desi�n. My thesis work �ims to define inc�usive desi�n, exp�nd the definition of �ccessib�e desi�n, �nd re�ch other desi�ners who �re ��so interested in m�kin� inc�usive work. � ��so exp�ore how princip�es of typo�r�phy, ��yout, co�or, �nd form c�n be uti�ized to be the most effective. �’m p�rticu��r�y interested in usin� inc�usive desi�n in the context of he��th �nd we��ness too�s �nd or��niz�tions. � think there’s � need for we��ness desi�n in the desi�n community, the we��ness community, �nd society �s � who�e. �n my rese�rch, � hope to exp�nd my own underst�ndin� of inc�usive desi�n �cross v�ryin� industries �nd environments. � ��so w�nt to p�ss this know�ed�e on to other students �nd desi�ners. M�kin� work more us�b�e to peop�e of different ��es, �bi�ities, cu�tures, �nd socioeconomic st�tuses benefits everyone: the c�ient’s mess��e �ets distributed further, the user c�n �ccess more inform�tion, �nd the desi�ner’s work is successfu��y communic�ted.

MFA 2021 Exhibition

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Graphic Design


Yike Chen “Of necessity we rem�in str�n�ers to ourse�ves, we underst�nd ourse�ves not, in ourse�ves we �re bound to be mist�ken, for of us ho�ds �ood to ��� eternity the motto, ‘E�ch one is the f�rthest �w�y from himse�f’—�s f�r �s ourse�ves �re concerned we �re not ‘knowers.’” —Friedrich Nietzsche, The Gene��o�y of Mor��s

�n �n �cce�er�tin� society, our br�ins p�ssive�y �nd �t hi�h speed process thous�nds of pieces of fr��mented inform�tion every d�y. The overwhe�min� inform�tion in the internet wor�d h�s eroded us �ike � scour�e. � h�ve to �dmit th�t the �dv�ncement in techno�o�y h�s brou�ht convenience to our �ives. Not th�t everythin� is rosy—in this er� of impetuous �nd r�pid deve�opment, peop�e worry �bout bein� �eft behind, �nd the on�y thin� they c�n do is speed up. How f�r h�ve we �one? How much do we see? �s the true se�f sti�� there? The existence of �r�phic desi�n is more of � too� th�n �n �rt. For me, one of the most import�nt p�rts of �r�phic desi�n is so�vin� prob�ems. �n �ddition, the process of �r�phic desi�n is � process of exp�orin� possibi�ities, which rouses peop�e to think throu�h critic�� desi�n. � hope to exp�ore the connection between the internet, bi� d�t�, �nd psycho�o�y in my desi�n. � exp�ore the imp�ct of the �nform�tion A�e, thinkin� �bout whether the pro�ress of science �nd techno�o�y h�s brou�ht positive effects to the wor�d. How does bi� d�t� disrupt our beh�vior? Wh�t’s the imp�ct of the �nform�tion A�e on se�fperception? � exp�ore ideo�o�ic�� ch�n�e �nd the psycho�o�ic�� st�te in bi�-d�t� society. This project wi�� exp�ore how to tr�nsform �bstr�ct psycho�o�y into more intuitive �nd �ccept�b�e visu�� effects throu�h desi�n, �w�kenin� peop�e’s ref�ection on se�f-co�nition.

MFA 2021 Exhibition

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Graphic Design


Arie��e Epstein Be�innin� with riddin� myse�f of preconceived notions, the Eye Guys were formed without concern. P�st works �e�din� up to this project h�ve been experiment�� �nd �bstr�ct, �nd ce�ebr�ted “bre�kin� the too�s.” This project is � conceptu�� exp�nsion of fiction�� ch�r�cters. This inc�udes � robust b�ckstory �nd � fictitious ��n�u��e. The ch�r�cters’ wor�d is b�sed on existin� structures th�t we see in society. A�thou�h entire�y fiction��, the Eye Guys �re here to te�� � story with conviction. This project does not just promote p��y but ��so �ims to educ�te. Form �nd concept work to�ether tunefu��y to cre�te � conceiv�b�e entity. Wh�t is cute? Wh�t is sc�ry? C�n cute be sc�ry? This project f���s somewhere between the �ines of these due�in� themes. Throu�h rese�rch, � scientific �ppro�ch of qu�ntifyin� these themes w�s conducted.

MFA 2021 Exhibition

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Graphic Design


K�ri Everson As � desi�ner, � see myse�f h�vin� three import�nt jobs: to cre�te, to so�ve prob�ems, �nd to exp�ore the m�ny re��ms of desi�n �cross discip�ines. B�ck when techno�o�y w�s its most b�sic �nd br�nd new, it w�s not very �ccessib�e, it w�s ��w�ys c�unky, �nd on�y speci��ists cou�d h�nd�e it. Over the ye�rs, techno�o�y h�s evo�ved �nd perme�ted ��most every �spect of our �ives, cre�tin� m�ny cross-discip�in�ry moments �nd opportunities. This diffusion h�s �nd wi�� become the future for desi�n jobs �nd desi�ners. The desi�ner’s ro�e wi�� be to �ct �s the “fusion” between �rt, desi�n, �nd m�ny other �re�s. The �bi�ity to think critic���y whi�e workin� se�m�ess�y �cross discip�ines—b�endin� to�ether e�ch of their best �spects, �s we�� �s openin� the mind to im��in�tion—is wh�t m�kes � “fusionist.” A fusionist is driven by the future, whi�e usin� desi�n �s the vehic�e to �ive the best experience. This thesis exp�ores the fusion between bio�o�y �nd desi�n, �nd how the intersection between them c�n be used to rethink society �nd cre�tion.

MFA 2021 Exhibition

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Graphic Design


K�teri Gemper�ein-Schirm At its ori�in, �r�phic desi�n is first �nd foremost �bout communic�tion— how we c�n tr�ns��te �n ide� to the m�sses with visu�� �ppe��. But second�y, � �r�ue, desi�n is �bout emotion �nd be�utific�tion, cre�tin� somethin� not just to re��y � mess��e, but to connect with others on � bro�der �eve�, whether th�t is soci���y, po�itic���y, or emotion���y. As hum�ns, we connect our emotions to everythin�, �nd we cre�ted visu�� di��o�ue to sh�re with e�ch other �on� before our modern er� of soci�� medi�, fi�m, “quick desi�n,” �nd pub�ic�tions. We do this throu�h ski��ed represent�tions of emotion�� content such �s im��ery �nd ��n�u��e. Without specific represent�tions �nd thou�htfu�ness, desi�n �oses the �bi�ity to perform its m�in function. Gr�phic desi�n, in my pr�ctice �nd definition, c�n be the cre�tion of opportunity for mutu�� experiences �nd di��o�ue to exist. �’m interested in my re��tion to this out�ook on desi�n �s �n emotion�� connector �nd community bui�der throu�h the �ens of �r�phic desi�n history �nd our current er� of hyperspeci��iz�tion, �ccessibi�ity, �nd br�ndin�. � en���e in the visu�� di��o�ue hum�ns h�ve sh�red with e�ch other throu�hout history, the interpret�tions th�t connect us in modern-d�y desi�n, �nd how th�t m�y cre�te � better connection between cre�tor �nd �udience.

