2020 MFA Exhibition Catalog: SAIC Department of Printmedia

2020 MFA E X H I B I T I O N C ATA LO G

D E PA RT M E N T O F PRINTMEDIA School of the Art Institute of Chicago

2020 MFA E X H I B I T I O N C ATA LO G D E PA RT M E N T O F P R I N T M E D I A School of the Art Institute of Chicago

MFA 2020

0.1 P E Y T O N K . D A V I S

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M A N O S D I M I T R A K I S

0.3 A M I R A H E G A Z Y

DEPARTMENT OF PRINTMEDIA

0.4 0.5 A M A N D A H O O P I N G A R N E R C H E N Y U L I N

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A I D A R A M I R E Z

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PEYTON K. DAVIS P E Y T O N . K A Y. D A V I S @ G M A I L . C O M PEYTONKAYDAVIS.COM

Letters to the Sandbox (Reflection of Kandahar Airfield, 2016) Mixed Media on Canvas and Ceramic on Wood 2020

Peyton K Davis (b. 1991) is a printmaker and multimedia artist who received their BFA from the Massachusetts College of Art and Design. They currently live and work in Sheboygan, WI.

Letters to the Sandbox (Reflection of Kandahar Airfield, 2016) Mixed Media on Canvas and Ceramic on Wood 2020 5” x 12”

My work strives to capture the active mind. The inf inite internal landscape of thoughts and memories as they are processed, deconstructed, reconstructed, and forgotten; all within a split moment. Seperate from our physical reality, this internal dialogue is deprived of f inality, incapable of being held as a whole. Through

drawing, printmaking, and ceramics, I’ve constructed a language to portray this intangible phenomena and my obsession to def ine it. My work is an attempt to catch a snapshot of a triggered memory, psychological uncertainty, and conscious thought, as they interweave and interact.

Top Marked Target Collagraph with airbrush and relief on Rives BFK 20 x 30 in.

2020 The Sandbox (Reflection of Kandahar Airfield, 2016) Mixed Media on Canvas 60 x 40 in.

2018

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MANOS DIMITRAKIS W W W. M A N O S A R T. N E T EDIMIT1@SAIC.EDU

Pornographic Memory 2 Video Performance 07:24 min 2020

Top to Bottom How to substitute your sexual desires with Printmedia practices Short Film 06:04 min 2019 Pornographic Memory 1 Video Performance 06:49 min 2020

Born on the island of Crete, Greece. Studied International Economy and then Visual Arts in Thessaloniki (Greece), Toronto (Canada) and Hamburg (Germany). Finally, in Chicago received an MFA.

It’s all Greek to You! Screen-print on canvas & Writing 10 x 18 in. each of the f ive pieces 2019

AUTHENTICITYSPONTANEITY IMPROVISATIONPLAY FULNESSPOETRY ECSTASY EROTICISMKAVAFI SPORNOGRAPHY PAINMASOCHISMMYTHOLOGY EXISTENTIALISMFREEDONCOSMOPOLITISMHI STORY PHILOSOPHY REPETITIONJOURNEY PASSAGERITUALMEMORY FORMSEXXPLORATIONDISC OVERYTRANSFORMATIONAESTHETICPROPOSALLANGUAGEEXPRESSIONEXPERIENCEANGRYARI SFUCKEDUP

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AMIRA HEGAZY A M I R A H E G A Z Y. C O M AMIRAMHEGAZY@GMAIL.COM

Ruin 3: My Mother’s Side Table My mom’s side table, soil, grass, fake purple f lower from my mom’s pocket, my house plants, plants and soil from Milford, MI, broom, my brother’s lamp, grow light, old unused paintbrush in packaging and metal ruler from my mom’s storage unit, dead grass, broken glass from a crystal decanter, fake plants from my mom’s storage unit, American f lag from the salvation army fundraiser in Milford, MI on Veteran’s Day 2008, broken glass cake stand, dead orchid f lower, potting soil, TV dinner dish, seedlings that died in early germination in compostable pot, memory 56 x 28 x 48 in.

2019

Top Left (clockwise) Sorehead Handmade typeface specimen book and digital font, offset printed in an edition of 100 8.75 x 11.25 in.

2019 Sorehead Handmade typeface specimen book and digital font, offset printed in an edition of 100 8.75 x 11.25 in.

2019 Sorehead Handmade typeface specimen book and digital font, offset printed in an edition of 100 8.75 x 11.25 in.

2019

Amira Hegazy (b. 1993) is an Egyptian-American artist. Her practice includes writing, design, publishing, print and sculptural mediums. She lives in Chicago, IL where she runs Statement Press.

Cleaning Remnant: A Woman’s Work (Diptych) Soil on paper left from scrubbing a handmade brick until it became dust, shellac 60 x 44 in.

2019

My current work is the product of an ethnographic practice and forms at the intersection of popular culture, poetics, and domesticity. The conservation of unseen histories and stif led voices leads me to work with historical materials and methods like printing, bookmaking, collage, and assemblage of

found and excavated objects. My work is informed by my experiences as a f irst generation American, and my childhood in the American Rust Belt. I take on the power of re-presenting these histories to focus on common experiences rather than the privileged elite who often get the last say in preservation.

