Issuu on Google+

DRAWING2012


The Drawing Department at the Maryland Institute College of Art is pleased to present the 2012 Senior Thesis Commencement Exhibition. The advanced development of drawing as a “high art” form with this exceptionally tight-knit group embraces a community spirit and commitment to produce remarkable work. A tradition of new beginnings started with the Intro to Drawing course, the students refined their skills with an exploration of personal expression and ideas. The journey continued throughout sophomore, junior and senior years and has been a process of discovery through different approaches of what drawing can mean for the individual. Drawing is a discipline that runs through all of the contemporary arts and I look forward to seeing what you will do with your talent and skills in the future. I know you are highly motivated to be the best you can be. You possess all the tools you will need for meaningful expression within the social context in which you live and work. The world is yours’ to conquer! Bye for now, Rex R. Stevens Chair, Drawing Department


Graduation seemed really far away as we gathered on the first Monday of our Senior Thesis meetings in Falvey Hall in late August of 2011. After being assigned a studio by your core faculty and then meeting your core peer group, you ventured on a creative journey leading up to your fantastic Commencement Exhibition. “Visiting Artists at Noon”, our Monday Lecture Series, included Mequitta Ahuja, Njideka Akunyili, Colleen Asper, Leslie King-Hammond, Edgar Heap of Birds, Logan Hicks, Kellie Jones Ph.D, Richard Kendall, Jeff Koons, Wangechi Mutu, Jennifer New, Joyce J. Scott, Lowery Sims, Jane South, Paul Stopforth and Dannielle Tegeder. First Semester Review Boards and your Final Thesis Defense provided an intensely focused discussion of your artwork by a 3-person faculty jury. Professionally, you created artist statements, resumes, narrative biographies & business cards. Some of you applied to graduate schools, internships, residencies, grants, galleries and prepared for life beyond MICA. There were unique events such as The Sketchbook Annual. Mainly, you spent many hours in your studio developing your art. This year’s Senior Thesis Faculty included Mequitta Ahuja, Ellen Burchenal, Gail Deery, Ariel Dill, Dan Dudrow, Marian Glebes, Rashawn Griffin, Sangram Majumdar, Katherine Mann, Barry Nemett, Robert Salazar, Jonathan Thomas, Ken Tisa and myself. What a full, exciting year it has been. I wish all seniors the best of luck for a rich artistic life.

Howie Lee Weiss Head of Senior Thesis GFA PTG DRW PRT

DRW2012


FEATURED ARTISTS

SOPHICA BELKIN • 05 TOMMY P. DOYLE • 07 SAM GROSSMAN • 09 KATRINA KEANE • 11 CHELSEA KELLY • 13 JACKIE MEYER • 15 BECCA PAD • 17 CASEY REEDER • 19 JESSICA ROWE • 21


SOPHIA BELKIN

The Ridge Digital photograph 30x20” 2012


Bullseye Digital photograph 30X20” 2012

SOPHIA BELKIN • 05


TOMMY P. DOYLE “Nor could I omit this from my reflection: that I had discovered this photograph by moving back through Time. The Greeks entered into Death backward: what they had before them was their past. In the same way I worked back through a life, not my own, but the life of someone I love. Starting from her latest image, taken the summer before her death...I arrived, traversing three-quarters of a century, at the image of a child. Here again, from a phenomenological viewpoint, the cinema begins to differ from the Photograph; for the (fictional) cinema combines to poses: the actor’s ‘this-has-been’ and the role’s, so that (something I would not experience before a painting) I can never see or see again in a film certain actors whom I know to be dead without a kind of melancholy: the melancholy of Photography itself...” -Roland Barthes, Camera Lucida

Untitled (diptych) | Graphite and black tape on paper | Each Panel 22” x 30”


Untitled (libretto) | Graphite on paper with steel bases

Untitled | Graphite on paper | 22” x 30”

TOMMY P. DOYLE • 07


SAM GROSSMAN Information presented with authority is often accepted without investigation. In many cases one only needs imply that the research is valid. In high school, using outdated textbooks, I would question the accuracy of what I was learning and, if it was inaccurate, what answers should be retained. My current work, Biopistemology: the Study of Biological Science, is an ongoing textbook series, studying the growth and development of a fictional universe. The textbook begins with the creation of the universe, ultimately focusing of the development of life on a single planet. Many of the issues discussed become satiric allegories for larger topics while pretending to be scientific fact. All information presented has some level of truth involved, however, all names, studies, and implications are fabricated. I feel an honest fiction can be more insightful then an invalid truth.