MFA 2021 Exhibition

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Graphic Design


T�iyo H�se��w� There �re m�ny stereotypes th�t exist �cross �ender, r�ce, n�tion��ity, �nd p��ce of ori�in: women �re not �s powerfu� �s men, �t��i�ns �ike p�st� �nd pizz�, urb�nites �re f�shion�b�e. Stereotypes c�n he�p us process the v�st �mount of inform�tion �v�i��b�e by fittin� objects into � perceived mo�d. However, by doin� this, peop�e tend to miss the ch�r�cteristics �nd qu��ities of the objects themse�ves. With this comes the d�n�er th�t prejudice �nd discrimin�tion m�y �rise. Nonethe�ess, with the use of desi�n, this di�emm� cou�d be miti��ted. Desi�n h�s the power to ��ter peop�e’s common w�y of thinkin� from their “norm��” st�te to � “new norm��” th�t fits the ��e �nd environment. Desi�n c�n remove existin� ide�s �nd fixed concepts whi�e cre�tin� new v��ues. �n my thesis, � wi�� use LGBT educ�tion in J�p�n to investi��te desi�n th�t removes stereotypes �nd cre�tes new v��ues.

MFA 2021 Exhibition

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Graphic Design


Byori Hw�n� My thesis �n��yzes the effects of ��n�u��e tr�ns��tion by ex�minin� structures, systems, �nd stereotypes of written �nd spoken ��n�u��es. Usin� �r�phic desi�n �s � too� to scrutinize typo�r�phic systems �nd re�d�bi�ity in content �nd form, � discuss ��yers of w�ys to re�d, �ook, �nd experience ��n�u��es. L�n�u��e tr�ns��tion is the process of �ppropri�tin� the me�nin� �nd form of the written word into �nother. Simi��r to the process of �r�phic desi�n, tr�ns��tion invo�ves intuitive decision-m�kin�, which inc�udes reco�nizin� inform�tion, me�surin� d�t�, �nd producin� ��tern�tive so�utions. My �bi�ity to re�d Kore�n �nd En��ish h�s ���owed me to identify p�rts of the tr�ns��tion process th�t resu�t in mistr�ns��tion, omission, �nd miscommunic�tion of me�nin�s. �nste�d of ne��ectin� them, � use these ��itches �s methods to distort convention, t�ke � mu�ticu�tur�� �ppro�ch, �nd produce ori�in�� desi�n works. � investi��te mu�ti��ter�� interpret�tions of re�d�bi�ity in both content �nd form. My work exp�ores the success �nd f�i�ure of the re�d�bi�ity �eve�s �nd their purposes by uti�izin� v�rious desi�n e�ements �nd too�s. Further, most of my works provide three st��es for my �udience to experience: first represent�tion (��n�u��e bein� encoded), content �bstr�ction (tr�nsition between ��n�u��es), �nd second represent�tion (��n�u��e bein� decoded).

MFA 2021 Exhibition

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Graphic Design


Huishi F�ith Li She��, but not she�� �n recent ye�rs, the Chinese �overnment h�s conscious�y be�un to protect some tr�dition�� cu�tures �nd �rts—most�y by providin� fin�nci�� �ssist�nce �nd incre�sin� exposure so th�t they do not die out. But � person���y think these efforts �re f�r from enou�h. The vit��ity of � cu�ture ��w�ys �ies in the spirit of the time �nd reson�nce with the m�sses, r�ther th�n in puttin� it on the she�f �ike � tre�sure. Moreover, if you w�nt to cre�te somethin� worth �dorin�, you c�n never use persecution �nd pre�chin�—you must �et it shine for itse�f. �n recent ye�rs, � new desi�n concept h�s emer�ed c���ed cu�tur�� desi�n or cu�ture within desi�n. �n the desi�n process, one or more cu�tur�� e�ements or symbo�s �re refined or improved, �nd �rtistic techniques such �s deconstruction �nd reor��niz�tion �re used to comp�ete the ori�in�� thou�ht or emotion. �n the process of connectin� o�d �nd new, revisin� the n�rr�tive �nd spirit, � think desi�n is �b�e to p��y � vit�� ro�e in this cre�tive work. �t seeks to �ive � new �ppe�r�nce to somethin� o�d, �nd the new �ppe�r�nce m�kes peop�e more wi��in� to underst�nd its new core ��on� with the history behind it. Moreover, desi�n is not just offerin� � new she��—the vit�� p�rt is to �ener�te � new spirit th�t fits the current er�.

MFA 2021 Exhibition

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Graphic Design


Sohini Mukherjee Desi�n h�s the power to tr�nscend cu�tur�� b�rriers, ch���en�e norms, �nd encour��e en���ement. This body of work exp�ores my cu�tur�� identity �nd disp��cement in the midst of � ��ob�� p�ndemic, �nd the experiences �ood or b�d th�t come ��on� with it. �t’s � body of work th�t is �nchored by tr�ditions �nd cu�ture in � ��ob��, modern wor�d. Throu�h this thesis project, � �im to cre�te inter�ctive work, �ook for �ccessib�e desi�n too�s, �nd try to desi�n throu�h those constr�ints. � invite the �udience into the �ct of m�kin� by providin� them with too�s �nd instructions. Authenticity �nd �ccessibi�ity �o h�nd in h�nd—we tend to be our most cre�tive se�ves with the thin�s we t�ke for �r�nted. Desi�n shou�dn’t be put on � sc�ry �nd un�ppro�ch�b�e pedest��. Encour��in� inter�ction �nd en���ement from the �udience opens it up to � bi��er cu�tur�� convers�tion, �nd m�ybe even bui�ds � p��tform for di��o�ue �bout se�f-�w�reness �nd societ�� consciousness. This is � micro-m�cro view of st�rtin� the convers�tion �bout my own cu�tur�� identity �nd �uthentic se�f expression, in the hopes of openin� up � ��r�er convers�tion �bout desi�n �s � vesse� of cu�tur�� exch�n�e �nd p��yfu� exp�or�tion.