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AMANDA HOOPINGARNER AHOOPINGARNER@SAIC.EDU ALHOOPINGARNER.COM I N STAG RA M @ M A N D E R Z LY N N

Spliced Lore Silkscreened fabric, ink, watercolor, latex, wax, roving wool, weaving and hand sewing 2020 48 x 65 x 5 in.

Amanda Hoopingarner, born in California, is an interdisciplinary artist with an emphasis in printmaking and sculpture. She received her Master’s Degree in Printmedia at SAIC in May of 2020.

Aristolochia liliales// Invading Pelicans Bisqueware, roving wool, wax, latex, fabric and hand sewing 2020 5” x 12”

My artwork explores a conversation on the history and markings of the human body as it pertains to contemporary folklore. Botanical elements are woven into these themes for their historical uses and symbolism. At times, I invent new f lora specif ically curated to ref lect and highlight the intention behind my content. Insects have evolved into this content to

heighten, darken, and create a more chaotic folklore.

Through the symbolism behind these elements, I’ve created a unique library of visual language. Within this language, I employ the practice of making intuitively. This approach frees the work and provides the opportunity for symbolism to evolve naturally without force.

Top Left (clockwise) Parasitic Consumption Intaglio print, watercolor and pencil transfer 13 x 17.5 in. image on 19.75 x 24 in. rag paper 2020 Swallowed Whole Intaglio and 6 layer reduction woodcut print 7 x 9 in. image on 9 x 11 in. rag paper 2020 Mouth Running with Ink, Catching Lint Unf ired clay sculpture, latex, roving wool, watercolor, ink and fabrics 10 x 12 in.

2020 Spliced Lore, detail Silkscreened fabric, ink, watercolor, latex, wax, roving wool, weaving and hand sewing 48 x 65 x 5 in.

2020

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CHENYU LIN CLIN17@SAIC.EDU ALINALINALIN.COM

Outlook 2020 Window frame, string, condom, and dry banana 16.5 x 50 x 3 in.

2020

Chenyu Lin received his MFA from SAIC during the 2020 global epidemic. Adaptability and humor are two essential elements in his work.

Top Left (clockwise) The Sun is Like a Giant Red Asshole Screen-print on paper 24 x 16 in.

2020 Browning Banana (video) Post-it notes, a browning banana 3:44 min 2020

You need not worry about your future.

Screen-print on paper 24 x 16 in.

2020 You need not worry about your future.

Screen-print on paper 24 x 16 in.

2020 Outlook 2020 Window frame, string, condom, and dry banana 16.5 x 50 x 3 in.

2020

Life is boring.

Life is weird.

Life is fearful.

Life is unexpected.

Life is strange.

Life is inexplicable.

My art is my life, I love my life.

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AIDA RAMIREZ AIDA.RAMIREZ424@GMAIL.COM

Standing (Bruising) Performance; Still Image from a portion of live performance 53hr (collective total) 2018/2019

Aida Ramirez received her BFA from the Maryland Institute College of Art (MICA), in Printmaking. Her practice often shifts between printed media, performance, writing, and workshopping.

Bricks. Collection made 11.13.19.

Photo 8 x 10 in.

2019

“For several months, I’ve kept a large mindmap attempting to def ine home on the wall of my studio.

This specif ic mindmap and several other related maps take up the better part of my main studio wall. I often will add post-it notes with edits, blue colored tape to indicate a header of thought, black colored tape to redact, and tear outs from numerous sketch books of adjacent thoughts “apart” of the maps, but as

forethought or afterthoughts. These maps have become living beings. I have become closely acquainted with each map; its ontology, epistemology, phenomenology.

And yet, I’m never conf ident in my knowledge of such tracings of home.”

–quote from The Origins of the House of Gold and other stories of love & survival, Aida Ramirez

Top Left (clockwise) Burning (Standing Burial) Performance; Video 3hr 37min 2018 UP and LEAVE Performance; procession led from Buckingham Fountain to the Leroy Neiman Center (Chicago, IL) 2019 The Origins of the House of Gold and other stories of love and survival Artist book– selected pages 64-65 11 x 8.5 in.

2020

SAIC.EDU/PRINTMEDIA I N STAG RA M : @ S A I C P R I N T FACEBOOK: SAIC PRINTMEDIA

DESIGNED BY MEHA RAY M E H A R A Y. C O M BFA 2021 SCHOOL OF THE ART INSTITUTE OF CHICAGO

ABOUT THE SCHOOL OF THE ART INSTITUTE OF CHICAGO For more than 150 years, the School of the Art Institute of Chicago (SAIC) has been a leader in educating the world’s most inf luential artists, designers, and scholars. Located in downtown Chicago with a f ine arts graduate program consistently ranking among the top programs in the nation by U.S. News and World Report, SAIC provides an interdisciplinary approach to art and design as well as world-class resources, including the Art Institute of Chicago museum, on-

campus galleries, and state-of-the-art facilities. SAIC’s undergraduate, graduate, and post-baccalaureate students have the freedom to take risks and create the bold ideas that transform Chicago and the world— as seen through notable alumni and faculty such as Michelle Grabner, David Sedaris, Elizabeth Murray, Richard Hunt, Georgia O’Keeffe, Cynthia Rowley, Nick Cave, Jeff Koons, Chris Ware and LeRoy Neiman.

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