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Flourish: Alumni Works on Paper, the first juried alumni exhibition to be held at MassArt, showcases the breadth of talent and excellence embodied by MassArt’s artists and designers. This exhibition highlights the wide range of work by the college’s diverse alumni and includes painting, collage, interactive sculpture, photography, performance, fashion, and graphic design. The 64 alumni represented in this exhibition are part of the distinguished 138-year history of MassArt, whose notable alumni include Shelby Lee Adams (’89), Brian Collins (’82), Robert Cumming (’65), Sam Durant (’86), Christian Marclay (’80), Richard Phillips (’84), Jack Pierson (’84), Ellen Rothenberg (’78), Glen Seator (’84), May Stevens (’46), William Wegman (’65) and Jackie Winsor (’65). With more than 15,000 living across the globe, MassArt alumni can be found in almost every corner of the art and design world. They are Fulbright scholars, Oscar-winners, and Guggenheim fellows. MassArt alumni exhibit work in world-renowned museums and galleries, but they are also the quiet genius behind things we see every day, like blenders and Windex. They train the artists of tomorrow in elementary and secondary schools, as well as at colleges and universities across the country. Their contributions are significant and broad, and we are proud to have the opportunity to exhibit this small but exciting segment of their work at the college. MassArt was honored to have Tammy Dayton, Creative Director, Moth Design; Michelle Lamunière, John R. and Barbara Robinson Family Assistant Curator of Photography, Harvard Art Museum; and Edward Saywell, Chair of Contemporary Art and MFA Programs, Museum of Fine Arts to serve as our selection committee.



SCOTT ALARIO BFA PHOTOGRAPHY, 2006 “I’m in the midst of building a folk tale for my daughter. It seems like a paternal inevitability to make up stories for one’s children, and doing so has become the passion in my creative practice. There are two photographs I remember from my childhood, that play directly into this recent work. The first is a studio portrait of my father’s mother, taken when she was just a little girl, with family by her side. The picture was made immediately before leaving Italy to immigrate to the United States. We would call the photograph the gypsy picture while I was growing up, and in doing so the image has taken on an epic and magical role. In the picture, my grandmother stands stoic as an eight-year-old. Her timeless eyes represent so much to me. In her face is the face of the ninety-nine-yearold woman I know now and it’s the face of my daughter. It’s one of bravery and will, and it fills me with awe. The second picture that I carry in my mind is a portrait of a Sami family, reindeer herders of northern Scandinavia. It comes from my mother’s mom, whose Norwegian bloodline is only fictitiously connected to the Sami. Although I had just imagined being related to these people, the image hangs in the house like an offering to our ancestry. I see the face of my late uncle in the proud, piped and weathered hero of the portrait. Magic flows out of this image too, and it’s hard for me to tell if the picture is five hundred years old, or one that has come to us from the future. Having a child has got me thinking about the importance of cultural myths and ideas of ancestral wisdom. In my baby’s face I can see our connection to the past, as well as the potential to leave bits of ourselves to posterity. My partner Marguerite and I have been working together both as new parents, and on this work inspired by Elska, and ultimately for her. Ideas for pictures come through play; dressing in costumes we make, becoming characters, going back into nature, erecting forts, and telling stories. Inspired by those two reliclike-portraits, and driven by a deep love, the images I make are a collaboration with all of my family through time.“


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


Scott Alario Oof And Stars, archival inkjet print, 20” x 24”, 2010 Courtesy of the artist


Scott Alario Brave Elska, archival inkjet print, 20� x 24�, 2010 Courtesy of the artist


ELIZABETH ALEXANDER BFA SCULPTURE, 2004 “I am motivated by discovery, both in my studio as well as a means to captivate a viewer. As a child I searched for magic everywhere, believing that soon I too would be living the life of a fairy princess, finding enchantment at every turn. I have since realized that I am not destined for royalty but I still feel the need to create enchanted interventions with the everyday. The familiar standards of objects and space are represented but manipulated in a way that changes one’s perception from normalcy to fancy. I use embellishment as a transformative tool, in the same way that adornment and artificiality is issued for all tales of rags to riches. Beauty acts as a veil of stability and calm over the distress I allude to; pattern, color, materiality, and texture are used to seduce the viewer to appreciate something as unappealing as a flood or destroyed car. I employ decorative arts and formal aesthetics as vehicles to evoke desire, prosperity, and escapism in places typically lacking those characteristics. The final result is a reinterpretation of space and material, a blurring of reality, memory, and imagination.�


Elizabeth Alexander Tool Studies No.1, paper, ink, and graphite, 41� x 41� (total), 2010 Courtesy of the artist


Elizabeth Alexander Wing Nut (detail), paper, ink, and graphite, 13” x 13” (frame), 2010 RIGHT: Elizabeth Alexander Hammer (detail), paper, ink, and graphite, 25” x 18” (frame), 2010 Courtesy of the artist


LIZBETH ANDERSON BFA ART HISTORY AND PAINTING, 1996 “The form and content of my work lie in an interest in allegorical representations of the body, particularly the palpable intersection of its internal and external worlds. When I pursued a dual major at MassArt in 1991, I was told by both the Painting and the Art History departments that I would ultimately have to choose one discipline (advice I that I readily understood, but respectfully ignored). When I graduated in 1996, I also began a fifteen year career as a professional tattoo artist. I went on to earn my MFA in both Painting and Art History from RISD in 2003- tattooing and teaching my way through grad school.

I simulate the actual process of tattooing through incised mark-marking, subtractive printmaking techniques, stitching; and further reference the destruction and regeneration of tissue which echo the application and healing of the daily work I do on my tattoo clients.

As a metaphor for the body, the rabbit represents proliferation, fertility and luck; yet in moments of moral cleansing the rabbit symbolizes trickery, lasciviousness and vice. These contradictions are particularly fascinating to me, as we all have our own ways of dealing with the burdens of the body/spirit dichotomy. I wish to draw from art history and represent in a new context my own struggle with spirit, materiality and I still love all that I do and have found the three dis- instinct; ‘high brow vs flow brow art;’ and make visuciplines- painting, teaching art history, and tattooing- ally provocative work that will speak to the universal coming together in my studio work in satisfying new experience of being confined to a big lump of flesh...” ways year after year. While the balance can indeed be challenging, I couldn’t imagine living my gloriously Lizbeth Anderson, New Haven, 2011 manic life any other way.

I emphasize with my students how the specific materials of an artwork affect its form and content. Our bodies and tattoos are just as much a part of modern American visual culture as anything we see hanging in museums, in film, via advertising, surfing the internet, or on television. I relate in my own work the characteristics and layering of living skin through the mixed-media collage of natural beeswax, paint and organic handmade papers. I reference the complex structure of the human body through my visual synthesis of alchemy, integumental anatomy and archetypal tattoo motifs.


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


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


Lizabeth Anderson Transubstantiate (2nd Edition), silkscreen print, edition of four, 12� x 9�, 2011 Collection of Martha Sue Anderson


JOHNNY ARGUEDAS BFA PHOTOGRAPHY, 2001 “My desire to produce meaningful images has resulted in a crooked and branched path following different subjects. Towards the end of my time at MassArt I hit upon a life-long project- to capture urban landscapes at night with a large format camera. These images are solitary and engulfed in darkness, owing much of their moody unease to film noir. By shooting in color I am creating a modern noir which is both more connected in the present but with the melancholy of the past. In addition, I am fascinated by abstracted studies of form, ranging from cold, impersonal architecture to the organic shape of wet hair on a shower wall. Most recently I have begun a portrait project of people that are both known and unknown. I am a member of an online forum comprised of local music fans that discuss their daily lives. I challenged myself to meet these people in person and to attempt to capture a part of them in a short amount of time, usually where they live or close to their home. I am fascinated by the connections made through online interaction, and how the relationship changes when people finally meet in person.�


Johnny Arguedas Olympic Stadium, Montreal, C-print, 20” x 24”, 2009 Courtesy of the artist


Johnny Arguedas Tattoo, gelatin silver print, 16�x 20�, 2010 Courtesy of the artist


Johnny Arguedas Ice Box, C-print, 20” x 24”, 2009 Courtesy of the artist


KRISTY ASARO BFA ILLUSTRATION, 2004 “I love creating vibrant and elegant artwork with my favorite medium pastels. I often find inspiration in nature like beautiful flowers or the sunlight making things radiate with life. I recently have been making pastels of cupcakes! I find swirl of the frosting especially fun to

draw and they look as absolutely delicious. I was also a finalist in the recent Blossom II Art of Flowers Competition. My piece Sunflowers is currently on a two year traveling exhibit around the country. ”

Kristy Asaro Drops, pastel, 14”x 41”, 2010 Kristy Asaro Cherry Cupcakes, pastel, 20” x 26”, 2011 RIGHT: Kristy Asaro Sunset, pastel, 20”x 26”, 2005 Courtesy of the artist


BRENTON BARNES BFA ILLUSTRATION, 2010 “Brenton Barnes is an up and coming illustrator currently living along the border of New Hampshire and Maine in the city of Portsmouth, New Hampshire. His work as an illustrator has been lauded for its graphic novel style and narrative approach. In all of his pieces he makes telling a story a priority, whether its about an individual, scene or an event to inspire a response from viewers. He is always trying to find new ways to present ideas and meanings in his work either as stand alone images or as a series. His recent achievements since graduation have included creating the packaging for Rob Potylos latest album release Something Happened at Horse Lake and being featured in group shows by both the Exeter Arts Committee and the Soo Rye Art Gallery in Exeter and Rye, New Hampshire.�


Brenton Barnes Something Happened At Horse Lake, ink, digital, 11� x 17�, 2010 Courtesy of the artist


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


Brenton Barnes A Girl & Her Honeysuckle, ink, digital, 17” x 11”, 2010 Courtesy of the artist