MFA 2021 Exhibition

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Graphic Design


Mich�e� Rosenber� Every d�y we �e�rn from the wor�d �round us. Whether we �re �bsorbin� simp�e �ife �essons—the stove is hot—or more comp�ex �nd sinister notions �ike prejudice �nd r�cism, our environment sh�pes m�ny �spects of who we �re. Both the physic�� �nd soci�� �spects of hum�n society h�ve become intertwined, e�ch �ffectin� the other �ike two ce�esti�� bodies c�u�ht in �n orbitin� d�nce. We sh�pe our wor�d by �ivin� in it, �s much �s we �re sh�ped by the wor�d cre�ted by previous �ener�tions. The over��p of these two concepts of cu�ture �nd environment exists in the theory of p��ce. Assumin� one of the found�tion�� w�ys of �e�rnin� is from our environment, the study of p��ce ���ows for � more in-depth �ook �t the wor�d we h�ve cre�ted both soci���y �nd physic���y, on both �oc�� �nd ��ob�� sc��es. To the desi�ner, the study of p��ce c�n offer m�ny f�cets of inform�tion �bout sp�ce, peop�e, cu�ture, �nd v��ues. When we desi�n p��ce, or for p��ce, we �re desi�nin� cu�ture, soci�� inter�ction, tr�ditions, memories, �nd physic�� sp�ce. Throu�h the pr�ctice of desi�n �nd study, desi�ners �e�rn from the m�ny �essons th�t they encounter. App�yin� the methodo�o�y of these �essons m�y he�p �chieve � more inc�usive �nd “�uthentic” desi�n pr�ctice.

MFA 2021 Exhibition

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Graphic Design


S�o�ne Schuchm�n �’ve ��w�ys fe�t �ike �’m ��most there, with most ende�vors in my �ife. �’m � touch (or more) impu�sive, err�tic; � professor (hi, Kristen, if you’re re�din� this) once described me �s “feverish” in my m�kin�— �nd th�t �pp�ies to the rest of my �ife, too, � think. �t’s �dmir�b�e in effort, �n unre�entin� p�ssion �nd curiosity. But sometimes (often) it �e�ves � h�ndfu� to be desired in execution. �’m reminded of my �itt�e brother, who’s not so �itt�e �nymore—we used to find the detritus of his investi��tions �round the house: the components of my mother’s kitchen c�ock, sc�ttered on top of the dinin� room credenz� �nd h��fw�y put b�ck to�ether, but not entire�y. He h�d t�ken it �p�rt, fi�ured out how it worked, �nd st�rted puttin� it b�ck to�ether—but his curiosity w�s s�tisfied �nd somethin� e�se prob�b�y c�u�ht his eye, �nd he w�s off to the next investi��tion. Perh�ps it runs in the f�mi�y. Perh�ps it h�s to do with the obsessive-compu�sive disorder th�t � (insensitive) ther�pist w�rned my d�d �bout when � w�s in hi�h schoo� (the ��st time � checked, �voidin� doorknobs is not � crime). Either w�y, my thesis is my best �ttempt �t puttin� th�t c�ock b�ck to�ether: � co��ection of my curiosities, my experiments, my obsessions, d�re � s�y my compu�sions. �t represents my form�� �nd not-so-form�� desi�n inquiries �nd inspir�tions, �nd � ��impse on p�per of th�t feverish, fr�ntic, p��yfu�, unremittin� sp�rk th�t drives me forw�rd: to show, to sh�re, to oversh�re, to try, to communic�te, to tr�ns��te, to underst�nd �nd inter�ct �nd in�est—di�est—unhin�e—to const�nt�y dis�ssemb�e, iter�te, �nd try ���in. This book is �n invit�tion to indu��e in your chi�dish curiosity throu�h the deconstruction, recontextu��iz�tion, �nd feverish m�kin� of �rt throu�h the �ens of �r�phic desi�n.

MFA 2021 Exhibition

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Graphic Design


Yu�nwei Xu Wh�t is the �o�� of communic�tion? �s it sh�rin� inform�tion? �s it ��inin� inform�tion from other peop�e? Th�t’s wh�t � be�ieved in the p�st. But now �’ve found th�t the �o�� of communic�tion is usu���y not to �et inform�tion. For ex�mp�e, do you remember wh�t you were t��kin� �bout one ni�ht when you were drinkin� with � friend? Most of the time, whi�e we �re t��kin�, the �o�� is not to exch�n�e inform�tion but to bui�d re��tionships throu�h communic�tion. Durin� my ye�rs of studyin� �r�phic desi�n, � h�ve been thinkin� �bout � �ood w�y to communic�te with my �udience. � don’t know how the �udience wi�� �ppro�ch my work or the �en�th of time they wi�� be �ookin� �t it. A�� of these f�ctors �re unpredict�b�e. The unpredict�b�e p�rticip�tion ��so often occurs in improvis�tion�� �rt, in which most of the perform�nces �re unscripted �nd cre�ted co���bor�tive�y by both performers �nd �udience in the moment. �mprovis�tion �s perform�nce �rt is deep�y �rounded in the physic�� experience. The body �nd the �w�reness of its physic��ity �re the b�sis of ��� m�teri��; the process is very open �nd p��yfu�. � w�nt to brin� the s�me experience to my �udience �s we��. �n this c�se, they �re not just viewers but p��yers, �nd they cre�te somethin� they didn’t know they cou�d cre�te.

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P�intin�


D�vis Arney Brid�et B�i�ey Meer� Ch�uh�n Li�m Corcor�n S�r�h E��iott D�nie��e Fretwe�� Geor��nn� Greene Am�nd� H�wkins L�ndon Jones K�it�yn M��inowski Sh�nte� Mi��er Br�d�ey Mi��i��n Josh Ronde�u Anvi Sh�h Joni Su��iv�n Mosheh Tucker Ais�in� Wi�son