Oceanic Cell Formation | Charcoal | 1.7’ x 4’


Prehelix DNA | Charcoal | 3’ x 5’

Page 9: Excerpt from Biopistemology: the Study of Biological Science Vol. 1 | Digital Print | 9.5” x 12”

SAM GROSSMAN • 09


Untitled | 50” x 40”


KATRINA KEANE From the time I was born, tales, songs and lullabies in local languages taught me important traditional and cultural values. Through a collection of stories, I became grounded in my surroundings. A world developed in my mind from words passed on by people from ancient cultures. I walked away from my youth reflecting on the heroism of everyday warriors who have the resilience to triumph over the chaos around them. My body of work has allowed me to discover, through memories, the multifaceted society of Uganda. In visual exploration of line, I work with mixed mediums, abstracting images and engaging my body’s movement to develop a range of marks. I find that by reliving past emotions, uncontrolled patches of paint stitch themselves together. Through my work, I expose the courage and perseverance of a vibrant people whose culture for a fleeting moment in time was my own.

Untitled | 8’ x 7’

KATRINA KEANE • 11


Snow Suit | Powdered Graphite on Paper | 4’ x 3’

Mriga | Powdered Graphite on Paper | 6’ x 3’


CHELSEA KELLY These drawings are a piece of a memory, a glimpse of a story but not the whole. There is no realized space. The figure is the main focus, what it’s doing and why it’s there. The parts that are realized act as a hole in the picture plane, a void. For me the beauty of drawing is that you can decide to make something as simple as a line or choose to render it. These works are memory and memory is not always concrete. These drawings are the death of something and the birth of something new. There is rawness to children, a truth. I am interested in the body and the language that it carries. We are all filled with experience and consciousness; there is so much in a body. This is my understanding of my own story.

It’s Not Your Birthday | Gesso Charcoal, Colored Pencil on Paper | 6’ x 3’

CHELSEA KELLY • 13


JACKIE MEYER Rooted in traditional drawing practices, the work describes form and specificity. I am most interested in the role art possesses as an accessible method of communication, informing as well as engaging the viewer. After having experimented with abstract and expressive techniques, I find myself even more strongly drawn to creating work that goes beyond a visual aesthetic and is used to help people understand their world better. While still embracing artistic liberties, my drawings are investigative and analytic.

The Cat’s Prize |

Watercolor and Charcoal | 24� x 16�


Spineless | Charcoal | 22” x 30”

The Fish | Watercolor and Graphite | 22” x 30”

JACKIE MEYER • 15


The Space In-between | Wood, Plastic, Graphite, Masking Tape | 64” x 39” x 5”


BECCA PAD Untitled ( Altered Space ) | Still from Animation

I use drawing, sculpture, and installation as a means to explore spatial construction in its most elemental form. In looking at the construction and inhabitation of space, it is integral to consider how a particular environment functions emotionally. Through deconstructing the architecture of the one of our most intimate spaces, the home, I begin to unravel the connections between space, psychology, and memory.

Exercises in Verticality | Graphite, Acrylic, Masking Tape, Rives BFK, Animation | 40” x 120”

BECCA PAD • 17


CASEY REEDER I create dramatic visual narrations of what I see in the world around me by using animals to represent the darker side of human emotion. Limited color palettes and expressive strokes of paint contribute to the drama and tense atmosphere in every scene. My most recent work portrays a herd of deer. Overwhelmed by fear and panic, they blindly fall victim to that which they are desperately running from: death. Their madness conveys a message: Fear is a very powerful motivator and destructive force.

Collective Fear | Acrylic paint, graphite | 5’ x 7’


IMG. 1

Collective Fear ( detail ) | Acrylic paint, graphite | 5’ x 7’

CASEY REEDER • 19


JESSICA ROWE I create drawings, paintings, and prints playing with different intensities of representation and abstraction. Working through senses and gestures of paint, mark, texture, and line, the intuitive colorful or stark black and white pieces delve in to moments I had left in the past or long for in the future. Each print, drawing, or painting marks an individual experience, precisely situated neither in choice of subject matter nor in exact truth, but in a way of feeling. Through my body and it’s reaction to the surfaces, specific areas may or may not become objective for the viewer as they dance between figure and ground.

There Is No Such Thing | Acrylic, graphite, and pastel on Rives BFK | 42” x 35”


When You Love Somebody Charcoal, pastel, and eraser on Rives BFK 42” x 57”

JESSICA ROWE • 21


Founded in 1826, Maryland Institute College of Art (MICA) is the oldest continuously degree-granting college of art and design in the nation. The College enrolls more than 2,000 undergraduate, graduate, and continuing studies students from 46 states and 53 countries in fine arts, design, electronic media, art education, liberal arts and professional studies degree and non-credit programs. Redefining art and design education, MICA is pioneering interdisciplinary approaches to innovation, research, and community and social engagement. Alumni and programming reach around the globe, even as MICA remains a cultural cornerstone in the Baltimore/Washington region, hosting hundreds of exhibitions and events annually by students, faculty, and other established artists.

For more information on featured artists and programs of study please visit the Drawing home page at: http://www.mica.edu/drawing


DRAWING DEPARTMENT

Maryland Institute College of Art

1300 Mount Royal Ave. Baltimore, MD 21217 Office: 410-225-2260

This publication was made possible with the assistance of the MICA Alumni Association.


DESIGN BY RYAN ANTHONY WOLPER RYANWOLPER.COM


2012 MICA Drawing