CLAIRE BECKETT MFA PHOTOGRAPHY, 2006 “My studio practice focuses on conceptually driven large-format photography. I am particularly interested in photographic representation across the themes of difference, cultural mimesis and gender. These ideas are reflected in my current project, Simulating Iraq, which deals with American military training for the wars in Iraq and Afghanistan. Although the concepts I explore in this series are specific to the present political and cultural climate, the project springs from a decade-long interest in using photography to engage critically with the world in which I live. A beautiful or carefully considered image is never enough. I seek to create images that are visually compelling but also explore themes that have personal resonance. Often my ideas stem from politics and news stories, not so much for an ideological reason, but because they move me deeply. The images in Simulating Iraq are made on military bases within the U.S., in fabricated environments that replicate the places where American troops are deployed. These pictures are about how we as Americans interact with and understand our place in the world. To me, the places that I photograph take on a kind of amalgamated identity, not American, not Iraqi, not Afghani, not Somali, but something entirely different. While the planners of these facilities may understand them as replications of specific places say Fallujah, Iraq or Helmond Provence, AfghanistanI understand them as spaces of their own. The setting depicted here is that of the Other, of the non-White, non-Western, non-Christian, non-Democratic. It is the place of terrorists and bad guys of all stripes, a place in need of order, of discipline, of salvation.

other pictures, immigrants from Afghanistan, some who have fled to the U.S. as refugees, now role-play as themselves, or rather as surreal versions of their former selves. I am interested in understanding the experience of the people who spend time here. What does it feel like for a young soldier to have their first encounter with profound cultural difference in this environment? What is the experience of a refugee, or of a veteran suffering from PTSD, when reenacting the context of their real life trauma? Although these spaces are meant as imitations of reality, what exists here is significant in its own right. My interest in themes of military training and warfare began in 2004. I was originally drawn to this subject shortly after returning from Benin, West Africa, where I worked as a Peace Corps Volunteer. My series In Training (2004-2007), dealing with young soldiers from the time of enlistment to deployment, was motivated in part by a need to understand my homeland. Having lived in Benin for 18 months I felt strange and unfamiliar returning to my own culture, and the war contributed significantly to my sense of unease. I was troubled by the war and felt compelled to create a body of work about it. Focusing on young soldiers going through Basic Training, the photographs from In Training deal with the youth and vulnerability of the individuals involved and the anticipation of the war ahead.”

Among the photographs are images of pseudo-Islamic architecture, sweeping desert vistas evoking unknown adventure, and portraits of those pretending to be villagers in an occupied land or terrorists at war against the Americans. There are American soldiers and Marines, combat veterans who now play the roles of the very jihadis that they previously battled in real life. In

RIGHT: Claire Beckett Army Specialist Gary Louis Sims, archival inkjet print, 40” x 30”, 2009 Courtesy of Carroll & Sons Gallery


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


Claire Beckett Jabal Village Mosque, National Training Center, Fort Irwin, CA 2008 Courtesy of Carroll & Sons Gallery


SUSAN BLATT BFA PAINTING, 2006 “Drawing is an important part of my practice. I enforce a rule of making a mark and keeping it, unlike in my painting which is in constant play. In this way, each decision forces the next until a pattern emerges or the suggestion of a place as I make seemingly random but purposeful connections. My work represents an observed but reimagined landscape where the underlying structure of nature has been rearranged to create a place in motion. The shapes and forms, some built mark by mark, are anchors to an expansive or compressed spatial plane that extends space beyond the surface. The color, in addition to the line and gesture that reference Chinese ink painting, act as the picture’s activating force.”


Susan Blatt Untitled, graphite and watercolor on paper, 22� x 30�, 2009 Courtesy of the artist


Susan Blatt Seemingly Random But Purposeful Connections 1, 41” x 30”, 2011 Courtesy of the artist


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


JEN BRADLEY BFA PAINTING, 1995 “My work is driven by my interest in animal behavior and evolution. In particular I am fascinated with the inner lives of higher primates, primarily gorillas, and how they relate to our own species. In order to observe gorilla behavior, in 1995 I began a drawing project at the Franklin Park Zoo in Dorchester, Massachusetts. On average, I spend two days a month drawing the troop of Western Lowland Gorillas at the zoo. I call this ongoing study The Ape Drawing Project.

By inserting the gorillas into these scenes, my intention is to create an original toile that examines the ideas of civilization with its self-conscious attention to class, society and aesthetics; and the animal world with its presumed freedom from such constrictions. I have created my toile as drawings on paper, onsite installations in conjunction with exhibitions, and as individual works on panel.

Gorilla My Dreams Through my repeated visits to the zoo I have become In 2007, I began a series of oil paintings using the covsensitive to specific themes that are now embedded in ers and pages of adult entertainment magazines. This my work. These include primates in captivity, their spe- recent work presents the allegorical significance of my cial habitats and the design of exhibit spaces, the pub- ongoing obsession with primates. Paintings are 11”x 8”. lics role in the zoo system beyond species preserva- At present there are 60 paintings in this series. tion, and the concept of observation as entertainment. Ape Drawing Project view blog at: Portraits, Prophets, Friends In 1999, I stared to make paintings and monotypes about the gorillas by using the drawings I created at View Documentary about Jen drawing at the zoo, by the zoo. In order to create different surfaces I often Justin Freed on YouTube at: layer different combinations of oil paint, powdered pig- ” ment, charcoal, plaster, encaustic, transparent glazes and screen-printing. The work in this series range in size from 5”x 5” to 56”x 72”. Gorillas in the Toile In 2006, this body of work emerged on the theme of Civilization vs. Savagery when I introduced the element of traditional toile fabric wallpaper patterns into the gorilla paintings. Toile is a repeating motif that often tells the story of refined rural life, images of historical events and pastoral scenes that came into vogue in France and England in the mid 1700s.

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


Jen Bradley The Bacchante, mixed media on paper, 8” x 16”, 2010 Courtesy of the artist


Jen Bradley At The Opera, mixed media on paper, 8” x 12”, 2010 Courtesy of the artist


KELLEY BRANNON BFA STUDIO FOR INTERRELATED MEDIA, 2010 “My work is influenced by my dedication to use a variety of art forms to increase individual and social awareness. Currently, I am working on a video documentary about the social and cultural consequences of growing technologies with an emphasis on social media. The images I am submitting here are part of a new series called The Carbon Footprint which interprets this conversation in abstract form. The prints are made by absorbing burned wax and smoke, usually from a candle, onto paper. I create the images to resemble organic forms in order to offer my perspective on the juxtaposition of natural and artificial; a conversation that is becoming increasingly more relevant as we enter the new technological world. The social and environmental side affects of technology are enormous. A personal computer puts out 1,000 pounds of carbon dioxide each year, which makes the computer far less environmentally friendly than advertised. New technologies, specifically social media, are re-appropriating a natural reality, my Carbon Footprint series responds to this re-appropriation by engaging the audience with interesting and confusing imagery. At first glance one of the images may look beautiful and poetic while a second glance may make the image appear dark and foreboding. It is my intention that this confusion will urge the viewer to second guess the immediate.�


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


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


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


CHUCK BROUILLETTE BFA ILLUSTRATION, 1988 “This series of digital illustrations envisions the concept of the traditional, super-powered comic book character as a film celebrity. As comics and film are two of the most similar art forms in the sense that a viewer takes in the art by viewing panels/film frames. These pieces suppose that comic action is all ‘cast and performed.’ And the players, have their own promotional photos. The glamour aspect is a nod to classic Hollywood films, which are a great inspiration to my art. And the alternate reality of 2D fictional characters stepping into the 3rd dimension as living/breathing, fame-seeking beings, lends itself perfectly to to a typical, fantastical comic book story!”

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


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


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


EMILY C. BROZYNA BFA ART EDUCATION, 2009 “Upon considering ones familial relations, it is essential to examine the genetic gifts one has been bestowed with. Bones are the main manufacturers of blood within the human body, and within ones blood lies the mapping of familial traits. In Vertebral Familial Inheritance, each vertebral machine has been labeled with the

distinct characteristic that each of my own relatives has passed into my being. Thoracic Genetic Products examines the traits that I have an understanding my personality harbors, whether deriving from a vertebral product or procuring solely from within myself.”

Emily C. Brozyna Thoracic Genetic Products, graphite, 26” x 40”, 2010 Courtesy of the artist


Emily C. Brozyna Vertebral Familial Inheritance, graphite, 26� x 40�, 2010 Courtesy of the artist


KYLE BRYANT BFA PRINTMAKING, 2008 “My work depicts a city that is growing at a rapid and uncontrollable rate. This city is a metaphor for my psychological space. It is full of potential yet intimidating enough to make one hesitate before crossing its harsh borders. Through my real world border crossings I have compiled stories and memories that I carry with me into my understanding of the world. This world has come together through struggles to grasp the lessons of the past, while working toward clarity and order in the future. In continuously traveling through my psychological space, I hope to find answers in the present through the creation of a new and exciting world.�


Kyle Bryant You Can’t Say That In This City, woodblock print with dry point and chine colle, 30” x 40”, 2011 Courtesy of A Fine Thing: Edward T. Pollack Fine Arts


Kyle Bryant Escapist, woodblock print, 24” x 18”, 2011 Courtesy of A Fine Thing: Edward T. Pollack Fine Arts


Kyle Bryant Faith In Crossing, woodblock print, 24” x 18”, 2011 Courtesy of A Fine Thing: Edward T. Pollack Fine Arts


BRUCE CAMPBELL MFA SCULPTURE, 2005 “Much like my recent sculptural work, the Directional Drawing series of compositions couples brief, absurd phrases with harmonizing forms. The enlarged texts that are slightly disturbed by the papers cut pattern, direct the viewer to perform some in-actionable procedure. Blackened or whitened out patterns are derived

from well-known contemporary masters compositions. Each art historical reference is carefully considered in relation to the content of the language that intermingles with the altered and simplified compositions. Both text and pattern point a viewers body and mind in new directions.”