F�cu�ty St�tement

The MFA pro�r�m in P�intin� connects the interests, sensibi�ities, �nd �ived experiences of e�ch student with the exp�nsive possibi�ities of the medium. Students deve�op distinct �rtistic pr�ctices which, co��ective�y, yie�d � wide �rr�y of m�teri�� �nd conceptu�� �ppro�ches. These �7 extr�ordin�ry �rtists h�ve �rown in t�ndem with one �nother, sh�rin� their ch���en�es, successes, �nd f�i�ures. They’ve proven th�t the re�u��rity of � pr�ctice, no m�tter how re�i�b�e or experiment��, provides st�bi�ity. Throu�h the v�nt��e of their studios �nd the commitment to their work, these students h�ve witnessed �nd m�de sense of � time of �re�t turbu�ence �nd tr�nsform�tion. Joni Su��iv�n h�s been p�intin� � shrub th�t she p�sses when �oin� to �nd from the studio. Stems poke out of the Boston snow �nd �e�ves unfo�d to c�tch the bri�ht �i�ht of e�r�y sprin�. They �re �ike h�nds of � c�ock, �s if pointin� ch�otic���y to ��� the minutes th�t the p��nt—�nd we—c�un� to �ife over the ��st ye�r. Other students �re ��so interested in the m�rkin� of time. Anvi Sh�h’s idiosyncr�tic �ines �nd st�ins denote her movements over the course of � d�y. Stitched to�ether, her t�pestry-�ike p�intin�s �re �bstr�ct m�ps of thou�ht �nd experience. Ais�in� Wi�son’s de�ic�te works c�n be seen �s m�ps, too, but of �tmosphere �nd �oc��e. She co��ects �corns, seeds, �nd �e�ves �nd t�kes their impression throu�h c�stin� �nd printm�kin�. Re�ics of p�ssin� we�ther, these specimens of the street fix in time the ephemer��ity of ch�n�e. Br�d�ey Mi��i��n �ooks to the ��ndsc�pe �s we��, but specific���y to the n�tion�� one. Like so m�ny, he is wrest�in� with the fr��i�ity of tod�y’s Americ�. Throu�h his pr�ctice, he tries to exc�v�te � future whi�e siftin� throu�h the ruins of the present. �n bui�din� new structures, the p��ster crumb�es in his fin�ers—� met�phor for the h�rd work of cre�tion �nd rep�ir. Am�nd� H�wkins �ooks �t her �oc�� New En���nd ��ndsc�pe �nd sees more th�n meets the eye. Throu�h � rese�rch �nd p�intin� pr�ctice, she describes the effects of hum�ns on the environment. Her p�intin�s of upturned roots remind us of the ent�n��ements of history, industry, �nd n�ture. D�m��e is ��� �round us, but so is new �rowth.

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Josh Ronde�u dr�ws our �ttention to the surf�ces of the sp�ces we inh�bit, especi���y the b��nd �rchitecture of our periphery. His work reminds us of ��bor, our bodi�y re��tionship to �rchitecture, �nd �ife off-screen. D�nie��e Fretwe��’s i��usionistic renderin�s focus �nd foo� our eyes. She �sks the viewer to �ook c�ose�y �t wh�t is ri�ht in front of them to discern wh�t is re�� �nd wh�t is not. Both of their work is � w�ke-up c��� to those of us who h�ve been �u��ed by the nove�ty of techno�o�y �nd the disin�enuous n�ture of the medi� im��e. D�vis Arney, on the other h�nd, knowin��y �ppropri�tes the devices of desire �nd disp��y. M�kin� the p�intin� equiv��ent of the #she�fie, he riffs on the present�tion of se�f throu�h the �ens of c�pit��ism. For other students, the se�f is embodied in �nd by their work. Sh�nte� Mi��er t�ps into the mediumistic qu��ity of p�intin� to dr�w out connections between her inner �nd outer wor�ds. �n her hi�h�y re��ized fi�ur�tive p�intin�s, intim�cy, tension, f�ith, �nd other interior experiences p��y out in det�i�ed scenes of encounter. �n K�it�yn M��inowski’s p�intin�s of h�ir, sweepin� brushstrokes of co�or ��ther �nd swir� into �on� �ocks, �nim�tin� �nd personifyin� her subject. Refusin� �r�vity �nd context, the h�ir te�ses out its symbo�ic v��ue: �s �ttitude, ritu��, freedom. Meer� Ch�uh�n sc�ns her co��ected tre�sures �nd f�mi�y photo�r�phs to index her own identity. Once reproduced, these keeps�kes �re �rr�n�ed tender�y, �s im��es, objects, �nd p�intin�s. Her person�� �rchive is tr�ns��ted �nd iter�ted by her own h�nd, offerin� new interpret�tions of o�d memories. Geor��nn� Greene’s robust p�intin�s �ppe�r to h�ve been m�de by m�ny h�nds, or perh�ps none �t ���. She performs the ener�y of �estur�� �bstr�ction, yet the pours �nd drips—of p�int, b�e�ch, �nd dye—seem to m�ke themse�ves, movin� f�uid�y �cross the fibers of her supports. The movement in S�r�h E��iott’s work is optic��. �n �eometric sh�pes �nd in form�ess �tmospheres, �dj�cent hues shift �nd vibr�te. Her brush touches down with such frequency th�t e�ch individu�� m�rk v�nishes into � fie�d of co�or. For both �rtists, im��e is e�usive.

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L�ndon Jones seeks cert�inty throu�h his str�i�htforw�rd present�tions of sequences �nd objects. Cre�tin� systems of visu�� �o�ic, the me�nin� is in the vo��eyin� b�ck �nd forth between the �rtist �nd his viewer. His work is both the ru�es �nd the ��me, where wh�t you see is wh�t you �et. Li�m Corcor�n �sserts th�t his on�y ru�e �s �n �rtist is to h�ve no ru�es. The subject �nd m�teri��ity of his work derive from stories th�t motiv�te their cre�tion. Dr�win� on person�� �nd �ncient mytho�o�y, his deft brushwork conjures the�tric�� ch�r�cters, stories, �nd im��in�ry p��ces. For others, n�rr�tive is �ess �ine�r. Usin� � p��yfu� �nd co�orfu� synt�x, Brid�et B�i�ey writes on her p�intin�s three-dimension���y. Tre�tin� the surf�ce �ike the door of � commun�� frid�e, she �pp�ies free-�ssoci�tive words �nd im��es, ent�n��in� the �ines of priv�te �nd pub�ic identities. Mosheh Tucker’s picto�r�phic script represents the B��ck body �nd divine fi�ures from H�iti�n Vodou �nd other Afric�n di�sporic tr�ditions. His c���i�r�phic strokes rest on found m�teri��s �nd distressed surf�ces. To�ether, these visu�� ��n�u��es met�phoric���y ch�rt his �scendency from his own unrecorded �ncestr�� �ine��e. These �7 students show th�t p�intin�, in its v�ried m�nifest�tions, c�n p�tch the ho�es of the p�st, commemor�te the present, �nd visu��ize � future.

Josephine H��vorson Professor of Art �nd Ch�ir of Gr�du�te Studies in P�intin�

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P�intin� Exhibition Apri� �5–26, 202�

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Boston University


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D�vis Arney Loose�y oper�tin� within the fr�mework of sti�� �ife �nd trompe �’oei�, my p�intin�s exp�ore the cu�ture, �esthetics, �nd sp�ces to which � h�ve � c�ose proximity. Adj�cent m�rk-m�kin� techniques �nd shiftin� ��n�u��es of p�int, r�n�in� from �r�phic f��tness to sensu�� p�inter�y n�tur��ism, rec��� v�rious histories of the medium. Visu�� tropes from si�n��e, desi�n, �nd i��ustr�tion point to systems of pub�ic mess��in�, �dvertisin�, �nd present�tion. At times, the p�inter�y descriptions of v�rious m�teri��s �nd objects unc�nni�y emu��te their respective physic�� qu��ities �nd ch���en�e �ssumptions of i��usion �nd depiction, whi�e yie�din� im��es th�t teeter between the mimetic �nd the str�n�e. The tone �cross my work r�n�es from s�tiric�� �nd se�f-deprec�tin� to somber �nd sincere, ref�ectin� my conf�ictin� fee�in�s �nd comp�icity with the structures �nd environments on which � shine � �i�ht. The s�owness �nd mon�stic n�ture of my pr�ctice �ct in opposition to the �cce�er�tin� m���ise of contempor�ry existence—� nod to nu�nce �nd contemp��tion in the f�ce of c�ickb�it, incre�sin��y f�st hot t�kes, �nd the inund�tion of vitrio�ic po�itics.

