FiNE
ARTS
MESSAGE PRESiDENT FROM THE
Here we have the work of over 500 graduating Art and Design students—every one of them a marvel! Imagine the challenges they faced this year. Forced by the pandemic to work from their homes, denied the in-studio, shoulder-to-shoulder, hands-on learning experience they expected, they nevertheless forged ahead, defying all obstacles. They created makeshift work stations in their bedrooms, basements, kitchen corners and other unlikely locations. Focused, hardworking and energetic, they applied their ingenuity to learn, explore, experiment and achieve. And as we see from this catalogue, they succeeded. The work in this catalogue represents 16 of the School of Art and Design’s programs. In it we not only see the students’ finished products, but also images of how those projects evolved. These images help to reveal the creative process and the students’ individuality. Through it all, we sense their resilience and determination. Indeed, this vibrant catalogue— with its bright bold colors—pays homage to their optimism and extraordinary strength. I offer congratulations to these students and to the families and friends who supported them throughout this difficult year. Congratulations as well to the stalwart Art and Design faculty whose own skills and ingenuity rose to the pandemic’s challenge and provided guidance to their students with diligence and care. Dr. Joyce F. Brown President
2
EXPLORING THE ERIK CARRIGAN
BOUNDARIES
This year FIT’s Fine Arts thesis students grappled with issues of working from home. Although previously accustomed to working in a shared studio space, the pandemic forced them to separate. Approaching another artist’s easel was replaced with sharing a google drive, walking around someone’s sculpture became jpegs flooding in-boxes, and thoughtful conversations about process shifted to text threads. The intimacy of exchanging ideas suddenly moved into a digital landscape, removing the physicality of relating to one another. The works included in this online exhibition have been fueled by a relentless effort to both maintain and grow a creative practice despite the challenges of the past year. The artworks exhibited in this year’s Graduating Student Exhibition examine diverse themes, including identity, mental health, and memory. While certain works fit within the confines of painting or sculpture, others begin to occupy the space that exists in-between. Through exploring the boundaries of material and surface, artists have carried the touch of a painter into drawing, sculpture, textile, and digital work. Many of these material breakthroughs were born from the physical limitations of making art at home while in solitude.
FIT GSE ’21
OF
MATERIAL SURFACE
FARANGIZ YUSUPOVA
AND
FINE ARTS
3
INFO
1.
THE BIG EASY 16” x 20”, Acrylic and pen on canvas
2.
BEAN BAG 16” x 20” Acrylic, pen and pencil on canvas
3.
MIRROR 12” x 12”, Acrylic on canvas
STATEMENT
@svge_xx
PROJECTS
CHRISTINE ABRAHAM 1.
2.
This body of work, “To Belong,” focuses on chairs as everyday items and the disjunctive sense of space as a reflection of the dreamscape. I began this series in response to a dream I had of painting chairs. Using acrylic, pen, and collage elements, I explore the connection between the conscious and unconscious mind and our own actions, which mirror the dream realm in everyday life. The series, “To Belong,” uses chairs as ordinary objects, often in shared spaces, that serve as places of rest and recharge, and their placement in relation to each other. The works invite viewers to see themselves in the chairs, even as the chairs, initiating a sense of belonging. I question the viewers’ personal associations with belonging and ask them what it truly means to belong.
FIT GSE ’21
3.
FINE ARTS
4
INFO
1.
WALLOWS 60”x29”, graphite on paper
2.
FLOWER COMBUSTION 8”x12”, graphite on paper
3.
UNITITLED 2021 5”x8”, graphite on paper
STATEMENT
@dae_abz
PROJECTS
ABIGAIL AGUILAR
1.
My artwork stems from intimacy, sensuality, and intertwining anthropomorphic forms. Using drawing, I felt able to convey these forms in different scenarios, such as being explosive, suffocation from excitement overload, the need to be cared, and loneliness. I use a flower as a recurring token in my work to give a touch of femininity and delicacy in chaotic moments of the drawings. It doesn’t always present itself as a flower as I use it for different purposes in my work (body parts, tight holes, and focal points). I have discovered many ways to play with eraser and engraving in my drawings, allowing me to keep the momentum and physicality of my world alive. 2.
FIT GSE ’21
3.