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


Bruce Campbell Directional Drawing (AFter J.J.), graphite on cut paper on panel, 21” x 18.75” each, 2009 Bruce Campbell Directional Drawing (After J.B After F.S.), graphite on cut paper on panel, 43.125” x 65”, 2008 Courtesy of the artist


LANA Z CAPLAN MFA PHOTOGRAPHY, 2006 “Sites of Public Exectution is an ongoing series for which I have been researching, photographing and making short films of sites that had been used for public executions at different times in history. When I began this project in 2001, there was a group of people petitioning for Timothy McVeigh’s execution to be televised, the modern form of a public arena. It occurred to me that this desire to watch people being killed, as perceived justice, is still alive in America and the Middle East, where the death penalty still exists. I wanted to compare what I was finding here with countries that have changed their laws, to see what happened as policy and the function of a public place changed, and to discover what it held of its history. Some of the places used for executions became sites with veneration to the executed, such at Campo de’Fiori in Rome with the statue of Giordano Bruno or the town of Salem, MA where the accused witches were hung. Some sites are now well known for other reasons, such as the Louvre, in front of which the guillotine was installed during the French Revolution. It appears that the way in which the history of the place has been remembered by those who create the public image of a city (either capitalizing on the executions or covering them up with other events that occured in these places) seemed to say more to me about present day morality and values in each country than the abolishment or continuation of capital punishment.

The photographs in this series are sepia-toned silver prints presented in french mats. This presentation is a reference to historical photographs and cataloguing of images made for documentation purposes. Each of the mats have calligraphic titles describing the dates and types of executions that occurred on that site, rather than the name and place pictured, as is customary. By subverting the viewers expectations of what they will find written, I hope to make them question what they thought they knew of these places. In the future, I would like to visit some of countries that are still performing public executions and shed light on some of these current atrocities, such as the 13-year old rape victim was publicly stoned to death for adultery after the rape in Somalia in October of 2008 or the ongoing beheadings of foreign journalists and contractors in Iraq, or the public executions of women in Iran and Saudi Arabia for trying to gain human rights for women. With these images, I hope that viewers will consider the role we play in creating our society’s legacy and future.”


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


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


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


CALEB CHARLAND BFA PHOTOGRAPHY, 2004 “The artwork I create combines my scientific curiosity with a constructive approach to making pictures. I utilize everyday objects and fundamental forces to illustrate experiences of wonder. Each photograph begins with a simple question: How would this look? Is that possible? What would happen if...? and develops through a sculptural process of experimentation. As I explore the domestic space, from the basement to the backyard, I find ways to exploit the mysterious qualities of these everyday objects and familiar materials. Wonder is a state of mind somewhere between knowledge and uncertainty. It is the basis of my practice and results in images that are simultaneously familiar and strange. Much of this work pursues temporal phenomena through traces of gestures and actions. The human presence provides a clue to the creation of the photograph while adding to the mysterious nature of the image. Photography serves my practice well as a means to experience this activity in a single moment, or to combine several different moments into a single experience.“ All images are created in camera, no content is added digitally.


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


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


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


CHRISTINE COLLINS MFA PHOTOGRAPHY, 2005 “My pictures have always swirled around my own story from varying distances. I am interested in the weaving together of personal experience and fictional possibilities. It has been a means of reckoning with my own history, while imagining others. Recently, my interests and my photographs have extended beyond the boundaries of my immediate surroundings. I have been thinking about how the sustainable food movement has helped to change our relationship to the landscape. Local farms have become temples to this movement. These romanticized patches of land become backdrops for fantasies about our participation in the landscape. Vegetables procured from Community Supported Agriculture groups enjoy a privileged status and suggest a better life through food. By photographing the farms and the crops, I am referencing the art historical impulse to use food as allegory, and a more contemporary relationship to the natural world. My new, in-progress series The Keepers looks at people who are keeping bee hives in suburban areas. This recent phenomenon speaks to our desire to hold nature in the face of an increasingly disconnected culture. I see these people as facilitators, and I think about how the small action of placing a hive in a backyard has broad implications about our interconnectedness with nature. There is a kind of magic in the process of beekeeping. I am making pictures that suggest ceremony, ritual, and mystery of survival.�


Christine Collins Turnips (after Cotan), digital c-print, 20” x 24”, 2008 Courtesy of Jen Bekman Gallery, New York, NY


Christine Collins Untitled (from “The Keepers”), digital c-print, 24” x 20”, 2010 Courtesy of Jen Bekman Gallery, New York, NY


Christine Collins Untitled (from “The Keepers”), digital c-print, 20” x 24”, 2010 Courtesy of Jen Bekman Gallery, New York, NY


COREY CORCORAN BFA PAINTING, 2007 “Drawing upon everything from science fiction to houseplants to Honey, I Shrunk the Kids, I consider my recent body of work as visual ecosystems on the verge of collapse. Half-dead bodies fill transitory spaces that ooze with decay. The figures are both gods of destruction and biological fodder for new growth. Texture, color and pattern become the primordial soup from which notions of progress or devolution are born.“


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


Corey Corcoran Wound Lick, gouache, acrylic, clay, ink, pencil, 17” x 11”, 2010 Courtesy of the artist


Corey Corcoran Flotsam, gouache, acrylic, clay, ink, pencil, 17” x 11”, 2010 Courtesy of the artist


LEAH DE PRIZIO BFA PAINTING, 1963 “Inspired by a majestic beech tree that shaded the backyard of my childhood home, my woodblock prints and papier-mache sculptures take their themes from an arboreal world. The paradox of wood excites me. Seen from the exterior, its dense, heavy qualities belie its interior, where a watery, evanescent realm lies hidden. I am mesmerized by the grain of wood and become absorbed in this fluid landscape. Using my intuition on basic materials such as newspapers, wheat paste, plywood, printer’s ink, and gesso, I enjoy the messy physicality of printmaking and the building up of sculptural shapes of paper. Like life, newspaper is earthy, fragile, and temporal. The materials encourage play, and the process takes me to an unknown place. Work becomes ritual. It is repetitious, gestural and rhythmic. As a first generation American of Lithuanian-Italian origin, I feel more global than local. Travel to Moscow, Uzbekistan, Tashkent, Samarkand, Bukhara, and China has given me valuable insights into other cultures. Molded from the texts of world newspapers, a variety of human faces blossom on the branches of my sculptures. With the 1999 spheric environment entitled Global Dance, and the 2002 installation, Global Grove, I celebrated the interconnectedness of individuals, diverse cultures, and the natural world. The 2006 St. Botolph Club exhibit ‘Lignum Vitae’ exemplified this idea as well. Over time, using various media and. more recently, wood, paper, and words, I have continued to explore the related ways in which human and natural physiognomies express themselves.”

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



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


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


AMY DiPLACIDO BFA FIBERS, 2007 “I am inspired by coincidental juxtapositions, and the breakdown of language and colloquialisms. My work offers a visual rebuttal to our landscape by compartmentalizing natural and man made arrangements. The text in my drawing, which differs from the title of the work, is hyper diaristic, yet my personal musings note a universal tone. My drawings reference warp threads in weaving through a repeated, vertical line. In addition, I use a resist method to create text, similar to batik dye methods; both pay homage to my artistic training in fiber art. It is my hope to offer a ‘platform’ for language while providing humorous commentary.”


Amy DiPlacido On The Horizon, ink on paper, 11” x 17”, 2009 Courtesy of the artist


Amy DiPlacido Advertise, ink on paper, 11” x 17”, 2009 Courtesy of the artist


Amy DiPlacido The Words, ink on paper, 11” x 17”, 2009 Courtesy of the artist


JESS T. DUGAN BFA PHOTOGRAPHY, 2007 “A place so as to stay is about people and the ways in which they relate to, and are defined by, their environment. At its core, this work is an exploration of identity and how we come to realize, define, and eventually share who we are with others. By examining the ways that people construct, inhabit, and enjoy spaces, objects, and relationships, I am exploring a larger theme of how we each carefully define our existence in the world.”

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


Jess T. Dugan Dad With His Shotgun, Little Rock, AR, silver gelatin print, 20” x 48”, 2009 Jess T. Dugan Judy, Collections Manager, Mammals, Cambridge, MA, silver gelatin print, 20” x 48”, 2010 (Triptych made from three 20” x 16” silver gelatin prints) Courtesy of Gallery Kayafas


PAT FALCO BFA ILLUSTRATION AND ART HISTORY, 2010 “My art is primarily based around portraiture, typography, and humor. I like to make work that is accessible and will make people laugh or cry or think a little bit. I am influenced by interactions between people I know, see, or read about. I have been named Best Artist in the World by Mother 7 of the past 10 years.”

Pat Falco Clark Gable, pen, paper, 9” x 9”, 2011 Courtesy of the artist


Pat Falco The Matador, pen, paper, 8” x 8”, 2011 Courtesy of the artist


ALEXANDER FARRELL BFA ARCHITECTURE, 2008 “As an abstract artist, I rely greatly on a material’s ability to resonate and connect. To make something abstract accessible or more human, then a path must be formed to link the viewer and the art; materials and objects are that link. When asked to describe my work, materiality is a word I often use. It is the process/philosophy I apply to my paintings and sculptures in which the material itself is the starting point for artistic exploration. I rarely have a final product in my head before I begin working but allow room for expansion and contraction, letting forms and ideas evolve. Starting with a material, in this case paper, I begin to play: adding, subtracting, crunching, tearing etc; learning its properties. This specific sculptural installation consists of two opposing materials: tracing paper and large steel bolts. Each bolt is threaded though a pillow of tracing paper creating a module, each with a unique surface. I was surprised at the tenderness and the resilience that these paper pillows evoked. These components became more like individuals to me and were strengthened when I grouped them together and soon reached critical mass. Like a brick or a living cell, they are versatile building blocks that can create multitudes of forms. They can be huddled in a corner, divided into groups or demand everybody’s attention in the center of a room.”

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


Jess T. Dugan Dad with his shotgun, Little Rock, AR, silver gelatin print, 20” x 48”, 2009 Jess T. Dugan Judy, Collections Manager, Mammals, Cambridge, MA, silver gelatin print, 20” x 48”, 2010 Triptych made from three 20” x 16” silver gelatin prints


JEFFREY FICHERA BFA PAINTING, 2000 “My paintings are all done on-site, from direct, protracted observation of the subject. I don’t paint from photographs or from memory; the truths I want to record can only be found in the actual experience of light existing in space and reflecting off forms. And by truth, I don’t mean any sort of objective truth about the way things are, because such a thing is impossible. All observations are subjective. When confronted by a human consciousness, reality is utterly transformed into personal terms – objects become metaphors, colors suggest moods, spaces contain memories, textures imply movement. And so the painting is not the record of the place, but the record of the artist seeing.”