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Brid�et B�i�ey My p�intin�s �re p��stic sp�ces for soft co��isions of objects, identity, decor�tion, the we�r�b�e, the m���e�b�e, screen sp�ce, �nd im��ined �nd re�� sp�ce. � use c�nv�s, �ir-dry c��y, w�x, c�u�k, sp�ck�e, p�int, p�per, co����e, found objects �nd im��es, fe�t, stickers, �nd � v�riety of �cry�ic mediums �nd ��ues. � cu�tiv�te my pr�ctice throu�h m�teri�� exp�or�tion th�t investi��tes � p��ce between represent�tion �nd m�teri�� �s m�teri��. My use of specific symbo�s �nd icons spe�ks to � h�bitu�� p�rty in which ritu�� �nd perpetu���y evo�vin� personhood p��y out in intim�te w�ys. Stickers, c�nd�es, �nd c�kes hint �t the joy found in � queerness th�t h�s not fu��y �rrived. As �n �rtist, � �m interested in the priv�te se�f �nd the pub�ic se�f, �nd how the divisions between the two bre�k down throu�h dedic�tion to p��y �nd m�teri�� exp�or�tion in the sp�ce of � p�intin�.

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Meer� Ch�uh�n My pr�ctice revo�ves �round co��ection, revisit�tion, �nd interiority. Dr�win� from person�� objects �nd f�mi�y photo�r�phs, � cre�te im��es th�t question the w�y � or��nize my sm��� tre�sures. Wh�t st�ys �nd wh�t �oes? Wh�t do � keep comin� b�ck to? The p�intin�s �ct �s cont�iners �s we�� �s the cont�ined object, sometimes �ettin� interpreted ���in within other works. he work’s subject m�tter �ddresses ide�s of nestin�: the chi�d within T the womb, the picture within the ��bum, the object he�d by the she�f. �n cre�tin� compositions, � use the f��tbed sp�ce of the sc�nner to �rr�n�e �nd contemp��te connections between v�rious objects. They become f��ttened, physic���y �nd perh�ps met�phoric���y, �nd then �re cre�ted �new by my h�nd in the p�inted sp�ce. Wh�t h�ppens when those objects �et squ�shed �nd reproduced, then reinterpreted? � find the process simi��r to bein� to�d � story of � time when you did not yet exist, or m�ybe p�rti���y existed. � s�w (he�rd) Tin� Turner perform �ive when � w�s in the womb. When the im��e is stored, sun-d�m��ed, sc�nned, cut up, p�inted, �nd rep�inted, it becomes thick with memory, p�r���e�in� the w�y stories �re p�ssed down �nd ��tered throu�h �ener�tions. Fr�u�ht yet tender, my pr�ctice cre�tes sp�ce to ho�d my person�� identities �s � d�u�hter, � co��ector, �nd � p�inter.

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Li�m Corcor�n As �n �rtist, � don’t h�ve � fixed system or w�y of p�intin�. How the p�intin� is m�de is wh�t the p�intin� is �bout. The story of Medus� w�s the impetus for this p�rticu��r work. �n his ess�y “The Horror of Mimesis,” D�vid Youn� Kim exp�ores how the Ren�iss�nce pr�ctice of dissectin� corpses he�ped conceive of � re��istic, represent�tion��, or “mimetic” sty�e of p�intin�—the sty�e �ssoci�ted with Europe�n p�intin� since �500. Kim discusses � p�intin� c���ed The He�d of Medus� by �n unknown F�emish �rtist. Depictin� � severed he�d, the work ref�ects both � thorou�h know�ed�e of hum�n �n�tomy �nd the horror of the dissection th�t m�de this know�ed�e possib�e. Be�innin� in the �500s, Europe�ns be��n dissectin� other bodies—not just de�d ones—throu�h imperi��ism �nd co�oniz�tion. The comp�ete surrender to dissection m�de Europe�ns � bit �ike the severed he�d in The He�d of Medus�, � de�d�y we�pon sep�r�ted from its body. My purpose in this work is not to reject dissection outri�ht, but to c��� �ttention to this “he�d-over-he�rt” �ppro�ch to existin� in the wor�d sep�r�te from other hum�n bein�s—�nd sep�r�te from the body th�t m�kes up ��� of us �nd th�t we ��� sh�re here on E�rth.

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S�r�h E��iott My current work invo�ves simp�e, defined structures, such �s � few �ines or �eometric sh�pes. These forms coexist with � ��r�e number of sm���er, irre�u��r m�rks �s � me�ns of cre�tin� �n or��nic, t�cti�e, �nd ev�nescent surf�ce sp�ce. The p�intin�s �re �ike�y to emer�e in unexpected w�ys from different st�rtin� points th�t �re b�sed on experiments with � v�riety of new ide�s, m�teri��s, �nd processes. The works evo�ve �r�du���y throu�h m�ny ��yers in �n intuitive �nd rhythmic w�y. �t often fee�s �s thou�h they �re p�intin� themse�ves throu�h me. Cre�tive work from m�ny cu�tures throu�hout history inf�uences my pr�ctice, �s much �s the m�ny unimport�nt yet rem�rk�b�e d�i�y experiences th�t dot my �ife. � �m p�rticu��r�y inspired by the simp�ified visu�� dyn�mics of Minim��ism �nd by the p�tterns �nd symbo�s in cre�tions from indi�enous cu�tures th�t �re �n inte�r�� p�rt of the ce�ebr�tion �nd we��-bein� of their communities. These e��bor�ted �rtif�cts �dd yet �nother historic�� ��yer to su��est th�t p�intin� is � b�sic hum�n �ct. When � re��te this truth to the needs of contempor�ry society, � hope th�t my p�intin�s c�n ��so benefit peop�e by ���owin� them �n opportunity to ref�ect �nd refresh their senses.