FINE ARTS
5
INFO
@medinaalisultanova medinaalisultanova.com
PROJECTS
1.
TRUE & THROUGH 10”x12”, Mixed media on glass
2.
WHERE THE GRASS IS GREENER 20”x30”, Acrylic and marker on glass
STATEMENT
MEDINA ALISULTANOVA
I am exploring themes revolving around memory and landscape. I reference my surroundings and include elements of urban cities, such as writings on walls, signs, and metal gates, while also incorporating suggestions of natural landscapes. While constructing the work, I mimic the act of remembering. Shapes of color appear in pieces, slowly forming into an idea. Using glass as a medium, I am interested in the way I can use transparency as a tool to closely observe how each layer interacts with another and translate that to my view of the world. I am fascinated by the knowledge that very different ideas can coexist. As a result, I’m constantly thinking of how I can create work that acts as a bridge for these varying concepts.
FIT GSE ’21
1.
FINE ARTS
2.
6
INFO
1.
UNTITLED 9” x 12”, gouache on paper
1. 2.
UNTITLED 9” x 12”, gouache on paper
1. 3.
UNTITLED 9” x 12”, gouache on paper
STATEMENT
@dburawa.art
PROJECTS
DONNA BURAWA 1.
2.
In my work, I explore the juxtaposition of vulnerability and comfort that one may experience in the shower. The shower may be a place of peace and solitude, but it is also a vulnerable space. Throughout my work, I have been evolving the narrative as well as the techniques I have been using to communicate. As the shower space is lost, the figure is finding more of themselves, and at times, it may appear that they are fighting it or breaking through. The shower curtain is clear. It is interesting to see how it distorts the figure, and how it can function as some sort of chrysalis that the figure is breaking out of. The figure aims to take more control of the space that they are in — this series becomes more about their evolution and journey of self, and less about the physical space and confines of the shower.
FIT GSE ’21
3.
FINE ARTS
7
INFO
@eccarrigan
PROJECTS
SLOW DECAY 24” x 24” x 24”, Newsprint, Plaster Wrap, Masking Tape
STATEMENT
ERIK CARRIGAN My days spent during this pandemic have been an endless struggle. I have drifted apart from family and friends, and have been abandoned by my partner. I suffer from depression, malnutrition, and nightmares, resulting from of all of my failures. I spend my days sitting in front of a computer screen, attending class, and working online, all the while smiling, pretending I am well. I have never felt so alone. I created this cold feeling of desolation, of having no one and nothing. Using newsprint covered in figure drawings from better days, I gave shape and life to my figure. Wrapping it with plaster cloth, trapping everything in place and time. As the world returns to form, flowers bloom and hopes rise, yet I remain hurting. This figure embodies my slow decay. I wish it well.
FIT GSE ’21
FINE ARTS
8
INFO
1.
UNTITLED 34” x 48”, Collagraph print on raw canvas with handmade stitches
2.
NOT YET 34” x 44”, Etching print on raw canvas
3.
UNTITLED 36” x 54”, Etching on raw canvas and mixed media
STATEMENT
@wholelottaarteva
PROJECTS
EVA D. CASTRO
My current work is focused on the process of mixing traditional with nontraditional methods. I blur the lines between painting and printmaking, using elements such as raw canvases to transfer images from one surface to another. I arrange these transferred images irregularly to build up shifting layers. The layers form an indistinguishable composition that abstracts light. With this, I create an ambiguous and dynamic appearance in my work, inspired by the natural occurrence of light.
FIT GSE ’21
1.
3.
2.
FINE ARTS
9
INFO
@Chenjie_Chai
PROJECTS
BREAKING AWAY 18.5x20x12, Wire, wood and plaster
STATEMENT
CHENJIE CHAI Art cannot be replaced by AI. Art is a manifestation of consciousness. My work is related to consciousness. The previous works gave me a sense of direction and the confidence to make representative work that reflects my personality and creative ability. I want the viewer to feel the changes in my works, and the meaning behind them. On the artistic path of exploration, I have been lost, it is a process of growth. Over time, I began to forget the truest side of myself, why I chose art… similar to painting. When you concentrate on painting, you will get lost in it. Now I have found the direction of creation, my consciousness will break out of the shell, turning into a white bird flying toward the sky. No matter how I will create in the future, thesis works are my starting point. I will keep moving forward; I am free.