RIGHT: Jeffrey Fichera Foil, pencil on bristol, 12” x 16”, 2009 Courtesy of the artist



CHRISTIAN FLYNN BFA PAINTING, 2005 “The central interest of my work of the last two years has been the intersection between the simulated space of the computer screen and the illusionistic space of the painted picture plane. Just a few years ago I was primarily interested in the visual environment that the studio provided as a site for production, as I wanted my work to reflect the material environment in which it was made. When I began graduate studies in painting, it was noted that my investigation of perspectival space corresponded to the rendering language of CAD programs, and it was suggested that I learn some applications that would help me elaborate my engagement with interior space. As I began modelling the space around me, I found the virtualization of space and image to be a more seductive mode for creative production than an observational mode, and my interest in the quotidian subjectivity of my own studio space/work waned. I became more interested in the conditions of picturing and representation – of the thing representing itself to itself, a subject elaborated in Victor Stoichita’s remarkable book The Self-Aware Image. The pseudo-tactility of the graphic user interface – its drop shadows, sliding bars, gradient sweeps, etc. – has been an ongoing source of visual inspiration for me. It would be easy enough for us as consumers to reject the simulated space of the screen; I believe we don’t because there is something “essentially” pleasurable and perplexing about simulation. It is common nowadays when visiting a gallery or attending a critique to observe that the audience is as engaged- if not more engaged- with their mobile devices as they are with the work on view. Ultimately, I see my work as neither a critique nor a celebration of the dematerialization and alienation effectuated by the spread of virtual space, but rather as a reflection.”

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



Christian Flynn Macbook Pro, etching on somerset white paper, 10� x 11�, 2011 Courtesy of the artist


Christian Flynn Mise-En-Abyme, etching with chine colle on somerset gray paper, 14� x 16�, 2011 Courtesy of the artist



“This artwork is for everyone.”


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


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


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


ANIA GILMORE BFA GRAPHIC DESIGN, 2008 “Some time ago I found Agnes Martin’s book and there I read, ‘An Artist is the one who can fail and fail and still go on.’ It was a great inspiration for me and I realized that art is a process that once started can never be finished, all these words encourage and reaffirm my creative journey. While studying design and printmaking I discovered a great passion for book arts. In my work I explore the book itself, the boundaries between the form and the content. As an immigrant I am infused with inspiration resident in my roots and history. I am interested in the continuous growing dialogue of identity and multiculturalism that is a main element and issue in our society. I arrive at some images by chance and I am motivated by those that come through experimentation; especially enjoying the connection between chaos and order.”

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



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


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


EMILY B. GOODALE BFA ILLUSTRATION, 2005 “What truly inspires my work is the printmaking process. Every image is conceived with a process in mind, a process that leaves much room for mistakes, play and unpredictable results. I feel that my illustrations are at their best through the method of dry point etching. It allows me to focus on detail where necessary and at the same time be loose, and to simply allow things happen without correction. I recently moved back to the city after spending a year in the country. I’ve noticed a shift in my subject matter toward landscapes and animals since that time, where as I had previously thrived on human portraiture. Yet with any subject matter, the foundation of my imagery is based in a detail. Whether it be the pattern on a shirt, a glint in the eye of an untamed animal, or the minute pattern on a leaf. For me, an image starts with a detail, a single point for which everything around it exists. My passion for printmaking extends into the world of bookmaking as well. For the past two years I have been running a small press, where I design, print and illustrate all the books for cooperating authors. The book as an object is an idea that I feel very strongly about. It is something to be held, opened, turned around, and admired. I find the same concept of detail to be just as relevant for my books. The details become the way an image lays on a page, or the spacing of type, or the craft in which the book is constructed. The desire to touch is what I strive for in all my bookmaking endeavors.”


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


Emily B. Goodale The Gift, drypoint etching, goauche, 9.75” x 10”, 2011 Courtesy of the artist


Emily B. Goodale Talking Horse, drypoint etching, 9” x 12”, 2010 Courtesy of the artist


HANNAH GOODWIN MFA 2D, 1989 “I have been creating works on paper for years. I love drawing with a wide range of materials. For the last several years I have been drawing primarily with ink on rice paper. I use bamboo pens, which I dip in permanent ink. It is a process of no return, no erasures and no cover-ups. I have found this process of having to move forward with the work, no matter what happens, both challenging and calming. I love the range of marks and lines that the bamboo pens and ink combined with the texture and thinness of the paper create. Nests and nest-like structures are central in these pieces, which I see as commentaries on aspects of day to day life and concerns. I have long been intrigued by the importance of what seem to be small moments or ideas, but have the possibility of a bigger presence and influence than one might initially think.�


Hannah Goodwin Built On A Wish, ink on rice paper, 28” x 28”, 2011 Courtesy of the artist


Hannah Goodwin Mi Casa Es Tu Casa, ink on rice paper, 28” x 28”, 2011 Courtesy of the artist


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


LUCY H. GROVER MS ART EDUCATION, 2007 “I’ve arranged paper boxes into groupings that I bind with tape and paint. A lot of the repetitive purchases I make come in cardboard boxes and over a short time add up to a lot of stuff. If I let the packages accumulate, I naturally want to start to organize them. So the cardboard boxes do not leave the house as recycling, but instead they are delayed and reconfigured. I combine these packages - the fact that they are already in existence is good - and then they seem almost chemically altered. The new form is made up of many different parts and, as in a chemical reaction, releases new energy. They have a nice duality of solid-looking rectangular forms that are almost weightless. The solid volumes both displace and are filled with air and this sharp contradiction interests me as an artist. Since graduation I have painted quite a lot and received an artist fellowship at Skidmore College where I was able to completely immerse myself in my practice. A stint at Teachers Institute in Contemporary Art at the Art Institute of Chicago was a major influence since graduation that led me to a more wonderful connection between artmaking and teaching high school art students. Over the most recent few years I have been building with these boxes between paintings, as a way to keep working, almost like a cooldown phase after an intense working period. It started to seem like a really interesting idea and evolved into a more primary role in my work. It was a big decision which type of work to enter for this alumni show. I chose the box sculptures because I enjoy the way they combine my painting and drawing practices with a new form. I also enjoy them because I am not acquiring additional new products to make work, but rather reconfiguring basic stuff that is already here.”


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


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


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


KAREN HENDRICKSON-SANTOSPAGO BFA FIBERS, 1999 “I am drawn to the expressiveness of the dashed line that stitching creates - - - a dashed line is tentative, permeable, ephemeral. The minimal color pallet and layout of the works emphasizes the character of the lines as they interact with the circular forms on the paper. I imagine these forms moving along in space along the trajectory of the line... I enjoy juxtaposing old and new materials: the new crisp cotton fiber paper and reclaimed ephemera (old maps, books, money, etc...). Blending antique and new in this way imparts a modern aesthetic to the pieces... My works about planets and solar systems are greatly inspired by the news headlines concerning findings of new planets and solar systems, reclassified planets in our own solar system, and the exploration of space in general. I find it staggering that we (humans) manage to balance the micro world and macro world. This work attempts to visualize the macro world and put it on a human scale.�


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


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


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


MARY HUGHES MFA PAINTING, 1995 “In this body of work, Hughes explores the concepts of mapping, mark making and the passage of time. Her drawings and paintings are built upon meandering lines formed in reaction to previous layers, recalling contour maps, topographical lines and nautical charts. The organic forms reference the landscape while also referencing abstract patterning mark-making as an act of confirmation. Some environments appear selfcontained while others seem part of a larger universe. Simultaneously, the maps represent the passage of time and the wanderings of the mind. Currently the Curator of Visual Resources for the Department of Art + Design at Northeastern University, Hughes has exhibited in solo and group shows at the Copley Society of Art, South Shore Art Center, the St. Botolph Club, and various exhibition spaces throughout New England. She has been awarded several awards and fellowships, including the Fulbright Scholarship and the Anderson Ranch Residency. Hughes’ studio is located in the historic Fenway Studios in Boston, MA.”


Mary Hughes Contour Map, color pencil on paper, 40” x 52”, 2010 Courtesy of Copley Society of Art



Mary Hughes Topography Series No. 11, color pencil on black paper, 30” x 44”, 2010 LEFT: Mary Hughes Untitled (Topograpy Series No.2), color pencil on black paper, 30” x 22”, 2010 Courtesy of Copley Society of Art


LAUREN KALMAN BFA METALS, 2002 “My work pulls from discourses dealing with the imaged body, consumer culture, body aesthetics, and illness. Through the production of jewelry objects, photography, video, sculpture and performance, my projects visually link these divergent discourses. My current work replicates and transforms illness and trauma through performance, video, objects and photography. Diseases like acne, cancer, herpes, and elephantiasis or physical trauma like amputation and facial reconstruction surgery are presented as jeweled infections, fabric growths, or wearable instruments. They are hybridizations of the grotesque or undesirable aspects of the body and objects we associate with beauty, status, health or wealth. One of the core subjects of my work is the imaged body in contrast to realities of the physical body. As a model for the physical body, the visualization is deceptive. The imaged body is stylized, static, manipulated, and often an amalgam of bodily ideals and contemporary design aesthetics. What I find interesting about imaged bodies are the similarities between images that intend to project ideals, and those that display subversive or even abject bodies. Objects and their relationship to the body play an integral role in negotiating the disconnect between idealized images of the body and the physical body. By surrounding our bodies with objects that are seen in images alongside the ideal body, we hope to amend the imperfect reality of our own form.�


Lauren Kalman Spectacular, 2 inkjet prints, fabric, mixed media, each 16“ x 24�, 2011 Courtesy of the artist


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


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


HEIDI KAYSER BFA STUDIO FOR INTERRELATED MEDIA, 2005 “My work is often about the collective experience of moving through life as a human. Using oral histories, collaborative processes and a scientific method of investigation, I make sense of the world around me, and my place within the natural and social environment. I find fascination in simple acts and simple forms that when seen together as a whole, form a much more complex system. Recently, I’ve been playing with the themes of duality, what separates one from another, and how everything in the fabric of the cosmos is interwoven. I have exhibited at Arnheim Gallery, Schiltkamp Gallery, Melle Finelli Gallery, FPAC Gallery, the Artists Foundation, Art Interactive, Godine Gallery and many others. I received an Urban Arts Public Art Grant in 2005, and I just received a 2011 New England Foundation for the Arts grant to create a series of public paticipatory performances using sculptural objects, which will occur in Boston and New york City this coming summer. During my last semester of MassArt, I founded the Axiom Center for New and Experimental Media, which has been located in the Green Street MBTA Station in Jamaica Plain since 2007 and continues to thrive, showing the work of hundreds of innovative and experimental artists. In 2009 I founded the arts advocacy and workforce development organization Art Technology New England.