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D�nie��e Fretwe�� Throu�h interro��tin� the sp�ce between p�intin� �nd photo�r�phy, � h�ve become interested in the interp��y between comp�ic�tin� the viewer’s perception �nd convincin� them to trust the supposed re��ity of my p�intin�s. My work c���s into question the objectivity of the photo�r�phic im��e in re��tion to the subjectivity of p�intin�. �t is our shiftin� definitions of truth in these mediums th�t compe�s me to reve�� the f��sehoods �round them. We experience the wor�d throu�h our own perceptions, convinced by wh�t we see �s f�ctu��. � re�ish in the �uthority �iven to me �s the �rtist to conduct wh�t is bein� seen. My p�intin�s impose the need for s�ow �ookin� on the p�rt of the viewer, �s � obscure the distin�uish�bi�ity between different processes �nd effects. The combin�tion of printm�kin� techniques with oi� p�int entered my work �s � w�y to medi�te my contro�. A��owin� ch�nce to p�rticip�te in the work introduces objectivity into �n otherwise contro��ed medium. These p�intin�s m�rk my very existence; the f�ctu��ity of the work m�nifests throu�h my presence in time. Therefore, the p�intin�s �re reve��ed �s true throu�h their own objecthood. MFA 2021 Exhibition

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Geor��nn� Greene My work en���es the potenti�� of p�int in re��tion to reused m�teri��s. Upon found �nd m�de surf�ces, tr�nsient, time-so�ked m�rks over��p, intersect, �nd be�in to uproot �nd find � �ife of their own. This h�s become � new w�y of workin� observ�tion���y, in th�t � c�refu��y w�tch the phenomeno�o�ic�� beh�vior of wet m�teri��s. Li�ht �nd the �bsence of �i�ht serve �s m�rkers of shiftin� time �nd sp�ce. � �m ener�ized by the w�y written ��n�u��e �uides my decision-m�kin� �nd imp�cts my visu�� rhythm �s �n �rtist. � �m now workin� on � series of p�intin�s composed of sewn fr��ments of b�e�ch �nd dye dr�win�s. As the b�e�ch chemic���y removes pi�ment, � bui�d up new ��yers with p�int �nd co����ed f�bric. � seek � process where the �cts of �ddition �nd remov�� c�n coexist. For me, this exercises the ide� th�t hum�ns �re ��w�ys sheddin� �nd co��ectin� ��yers of their �ives. � �ook to p�intin� for the sp�ce of met�phor. � w�nt to cre�te � structure for deep tr�nsform�tions to occur, to rest within, or perh�ps to bre�k out of. �n the w�ke of perpetu�� �oss, reuse c�n be � str�te�y tow�rd renew��.

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Am�nd� H�wkins � use p�int to study the eco�o�y of the New En���nd forest. � en���e in se�rch pr�ctices both onsite �nd offsite, throu�h �overnment �nd scientific reports. My findin�s inform � p�inter�y sp�ce th�t questions the intertwined n�tur�� �nd hum�n histories of my �oc�� ��ndsc�pe. The subject m�tter of my p�intin�s—f���en trees, inv�sive species, rock w���s—iso��tes moments of p�st eco�o�ic�� events �nd hum�n interventions. The forest f�oor, in ��� its ent�n��ements of underbrush �nd inv�sive species, te��s � �on� story of hum�n movement, co�oniz�tion, �nd ��ob��ism. Rock w���s, � quintessenti�� p�rt of the New En���nd forest, m�rk former property �ines �nd �r�zin� p�stures, imp�yin� th�t ��� f�or� �round the w��� is new �rowth. V�ryin� in �irth �nd species, these youn�er trees spe�k to resource dep�etion, ��nd use, ethics, �nd, most import�nt�y, conserv�tion. P�intin� m�kes these histories visib�e, encour��in� the viewer to confront �nd medit�te on the history—�nd future—of the contempor�ry Americ�n ��ndsc�pe.

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L�ndon Jones My p�intin�s �nd scu�ptur�� objects exp�ore ide�s of ��n�u��e, perception, �nd cert�inty throu�h the form�t of ��mes. Typic���y simp�e �nd �eisure�y, ��mes offer � specific set of p�r�meters �nd e�ements th�t exist outside of our re��ity �nd inside their own p�rticu��r comp�ex—th�t is to s�y, inside their own re��ity. My pr�ctice �ims to cre�te �rtworks th�t �re bui�t out of ru�es �nd �o�ic-b�sed systems. These formu��s �ive the works �n inn�te sense of structure th�t m�y not be entire�y understood by the viewer, but �re nonethe�ess experienced throu�h the repetition, �rr�n�ement, �nd codin� of the e�ements within e�ch �rtwork. The �w�reness of structure is further fore�rounded by juxt�posin� the ri�idity of these systems with the spont�neity of the m�teri��; everythin� is m�de by h�nd or with simp�e too�s, �e�vin� behind the evidence of ch�nce throu�h touch �nd hum�n error. The m�teri��ity m�nifests the int�n�ib�e fr�meworks of my pr�ctice in physic�� forms, which present themse�ves to the viewer without i��usion, but just �s they �re.

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K�it�yn M��inowski My oi� p�intin�s portr�y h�ir freed from the hum�n body �nd situ�ted in unn�m�b�e re��ities. H�ir becomes �nim�ted throu�h the use of imp�ied motion, sc��e, �nd dr�m�tic �i�htin�. Est�b�ishin� � feminine presence �nd domin�nt mood, ��r�e bodies of h�ir undu��te, cur�, �nd c�sc�de, exceedin� the viewer in sc��e. �n the p�intin�s, �on� �ocks �re cropped by the ed�e of the c�nv�s �nd su��est � n�rr�tive beyond the fr�me. This body of work �ddresses our comp�ex re��tionship to h�ir, evokin� notions of sexu��ity, identity, e�o, �ender, cu�tur�� norms, �nd ritu��s. G�therin� �s p�tterns �nd coi�in� inw�rds, the forms or��nize to�ether in power, oper�tin� within the po��rities of serenity �nd fierceness. As �n �rtist, �’m interested in p�intin� �s � w�y to ne�oti�te confinement �nd �iber�tion. �t is throu�h observ�tion �nd im��in�tion th�t � visu��ize � re��ity in which symbo�ic b�rriers �re overthrown, ���owin� for � triumph �nd freedom to f�ourish.

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Sh�nte� Mi��er � m�ke fi�ur�tive p�intin�s th�t tr�nscend the �ived �nd im��ined experiences of my inner wor�d. As � J�m�ic�n-C�n�di�n visu�� �rtist, � exp�ore constructs of r�ce, �ender, re�i�ion, �nd sexu��ity, pu��in� from person�� n�rr�tive �s � dep�rture point for underst�ndin� bro�der soci�� re��ities in the wor�d. � view my pr�ctice �s �n interdiscip�in�ry sp�ce rooted in �ctive �istenin�, intuition, �nd rese�rch. My cre�tive process osci���tes between p�intin�, dr�win�, photo-mont��e, printm�kin�, �nd inst����tion. � use co����e to su��est re��tionships of tension �nd intim�cy in the pub�ic �nd priv�te dom�in of my spiritu�� journey �s � Christi�n. Wh�t �rises is uncommon im��ery. �so��ted moments of photore��ism, evoc�tive body ��n�u��e, �nd bo�d co�ors evoke emotion�� ton��ity. R�n�in� from sm��� to ��r�e in sc��e, e�ch p�intin� re�ds ���e�oric���y throu�h � ��n�u��e of symbo�ism, reinforcin� hum�n resi�ience �nd interconnectedness in subject m�tter.