FIT GSE ’21
FINE ARTS
10
INFO
@sophiad_art
PROJECTS
UNTITLED 17”x55”, Wood, chicken wire, plaster cloth, paper mache, latex
STATEMENT
SOPHIA DI MEGLIO I am interested in the concept that nothing is permanent in life — it is the one thing we know to be definite. While a dark period of time can feel endless, there is comfort in knowing things will always change. When I think of trees changing through seasons or barnacles growing under a ship, it helps me to relate the human figure to textures and forms found in nature. Something good can come from something bad, or something old can grow into something new. The figure in my sculpture is pulling itself out of a puddle, pieces of its solid form are breaking apart, while new textures begin to form. I first built an armature from wood and chicken wire, then covered it in plaster cloth and paper mache. I used latex and liquid latex to create a skin-like texture and dripping effect.
FIT GSE ’21
FINE ARTS
11
INFO
@zeadzizzou
PROJECTS
FEEL AWAY 24” x 36”
STATEMENT
ZEAD ELMEHDAWI I am focused on themes of distorted reality and representing the world through a virtual lens. My palette features highly saturated colors that are informed by the digital screen. The structure of my paintings is heavily influenced by cubism. By utilizing fragmentation, my paintings walk the line between what is recognizable and what is not.
FIT GSE ’21
FINE ARTS
12
INFO
1.
AMBIENCE OF TOMORROW #1 38” x 29”, Oil and pyrogravure on masonite
2.
AMBIENCE OF TOMORROW #2 38” x 29”, Oil and pyrogravure on masonite
3.
AMBIENCE OF TOMORROW #3 38” x 29”, Oil and pyrogravure on masonite
STATEMENT
@iz_alex
PROJECTS
ALEX ESPINOSA 1.
2.
“AMBIENCE OF TOMORROW” is a series of work that focuses on the psychological landscape of color and linear perspective on masonite. Bridging between limited oil palettes, walnut ink, and pyrogravure, these mediums serve as incredible tools that enable me to produce spaces where I can frame my psyche. My state of mind affects how I see the world around me, and emotions become domains where layers of color and lines influence, or better yet, manipulate, perspective. Traces of fire and expressive brushwork emphasize this idea further, allowing me to explore with, as well as translate, hope among the magnitude of depression and anxiety. Emotionally driven and built on the same foundations as cinematic storyboards, I strive to create pieces that allow the audience to completely immerse themselves in contorted architectural spaces, not only where they engage with each composition, but also to fully embrace the connection beyond such surfaces.
FIT GSE ’21
3.
FINE ARTS
13
INFO
1.
UNTITLED 30” x 40”, oil on canvas
2.
CAPTAIN TILLY 30” x 40”, oil on canvas
3.
MI COMISARIATO 20” x 24”, oil on canvas
STATEMENT
@pierrebfajardo
PROJECTS
PIERRE FAJARDO 1.
2.
Throughout the past few years, I have been exploring my subconscious mind through abstractions. My experimentation began with using mundane objects as starting points. I would take these physical objects and turn them into intangible thoughts. The process of taking, changing, and rearranging has trained me to subconsciously create patterns in my work. I am interested in painting moments in the way I remember them and discovering the distortion of their reality. This becomes part of the idea that experiences are deeply tied to the way we remember things, places, or people. 3.
FIT GSE ’21
FINE ARTS
14
STATEMENT
PROJECTS
ETIENNE GEORGE 1.
SELF PORTRAIT 20x24, Oil on canvas
2.
DAYDREAM 20x24, Oil on masonite
3.
GARDEN 20x24, Oil on canvas
1.
2.
My thesis is composed of three 20-by-24-inch oil-oncanvas paintings. In this series, I reimagine classical portraiture using contemporary models in their homes. I reference historical portraiture from the mid-18th century to the early 19th century through the use of composition, lighting, and color. I am attracted to classical portraiture because I admire the artists’ attention to the whole composition as opposed to focusing most of their attention on the figure, specifically the face. Through these paintings, I seek to bring attention to individuals who would otherwise be overlooked by society: anyone passing by on the street, or those who have historically been excluded from classical portraiture, such as people of color and those who are LGBT. I also include objects that are meaningful to the figures and paint the background as carefully as the figures themselves, because these two elements are integral to the figure’s identity.