I have lectured at Northeastern University, RISD, SMFA, Wentworth, MassArt and the Transcultural Exchange conference, among other special projects including arts advocacy, curating, and leading educational initiatives in the arts. Currently, I am Artist in Residence at Urbano Project through the Culture for Change program at Harvard and the Barr Foundation, adjunct faculty in the Studio for Interrelated Media at Massart, and Associate Director of Boston Cyberarts, continuing my interest in being a practicing artist as well as an educator and curator.”

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


Heidi Kayser The Sameness Of Duality, digital print, variable, 2011 Courtesy of the artist


Heidi Kayser Picture 1, digital print, variable, 2009 Courtesy of the artist


JOSHUA KEAY BFA GRAPHIC DESIGN, 2004 “Joshua Keay is a product designer based in NYC with a focus on developing independent projects and bringing them to market. Past works have ranged from tshirts to iPhone applications and picture books. The works submitted are from a book which was published in 2010 by Cider Mill Press, and is currently available in Borders, Barnes and Noble, Urban Outfitters, the MoMA Store in New York and”

Joshua Keay Declaration Of Romantic Feelings, book, 10” x 7”, 2010 Courtesy of the artist


Joshua Keay Marriage Proposal, book, 10” x 7”, 2010 Courtesy of the artist


ISAIAH KING BFA GRAPHIC DESIGN, 2008 “My work pursues an ongoing study of the human form in all its complex emotive facets. By employing intaglio, lithography, screen-printing, relief-printing and painting I apply diverse and aggressive mark making to my figure studies. My fascination with the human form is both external and internal, references to bone and muscle structure are integrated with the more sensual and emotional appeal of the external human form. Combining an emotional and practical approach to the human body lends itself to common themes in my work: longing, sensuality and mortality. Having been most inspired by artists whose work elicits conflicting responses, my prints are concerned with the contrast and tension between seduction and repulsion. They portray the beauty of the human form but also explore states of discomfort, eroticism and intense emotion. Whether in design, printmaking, painting or drawing, my greatest concern is with communication, rather than hiding behind conceptual mysteries I strive to create works that engage the viewer in dialogue. The works submitted here are part of a series of 7 large woodcut prints of Haitian earthquake survivors, created with the intention of using art to offer aid to the people of Haiti. The works are based on the photos of award-winning photojournalist Q. Sakamaki who shot a series in Pont-Rouge refugee camp, near Port-auPrince, shortly after the earthquake in January 2010. This series was created with the deepest conviction that art can address current events and social issues while also engaging a larger public to take interest, participate and discuss these issues. By collaborating with a photojournalist who has the eye and skills to capture important stories in our global community, I’ve attempted to blur the lines of art, documentary journalism and storytelling. Proceeds from the sale of these works go to grassroots community-based organizations in Haiti. I believe that an engaged art world can become a powerful force for sustainable community, and economic development while also reclaiming arts status as a practice that meaningfully relates to people, their lives and their communities.�


Isaiah King Roseline & Wadline Etienne, woodcut print, 55” x 37.5”, 2010 Courtesy of the artist


Isaiah King Apollon Ralpho, woodcut print, 70.75” x 35”, 2010 Courtesy of the artist


Isaiah King Claudel Louimas, woodcut print, 70.75” x 35”, 2010 Courtesy of the artist


BARA KIRKPATRICK JICHOVA BFA STUDIO FOR INTERRELATED MEDIA, 2007 “My new work is a mix of drawing, painting and collage. The collage element involves clippings from the Czechoslovakian newspapers RUDE PRAVO and MLADA FRONTA, pages dating from October 1989, when peaceful protests swept through Czechoslovakia, resulting in the Velvet Revolution that dissolved the grip of the Czech communist party.

The work is inspired by my childhood memories of those revolutionary days, and by my recollection of a ‘cheerful’ communist era, combined with my appreciation of the energy and audacity of Russian Constructivism... with a nod to the spirit of hope that has triggered recent revolutionary movements in the Middle East.”

Bara Kirkpatrick Jichova ELD_0030, painting / collage on Czechoslovakian newspapers , 24” x 24”, 2011 Courtesy of the artist


LEFT: Bara Kirkpatrick Jichova ELD_0025, painting / collage on Czechoslovakian newspapers , 11” x 14” 2011 RIGHT: Bara Kirkpatrick Jichova ELD_0049, painting / collage on Czechoslovakian newspapers , 11” x 14” 2011 Courtesy of the artist


ROBERT KNIGHT MFA PHOTOGRAPHY, 2006 “Through a series of photographs, layered audio recordings and video, Sleepless examines the contradiction between our expectations about sleep and its nocturnal actuality. Sleep connotes rest, peacefulness and stillness. It is expected to recharge us in preparation for our next days activities. The reality is starkly different. A majority of Americans get less sleep than their bodies need (9-10 hours for children and 8-8.5 hours for adults), and approximately 50-70 million Americans suffer from sleep disorders. Our sleep is reduced and interrupted by the myriad nocturnal noises and activities of urban life, from the drone of our roads, highways and transportation systems to the barrage of light noise emitted from our street lamps, skyscrapers and neighbors. Other factors negatively affecting our sleep include the frequent waking of young children, job-related stress and the side-effects of medical issues as we age. My photographs, layered audio and videos reveal a state of restlessness through the ethereal and translucent bodies which are captured during long-exposure nighttime shots. The resultant images are nighttime narratives stories of our night’s sleep which suggest a contemporary sleep crisis in our society...”


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


Robert Knight Untitled (3 hours, 30 minutes, December 2, 2009), archival inkjet photography, 30� x 40�, 2008 Courtesy of Gallery Kayafas


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


REGINA KOKOSZKA BFA PHOTOGRAPHY, 2008 “The landscape images were taken in the area of Svalbard, an archipelago located in the Arctic Circle. Svalbard translates to “cold coast” and massive glaciers make up roughly 60 percent of this unique environment. The sun does not fully rise between the months of October and February, and does not set between April and August. The project focuses on documenting the nearly inhabitable yet vulnerable landscapes. As most of Svalbard is largely free of influence by human activity, the archipelago is often used as a reference area for research on the effects of climate change, transboundary pollution and large-scale environmental impacts. A seemingly eternal landscape, Svalbard’s glaciers have been in a gradual and steady retreat, at roughly 115 feet per year, and the temperatures in the Arctic are increasing twice as fast as the global average. Taken with a medium format camera on slide film, the images were cross-processed with chemicals of a higher temperature. The digital scans of the images were then inverted to show the landscape’s “natural” colors. The unforeseen results emphasize and reference a sense of carelessness and danger that has begun to compete with the idealistic and sublime.”


Regina Kokoszka Cold Coast 01, archival inkjet on frosted mylar, 12� x 12�, 2010 Courtesy of the artist


Regina Kokoszka Cold Coast 02, archival inkjet on frosted mylar, 12� x 12�, 2010 Courtesy of the artist


Regina Kokoszka Cold Coast 03, archival inkjet on frosted mylar, 12� x 12�, 2010 Courtesy of the artist


KAY KOPPER BFA PAINTING, 1978 “Creativity has always been a part of my life. I enjoy the entire creative process of producing art: from choosing the subject, whether from a walk in the woods or off a greenhouse shelf; to deciding on the composition; to the study of the subject and finally to drawing and painting the final piece. All the tools that are part of this process are also very important. It is like telling a story with each line and brush stroke contributing to the whole. When it all flows smoothly and I am fully absorbed all is well. Each project is a challenge and an adventure. Working with botanical specimens only enhances the experience through the close observation of our natural world and then portraying that moment of stillness and life.

A graphic artist designer/illustrator since 1978, Kay holds a Bachelor of Fine Arts from Massachusetts College of Art. Kay began creating botanical works in 1998, working in watercolor and pencil; choosing subjects that are mostly native species. She has exhibited in solo and group shows, and in regional and national juried exhibits. Kay is a member of the American Society of Botanical Artists, New England Society of Botanical Artists, The Friends of Horticulture of Wellesley College, and is a gallery artist and member at the South Shore Arts Center in Cohasset. She lives, works, and tends her gardens in Pembroke, Massachusetts.”

I find pleasure in the process of observation of looking, seeing, and putting on paper each line and brush stroke, building from the beauty of nature. And finally, of sharing with others what I have seen.