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Br�d�ey Mi��i��n My work consists of p�intin�s �nd p�inter�y objects th�t borrow from the ��n�u��es of cr�ft �nd bui�din� tr�ditions. Throu�h these works, � mine visu�� tropes �nd si�nifiers of rur�� Americ� �s � w�y to consider issues of r�ce, m�scu�inity, �nd individu��ism. My workin� process ���ows me to exp�ore these themes �nd their re��tion to rur�� Americ�n� �esthetics �nd the Americ�n Dre�m. Notions of vu�ner�bi�ity �nd �oss run throu�h my work, cre�tin� � tension between �n �rtwork’s �ppe�r�nce �nd the ��r�er issues � ���ude to throu�h my subject m�tter. M�teri��s �nd processes of ��bor point to mendin�, rep�ir, �nd c�ret�kin�. These restor�tive �estures in the work �re �t odds with the �esthetics of f�i�ure �nd vu�ner�bi�ity, u�tim�te�y comp�ic�tin� notions of rep�ir. � think of these conditions �s bein� p�r���e� to optic�� t�ctics in contempor�ry Americ�n po�itics.

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116

Painting


Josh Ronde�u M�rryin� �n interest in domestic �rchitecture, � frustr�tion with the screen’s imp�ct on contempor�ry p�intin�, �nd � devotion to the experience of �ookin�, my pr�ctice h�s deve�oped into p�intin� empty �rchitectur�� sp�ces. My p�intin�s �re b�sed on �ife-size mode�s or “sets” th�t � construct in my studio. � �m uncompromisin� �bout workin� from �ife. Underst�ndin� the sp�ce in re��tion to my body is necess�ry in these experienti�� p�intin�s. My work represents nondescript domestic �rchitectur�� sp�ces �nd c���s �ttention to the imp�ct these seemin��y neutr�� sp�ces h�ve on our bodies. Whi�e we inter�ct with screens, we become distr�cted from the vesse�s of boredom in which we reside. My p�intin�s do not offer much im��ery or entert�inment bec�use they reject the trends in contempor�ry �rt fue�ed by our need to be entert�ined. R�ther th�n direct�y referencin� the screen, � try to offer � counter-experience in my p�intin�s. � t�ke into consider�tion the w�ys in which they wi�� be reproduced di�it���y—�nd then subvert th�t expect�tion. As �n �rtist � c�refu��y b���nce subversive �spects of my work with � more e�rnest �ppro�ch. A��owin� enou�h of myse�f into my p�intin�s keeps them from fee�in� cynic��, �nd is � �esture of respect to the viewer.

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118

Painting


Anvi Sh�h My works �re not�tions of my experiences throu�hout the d�y. Moments of insi�nific�nce �re �iven �n e�ev�ted import�nce throu�h the process of tr�nsform�tion �nd m�teri�� t�cti�ity. An �bstr�ct represent�tion is �chieved by me�ns of m�rkin�s �nd recordin�s of �ived memories. � reciproc�te to the or��nic evo�ution of the subst�nti�� wor�d, m�kin� c�ose �ssoci�tions with the �eometries re��tive to the disp��cement of the body. �n my dr�win�s �nd co����es, the emotions of the mind �nd ref�exes of the body �re objectified to cre�te � f�ow of events th�t unfo�d �cross p�per �nd f�bric. � �m interested in composition �nd �bstr�ct storyte��in� to stimu��te visu�� n�vi��tion. En���in� myse�f in the mind�ess, mund�ne �ctivities of d�i�y �ife brin�s me into cont�ct with � phi�osophic�� experience of existence. � dr�w inf�uences from the subjects of Mu�h��, R�jput, �nd J�in mini�ture p�intin�s, the perform�nce of ritu��s in my f�mi�y, the �esthetics of Postminim��ism, �nd the �estur�� �utom�tism of Abstr�ct Expressionism.

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Painting


Joni Su��iv�n This p�st ye�r forced � hei�htened �w�reness of our surroundin�s. My p�intin� pr�ctice �rew out of new sens�tions �nd responded to the rest �nd reh�bi�it�tion th�t �rew from � ��ob�� rec��ibr�tion. � use � dre�my �nd sun-so�ked oi� p�int p��ette, preservin� the �esture of the p�intbrush �s if to freeze � whisper. � �m const�nt�y observin� my environment, in the pursuit of tr�ns��tin� d�i�y observ�tions in � me�nin�fu� �nd compe��in� w�y. Recent�y, my �ttention h�s shifted to the n�tur�� wor�d. �n p�rticu��r, �’ve been respondin� to � shrub �round the corner from my �p�rtment. �n October, � noticed her covered in �n e�r�y �utumn snow. The next d�y, she w�s def��ted but sti�� prick�y, �ike � s�eepin� spider. A �ot w�s in f�ux, but � now h�d somethin� st�b�e to observe: this shrub �nd her journey throu�h the winter. � knew � h�d to p�int her—�nd not �s �n object or � p��nt, but �s � re��tionship, �n ide�, � fee�in�, � time.

MFA 2021 Exhibition

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122

Painting


Mosheh Tucker My pr�ctice t�kes sh�pe throu�h the form�tion of my own identity. Throu�h p�int � render my re��tionship with the B��ck body, �nd throu�h m�teri��ity � exp�ore the p�intin� �s �n object, ��n�u��e, �nd im��e. � define my work throu�h my �n��ysis of, �nd re��tionship with, H�iti�n Vodou, �s we�� �s m�ny other tr�ditions of Afric�n di�sporic peop�es. Whi�e m�kin�, � think �bout ��n�u��e �nd the form it t�kes. This c�n be experienced throu�h the picto�r�phic script � deve�oped for H�iti�n Kreyo�, composed of ch�r�cters representin� conditions of the B��ck body �nd divine fi�ures of H�iti�n �nd Afric�n Americ�n cu�ture. �n my work, there is � di��o�ue between myse�f �nd history. Often tumu�tuous, it reve��s itse�f in the physic�� process of m�kin�. My quest to know more becomes tr�ns��ted throu�h my experiment�� use of found m�teri��. B�n�in�, rippin�, �nd bre�kin� �re some of the physic�� �cts th�t t�ke p��ce in my studio. They ref�ect my �n�er �nd confusion �t the v��ue �nd unrecorded n�ture of my �ncestr�� �ine��e. The history of the Afro-At��ntic is fi��ed with ridd�es th�t � must n�vi��te. �n the ch�os is discovery, where � cre�te n�rr�tives th�t define my work �nd content.