FIT GSE ’21
3.
FINE ARTS
15
INFO
1.
HUSH THE PERFORMANCE 25”x30”, Acrylic on canvas
2.
I DROPPED A CARTON OF MILK AND YOU SPILLED OUT 16”x20”, Acrylic and clay on canvas
3.
THERE’S NO PLACE LIKE THE FLOOR 18”x24”, Acrylic and paper clay on wood panel
STATEMENT
@kathryngodoy kathryngodoy.com
PROJECTS
KATHRYN GODOY 1.
2.
“MAGNIFICENT GOO” guides the viewer to the understanding of just how much can be born and borrowed from the past. It developed from my interest in the lasting presence of forms, events, spaces, and their distortions created by our memories. I am interested not in what was, but in what is left. Through my examinations of what sticks and what recedes into the subconscious, iconic wonky creatures have emerged and are shaped in these jagged, absurd spaces. By making spaces that are simultaneously heavy and weightless, I speak to the way we experience memory and how it occupies space in our minds. Painted with the playfulness of a child, joyous and profoundly human, the work asks the viewer to resist the urge to dismiss what is unknown. Instead, it encourages a new kind of looking, one where we are able to look at ourselves and the magnificent goo we contain.
FIT GSE ’21
3.
FINE ARTS
16
INFO
@shekinahguab
PROJECTS
WELCOME HOME 24” x 30”, Procreate (digital)
STATEMENT
SHEKINAH GUAB My work aims to tell the story of what the home is, and the synergies of comfort and discomfort. The interchanging views of home as a source of belonging and as a place of isolation lead us to think of what is true of our own definitions of this place. Either we sink into the feeling of being stuck in this space, or we question what more there may be to this room, and in turn, how we are supposed to feel within ourselves. The negative spaces are filled with objects of home that are familiar; however, the longer we sit and explore, the more we realize what does not belong. There is a separation between us and the space to create an illusion of distance between ourselves and the unsettling feeling. But in reality, we’ve entrapped ourselves in the space; this is home, and its discomfort is inescapable.
FIT GSE ’21
FINE ARTS
17
INFO
1.
THE MANEATER 27’’ x 21’’, acrylic on canvas with polyester fiberfill
2.
THE YELLOW MOUNTAINS 23’’ x 18.6’’, oil pastel on paper
3.
THE PLACE 78’’ x 66’’, acrylic on canvas
STATEMENT
@yimingh_art
PROJECTS
YIMING HUANG 1.
2.
The two major themes of my work are gender issues and identity. As a female growing up in China, I was not able to express myself in any way. Once I moved to the U.S., I began to learn about art and I found myself most comfortable expressing my deep emotions through art. The Black and White series are reflections of my everyday life for the past 12 years, when I was suffering from major depression. I was molested by a relative when I was young. I have often questioned my appearance as a female, of who I am and how to heal from my traumas through art making. Recently, I have been recovering from depression. I started to explore sexuality in my artwork.
FIT GSE ’21
3.
FINE ARTS
18
INFO
1.
UNTITLED 18” x 32”, acrylic on linens
2.
UNTITLED 18” x 32”, acrylic on linens
3.
UNTITLED 18” x 32”, acrylic on linens
STATEMENT
@thewytchhunt
PROJECTS
ALEXANDRA HUNT 1.
2.
This series of paintings was made with stretched recycled fabric. Using layers of acrylic paint, I made abstract paintings that represent feelings associated with identity. Making these paintings, I am crossreferencing images of myself with images that remind me of myself, no matter how abstract. I’m isolating certain moments between the images and combining them with the paint using a specific palette. The palette and the shapes were created with self-reflection; I’m thinking about who I am and how I choose to represent that, and thinking about how I see myself, free from any negative influence. The more I make paintings that represent myself, the more I like myself, and the things that I create. I’m always heavily influenced by nature, architecture, personal writings, and music that was made with similar influences. The paintings lean more toward contemporary abstraction, but my work is often inspired by surrealist artists.
FIT GSE ’21
3.