LEFT: Kay Kopper Staghornsumac, watercolor, 16” x 25”, 2010 RIGHT: Kay Kopper Seedheads, watercolor, 21” x 25”, 2007 Courtesy of the artist


LEFT: Kay Kopper Highbush Blueberry, watercolor, 25” x 23”, 2009 Courtesy of the artist


ADAM LAMPTON MFA PHOTOGRAPHY, 2004 “The images submitted here are from a body of work that I made in Macao while on a William J. Fulbright grant in 2006-7. I photographed the former Portuguese colony (now a Special Administrative Region of China) and witnessed a key moment in its transformation from a small enclave into a gambling mecca. Beyond presenting Macao as a site of physical, cultural and political change, these pictures attempt to navigate a territory of conflicting perceptions inherent in the movement from historical city to phantasmagorical dreamscape. In doing so, they present Macao as existing somewhere between a reflection of an internal architecture and that of a physical reality. Images from this series were recently shown in a solo exhibition at Carroll and Sons in Boston. The resulting show was reviewed in Art in America and the Boston Globe.�


Adam Lampton Mahjong Parlor, c-print, 30” x 40”, 2007 Courtesy of Carroll & Sons Gallery


Adam Lampton Ancient Tree, Dung Huan Village, archival inkjet photography, c-print, 30” x 40”, 2007 Courtesy of Carroll & Sons Gallery


Adam Lampton Grand Lisboa Casino Under Construction, archival inkjet photography, c-print, 30” x 40”, 2007 Courtesy of Carroll & Sons Gallery


SURENDRA LAWOTI MFA PHOTOGRAPHY, 2005 “Within the context of a larger social and political landscape, my work focuses on individuals, social groups and their milieus. I am interested in the dynamics of social class, race, gender, religion and sexuality, and how they influence circumstances in a given historical time frame. For my current work, I have been photographing along the Don River in Toronto, Ontario. My focus has been on makeshift shelters that dot the river, its residents and the people who use it for recreation, in an area of roughly five miles long and one mile wide. One of the most urbanized river watersheds in Canada, the Don is a prime environment for byproduct, of urbanization. I first came across the makeshift shelters during summer of 2008 after I had recently immigrated to Canada and made Toronto my new home. The recognition of ‘home’ in these shelters immediately drew me in. I wanted to understand how people who do not have a home make one. Don River looks at the inglorious history of the Don, homelessness, socioeconomic disparities, and effects of urbanization on the river. The work brings forth the complexities of urban land use where nature and urbanization are in precarious tussle, and there are others who take refuge on these margins. Don River looks at the idea of home and issue of homelessness during a period of economic recession.”

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



Surendra Lawoti List Of Needs (Inside Shelter 17), archival inkjet photography, c-print, 33.6� x 40�, 2009 Courtesy of the artist


Surendra Lawoti Shelter 18, archival inkjet photography, c-print, 42� x 50�, 2010 Courtesy of the artist


SEBASTIEN LECLERCQ MFA STUDIO FOR INTERRELATED MEDIA, 2010 “My drawing practice is central to several overlapping bodies of work, which include site-specific installation, photography, painting, and sculpture. A recurring theme in my work is the investigation of the boundaries that separate simple perception and thorny knowledge. Banal, overlooked architectural elements and spaces - tiled walls, decorative trim and molding, bricks and mortar - even pictures in galleries are the physical locations that act as placeholders for simple perception. I subvert these spaces with subtle interventions that often pass as the thing itself. Adhesive tape passes for grout, photos replace subjects, drawings pass for graph paper. My drawing consists of the creation and augmentation of structural circumstances. Whether these conditions are constructed of graph paper or architectural structures, I subtly undermine the certainty and order denoted by their object-hood. With pencil and ruler I make graph paper drawings often with imbedded semi-narratives. I also use sculptural devices to create drawings with abberations in scale and in addition devise obliquitous deviations of lines that then generate multiple unique drawings. The confrontation and reconciliation of the viewer’s gaze within these booby-trapped situations invite an active aesthetic reading, exploring the boundaries between perception and knowledge. If our gaze defines how we relate to the world and how we participate in shaping it then the shape of our participation is contigent on what we perceive to be the parameters of our engagement. I endeavor to heighten the importance of perceiving the fluidity of these parameters.”

Sebastien Leclercq Bubble, pencil on paper, matboards and frames, 97.5” x 62”, 2009 Courtesy of the artist


Sebastien Leclercq Twelve Climate futures, pencil on paper and oblong frame, 38� x 48�, 2008 Courtesy of the artist


COURTNEY A. LOCKEMER MFA STUDIO FOR INTERRELATED MEDIA, 2010 “I am interested in exploring domestic space, particularly the way imagination plays a role in both the experience and meaning of the places we inhabit. False Objects is a series of photographs that is part of a exploration of imaginary landscapes – landscapes that are both imagined and which is a place for ones imagination to reside. The title of the series comes from Gaston Bachelard’s The Poetics of Space. One might say that these houses in miniature are false objects that possess a true psychological objectivity. When I take the word false from Bachelard I use it to inspire consideration of what is real and not real, and how this play of thinking creates a space for imagination. The object photographed might be false because it is a replica of what it claims to represent. It is also false because it is not a mere simulacrum: a photograph of an imaginary landscape can be viewed and considered just as a photograph of a real landscape can.”


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


Courtney A. Lockemer #4 (False Objects), color ink jet print, 17” x 17”, 2010 Courtesy of the artist


Courtney A. Lockemer #2 (False Objects), color ink jet print, 17” x 17”, 2010 Courtesy of the artist


JOHN MAGNIFICO BFA GRAPHIC DESIGN, 2007 www. “826 Boston is the newest chapter of a national nonprofit tutoring and writing organization. Each location has its own unique character; Boston’s creative writing center is housed in the Greater Boston Bigfoot Research Institute where volunteers are dressed as scientists and sales associates sell peculiar merchandise like unicorn tears.

reflect the imaginative spirit of the local branch. In addition to creating the visual identity, we designed a series of branded promotional materials, including brochures, postcards, t-shirts, and outreach posters. Our work incorporated bold typography, vibrant colors, and custom illustration (references to monsters Bigfoot and Loch Ness) to capture the experience of fun, creativity, and a bit of strangeness.”

We developed the 826 Boston brand to align with the mission of the national umbrella organization but still

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


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



“My work exists between the physical world and the one that is seen when we close our eyes: simple emotions are magnified, the concrete becomes inexplicable, and the mundane appears magical. Using a 4x5 view camera, I create photographic montages that illustrate the anxiety and the mystery that occurs between sleep and awake. The photographs depict an intangible world that will be forgotten come morning.”

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


Bryan Martello Untitled 2 From The Series “Come Morning”, archival inkjet prints, 56” x 43”, 2010 Bryan Martello Untitled 1 From The Series “Come Morning”, archival inkjet prints, 54” x 29”, 2010 Courtesy of the artist


JULIE MARTINI BFA PAINTING, 2003 “Over the past few years, I have been working on a series of drawings entitled ‘God Is Science/Science Is God’ that depict enlarged cells, revealing the intricate patterns that are contained in the smallest structural units of an organism. Each drawing is an altarpiece to science and the natural world. As modern science allows us to manipulate the natural world more and more, our ideas about the nature of life evolve. By creating images that combine scientific illustrations with my own imagined visual accounts of the natural world, I present an invented ‘scientific’ view of the world, as fantastical as the reality: teeming with cells, microscopic life forms, and the millions of structures that make up the inside of the body. Through my work, I hope to pose the following questions: Is science the new religion? Has science brought us closer to understanding the nature of life? As our world view becomes more scientific, how do we define the ‘sacred’?

I am also working on a large-scale installation called God Is Science/Science Is God? The centerpiece of the installation will be a wall-mounted 7.5 ft. diameter circle of hundreds of petri dishes arranged to recreate the dramatic rose window at the Cathedral of the Holy Cross in Boston. Each ‘pane’ of the window will consist of dozens of glass petri dishes, containing unique circles of paper, painted to suggest human brain cells. Taken as a whole, the cells will add up to a human brain, where each section of the the rose window represents a different structure in the brain, the center of the window symbolizing the seat of the human soul.”

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


Julie Martini Untitled II, acrylic paint and gouache on paper, 31� x 42�, 2010 Courtesy of the artist


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


LAUREL McMECHAN BFA PAINTING, 2010 “I am driven by my need to understand my brother’s military experience in the Iraqi desert. Reaching beyond landscape as physical location, my work considers psychological states and imaginary worlds as a way to investigate an expanded idea of place. Awash in satellite imagery and cartographic strategies, I perceive our contemporary, First World existence as a confusion between virtual and visceral landscapes. In this work I am considering the overlap of interior and exterior worlds; mental places conjured for refuge and retreat; and the world existing outside the physical body.

My ‘Bivouac’ project is an artwork modeled after a 16’ x 16’ army tent, made of collaged and sewn prints, drawings and paintings on paper. ‘Bivouac’ currently exists (to scale) as a smaller maquette. The full scale tent will function as a shelter akin to a fort, research outpost, fox hole, and/or command center. Operating within the idea that this shelter is a ‘home base’, with this artwork I strive to evoke ideas of exploration and navigation as well as concealment and improvised safety.”

Laurel McMechan Satellite Map, intaglio collage, 28” x 40”, 2010 Courtesy of the artist


Laurel McMechan Bivouac Maquette B, side view, intaglio, acrylic, watercolor, thread, 4.75” x 8” x 8”, 2010 Laurel McMechan Dislocated Territory, Intaglio, 9” x 14”, 2010 Courtesy of the artist


KEVIN MOROSINI BFA PRINTMAKING, 2001 “This work is for love and fear.”

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


Kevin Morosini #2, marker, colored cencil, vinyl LP, LP bag, tacks, 12.5” x 12.5”, 2011 Kevin Morosini #3, marker, colored cencil, vinyl LP, LP bag, tacks, 12.5” x 12.5”, 2011 Courtesy of the artist


DANA MUELLER MFA PHOTOGRAPHY, 2007 “During and after graduating from MassArt I focused on former German prisoner-of-war camps and surrounding areas where prisoners were put to work by the US military. At the end of WW II there were over 400,000 prisoners, who worked on local farms and in small industries. The years after graduation my photographs have taken me to Pennsylvania, Maryland and parts of the American South. There is an irony where these German soldiers, both high-ranking Nazi officers and foot soldiers, were tilling the fields, cutting the lumber, picking apples, taking care of the American soil. This caring, benign work with the land stands in complete contrast to the horrific actions by Nazis and German soldiers in Eastern Europe of that time, such as Hitler’s scorched earth policy. When photographing these landscapes I wanted to visually evoke the dualities that have characterized the German people over centuries, a people that are capable of both tremendous progress and destruction. Romanticism has played a role in understanding the relationship of Germans to the landscape. In some photographs the land is overgrown appearing in a kind of primal state, suggesting the return to the original forest. It also suggests a fascist aesthetic of purity promoted by pre-war German culture. Innocence and purity can be seen as a natural desire to regress after one has become corrupted. While the Devil’s Den still continues I have started a new body of work in 2010. Keeping the theme of landscape and history, I have been photographing at the edges of a German village where the forest was part of the no-mans-land border zone between East + West Germany. I am interested in capturing contemporary aspects of the village life and ways in which people now relate to that landscape.”