MFA 2021 Exhibition

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124

Painting


Ais�in� Wi�son My pr�ctice t�kes the form of � n�ture-inspired introspection. �n my prints �nd p�intin�s, � exp�ore the re��tionship between my home country of Northern �re��nd �nd my current �ife in the United St�tes, with p�rticu��r consider�tion of �eopo�itics �nd wh�t it me�ns to be�on� to � p��ce. My �rtwork typic���y t�kes the form of dense�y ��yered monotypes, which incorpor�te tr�ns�ucencies, embossin�, co����e, mixed medi�, �nd runnin� co��ected or��nic m�teri�� throu�h the press. The prints echo the de�ic�cy �nd ephemer��ity of the ��nd they reference—� soft, intim�te, �nd somewh�t c�th�rtic �ens to �r�pp�e with the more p�infu� �nd divisive undertones of intertwinin� ��nd �nd po�itics. Scu�ptur�� forms, such �s resin �corns c�st from those co��ected from Boston, �ive perm�nence �nd preciousness to the soon-to-rot ori�in�� specimens picked from the �round. � observe �nd ��ther the perenni��, imperm�nent n�tur�� e�ements th�t m�ke up � ��ndsc�pe, such �s the c�tse�r seeds th�t embe��ish the Northern �rish co�st�ine in the summer, or �e�ves sc�ttered ��on� the sidew��ks of Boston in the f���. � use these �s represent�tions of the ��nd �nd the peop�e who inh�bit it. �’m dr�wn to the f�eetin� se�son�� �rowths th�t �dorn �eo�r�phic�� re�ions in v�st qu�ntities—without bein� considered of v��ue.

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Boston University College of Fine Arts Schoo� of Visu�� Arts M�sters in Fine Arts Founded in �839, Boston University is �n intern�tion���y reco�nized institution of hi�her educ�tion �nd rese�rch. �n 20�2, BU joined the Associ�tion of Americ�n Universities (AAU), � consortium of �e�din� rese�rch universities in the United St�tes �nd C�n�d�. Est�b�ished in �954 �s p�rt of the ��r�er University, the Co��e�e of Fine Arts (CFA) is � top-tier fine �rts institution. Comprisin� the Schoo� of Music, Schoo� of The�ter, �nd Schoo� of Visu�� Arts, CFA offers profession�� tr�inin� in the �rts in conserv�tory-sty�e environments for under�r�du�te �nd �r�du�te students. The M�ster of Fine Arts (MFA) pro�r�m in P�intin� �t Boston University promotes the discip�ine in its v�ried m�nifest�tions �s � fund�ment�� form of �rtistic expression. At its core, the pro�r�m is studio-driven, with ri�orous expect�tions �bout e�ch student’s focused commitment to their individu�� �rtistic pr�ctice. The MFA De�ree in Gr�phic Desi�n provides � sequenced studio �ppro�ch to �dv�nced desi�n thinkin� �nd prob�em so�vin� for visu�� communic�tion, prep�rin� students to thrive in � dyn�mic profession�� environment. A so�ution-b�sed pr�ctice fr�med by key princip�es defines the core �r�phic desi�n studios. Students �re ch���en�ed to �rticu��te � desi�n perspective �nd method throu�h studio projects emph�sizin� form, communic�tion, �uthorship, �udience, �nd medium. �n the MFA pro�r�m in Scu�pture, students �re encour��ed to exp�ore person�� expression throu�h � v�riety of medi� �nd diverse sty�istic forms. Work r�n�es from intense observ�tion to im��in�tion �nd invention, �nd ref�ects v�rious phi�osophic�� �nd �rtistic points of view.

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Boston University


�n ��� pro�r�ms, � ri�orous studio pr�ctice is supp�emented with critic�� di��o�ue in the form of week�y semin�rs, �ectures, discussions, critiques, �nd visitin� �rtist pro�r�ms. Students form � c�ose workin� re��tionship with f�cu�ty �nd peers, for�in� networks th�t wi�� serve them profession���y �nd soci���y for � �ifetime. Students benefit from exp�nsive f�ci�ities, inc�udin� we�din� �nd wood shops, st�te of the �rt printm�kin� studios, � �0,000-squ�re-foot �r�du�te �r�phic desi�n studio, �nd individu�� studios for p�inters �nd scu�ptors. Students ��so h�ve �ccess to the En�ineerin� Product �nnov�tion Center, which fe�tures the newest �nd most excitin� techno�o�ies �v�i��b�e to m�kers. Our �w�rd-winnin� f�cu�ty h�ve work in the co��ections of m�jor �rt museums �cross the ��obe inc�udin� the Museum of Modern Art, the Whitney Museum of Americ�n Art, the So�omon R. Gu��enheim Museum, the N�tion�� G���ery of Art, �nd the Victori� �nd A�bert Museum. Our ��umni h�ve c�reers in excitin� cre�tive fie�ds, deve�op innov�tive businesses, �nd exhibit their work wide�y in ����eries �nd museums �cross the US �nd beyond. We invite you to discover more �bout the School of Visual Arts at Boston University College of Fine Arts �nd the m�ny �ccomp�ishments of our f�cu�ty, students, �nd ��umni by visitin� bu.edu/cf�/visu��-�rts.

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Pub�ished in conjunction with the Boston University 202� Schoo� of Visu�� Arts MFA Exhibition, �t the F�ye G., Jo, �nd J�mes Stone G���ery. Scu�pture, M�rch 3–�2, 202� Gr�phic Desi�n, M�rch 26–Apri� 6, 202� P�intin�, Apri� �5–26, 202� D�n� C��ncy, Director, Schoo� of Visu�� Arts Josephine H��vorson, Professor of Art �nd Ch�ir of Gr�du�te Studies in P�intin� D�vid Snyder, Assist�nt Professor of Art, Scu�pture Christopher S�ebod�, Associ�te Professor of Art, Gr�phic Desi�n Liss� Cr�mer, M�n��in� Director, Boston University Art G���eries Gus Whee�er, Technic�� Associ�te, Scu�pture & P�intin� Desi�ned by Reem A�s�ne� C��ire Bu�� Christine C�s�v�nt Arie��e Epstein K�ri Everson K�teri Gemper�ein-Schirm Mich�e� Rosenber� S�o�ne Schuchm�n Edited by M�de�ine K�oss Johnson Exhibition photo�r�phy by Ju�i� Fe�therin�i�� Typeset in New Hero Printed by Fenw�y Group Pub�ished by Boston University Co��e�e of Fine Arts Schoo� of Visu�� Arts 855 Commonwe��th Avenue Boston, M�ss�chusetts 022�5 www.bu.edu/cf�/visu��-�rts




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