FINE ARTS
19
INFO
@jenna.inzetta
PROJECTS
JENNA INZETTA 1.
CONVENT AVE 60” x 40”, Crayon and paper collage
2.
106 LOBBY 43” x 40”, crayon, plastic, and paper collage
3.
SURVEIL 18” x 26”, crayon and paper collage
1.
2.
I feel a calling to make pictures exploring nostalgia and memory. I am focused on the dissection and reconstruction of experiences that have taken place within spaces I consider to be my home. My current practice involves coloring sheets of paper and tearing and reassembling them into collages. I hope that by making these collages, I will be able to solidify my memory of existing within these spaces. 3.
FIT GSE ’21
FINE ARTS
20
INFO
1.
TREAD LIGHTLY 18’’ x 24’’, watercolor, colored pencil, graphite on paper
2.
LOOK 3.5ft x 4ft, graphite, charcoal on paper
3.
SAINT 8’’ x 12’’, Graphite on paper
STATEMENT
@arttingzbykj https://www.instagram.com/p/CLifiO5lVWD/
PROJECTS
KRYSTA-EVANGELISE JAIRAM 1.
The art of self-acceptance is an endless journey but, one of value. It goes along with celebrating your strengths and learning to appreciate weaknesses. Investigating identity is a very prominent theme within my work. Through the never-ending journey of ourselves, we may explore gender, sexuality, race, religion, and heritage to dissect who we are as individuals. My work explores the relationship between happenings and perception. With influences as diverse as Praxiteles Aphrodite to the paintings of Mequitta Ahuja, new connections are developed from both conducive and personal messages. Ever since I was a child, I have been attracted to the divergence of culture. What started out as triumph, became manipulated into a hegemony of lust, leaving only a sense of disarray and the hope of a new reality. As ephemeral phenomena becomes clarified through clear subversive practices, the spectator is left with an insight into the edges of our era.
FIT GSE ’21
2.
3.
FINE ARTS
21
INFO
@Kailua https://www.kailuaart.com
PROJECTS
TRACI JOHNSON 1.
SELF Photo
2.
MORPHED REALITY 5 ft by 2 ft , Faux fur , thread
3.
UNTITLED 4 ft by 4 ft , yarn, pad
1.
2.
How do I find healing mechanisms that nourish my mind & soul? What would happen if I didn’t have to deal with the wounds from society, race, class, & sexuality? I decided to create/grow a safe space within myself and to become an extension of camouflage within it. How can I conceal myself long enough in space to become it? How does it feel to create that , what does that look like? I answer these while creating my thesis, problem solving my way through sewing, tufting and weaving. I was able to have full control of how I am seen/ identified. These questions are a start to think, laugh and cry in a free way, a form of release from myself. The idea is to be able to interchange my physical body to transcend the assumptions of “character” given to you because of the world.
FIT GSE ’21
3.
FINE ARTS
22
INFO
@Acejleev
PROJECTS
FOOD FOR THOUGHT, THOUGHT FOR FOOD 12 X 16, Polymer Clay With Resin
STATEMENT
SI YEON LEE “Food for thought, Thought for food” features polymer clay and resin and is inspired by the Surrealist movement. I wanted to explore contrasting ideas of sweetness versus horror, and dream versus reality and truth, by translating these concepts into merging human body parts and food. The point of my sculpture is to activate the unconscious mind through imagery. I often work with food motifs because food has a particular tension. Food provokes excitement because of the image propagated by the media and advertising. It has been constructed to appeal to all our senses for decades. And yet, food gets gross quite quickly. We get nauseated or disgusted when food is raw, rotten, or bloody. Hence, when is food beautiful, and when is it not? Working with food themes allows me to play with the existing relationships we have with food, which I find communicative and fascinating.
FIT GSE ’21
FINE ARTS
23
INFO
1.
SUNROOM (TRIPTYCH) 30 ½” x 23” (x3), Oil Pastel on Fabric
2.
DWARF UMBRELLA TREE 30” x 23 ½ ” , Oil Pastel on Fabric
3.
UNTITLED 28” X 23”, OIL PASTEL ON FABRIC
STATEMENT
@heyxinxinxin
PROJECTS
XIN LIAN
1.