Dana Mueller Gettysburg, Adams County, Pennsylvania, archival pigment print, 24� x 30�, 2009 Courtesy of the artist


Dana Mueller Untitled #2, Germany, archival pigment print, 30� x 40�, 2009 Courtesy of the artist


Dana Mueller Untitled #1, Germany, archival pigment print, 30� x 40�, 2009 Courtesy of the artist


BRUCE MYREN BFA PHOTOGRAPHY, 1991 “My work investigates issues of place and space and boundaries and borders through the exploration and employment of various locative systems. I am most interested in how macro systems relate to micro experiences of land and landscape. My recent series include an investigation of the Fortieth Parallel of latitude; a study of the poet Robert Francis’s one-person house in the woods of Amherst, Massachusetts; and a piece that documents the view from every place I have lived to where I live now.

the world. Currently my work has been progressing from more universally recognized ideas of place towards more personal re-presentations.

Fort Juniper is the name of a small one-person house in western Massachusetts. It was built by the poet Robert Francis in 1940 and served as his home until his death in 1987; it is presently used to host contemporary poets-in-residence through the Robert Francis Trust. For Francis, Fort Juniper was more than just an abode in which to reside, it was a fort to shelter him I am fascinated with location-based systems and my and a lens through which he experienced the world. work engages the nature of how humans measure the Using Francis’s prose and poems, I am exploring my world. I often use or create rules to govern the loca- hometown, with new eyes, photographing the intersection or approach in order to make a series of photo- tion of his understanding of this place with my own exgraphs. This method stems from my interest in maps perience. The area of Amherst in which Francis lived is and mapping, historical photographic surveys, and where I first forged my sense of intimacy with the land. conceptually-based art practices. It is through these It is through this connection that I am making pictures influences that I started to see and make pictures: by exploring where our lives interweave through time.” measuring, coordinating, and locating myself within

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


Bruce Myren Lord Wilburs Oak [view #1], archival inkjet, 30” x 24”, 2009 Bruce Myren 170 Market Hill Road, archival inkjet, 24” x 30”, 2009 Courtesy of Gallery Kayafas


ASHLEY NORMAN BFA ART EDUCATION, 2007 “My work aims to create a visual language through biomimicry at the microscopic scale. In each piece that I create, the individual elements react with one another; patterns and relationships begin to develop and a microscopic landscape is formed. I start all of these pieces with some type of meditative line, and build off of that, creating relationships between the visual elements as the piece develops. The materials that I tend to use are: illustration markers, watercolor markers, watercolor, India ink, acrylic ink, and archival waterproof pens. These pieces have a large experimental element to them, and have grown out of years of working and playing with both line and shape, while creating different textures and patterns. One of my aspirations with this work is to play with the microscopic, macroscopic, and telescopic scales. With the ambiguity of scale, the hope is for the viewer not only to see the piece as a whole, but to view the movement and growth in the work as well.”

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


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


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


ZOE PERRY-WOOD BFA PHOTOGRAPHY, 1981 “Whether in the public forum of a city street or in a person’s private living quarters, my purpose is to pay enough attention to really see whatever people will reveal for me. I feel a passion and excitement when I am with people as they unknowingly reveal so much in their facial expressions, gestures and interactions with each other. Making photographs has taught me the importance of paying attention to both the detail and the bigger picture. As I look around the world I am drawn to small moments that convey larger meaning. By creating images in the public forum, I have learned that the decisive moment can speak volumes about a person, a place or even a culture. I seek to capture those moments in images that go beyond the individual, and speak of the many forces they have no control over; their age, their class, their race, their gender. The body of work that these images come from was created over the course of five years between 2006-2010 during Carnival Week in Provincetown, MA. People are literally on parade, presenting an alternative persona that defies the norm and, for the most part, could not be possible in another place and time. For some, this is a fun, annual event that allows for the freedom to experiment. For others, it is a brief span of time where the person they truly feel they are, finds company and freedom to be themselves on these streets. My interest is not only to document the vivid culture that results from this combination of place, time and events, but to get a glimpse of the people beneath the costumes and make up. Since graduating from MassArt I have continued to make images, focusing on photographing people for more than thirty years. I have worked on projects ranging from a study of the Boston subways to cotton farmers in Nicaragua to transvestites in Mexico. My images have been exhibited nationally in juried exhibitions at galleries such as Soho Photo in New York, Photo Center NW in Seattle, Camera Obscura Gallery in Colorado and Vermont Photo Workplace Gallery. I worked for many years as a gelatin silver printer for several Boston area photographers. I continue to study with great photographers such as Magnum Photographer Constantine Manos, and world famous photographer Mary Ellen Mark. My work is represented by Gallery Kayafas in Boston.�


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


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


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


GABRIEL PHIPPS BFA PAINTING, 1997 “A great teacher of mine once said paint can be any- aerial photography and environmental forces acting thing, a sentiment I very much agree with. I might add on one another. that paint can be everything - at once. Laden with contradictory source material, the geoThrough the use of basic geometric shapes squares, metric units that reverberate throughout the work rectangles and trapezoidsv – I make paintings that are at once flat and volumetric, solid and ephemeral, simultaneously reference a number of visual notions synthetic and organic, static and kinetic, fictitious and and phenomena. Architectural forms derive from rect- real; they are structures seen from above and from the angularly shaped painting media and are a response ground; they are free-standing and verge on collapse; to the urban landscape in which I live. Color combina- they speak of pink flesh, metal shards and glowing tions reference the elements - water, earth, sky, and television screens; they are somebody who is nobody, fire – while also referring to digital light, the vibrant someplace that is no place. blue of a computer desktop, and childhood memories of Boston’s brick cobbled streets and buildings. Figu- The duality of the paintings, their refusal to fit into rative content speaks to the experience of confront- a single reading, their very instability is what makes ing somebody within the confines of a rectangle, be it them more than the sum of their parts it gives them a doorway or a mirror. Pressurized junctions of form, vitality and life. “ and subsequent deformations of shape, are a nod to

Gabriel Phipps Near Miss, oil on paper, 4.5” x 6”, 2011 Courtesy of the artist


LEFT: Gabriel Phipps Kiss Me, oil on paper, 7” x 4.5”, 2011 RIGHT: Gabriel Phipps Signalman, oil on paper, 7.5” x 3”, 2011 Courtesy of the artist


ERIC SALINE MFA PRINTMAKING, 2005 “For inspiration in my artistic practice, I examine the relationship between nature and the built environment. Paper is my chosen material, largely due to its malleability, endless recycle-ability, and the appeal of its relative organic ephemerality. Paper is extremely versatile and durable, yet at the same time, it is weak and vulnerable: herein lies a fundamental tension, resonant with the human experience, which I attempt to highlight. My work conveys kinetic visual movement through surface activity, employing rhythm and color as ubiquitous leitmotifs. I address a variety of formats including drawings, books, print-collages, and also site-specific installations out of my own recycled handmade papers. Smaller drawings, prints and books provide a shift in size, but yield a similar feeling of intimacy and discovery, possibly referencing an even larger scale than the installations. In my large-scale printed-paper installations, I attempt to produce sculptures complimentary to a sites’ specific architecture by considering regional history, the landscape of the natural environment surrounding the site, and also by incorporating my own eclectic imagination. I use lighting to create both a sense of drama and atmosphere, through shadow and its corresponding back-lit effect, much like that of light passing through stained glass. This dynamic experience implores viewers to explore a piece, to see what discovery a change in viewpoint may reveal. After an installation, I recycle my work by continuing to print, paint cut and glue the paper, treating it much like a quilter would fabric. This perpetual process of recycling and re-use is a way I can represent a more conscientious natural resource management, while also granting me time to develop the papers’ surface.”


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


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


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


DANA SALVO BFA PHOTOGRAPHY, 1977 “My work examines the universal necessity for people to surround themselves with meaning, specifically by the arrangment of objects within the home. My most recent project with The Mother of Grace Club in Gloucester, MA, has resulted in a portfolio of images which examine how people evoke sacredness in their everyday environments in the creation of devotional altars and household arrangements which sanctify and personalize the places in which they live.�


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


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


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


STACY A. SCIBELLI BFA FASHION DESIGN, 2004 “I am a designer and artist currently living and working in New York City with a communal studio/gallery space in Brooklyn. I utilize design and craft to make fine art. Much of my practice is based around sewing, be it garments, sculptures, or wearable art pieces. I have several years experience working in the costume and fashion industry and therefore my work has become primarily wearable and interactive sculpture. I make soft machines that facilitate basic, seemingly banal, interactions that conjure overwhelming emotion in the participant. The apparatus is an instigator to a higher understanding of one another. I believe that fashion is the manifestation of art and life colliding. Clothing is a vehicle for individual expression that is understood through its materiality. To adorn the body is a universal human condition that allows for versatility, utility, culture, drama, and emotion all at once. This seems an obvious and irresistible medium for me. A lot of my work circulates around the act of eliciting communal awareness through this channel. I am interested in the threshold of comfort - recognizing where it originates and what happens when it is sacrificed and no longer exists. I aim to accentuate awkwardness. I am bringing people together so that they can realize that they are apart. Closeness reveals separation by exemplifying our vulnerability and exposing the prominence of what we refuse to expose. Vulnerability can act as an impetus for unification. It is important to me to showcase where our boundaries really lie and force you to question the existence and the source of those boundaries. I am staging physical situations that are mediated by the use of a bizarre apparatus, and in doing so I reveal satire in the suspension of disbelief. What is important to me in my work is the acknowledgement and exploration of the space between people, both literally and metaphorically. I am committed to the practice and history of craft as it relates to contemporary art given my background in tailoring and design. This informs a majority of the visual nature of my work. Texture and form are important components of my wearable sculptures. I utilize materials common to conventional habit such as wool, knits, and leather. Composition and clarity of purpose are necessary for the imagery that exemplifies the usage

of the pieces. My work exists as participatory objects, installation, and sculpture. The conceptual relevancy hinges on viewer interaction with each other through a provided vehicle object. Through this mechanization of the object, an unusual sensation is conjured forcing a smile, kissing an imaginary other, being locked into a tickle fight, gracing hidden fingertips. I am using the existing structures of our everyday lives to show you where they are and how they are destroyed. Don’t smile. Touch each other. Don’t kiss me. Leave me alone. Be alone. Pretend. Don’t let me tell you what to do. It is both pleasant and uncomfortable and lingers on the edge of the perverse due to the simultaneous familiarity and theatricality or falseness of the entire experience. These cooperative actions compromise physical ability exposing vulnerability and power that translates as a metaphor for everyday activities. I am addressing an unspoken dialogue of power dynamics that manifest themselves in the distance we keep or don’t keep from each other and the choice to collaborate or take advantage of these handicaps. ‘Behind the storm of daily conflict and crisis, the dramatic confrontations, the tumult of political struggle, the poet, the artist, the musician, continues the quiet work of centuries, building bridges of experience between peoples, reminding man of the universality of his feelings and desires and despairs, and reminding him that the forces that unite are deeper than those that divide.’” -John F. Kennendy”


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


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


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


JI-EUN SHIM BFA PAINTING, 2009 “These drawings started from the same curiosity to plant seeds and watch them grow out of the ground from something small and familiar into something unknown, of beauty and with life of their own.�


Ji-eun Shim Creation, graphite on paper, 15’’ x 22’’, 2011 Courtesy of the artist


Ji-eun Shim Blindness, graphite on vellum, 14’’ x 11’’, 2011 Courtesy of the artist


Ji-eun Shim Penitence, graphite on paper, 13’’ x 13.5’’, 2011 Courtesy of the artist


CANDICE SMITH CORBY MFA PAINTING, 2001 “I paint combined images of furniture, the human body, and household objects that deal with conflicted feelings of domestic celebration and potential entrapment and disillusionment. I think of women I know and how women deal with different roles that aren’t always necessarily wanted, but acquired. I consider female stereotypes as a mother (no longer a sexual being), loss of self, and dependency. Collective feelings of abandonment, isolation, and inadequacy can get buried within a well-decorated house. I have 3 children under 5 and their imaginary games have influenced my compositional decisions which include non-linear gameplay and coincidental desires of escape.”

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



Candice Smith Corby Suspended In Daydreaming, gouache on wallpaper, 34” x 28”, 2010 Courtesy of Ellen Miller Gallery


Candice Smith Corby Repossessed, gouache and watercolor on paper and wallpaper, 34� x 28�, 2010 Courtesy of Ellen Miller Gallery


DAWN SOUTHWORTH BFA FIBERS, 1976 “My work, characterized as mixed media drawing, painting or assemblage, crosses disciplines, while utilizing various processes and materials. I stitch, cobble, burn, draw and fasten an assortment of disparate images together. The works are typically layered, wrapped, bandaged, stained and scarred, and may bear assembled objects of sticks and vines which are also wrapped and bound.

and paintings, and photographs. These fleeting scraps of cloth, paper, wood and metal when fused together become indicators of both a natural world and human presence. The age, shape, fragility and dusty texture of the artifacts I collect and construct evoke thoughts of the past, childhood recollections, hand labor, and our shared history. They provide a condensed vocabulary from which to address the many mysteries of our personal psyche and common experience.”

My studio, a large box, is an accumulation of objects: battered fabrics, found and rusted metals, assorted sticks and tree fragments, books, damaged canvases

Dawn Southworth Facade, mixed media, 60” x 40”, 2010 Courtesy of the artist


Dawn Southworth Germinate, germinate, 60” x 40”, 2011 Dawn Southworth Species, mixed media, 60” x 40”, 2010 Courtesy of the artist


TEREZA SWANDA BFA PAINTING, 2003 “I engage in facilitating a space for creative exchange, developing a creative rather than a capitalist structure. In my choice of material I use everyday matter combined with people who to me matter most, to find a language that represents what I/We embody. I recognize the power within each moment of a both an individual and collective form.

perceive as our end and look at how that edge can be expanded. How there is possibility for overlap. How ‘I‘ exist always in relation to ‘we’?

I develop a gestural language between us- to find a new way of interacting. Visually, glass, a transparent layer, serves as a plane where this can occur, a blending of inside/outside and public/private, (a flattening I play with overlapping bodies to recognize how we af- of space). Most recently, I am investigating the strucfect one another? How boundaries between one and ture upholding glass, to reveal and question the power another blend. I explore interconnectedness; I look structures within each moment of an individual/collecat the seeming boundary, the skin, that layer that we tive form.“

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


Tereza Swanda Romping Cluster, cut paper (b&w inkjet) and tape on office window, 7� x 6�, 2010 Courtesy of the artist


JOHN THOMPSON MFA PAINTING, 2005 “My work is a textural exploration of materials reacting to observations of intimate moments in the New England landscape. My focus is on the accidental and the fleeting - water flowing, plant material blooming and decaying, light reflecting. Increasingly the work has been altered by the ever faster pace of visual stimuli. It as if the work might be glimpses fof landscape rom the window of a speeding train or car. I return to the studio to recreate the glimpses of the momentary.”

John Thompson, Cordova, screenprint and gouache 39” x 51”, 2011 Courtesy of Sunne Savage Gallery


John Thompson, Hinsdale #35, woodcut, 24” x 24”, 2010 John Thompson, Hinsdale #43, Woodcut, 24” x 24”, 2010 Courtesy of Sunne Savage Gallery


DYLAN VITONE MFA PHOTOGRAPHY, 2003 “My photographic process has always been about documenting people and place to create records of the ordinary and, through that process, finding poetry within the mundane. Creating large-scale panoramic photographs allows me to show simultaneously details and relationships at multiple spacial and perceptual levels. For example, both the self-conscious way a young woman holds her hand by her side as she allows someone to photograph her, as well as her place in the sea of people around her engaged in a similar task. It allows me to show a sweeping view of the cityscape from a distance, while simultaneously revealing the fine details of the scales of a fish that a boy proudly displays for the camera.�


Dylan Vitone Demo On How To Make Home Porn, archival inkjet, 6” x 16”, 2011 Dylan Vitone Sprinkler, archival inkjet, 6” x 16”, 2007 Dylan Vitone Car Crash, archival inkjet, 6” x 16”, 2011 Courtesy of DNJ Gallery


EILEEN WAGNER MS ART EDUCATION, 2010 Eileen Wagner explores abstraction and the landscape is the source of her imagery. Inspiration originates from the natural world, but the life on canvas becomes its own - independent and self-sufficient. Through a process of recalling emotional and visual impressions of her surroundings, she makes a composition from memory and imagination with results that are suggestive of experiencing the changeable atmosphere of the essential elements - air, water, earth and fire. She aims to capture a quality of light with successive transparent layers, creating a sense of infinite space and mutability. Her paintings and prints allow the viewer to experience something that is timeless and primal, yet intensely personal in the same moment.


Eileen Wagner Untitled 2, Monotype, 6” x 6”, 2002 Courtesy of Rice/Polak Gallery


Eileen Wagner Storm, Intaglio, 6” x 6”, 2001 Courtesy of Rice/Polak Gallery


Eileen Wagner Untitled 1, Monotype, 6” x 6”, 2002 Courtesy of Rice/Polak Gallery


MASSACHUSETTS COLLEGE OF ART AND DESIGN 621 Huntington Avenue, Boston MA USA, T 617 879 7020,

As an innovative university for artists, designers, and educators we prepare our students to contribute to contemporary culture and to fuel the creative economy. We are proud of our unique status as the only independent public college of art and design in the country, and our heritage as the nation’s first degree-granting art school, founded in 1873. Our programs are consistently ranked among the top in the country. US News & World Report ranked our MFA program #1 in Massachusetts. Our 1700 undergraduate and 200 graduate students come from more than 35 countries, reflecting the international reputation of our programs, and Boston’s place as one of the great learning and research centers in the world. Our more than 18,000 alumni consistently rank high among leaders in the fields of fine arts, design, architecture, education, and innovation. Our urban campus offers more than 1,000,000 square feet of studios, workshops, classrooms, and galleries. We are located at the center of a world-class fine arts triangle, sited between the Isabella Stewart Gardner Museum and the Museum of Fine Arts, Boston. Our Bakalar & Paine Galleries are one of Boston’s premier venues for contemporary art, showcasing emerging and established artists from around the world. Our 260 graduate and undergraduate faculty are teachers and artist/practitioners at the top of their fields, with a 9:1 student-to-faculty ratio. Our alumni and faculty exhibit nationally and internationally at institutions including: MoMA; the Whitney Museum of American Art; the Metropolitan Museum of Art; the Brooklyn Museum of Art, the J. Paul Getty Center Museum; the San Francisco Museum of Art; the Museum of Fine Arts Houston; the International Center of Photography; the Cleveland Museum of Art; the Art Institute of Chicago; the Museum of Fine Arts, Boston; the Victoria and Albert Museum (London); the Musee de la Ville de Paris; the Cleveland Institute of Art; and the Institute of Contemporary Art/Boston, among others.


CREDITS: Title Designer: Helen Zhai (MFA ‘04) Catalog Designer: Maria Anna Stangel (MFA ’12) ©Copyright 2011 Massachusetts College of Art and Design All rights reserved; no part of this book may be reproduced without the express written permission of the publisher.

Flourish Catalogue  

Online catalogue for the 2011 alumni exhibition, Flourish: Alumni Works on Paper, on view in the Bakalar Gallery June 6-July 9, 2011

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