This series of works aims to examine the role of women as social and biological creatures, as well as individuals under the cover of given social roles. I want to shed light on women’s individuality, which is often hidden under values imposed by society. For this series, I constructed textile pieces to depict interior space — a space where the expected role of women takes place. Using fabric also draws a connection to the traditional feminine qualities and women’s work. This series is connected through the visual and symbolic theme of veiling. As a visual element, veiling offers a unique world that is filled with tensions between the visible and invisible. The figures within this series are placed under a veiling element or have become a veil themselves. The fading identity of the figures draws a symbolic connection of these individualities that flickers and dissolves under the veil of social identity.
FIT GSE ’21
2.
FINE ARTS
3.
24
INFO
1.
EFFERVESCENCE 36” x 24”, Acrylic paint, glass beads and resin
2.
LATHER 36” x 24”, Acrylic paint, glass beads and resin
3.
SOAK 24” x 36”, Acrylic paint, glass beads and resin
STATEMENT
@Meehanart99
PROJECTS
MORGAN MEEHAN 1.
2.
Focusing on the nude body interacting with different textures and the environment allows for interpretations of beauty. Through my work I have explored the ideas and feelings behind body image. In the past I’ve investigated the insecurities that are commonly paired with body dysmorphia, but in this new series of work I traverse body positivity and self-care. To have self-confidence in one’s body is to accept its natural imperfections as uniqueness, embracing the body for all of its scars and stretch marks and realizing the beauty within. In order to display sculptural textures, I have pushed each medium to its limit, each piece using gallons of resin and thousands of glass beads. I aim to envelop the viewers with textures, curves, and saturated hues, bringing them into a world where all bodies are good bodies.
FIT GSE ’21
3.
FINE ARTS
25
INFO
@cisco_arts https://www.dropbox.com/s/zkeevgxevgloeic/ Video%20Apr%2025%2C%202%2010%20 05%20PM.mp4?dl=0
PROJECTS
1.
RELIGIOUS SLOTH, STUPID WRATH 23”x31”, 2D Digital Painting
2.
SAFE SPACE MIRRORED HIDDEN SNARE 23”x31”, 2D Digital Painting
STATEMENT
FRANCISCO MELENDEZ
Major explorations in my work were mental health, ethereal spiritual religious imagery, examining personal mental imagery, and physical imagery of locations that held importance to me. Specific color palettes were used in some pieces to keep a more controlled theme. My work has changed, gradually improving in readiness and presentation through its development of observation and patience. Music was an inspiration that also influenced the designs I created. I listened to artists like Sophie, FKA Twigs, and Sevdaliza to help dive into parts of my creative mind. I used inspiration from artists like Naudline Pierre to fully maximize painting techniques and style, and, lastly, experiences that affected my work that would further develop my style and help find myself artistically. These ideas are not singular ideas within each piece, but instead multiple ideas that clashed into a story of different points of myself, different ideas, segments, and moments of my life.
FIT GSE ’21
1.
FINE ARTS
2.
26
INFO
1.
UN SUEÑO 30”x40”in, Oil On Canvas
2.
UN SUEÑO 12”x12”in, Oil On Canvas
3.
UN SUEÑO 12”x12”in, Oil On Canvas
STATEMENT
@Artbynikole
PROJECTS
NICOLE MONEGRO 1.
2.
Not very long ago, and in contrast to the growing worldwide anxiety, I became content with the idea of letting go of all of my possessions. These paintings have become a depiction of this. I came to an understanding of being a part of a grand, interconnected consciousness. In this series of paintings I wanted to depict life as a state of sweet surrender. These voluptuous female characters, stripped of all they know, embrace these ideas (or illusions) of living in purity with nature, being free and untamed again. Even if their songs and dance might seem seductively escapist, they continue walking on this new unweeded path of self-fulfilment.
FIT GSE ’21
3.
FINE ARTS
27
INFO
1.
MEMORY OF YOU 32” X 23 1/2”, OIL ON CANVAS
2.
FREEDOM 30” X 23 1/2”, OIL ON CANVAS
3.
DIALOGUE 30” X 23 1/2”, OIL ON CANVAS
STATEMENT
@ariasenpaisart
PROJECTS
ARIEL NAVARRETE 1.
2.
In this series of work, I wanted to tackle my mental health and the traumatic experiences I’ve had, both in the past and in the present. Personal mental illness and trauma is a serious issue. Not many people want to express their emotions. Older generations tend to negatively stereotype people with mental illness, saying that people exaggerate and are perfectly fine. When I came up with this concept, I was nervous about expressing my emotions about mental health and my experiences with it. I felt that people were going to make negative judgements toward me and heavily criticize me. But because I told people a lot of stories about my personal experiences with mental illness and trauma, I am hoping they will have a better understanding and be very open about it. Many of my works consist of abstract, dystopian landscapes of these traumatic memories which I’ve experienced.
FIT GSE ’21
3.
FINE ARTS
28
INFO
1.
KIARA 24”x30”, Oil on Canvas
2.
ALL ON THE TABLE 30”x40”, Oil on canvas
3.
FRIENDMADE 18”x24”, Oil on canvas
STATEMENT
@Karinypadilla
PROJECTS
KARINY PADILLA 1.
2.
I am painting moments and people in my life as a form of documentation and as a process of self-discovery. While working on these paintings, I did not want to shy away from color or marks. I believe that through the colors I am using and the somewhat naive marks I am making, I can capture the youthfulness I feel during this point in my life. My work features the women in my life, who I see myself through and who have influenced and shaped my identity, as well as specific moments from my daily life. There are important books I have read by women authors, juxtaposed with mundane objects such as the cup of coffee I happened to be drinking that day. The most important thing is to use my art practice as a form of introspection.
FIT GSE ’21
3.
FINE ARTS
29
INFO
1.
INTERWOVEN THOUGHTS 34”x42”, Oil on canvas, Polyester organza, Polyester chiffon, watch buckle, glass beads, polyester lace
2.
FRAGMENTED SCRAPS 16”x20”, Oil on canvas, Polyester organza, Polyester chiffon, zipper, glass beads, polyester lace
3.
LOOM WITH CAROLINA #1 16”x20”, Oil on canvas, Polyester organza, Polyester chiffon
STATEMENT
@Sapphirecatgirl
PROJECTS
AMANDA PAZ
The theme of my works has been a balance between a merging of painting and sewing. I’ve been painting and sewing since a young age and always found myself trying to spend equal time on both activities. The ideas for this collection of works are part of my personal conflict between wanting to be part of the art world while being actively influenced by the costume and sewing world. As an artist who also yearns to be a professional costume designer, I used sewn items and used fabrics that I am familiar with. The inclusion of cut-up lace, hastily sewn ribbon, clusters of buttons, and glass beads acts as supplementary material on an eclectic canvas, while I also use bold color palettes in the painted forms.
FIT GSE ’21
1.
3.
2.
FINE ARTS
30
INFO
1.
OVERWHELMED 1 34” x 34”, acrylic on canvas
2.
OVERWHELMED 2 34” x 34”, acrylic on canvas
3.
OVERWHELMED 3 34” x 34”, acrylic on canvas
STATEMENT
@anascanvas_
PROJECTS
ANA RODRIGUEZ 1.
2.
In this series, I wanted to show anxiety through the internal versus external lens. The flat organic shapes represent a calm exterior. This shape was layered to show the barriers people create, highlighting how there is more below the surface, creating a sense of deep space. When coming into close contact with my paintings, you can see how the elegant shapes are interrupted by the tremble of my hand as well as the buildup of paint caused by layering. The layering shows the built-up pressure felt when anxious, but also how it can be suppressed. When looking at colors, I noticed all colors of the rainbow have a negative connotation. The color pink, used to display femininity, also shows sensitivity. Sensitivity can be seen as a positive or negative trait, making it subjective. For this reason, I used my love for color and married it with such a complex feeling.
FIT GSE ’21
3.
FINE ARTS
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STATEMENT
PROJECTS
INFO
IDRIS SALAAM @iiddrriisss
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TRAIN RUN 1-3( TRIPTYCH) 63x40 (Individually 30x40 ), Oil on Canvas 2.
RUN? 18x24, Graphite on Paper
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UNTITLED ACTIVITY 24x18, Graphite on Paper
Working with an abundant archive of images that are found and personal, I treat each one individually and equally, with intention. Working in physical two-dimensional mediums such as painting and drawing, I’m pushing the material to draw out a new context from preexisting images. The material’s color and application bring out an expressive quality that renders the “perfect image.” I vary the application process where I see fit to the image. In the midst of reappropriating images, I came to notice how I indirectly represent the world as I perceive it, touching on universal subjects such as memory, identity, and community through a survey of images.
FIT GSE ’21
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3.
FINE ARTS
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PROJECTS
AMINA 3’1”x3’8”, ink on paper
STATEMENT
GABRIELA SANTANA My work is based on my childhood, when I used to live in the Dominican Republic. All of my references are to places I spent the majority of my time as a child, After years, I was finally able to visit these places again and noticed that what I saw didn’t match some of the things I remembered. So I chose to focus my work on how memories begin to change or fade over time as I continue to think about them. The repetitive nature of my ink drawing plays on the idea of constantly going back and forth between certain memories, while combining complete and incomplete thoughts to create a distorted, almost unnatural, yet realistic space that informs one another.
FIT GSE ’21
FINE ARTS
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INFO
@yarileesart
PROJECTS
PAY TO LIVE 39”x45”, Plastic on Plaster
STATEMENT
YARILEE SERRANO My thesis, “Pay To Live,” aims to represent the toxic cycle of capitalism and the idea that happiness is only one purchase away. I began with an armature made up of chicken wire and wood, then I worked at building and carving away plaster to create a visible face. Following this, I produced an oversized bag made up of a plastic drop cloth. I combined all these elements to display a blue bust choking on a plastic grocery bag, the bag symbolizing capitalism. Through “Pay To Live,” you can see a disturbing reality of how suffocating capitalism can be. A business built off exploitation, capitalism can leave many feeling stuck and lost, not knowing where to turn when it comes to their physical and mental health. Many businesses, especially the healthcare system, cause Americans to feel helpless when they can’t afford the system that has made them sick.
FIT GSE ’21
FINE ARTS
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INFO
1.
UN CAFECITO DE BUSTELO 33” x 45”, Fabric on Loose Canvas
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HOME 24” x 24 “, Acrylic on Masonite
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HOME II 24” x 24 “, Acrylic on Masonite
STATEMENT
@jenn.artgallery
PROJECTS
JENNIFER TAVAREZ 1.
2.
My work explores two cultures while combining the feeling of home. Home does not only refer to a specific place — it branches into familiar smells, objects, tastes, or sounds. Every person carries a bit of home with them wherever they go. I was interested in the delicacy of fabric and yarns. My tapestry is influenced by Mexican votive paintings, Billie Zengwa, and El Anatsui. Texture is important in works of art because it emphasizes the aspect of physicality. Sewing is something my mother practiced because it was passed down from her mother. The act of stitching binds together the fabric, making it stronger and more resilient to tearing. That becomes a reflection of my family. I focused on Dominican interiors to show the repetition of vibrant colors and familiar traditions. The Bustelo coffee shown is a representation of family gatherings and its aroma always brings along the essence of home.
FIT GSE ’21
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FINE ARTS
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INFO
1.
UNTITLED 12” x 9”, Acrylic and colored pencils on canvas
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NEIGHBOR’S GIFT 58” x 42”, Oil and acrylic paint, oil pastels on canvas
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TREASURE TROVE 52” x 35”, Acrylic, colored pencils and glassine on canvas
STATEMENT
@fara_yusupova_ https://www.farangizyusupova.com/
PROJECTS
FARANGIZ YUSUPOVA 1.
The home is not just a physical space — it is an embodiment of memories and past experiences. I use painting as a means to explore this complex concept. With influences as diverse as modernist architecture, Indian and Persian miniature paintings, childhood memories, and a love of observing the light, my paintings emulate a realm that is simultaneously familiar and distant. I aim to create a paradoxical world that the viewer can enter, yet not in a cohesive or conventional manner. I begin my painting process by making substantial studies of reference images, then altering them digitally. As I paint, I allow the compositions to change and evolve on their own, responding to the properties of acrylic and oil paint alongside different mediums. I try to evoke a sense of familiarity through touch instead of narrative. There are no figures depicted in my images, only traces of human existence.
FIT GSE ’21
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FINE ARTS
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www.fitnyc.edu/gse @fitgse2021_FineArts